Welcome to the knife tool.
In this video you will learn how to use the knife tool.
You'll see that it gives you many opportunities to craft and Marie craft your model and understand it
can both ruin if you're not careful and thick short apology.
So let's go explore the knife tour now and hop on over into a blender.
Okay so we're over in the default blend farm because we certainly don't want to go hacking and slashing
at the moment to our human head that we're working on.
We can certainly go and do that once we've learned how to use the knife tool.
So first of all where can you find the knife to when it's something that exists on a mesh object whilst
you're in edit mode.
So let's hop into edit mode.
I'm going to zoom in on our cube so you can see what's going on.
Now the knife tool can be found in the tool shelf under a knife under the Tools so we can click that.
Now if we look there we can see the shortcut key is k..
And if you use the space bar to try and find it it's called something slightly different it's called
Knife topology tool.
But again the shortcut is still k.
Now the knife tool can be a bit unintuitive.
The first time you use it I know I found myself deleting the cuts I was about to make accidentally all
the time.
So let's go ahead now and make a cut in the top of this cube and I'm going to left click to place the
first point and you can see a line join these together another left click left click left click.
Now the points snapped to one another which is very useful.
And if you cross a line that you've just made you can see that it adds an extra.
I'm going to call it a virtex here a point a knife cutting point in order to define where it's crossed
over how long to join it up to this end bit here.
Now if I were to right click at the moment I would lose all of that information.
Frustrating So you're probably going to do that a couple of times.
Don't worry we all go through it and repress the cakey again draw that's have or at least a similar
shape as I had before.
And I want to make sure that this time I don't lose that if we look at the very bottom where the header
by used to be we can see some controls one of which is enter or space to confirm.
I prefer the space keeks is easier for me to get to with this microphone in the way.
But otherwise the end key would also be fine.
And that goes if you've got a number panned as well the enter key there will also change.
Apply that now you'll notice here that blender has put in a couple of additional cuts so we just select
everything there and it's added this one here and the top edge.
Well at the top there.
So these have been defined by a blender.
It's worthwhile knowing that because you can take control.
There was just an equal chance that blender would have joined up different corners in order to preserve
an end gone.
Now the end on itself can't really have a hole in the middle but we see here there's a massive n gone
here with a one two three four five six sides but you can see its face dot is no where near the actual
face itself it's actually outside of it.
This one's got one then I'm not going to bother counting the edges there we've got a triangle there
and a quad in the middle.
Now of course we can go back and press K and go well if that's 1 to 3 I can just join a line up there
and that should be 1 2 3.
That would be for there.
So even though it looks like a trying on way in for it to go read so I know it's on that point there.
I'm going to press space to apply it now.
There are times where you'll want to keep cutting.
I tend to do one cut at a time or a series of cuts and then hit space rather than doing them all individually
or add big long chain just in case I glance the right mouse button or something along those lines.
But when I'm cutting with the work with the knife I can go one to this long range here so one to the
re.
For.
So I've defined another quad there.
Now I press the E key.
I can make another car and go one two 3.
That is actually force I'm not going to do anything there.
This one here.
So got one edge there one here one there.
So once again I can make that 4 by doing that and pressing SPACE.
I don't have to press space straight away though I can go ahead and make another cuts.
So one two three four.
Okay so that's not going to work.
Were just going along murcer.
But a cut here of a Wanted.
Now I'm not really paying attention to anything like edged flow or face flow at the moment.
I'm literally just trying to make quads.
This is a good exercise to practice making quads especially if you've got a triangle in the way so will
do that.
Now I'm going to hit the space bar just to define those.
Now here we have a triangle.
How do you make a triangle a quad where you add another vertex in one of its edges.
That's the easiest way to do it so I could go here 1 2 and just cut straight to the middle.
So let's give that a go now.
Go to there and that is one of the ways that you can to help define where you terminate.
Face loops seems compressed space there.
So if we had a facelift.
Running around here lets that she make one will crossover here.
I'm not gonna worry too much about.
I've made a triangle at the top here.
She's going to apply that same now we should find if I tried looping that face comes around to hear
it's not going to go down here because this is a five sided shape again so I'm with a cart just up here.
And that should be it.
One two three four that should define it so let's see where that flows so that flows up there at the
moment it doesn't flow around here.
And in order to make it to flow around here we'd have to change how it's structured.
Once again if you think about these it's very hard looking at this as a trying goal is very hard to
visualize it as a quad.
So if I actually grab fats you can see the way it flows naturally if I make these more quads like unarm
deforming the surface at the moment.
But I like it make them more Quand like we can see is flowing around there.
So that would mean I made the cut in the wrong place on that triangle for it to fly around.
So if I undo those steps I now have just moved a lot of things about so we've got this extra cut here
that we made well perhaps that's not where we want to serve.
I grab the knife tool go down there and apply that one well we wanted it to flow around here.
This is the edge that must continue.
This one here to this one here.
So does that mean we have to put cuts in this hedge to continue.
And again I'm going to make a couple of triangles here but in purposes of demonstrating that see how
that works.
Yes it does so again because this doesn't really look like a triangle anymore it's difficult to visualize.
But if we make it look like a quad rather than that triangle we can see the flow is much more apparent.
And that can be a difficult and challenging thing when you first start trying to make edges flow where
you want them to flow but that's a nice tool.
In essence it's a very powerful tool.
But with that power comes a bit of responsibility but you go don't go ahead and wreck your model.
One of the things I do see people doing a lot is they end up cutting through parts of the model they
didn't intend to.
So what I would advise in general special is your beginning not holding down the mouse button and cutting
through lots of places because that's how mistakes are easily made are going to right click to cancel
that I'm going to press the caky again and go click find the next point that I want to cut through and
click with the left mouse button click with the left mouse button click with the left mouse button and
so forth.
And that way you can be sure that what you're actually cutting is only when you're clicking and I'm
going to apply that and then immediately check for the Edge loop or the face loop that I'm intending
to create is still actually working that is very important.
Okay guys it's Challenge time.
I'd like you to create your eye loops so use the knife tool to cut into your model creating new geometry.
Now I would also hint here using bevelling virtex and might be a great start.
Not necessary you can use the knife tool throughout.
Now keep in mind edge flows and face loops they'll help you check out which ones you've broken which
ones you need to redefine as you go and your creating the loops for the eyes.
Remember starting to define features were not working at a detail level at the moment.
We're literally saying this is where the eye is going to go and from there we can start modelling detail
later on.
I do remember of course that this may take a couple of attempts so make sure you've saved your work
as a separate file so you can reopen that.
If it's not it hasn't gone to plan.
Okay good luck with it.
Pause of the air now and give that a go.
Okay guys.
Welcome back.
Let's go create our loops and hop on over in a blender.
Okay so welcome back over into blender.
The first thing I'm going to do here is hop straight on in to edit mode.
I can see the underlying mesh.
I'm going to turn off my grease pencil for the moment and I can always turn it back on.
If I find it important or necessary at the point and I'm also going to turn off the display of the modifier
the subsurface modifier whilst I'm in edit mode.
The reason for that is so I can see where all the vertices are.
As you can see we look directly at the eye.
Two of them are completely hidden at the moment and I don't want that for my own sanity.
So a couple of things that I need to do here to help me define the eye itself.
I'm going to have to put in an extra loop cut running down here to define the outer part of the eye.
Okay that's done.
There's a couple of options here with the I on what we do in how we do it.
I it's going to straighten these bits up here.
Got proportional editing turned on that can cause some headaches occasionally.
Now I could start cutting out our shape as we need it here starting off with a dime and I'm going to
use a little bit of a short cry here.
Don't worry if you didn't use the bevelling virtex talk give you a bit of hidden in there because we
haven't used it in anything so far in this course.
We've demonstrated it but not actually used it in anger.
So for instance this vertex in the middle here bevelling virtex if you cast your mind back it was control.
Shift them b.
Once we've done that we can generate a dime shape.
Once that's finished we can move it about and create are necessarily the necessary diamond shape that
we need for the eye itself.
Now one thing about bevelling vertex of course just remember the segments and is going to bevel another
one here.
Not going to keep it.
But if you've got the mouse wheel and you've scrolled it or you've had a higher level of segments was
playing with it before.
It may be still set a high level.
I have opted to Sister level one that which gives me a bit more control.
And again will be focussing on macro detail at the moment rather than micro detail.
Okay so now we've done that let's check the status of our loops so absoute doubts are going to hold
down oltz and face loops.
Those are intact that's broken.
Those are intact.
Let's check vertical ones.
Okay.
Okay so I've broken some of my loops and what's going on here.
Well let's chase this horizontal one here around our models for a start.
Here we go.
Here we go here and then we get to a pole.
We've got one of two directions in which we can continue blender doesn't know which one we're going
to do so it's stuck.
It can't do anything and what we can do very quickly here in fact I'm just looking at the geometry and
trying to work it out.
We can hit the knife key and literally cut out a couple of trapezium shaped objects or faces and then
press space there.
How has that work.
Let's test horizontally.
Yep we're flowing around me.
I perfect vertically.
Okay.
Now what is happening here is what basically is one phase one continuous face loop that crosses over
in the middle.
So what is happening here if we start on the left hand side with this face it goes down goes to here
it crosses over the eye coast back to here and then follows on down it loops all the way round the back
of our model comes back down here and then crosses over again and goes back down until it reaches here
again and goes in a full circle again.
So occasionally you will get your model doing this.
If you've managed to make a crossover point it's almost like a cross roads for these face loops and
they just join back up again.
The other thing to check of course is where it's going because it's not going round the bottom because
there is no bottom at the moment we can see if we look here.
He is following this loop around here around the back of a head back up all the way to the front again
but we are starting now to define the eyes.
In fact if we hop out into object mode we can see that the eyes themselves are starting to be defined
and that will help us define the brow as well.
So one one further thing we can do here is starting to put some more detail here to define the brow
itself.
I know we're not focussed purely on detail here but I just want to make sure that the overall shape
is right.
Of course if we go tramper face looping here we start to get some quite funky stuff going on.
I'm not going to do that for the moment.
I'm going to probably end up deleting In fact let's do it now let's get rid of that face and delete
faces.
Okay so that gives us a hole in our mesh which is fine.
Let's move round to the front.
We can see that it gives us a rough free the right shaped hole.
It also enables us to start moving things about because what we don't have at the moment is any real
control over the shape of that heart.
So again let's switch it back on at this point and grab that with proportional editing turned on and
just modify the shape ever so slightly to help us define the I itself.
Again there's no right or wrong when it comes to this sort of thing.
Cavour is starting to look good.
They're going to have to be some extra geometry coming in here in fact.
Now we've not got any damage to the air.
We can do that one and we can do this one.
And that should give us the ability to let's say grab this and just make the I just a little bit better.
Our from restore that face at any point if I want to add further detail in the eye if I might have to
do that now I've deleted it.
No that's no biggie because we've got edge loops and if we've got edge loops it means we can select
our model with much more ease than if we don't have them.
So we've got this one here that does look a tiny bit odd.
Let's just have a look at that again in object mode.
That is starting to look very very good.
The eyes have a good shape and not that much detail at the moment which is the level we want.
I am going to fill that hole back in again because when it comes to detailing the inside of the inside
of VII it's going to be much easier to insets and you can inset a face that doesn't exist somewhere
of the Selecta that edge loops running around there and fill that in and that will enable us to insets
hits in the future to make more detail look feel that back in perfect.
How did you guys get on have you defined your eyes in your model.
How is it coming along.
I'd love to see it remember to show your work in discussions and I will see you in the next lecture.