This second chapter is using a lot of techniques
and theory of the first chapter. In these videos
I will guide you on how to build a body out of
primitive objects. We will cover this in this
video in a moment. In the next videos we will
continue to define the primitive objects to get
a full planar body. If you want you can use your
head sculpt from chapter one to attach to the
chapter but it's not really necessary. And just
like chapter one this is followed by merging,
smoothing and stylizing the body. The difference
is that we'll already plan out the stylization
while we have the objects separated. After that
I will go more into a time lapse to cover more
ground on polishing the body while giving commentary on my methods, design decisions
and thought process. After that I will go over
the basics on creating different types of base
meshes for sculpting clothes. This is then
followed up with demonstrations and explanations
on how to sculpt fabric, wrinkles and folds.
With all those lessons completed I will give you
full commentated time lapses of sculpting
Reign's body and outfits. So let's get started!
Just like with the head we'll start by modeling the body out of primitive objects
with minimal changes to the geometry. For the
head you can create one from scratch or if you
want you can just import the one from chapter
one. You can do this by either appending the
collection that you put the head objects in or
by opening the file selecting the objects you
want to copy and then copying them with ctrl c
then open the body file and paste the objects
with ctrl v. So right now it's all about the most basic proportions and shapes that
the human body is built off. For this example
I'm again going to use the male anatomy as an example but the Reign time lapses will
fill in the rest by showing you the female one.
And this is again really about internalizing
the overall body shapes, forms and structure.
Eventually you could even just sculpt the entire body from one sphere if you like
as long as you internalize the basics through
practice. Just like in chapter one I kept
organizing my sculpted objects and collections
and named them in the outliner to the right.
This makes quick hiding, isolating and orientation very easy. We are going to
start off with the torso. I made some quick
annotation drawings to show you the proportions
and shapes we are generally going for. You
can download and check out the file yourself
with my body sculpting results included. Generally all the human proportions can be.
based on the size of the head. For an idealized
body the human is about eight heads tall.
You can see the overall proportions in this with written down milestones
of what part of the body is where. For each head you stack on top of each other.
You can find more detailed illustrations of
this online of course. Just search for something
along the lines of human drawing proportions. A
more accurate way of measuring the body would be.
more like seven and a half heads but we'll stick to the idealized version since it's
simpler to memorize. For the torso it's good
to start out looking at it from the side.
The spine is curved by nature so it's good to
start with the torso thinking of a sphere for
the chest and a sphere for the pelvis. Both
rotated slightly towards the front and each other.
This can then be connected with a section in
between to form the belly area. Move the 3D cursor
from the side view with a shortcut shift right
mouse button or the cursor tool. This way you
won't accidentally move the 3D cursor along
the x-axis like you would do from the front.
We want to keep the middle objects centered
at all times. Add a UV sphere for the rib cage
with shift a and then scale it up to match the size of the annotations with s.
Then rotate it a bit clockwise with r and scale
it along its local z-axis to make it longer with
s and then hitting z twice. You can then duplicate the sphere with shift d and move
it towards the pelvis. It's also good to note
that I enabled random colors in the shading
options. This way each object is visibly different with a randomly assigned color.
This makes it a bit easier to keep the many objects apart.
From the front view we can then make both spheres a bit
wider by scaling them along the x-axis with s and then pressing x. For the spine
belly area we'll create a cylinder. To bring
it into shape we'll go into edit mode and
add an edge loop in the middle of the cylinder
with ctrl r or the loop cut tool. We can then
select the upper edge loop with alt select
and grab it with g to align it with the chest.
We'll also scale it up on the x-axis a bit to
make the chest overall wider than the center.
Same thing for the bottom loop and the pelvis.
But we'll keep that one the same scale.
At first we're going to try to stay on the realistic side so the torso needs to gain
more volume. For a stylized character the body
can be slimmer or more varied. Just scale up
the objects to fit the body proportions we are
going for. Since all these objects are kept
separate it will be very easy to change the
proportions quickly later on. From here on out
we'll add the most prominent muscles and hips. Add a cube where the chest has to be.
We can then subdivide the cube by using the
shortcut ctrl and either pressing one of the
numbers from one to four. This will add a subdivision surface modifier to the object
with the number of subdivisions based on the
number you pressed. In this case three is fine,
but you can change the resolution in the modifier
tab of the properties editor to the right anyway.
But the result doesn't really look like a cube
anymore and we want to keep a bit of the cube
profile. So let's go into edit mode, select
everything and we'll add edge creases with the
shortcut shift e. This will change the amount
of smoothing that is applied to the edges
when subdividing it with the modifier. You can
adjust the strength by moving your mouse away
from the center of the selection or by typing
in any value from one to from zero to one.
The strength of the edge crease is indicated by
how magenta the edge is displayed. We can then
scale the object down in the y-axis and rotate it into place to form the chest.
Then in edit mode we'll select the lower right
corner and move it a bit inwards and the upper
right corner outwards to meet the shoulder.
We can then, as in chapter one, add a mirror
modifier and design a centered empty called center as the mirror object. This way we'll
keep the local location and orientation of each object if we decide to make proportion
changes or anything. We can then move on to the
trapezius to connect the neck to the shoulders
and the back. I already went over this muscle
in chapter one, but I'll show here how to
connect it to the rest of the torso. Create
a sphere and scale it along the z-axis. Then
rotate it into place to point towards both the shoulders and the head. From the top it
should fill in the triangle-like shape that points
towards the arms. Again add a mirror modifier.
It's okay if these objects don't quite match
the annotation lines since we will sculpt them
further into shape later on. Make sure that the
chest object is filling in the middle portion
where the neck and the chest meet. For the
shoulder blades we'll just reuse the chest object.
Select and duplicate the object with shift d
and then move it towards the back. You can then
rotate it along the z-axis with r and then pressing z to align it with the back. Scale
the shoulder blades down and rotate them slightly from the back view. You can now
already notice the armpits forming. Now we'll
add an extra object for the abdomen. Set the
cursor ideally from the side before creating
a new object. If you set it from the front
it will be shifted along the x-axis and the
object will be off-center. You can also select
the belly cylinder and set the 3D cursor to
the selection with shift s. Add a sphere and
scale it up. To make it only show in the
belly and not the back we'll scale it up along
the z-axis and down on the y-axis. Then move it
further to the front with pressing g and then y.
Next up we'll add a sphere on the right of the
pelvis for the hips. If we look at the drawing
again this will essentially connect the legs
to the torso and also form the butt. Scale the
along the z-axis and rotate it a bit from the
front or the back view. As always add a mirror
modifier. If you look at the overall torso
you can also notice the curvature of it all.
Now it's time to get into the arms. You can
also organize these portions of the body into
individual collections if you like. For this
example we'll go for an a-pose which means
the arms are at a tilted angle instead of just completely straight. I'll explain more
about the resting poses later on. Looking closer at the arms we notice that the main
portions and moving parts are the shoulders,
upper arm, a small portion for the elbow and
the lower arm. The trick about the relationship
of their shape is that they form kind of a
thick and a thin side and fit into each other
like that. So let's demonstrate this by actually
creating the objects. We'll use subdivided cubes
for this again and start with the shoulder.
Place the 3D cursor and add the cube. Press ctrl 3 and go into edit mode and then use
shift e again to crease the edges that you
have selected. Also remember you can change the
X-ray slider and the shading options to 1 to
see your geometry in edit mode while having the
shading be completely opaque. Select and grab
the two corners that point towards the neck and arm to make the shoulders a bit more
diamond shaped. Switch to edge selection with 2
and scale the topmost edge down. Afterwards scale the edge towards the torso up.
For the upper arm we'll create another subdivided
cube. Rotate it from the front to align its own
z-axis with the shoulder. Then scale the cube along
its own z-axis with s and then pressing z twice.
Try to connect it well with the shoulder. Always
remember the chain link shape of all of it.
Scale the upper arm along the y-axis and slightly down on the x-axis.
Then duplicate the upper arm and rotate it along its own z-axis 90 degrees with r
and then pressing z twice and then typing in
90. Go into edit mode and scale down the wrist
section. We can also add another loop for the
lower arm with ctrl r or the loop cut tool.
To define the width more scale the loops along
the local y-axis to add a bit of thickness to
the middle portion. To skip a bit of time we
can assign a mirror modifier to one of them
and have all other selected and pressing ctrl
l. Then choose modifiers and the modifier
stack will be copied to the other objects that you have selected. For the legs we'll
do something very similar to the arms. We'll
create the object again from subdivided cubes.
Keeping a bit of the cube profile is pretty important for the legs though.
The legs are also angled slightly backwards.
We can then add some loops to add a bit of
a leg profile. Move these loops a bit forward to bend the upper leg a bit.
Then from the front rotate it clockwise to have
it angled inwards. Then move the loops to give
the leg a bulge on the right and a bit of an
s-curve on the left. For the knee we can create
a sphere to connect the upper and lower leg.
Scale it along the z-axis and rotate it in the
opposite direction as the upper leg. For the
lower leg we'll duplicate the upper one and rotate
it 180 degrees along the z-axis. Mirror it along the x-axis with ctrl m and pressing x
and apply the scale with ctrl a and recalculate
the normals in edit mode with shift n. Make
sure that the lower leg is a bit displaced to the
right of the upper leg. Again have a bit of a curve
to the object on the right. But instead of making the s-curve manually on the left
we'll push the left side in and keep this
object purely bent. Also adjust the profile from
the side with the leg becoming thinner towards
the ankle. This object will now be the main
leg and the shins. Place the 3D cursor on the left
of the lower leg and add a sphere. Scale it up
along the z-axis and place it in the lower leg
to create the calves. From the side it should
be positioned a bit backwards to make it more
prominent from the back view. Make sure that both
together form the base shape of the lower leg.
We'll then select the front left edge loop
and sharpen the crease a little bit. Assign
and copy mirror modifiers for the leg objects
and they are all done. Ideally turn off merge
for the mirror modifiers to not accidentally
merge the two sides where they meet. Also be
careful when copying modifiers between objects
because some of them might have subdivision surface modifiers on them
while others don't and sometimes you don't want to copy them over.
Now it's finally time to move on to the hands.
One adjustment we can do to the arms first
is to rotate the lower arm a little bit to
make it more relaxed. Place the 3D cursor on
the elbow and switch the pivot point to be the 3D cursor to change the pivot point.
Then rotate the lower arm around the 3D cursor.
Create a cube for the palm of the hand. Scale
it along the three axes to match this kind of
flat cube shape that you see on the screen.
We'll do this first and then rotate it into place with the arms. An interesting thing
about the hand is that the shape of the palm
is rotating slightly sidewards and the fingers
are angled counter to that. You can look at your
own hand as an example and you'll notice it.
Afterwards we can rotate the cube into place and add the subdivisions as usual.
In edit mode we can change the edge creasing and adjust the shape a little bit.
For the fingers we'll also use cubes in this
case. Cylinders are also fine but I like the
square profile as a start. Scale the cube along
the x-axis to get the first finger section.
Duplicate the cube and position it further up the finger. We'll then scale the second
down along the x-axis to be about three quarters
as long as the first. Do the same for the third
section and scale it to three quarters of the
length of the second one. This way we have a
progressive size difference of the finger sections.
Afterwards set the pivot point to be the 3D
cursor again and rotate the finger sections a
bit to make them more relaxed. Afterwards we'll
connect the cubes as the index finger to the
palm. Then duplicate the index finger three times
and place them next to each other. But of
course not all these fingers are the same size
so we need to select them and resize them. The
pinky finger is by far the smallest and placed
further back into the palm. The ring finger is
a bit smaller than the middle finger and also
a bit further back in the palm. The middle finger can stay the same.
The index finger is a bit smaller than the ring
finger but further in the front of the palm so
visually they match each other in length. This
is of course dependent on the hand. There are
different looks to hands and finger size and
length. Same thing for the feet or the general
proportions of the body. These proportions that
I'm showing are kind of an idealized rule of thumb.
If you look at the hand from the side view
the palm of the hand together with its fingers
are a bit bent. For the thumb we can duplicate
two sections of the other fingers and arrange
on the side of the palm. Remember on which side the thumb is always on.
Basically the easiest way to remember it is if you have both your hands in front of you
the thumbs can touch each other. Some of the
vertices can be pulled into the palm a bit more.
The lower thumb is then directly leading into
the wrist. Then we'll just position and scale
the tip of the thumb. The thumb is not just
naturally angled at around 45 degrees but also
rotated a bit downwards. If we look at the
annotation drawings we can see that at an angle
the thumb goes about as far as the middle of the hand or roughly where the palm ends.
This is a good literal rule of thumb to know how long it needs to be.
To show the bend of the palm a bit more we can add another loop
and move the vertices on the side a bit down and rotate them a bit.
Add the mirror modifier to the hand object
by copying it from an arm object like before
with Ctrl L. With this we're almost done. The
last thing that is missing is of course the foot.
We'll create a foot from basically two objects.
The first one is another subdivided cube which
will be the sole. This one will be scaled
down along the z-axis and then we can define
the foot profile from below in edit mode. Look up foot profile online for more direct
reference of how a foot looks like from below.
First off we can scale the foot up on the y
and x axis to roughly have the size that we
want. Then we can add a couple more loops to
have more geometry to work with. Select and
move the vertices around to get something close
to a foot profile. If it ends up still too small you can then scale up the object.
The second object to add is the rest of the
foot and we'll do that by adding a cylinder.
and moving and scaling it roughly into place on top of the sole.
From below or above we can then select and move
around the vertices to define the shape more.
You can also hide other collections of body parts to have less visual clutter. Enable
proportional editing to have a fall-off effect
while moving your selections in edit mode.
Use the scroll wheel to change the radius of that fall-off effect.
Make the cylinder roughly fit the profile but leave room for the toes.
Then select the top loop of the cylinder and
scale it down to match the size of the ankle.
Then push it back to connect it to the leg.
The lower part of the leg can also be pushed
down a bit more to meet the foot. Then as always add mirror modifiers.
And this is it. We'll have our primitive base mesh for the full body. Also remember
that you can save and reuse any of these base meshes for future sculpts.
In the next video we'll finally get into sculpting
all of these objects into shape. See you then.