Add transcription for: frames_zips/CGMA_IntroAssetCreationGames_DownloadPirate.com_Week 4 - 2 NewHeadPieces_frames.zip

transcriptions/frames_zips/CGMA_IntroAssetCreationGames_DownloadPirate.com_Week 4 - 2 NewHeadPieces_frames_transcription.json

@@ -0,0 +1,8 @@
+{
+  "text": " Hey everyone. So in this section I wanted to start in a very similar way to how I started with the legs which is by building a bit of a hierarchy of folders and structure. So if we go over into the block out at the moment you can see that we just have in our head and in our body as well. We have just one folder and we have some of these pieces that are in there as part of the block out. So if we take a look at the actual final head, you'll notice I just want to show you the structure that I have actually set up for this head. So we have ignore this reference folder. This is just for a bunch of things I copied across from the other file so that we don't break anything for things like the The cutters and things like that. So that one you can ignore but this was the folder structure I had so if we just sort of break this down, I'll show you how I've Sort of done this particular structure. So I've made a folder that contains most of the final head pieces themselves which is just the main part of the head and the ears and everything and then the front part of the nose where The front of the beetle actually is there. So that's the main sort of head structure We have the horn separated out. This was mostly because I wanted the horn to be able to be rotated as well So we have that actually Coming through there as well. So we've got our horn section Then I have the underside pieces. So this is basically everything that makes up the bottom of the head So all the sections that kind of come in underneath so you can see all of that That's where the legs connect at the back as well. So we have all of this section here We have our eyes Separated out and then we have the tendrils so the tendrils come in over the top of that stuff. These are Added on the top here. So for the tendrils specifically. I also did those as Collection instances in the same way I done with the legs because there's a few pieces that I want to repeat here So we'll probably add some of that kind of set up in as well for the tendrils So you can see that this sort of front section piece here and this front section They're actually the same piece and just scale down same for these They're the same and then we repeat a bunch of these pieces as well They're all repeats and then these are some unique sections. So for the tendrils I tried to reuse as much as I could in there as well So that's got sort of the the structure and everything so it'll be a great idea just to sort of come in here and Start setting up a bit of that folder structure. So I'm gonna try and do something very similar to what we have so jump over into The where we are working here with the head. We'll keep the pieces we can move some of these around as we go So if I just create some new folders, we'll get that set up So the first thing I want to do is just have a section for the top of the head All of this as well. We can just rename this to be our for reference I'm just gonna add this in so that we can if you have the same names It starts to add numbers in there to differentiate the folder names. You can't have the same name So I'm just gonna try and do that here. So head top Just get that correct That's gonna be our first folder I think this section is gonna go in the head top so we can just hide that and then we've got our eyes in here So we'll also create one for the eyes In there and we'll place our eyes inside that folder And then this is going to be the horn so we can do the horn next. Let's just Add the horn in so we're just organizing and setting up some folder structure here So next up we've got the underside of the head, so I'm going to add that folder We don't have anything for that yet, but we'll just create the folders for now and then we'll also add Add, let's come in here at that structure. So I'm gonna also add in the tendril folder as well. So that's a little bit of setup and we can just unhide the rest of the details that we have here. Great. So next we want to take our head that we have currently blocked out here. Now we set up the folder structure and we wanna take that and start actually detailing up. Again, this is I guess like a second pass to the block out. So we're not worried too much about detail at this stage, but I wanna try and just get the basic forms of my head actually figured out. And what I'm gonna do here is I'm just gonna jump over to the references here and I'm gonna explain how I came up with some of the shapes and the design language that we have here. So take a look at the references. This is what we're looking at for the head. So I had a bunch of really great reference here when it came to different designs for the head, obviously depending on the beetle, not every beetle is the same. So you definitely get some unique feels. And the ones that I really liked and the ones that I took a lot of inspiration from was definitely this particular shot because you can see how things kind of overlap and sit together. And we sort of have a bit more of a zoomed in shot here where you can see some of those underside plates. And what's really nice about this is you can sort of see how the tendrils kind of fit together. It almost looks like it's got a bit of a mustache here with like the way the hair and the fur is kind of coming in there, which I really liked. I love that kind of look. I thought that was really cool. And then we have this kind of shape with the eyes. It feels like the eyes are very much sort of socketed in there, which I really liked that aesthetic. There's almost this overlap piece here as well, which I think is super cool as well. You can see from a different angle kind of how that feels. So the eye definitely feels like it's not going anywhere. It feels like it's part of the shell almost, like it's part of the design, right? And then depending on the head, we definitely get different looks. Like sometimes we have sort of these bigger, larger plate sort of shapes, and then we sometimes have the horn as part of that, or we do have really large, on the mail we have this really large horn, but I actually much preferred this kind of look and sort of picking up on some of those more kind of cuter designs that we were talking about before. I think anytime that you have sort of ears on an object, on a character, especially if they're kind of small and rounded like this, it definitely intensifies that feeling of cute. So that's kind of what I went for. I went for more of a simplified head shell type shape, as you can see in some of these. Like especially this one is a good key reference for what I was going for, as you can see, it has the kind of ear type look to it, and then one really large horn. So I liked that, I think that that was kind of more simple. And I did definitely play around with, for the head I played around with having two horns or a much larger horn for a little while when I was doing the block out. And it just, I just couldn't get that to work. I thought the idea of this just folding against the shape of the object was gonna work pretty nicely. it's going to give me a fairly simple design and so that's what I ended up going for. So yeah, so the kind of main objective now is just to try to get some of these shapes in here. So this is what we're kind of looking at. You can see you've got the underside. This is where the sections of the legs actually connect because on the reference, if we go back over to that, you can see that the legs actually connect underneath the head. So there's section here you can sort of see how that's connecting. So yeah that's something definitely to consider and then we also have these kind of bits where the tendrils are connecting. So you can see here I have some areas where I wanted to put the tendrils and then I have the eye sockets kind of encompassed in the head as well as part of the horn and then we add the ears. So that's going to be the next thing that we just rough out. Okay so now I want to start getting some of these shapes actually figured out a little bit more. So the first thing I'm going to do is I want to work on the top of the head and this main kind of shape that we have here which is the head top. So for now we're just going to hide the horn and everything else. And you can see in the example here I have this the sort of shape for the top piece of the of the head there when we have the the ears and everything. And then we have our main section for the eye socket. So I'm going to focus like mostly on those pieces. The underside we can kind of tackle later. So what I'll do to just begin with as I'm going to just duplicate this up and I'm going to move one of these into the underside as well. So we've got a backup there as well. And then if I just remove this one too, and I want to just remesh this with a lower topology so we can just keep the geometry really simple to begin with. And I'm effectively now just going to look at sort of separating this out and just trying to create a section which is just going to form the top of the shell so we can just manipulate this. Usually when I'm working on things like this as well what I'll be looking to do. If I turn off the edge, I want to turn off the edge centers as well. So if I just do that here, let's turn off center. Okay so what I'm looking at doing now is selecting all of the different pieces and then just separating this out. So I want to keep this as a... so essentially I'm just going to be building out a A piece of the top of the shell here so we can just select these will hit separate And I don't care about any of the other underside geometry at the moment So I can basically just delete that then we can symmetry this as well. So now we have this big headpiece We can clean up some of the unneeded geo as well at this point so and if the Geometry is looking a bit weird and messy like this We can just kind of come in here and tidy this up a little bit And I'm just moving the vert surround as well So just kind of come in and do this I'm gonna make this as much as I can as I mentioned before I tried to keep these things quadded so that we get nicer topology And I can just slide some of those edges So this is giving us a pretty good basis for that shell shape If we wanted to add the ear in I have actually just kind of pulled up the verts in that scenario So you can kind of just see that that can create us the ear shape by doing something like that So it's really easy basic stuff here. Just manipulating the geometry. We also have this kind of nice arc shape there So if we wanted to do that Maybe just look at using something like the soft select and kind of just pulling back these shapes a little bit We can definitely do that from different views. We can come in with the front view and then maybe Have a look at that from the side view as well And you can sort of see roughly the shapes that I'm trying to aim for here So we've kind of pulled this some of this stuff up here Try and get some of that shape It actually kind of swoops down a little bit as well So if I wanted to kind of just round that out a little bit we can just manipulate this Keeping it really loose in the geometry like pretty simple at this stage Just means that we can easily manipulate this and then if we were to add a thickness to this shape And then add a smooth you can see that we can create that really simple kind of shell Type shape there. So that's sort of where we're aiming for and I also want these guys to be This kind of row of that's here that we have I want those to be as a as much as they can be aligned to an axis there So we just sort of do that. I might turn off the soft select as well. We can just keep that nice and flat And I might just move let's move this ear shape back a little bit as well It's trying to experiment and play with the the form so we're just getting our basic kind of shapes there I want to pull out the ear a bit. I think as well If you want to you can also add a bit more topology into this section So that we have a little bit more to play with when it comes to making that ear a bit more obvious So you can kind of see that there. I sort of also would quite like to pull him over a little bit So you can kind of see just how we're experimenting with our different shapes And then I want to pull this bit in And then the other thing you can also do for sort of more organic shapes like this is I definitely would advise It's jumping into sculpt mode and just manipulating the shape So using the grab brush we can sort of pull things around and you can hold shift to sort of smooth things out And I just do this with the mouse I don't worry too much about jumping into using a tablet or anything for this just for quick manipulation like this I can just do this really easily with the mouse. Try and get my shapes and forms like roughly how I want them to look. So you can sort of see how that kind of comes together. So this is what we're going to have here for the head itself and then we can just kill off this guy I think. We've still got the piece for the underside there as well. We're going to need to maybe manipulate this a little bit more but you can kind of see how we're building out the shapes. So then the next thing for the head is just the eye socket. So from there all I would probably start with is just using a cylinder shape. So if we come in with the cylinder just rough that out so we can kind of get this in and then what we'll do here is we'll rotate that around and sort of position that in. And then I'm also looking to with most of these things I want to work with symmetry. So usually what I would do is just add a cut in here. The other way you can also do this is by using the hard ops mirror and setting it to bisect. So if you set it to bisect that will slice it in half which is another good way to just quickly get a one section there. And then from this I would just start to manipulate this out a bit. I think in the example here I kind of scale that I'm gonna move My pivot to the 3d cursor. So when I scale in this case if I set my cursor or my Transform to the 3d cursor I can scale out from the 3d cursor which can also be pretty nice as well And so we can start to build up this eye socket shape We kind of want to rotate that around so it sort of fits there And then we can start I might for this one as well just remove kind of every other edge so that we can just simplify the geometry a Little bit for now, and we can always smooth that out Later and then we can come in with our soft select to kind of pull this forward So we're just looking at the moment to try and just create a simple Shape that kind of matches the forms there and we can maybe maybe look at sort of pulling some of this stuff up and I'll jump back from the 3d cursor as well here So just looking to build something out that basically feels this Shape but then also will be able to cut things into it later So we can use booleans and everything to kind of come into this and essentially just start to manipulate it So that's that's kind of how I start to build out the basis of some of these particular Particular shapes you can see that's really basic and simple, but it gives me kind of roughly what I want You can add that back to the head top and then our eyes To get the eyes kind of working really roughly. I would just sort of scale the eyes Into the area here, and then I want to add in a cylinder again This time I'm going to just scale him down a little bit and we're going to turn on our face snap and just align this with the object that we have here so that this is going to be now able to essentially cut in we're going to boolean in the shape here to create a hole for the eye socket so let's hide the rest of the cutters and we'll just recall this one here so you can just sort of get something there that is going to be a cylindrical shape that will then have enough space for the eye to sit pretty comfortably in there right and this we want to make sure that our mirror is also the same it's using the mirror there as well so that these are coming in at the same point which is pretty good I want to check this one is the same as well so okay let's try and just turn the flip off on that okay so now we're starting to get you can feel the shapes that we're starting to get there which is looking pretty good we've got our eyes We can bring our horn in I think for the horn. I want to kind of bend him a little bit more So again using the soft select You can actually use soft select with rotate as well So you can then start to just position the shapes so soft select is really good Just for manipulating large form changes like this, but again I could also just use the sculpting modes as well So you've got a different couple of different ways to manipulate shapes like this when you're working with kind of organic looking Things like this. So yeah soft select is usually great for that Sculpting tools can also be really good. So you can see that we're just really and keeping the geometry low Density like this as well It's just allowing me to make these really easy quick changes to my forms and this would be how I would be working when I was initially getting this stuff more blocked out and fleshed out there right. So just using those kind of more organic deformations and then you can always add in your smoothing to see how that's starting to look as a more smoothed out shape right. So that's kind of how it's looking there and then I want to for this section as I said before I wanted it to feel like it was going to be able to rotate the horn. So a good way to do that, and we did this with the leg as well, is to add in different meshes to show the intention of the def, like the rotation or the transformation, right? So in this case, I can come in here with a cylinder and just rotate this cylinder, we'll do it on the x-axis there. And this is going to be where the horn sort of rotates from so we can position that object in and then we can sort of manipulate using the sculpt mode again we can change up some of these shapes if we turn on the symmetry as well we can use this to basically manipulate the horn into a shape where it starts to feel like that could easily be attached to that cylinder and then that cylinder would allow us to rotate So that gives us like the basic forms of of this and then for the rest of the pieces It's kind of the same process We'll go through some of the underside as well because the underside has a little bit more Detail there. So the way I generated this Undercide section if we just kind of jump into into these pieces you can see that they're essentially plated sections, right? There's chunks of different stuff. So once we actually look at the final example here you can see that these are essentially pieces or plates that kind of slot together and that was the idea I wanted to have that maybe the head was like more of a shell type shape that you can see here that would protect the robot and then the underside is some more of the these kind of pieces right and that matches very much with the shapes and designs that we're trying to go for here. So I tried to create these almost like spiky pieces that feel like they're part of the shape of that that head and that shape there. So to do that, I obviously have this underside piece and in the example that we talked about there was this sort of idea of a socket where the leg would kind of go into and then you've got this back piece as well. So I would just basically do the same process as what I'd done here with the head section from before is I would start to separate those out Before we do any of that it might be worth just kind of using some quick manipulation to try to get this shell to kind of match a little bit more in its In its forms and everything so it feels like these are a little bit more connected We might do that with symmetry enabled as well So you can just sort of see that we're just manipulating that shell Just really quickly into the same rough shape that we had from before so you can sort of see I think actually I pull this section back a little bit as well. So you have some space there for the leg to kind of come into So yeah, you can kind of see how that's looking and then we could definitely do the same stuff we did before so just adjust this a little bit. We'll pull that in as well to kind of feel like it fits. So we're just essentially using our sculpting brushes to sort of adjust the forms and the shapes which is pretty cool. And then now we can simplify this so just going over into our shapes again. So now we can run our quadremesh. So we'll just simplify some of this geometry. I'll just play play around with the numbers sometimes to get a bit more of the type of look that I'm after. This actually isn't too bad as far as geometry is concerned, but I want to kind of separate out these different pieces and then we can always rework those. So in the final design you can see that I have sort of like a loop that goes around where the leg socket piece is and then we have this back section that's like one section there then we have these kind of underside pieces like these sections here. So we could definitely just separate those particular pieces out as well so that we have something that we can work with. And then we can always add in extra geometry later as well. So like for this piece, we could just start by drawing in some shapes and forms and everything and just kind of get those pieces sort of separated out. And then we can always work later on the connections of how these things actually split together. But I usually just mark those up and then select by sharp there so we can separate separate these out into Interactual pieces and into chunks there. So, you know for this piece as well. We could kind of come across here And we'll just select a bunch of the faces on the top as well So just like following that same process, right? We're just trying to separate out into sections or pieces that we're going to be reusing so again for this one I'm probably just going to draw in a little bit of the loop stuff that we have and they're coming in here for the legs And as I said, we can always refine. I'm not worried about this being Perfect because I'll rework it probably later But we're just separating it out into into chunks of things that we could actually use so then this one And then come in here and we'll just select the sky All right, so now we can just remove the rest of this and now we've got these particular pieces which is pretty good And then we can always manipulate and tweak you can see some of these shapes we refined a lot more Afterwards, but that gives us like a good basis for these kind of underside Pieces and we can put those in here to remove that section there. So now we're starting to get a bit more of the feel of things. To do these kind of sharper underside shapes, for stuff like that, I mean, I would definitely experiment a little bit with the kind of sculpting techniques where you could just put shapes in and try and sculpt them like I showed before in the previous videos, or using the Metables technique as well to play around with shapes and try and find forms that you like. Obviously when you've already got something to work from it's a lot easier, but that would be the thing I would say. But if you're trying to create something that's like a smooth shape like this, the example that I actually have where I block this sort of thing out a little bit more, you can see that they're just very, very simple, these shapes that we have there. So essentially all they are, if you're doing something like that, you could just be working from a cube to begin with, or you could be using more of a poly modeling or strip modeling approach. So if you bring in a plane here, and we can just show that kind of technique. So if we are building out something that was like a little bit more like one of these spikes on the front, I'll just select this, and let's make sure we have our stuff turned on here. So we would rotate this, let's just kind of get this into space there. And then just keep it really simple to begin with. You essentially just want to try and build your forms out the most basic simple shapes as possible and then you can add detail to that kind of later. So if we're doing spikes and things in here just start with more of like a triangular shape and then you can start to kind of manipulate and scale these things and if you keep them mirrored as well it kind of helps you to figure out the shapes as well. So like on the underside of this kind of head piece as we can bring in these shapes there. And then the other thing that we also have is like, I put some kind of mouth socket type pieces in there. And to do those, like I started in similar ways. I basically had, we've got kind of a few different ones if I show those. So there's a section here, which is like just effectively a rounded cube. You can kind of see that there. And then we have these two pieces kind of coming in here. So this one here, like in this section, and then also this piece. So those ones started life just as cylinders basically as well. So if we come in, let me just remove my annotations here. So we'll just get rid of those. So if I come back over to this, for the mouthpiece, like I just would come in with maybe more of a cylinder. Let's adjust some of these just to get those like roughly in the right sizes and shapes. So you've got something more like that. And then you can start to add in, you know, cuts and things to really sort of organize those shapes a little bit more. You can sort of see how that's kind of coming in. And then yeah, so for those front pieces, let's try and do that as well. We'll add in the cylinders. We'll just scale those down. So I usually like to move this into the center as well. just move these into the pieces. Okay, and then just kind of rotate those and get that sort of in position and in place. And then you can do the same with this one as well. The only real difference here is that this one is a bit more rounded. So I basically would just bevel that a little bit more to create that sort of shape. And you can sort of see how we can just rough it in to begin with. And then we can obviously refine and polish what we have. So then if you have too much topology, I would just basically clean that up and just remove stuff that you don't need so that while you're working, it's just a bit easier to kind of refine the shapes that you have and everything. So usually that's the way that I would tend to work. Just try and keep it as low poly as possible to begin with, just because it's gonna make things so much easier when it comes to working with the shapes and with the forms and everything. And then if you want to smooth that out, then you can just use the techniques that we've shown. So you can bring in presets to sort of give us the sort of look that you want there, right? So that's the way I tend to like to work. Just keep it as low as possible. Try and not have too much topology in there. Just keep it real basic and just get those forms and things in there to begin with. And then you can always polish up and refine the smoothing in the shapes. And it just makes manipulation so much easier, right? Like when you're working with topology like this, we can do such big sweeping changes a lot easier, right? We can make the change the entire way that that is, the forms are being created and everything there. So, yeah, this kind of hopefully showcases a little bit more of that kind of workflow. And so we won't go into any more detail on any of these because it's all the same kind of process, just manipulating verts and moving things around. So in the next video, we'll start from this kind of base and then we can start to show some of the process for actually detailing this up. So now we have our shapes roughed out. We should see something a bit similar to this. So we've got some of our forms and everything blocked out, our new shapes for the head. You can see that we have the underside pieces kind of modeled out. We've got our shallot and everything. So this is what we should be looking like and we've organized that into our different groups as showed before. So this is what we should be at this point. couple of things I wanted to just touch on before we move on to actually detailing. So the first one was when I made some of these holes in for the tendrils, I'm just gonna quickly show the process for creating that. It's really straightforward. I would usually just bevel the vertices. If you hit V and then Ctrl B, you can bevel. And then if you right click and use loop tools, if you haven't got this enabled, you can just enable it in your preferences and choose circle. This will make a perfect circle from that foot. So then you can extrude that in and create your holes. So that is something that can be really helpful if you're trying to cut in a shape into something existing. So I just wanted to briefly touch on that. And then the next thing would be the tendrils. So we see that we have, when we look at our reference for the final mesh here, if we jump over to this, we have these kind of tendril pieces. So I made these, as I mentioned before, in the exact same way I had done with the legs. So I'm not gonna cover that whole process, but just to kind of get some tendrils in there, I'll show you sort of roughly the setup for that. So if I firstly, I would go into where we have our working files, which is where we have, say, the legs and everything placed there. And I'm just gonna create a new one and we'll call this for the head. So we have some working parts for the head and we can always put a W after that as well for working. We'll do that here as well. and then we can just keep that consistent. And then I would just make a new folder for tendrils. So we'll do tendril working. And so in this, we have a couple of different pieces, right? We've got kind of an end piece. We've got this middle section piece. We've got this start piece. The start pieces were used a couple of times here for the tendrils. And then we also have these kind of more unique pieces. And the way I was determining what sections and pieces I have is based off of the reference. So I would look at the existing Beatles and you'd see that they have this very particular kind of shape to this larger tendril, which you can kind of see here. And then they have, so this is actually a good example there because you can kind of see the tendrils. And then they have these two slightly smaller ones that are a bit more generic looking. So I definitely wanted to get this big one as like the key kind of hero tendril if you like and then I wanted like the smaller one. So that's kind of the structure that I went for there. So just to block that out, I mean you can give these any name you want. I will go for tendril, start piece and then just to start with this I just moved the 3D cursor back to the origin and just start with your UV spheres to begin with. This is how we're actually going to spawn our tendril. So we're creating the start one, we're gonna create something along the lines of this. And just to kind of rough these out, I would just start again with a cylinder and bring that in scale this kind of down a little bit. And then I'm gonna just rotate that. So let's bring it in and then we'll rotate this on the X 90 degrees. And then I want to effectively move this here and then just create a shape that's kind of gonna be something like this. because that's the sort of shape that we have for this piece here. We can quickly, if we wanna sort of soften these up as well, we can just add some bevels to those as well, so we get that kind of rough shape in there. And then in the actual tendril folder under the head, we can then start to build out our tendrils. So the first one is gonna be kind of in here, we're gonna wanna add our collection and we're gonna go for tendril start. We can sort of rotate and change the position of this now and change the scale of the empty So this might be a little bit too big So I'm just gonna try and adjust the scale of that then we'll sort of move this around I'm gonna change this to face Snap here. Actually, let me turn off the I don't want the align rotation to change so I'm just gonna move this in here and I actually created a hole in this piece and then another one underneath here So we have kind of two holes for the two smaller tendrils. So you can position and move these kind of roughly where you want. And that creates like our start tendril piece. And you can sort of see that there. And then we can just create the, we'll create the end piece, the middle piece, and then these sections as well. So the process is just basically the same. You're just following through here. So where we have our head working tendril, we'll create an end one as well. So new folder and we'll call this tendril end. So next we wanna do, so for the end piece we had another sphere as well. So what I'm doing, if I can as well, is try to save time by just duplicating stuff that I've already got. So if I've got cylinders and spheres already blocked out, let's just duplicate them and then we can just reuse, you know, to create the same types of things, right? So we're just sort of scaling that. one is going to create our end tendril. So, yeah, wherever I can really, I just always try to, as much as possible, I'll save time by duplicating things. So for this one, we can now swap this out for the tendril end. So I'm not going to go through every single piece of these tendrils, but you can kind of see the process is pretty straightforward, right? We're just effectively creating these, we'll duplicate this, move it into position, and then change to the end tendril. So that's like creating our different tendril shapes that you can kind of see on the front there. And then we can always come back into these working tendril pieces and update them as we want to design this further. Same process for these, for the kind of more bendy pipe option, I just actually made one kind of cylindrical piece and then arrayed and duplicated it. So we can just quickly do that as well. So tendril, middle. So let's duplicate our cylinder again, move that into place and then we'll just isolate. So we can work on that one piece and I'll turn the bevel off. So with this one, we'll just kind of create a shape a little bit more like this. And then I just effectively used the array modifier to swap the axes and then just create this kind of Duplicated up sort of pipe shape. So that's essentially what I did For that particular one and then you can obviously just again same kind of process We'll just come in and then we'll swap this so this one is the tendril Middle so you can see that we can just easily Sort of create these shapes of the tendrils in that way. So that's the other part of the process So I just wanted to show you that.",
+  "segments": [
+    {
+      "text": " Hey everyone. So in this section I wanted to start in a very similar way to how I started with the legs which is by building a bit of a hierarchy of folders and structure. So if we go over into the block out at the moment you can see that we just have in our head and in our body as well. We have just one folder and we have some of these pieces that are in there as part of the block out. So if we take a look at the actual final head, you'll notice I just want to show you the structure that I have actually set up for this head. So we have ignore this reference folder. This is just for a bunch of things I copied across from the other file so that we don't break anything for things like the The cutters and things like that. So that one you can ignore but this was the folder structure I had so if we just sort of break this down, I'll show you how I've Sort of done this particular structure. So I've made a folder that contains most of the final head pieces themselves which is just the main part of the head and the ears and everything and then the front part of the nose where The front of the beetle actually is there. So that's the main sort of head structure We have the horn separated out. This was mostly because I wanted the horn to be able to be rotated as well So we have that actually Coming through there as well. So we've got our horn section Then I have the underside pieces. So this is basically everything that makes up the bottom of the head So all the sections that kind of come in underneath so you can see all of that That's where the legs connect at the back as well. So we have all of this section here We have our eyes Separated out and then we have the tendrils so the tendrils come in over the top of that stuff. These are Added on the top here. So for the tendrils specifically. I also did those as Collection instances in the same way I done with the legs because there's a few pieces that I want to repeat here So we'll probably add some of that kind of set up in as well for the tendrils So you can see that this sort of front section piece here and this front section They're actually the same piece and just scale down same for these They're the same and then we repeat a bunch of these pieces as well They're all repeats and then these are some unique sections. So for the tendrils I tried to reuse as much as I could in there as well So that's got sort of the the structure and everything so it'll be a great idea just to sort of come in here and Start setting up a bit of that folder structure. So I'm gonna try and do something very similar to what we have so jump over into The where we are working here with the head. We'll keep the pieces we can move some of these around as we go So if I just create some new folders, we'll get that set up So the first thing I want to do is just have a section for the top of the head All of this as well. We can just rename this to be our for reference I'm just gonna add this in so that we can if you have the same names It starts to add numbers in there to differentiate the folder names. You can't have the same name So I'm just gonna try and do that here. So head top Just get that correct That's gonna be our first folder I think this section is gonna go in the head top so we can just hide that and then we've got our eyes in here So we'll also create one for the eyes In there and we'll place our eyes inside that folder And then this is going to be the horn so we can do the horn next. Let's just Add the horn in so we're just organizing and setting up some folder structure here So next up we've got the underside of the head, so I'm going to add that folder We don't have anything for that yet, but we'll just create the folders for now and then we'll also add Add, let's come in here at that structure. So I'm gonna also add in the tendril folder as well. So that's a little bit of setup and we can just unhide the rest of the details that we have here. Great. So next we want to take our head that we have currently blocked out here. Now we set up the folder structure and we wanna take that and start actually detailing up. Again, this is I guess like a second pass to the block out. So we're not worried too much about detail at this stage, but I wanna try and just get the basic forms of my head actually figured out. And what I'm gonna do here is I'm just gonna jump over to the references here and I'm gonna explain how I came up with some of the shapes and the design language that we have here. So take a look at the references. This is what we're looking at for the head. So I had a bunch of really great reference here when it came to different designs for the head, obviously depending on the beetle, not every beetle is the same. So you definitely get some unique feels. And the ones that I really liked and the ones that I took a lot of inspiration from was definitely this particular shot because you can see how things kind of overlap and sit together. And we sort of have a bit more of a zoomed in shot here where you can see some of those underside plates. And what's really nice about this is you can sort of see how the tendrils kind of fit together. It almost looks like it's got a bit of a mustache here with like the way the hair and the fur is kind of coming in there, which I really liked. I love that kind of look. I thought that was really cool. And then we have this kind of shape with the eyes. It feels like the eyes are very much sort of socketed in there, which I really liked that aesthetic. There's almost this overlap piece here as well, which I think is super cool as well. You can see from a different angle kind of how that feels. So the eye definitely feels like it's not going anywhere. It feels like it's part of the shell almost, like it's part of the design, right? And then depending on the head, we definitely get different looks. Like sometimes we have sort of these bigger, larger plate sort of shapes, and then we sometimes have the horn as part of that, or we do have really large, on the mail we have this really large horn, but I actually much preferred this kind of look and sort of picking up on some of those more kind of cuter designs that we were talking about before. I think anytime that you have sort of ears on an object, on a character, especially if they're kind of small and rounded like this, it definitely intensifies that feeling of cute. So that's kind of what I went for. I went for more of a simplified head shell type shape, as you can see in some of these. Like especially this one is a good key reference for what I was going for, as you can see, it has the kind of ear type look to it, and then one really large horn. So I liked that, I think that that was kind of more simple. And I did definitely play around with, for the head I played around with having two horns or a much larger horn for a little while when I was doing the block out. And it just, I just couldn't get that to work. I thought the idea of this just folding against the shape of the object was gonna work pretty nicely. it's going to give me a fairly simple design and so that's what I ended up going for. So yeah, so the kind of main objective now is just to try to get some of these shapes in here. So this is what we're kind of looking at. You can see you've got the underside. This is where the sections of the legs actually connect because on the reference, if we go back over to that, you can see that the legs actually connect underneath the head. So there's section here you can sort of see how that's connecting. So yeah that's something definitely to consider and then we also have these kind of bits where the tendrils are connecting. So you can see here I have some areas where I wanted to put the tendrils and then I have the eye sockets kind of encompassed in the head as well as part of the horn and then we add the ears. So that's going to be the next thing that we just rough out. Okay so now I want to start getting some of these shapes actually figured out a little bit more. So the first thing I'm going to do is I want to work on the top of the head and this main kind of shape that we have here which is the head top. So for now we're just going to hide the horn and everything else. And you can see in the example here I have this the sort of shape for the top piece of the of the head there when we have the the ears and everything. And then we have our main section for the eye socket. So I'm going to focus like mostly on those pieces. The underside we can kind of tackle later. So what I'll do to just begin with as I'm going to just duplicate this up and I'm going to move one of these into the underside as well. So we've got a backup there as well. And then if I just remove this one too, and I want to just remesh this with a lower topology so we can just keep the geometry really simple to begin with. And I'm effectively now just going to look at sort of separating this out and just trying to create a section which is just going to form the top of the shell so we can just manipulate this. Usually when I'm working on things like this as well what I'll be looking to do. If I turn off the edge, I want to turn off the edge centers as well. So if I just do that here, let's turn off center. Okay so what I'm looking at doing now is selecting all of the different pieces and then just separating this out. So I want to keep this as a... so essentially I'm just going to be building out a A piece of the top of the shell here so we can just select these will hit separate And I don't care about any of the other underside geometry at the moment So I can basically just delete that then we can symmetry this as well. So now we have this big headpiece We can clean up some of the unneeded geo as well at this point so and if the Geometry is looking a bit weird and messy like this We can just kind of come in here and tidy this up a little bit And I'm just moving the vert surround as well So just kind of come in and do this I'm gonna make this as much as I can as I mentioned before I tried to keep these things quadded so that we get nicer topology And I can just slide some of those edges So this is giving us a pretty good basis for that shell shape If we wanted to add the ear in I have actually just kind of pulled up the verts in that scenario So you can kind of just see that that can create us the ear shape by doing something like that So it's really easy basic stuff here. Just manipulating the geometry. We also have this kind of nice arc shape there So if we wanted to do that Maybe just look at using something like the soft select and kind of just pulling back these shapes a little bit We can definitely do that from different views. We can come in with the front view and then maybe Have a look at that from the side view as well And you can sort of see roughly the shapes that I'm trying to aim for here So we've kind of pulled this some of this stuff up here Try and get some of that shape It actually kind of swoops down a little bit as well So if I wanted to kind of just round that out a little bit we can just manipulate this Keeping it really loose in the geometry like pretty simple at this stage Just means that we can easily manipulate this and then if we were to add a thickness to this shape And then add a smooth you can see that we can create that really simple kind of shell Type shape there. So that's sort of where we're aiming for and I also want these guys to be This kind of row of that's here that we have I want those to be as a as much as they can be aligned to an axis there So we just sort of do that. I might turn off the soft select as well. We can just keep that nice and flat And I might just move let's move this ear shape back a little bit as well It's trying to experiment and play with the the form so we're just getting our basic kind of shapes there I want to pull out the ear a bit. I think as well If you want to you can also add a bit more topology into this section So that we have a little bit more to play with when it comes to making that ear a bit more obvious So you can kind of see that there. I sort of also would quite like to pull him over a little bit So you can kind of see just how we're experimenting with our different shapes And then I want to pull this bit in And then the other thing you can also do for sort of more organic shapes like this is I definitely would advise It's jumping into sculpt mode and just manipulating the shape So using the grab brush we can sort of pull things around and you can hold shift to sort of smooth things out And I just do this with the mouse I don't worry too much about jumping into using a tablet or anything for this just for quick manipulation like this I can just do this really easily with the mouse. Try and get my shapes and forms like roughly how I want them to look. So you can sort of see how that kind of comes together. So this is what we're going to have here for the head itself and then we can just kill off this guy I think. We've still got the piece for the underside there as well. We're going to need to maybe manipulate this a little bit more but you can kind of see how we're building out the shapes. So then the next thing for the head is just the eye socket. So from there all I would probably start with is just using a cylinder shape. So if we come in with the cylinder just rough that out so we can kind of get this in and then what we'll do here is we'll rotate that around and sort of position that in. And then I'm also looking to with most of these things I want to work with symmetry. So usually what I would do is just add a cut in here. The other way you can also do this is by using the hard ops mirror and setting it to bisect. So if you set it to bisect that will slice it in half which is another good way to just quickly get a one section there. And then from this I would just start to manipulate this out a bit. I think in the example here I kind of scale that I'm gonna move My pivot to the 3d cursor. So when I scale in this case if I set my cursor or my Transform to the 3d cursor I can scale out from the 3d cursor which can also be pretty nice as well And so we can start to build up this eye socket shape We kind of want to rotate that around so it sort of fits there And then we can start I might for this one as well just remove kind of every other edge so that we can just simplify the geometry a Little bit for now, and we can always smooth that out Later and then we can come in with our soft select to kind of pull this forward So we're just looking at the moment to try and just create a simple Shape that kind of matches the forms there and we can maybe maybe look at sort of pulling some of this stuff up and I'll jump back from the 3d cursor as well here So just looking to build something out that basically feels this Shape but then also will be able to cut things into it later So we can use booleans and everything to kind of come into this and essentially just start to manipulate it So that's that's kind of how I start to build out the basis of some of these particular Particular shapes you can see that's really basic and simple, but it gives me kind of roughly what I want You can add that back to the head top and then our eyes To get the eyes kind of working really roughly. I would just sort of scale the eyes Into the area here, and then I want to add in a cylinder again This time I'm going to just scale him down a little bit and we're going to turn on our face snap and just align this with the object that we have here so that this is going to be now able to essentially cut in we're going to boolean in the shape here to create a hole for the eye socket so let's hide the rest of the cutters and we'll just recall this one here so you can just sort of get something there that is going to be a cylindrical shape that will then have enough space for the eye to sit pretty comfortably in there right and this we want to make sure that our mirror is also the same it's using the mirror there as well so that these are coming in at the same point which is pretty good I want to check this one is the same as well so okay let's try and just turn the flip off on that okay so now we're starting to get you can feel the shapes that we're starting to get there which is looking pretty good we've got our eyes We can bring our horn in I think for the horn. I want to kind of bend him a little bit more So again using the soft select You can actually use soft select with rotate as well So you can then start to just position the shapes so soft select is really good Just for manipulating large form changes like this, but again I could also just use the sculpting modes as well So you've got a different couple of different ways to manipulate shapes like this when you're working with kind of organic looking Things like this. So yeah soft select is usually great for that Sculpting tools can also be really good. So you can see that we're just really and keeping the geometry low Density like this as well It's just allowing me to make these really easy quick changes to my forms and this would be how I would be working when I was initially getting this stuff more blocked out and fleshed out there right. So just using those kind of more organic deformations and then you can always add in your smoothing to see how that's starting to look as a more smoothed out shape right. So that's kind of how it's looking there and then I want to for this section as I said before I wanted it to feel like it was going to be able to rotate the horn. So a good way to do that, and we did this with the leg as well, is to add in different meshes to show the intention of the def, like the rotation or the transformation, right? So in this case, I can come in here with a cylinder and just rotate this cylinder, we'll do it on the x-axis there. And this is going to be where the horn sort of rotates from so we can position that object in and then we can sort of manipulate using the sculpt mode again we can change up some of these shapes if we turn on the symmetry as well we can use this to basically manipulate the horn into a shape where it starts to feel like that could easily be attached to that cylinder and then that cylinder would allow us to rotate So that gives us like the basic forms of of this and then for the rest of the pieces It's kind of the same process We'll go through some of the underside as well because the underside has a little bit more Detail there. So the way I generated this Undercide section if we just kind of jump into into these pieces you can see that they're essentially plated sections, right? There's chunks of different stuff. So once we actually look at the final example here you can see that these are essentially pieces or plates that kind of slot together and that was the idea I wanted to have that maybe the head was like more of a shell type shape that you can see here that would protect the robot and then the underside is some more of the these kind of pieces right and that matches very much with the shapes and designs that we're trying to go for here. So I tried to create these almost like spiky pieces that feel like they're part of the shape of that that head and that shape there. So to do that, I obviously have this underside piece and in the example that we talked about there was this sort of idea of a socket where the leg would kind of go into and then you've got this back piece as well. So I would just basically do the same process as what I'd done here with the head section from before is I would start to separate those out Before we do any of that it might be worth just kind of using some quick manipulation to try to get this shell to kind of match a little bit more in its In its forms and everything so it feels like these are a little bit more connected We might do that with symmetry enabled as well So you can just sort of see that we're just manipulating that shell Just really quickly into the same rough shape that we had from before so you can sort of see I think actually I pull this section back a little bit as well. So you have some space there for the leg to kind of come into So yeah, you can kind of see how that's looking and then we could definitely do the same stuff we did before so just adjust this a little bit. We'll pull that in as well to kind of feel like it fits. So we're just essentially using our sculpting brushes to sort of adjust the forms and the shapes which is pretty cool. And then now we can simplify this so just going over into our shapes again. So now we can run our quadremesh. So we'll just simplify some of this geometry. I'll just play play around with the numbers sometimes to get a bit more of the type of look that I'm after. This actually isn't too bad as far as geometry is concerned, but I want to kind of separate out these different pieces and then we can always rework those. So in the final design you can see that I have sort of like a loop that goes around where the leg socket piece is and then we have this back section that's like one section there then we have these kind of underside pieces like these sections here. So we could definitely just separate those particular pieces out as well so that we have something that we can work with. And then we can always add in extra geometry later as well. So like for this piece, we could just start by drawing in some shapes and forms and everything and just kind of get those pieces sort of separated out. And then we can always work later on the connections of how these things actually split together. But I usually just mark those up and then select by sharp there so we can separate separate these out into Interactual pieces and into chunks there. So, you know for this piece as well. We could kind of come across here And we'll just select a bunch of the faces on the top as well So just like following that same process, right? We're just trying to separate out into sections or pieces that we're going to be reusing so again for this one I'm probably just going to draw in a little bit of the loop stuff that we have and they're coming in here for the legs And as I said, we can always refine. I'm not worried about this being Perfect because I'll rework it probably later But we're just separating it out into into chunks of things that we could actually use so then this one And then come in here and we'll just select the sky All right, so now we can just remove the rest of this and now we've got these particular pieces which is pretty good And then we can always manipulate and tweak you can see some of these shapes we refined a lot more Afterwards, but that gives us like a good basis for these kind of underside Pieces and we can put those in here to remove that section there. So now we're starting to get a bit more of the feel of things. To do these kind of sharper underside shapes, for stuff like that, I mean, I would definitely experiment a little bit with the kind of sculpting techniques where you could just put shapes in and try and sculpt them like I showed before in the previous videos, or using the Metables technique as well to play around with shapes and try and find forms that you like. Obviously when you've already got something to work from it's a lot easier, but that would be the thing I would say. But if you're trying to create something that's like a smooth shape like this, the example that I actually have where I block this sort of thing out a little bit more, you can see that they're just very, very simple, these shapes that we have there. So essentially all they are, if you're doing something like that, you could just be working from a cube to begin with, or you could be using more of a poly modeling or strip modeling approach. So if you bring in a plane here, and we can just show that kind of technique. So if we are building out something that was like a little bit more like one of these spikes on the front, I'll just select this, and let's make sure we have our stuff turned on here. So we would rotate this, let's just kind of get this into space there. And then just keep it really simple to begin with. You essentially just want to try and build your forms out the most basic simple shapes as possible and then you can add detail to that kind of later. So if we're doing spikes and things in here just start with more of like a triangular shape and then you can start to kind of manipulate and scale these things and if you keep them mirrored as well it kind of helps you to figure out the shapes as well. So like on the underside of this kind of head piece as we can bring in these shapes there. And then the other thing that we also have is like, I put some kind of mouth socket type pieces in there. And to do those, like I started in similar ways. I basically had, we've got kind of a few different ones if I show those. So there's a section here, which is like just effectively a rounded cube. You can kind of see that there. And then we have these two pieces kind of coming in here. So this one here, like in this section, and then also this piece. So those ones started life just as cylinders basically as well. So if we come in, let me just remove my annotations here. So we'll just get rid of those. So if I come back over to this, for the mouthpiece, like I just would come in with maybe more of a cylinder. Let's adjust some of these just to get those like roughly in the right sizes and shapes. So you've got something more like that. And then you can start to add in, you know, cuts and things to really sort of organize those shapes a little bit more. You can sort of see how that's kind of coming in. And then yeah, so for those front pieces, let's try and do that as well. We'll add in the cylinders. We'll just scale those down. So I usually like to move this into the center as well. just move these into the pieces. Okay, and then just kind of rotate those and get that sort of in position and in place. And then you can do the same with this one as well. The only real difference here is that this one is a bit more rounded. So I basically would just bevel that a little bit more to create that sort of shape. And you can sort of see how we can just rough it in to begin with. And then we can obviously refine and polish what we have. So then if you have too much topology, I would just basically clean that up and just remove stuff that you don't need so that while you're working, it's just a bit easier to kind of refine the shapes that you have and everything. So usually that's the way that I would tend to work. Just try and keep it as low poly as possible to begin with, just because it's gonna make things so much easier when it comes to working with the shapes and with the forms and everything. And then if you want to smooth that out, then you can just use the techniques that we've shown. So you can bring in presets to sort of give us the sort of look that you want there, right? So that's the way I tend to like to work. Just keep it as low as possible. Try and not have too much topology in there. Just keep it real basic and just get those forms and things in there to begin with. And then you can always polish up and refine the smoothing in the shapes. And it just makes manipulation so much easier, right? Like when you're working with topology like this, we can do such big sweeping changes a lot easier, right? We can make the change the entire way that that is, the forms are being created and everything there. So, yeah, this kind of hopefully showcases a little bit more of that kind of workflow. And so we won't go into any more detail on any of these because it's all the same kind of process, just manipulating verts and moving things around. So in the next video, we'll start from this kind of base and then we can start to show some of the process for actually detailing this up. So now we have our shapes roughed out. We should see something a bit similar to this. So we've got some of our forms and everything blocked out, our new shapes for the head. You can see that we have the underside pieces kind of modeled out. We've got our shallot and everything. So this is what we should be looking like and we've organized that into our different groups as showed before. So this is what we should be at this point. couple of things I wanted to just touch on before we move on to actually detailing. So the first one was when I made some of these holes in for the tendrils, I'm just gonna quickly show the process for creating that. It's really straightforward. I would usually just bevel the vertices. If you hit V and then Ctrl B, you can bevel. And then if you right click and use loop tools, if you haven't got this enabled, you can just enable it in your preferences and choose circle. This will make a perfect circle from that foot. So then you can extrude that in and create your holes. So that is something that can be really helpful if you're trying to cut in a shape into something existing. So I just wanted to briefly touch on that. And then the next thing would be the tendrils. So we see that we have, when we look at our reference for the final mesh here, if we jump over to this, we have these kind of tendril pieces. So I made these, as I mentioned before, in the exact same way I had done with the legs. So I'm not gonna cover that whole process, but just to kind of get some tendrils in there, I'll show you sort of roughly the setup for that. So if I firstly, I would go into where we have our working files, which is where we have, say, the legs and everything placed there. And I'm just gonna create a new one and we'll call this for the head. So we have some working parts for the head and we can always put a W after that as well for working. We'll do that here as well. and then we can just keep that consistent. And then I would just make a new folder for tendrils. So we'll do tendril working. And so in this, we have a couple of different pieces, right? We've got kind of an end piece. We've got this middle section piece. We've got this start piece. The start pieces were used a couple of times here for the tendrils. And then we also have these kind of more unique pieces. And the way I was determining what sections and pieces I have is based off of the reference. So I would look at the existing Beatles and you'd see that they have this very particular kind of shape to this larger tendril, which you can kind of see here. And then they have, so this is actually a good example there because you can kind of see the tendrils. And then they have these two slightly smaller ones that are a bit more generic looking. So I definitely wanted to get this big one as like the key kind of hero tendril if you like and then I wanted like the smaller one. So that's kind of the structure that I went for there. So just to block that out, I mean you can give these any name you want. I will go for tendril, start piece and then just to start with this I just moved the 3D cursor back to the origin and just start with your UV spheres to begin with. This is how we're actually going to spawn our tendril. So we're creating the start one, we're gonna create something along the lines of this. And just to kind of rough these out, I would just start again with a cylinder and bring that in scale this kind of down a little bit. And then I'm gonna just rotate that. So let's bring it in and then we'll rotate this on the X 90 degrees. And then I want to effectively move this here and then just create a shape that's kind of gonna be something like this. because that's the sort of shape that we have for this piece here. We can quickly, if we wanna sort of soften these up as well, we can just add some bevels to those as well, so we get that kind of rough shape in there. And then in the actual tendril folder under the head, we can then start to build out our tendrils. So the first one is gonna be kind of in here, we're gonna wanna add our collection and we're gonna go for tendril start. We can sort of rotate and change the position of this now and change the scale of the empty So this might be a little bit too big So I'm just gonna try and adjust the scale of that then we'll sort of move this around I'm gonna change this to face Snap here. Actually, let me turn off the I don't want the align rotation to change so I'm just gonna move this in here and I actually created a hole in this piece and then another one underneath here So we have kind of two holes for the two smaller tendrils. So you can position and move these kind of roughly where you want. And that creates like our start tendril piece. And you can sort of see that there. And then we can just create the, we'll create the end piece, the middle piece, and then these sections as well. So the process is just basically the same. You're just following through here. So where we have our head working tendril, we'll create an end one as well. So new folder and we'll call this tendril end. So next we wanna do, so for the end piece we had another sphere as well. So what I'm doing, if I can as well, is try to save time by just duplicating stuff that I've already got. So if I've got cylinders and spheres already blocked out, let's just duplicate them and then we can just reuse, you know, to create the same types of things, right? So we're just sort of scaling that. one is going to create our end tendril. So, yeah, wherever I can really, I just always try to, as much as possible, I'll save time by duplicating things. So for this one, we can now swap this out for the tendril end. So I'm not going to go through every single piece of these tendrils, but you can kind of see the process is pretty straightforward, right? We're just effectively creating these, we'll duplicate this, move it into position, and then change to the end tendril. So that's like creating our different tendril shapes that you can kind of see on the front there. And then we can always come back into these working tendril pieces and update them as we want to design this further. Same process for these, for the kind of more bendy pipe option, I just actually made one kind of cylindrical piece and then arrayed and duplicated it. So we can just quickly do that as well. So tendril, middle. So let's duplicate our cylinder again, move that into place and then we'll just isolate. So we can work on that one piece and I'll turn the bevel off. So with this one, we'll just kind of create a shape a little bit more like this. And then I just effectively used the array modifier to swap the axes and then just create this kind of Duplicated up sort of pipe shape. So that's essentially what I did For that particular one and then you can obviously just again same kind of process We'll just come in and then we'll swap this so this one is the tendril Middle so you can see that we can just easily Sort of create these shapes of the tendrils in that way. So that's the other part of the process So I just wanted to show you that."
+    }
+  ]
+}