[flow_default] Transcription: 02_01_likeness head blockout.json

transcriptions/02_01_likeness head blockout.json

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+{
+  "audio_file": "02_01_likeness head blockout.wav",
+  "text": "Hello everyone and welcome! In this video I'm gonna start blocking out the head and I will look for my likeness. What you are about to see is just a possible way I approach my models. For instance this time I'm going to start from a base mesh I've already made. It has a good topology as well but I will probably need to adjust it a little later on. I also often start from a sphere but in this course I want to show you a possible workflow for production for the industry. Since you may need to start from a base mesh, which most of the time is very different from the final result. Like now, I need to sculpt an Asian woman, but I'm going start from a very Western appearance head. So before starting, open up all your references as I show you in the previous video. You can use anatomical references and also images of a person you are willing to make, or you can decide to blend features from different people. As you can see, I keep my Puref project besides or on another screen. I divided the mitopology in different polygroups. This is quite handy because this way you can hide and unhide some parts. You can also decide to mask them or you can decide to use instead of the move brush, the move topology brush. This way you can move, change just the portion that you want without touching the other polygroups. If you want to create a new polygroup you just need to mask some faces and then hold CTRL W to rotate the mesh in this way you just need to press SHIFT and drag your mouse here as I told you I have this western appearance head so I've decided to start moving a thing from the cheekbones, so the eyes, but also the forehead, the nose, and so on and so forth. Probably the eyes is the most important area. This because there I can easily recognize likeness and it gives me the sense of ethnicity. For working on the eyes I often change view to be sure they respect the right proportion. Plus I'm very careful with eyelids because I want them to surround my corner perfectly. I've already uploaded a pair of eyes I made. Don't worry about them though, I will explainining the eyelids. I'm very careful with the top on topology for sure, because I need more detail. Of course, I saved some of the photos I have in my Puref project so that now I can use spotlight to check proportions or color for instance. If you use it, you need to activate perps and find the right angle, otherwise it will be useless and disruptive. In document menu, on the top of the window, you can decide to store a camera by going in ZUP link properties. So when you find the right angle and position while you're using the spotlight, you can decide to save that view and then you can move your model and come back to that camera again pressing that button. For instance I've just saved the front view. Play with opacity to see better your model. Another way to better distinguish the face is to enable the view of the topology and polygroups. Keep in mind that when you change and move things in a view, you will always have some inconsistencies in another view. So for instance the nose may fit from the front because I've worked with a spotlight in a front view, but the sides will be really weird. Okay. Okay, now I will work on the side view. And again, it's a really important view because from a side view, you can get more information than from a front view. Don't worry if at some point your work looks creepy. It's normal. You are making many changes. It will get better once you're done. you you you I chose this model because I really like her. She has really interesting features. For instance, her nose. It's pretty long and narrow with a little hook. But also her lips. They are not very fleshy from the side, but once you look at them from below, they appear full with a beautiful Cupid's bow. you you I keep refining it. I don't focus for too long in one area. Now I'm going to work a little more on the forehead and the skull in general. Using the lining references is really important because you can read very well the features of the face. Finding the likeness is a really long process. Here I'm just trying to show you how you can find it. You can decide to follow my approach, so my workflow, or to use your own. you She has a typical oriental eyes, but they are not too puffy. you As you can see I keep going back and forward among the subdivisions while I'm sculpting depending on the type of modification I want to make. With little details I will go with higher subdivisions. Instead for bigger changes I want to use a lower subdivision. She has a kind of squared head with the back of the skull very flat. As you can tell I keep going around the head without focusing on one part for too long and I also like to make changes gradually. The intensity of my brushes are never too high. This because I like to have control on what I'm doing. Simply it's more easy to add rather than get rid of something. Now I will refine the years. you you you To better understand the actual shape, if you are making a lightness, it's good to gather photos from different point of view. Because for instance, from the side you can't understand how much they come out from the head, and so on and so forth. you you you The purpose of this video is to get a vague idea of the proportion of the head. Then go check out Maya the lightness because the brush lies. We don't get the actual appearance. you you For this first video I'm almost done. In the next one we will export and then jump in Maya. So see you in the next video.",
+  "language": "en",
+  "confidence": null,
+  "duration": 1492.99
+}