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Reinforcing modeling basics to create the face, eyes, nose, and ears

From: Blender Essential Training

Video: Reinforcing modeling basics to create the face, eyes, nose, and ears

So now it's time to give captain knowledge a face. So we are going to click here and you can start with any major facial feature either the eye or the mouth. Let's start with the eye. If we can get the eye right, the rest of the face is easy. First of all, set expectations just like your hand, your first face is going to look like an alien. That's why we have kind of picked an alien looking face here. And eventually you will get better and better at it, at following the face topology. Getting a good face is all about getting a good topology. Topology as these lines right here, the lines of the face and how the face flows.

Reinforcing modeling basics to create the face, eyes, nose, and ears

So now it's time to give captain knowledge a face. So we are going to click here and you can start with any major facial feature either the eye or the mouth. Let's start with the eye. If we can get the eye right, the rest of the face is easy. First of all, set expectations just like your hand, your first face is going to look like an alien. That's why we have kind of picked an alien looking face here. And eventually you will get better and better at it, at following the face topology. Getting a good face is all about getting a good topology. Topology as these lines right here, the lines of the face and how the face flows.

If you are not an artist, tag along and you will hopefully get the hang of it. To start with the eye, I like to start with a circle, have about 8 vertices. The other secret to getting a good face is to start small, start with a very few vertices, start with a blockhead and then work your way up. A lot of people like they try to start with this really high res face and it just doesn't work because there is just too many vertices to mess around with.

So here we have our first circle and I like to position it just like we would our iris. Then we can extrude this forward until it meets about to the middle of the eye. Now, we can begin with the eye shape. What we are actually making is the eye socket. I'm going to go ahead and scale these out a little bit, so they are easier to select. You can just start grabbing one, and following the outline. Now, you know why I scaled it out, so that it would be easy to grab. I'm looking over here and making sure that I'm grabbing the ones in the front, and actually if I'm getting confused, I can just Border Select and hide those.

So now I can't even select them. Now that I have the basic eye shape, notice there is more vertices around a smooth curve than there are around a straighter edge. I can select all of these and now I need to arrange them. They are arranged in this view, the front view, but now they need to be arranged in the side view. So now I just go around and I trust my drawing. I trust my artist. He is a really good artist and I know that he has worked out all these perspectives. Now, my background images are probably not going to be perfect and anytime you draw the same face twice, he is not going to be able to line it up perfectly.

But we take this front face because this area, the corner of the eye here corresponds to the corner of the eye here, and this corner of the eye corresponds to all the way back here. So what we are doing is we are taking this 2D, and we are stretching it in 3D space here. If you select a vertex and you only drag on the Green Arrow in this view, it doesn't change the location in this view over here.

So all I have to do is pull these vertices back to match the orientation here. Now, I have a great 3D eye socket. Select all, Extrude, drop by clicking and then S to scale them out, and now we do it again. Well, this time we've followed the outside of this outline. So we just grab and drop, right- click, select, grab, G and drop.

Then over here, we work in this view. Likewise in this view if I drag it this way, I don't affect the location in the other view. I can't capture quite all of the detail of this curve because I just don't simply have enough. So now we can select this Edge Loop again, Ctrl+E, Edge Loop Select, Extrude, Drop, Scale. Now, though we have the outside of the eye socket, the next line that we are going to follow is the eyebrow line, and that's going to be up here which conveniently is also the helmet line.

Now, remember what I said about no straight or parallel lines when you are modeling any kind of organic form. Always make sure that there is a line forming here. There is a line here. See that's almost too straight there? There we go. That's a little better. Also, in this view, make sure there is always a curve and continue on like this until we end up with this shape. And that's it. We are done with the eye and ready to move onto the mouth.

So now when we do the mouth, we are just going to take six vertices. We'll start with the lower lip and Ctrl- click once, two, three, four, five, six, and I don't want that edge there connecting the lower lip to the eye. That will look kind of weird. So now I have these six that I'm going to use to start to define the lip. I have defined it in this view. Now, I come over here and start to align them in 3D space.

So we are going to bring those up to the front. You can see that his lower lip juts out a little more. Then the next one is about the same distance backwards or forwards or whatever you want to call it. But then this one is way back here. So this is the lip line here and the lip line over here. All right. A little bit of adjusting there to follow the lines as best we can with the number of vertices that we have. Really this one should go down a little more. Okay, now we are going to take this lower lip, these three and just extrude downward and move it forward.

Notice these little gray lines here. So I'm just going to follow those, 1, 2, 3 and go ahead and extrude down, over back here. Now that I have done 3, I have to do a little adjustment. I don't know what the vertex is. That one got in the way. Good deal. It's starting to look pretty good. All ready, and then 3 more.

Notice I'm starting to run into this face line here and one more time down to the bottom. So now, we are starting to run into the edge of the chin. So what to do? Well, we want to trust our lines. Just like when you are flying, you got to trust your instruments sometimes. This line represents the front on view, not necessarily where the face starts to actually start to curve back.

There is a line right here where the face actually starts to curve around and then this is the outside edge. So right about here is right about here. So this is where we want to start to tuck the face backwards. Now, when you make a cube, you start with a plane and then what you have to do is take two of the edges and extrude them. But now notice I'm over here in this view, grab them back, take one of these edges, extrude just the vertex, and then with that vertex selected, select 1, 2, and 3 more to make the edge of the box.

So now, I have started to make a little box. Now, I can take this box and extrude it back to make the underside of the chin. His chin goes dramatically up. We definitely have a Jay Leno chin action going on here. But now this one defines the outside edge. That's the lowest point that we are going to be able to see in our character. The rest of this is up underneath. When you are underneath the chin comes down a little bit and we can stitch too if we get off and extrude downwards and then make these four faces, 1, 2, 3, 4.

Now, the front of the face, the topology, kind of goes like this because you have the whole chin action going on. So your chin kind of looks like that. That's your chin line. The cheek line goes the other way and it starts to go like that. That's the topology of the human face. That's the way we can start to get the chin action going on.

At the same time get that tuck that happens right under the lips. So now we can just start with the top lip and select these four vertices here and extrude them upwards. Now, underneath the nose, it's pretty flat, except there is a hard edge there that allows us to pull our lips up. So there needs to be a little bit of an edge there, so you can bump that. I'm going to go ahead and do 2 there and now we have the same kind of a box problem where we need to make a box for the nose.

He has got a very boxy nose. So if we just take these three and extrude them in this direction, we now can take them to face just those two in the front if you will, move them up a little bit and extrude upwards to make the bridge of his nose. Now, we have created a right angle, if you can see that. So what we need to do is make our box. So we'll extrude upwards with just that just vertex and then connect these four vertices to make the side of the box.

Now, the face line, you have your nostril. But for now, we are good to go. The nose actually gets wider towards the nib of your nose, and then it gets shallower and then it gets wider again and it's pretty complicated, a little air passage there. But we are going to go ahead and extrude this upwards. In the front here as you can see it's getting wider. So we are going to do that. So we get a little bulb of a nose and then it gets a little narrower and then up towards the bridge of the nose.

Shift+Select both of those and grab and it gets wider up here. Now, we can see it looks good over here, but looks terrible here. There we go, and we keep filling in and extruding until you get something that looks like this. Now, there is a couple of things going on here. Notice the cheek line and how I followed the mandible up just by extruding those few faces to make it empty shell like that.

Then when we merge in the eye and we go stitch the eye to the cheek, we have our completed mesh after we apply our Mirror Modifier. That's how you do a face. We can go ahead and render this using our cameras and our lights. We'll activate those layers, and we have our low-poly face. Once we apply our Subsurf Modifier and now when we do the render, we have a nice little mask of Captain Knowledge. Let's go over to the Subsurf Modifier while we are at it.

There is a couple of different levels that you can set based on the power of your computer. In 3D View, you set the number of levels here and adding more and more levels adds more and more detailed fine mesh. However, I kind of find that gets to be really dense and really confusing. Crank that down a little bit, but then when you render, you can crank up the resolution and have a finer and finer mesh. If I rendered with this Level 1 pressing F12, pretty blocky.

Cranking it up to Level 2 is better, but I can still see some of the gradients. Level 3 is pretty darn good. So Level 4 is great. Optimal Draw just simplifies the 3D View and only shows you the basic edge loops and you want to use that if you are working still in Edit Mode, or if you have a lower powered computer. The Subsurf should be applied after the Mirror, so that the basic mesh is mirrored, and then the entire mesh is sub-surfed.

Last, but not least, we've got to add on the ears.

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This video is part of

Image for Blender Essential Training
Blender Essential Training

131 video lessons · 24893 viewers

Roger Wickes
Author

 
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  1. 12m 5s
    1. Welcome
      1m 16s
    2. Using the exercise files
      58s
    3. Using Blender's full capabilities
      4m 16s
    4. Getting and installing Blender
      3m 8s
    5. Mouse and keyboard differences on the Mac
      2m 27s
  2. 1h 6m
    1. Blender oddities
      7m 38s
    2. Introducing the User Interface, Console, and Render windows
      3m 8s
    3. Configuring the desktop for an efficient workflow
      6m 27s
    4. Using the mouse and tablet on a PC or a Mac
      5m 7s
    5. Acquiring keyboard skills
      7m 38s
    6. Window panes and types
      7m 53s
    7. Exploring the default scene
      5m 53s
    8. Setting themes, UI colors, and user preferences
      4m 0s
    9. Understanding how to safeguard your data with autosave and backups
      6m 52s
    10. Appending and linking assets
      7m 27s
    11. Using the open-source movies and assets
      4m 18s
  3. 2h 7m
    1. Working with objects in 3D space
      6m 24s
    2. Navigating 3D views
      4m 23s
    3. Understanding Blender modes
      1m 51s
    4. Understanding meshes
      2m 8s
    5. Editing a mesh
      3m 28s
    6. Using the Mirror modifier
      2m 55s
    7. Working with Vertex groups
      2m 35s
    8. Using Bézier curves
      3m 52s
    9. Working with text objects
      5m 23s
    10. Using reference images
      3m 38s
    11. Modeling boots by extruding circles and joining meshes
      8m 59s
    12. Applying the Mirror modifier to duplicate the boot and rotate
      1m 58s
    13. Modeling a helmet with NURBS and the Boolean modifier
      7m 14s
    14. Modeling a belt and pants by making a compound object from multiple primitive objects
      3m 51s
    15. Modeling legs by using edge loops and the Knife tool
      6m 9s
    16. Modeling a chest and arms using edge loops
      5m 30s
    17. Stitching the shoulders and neck
      5m 13s
    18. Modeling hands with the Proportional Editing tool
      9m 4s
    19. Linking vertices to create knuckle joints
      4m 7s
    20. Reinforcing modeling basics to create the face, eyes, nose, and ears
      13m 6s
    21. Appending and linking assets
      3m 54s
    22. Sculpting basics
      3m 3s
    23. Using the Subsurf modifier to smooth
      2m 34s
    24. Parenting
      2m 7s
    25. Working with groups
      2m 1s
    26. Understanding the endless possibilities for editing mesh with modifiers
      2m 37s
    27. Duplicating objects using the Array modifier
      1m 54s
    28. Modeling a set
      7m 52s
  4. 39m 41s
    1. Lighting overview
      4m 25s
    2. Using the Omni lamp
      4m 50s
    3. Working with the Area lamp
      2m 57s
    4. Using the Spot lamp
      4m 9s
    5. Using the Sun, Sky, and Atmosphere lamps
      4m 51s
    6. Using the Hemisphere lamp
      2m 3s
    7. Working with Ambient and Radiosity lighting
      7m 34s
    8. Lighting with three-point and other multipoint lighting rigs
      5m 30s
    9. Understanding shadows
      3m 22s
  5. 1h 21m
    1. Realism overview
      2m 56s
    2. Creating a world in less than seven days
      6m 36s
    3. Applying ambient occlusion
      3m 47s
    4. Working with basic materials
      3m 24s
    5. Working with node materials
      4m 27s
    6. Applying Pipeline options
      2m 51s
    7. Painting vertices
      3m 13s
    8. Using shaders
      7m 59s
    9. Using mirrors
      4m 41s
    10. Working with transparency
      4m 28s
    11. Using halos
      2m 40s
    12. Simulating with Subsurface Scattering (SSS)
      4m 26s
    13. Applying textures
      9m 34s
    14. Mapping image textures to an object to create a decal
      4m 19s
    15. UV unwrapping
      4m 54s
    16. Applying multiple materials to a single object
      3m 31s
    17. Painting in 3D
      4m 14s
    18. Using bump maps
      3m 14s
  6. 1h 25m
    1. Understanding animation
      4m 14s
    2. Keyframing objects
      6m 15s
    3. Keyframing materials
      3m 14s
    4. Creating Shape keys
      2m 28s
    5. Creating Facial Shape key animation using reference video
      2m 12s
    6. Animating by combining Shape keys
      2m 53s
    7. Working with lattices
      3m 37s
    8. Using hooks
      1m 30s
    9. Working with Vertex groups
      2m 33s
    10. Creating armature objects
      3m 44s
    11. Mirroring armatures for bilateral creatures
      3m 43s
    12. Attaching mesh to the armature by way of skinning
      5m 7s
    13. Posing a character
      4m 43s
    14. Using inverse kinematics
      4m 29s
    15. Creating a walk cycle with inverse kinematics
      6m 34s
    16. Completing the walk cycle
      3m 49s
    17. Limiting range of motion and degrees of freedom
      3m 47s
    18. Managing actions using the Action Editor
      3m 52s
    19. Blending actions together using the Non-Linear Animation Editor
      4m 34s
    20. Tracking
      3m 2s
    21. Following a path
      2m 21s
    22. Mimicking an existing animation
      3m 47s
    23. Using the grease pencil
      2m 56s
  7. 50m 43s
    1. Understanding particle systems
      2m 20s
    2. Working with game engine physics
      3m 52s
    3. Spewing particles
      7m 25s
    4. Guiding particles
      3m 43s
    5. Creating reactions and collisions with particle systems
      3m 15s
    6. Creating hair and fur
      4m 25s
    7. Grooming hair and fur
      3m 26s
    8. Jiggling and squishing soft bodies
      3m 43s
    9. Simulating cloth
      6m 10s
    10. Simulating fluids
      5m 47s
    11. Using boids to simulate swarms, schools, and flocks
      6m 37s
  8. 21m 29s
    1. Using Render controls
      6m 18s
    2. Radiosity
      3m 31s
    3. Stamping text on video
      2m 32s
    4. Setting up test renders
      4m 43s
    5. Rendering image sequences
      4m 25s
  9. 1h 5m
    1. Viewing node thumbnail images on certain Macs
      1m 31s
    2. Overview and integration
      2m 12s
    3. Render passes and layers
      4m 27s
    4. Using Input nodes
      6m 22s
    5. Using Output nodes
      3m 54s
    6. Working with Color nodes
      4m 29s
    7. Color mixing and layering
      3m 27s
    8. Using Distort nodes individually and in combination
      7m 15s
    9. Using Vector nodes
      6m 46s
    10. Creating effects with Filter nodes
      8m 49s
    11. Using Converter nodes
      6m 7s
    12. Chroma keying with Matte nodes
      6m 15s
    13. Understanding node groups and reuse
      4m 17s
  10. 38m 43s
    1. The Video Sequence Editor (VSE)
      11m 47s
    2. Integrating audio
      3m 31s
    3. Using VSE Greenscreen and other plug-ins
      5m 40s
    4. Integrating the Compositor with the VSE
      7m 50s
    5. Layering and splicing video
      6m 18s
    6. Speeding up and slowing down sequences
      3m 37s
  11. 5m 26s
    1. Putting it all together: Captain Knowledge visits lynda.com
      5m 12s
    2. Goodbye
      14s

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