So we have made the eyes, the nose, the.
Teeth.
The tongue and the ear.
Now let's make the hair and the eyebrow.
So for the eyebrow.
Let's go here and shift a and let's make cue.
All right, let's go down.
And then let's go to the top and then select the vertex selection or here or by pressing one on the
keyboard.
And then press em to merge and then select the matching and center.
So now we have only one vertices that we can use for our modelling.
And these are useful.
So let me show you.
If I go back to object model, as you can see, I have one to the over here that we can use.
Move around.
I want to make the eyebrow on top of the mesh I have.
So to do that, I need to I need a two step.
So enable the start to over here.
And so they do phase selection and then select this one option, project individual elements and enable
all this.
This will allows this allows me to move my objects on the surface of another object.
So if I move it over here is always moving on the surface of my roots, as you can see that it is moving
in this surface.
So another option that will help me to always make sure that this wall, this will always stay on top
of my foot, not my face.
The character's face is to add another metaphorical shrink wrap, shrink wrap.
So I have this, let's select this, not move to above surface and let's now select a target.
And I want the target to be this the face.
Right now I'm ready to do modelling so I go to top and then there's a extrude with E to make an edge,
a select all these two vertices with a and then let's make a major face.
All right, so by extrude in these edges, I can make face.
All right.
And then you can.
You can see, because it's kind of inside the mesh.
Well, we can change that, which is also offset option or.
Yes.
So if I hold control, hold the shift for some precision, precision changing of this value, I'm going
to hold shift and then move my mouse over here so I can change it above my surface.
Now, let's actually go here, up here.
And if you push shading because we have all of object right now, it's best to change it to something
more random over here.
So change it to random so you can see the faces, the different faces.
So we have this nose, the the eye, the ears, teeth and the tongue are different, are in different
colors.
So now we can see an eyebrow as well in a different color.
And we can start modelling.
So that's a just is then press e extrude press e again to extrude the to extrude or to rotate e to extrude
and then s to scale it down.
All right.
Something like this.
And then we can go this far.
All right, now, then let's make a subdivision surface or something, you know, surface as far as
at two levels.
And you can see how good it looks.
But this is only one, one face and it doesn't have any.
Oh, and in teach mass.
So our teachers, we can use two methods.
I'm going to show you the first one that is go or here and go to solidify and modify over here and solidify.
And then you can adjust the thickness and add teachers to your match.
So if I increase this.
Like this.
You are taking us toward that side.
And I can start also to want to add richness to this side so I can take notes like this.
And because I want the solidify modifier to apply first and before the subdivision modifier when to
move it up here because you know, in the the modifiers, the first modifier will be shown first to
apply first, then the second mount for it, then the third, then we will look in the viewport.
All right.
So what I want to solidify to make the first solidified, then to subdivide the mesh.
So I'm going to move it up and you see the changes over here.
So let's increase the take muscles and more like that.
But I'm happy with that.
Let's shift the shifted, duplicated.
I want to show you the other method to add to that.
So if I remove this solidify from this mesh and then let's go to edit mode and this selects all the
phases with a all right.
And then we have an option shortcut, which is also
E and if I hold alt and then E and then I have these options or what I'm interested in is the second
option, the extra spaces along normals.
It will add a similar thickness as we had in the.
So if I'm with the force, if I do this, we will add a thickness right like this.
All right, now we're having a shrink.
My modifier thing is interfering with sequencing.
Well, let's disable the screen craft.
Maybe.
Let's do that again.
Now, you can see that is adding thickness to our mesh or if we again enable the shrink wrap with this
one.
So like this.
Yeah, it will.
It was snap into the geometry, so maybe that's not what you want.
So but that's the other other method that you can use.
I wanted to show you this because this can be very helpful, especially when making clothes and in the
sculpting mode.
I'll probably use this method to alter E to extrude out clothes and make clothes.
So let's look at this one.
So we have the the good thing about solidifies is that we can always go here and change the thickness
as much as we want.
And I usually select this one option as the only way this will insure me.
That's I don't I will not have double faces.
So so it will give me all this geometry.
All right.
So this is only these faces over here are added.
All right?
Now, if I move my eyebrow, it's for me to see the inside.
This is not the geometry, all right?
So it will be really good for optimizing for games and all that.
So I usually keep that.
All right, so that's it.
We'll stop in again.
And now we can always go and
change eyebrows like this.
We can use proportional editing too.
So as for personalizing this press g and with the mouse will come and we can come from the selection.
Then we can move towards this around like this.
Okay.
Don't.
Again, there's a mere modifier and a select object to watch face.
Okay, now let's make the her.
So I have this or here is a Q as you remember with the subdivision level modifier list, duplicate it
and bring it over here on top of the head.
Then let's as that is going down.
GZ Bring it down.
Let's go to edit mode and now let's do some adjustment to her.
All right.
So I'm going to make I want to get a top like this and to side hers like that and one for the back.
So one, two, three, four, four cubes
is the same or proportional thing.
And also is disabled.
It's not being here.
This is making some problems.
It's.
I was just about adjusting the words.
This is moving them around, making a block out first.
Don't go to adding a little geometry.
Just do the block out first.
This is a very important and important part where the most important parts say just block out the location
of the her.
And then when you're happy, you can add look cuts and geometry and
make some more detail there.
So again, I don't have a preference.
I'm just playing around with the shapes and
around to get something that I like.
All right, now let's increase the subdivision and let's add the at in the middle, right.
Like this.
And that's added over here.
And then there's another little cut over here.
All right, now let's
move these ones down.
This one.
All right.
Something like this.
I want to achieve a stylized.
Her.
Let's make it instead in the top parts.
And now making one bevel with control be all right.
Let's move it.
The y axis is to France.
Okay.
These are the sides here.
We're here.
That's s.
S x to go at the x axis.
And then there's that.
And there are some sides.
Now let's move the face around.
Excellent.
All right.
Cinco is a subdivision to see how smooth it is and.
Let's add one lookat over here.
And then to scale it down like that.
Let's just to her in this area.
Let's add the look over here.
I want more control in this area.
I'm going to do something like this.
Shh.
Playing around with the shapes.
Seeing what results I can get with just moving around.
Vertices.
All right.
That's true for the other sons.
For this one.
Let's try and see to highlight the upper part of the ear, to see what result it will get.
For now, we've got this.
We can always go and justice may want to add an then or here.
All right.
And then just move it.
Toward the outside, skill it down, have a shape like this.
I'm switching to X-ray mode with all to Z to see how the measures are walloping each other.
Let's bring these two faces down.
Let's do some more adjustment for this side of the hair.
Yeah.
So that's most of them with right click the smooth.
All right, we got something like this.
We can always go back and change it.
Like, uh, just adjusted them to see what result I think get.
You can do the same or you can look up, you know, on the Internet for some reason, this character,
for some cartoon cartoonish characters to see just what the hair looks like.
All right.
Let's move around, see if we can fix something or here.
I think the nose needs
some adjustment list.
Move it up.
Hmm.
All right, let's see if we can add some kind of a leap over here.
Let's select these.
Extruded on normals we all see.
Yeah.
We have something like leaps around this area known as also select.
If you select on this case, once again, you can see the geometry.
So it's like these edges.
Then I want to move them or scale them.
Like this.
All right, now let's do a better job.
Let's go to site view with three and G and Y and bring this image out.
Now we get something like this.
We have to move these ones as well.
All right.
I think that says for this video, we meant the face right now and nothing like we just once fit our
creativity.
I recommend you to do the same and use these techniques like the Cuban or the merging of the cube,
like making a cube in the vertex mode and center to have one vertices and then extrude with you.
Select all extrude face.
And with this one vertices and you can snap a snap, it's very much more efficient than just like,
you know, you can make it playing.
You may ask like, I can make a plane and then move it around the face and then snaps.
But as you can see, there's nothing for the plane doesn't work very well, but when you use a vertex,
it works very well.
So this is one these ones as well.
And yeah, for now, this is what we get if we go to render view.
All right.
And let's make a plane over here
and then let's change the light to some change.
That's strange to something like 100, maybe 20.
All right.
Something like this.
So I got this.
Ah, the light over here of points light.
And at the right, there's the strange.
There's another fault line for clarity around the mouse.
And we get this thing and I finish the modelling when I finish them, like making the, the body and
all that.
We can go to materials and making material and then give colour to a character like this and it's subsurface
maybe.
And this way it'll look much more alive than it is right now.
All right.
So I was.
I had blond hair.
It'd be all right.
Go through all
materials.
All right?
I don't want to cover the whole thing, because I want to make the whole body first, make the whole
character first, and then go for, uh, adding materials and maybe using rotoscoping to paint finish
character.
So that's it for this video.
In the next video, we are going to model the body with a new technique I want to show you.
So stay tuned.
And by.