Welcome to rooting face loops using polls in this video.
You'll learn more about where polls are really useful how to use a poll to terminate edge or face lupe's
how they can guide and redirect edge or face loops.
And remember an edge or face he doesn't have to link back onto itself.
It's useful when it does in certain circumstances but that won't always be the case.
So just a reminder here that Paul is a virtex when multiple edges of faces meet.
So in the case and we're going to be dealing with cords here polls can happen with any shape whether
it's a triangle or an other thing gone.
But we're only going to be dealing with quads and if we have a look at this picture here we can see
three highlighted avoid all sharing one vertex.
So that's a three part well here we have five quads.
These are the most common.
By the way about your come across and that is where Five quads share one vertex and again this is smack
bang in the middle and we'll go through a few other examples of where you can find these and that will
help you explore the world of face loops.
So one thing the final thing to go over so before we go exploring all this in blender there is one final
thing that I would want to go through and that is a loop flow.
Okay so let's talk quickly about loop flown now with quads.
Of course this doesn't apply to any gods or triangles.
Think of the edges.
If you were to count around either clockwise or anticlockwise around day that's to just take a symbol
one a square.
The first edge you look at his number one then number two and number three the number four then you
get back to edge number one again.
Now I like to think one in three and two and four has been joined together.
This will help you visualize a face Lou and also help you to construct it and control the direction
in which it's travelling.
So enough with theory already let's go play with this now and hop on over in a blender.
Okay so your head should be coming along rather well at the moment and let's not go and muck that up
at the moment.
Let's go ahead and open up a brand new blender file.
Okay.
And then we get rid of the default Cuban can delete it completely.
And I'm going to add a new mesh object and I'm going to call it.
I'm going to call it a grid it is a grid and I'm going to stick with the default one and I'm going to
Scotia show over into the top few and zoom in just a little and make sure it orthographic projection
for the moment so I can see these grid lines properly.
I'm going to hop straight into edit mode.
So you've got a 10 by 10 grid here that we can play with.
And the first thing I'm going to do is just hype the 3D manipulator which I'm not going to need it.
Let's explore making a loop around our particular mesh.
And this is only a 2D one obviously in three dimensions.
It can take on a slightly different feel as well.
So want to go and grab the knife tool.
And this starts at a virtex here and go roughly into the middle of it in all the way up to the top and
the press space to apply about.
And I'm going to grab the knife tool again and this time go all the way across to the other side.
And again I'm going to press space to apply that.
Now let's have a look at what that's done.
That has created a flow running around here.
And this is similar.
This is exactly the same as the picture we saw moments ago where we have one vertex in the middle here
just behind that 3D kerson phone bill move through the cursor at the way for the moment exactly where
the origin is as well.
And we have the five quad just here as well.
So what has happened here and what has it broken so let's go explore what it has broken.
So as we go along here we can see it goes along there.
Has it broken anything along here.
No.
Has it broken anything along here.
The Breaks how we might not want that flow.
That's one thing to consider.
So everything appears to be okay.
But there might not be desirable flow here.
All right hap's we've added too much geometry into our model and if we wanted to change that for instance
we could group these four quads together and that would make modelling a tad easier if we started to
get too much detail in one place.
We can simply do that by dissolving some edges.
So these unguents which affects her face may have These are going to be joined together.
These along here not into one big lump.
This is just one of the things we can do here.
Just to remind you of that will depend on what you're doing.
So if I dissolve these edges here and then dissolve these edges will.
And why go the right way these ones here dissolve itches.
Now that should get rid of the vertex in the middle.
Now we have a triangle here.
So we need to get rid of that edge there as well.
So this isn't quite there yet because if we follow the edge flow if we talk about the one two three
four that we're talking about before.
So 1 2 3 so 1 and 3 will be flowing so that be here here then we've got one while we've got too many
here.
So there needs to be another flow here.
So this does solve those edges and not the flow here.
To solve those etches offers one more just down here.
So now we test that again we'll see that the flow goes around there nicely and round here nicely says
another way that you can go around and reet apologize and neat things up.
Now did say there was another example where you will find a basically a five foot pole going on and
that is when you decide to extrude something.
So here we have a series of quartz we've gone into the 3D realm here.
And if I extrude that up if we do a little count here one two three four five we've got five quads that
are connected to one pole just here.
So it's very important that you realize that just extruding up like this has also broken the flow and
we've generated an edge float around here.
If we look at the very top begot one two three.
And that has essentially terminated the edge flow around the top here where we go one.
And it just doesn't know where to go.
And that's one of the reasons why you can have an edge loop around a plane.
But the moment you convert it into a cube it doesn't like to talk because it doesn't know where to go
around the bottom here.
It doesn't know where to go it doesn't know where to go because there's a poll.
Now if we may to this one at the bottom here in2 So it was just one two three four chords.
We could probably faff about to do that.
We would end up with the edge flow going around the bottom again.
Okay so I'm going to go over to a real example here.
Show We're back over at my human head and it's coming along fine.
There are a couple of things that I do want to sort out.
So one of the first things I'm going to have a look at is this flow around here.
So if I select this edge around here we can see it flows round and down here it stops.
Why does it stop.
But it stops because there's a pole which is this vertex here.
And we've got one two three four five.
So there's a couple of options.
You can and geometry.
You could cut it in with a knife tool or do no no end of things or you can perhaps dissolve some edges
in order to get there.
So let's explore both options whether it's right or wrong at this point in time.
And we just don't know at this early stage of the model.
Sometimes it will be the right thing to do some type of thing.
Are you going to have to go back and dissolve that later on.
So this particular one here I think by cutting through here.
And around there I'm going to hit the space bar and just highlight that okay.
It seems to be going up all the way around to the top.
So Perfect that's regain that loop around there.
But of course when you do something like cutting the question then is have I just moved the problem
onto the next set the adjacent set of polygon So if I go back in time before I put that cut in and just
see if this one hit No that one there's also terminating.
So everything's terminating along all like the bottom of the jaw here.
So getting the knife tool going along here all the way to the edge is not actually breaking any thing
and that's always the concern I would have when using the knife tool because it's very easy to just
shift the problem onto another area.
Now let's have a look at the triangle I've got on top now triangles can be dealt in a number of ways.
I could add even more geometry coming through here cuts through this triangle in a certain way which
would generate quads but it would also give us more geometry and at this point in time I don't feel
I need any more geometry round the top of this head any more geometry itself is unnecessary it's not
defining any detail.
It's a four head.
For a start I mean you could argue at this point in time you know what that's going to be under a hair
line.
No one's ever going to see that even of the face deforms massively during an expressive moment.
It's still not going to be seen as on the hairline.
Then the person who just wants to get everything right inside of you goes well there are going to leave
the triangle there for the sake of it I'll just tidy up.
The other thing of course is it does block this edge loop ball this surrey's fazli Running down here
just stops it in its entirety and I would like that fazli to exist.
So looking closely here are one of the things we can do is merge this together and we can do that by
selecting this edge here and dissolving it.
Okay so what has that done to our flow does our outflow now work.
It doesn't and it doesn't.
Let's just can we edges here make sure one two three four five okay we've got five.
It's not a quad.
So what's it linked to is linked to this one here.
So let's dissolve that hedge as well.
Now let's see what happens.
We should have an edge flow going round.
We do perfectly goes right round the outside of the face and no surprise terminates just under the jaw
line here as the other one did.
And if we look closely it's one two three four five.
There's another angle on down the bottom there.
So let's go back up to the top and just check a few of the things.
Do we still have loops running around there.
Yep and we can see here this link this link.
This loop kinks in rather quickly.
And that's girn of course from defamation.
If we're not careful uneven so we can grab that.
And I haven't I'm not really sure and moving that in the 3D world it's always best to check it from
several angles just to make it a bit more even as it flows round.
Otherwise some of these look a bit crooked and they could certainly be much support even as they flow
around and define the shape.
Unless of course it is a bumpy head so let's just try that.
Now we move stuff that works around there.
These ones are working and terminating at the top as expected.
Yeah.
I'm absolutely happy with that.
And of course now comes a challenge.
I'd like you to go ahead and define the five main faced groups.
Now you may already have done this in which case it would give you an opportunity to refine them but
to go ahead and define the five main face groups that make up the face and don't worry if you if you're
not quite sure I'll be showing you through them in a few moments before I say Paul's video.
Now do expect to make mistakes.
Go with it.
And remember to save often or even save as once you've got one area nailed and be prepared to start
over from the base head a few times.
If you make a right mess of it but don't worry.
This all happens especially when you're new to face topology.
And finally of course we haven't done it yet but create the nose allergist a little hint there about
the extruding creating the five pole that we can use for the nose.
Perhaps that's just one way of making it.
Of course.
Now before I say pause I just want to define those five main areas for you see you know what you're
looking at.
And here we go we have a basic face in front of us and I have colour coded them all.
Hopefully this is clear for everybody including those who might be color-blind.
No you can't distinguish between green and red often so I haven't included red.
We've got a yellow border running round the entire face.
Obviously we've got a Rest of a head here to do.
But I'm only focussed on the face at the moment.
We've got the loops running round the eyes themselves.
We've got the loop that goes across the bridge of the nose and round to the chin.
We've got the one that goes around the nose and it'll be interesting to see how you guys come about
making that nose topology.
And then we've got the ones that run around the mouth and the lips themselves.
So there we go off flicked this round into front view.
And we're in orthographic mode so you can see what's going on.
And they go there's your reference material that you can use as a guide.
Incidentally you can see we've got polls five polls rerouting our model as it goes round here.
We split away from one another.
There's a five poll on the right hand side of the eye here on the inside of the eye where the nose comes
down where the nose actually is where this breaks away there's a five pole here a five pole.
There you can start to see them all over the place.
When you start looking in fact there's a three poll just here on the right hand side.
Okay so there's one final thing here.
I want to show you guys to help you when it comes to creating these areas where there are five.
All hang on a minute.
I've got an example bit of material here.
It has got a whopping great big N gone sat here.
Mass not in condition.
You guys actually just breaks what I've just told you.
So I'm going to have to sort that out.
And also just like to show you how to get this cut sort of curvy effect going on that's called enabling
the cage.
I don't want the end panel there I actually want the properties panel so I'm going to have to do a bit
of manipulation with the windows here.
And let's go to the modifiers.
So the subsurface modify here I have got turned on on this mask that I've made I've got turned on the
cage which is the mesh data sort of triangle that we've got there.
And when we click on that you can see that all of a sudden everything ends up a lot smoother.
And I like that on when we're looking at it just looks better and of course you can turn off the smooth
whilst in edit mode as well so the subsurface modifiers not shown.
You can't have that not shown and the cage turned on at the same time.
So I'm going to turn both of those off so I can actually reroute this.
This particular line this face loop running around here so I can demonstrate a point for us.
I want to make something to add in a face loop there grabbing the knife tool join those two up.
Now hopefully I have not broken any Fink so let's us have a look.
A facelift running around men this face Loopt should continue round.
Perfect.
So what I wanted to demonstrate here is the two changes in direction.
The if we switch to edge mode here we have an I'm going to turn on the smoothness again because it just
flows a bit better.
We've got this edge floating around here and then it's broken as it flows around here.
It's broken again and flows underneath because we have these five faces here and these five faces here.
Now you'll notice that that particular Paul of the five pole there and the five pole here both lay on
the same age as it flows round.
And that is important that they are located on the same edge.
If it's going to control the loop around in a circuit like that so bear that in mind as you go ahead
and construct to your head or you're certainly your face in this point.
Now usually I'd say pause the video now and go do the challenge.
Unfortunately I'm not going to have enough time to K3 of a challenge if I do that.
So go ahead do the challenge and I will see you guys in the next lecture.