How I Model & Rig the Character for Gunfighter Legends

How I Model & Rig the Character for Gunfighter Legends

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00:04
[Music] [Music] all right so in this first video we're gonna model and rig the character and i'm gonna put myself down here in the corner just to annoy uh some people that are wondering why are you even in screen couldn't you just speak to this or couldn't you maybe you should just be quiet i don't know but i'm putting myself down here in the corner i'm gonna be looking at this video and that i recorded earlier and i'm just gonna speak to it and if you have seen me model before i've got about 69 episodes worth of 10 minute modeling challenge so you pretty much know the routine by
00:50
now and if you haven't caught those videos you should really go and check them out because that will give me a few views as well but not only that i think even though they're not meant to be tutorials they show pretty much the entire workflow of how to create especially i've done a lot of videos on low poly characters so i've pretty much i don't know if i'm nailed the method but i'm i've found a method that i'm happy with anyway and that's pretty much the same method that i follow here so i'm not going to go into talking as if this was a tutorial but you've got the screencast keys there
01:20
that'll show you and this is in real time so you should be able to follow along and do the same type of operations that i'm doing here and i've used the auto mirror and that's an add-on that comes with the blender by default so but you just have to go in and enable it and i struggled i didn't struggle but i thought enabling that and i always did it the manual method but i really advise or suggest that you'd go into preferences add-ons and then just enable auto mirror because it makes it a lot easier you don't have to cut away the center face and stuff
01:52
and then it's a matter of a lot of e to extrude and s to scale and i always start with the torso and then i extrude the character downwards and create this one ended up getting skinny legs like a skinny cowboy i believe skinny jeans are on the way out aren't they so my kids told me so i guess i have to change took me a long time to even get used to those but i am put them on in the end and i nearly didn't get them off because they were so skinny and for being a tall and uh long swedish guy it looked like a stick figure
02:22
but maybe that's where i got the inspiration for this character there are pros and cons to go in both with the skinny figures it's a little bit easier to animate because you don't really risk intersecting polygons so much and so that's one of the benefits but i don't think it's too much of a problem if they do overlap i can itch myself because i'm just down here in the corner now so i also go for usually uh for low poly characters i don't really model individual fingers so i stick to just uh
02:56
doing a palm usually and a thumb that's about as far as i go and i'm sorry if i'm gonna if you don't like country music and blues and like american rock and stuff like that you're gonna have to put either me and the music on mute so i've got a lot of tracks from epidemic sound i need to keep it to to theme so you can't really see that it's a cowboy yet but we have to get in the mood i think uh as you can see i've put some geometry by the elbow even though it's pretty much a straight liner
03:27
then it's important that the elbow actually has a few extra lines around it so when you bend the elbow like this it has got some geometry so it doesn't just fold if you have just a single loop cut there or even none you can't really fold that arm at all another thing i do for the character is this i usually try to mimic the shape of a human body or something as if the spine is bending a little bit like an s so even for uh for low poly characters i do a little bit of that
03:58
and i usually do the head last so i extrude a neck from the top of the head and then just usually extrude like a block square type of head low poly heads are i think one of the more difficult things to do and i tend to not model anything apart from the eyes i've tried usually with a nose and a mouth but i tend to like the versions where i just do eyes and also for games it's common that maybe you'll keep the characters quite small if you're making a platformer or something so
04:30
you get away with that but i guess there's no stopping you if you want to add a lot more features like a mouth and a nose and stuff facial hair i usually put on as well like a mustache or a beard that looks pretty cool low poly and uh lately i've gone for this type of a face shape as well as if uh you've got like the cheeks here coming out and going down so instead of the substitute for the nose it's basically like a jaw popping out like that more or less [Music] a good thing with this now is that i
05:00
don't have to worry too much about the editing part since i'm going to free flow this whole video so i'm going to be able to have a sip of coffee i suggest that you pause this and go and grab yourself something to drink as well if you haven't because this is going to be a long one and this is just the first out of five so you're going to be in for a for a long one here and most of the time when i model characters i model them with the clothes on but in this one we're going to do a little bit different i'll do clothes on this one first of all but in the second video i'm going to be modeling i found a way
05:34
to model clothes so that the weight paint sticks pretty good to it and that the polygons won't really penetrate so much through that's usually a prop problem if you try to model clothes after you've done the character usually that's a real pain because uh as you try to weight paint it similar to the character it's pretty much impossible to do manually but if you extrude the body into new clothing as we'll do in part two you'll find that the weight painting is going to be really really good so usually it doesn't penetrate and another method to do the clothes later on when we get to that would be to
06:05
actually replace the whole upper body for like a top body without separate clothes you can do that as well and i think that's quite common to do in games when i researched a little bit in the past usually you swap the whole upper body but we're actually going to do separate type of clothing here so at this point i've uh we're a few minutes in and now usually i just model the whole character and put a solid color on it like a skin tone type and then i usually just shift like i go into working everything here in uh in phase
06:36
mode most of the time and then i block select a whole bunch of faces and i colorize them and if you're interested how to colorize like i'm doing here i suggest that you go and check out my uh learn low poly modeling in blender video that's a quite lengthy one but it covers all the operations that i'm doing now or actions to do the modeling but it also has this way to colorize the mesh using a pallet a pallet png i'm just using a like a gradient png file
07:06
and if you expand the description of this video you can download this and use this palette freely as well if you want so instead of doing the traditional uv unwrapping and then painting textures i'm basically just uv unwrapping it but like one face one square face for example like on the side of his body or something or in fact straight in the middle of his face uh i basically shrink that polygon down to infinitely small and then i move the on the left side
07:36
there where you can see the uv layout i just move that what looks like a little pixel i'll move it to a designated color and that's what that color will end up with and it's a really efficient way to to colorize characters and another thing that i like about this is when you model a character like this or any object you can basically zoom in infinite infinitely and you won't really lose any quality because the geometry the gpu will render those uh faces and uh have really nice
08:06
pure solid straight line cuts between the two colors no matter how close you go sometimes when you do i mean you can get a way with a little bit if you have uh closest instead of interpolated colors in the uv maps or textures you can get a similar effect but usually it's quite tricky to get a line uh drawn onto a texture that's uh like especially diagonal ones that don't get blurry if you zoom in close it's a bit ironic that i say this because usually i create my characters to be viewed from a distance anyway
08:38
but what i'm trying to say is that this method of colorizing is pretty useful pretty good and quick easy good quality and a lot of pros there not a lot of cons unless you're making a convict i see that i forgot to under color it underneath it looks like he's got a no pants under uh in the crotch area there but i think i come back to that one and colorize this in a moment then i add boots
09:09
and at this point i'm actually making it into the characters so i haven't separated these into separate boots at the moment and this is my usual way of doing characters if i don't plan to have them be able to to change their clothes this is usually how i go through with it the whole time this was an attempt to make cowboy boots but usually i don't really work with a reference which you probably should do so it doesn't look like cowboy boots but that's another beautiful thing with low poly you got away with a lot of stuff i think and then i extrude here in the center of
09:42
his body i do a belt here because we need to have a revolver on this guy don't we so i should sell the idea that low poly to you why you should be doing low poly maybe this is a good opportunity to do that while we're modeling this character and there's plenty of reasons why i think low poly is superb amazing great all those things and first of all they're quite easy to make so if you want to start learn start learning how to model i think a low poly character is a really good way to get it going
10:14
it's very easy when you start to model a detailed character that you get stuck on details or carried away and you'll get yourself into a corner where you can't really get yourself out of it and you feel after a few hours like oh this is a pain spent all this time on just modeling like his shoulder and it's too detailed it's too problematic so i'd suggest that you do a lot of the low poly characters first because the workflow is going to be quite good in the future if you do a low poly character then you can always subdivide it and add detail to them in the future
10:46
and if you stick to a decent quad topology where you try to keep as many quad faces as possible and avoid triangles or energons and guns are where you have loads of points more than four at least so five six seven eight sides to a polygon so if you avoid those stick to quads like this character is pretty much all quads then you can do a subdivide modifier if you want to go high poly at some point and add detail and then you could even bring in in to do like detail for for future clothing and stuff
11:17
so uh so one of the parts then a part which is good with low poly is that it's uh simple to get started and uh with that comes as well that you can do a lot of the characters and before i continue i should actually mention that i wreck his hand here i forgot to enable uh see-through or x-ray and i didn't spot it here when i was modeling but his hand is all destroyed now and distorted because i only moved the front few vertices and that happens as well a lot when you model characters and you shouldn't really
11:48
fear it too much because by the time i spot this later on it's quite easy again it's low poly so i just end up deleting the hand you know in a little while and recreate it so it's a bit easier to forget that sometimes when you model you look at another part of the body and you might end up wrecking some geometry on the side but not to worry you can always fix it it's quite easy you'll do a lot of mistakes as well especially if you're getting started or i've been doing characters now for a very long time or different objects in blender and
12:18
i save often and don't be afraid to go back and delete and start over if you need to do it usually the second time around you'll do a better job i used to think that if i wreck something i always used to feel quite frustrated and think i can never do it that good again but i found that the opposite is pretty much true when you've done it a few times usually if you do it again and again and again it's actually going to turn out better in the future so it's quite amazing that i didn't spot this totally distorted hand here but i guess i was really focused on doing the head
12:51
so if you uh just ignore that until we fix the hand you should be all right too i think if you even can now that i've pointed it out for eyes on characters i usually go low poly like this and i create a separate geometry for the eye i don't really want to subdivide the head too much to create all those extra subdivisions that would be required to get a proper eye in there so i do usually shift d to duplicate one of the forehead phases there so and then i shrink it down and extrude it into an eye like i did for this one
13:23
and same thing i do for the beard here and the hair i usually select a bunch of uh just the faces onto the head here and then either shift d to duplicate it and alt t to extrude that out into facial hair and again if you want to learn this i've got check out all my videos on the low poly characters especially in the 10 minute modeling challenge because in 10 minutes you can do a full character and even with a little bit of practice if you're new if you repeat it enough and do different type of characters and check out those episodes i do five
13:53
characters in 10 minutes in one of the videos in another one i do three santas in another one i do a fully rigged pirate with a face in 10 minutes i've got some other ones as well where i do like a game character and just a few episodes ago i did where you have three different clothes styled characters as well so i started to be a bit more liberal as i called on on the timing i used to be super strict with the 10 minutes and i still consider it a fail if i don't
14:24
finish in 10 minutes but in the bonus material i usually add quite a lot of extra time so i think yeah it's more important to show and teach and be able to see rather than sticking to the time limit 100 oh yeah i was meant to sell in the concept why you should be doing low poly a lot more as well so like i said first of all fast to make and easy to learn and another good thing is that it'll enable people that don't really traditionally do modeling you'll be able to do characters
14:55
for your own games so if you're a developer i've had quite a lot of comments from developers saying thank you finally i don't have to have that cylinder in my game i can actually start modelling my own characters so it's a lot of fun to hear that and i think it's perfect to start with low polydon because as a developer you can just jump into blender it's free after all and then follow these type of routines these type of tutorials and then do yourself a favor and start to model a few characters so you don't have to look at those primitive cubes
15:25
and capsules in your games so easy to learn i think to do low poly so let's just continue selling in the concept of low poly it's also a pretty cool art style i think it's got its distinct personal look and uh if you're as old as me or even older or younger then uh pixel art might be a thing that you like and i think that low poly is pretty much like the equivalent of a pixel art but in 3d instead of 2d so it's got those crispy clean colors and uh like a really
15:55
distinct style that looks a bit retro gamey so the art style itself is really good for games i think especially for indie games oh yeah one more thing then is performance that's really good if you're making a mobile game you can't really get much more performance than going low poly so you'll get a lot of the characters that you could do and uh if you have animated characters uh with the if you import them into unity that's mainly the engine that i use but the same is true for pretty much all game engines if it's on real engine or probably go dot and everything so the
16:27
more polygons that you have and the more armature bones that you have we'll get into armature in a little bit so the more bones you have and the more polygons the harder the graphics card will have to work or and the cpu for that matter when you animate the character and all you bend all these bones because uh it has to calculate everything about how to rotate all the verts all the vertices and how to warp all the polygons to make it into the animated character so the more polygons you have and the more detail the more you'll struggle with that and if you're only using one
16:58
character on the screen that's usually not really a problem if you're using five that's not usually a problem either but if you're getting into quite a few characters so we're making a real-time strategy game now where in particular we've got a lot of infantry units and if you have uh maybe even like a thousand of those on the screen at the same time even if they're low poly they the computer will start to struggle quite a lot so then you have to look into alternative methods to optimize that and i shouldn't be going into detail for that but there's stuff like imposter there's something called where
17:29
you render basically like sprite counterparts of the low poly characters or the characters in whether it's low poly or not and you can also do other neat tricks to to up the performance so maybe a future video i can go into things like that how to optimize it but the point is then anyway that low poly will be able to get you more characters on the screen and get the the power left over to do other stuff for your game and maybe you don't have to spend quite as much time optimizing your game if you're going low poly because uh
18:00
even if you don't optimize it too much it'll be fast enough so performance big thing keep that in mind and with the performance also comes real time shadows is often used in games these days so when you do at real time shadows the the computer will have to it's the graphics card that builds all this and it's really performant these days but the more polygons that you have the graphics card will have to calculate where the light is coming from and then take all the geometry and convert those into shapes that it'll cast on to maybe the
18:32
ground or any other characters or objects so naturally the more polygons that you have on the characters and in your world the more it'll be taxing on the computer to to do those type of operations and there are ways for high poly characters to compensate for that you can do like a low polish shadow caster for example but the beauty is now that you can just use the same rendering and the shadow casting character without any problems so another good thing for low poly here
19:03
so i hope you like the music by the way this is from i'm not sponsored by epidemic sound i'm in fact i pay those to get a monthly subscription so i can put this music i compose my own music but i don't really do any western inspired but if this turns into a game i'm gonna be making some own western style music pretty i like the vibes my my wife hates the fact that i like uh old uh like western style music if i put on american remains by what's it called the the highwayman in the car
19:33
she uh basically drops herself to the floor in the car and she doesn't want to be seen and she's embarrassed but i like it isn't it amazing that i haven't spotted the broken hand yet let's um i must be so focused on modeling this now it's like the necktie the cowboy necktie that i'm modeling and it's beyond me how i've managed to keep that hand broken for so long put in the comments if you think that i should speak more about the actual modeling but i
20:08
like i said for the actual modeling process i've got so many videos if you check my channel history on how to model these characters basically i say every operation extrude here extract there scale that there's no such thing as extract but extrude and scale that's pretty much the only operations that you really need to know so i thought i'd take the opportunity in this video just to take speak a little bit more about the process around it and uh just things to maybe they're good to know and you can check those other
20:39
videos for the actual modeling part and maybe for the animation video where i do keyframing where i haven't done so many videos about for those i could probably speak a little bit more about exactly how i'm doing things and that video is going to be so long anyways and here is where i'm modeling this i still didn't have in mind to do separate clothing because like i said i usually have the character with fixed clothes i've always wanted to do separate clothing so you can basically have like a
21:11
character creator part of your game where you can change your clothing but it's always been a problem because i've always tried to model the clothes afterwards and separately and it was more or less by accident that i came across this method that i'll be using in this one since i start with the just taking a few of the polygons later on when i've mapped this character so but a lot more of that one is going to be in the video too so maybe i shouldn't talk about that too much in this video another good thing with low poly is that
21:42
you can use it as a base for a future high poly and i sort of touched on that one before and uh when you're making a game character often the game itself would have the low poly character but you model a high poly character that you bake textures with so if you want to have ambient occlusion which is basically how how shadowed areas are maybe increases on your clothes and things then you can use a high poly version to bake textures and that you put onto your low poly character later on and it's also common that you might want
22:12
to have a multiple level of detail so lod objects and you have to usually start with the low poly one and then you create maybe a medium medium medium poly version and a high poly version and then you can create in the game engine you can then select that it should change those automatically based on how far the character is from the camera itself that's pretty much automated these days all you have to do is create the three different ones and then assign the level of detail so
22:44
maybe a video on that in the future would be good too when i model i often go into alt z here you can see that and puts it into see-through mode and then that makes you able to pull it you see how the geometry is in areas that are hidden so that's really useful you can also select parts that are behind in the character so i toggle often to see what the character looks like with and without but i usually don't spend the whole time in x-ray because it could be confusing as well
23:20
and now i think did i spot the broken arm yet yeah yeah i'm like what has happened here and i thought this was something i did just then little did i know that i'd been spending like 20 minutes uh with a broken andy on both sides and i think i tried to revert it i do ctrl z 36 times thinking i'll be able to go back here because i thought i just messed it up but then i go okay let's just fix it a different way so i do also to see through go one to get the vert select and then i
23:53
just decide to remodel this part so i just extrude the arm again from the elbow and here's again where i want to emphasize that you want to have those little extra lines there see that i've got three lines all the way around the elbow there and that's again for when you have an armature like the bones inside this character and you bend the elbow if you didn't have it it would get a really strange fold if you just had one line so as it bends it will uh create a
24:24
really skinny elbow with a really strange geometry so those extra lines the weight painting will do automatically so it makes it like oracle a bit nicer like a bent pipe so trust me on that one you can try it without if you want to save a few polygons but it won't look so good so i do the same thing here just the palm and same thing goes for the virtual palm here or fingers see those extra three lines around there that's just so when you bend the fingers i'm just gonna have a hand bone and a finger bone and when you bend that
24:55
you want to have the palm of the hand be able to oracle a bit so it doesn't just fold these really strangely so i put a little bit extra on the thumb there as well you could go a few more lines if you want to it's up to you when we do the weight painting later on you'll be able to figure out so that's how quick it was to recreate that broken arm so there's no uh panic in the stables if that happens that's not even a saying but there's no panic in the stables and i move the necktie here a little bit
25:27
inside into the body as well it's uh since i wasn't gonna plan to have it separate there it doesn't really matter if it's hidden inside but if it was to be right on top i i could risk with the weight painting that it would detach itself not really a problem either but that was my thought process and for inspiration usually i don't really go with any reference but i do look at a few things maybe before i model something for inspiration so for this character i don't think i did
25:57
i just started off modeling and i sort of know from the westerns that i watched in the past that they should you should have some sort of a hat and uh maybe a belt and the necktie those were and the boots that was pretty much as far as i know but i did do think maybe i looked at a cowboy hat after on because i couldn't remember exactly what they looked like maybe i make it look into a pirate touch or something for the ear here i did the same as i did with the eyes i just did touch one of the polygons or one of the quad faces there
26:29
and then i shaped it into an ear and extruded it so it's quite nice to be able to have that detached from the head as well for a low poly character because then you can position it whichever way you want without having to add a lot of interior geometry that you don't need thing to be aware of when you do the touch the ears and the eyes like that is that when you do the automatic weight painting usually it doesn't really get weight painted correctly for if you have separate objects like the ears and either and you'll see when we weight paint this one as well that those don't get 100 percent weight on the head
27:01
so when you rotate the head it'll leave the eyes and ears a little bit in place so that has to be fixed a little bit in afterwards but that's pretty much the only thing i think that's an issue with a detached geometry like that and i'd say it's not really a problem that it's got faces in the back as well that are inside the head because we don't have so many polygons i guess if you really wanted to optimize it you could delete those on the inside of the eye there's a quad face that's not visible for example you could delete that but usually i don't
27:31
really bother and i often get the question on on the inspiration like how do i figure out what to model or how to model it and i've also noticed that a lot of people that watch my videos for example if i do a shed or something or if i do like a little red house or if i do a floating island a lot of people follow that tutorial and do the exact same uh scene that i did and i guess uh i mean whichever way you can learn is good and if that's your preference to do
28:07
it if you want to copy exactly what i do you could do but i do encourage you as well to just try to think of the methods that i use and then come up maybe with your own topic so if i'm doing a cowboy in this sense you could use the same type of thing to maybe do i don't know you could do like a ninja or a maybe a a knight or you could do a i don't know what you're into like i'd be doing like an astronaut or something so maybe just replicate the technique and the methods and then try to do something that that
28:38
you have more passion for i find that i do a better job usually if it's something i'm really interested in if it's something and with cowboys uh i don't know maybe i should have lived in the 1800s or something i had a period especially when i grew up when i thought i was born in the wrong era i should have been a cowboy or something i used to watch pony express with buffalo bill cody as a kid and i used to watch a lot of western movies i used to love north and south which was uh for the american civil war when i was in the us i went to
29:09
gettysburg because i studied in high school for a year so we went to look at that so for some reason like cowboy themed things and also what was that film called i should know that by no young guns one and two amazing so i was convinced that i should have lived back then i'm pretty glad that i didn't because they didn't have blender i'm pretty sure so should be uh happy and i think uh i don't know if you were like creative that struck me the other day as well if since i like to create things and now it
29:39
happens to be games and 3d art and stuff and i was thinking if i did live back then what would i like to create then and i guess i'd be like falling into the category of becoming like a blacksmith or something to create i don't know weaponry or something i don't know if there was a huge market for art i guess there was but i think i would have wanted to make more practical things so well it gets a little bit sidetracked here i guess what i was trying to say is that with inspiration just try to figure out something that you're interested in and apply these techniques and model your own
30:10
things so if i'm making a cowboy game here you might want to do something totally different like a gardening game maybe a canoeing simulator a mountain bike simulator a motocross simulator a little i don't know like a game with planes or spaceships and stuff just apply these techniques and do your thing i think but you're welcome to copy of course as well if you want to i don't really mind so whatever you find is easiest but i do encourage that little bit of out of the box thinking so
30:40
usually for for inspiration or i if i do look at references i don't try to copy it and use blueprints to make the exact same thing i look at maybe google search images and then i if i were to do for this one maybe i'll do like a search for cowboy just to get an idea of what type of clothing they would have and so like a hat of course and this black vest and like the necktie and later on i also uh i had to google what the names of those were because i searched for like pants on top of pants leather pants and
31:12
i believe they're called chaps so that's what i model later on as well to get like the protective stuff in front i don't know i guess they use that for when they're doing horses and stuff [Music] so i'm going to say is there any more stuff that i can come up with why to go low poly instead of high poly another good thing is if you're not that good to be honest i get a lot of people saying that oh you're a mass strep blender and you're really good at modeling and i'm i'm pretty decent at doing low poly stuff
31:46
but i've tried high poly a few times and i'm rarely happy with my result to be honest so that could be another reason to go low poly you can cover the fact that your uh your skills might not be up to par to do the high poly stuff maybe that'll come in the future so i find it quite quite nice that you don't have to go for full realism and spend so much time doing it i think the time aspect is a super cool factor another good thing is that uh i guess that's true for whether it's low poly or not but
32:18
i tend to want to share my armature so the the skeleton that i create i want to share that with loads of characters and i guess that's perfectly valid even if you want to do high poly stuff of course maybe like games like fortnites and stuff do that all the time they share the same armature for i think pretty much all their characters because there's so much work going into the animations especially if you want to grab onto like different props or interact with different characters i think that's why a lot of the characters if you've thought if you play fortnite for example you'll maybe you haven't thought about it but
32:49
why aren't there any really short people or short skins in in there or why aren't there really big fat ones or ultra skinny ones or maybe proportions with longer arms and stuff and that's because all the work that goes into animating those characters they'd have to create separate animations for all of this different body types so when they introduce a new dance that every kid in the world wanted to buy i don't know if it's popular anymore but then they'd have to redo that dance for all those different characters and i say that and it's probably true to some extent but then
33:20
there's also in-game engines as i know unity for example if you use a humanoid character you can re-target animations and reuse them i've tried that a few times and if you have a really tall one and a really short character it does a fairly decent job to retarget those animations uh normally by out of the box you couldn't use it it wouldn't work so if you animated a character with long legs and then try to play that animation on on a character with short legs it wouldn't work at all so the retargeting is it does a really good job to save your time but it's not perfect i
33:53
would say when i looked at it you could get some issues with the limbs penetrating and the floor you know the way it touches the floor bends the legs that's not optimal but usually it's good enough but that's one of the main reasons anyway why you want to reuse the same armature because that will save you a lot of animation time later on so what i was considering for a game like this is maybe having two or three armatures so you have maybe like a child armature a tall character armature and i don't
34:23
know someone one more alternative and then if you model a lot of characters then you would have to pick one of the armature that suits that character's style the best and then try to stick within those constraints of modeling your character so but again i think that's true as well for whether you're going high poly or low polish so that's not really an argument to sell you in on low poly and another thing as you can see now i've decided not to cut this one too much
34:59
or in fact i'm leaving the whole process and this is pretty much what it looks like when i model i put a bit of music on in the background and then i just spend a lot of times and i tweak a lot and i look at it i'd rotate the object a little bit look from different angles try to figure out am i happy with this am i not and this is my workflow in a nutshell i'd say that i just sit like this and until i'm happy and a lot of toggling then between x-rays see-through and repairing it and then try to avoid having polygons that are too distorted
35:32
or too broken and just refine look at it refine look at it refine and if you're unhappy maybe sometimes you have to delete something and start over and sometimes it's more savage salvageable and you can see that the head is missing now and that's another technique i use a lot i i usually select polygons when i'm in editing mode because everything of this is in the same character here and you can select a bunch of faces and
36:05
then press h key and that'll hide those polygons and then you press alt h to unhide it so when i wanted to model the beer beard since it's in the same actual objects but it's a separate mesh in there i selected the head polygons there and then i pressed h to hide it and then i could see what the beard looked like i could have used x-ray instead but quite often it's nice to get those away all together so you can work with something without x-ray on
36:36
another thing with a hat here is still in the same object and for props that are for example attached to the head like a hat or maybe a backpack on the back one thing i really like to do is to create well at some point later on in the process i'll take those polygons and i'll detach those into a separate object altogether that i name hat and usually in a game you don't really need to weight paint the hat or the backpack especially again low poly is your friend you don't have to worry about
37:07
that too much so if you detach it into a separate object then you can parent let's see now so i say this right you parent the hat object to your head bone in your armature in the game engine and make the hat a child object of the head bone and it will automatically follow along as when your character bends his head or tilts it or leans it forward or back the hat will follow along and rotate just fine and doesn't have to be weight painted you can interchange hats then so if you
37:40
have like 10 different hats that are attached to the head bone you could just hide and show them as you want and that's a way to to do i do that for all the clothes in the next video all the clothes and all the props like that are attached to the character they're just hidden so most of the time when you see it maybe it's got a black hat on it's because the white hat and the gray hat is still on the head but they're hidden so you can't see them and then you can just toggle there that's uh one of the things i like to do and again you don't really have to wait paint those um i
38:10
think i end up wait painting the hat in this one but i'd probably i'm probably gonna revert that later on and then just make it a solid object um that's not weight painted because it doesn't need to be weight painted at all and another nice thing with doing it that way if you do it as a separate object that's attached to the head bone in the game engine is that let's say the character gets shot or falls down and becomes a ragdoll then you can just unparent the hat object and make that not to be apparent at all and if it's
38:43
got a rigid body and a collider the hat will just fly off like it wasn't attached to at any point so that's cool if your character just like fall off a horse or fall off a cliff or something then or maybe you get shot in the hat then you can just detach it and not make it apparent anymore of the head bone just activate its own rigid body and have a collider on it and it'll fly off act really nicely and that goes the same for any props that you might have if he's got a revolver in the sand that can do exactly the same i usually do exactly the same there
39:15
model it as a separate object in the end and then attach it in that case to the hand bone instead and then just make that the child of the hand bone have him run around with it fire it it'll follow along the animations really nicely and then by the time he needs to drop it then you unparent it and just activate its own rigid body and collider it's just gonna work and physics engine takes over so it's really neat here we're modeling the hair and i usually don't
39:46
bother too much with animating the hair or you could create like separate bones if you want to for your head rig and i'll probably maybe i'll do some optional bones in the future for this character but most cowboys i don't think had too long of a hair but if i do some females as well maybe we want like a ponytail or something and then you need to add there's multiple ways to do it but i think i would add a few bones or armature bones that come out from the head and then just fall back like if you have two pigtails for example or two ponytail
40:17
or one ponytail i guess but the thing is that you'd have to animate those most likely so for all the animations that you do for the character that when they're spinning around and things you have to animate those bones as well so i'll have to go back and and add keyframes to those parts of the armature or all the animations that i did there's also probably a way that you could do for hair especially if you're going to have it in the game engine maybe the better way to do it is just skip animating those unless you want to have the full control which you
40:49
might need to but you could uh instead have those three bones that touched into a separate armature that is attached to the head and then you could have maybe like three colliders on the head oh my phone's ringing [Music] let's see i have to pause this thing let's just take this call hello hi all right i am you you're in a video now because i'm doing this uncut now so i'm
41:22
just recording those things let's see i've got uh 44 just trying to see how much i've got left no i've got loads of hours but not in this episode i've got like uh why can't i pun oh yeah i've got quite a bit so she wants to go to sleep now all right i'll uh have to post this thing and come back to it all right that's in a bit bye all right guys so much for taking this in one sitting i'm gonna pause here and continue this
41:55
conversation in just a moment so don't go anywhere just uh in fact keep watching i'm gonna put my kids to sleep sounds weird but i think that's the terms they use they're going to go to sleep now and i'll come back and record some more so our cowboy is starting to look pretty much like a cowboy i'd say so even though the clothes are attached at this point and we'll our goal is to detach those and make them interchangeable of course so that's what we're gonna do and usually i also tweak my models a lot
42:26
it's difficult to know exactly when you're satisfied with the way they look and i guess in a way you'll never be satisfied but there's a point where it comes that it's gonna be good enough that's one of the mottos is that called even yeah motto it's that that that'll do or that's good enough and then move on to something else don't get stuck on the details for too long that's one of the good things when you do ludum dare if you've never heard of that then ludum there is a game jam and i guess any game jam will do but
42:57
ludum there is what i've sort of fell for and that's where you make a game from scratch in just a weekend i've got a video in my history about that and before i got started with it i thought what's the point of doing a like a game in a weekend that probably won't even be that good to begin with but the fact that you push yourself through from start to finish to make a game fully playable it's actually a really healthy exercise that i recommend anyone to do you'll find that there is a lot of things about making a game that you don't really think about otherwise so
43:28
stuff will take a lot longer than you think because getting a playable prototype in place can be done nowadays really fast with like unity or even i guess if you're handy with unreal or godot so the problem then is that when you got a playable prototype even though you think that oh this is pretty much a game now just getting finished into a game with menu states or game states all together maybe high scores and transitions and if you've got to add some story or maybe more levels you'll find that there's a lot of time that goes into it that you didn't really
43:59
think for about in the beginning so when you do elude them there you sort of push through the whole process from start to finish and it reminds you a little bit of all the components that need to go into a game so usually i aim to have the game playable by the first day and then the second day i just have spent all the time to finish it off so that's another good thing with low poly stuff you you free up a lot of time to do other things and if you want to add characters or components to your game you could just jump into blender and model some new characters new props new
44:31
items maybe that you want to stick in your game so we've come to the point now where the character is fully modeled and sometimes i use the rigify rig that comes with it but i find that for low poly characters my preference is definitely to do my own rig or my own armature i don't wouldn't really classify it as a rig so and usually like i've created here i create a root bone at the bottom and then i extrude two spine bones and then i extrude a head bone it's quite common that i skip the neck
45:02
all together i find that pretty useless so sometimes it's good i guess and especially if you want to use maybe other yes or animations but the fewer the bones the easier i find it to animate pretty much so i also extrude a collar bone that one i do find a little bit useful even though i broke mine most of the times on my motocross hopefully i won't do that anymore it's all titanium nowadays so um but the collarbone i do find pretty useful when i animate in the shoulder there
45:33
so it can offset or position or rotate your arm a little bit like you otherwise not be able to and then i extruded the upper arm and the lower arm and then i also have a hand bone and then a finger bone i should actually call that palm bone but it's called a finger in my case and then a thumb also that's uh parented to the uh to the hand bone and you can detach the bones with an offset like i did with the thumb there all the bones don't need to be physically connected at the joints you can actually detach detach them same as this leg here and
46:04
see that the leg have to be imparented though to the root bone there so it follows the rest of the body and then i extrude down upper upper leg bone a lower leg bone and then a foot and usually the foot ends up a little bit diagonal like that and i like to have it from the bottom of the lower leg to the tip of the toe and you can rename all these bones here by just selecting them one by one and hitting f2 on your keyboard function key two and then just name them and i usually go root spine one spine
46:36
two head and then it's really important now for the limbs that you do dot l on the left side so upperarm.l and lowerarm.l hand.l fingers.l thumb.l the reason why it's important to have dot l for left is that blender comes with a symmetrize feature that it can flip the armature and create mirrored bones exactly in the opposite direction and then it also renames them to dot r for right so that's why it's important keep that in mind
47:06
make sure that you name those limbs dot l at the end here's another important thing i extract a bone from the knee that i clear the parent of and i move it with g to the front and that's going to be the inverse kinematics pole bone and a pole bone is where the knee will point towards i also do from the heel there i extract the bone backwards and it's important for these two bones to disable deform because you don't want the character to be deformed by this bones
47:44
or these bones and then that one i renamed to ik leg dot pole and then this one at the bottom ik leg dot target and that's the inverse kinematic target bone [Music] now i've also got a few videos on this so check out my history for low poly character modeling if you want to have a really step-by-step procedure to do this in detail and why maybe even why you do it i can't remember how much detail i go into but i definitely go into it enough so you'll learn how to do it i add the inverse kinematics to the lower leg here
48:17
and inverse kinematics basically means that as your character is animated if you lower the root bone or the pelvis then the feet will stay anchored on the ground and then if you grab a foot and move it it'll animate the leg to rotate the joints necessary and especially for the legs inverse kinematics is really really useful and it makes it a lot easier to animate so you can focus on just positioning your upper body and rotate that and then you lift and plant feet as necessary
48:47
and uh i probably said it about nine times already but let's say at a tenth check out my channel history and look for those low poly character modeling and rigging videos to get this in perfect detail here's an important thing as well this kneecap you want to go into object editing mode on the armature and see how i move this in a little slight bit there to get a little kneecap fold and that's for the inverse kinematics to know when you lower the body which way it's going to fold that knee because we want it to fold forward like
49:17
a kneecap otherwise you'll be in serious problems if the kneecap falls backwards so that little tint there or a little offset will take care of that and i also do the same here for the elbow put in the opposite direction of course because when you have that little fold or that little angle then the immersed kinematics is kind of no then how to fold it and here we can see that it's sort of working but we still got some serious issues there with legs so usually that's due to either
49:48
you've got something incorrectly configured on your inverse kinematics or in our case i think it's the knee that pull joint that needs to be moved hello guys i'm just jumping in from the editing suite now i'm just editing this video and i want to mention that i flipped the character or i rotated it 180 degrees around the up and down axis which is the z axis in blender and the reason why i do this is because i need the character to face in the y positive direction so in the direction that the green arrow is pointing in blender and the
50:20
reason for that is that since the unity 2020 came along they've included a little big axis conversion feature that will uh manage you to convert from the blender access system to the unity access system since they're using different coordinate system for some weird reason i recommend that you model them so they're facing in the positive y direction down along the green arrow in the blender axis control tab is the key that you use to move in and out of post mode and it'll be a little bit confusing in the
50:50
beginning like when should you be in post mode and stuff and when you animate everything is in post mode and also when you set up the inverse kinematics that's in pose mode and if you need to edit the bones the armature then you do that in edit mode so you're going to be pressing ctrl tab a lot and you can see when the bones are light cyan or blue colored that means that you're in post mode i also modified the mesh a little bit there so that knee cap angle is accommodated for the same thing here for the elbow for the arms i won't really use inverse
51:21
kinematics i usually animate those in forward kinematics and sometimes it would be really handy to have the hands especially when you're doing weapons to have forward or inverse kinematics but the problem is that it's uh quite tricky still in blender unfortunately to switch between forward and inverse kinematics there's a lot of stuff i've looked for a really sleek and nice way to do it i haven't found one so it's you have to set up duplicate bone structures that copies and pastes like
51:51
the angles of all the bones for the arms and i'm still waiting for a significant improvement on ik switching so for now i tend to animate all my motions with forward kinematics for the arms and for low poly i find that to be perfectly fine usually it'll be good enough so you can see that the leg was folding really strange there so i end up moving the pole target for the knees and now when we press ctrl tab and go back in here then you can see that that weird flip of the leg wasn't a problem anymore apart from maybe if you
52:22
go straight forward but when you animate you can animate those pole bones as well so the knees are pointing in the right direction we'll get into the animation a lot where that you knock the character over or if he's kind of face plant onto the ground and stuff you have to get those pole target bones straight under him under the ground another thing we do here that again for the 12th time i'm saying it check out my other character modeling and rigging videos but i disable the inherit rotation for the foot bone
52:53
and then i make it instead copy the rotation of this ik target bone on the heel because when you animate that's the the target bone there is the one that you're going to be using when you place your feet so i want to have the rotation also copied from that bone so i can use that not only to move the foot but also to rotate the foot and it's important here that you change a few things when you do this when you set the copy rotation you have to do it first of all in this inverse kinematic or in the i can't even
53:24
see in the in this tab the little green character tab forget what it's called that's the one that you have to copy rotation constraints and then i pick the armature and it's going to copy the rotation of this target bone here and you have to you can't pick that with a little picker for some reason you have to search for it or pick it manually and then that won't work uh straight out you need to change into local space for the target and for the owner as well and you also you'll see now when i
53:55
rotate it around the z axis or the um up and down axis then the rotation was incorrect so you have to invert a couple of the axises here and i usually get those wrong all the time so i have to do this even though i've done it like a billion times i tend to pick the wrong ones so you have to go back and make sure that you invert in this case i think i invert the z axis that looks good yeah so when i rotate it's because the bones are pointing in different directions there that's why the z rotation needs to be inverted but then when you roll the foot now
54:27
everything like that looked okay but when you roll the foot here you can see that it's rolling in the incorrect direction so i also have to flip the y axis there and now when you roll the backbone then the rotation of the foot is correct and it's also important to do this while you're still well you still have not mirrored your character because when you do the symmetry mod like operation now you want to make sure that you don't have to redo all the inverse kinematics as well so that's why i make sure all of this is working that's not really a problem when you go back like that we can live
55:02
with that so again you can animate uh the movement of those pull targets so you don't get those weird flips okay now i in edit mode i just press f3 and i search for the symmetry i don't think it's a modifier it's a like a an operation that you do and that flipped the whole armature there and everything is good to go and i just renamed the cowboy armature and the mesh itself i renamed to cowboy finally change the name and then you select the mesh shift select the armature and do control
55:33
p and do set parent and you do with automatic weights and nowadays the blender does a really good job with the blender blender does a really good job so it really weight paints everything pretty good and there's not that many tweaks that you need to do and usually even the hand there is good enough you could spend forever probably to tweak the weight painting i usually don't bother too much with it because the animations are going to be really fast and rapid and in the game you won't really tell so
56:04
instead of wasting precious time on on tweaking this forever just spend that time maybe doing other stuff like making the game it's looking pretty good um when you rotate the characters here i usually go through here we see a problem with the vest and here's uh why we're going to fix this in the second video of the modeling all the clothes again i end up modeling that vest once again because it's better to copy the upper
56:35
chest now that we have weight painted the character again because this is the result of the automatic weight painting when i i did this uh after i modeled it and this is why i don't really recommend modeling that the touched clothes like the vest or even that necktie i think it's better to weight paint or do this armature like with automatic weights before and then you model all the clothes so that was a lesson learned even for me that i've been doing this for many years now to create characters
57:05
this was an epiphany i was really happy when i realized this that okay let's just get rid of that vest later on and then remodel it and i ended up making quite a lot of different sets of clothes different pants different tops t-shirts shirts and different vests and those chaps for the pants because here you can see in the weight paint that the body there has got a lot of green and yellow but the vest itself didn't so the weight painting works really good for connected geometry but it does not play
57:37
well with detached geometry which is the same case for this vest and also the necktie and the eyes so for the eyes and the hair and anything that's attached to the head it's not really much of a problem because there's a quick way to just to reassign everything to get a 100 weight to the head bone but for the body there's so many different types of weights onto those and it'd be really painstaking or it'd suck basically to do all that manually and try to copy those
58:09
and that's why we're going to scrap this whole vest and redo it from scratch i spent quite a time long time here when i was doing it and like i said i've decided to keep this in real time so you can see the way i think as well because i i usually sit like this and i rotate it and in this case i selected individual verts and i saw that the weight paint there was how much it was attached you can see on the right side there on the numbers panels you can see that the spine has got the the majority and i was thinking okay
58:40
how should i should i copy the verts there like this because you can copy the weights across and i was thinking is that going to give a good enough result so instead of searching for a solution i usually think about the problem a little bit first and i try a few things to see if that solves it and that's exactly what a saturn did here picked a few verts pick the verbs on the body which uh the last word that you could select will be the active vert or vertex and then when you click that copy it'll
59:11
copy the weight across so i was thinking is this going to be a viable way to get through this am i going to be able to get this vest to follow this properly and i could probably get it to a good enough result but imagine if you made loads of clothes that would be really problematic you can see that it was better i mean it didn't fold the bottom ones but i still had problems with the upper verse so as i was doing this contorting it and then i started to think is that going to be a problem are you going to animate the upper bone that much
59:42
to the point where it's going to actually break through like that so my mind was going into those type of things like okay will i get away with it that's a one thing that's quite healthy to ask yourself because if something isn't perfect maybe it doesn't need to be perfect either can you avoid it maybe some other way and sometimes it's a a good solution to do that way and sometimes it's a really terrible way to do because but you have to analyze every problem that you run into and here i thought okay what if i just move those words out a little bit am i going to avoid the problem by
01:00:13
moving the vertices out and i could probably do that as well so it's all a thought process it's like troubleshooting on the fly and you're never going to get it right the first time probably and you learn things as you go so again i did the same type of thing up here i selected the those vest vertices on the outside and then i shift selected the body vert last so that became the active and then i copied it and then i have old zed here so i can
01:00:46
see through it's important to have the old zed which is the see-through or x-ray operation because otherwise you wouldn't be able to see and pick the weights from those words and now when i folded it yeah it worked pretty good so this might not be the wrong way to do it it's just that i found a better way to do it again than was to copy the whole upper body instead and detach that into a new geometry because that brings across all the vertices uh or all the vertex weight just comes along so as a nice bonus then you don't have to sit and do
01:01:16
that manually for the belt i didn't really want that to bend so i was thinking about solutions for that as well and i copied i had some problems first of all that it didn't follow the way i did so i did the same thing there i pressed l when i hovered over the belt buckle and l selects all the linked vertices and then i just copied the vertex paint there from the belt one that is attached to the body and that looked better so it's a matter of the getting it too good enough i think again try to not over obsess about these
01:01:48
things just try to get it to a point where you get away with it here i think i spotted as well that he's got no uh he's got his pantsless so i had to go in here and correct that so i control tab out of post mode and then i go select the armature or not the armature the mesh instead pick that bottom face and then just reassign the uv space there i should mention that for the uv mapping especially for the unreal engine
01:02:18
there's a problem if you shrink the uvs to an infinite small point i think uh it's a problem in the unreal engine especially not so much for characters i think because those uh uv islands are usually used for shadow mapping as well so for more performance non-real-time shadows and then you'd probably need to have a second set of uv coordinates that are spread across so all the body parts are spread across
01:02:48
the entire uv space across all this texture it's i've not ran into a problem with it in unity because first of all i don't really own characters i try to since everything is low poly i use real time shadows most of the time and that's not really a problem you don't need the uv mapping to have a 100 coverage across the whole uv space or the whole image and even if i did unity has got a little tick box to generate shadow map coordinates or shadow map uvs in the second channel so that's a tick box when you import
01:03:19
an object so for characters again i don't think it's a problem because uh you you couldn't shadow map those anyway they uh they're moving all the time and you couldn't like render a shadow map for a character because it's going to be moving and animating but it would be a problem maybe when we get into the environment modeling later on where we do all the buildings and cactuses and boxes and i don't know the egg gallows and things then those are probably going to be fixed in the scene all the time or most parts of them anyway so those you probably want to do if
01:03:51
you're doing for unreal engine make sure that you do a second uv channel that you spread out and do automatic unwrapping of all the uv coordinates so the entire object is spread out over an entire uv space so from zero to one in both u and v directions which is basically x and y so a little side note there could be good to know so but for unity i tend to care very little about that problem uh for low poly games i just do one uv channel and i map it with the
01:04:22
infinite small points for the vertices here so i just get a color from this texture the good thing with using textures like this is that you could actually create separate textures that you name different regions in so you could have one for skin tones one for hair colors and different colors and then you could create different textures and with the same character you could just drag and drop in different textures and it'll swap out for example all the the shirt colors or all the hair colors or all the skin colors
01:04:54
so but i should also mention the benefit of using the same texture for all characters and all objects is that unity will do automatic batching a lot of the time maybe not so much for the animated object unfortunately so the characters you're pretty much left without the performance improvement but if you use the same texture and same material which is very important on loads of different objects so i use this material same one for all my buildings and everything then unity can automatically batch those and render them in the same draw call so try
01:05:25
to use the same material on as many objects as you can and i think it works really good when you've got a palette like this to uh for the low poly is that pretty much every object near enough can in your whole game could use the same material mine is transparent and emitting objects of course they'll be a bit different so i go in also here and i think i do the same type of fix here for the necktie i think there's a better name than a necktie isn't it but here i remove the weight painting
01:05:57
altogether with ctrl g you can remove all the verch weights and then you can do ctrl g as again and set the active bone and then you can assign 100 of the weight to those and as you can see i totally uh messed that up so that didn't really work so well so when i press l now again to select the linked vertices here press control g i removed all of them all the way paints and then i set the active bone to spine two
01:06:26
and then i did ctrl g again and assigned it to active group and then i went back into post mode here and then when we test it then we can see that the verts there for the necktie follow the pretty good there they could be 100 mapped as far as i know now to that upper spine bone or spine two bone there we saw a problem with the vest that we're gonna fix later on by creating a whole new vest all together so let me know in the comments what you think and uh subscribe if you haven't already and give the video a thumbs up if you thought it was helpful and finally
01:06:57
i've also got a patreon if you go to infantia.com that's also a site that you should visit but if you go to patreon.com infensia you can give a little bit of extra support there and help me make these videos in the future so until next episode and until next video take care and i'll see you then bye for now
01:07:40
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