OK, so let's talk with eyebrows, all of the eyebrow movements that we actually need, right, all
of the facts that we need.
So I told you this.
I want to find references.
I can go ahead and also look for the.
For my interest.
All right, so as long as you have the references for acquiring this kind of movements, then it's OK.
So we want, first of all, our eyebrows to be rising.
We will actually do this kind of shape.
Right.
So prepared your mirror because you are going to actually do a lot of the funny faces and look at it
and start raising your eyebrows to see how it starts to move again.
If you don't find your reference online, do we workshopped your face so that you can covid as a reference?
So I'm going to look at my face and I'm going to raise it and let's see what happens.
All right.
I'm not going to create a nice, realistic face, so I will cut out some details, but let's grab the
essentials.
So whenever you raise your eyebrows, let's hold.
The first thing that you will have to notice is that, of course, the skin that is between your eyebrows
and your eyes will move through just or it will move over your skull.
Also, you will form a lot of wrinkles, will in my case, I will form a lot of wrinkles in my in my
forehead.
And that's OK.
That's the only thing that I need to know.
I'm and notice how and where it is moving your eyebrows.
All right.
So whenever I do write up, it doesn't move like a straight up like this side of your eyebrow actually
move a little bit outside.
Right.
So all of this is a lot about basically paying attention and doing a lot of fornicators.
All right.
OK, this is perfect.
Now let's talk about it with my.
All right, so I have duplicated a and I'm going to work with that one.
I renamed it as head test because I am going to test all of the information and the combinations into
that same head right before actually applying it to the to the real Rick.
All right.
So and let's drop this one and make it a duplicate and move it over here just a little bit to look at
it and rename this ask eyebrow.
I will show them the name Ibro US Ebbitt on this score will call all because basically I am trying to
move all the blue system and the blue system moves all there.
All right.
So all you will move all of the eyebrow up, right?
I will turn this off and I will move this towards the center of the world if you want to move to work
with this.
The middle.
All right.
So what I want to do, there are many ways to actually work with this.
You can actually sculpt your your geometry by basically.
Dragging this geometry and moving into two separate and work there, but I will try to use everything
in my right.
So first of all, let's define the Debro area.
All right.
Abreau area would basically be.
This side, right, that will be basically our eyebrows.
So, first of all, let's grab this and let's move it upwards.
All right.
So as I said, you can do it in many ways.
You can either move it to zero, sculpt it, or you can.
For example, I will do it like this just right now with a moving the edges and everything.
Now, of course, what you want is to basically create that same feeling that you have whenever you
raise their eyebrows.
So nowadays, what happens on the when whenever you look at it on your right side or right or on your
side?
So it moves and it tries to not deform the school that has read or cartoon characters a little bit different,
you can actually deform the skull, but you have to maintain the shape to form right now.
So you can see maybe this is not actually working that well.
So maybe I can also sculpt here in Maya.
I think it's on the from the Maya version of two thousand 17 or 18 that they added the sculpt mode and
you can actually find it over here.
All of these tools are for sculpting.
I already have some of those tools right here in myself.
And I'm going to grab the graph tool and I'm going to go to three to the smooth mode and I'm going to
grab exactly that putt.
All right.
So.
This part, the rise up, right?
So, first of all, you can actually control the size of the tool by grabbing this slider and turning
it on and off.
So technically, usually it will give you a really gigantic size brush.
So you will basically move the whole hit.
So you don't want to turn it back to zero and turn it a little bit slowly.
Slowly.
Sorry.
Bigger.
So how can we do it by pressing the letter B on the keyboard, clicking on on the big board and dragging
left and right to basically make it bigger.
Right.
OK, now I will be able to actually start moving this.
Now, for example, if you don't want to the basically the form to be deformed that bad, there are
many ways that you can do it.
You can basically president is constrained to surface so that it can try to maintain as much as possible
the original shape of the hit just by rising the apology over here.
And I don't know.
What is that?
All right.
That's hubbins, right?
Oh, I know what that is.
OK.
And as you can see, whenever I move on, I it drops that in a pot.
So let's be careful about that.
It's just the side that's the one that I am interested in moving.
And let me just watch my eyebrows again.
So everything is moving from this point towards this point, right?
So let's move it up.
And maybe I'm going to be silent from time to time.
This happens because I have to concentrate on how the shape is actually going on.
If you press shift while working with this process, it will activate the smooth mode.
All right.
Is quite good, but I prefer using the relax to relax to.
What it does is basically it redistributes the all of the topology that you are manipulating without
trying to avoid the formations.
All right.
It's trying to keep the same shape of the piece that you have.
Right.
So I use it from time to time.
OK, and maybe I, I do recommend you to do this.
I will grab, for example, the original head.
I will go back to the original head.
I'm going to select the parts without the modification, the deposits that basically resemble our eyebrows.
And I'm going to color them by adding a new A.
A new material, Lambert, let's make this, for example, I don't really need to be exact.
The I can just make it read.
It's just so that we can see that those are our eyebrows, so we can apply the same material, that
one.
Sorry to the one that we are working with, Sue.
Always try to do it if you don't have, like four faces, a new face, real eyebrows, you know, like
it's just the representation.
So this one will be turned on existing material, let's call it the number two that's called the number
to us is a shader such deep eyebrows call.
Now, for example, my eyebrows are basically expanding our eyebrows and really expand.
They move so.
Let's grab this idea, yeah, just in case you are surprised here, it removes the material whenever
are sculpting and if, for example, you have texture, it will basically add like a really white screen
over it.
So it will look way desaturated.
So don't worry about it.
That's perfectly normal.
Let's move this up, this up, but just a bit, try not to reform that much, but there are some parts
of the body that do deform on some of the parts that just don't.
All right, so looking again at my eyebrows, for example, my eyebrows have a really straight shape,
and if I raise them, I can see that basically my eyebrows, most of them stayed the same way except
for the final pot.
So what do we want to acquire with this is to basically have the same shape that we had, the original
one like this?
Right.