In this lesson, we're going to mirror the face over and connected back up and kind of make some fishing
adjustments on it.
So I'm going to hide the reference for now.
And when I go into the front view, we need to line up this middle edge because through the modeling,
it's gotten off of the middle.
So I'm going to go to the edge mode, click the center one and get off of component scale holding down
or go to the entire world and scale this down and looks like it's snap pretty well.
But I'm going to hold on X and just pull it over a little bit to make sure it's right on zero here in
the center.
And then so I'm going to close this.
I'm going to delete the history real quick just to make sure it's clean.
I'm going to duplicate this.
I'm going to freeze the transformation's and scale this negative one in X.
And now we have a copy and a proper skull.
The only problem is it's not connected to each other.
So we need to first combine the meshes, mesh combine, and now we can delete the history here to get
rid of those empty groups over here and outliner.
And let's go to vertex mode and we're just going to select the vertices down the center.
Four in the keyboard to make sure I'm not selecting anything on either side.
It looks like I grabbed one here and one there.
For the most part, everything is together, so now we just need to go to edit mesh merge and the distance
threshold shouldn't really matter because they should be right on top of each other.
If we increase, that'll start to merge neighboring vertices that we don't want to be merged together.
So when it fire on the keyboard, pull the shading and I'm just going to run through another relax tool
sculpting tool now that these center ones are you can see where when you use the relax tool and it's
on an edge like that's terminating it that way it won't relax.
So I don't know.
I'm saying relax that way or relax.
So now we can get these center pieces to relax, relax.
I don't know why I was saying that.
That was weird.
Um, okay.
I think I turned on a steady stroke where I just turn on.
Yeah.
Sometimes when I'm right clicking you can accidentally go into those menus and it can be OK.
Well, let me back up.
I need to turn on symmetry here.
As soon as we mirror something, we definitely want to make sure that we're measuring stuff, all the
tools that we're using.
So under the tool settings, we should go to a symmetry and turn on World X.
We can see that this is the X axis and we hover over this thing.
Yeah, we should get the dot on either side here so we can see where it's doing in the cemetery.
So we get these centerpieces and everything we do on the mesh now should be in cemetery mode.
Otherwise we'll have to mirror one side over again with the other.
So I'm just going through and hitting these mainly these center points that we couldn't get to earlier
when it was not mirrored.
And I'm just going to gosh, I'm going to reduce the brush size here.
I'm going in the center.
Cool, it's looking a lot better.
This is such an easy way.
I don't know what we did before this.
You had to just individually pull points around an eyeball trying to even stuff out like this.
So I'm going to grab the kind of generic brush that it's pulling the points out.
And that works just as well as the grab brush, just kind of in a different way.
So I'm pulling things out that I'm smoothing them and.
Just kind of going through and seeing where I'm when I'm rotating, I'm looking at the silhouette,
see how there's this little divot here, I'm going to go find that and brush that out.
Maybe past where it should be so that then I can smooth it like that, it looks like it's moving a little
too strong.
But it's pretty, um, all in all, the models pretty close to what I had in mind.
There's some goofy little things going on with the shape in general.
But I mean, for the most part, I mean, just relax this area.
There's some there's seems like there's too much density here.
Trying to bring all that dense mesh from the top of skull down around to the side, you can see here
where we connected when we were adding those those bridge loops.
And I think I'm going to adjust I shape a little bit.
Let me turn on B for self selection and just it's once you get to this stage, it really is.
Kind of very, very small tweaks at this stage, um.
I'm not making huge adjustments, but I wanted to get more of an asymmetrical I, I don't want it to
be super, super symmetrical on the ice shapes.
So I'm just going to I'm holding down shift to smooth some of this sort of rounds it out again and I'll
control.
Just push that in.
For the most part, this is kind of what I had in mind, um, some of this stuff isn't working, I think.
So it's going to avert a see and really get specific with what we're doing.
So this looks like a pretty hard edge here, and I think we were to use the smooth sculpt tool, it's
going to collapse at too much because the, uh, there's not enough geometry there.
So I'm going to turn off B and really just pull individual points around.
And this is modeling and 3D for you if you've never done it.
This is what it's about, getting very specific with individual points.
Yeah.
It's like there's not a roundness here like this.
Like the front is too flat.
I mean, um.
You know, I feel like the same is true here, like that's the smallest thing, but there needs to be
just the suggestion of a without looking like a point, but I'm going to continue to tweak some of those
things and maybe experiment like once you get to this stage and I'm going to go out and save let's get
to this stage.
It's kind of fun to try different things, right?
Like what if we wanted to put horns on them like it's a little devil skull or something or, uh, you
know, exaggerate the cheekbones a lot more.
You know, this is a time to kind of experiment and see how far you can push things.
That's actually kind of looks cool.
So, yeah, like we you know, we were following the reference pretty close and now, you know, feel
free to kind of get creative and see what what you come up with.
That's the end of modeling the skull.
For the most part.
I'm going to kind of continue to refine this on my own as I encourage you to do as well.
But in the next lessons, we will continue with the rest of the body and we will learn maybe a couple
of new tricks and also how to mirror the body.
The ribs are going to be interesting when I go over some deformities, which we haven't talked about
yet.
So look out for that.
And hope you enjoyed this kind of a lesson, getting kind of a cool skull out of out of this.
I think it looks pretty cool.
All right.
I'll see you guys next lessons.
Thanks.
One one more thing real quick I want to touch on before we close out.
This lesson is so say in this example of like me pulling out the cheekbones, if we had three on the
keyboard to do that kind of auto smoothing thing, we can see that we lose a lot of that shape and the
sharpness that kind of make the cheekbones look cool, I think.
And I think the contrast is kind of cool, like everything else is smooth and the cheekbones are kind
of more jagged.
So to maintain this shape, we need to add more geometry in here.
And there's a couple of different ways we could do that.
One of the ways would be to select faces here and make sure we have symmetry on we can select faces
here and kind of choose the ones that are facing out like that.
And let me just say real quick before I do a bunch of crazy stuff, we can extrude here and turn on
key pieces together and just do like a small adjustment here.
We'll just bring in the offset just a little bit.
So now when we hit three, these are much stronger edges, right?
Like it's not collapsing and rounding off as much as it was.
Now you can see this is kind of harder edge.
So just keep that in mind.
Like the closer edges are together when they're rounded out, even though these are kind of just in
line, that these are kind of supports.
Basically, when it starts to smooth, there's more geometry here it has to deal with.
So it creates a harder edge when it's when we do the Otto Smooth kind of a thing.
So you can go through this and do that on, you know, different faces like here.
We can try to do that again.
And he faces together on Offset and bring it in and have three.
And it just makes everything a little sharper right around here, which I think makes sense for the
cheekbones.
But I just want to touch on that real quick before we close this lesson out.