Welcome to getting the right skin tone.
So what are the right settings.
Well as with most things in blender there aren't any.
It all depends on what you're trying to achieve.
Sometimes a more porcelain look more than a natural look or any other sort of carrot to look that you're
going for will dictate how your model has to be made.
Helen materials have to be set up.
But skin itself is a complex surface so you can't really get away with just setting or one shade type
and leaving it to it because it just won't work out what it might work depending on what you're doing.
But in general it won't work.
It has more than one tone.
We're not just one colour across our face and the rest of our body.
It changes depending on surface detail.
It's shiny in some places it is dry in others so you have greasy patches on the face usually on the
top of the nose obviously the lips can be wet or indeed they can be dry of your character is dehydrated
as well.
Skin can be thin or thick letting some light through or blocking it all says lots of things to take
into consideration.
Now what to do when picking a base colour.
Well you need to start somewhere so you can use the colour picker on your own reference material if
you've taken a photo of yourself or indeed I would suggest searching on Google for skin tone.
RG B reference annual have an absolute ton of information that you can then actually see what the colour
looks like and use that as your base colour.
So things to consider and focus on ignore skin tone changes due to wrinkles and folds.
We don't really care about those at the moment because of that wrinkles and folds are an effect of light
rather than colour.
Ignore areas of sweat or oil.
Now we've mentioned the actual sort of like the shiny areas that you can have on the face but that will
be a specular map that we end up generating and that will be applied with a gloss shade later on it
will not be something that we need to paint in at the moment on the base colour that we are going for.
You may want to consider freckles scars spots some moles that cause discolouration.
Those will be a completely different colour to the rest of it.
And if you do decide to start adding detail at this stage make it rough.
Call it a place holder detail.
The mesh is still under construction.
It is going to change so if you think I'm going to give beauty spot or there's going to be a mole there
just you know paint it on roughly and then just leave it for the moment.
Some of those things to consider.
Let's go and add a base colour to the head over in blender.
Okay so we're over in blender now and we need to create this diff use an arm start with a diffusely
we didn't have to.
But I'm going to just pick at the fuse colour that will roughly match my skin.
Now I am going to actually use the reference Chandler termly a passage of the reference material.
Up to one.
So I move round the front.
I can just see that and want to go ahead here and go to the material section.
Also the defog material that's already been applied to our model.
I'm going to call it skin bass because it is just the base colour.
I'm going to go to the diffuse kind of itself.
Go to the picar and literally just pick a random area that looks representative of most of my skin.
Now we can see Miles.
We're having a look at this picture.
There are certain areas that are not the same colour as the skin colour I have picked here.
We've got a freckle.
I got some freckles here and it's lighter across the years or around the top of the cheeks and the fore
head now can be a bit difficult to discern what's a reflection in the room this.
This was taken in Certainly I'm not certainly shiny on the side of my head that just happens to be light
bouncing off of or coming through a window so it's worthwhile just taking a good look at the colour
variation on a face itself.
We can see here there's a vast difference between this colour here that's grab just literally grab another
area and this one here we can see there's a huge difference between the two.
See if I can undo that note.
Let's go and pick the same sort of area again a bit more neutral.
There we go.
So I'm going to switch back round and we can see the he's already applied it to our model.
If I go to rendered view at the moment because we got no lights in the scene it's cancer looks pretty
dire.
Now there are certainly some other areas that we can apply straight away or at least get the colour
ready for the lips as we can see here.
There nothing like skin colour so I'm going to add a new material.
I'm going to call that whole new material.
Call it lips underscore base because I may have.
Later on when we do our maps for the face we're going to have a gloss layer.
And so we're going to want to make sure we separate the materials out into their areas.
So with the lip space I am in fact is just going to be one texture later on.
But just for the sake of getting this right at the moment as a place holder colour there you go there
that the bearer of that's the colour of my lips who wouldn't know.
Now I've got that's ongoing always bit random.
Also to make sure the skin is applied to this and not the lip space.
I'm bit confused now as to which one is applied to this model.
I will look at material.
Yeah case the skin basis applied there.
So having a look at our model itself are a couple of things that I wanted to sort out.
There's this triangle here and I think facking go by literally removing this edge loop running around
the model I just realized that's the colour that I've chosen is very close to the core of the orange.
That may be difficult to see.
Now there is something that we can do in the viewport to make sure that we can still see lines that
are going on now I can see that fine after my eyes adjust by don't want to be second guessing.
So if we scroll all the way down and the skin base to settings and open maths up there is a view port
colour and we can change that to what we likes.
I'm going to make it a lot lighter but still roughly skin coloured.
Now we're in material mode at the moment but when we go back over the solid mode it will be a different
colour which is much easier to see anyway.
So let's go ahead and not delete the edge but dissolve the edge and that should have repaired the damage
there now vs.
I'm pretty sure these lips are far too wide.
And what I'm also concerned about is when I was trying to slip to a face earlier they weren't being
selected a select them for some reason zooming in and turning off the modifier.
I see that I've got a trying door here.
I've probably got another triangle hiding away in here and also it's very very ugly around here with
it's well with all of this mesh It's folded in in itself in certain places so there needs to be a bit
of a tidy up here.
Now the first thing I'm going to do is literally LOL.
I don't quite know.
There we go.
I managed to do it.
Yes so I've got two triangles we've got one here and one here and that was all those were probably created
when I had the merge vertices automatically turned on and I was just moving the lips around.
It looks like I've snapped into place and cause myself of a problem.
Now there are a couple of ways that I can fix this.
I'm just going to literally go in with the knife tool and hopefully cutting there will give us two triangles
there and there and another two there and there and with two triangles you can dissolve it into one
face.
Now I'm going to select the edge itself in the middle and dissolve edges and here dissolve edges.
Now is the time where I need to test my edge loops 1 2 3.
Excellent so that is working fine.
It still looks a bit ugly around here and that's going to take a while to sort out all I want it to
roughly do is not be folding in on itself any more.
And of course make sure that those face loops are still working which they are perfect right so I need
to have a look at this from the front and I think this is one of these instances where I'm going to
have to.
How lovely a pastie off my image for a start but also just manipulate my image as well because my head
is at a different angle.
So this is all too wide at the moment so I'm going to select the face on the inside JERs there and with
proportional editing turned on and asking going to move in and make sure I'm moving.
A lot of it in once now hopefully.
Where was the edge of my mouth.
I can't actually see that I need.
There may be a little bit more if I can do issues that circle as guidance though we get sets turning
a pastie bet down that looks good.
There's some more editing to be done.
And by the side we can see here all has some horrible horrible folding going on in the middle there
so let's sort that out as well whilst we're looking at it.
This isn't really kalila stuff but it's certainly important and we can move this one back again in fact.
It used to come in.
We can come up.
The whole all of that inside can come up and then lower that down so let the Edge loop and raise the
whole thing up.
Perfect.
Then these will have to respectively go inwards slightly.
And there's lots more of modification that can be done.
Here's the face isn't so deformed.
So I'll leave that like that for the moment.
In fact when you're looking at things like this you must have a subsurface modifier applied Otherwise
you could be doing lots of work for nothing.
But now we're on the side or not that's the wrong image.
No from the side.
On the side there we go.
So the mouth comes too far back as well so that now on a side we can actually I'm sorry to repeat myself
five times but now we're on the side we can actually see that those movements that we've just done aren't
white.
Right because of the myths.
The face itself.
And it goes back to far some women grab their inside face again and just literally shift it forward.
And down to about there.
Now hopefully that hasn't distorted the model too much hasn't.
Well looks like I'm pouting So that just needs to be smooth out.
In fact there isn't some nasty edges around the whole model.
And there's one thing that you can do called smooth virtex.
It's a virtex command and we get it through the night.
Looks like that's the last thing that I've practiced using and I'm going to apply that so you can also
get it smooth.
Vertex under the mesh but sees smooth vertex just there.
Now the great thing about the smooth virtex is that it smoothes out the entire model.
The bad thing about this is that is that it makes things shrink ever so slightly as well.
So we can see that nose has been pulled in it doesn't seem to have affected this that much.
And of course has some work to be done down here as well.
It's shrunk the four head a little but it has meant that there's no or not as many jarring areas as
there was before.
Okay.
So we've got our base covers here.
And of course it's now time for a challenge.
I would like you to go ahead and get your base colours sorted.
Make sure you have a base colour applied to your model.
Tidy up anything in your model that is standing out as bad or wrong.
Just like I was going around earlier and saying where the mouth is too wide it's in the wrong position.
Is your neckline right.
Etc. it's worth doing some tidying up at this stage.
Check all your loops are working as well.
I had a few triangles and I'm sure there's something else in the background.
There's going to cause me a problem later on.
But go round and check and make sure your main loops are actually working.
Now here's an optional one for you.
We are going to do this later on as well but feel free at this point to unwrap your model and add even
more detail so with it unwrapped you can actually paint directly on to the model.
Don't worry so much about how you can unwrap it.
If you go down that stage but just be aware of the seams on your model itself and make sure if you do
decide to unwrap it.
You keep the face as a face because that's the area where you don't want a seam causing you any problems
anyway.
Balls of video now make sure you have a basic colour applied to your model.
Okay guys.
Welcome back.
Let's hop back on over into blender and just go around my model and see if there's anything else that
I need to sort out.
Okay so one of the glaringly obvious areas is my eye.
Know I'm not going to focus too much at the moment on getting it absolutely perfect but it does stand
out at the moment as not something suitable.
So I'm going to select the edge loop running around the eye itself and just pull that forward knots
Oh lots.
Births first about there.
I'm also going to flip around the sign just make sure that we've got the right amount of wealth of detail
that it goes back far enough.
So looking at VAT's the eye the eye itself is not quite in the right place and the move that.
In fact we need to make a decent eye at some point.
Okay so now that VAT is in roughly the right place now we can start moving the other bits and bobs will
notice straightaway by looking at this and weave was round to the front and I can't see anything.
Why can I not see anything cause the.
Or a pass at sea.
Or put it on the wrong area so the lips here I've moved upswell have to move it back down again for
V.
And this is where I can start moving some vertices to help define the shape of feet.
I just a little bit better.
So here we go I'm literally just spinning the video up here because I am literally moving Firths backwards
and forwards and tweaking the shape of the eye turning proportional editing on and off as I need it
as I'm doing this I start to realize that the brow isn't well formed at the moment some just moving
the verses around and adding in a new face loop to actually get that looking much better.
And now we see here that the eye is not pointy enough we start moving around some vertices and hopefully
up with time and practice.
You guys will be able to form the shapes that you desire as you go.
Some of it however is just trial and error.
Remember to view your model externally all the time just to make sure is looking right.
In the third dimension as well.
Excellent.
So looks like a bit of a grump on then.
Also looks like I'm embossed watching a little from nisbett of my for head which is not natural.
However it is natural to have a brow itself.
So I'm just going to try pulling that forward ever so slightly that should lessen the impact here and
also pulling this area forward ever so slightly as well.
Okay that's looking pretty good.
The eye itself still needs a bit more refining.
And again you will just have to go around here and it may be a case that we do actually require more
detail.
It may be that we've got too little detail in this area to define the eye properly.
In fact one of the issues here is the IDE does not fly round in quite the right areas.
He's got a fink of the various areas of the I as it goes around.
So you got this area around here that's now too high.
But what does it look like from the side caterer's stand to get some nice defamation along the top here.
I think I need that to continue.
No it does fade off around there but I would like it.
Following this line just a little closer so I can move that whole long.
There you go.
That's a much better definition now.
This is a bit extreme here.
So again we'll have to lessen the impact slightly by pulling it back again and again we can go and tweet
and tweak and tweak can tweak and tweak until now until a blue in the face now that's it.
Well one of the problems here is I don't think that corner of my eyes quite this high.
So let's sort that out.
And I am going to have proportional editing turned on at this point to make sure I can more.
I don't need that much but I do need to move quite a bit down at the same time.
Yeah it's looking much better now.
Actually the smooth this bit out.
And again this is where smoothing the verb.
You've got couple selected can help out massively as well.
Okay.
I'm liking that form at the moment.
Is there anything else that I need to sort out the top of a head.
Has some funky things going on.
But I think we all believe that until another lecture.
How are you guys getting on.
Have you made something that's frowning a bit like that.
Um actually I think I'm smiling there.
I'm not quite sure yet.
How are you guys getting on.
I'd love to see your heads how detailed they're becoming now make sure you share in the discussions.
And I will see you in the next lecture.