Welcome to the introduction to reap apology.
Now first of all what is right apology.
We've mentioned it a couple of times in passing and it's time to have a more detailed look at what in
fact it entails.
So you probably already have done it to some degree.
It's basically remaking a mesh so that the arrangement of polygons is uniform and is often all quads.
It can significantly lower the polygon count.
Getting rid of unnecessary vertices which is useful especially for optimization and planning can help
avoid doing much of it starting with the low level of detail and working up can help avoid it too.
It's very tempting to start working at a very high level of detail and coming back down.
Unfortunately that does mean then you have to create a base mesh.
Now there's no right or wrong as always.
Some people like working at the high detail know making the rough low poly model afterwards.
Some people will prefer getting the rough low poddy model right first and then adding the detail to
that's others.
Pros and cons to doing it both ways.
I would prefer to start a low detail and work up by purely I do understand if you like working at that
detail level and coming back again.
The big thing for me is it's time consuming.
If the base mesh isn't right or doesn't feel right I know that very quickly if I've been sculpting for
ages on a very high poly model try to get all that detail right and then find out that the overall form
isn't quite there.
I may have just wasted a lot of time there's a lot of things you can do to try and edit it but if the
general form is wrong it's you're going to have to start again.
Don't be afraid of starting again eeva.
I hole I really do recommend trying doing something several times just to see oh well if I do it this
way or that way how does that pan out.
Does that make it easier.
Does that make it more difficult.
Does it make it easier in certain situations.
So what is re topology.
This is an example we made a bunny in the previous section.
Using those metter balls and they basically generate a load of triangles is really dense mesh and you
can see that when we take that and Rita apologize to that bunny on the right hand side you can see all
of a sudden there's a.
Well a lot less polygons for a start is easier to manage is where you can start to see those edge loops
we've been talking about which makes editing and controlling the model a lot lot easier.
And you'll also see that in general apart from the areas where there is detail we don't have a ton of
polygons a ton of vertices.
Remember these vertices as many as necessary but no more when that goes without a lot of things not
just in blender.
But if you don't need detail there then you don't need a virtex.
It's as simple as that.
Do you need to apologize.
As is often a good question to have.
If you look at your model in its state go back to this real quick and it's more like the one on the
right.
Anyway you might need to edit a few things here and there.
Perhaps put in in a few more edged loops perhaps a break and edge loop or redefine where the edge loop
actually meets one another.
I can certainly see a few pointers or in the model itself on the right hand side there where I could
improve the flow of where the edges go round.
In general if it looked on the left and then you wanted to animator it'll do something on those lines.
You definitely need to read topologist course if you were close to the right hand one in the first place.
You may not have to do as much.
So the answer is almost always whether it's moving one or two vertices to make an edge looped more defined
or whether it's adding some detail adding another edge loop define an edge.
Well that's what they do.
But planning can help avoid it in the first place.
If you're sculpting the original model ill often be necessary especially if you using dynamics apology
because that creates a big load of mess.
Like we can see in on that left hand picture.
Where where I've added detail around the mouth etc. It ends up being incredibly dense.
It leads to a clean and well defined mesh which also means that others can then work with your mesh
to if it is there.
If you've got a mesh that's kind of standard what people are expecting.
So Edge loops around the eye etc. It becomes much more easier for others and yourself to work with it.
It enables animation properties so if you've got to start deforming your model not just actually animating
it but deforming it in any way it stops things like pinching.
Especially if you made it up of quads.
It allows you to refine.
And easily edit your mesh and that can be a real godsend if you do need to make any alterations or indeed
just minor tweaks.
So let's try a bit of reeds apologizing now on some nice simple shapes and hop on over in a blender.
Hey.
So a backhoe in blender here.
And I'm not going to read to apologize cube because that would be crazy.
Okay some gotten rid of that.
I'm going to give myself an eco sphere to work with.
I'm going to increase the number of subdivisions and just bump up the size a little and thus making
it a bit easier to work with as well.
You don't have to zoom so much or zoom so close.
So I'm going to hop into edit mode so we can just see how it's made up and clear the selection there.
Okay so as you can see it's made up of a series of triangles and that's bad for modelling in general
because we can't select the edge loops we can't.
There's lots of things we just cannot do at this point in time.
There are several ways of which you can start apologizing.
It would depend on what you want to do and I would like to go through a couple of ways.
Now how you can very quickly reet apologize without worrying too much about the model out or destroying
the model in the process.
But getting the loops that you want which can be challenging so don't worry if you start getting a bit
frustrated take a step back and think about the crossroads that happens when you've got an edge loop
and we'll see that in a few moments.
So one of the first things you can actually do it instead of adding or taking anything away is moving
things so you can move vertices around and question whether that actually sorts out your problem or
your mesh flow or anything else.
So in this case I would turn on a vertex select turn on the snapping tool turn on vertex snapping and
then turning on Merge vertices automatically so that's questionable whether you want to do that because
sometimes it can be undesirable.
But in this case for instance I could drag this vertex and place on top of that one and then I've got
a newly defined shape it's still triangles at the moment but it may be well on its way to actually getting
a decent shape coming out.
Now there's something you can do with a virtex which is kind of cool.
It say this was the centre point of an eye.
Now it doesn't make any sense that you can bevel vertex initially but it can be great for starting to
make some edged loops.
So saying you managed to get your eye to a point at some point and you wanted to bevel it you could
actually do that and that is not the normal bevil at all.
It's actually a bevell vertex tool so we need to go to the mesh operations vertices and in here we will
see there is a vertex bevel she's control shift and or shift control be there and when we do that we
can see that it's almost like you're in setting.
But from the single virtex that's there and that can be incredibly powerful because once you've got
that shape you can start creating some more edge loops by setting you can grab this edge loop round
the outside then scale it in and out.
Benim got snapping turned off at a moment so that's why it's jumping all over the place.
So there's lots you can do with that one technique and of course by doing that you may have noticed
we've got an ng on in the middle we can sort that out if we want to but we've now got an extra loop.
Or even better a face loop that we can follow if we go to the next sort of loop around.
We can see that we've also created an edge loop or a face loop.
Both in fact here is where and that could be the definitions around and I know of course then you can
use the loop cutting tools to add more and more detail in here.
If you wanted to and then of course you can go in and start shaping things how you want them to be.
So there we go there's a little I don't know volcano in the surface there and you can see how quickly
you're starting to define the shape of your model.
So that's one thing that you could do there.
Now if you wanted to create a loop running around here you've got a series of triangles or maybe just
one triangle.
If I want to do this faking the loop here that band of faces ought to be joined together.
I could go in.
You probably see that you can make quads by combining two triangles as a couple of ways that you can
go about doing that.
In this case you could dissolve.
You can select both of these faces and dissolve them change into just one giant face or undies you could
dissolve the edge in the middle.
So by selecting the edge in the middle and going to delete it but instead of deleting the edge you can
dissolve the.
Here we go.
Edges.
That has now created a quad.
You can also select two faces and dissolve the faces and it creates another quad.
Now if you carry on doing this round what you will find is you start to create your own face loop and
then of course with comes a face loop.
You'll end up with Edge loops.
Now at the moment there's well as this one here.
It's only two edges wide.
But that's because it's bounded by these.
If I can select these loops here now because there's a poll just here if we count One two three four
five that edge loop gets terminated that would need to be four.
And the problem is we've got well we've got this triangle here that's causing that problem.
Now it could be a quad there if we get rid of this particular edge in the middle here.
We've still got a poll here and this is how you can define edge loops and where they branch off and
go to so you can end up with four call three squads meeting one another for quads would mean there's
almost a crossroads of face loops.
And then of course you've got five quads meeting together and that's what we have here.
We've got one.
Oh that's going to face we've got one two three four five.
And because they all meet together when you try and select an edge lupi goes down here and goes across
there so it's a way of defining it.
And this one will go round this fake either.
I've been making very very useful as one final tool that I want to introduce you to before I give you
a little bit of a challenge.
And that's the knife tool.
So with the knife tool you can select it so you can go to the tool shelf and there's a button that says
knife and you can see the shortcut there is k..
You can also get to it through the space menu.
If I type in a knife we can see that it's knife topology tool with a k..
When you've selected it if you take a quick look down at the bottom of your screen you see that's gives
you some instructions on how to use it.
There you go off the end of my resolution.
I've got here at the moment so I can't see all of those instructions.
But this is the thing where if you right click right click is not how you apply this.
So you got enter pad enter which is the number pad entry if you've got one.
And space you can use to confirm the cut escape or right mouse button cancels left mouse button starts
to define the cut in double left mouse button closes the cuts an E is a new car and those are the ones
that I generally use.
So let's just practice with it now.
So if I cut there to here and then press space.
It puts it in brillion.
I will now have a faceless hoop running up there towards the middle of my eye.
That's looking good.
What else can I do.
Well if I wanted to carry on it's very simple I can just hit the caky and carry on cutting I can just
click and click.
You can even click and drag as you're going across.
I wouldn't advise that unless you're being really nimble or rough and ready with it.
But I don't want that at the moment so I'm going to cancel it and I can cancel it with the escape or
the right mouse button and you can see it disappears.
Now if I've made a cut from here to here and then I want to make a cut from there.
There I can't do that at the moment with out's drawing a line there and drawing a line there.
Perhaps that's not what I want.
So what I could do is draw a line from this midpoint to here then press the E key and start another
one from here to here.
Now will vary on what you're wanting to do to press enter to confirm that.
And of course by doing that I've caused a few problems because I've broken up a load of edge loops there
and again at this point I can just grab the knife tool and join those bits back together press.
And now I just cannot test got a facelift running around their interests.
Oh yes I've cut this triangle because of cut it here it's now a quad.
It's part of this face Luke and of band and the other one at this end.
When I select this one here you can see that this is kind of a loop going round itself which could be
beneficial if you were working on hands or fingers things like that.
But that's one loop and that's the other one.
So you can very easily cut your way in to making some good top logical choices.
That's a big word there but you can basically cut out the topology that you want from the mesh and then
put faces back together if necessary so if these two needed to be back together a could dissolve them
back together.
And of course that leads me onto a challenge for you guys.
Okay it's Challenge time.
I'd like you to create some loops.
So start with an AI code sphere roughly three subdivisions or more so you've got enough geometry to
play with and create two or more face loops that cross one another.
Now what I mean by that.
I'll just hop over to blender and show you.
So here we go if you're originally an ecosphere and we've got to face loops that are going round our
model S a bit wonky in places but they're actually crossing over one one another.
So we've got two defined face loops so we can get face select turned on.
Here we can select that entire loop running around there and if we go this way round we've got another
loop running around our model there so borza video now and give that a go.
Okay guys.
Welcome back.
Let's go create some loops around and IKO sphere.
Okay so in order to do the challenge I am going to save my work here.
I'm going to go to a new file.
I'm going to remove our cube that we get by the fall as I add in a new ecosphere with three subdivisions.
And let's start work on it.
So there is no quick way of doing this.
It is a manual job.
However what I can do here for instance is select every other one of these going round and hopefully.
That will work as we go all the way around.
And not that one that one that one that one.
And thear should loop back round.
Yes it does.
Perfect.
Now if I dissolve the edges there I should have a face loop running around.
That's perfect.
Now I need one.
Intersex signee to make a decision on where that is and where it's going.
So I'm going to have a look at probably here.
So we're going to go round the model.
I don't want to select.
That's how we want to select that one that takes us there.
I might actually go for that's all once if for one two three four I might actually go round the model
like this.
I think this is going to work.
Because that should alternate backwards and forwards.
So be a bit of a wonky one as it goes.
I'm not sure about these pyramids I think as I say I think they should work pyramids these Pentagons
is what I meant to say and didn't.
Looks good so far.
So we've met back up here so let's just see how that's looking at the moment.
So this are no I can't do it like that because I can't do all at once because it will do that's of course
silly silly me.
So this is one of those jobs where I have to go round and do it manually.
So I see you guys back in a few moze.
And there we go.
I aren't.
No.
No we've not quite got it almost there.
We've got oh I've made the wrong quad by the looks of things but we've almost got that one going around
there.
And we definitely got that one running round there says good intersection there.
Of course summate that's a bit.
Need to what I do here is move this one down a little so it's more in line as it goes round.
That's more of a choice of shape that you're going for if you decide that.
So you got a little problem here.
How do we get rid of that.
Well I'm going to grab this virtex and merge it.
I want to move it down a little or say down a little I really need to be looking at its spots on to
get this perfect.
But this is not an exercise exercise in perfection.
I wants snapping turned on.
There we go.
Let's move this increment rather than virtex get there eventually to there.
Now what that should do is complete the loop around our model.
It has done perfect so we've now got two intersecting face loops which is great.
That's exactly what we wanted.
A could be neat and up of course.
Don't worry about that at this stage.
You can always go back and solve the at a later stage.
So there we go we've got the two intersecting loops running around.
Please share your work in the discussions if you who's struggling at all.
I suggest you practice as much as he can because this is an incredibly important skill especially coming
up soon.
And as always I will see you guys in the next lecture.
Take care.