Welcome to joining separate objects in this video.
We will join the two meshes we've created together forming one mesh object.
Now there is more than one way to do this.
Obviously not the joining but the actual mechanics of how to make it look seamless between the two objects.
Once you've brought them together and it of course it is likely to involve some read topology.
So let's go explore this now and hop on over into blender.
Okay so we have to mesh objects here and.
Well first of all let's join them together so selected to be active one.
Excellent.
And then press control in J.
And there we go.
Done.
No I'm kidding.
We've got a bit more to do because if we have a look at the topology we can see is or mis matched.
So there's a couple things to think about here so the area that the ear is in.
Well first of all let's select the whole ear and we can do that because all of these vertices have no
links whatsoever to the rest of them so we can just hit the L key select the ear and hide everything
else.
Now we select the outer edge loop running around here we can see we've got 20 vertices.
Okay.
That's a starting point.
And it's a nice even number as well which can help.
OK.
Let's bring everything back.
Let's see one two three four five six seven eight nine ten.
OK.
So we've got a a nice relationship here between this group here and the ears themselves so we've got
a tenor around here.
And a 20 around the inside so we can potentially start from this point and create more geometry.
But looking at the head itself does the edge of flow make sense at the moment.
I don't think it does sir just like the ear itself if we have a look at the I how it gets more and more
detailed as it goes in and the same with the mouth.
What we don't have that around here there's no edge flow around the ears.
In fact the closest one I believe is along mutt's hop just here this one here.
So that's the closest we have to this is having any edge flow around it.
And we want that so do we have one here almost.
So we almost have one running around there.
Let's make this happen around the edge itself and then we can get down to more and more detail and then
join it on to the 20.
Around here I am.
I would rather do it that way than trying to make this twenty into 10 and taking it the other way.
So.
Guess what.
It's time for a challenge.
I would like you to go ahead and merge the ear and head together.
Now you've got all the necessary tools available to do this joining these two mesh objects together.
I'd like you to go ahead and merge the ear and head now join the two mesh objects together if you haven't
done already and then think about redefining the head or ear topology to match each other.
Now that will take some thinking and planning said Do save your file or create a new one so you can
play with it.
That's very important I don't want you ruining your head at this point having no way to fall back so
make sure you save Vance at this point because you're about to do some destructive work.
Finally think about the Edge loops and face loops on the side of the head hulky make it flow around
their ear much better.
Ideally I don't think I'll want to change the topology of the Iraq.
Rather the head itself.
So I think about rooting the edge loops that are around there to the rest of the head as well.
Perhaps there is too many at that point in time 20 but I'm sure I'll be able to fan that out relatively
successfully.
Do remember I only repeat myself here but do remember to save as and then work from there rather than
just saving one continuous model.
I don't want you guys losing you work you're doing wonderful so far and we don't want to spoil that.
So remember to save often and save as often as well when you're trying something.
Especially when it's destructive.
Considering things like bridging edge loops as well that's one way of joining these things together
if you manage to match the two edged loops running around.
Or you could do a very destructive process and remove half the side of the head and just reconstruct
the geometry from there is entirely up to you.
So go ahead pause a video now and give that a go.
Okay guys Welcome back let's go merge the ear and head together now over in blender.
Okay so first of all I'm going to go file save ours and I'm going to name this year and hared merge.
So I know exactly what this save as is.
There you go.
Oh I tried not to do that there again.
Difficulty with having a whopping great big mike framed between you and the keyboard.
Right.
So there are a couple of ways to approach this.
You can be highly destructive or not destructive.
That's all we've got.
If we go around this area we've got 10 edge loops in total.
That's that's one possibility.
What I'm going to do at this point in time is just explore some individual possibilities so I'm going
to just hide the air from the scene.
Well that was a great example of hiding the wrong thing.
There we go.
Okay.
I've not got select it.
Oh I didn't select everything.
Silly Billy.
Like this unhide everything.
And just the head and high beers.
Okay.
So I'm just going to explore what happens if we delete these vertices here right.
That will create an edge loop inside of mcclatchey 12.
Let's go ahead and delete this vertex here.
Now create an edge loop of magnitude 14.
That's the.
This one here.
And this is just one example of playing with the model.
This will be 16.
OK.
So this point we've got a decision to make I'll be 18.
That'll be 20.
So this is one way you could approach it so we've got a massive great big hole in the head.
So we could bring those together and that's going to cause a bit of pinching so we could play with that
too.
You know a little bits without being too destructive.
You can make a hole in the head completely.
Okay so I'm going to leave it like that for the moment and just see what happens when I do a little
bit of merging because this may work it may not is a you know it's all about experimentation sometimes.
And there we go.
Got two edged loops sorted.
Let's.
Bridge edge loops and see what happens.
Okay.
Now does that destroy the top ology.
How much pinching do we have from.
Case So here's some horrible pinching behind.
There's a little bit stretching towards the ear which is fair enough.
And as a little bit underneath but actually has worked out relatively well.
I on it.
I'll be honest with you I was not expecting it to be quite so for chewits doing that.
Okay so I'm gonna stick with this and I'm going to add in an extra edge loop around here and I'm going
to use the smooth virtex command to try and smooth that out a little bit more.
I'm probably going to select this one up here.
It's edge looped round here.
Okay so we've got a couple of breaks in flow here.
Do we want.
So this edgerley running around here is broken up there and we've also got a five pole here so that
to me is kind of okaying kind of not so we've got a flow around the top and the bottom of the ear and
then we've got this flow in the middle here.
It would kind of be nice not to have too many of these pinch points.
So for instance it would be better if this point here was merged somewhere up here if possible or at
the top here so we've not got the she flow round.
Okay we've got another pinch point here for example.
So there's lots of little playing we can do around our model itself to try and get it looking just that
little bit neater and of course the the model itself gets quite dense around here.
In fact the whole air itself you can see that because the top colleges are being pushed down rather
than going around that's causing a little bit of a problem.
So around here perhaps if we take the edge flow and try and redirect it round of the year rather than
into the year that will stop this sort of funnel affect that's going on.
So I'm just going to manipulate these vertices for a moment and I will see back in a few moments.
Okay so having a look at the model now I have redirected some of the edge loops around.
I believe I've gotten rid of all the unnecessary junk that did exist.
There are a couple of things to do.
Like the fact that this ear is in fact sticking out of the head.
A very weird angle.
I've had a look at the back of the head and I don't have this bulge that exists on my ear coming out.
We have a look there.
Apologies out so a couple of ways of resolving that would.
Well there's two ways we can either movie in or this part of the model needs to not be bulging so much
so we can go along here and select the appropriate edges that we want to move.
Excellent.
Kevin this edge loopier G twice.
And just shift along there.
How's that looking much better much more smooth.
It just needs to be pulled out ever so slightly.
Okay let's hop back into object mode and have a look around the model.
Any nasty pinching.
Now no nasty pinching Okay that's looking pretty good.
The only thing that I don't like here is this rage that's going on here that needs to be pretty smooth.
And that again is a product of this edge here just being too low.
Of course if we lift it up don't quite get there entirely.
So I'm going to try just smoothing those out.
All of these around here huffin as the last thing I used as well.
Yet there you go.
Moving the virtex Okay there's Hopkins of.
Looks a bit better.
Not quite there yet.
Again there's quite a bit of bunched up information here.
The question I now have is is this age loopier even necessary.
I'm going to guess not.
And to have room dissolve the edges so disappears.
That should get rid of some of our issues.
And then the next question is is this one of any use.
And again I don't think it is so.
Again we want as much geometry as necessary but as little as possible that is looking a lot neater already
and a lot smoother because of it.
Excellent.
Okay so the final thing is this bit here I am looking at the reference material.
Let's just make sure it all looks okay so it's not quite there yet.
We've still got a few issues along that stop.
Let's go into perspective mode as well.
Where's my model gone come up then it just makes it a little bit easier working around here.
I don't know what camera I've got set up to scroll down and have not seen that it's in a bit too wide
angled so lens here.
No it's set to 35 on the set 50.
So it's not so and barrelled as we're moving about how Kate so that looks fine.
It's just it's now after all that manipulation and moving some of the bits are missing.
So this area here needs moving down.
Now as you can see it's very easy to push it through itself.
Some of the term proportional editing on and try moving that again and then it will move the lock the
whole lot at once as it moved back round to the side.
So give myself a bit more space as well.
Okay.
This topic here this just needs lifting up and he's lifting up from here.
By the looks of it it's.
This back bit here and this top bit here or bit fiddling.
There we go.
Let's whiz background to the side and literally just lift that's up.
Okay.
That looks good.
This top bit here needs pressing back in.
So again back down to the side.
That's move it back ever so slightly have a go that's a better shape.
And again I'm half using the reference material for you know getting it right.
But on the flip side I'm also using my judgment on what I think looks good in this particular case.
Now if you were trying to do a case study of a real person obviously the better you pay attention to
their features the better the model will end up looking.
Simple as that.
I'm just going to pull this bit in these set of verses here and pull them into the model slightly.
There you go.
My liking.
That's OK.
Hey right let's whiz back out again.
There's lots of whizzing back out and forward and out.
Okay the ear looks much better now.
I'm happy with that.
How did your ear go.
Does it now look good when it's attached to your head or any disc these eyes out shortly.
We'll get round to the front of the face very shortly.
Case I'm um like in that that looks really nice.
How's yours getting on.
Please share your head as it is at the moment in the discussions and I will see you guys in the next
lecture.