Modeling
01 Introduction
Free
02 Software Basics - Sculpting Tools
Free
03 Software Basics - Mesh Editing Tools
04 Skeletal Structure
05 Pre-Preparation - Reference Materials
06 Pre-Preparation - Reference Analysis 01
07 Pre-Preparation - Reference Analysis 02
08 Big Shape Creation
09 Big Shape Refinement
10 High-Poly Body Model Refinement 01
11 High-Poly Body Model Refinement 02
12 High-Poly Body Model Refinement 03
13 High-Poly Head Model Refinement 01
14 High-Poly Head Model Refinement 02
15 Topology - Principle Explanation
16 Model Topology 01
17 Model Topology 02
18 Model Topology 03
19 Model Topology 04
20 Model Topology 05
21 Model Topology 06
22 Oral Structure Creation 01
23 Oral Structure Creation 02
24 Oral Structure Creation 03
25 Nails Creation And Model Perfection
26 Texture Sculpting And Model Delivery
27 Modifying Suggested Issues and Organizing Project
Texturing
01 Blender Painting Basics
Free
02 Krita Basics
Free
03 Reference Analysis - Side View of Body
04 Reference Analysis - Other Angles of Body
05 Reference Analysis - Head
06 UV Unwrapping - Basic Concepts
07 UV Unwrapping - Basic Operations
08 UV Unwrapping - Head
09 UV Unwrapping - Nose
10 UV Unwrapping - Body
11 UV Unwrapping - Small Body Components
12 UV Layout
13 Painting Large Color Blocks for Body
14 Painting Color Block Variations for Body
15 Painting Transitions for Body Color Blocks
16 Painting Details for Body Color Blocks
17 Painting Head Texture
18 Painting Ear Texture and Head Details
19 Checking the Base Map Effect
20 Addressing Base Map Issues
21 Adding Speckles to Texture in Krita
22 Projecting Textures
23 Adding Hair Texture in Krita
24 Checking and Modifying Final Hair Texture
25 Creating Textures - Skin
26 Creating Textures and Materials - Nose
27 Creating Textures and Materials - Paw Pads
28 Creating Textures and Materials - Eyes
29 Creating Textures and Materials - Nails
30 Creating Materials - Lips
31 Creating Textures and Materials - Gums
32 Creating Textures and Materials - Teeth
33 Creating Textures and Materials - Tongue
34 Checking and Modifying Overall Effects 01
35 Checking and Modifying Overall Effects 02
36 Addressing Texture Seams
37 Modifying Suggested Issues and Organizing Project
Grooming
01 Introduction to Hair Creation Workflow
02 Introduction to Software Features - Particle Settings
03 Introduction to Software Features - Particle Edit
04 Introduction to Software Features - Weights and Textures
05 Pre-Reference - Looking for References
06 Pre-Reference - Analysis Process 01
07 Pre-Reference - Analysis Process 02
08 Pre-Reference - Analysis Process 03
09 Prepare for Hair Guide Grooming - Preparations Before Creation
10 Hair Guide Grooming - Overall Structure 01
11 Hair Guide Grooming - Overall Structure 02
12 Hair Guide Grooming - Overall Structure 03
13 Hair Guide Grooming - Detailing Creation 01
14 Hair Guide Grooming - Detailing Creation 02
15 Hair Guide Grooming - Detailing Creation 03
16 Styling Creation - Hair Layering
17 Styling Creation - Body Hair 01
18 Styling Creation - Body Hair 02
19 Styling Creation - Abdominal Hair 01
20 Styling Creation - Abdominal Hair 02
21 Styling Creation - Neck Hair 01
22 Styling Creation - Neck Hair 02
23 Styling Creation - Head Hair 01
24 Styling Creation - Head Hair 02
25 Styling Creation - Leg Hair 01
26 Styling Creation - Leg Hair 02
27 Styling Creation - Tail Creation
28 Styling Creation - Hind Leg Hair 01
29 Styling Creation - Hind Leg Hair 02
30 Styling Creation - Ear Hair 01
31 Styling Creation - Ear Hair 02
32 Styling Creation - Self-Inspection of Styling
33 Styling Creation - Styling Modification 01
34 Styling Creation - Styling Modification 02
35 Styling Creation - Styling Modification 03
36 Styling Creation - Styling Modification 04
37 Styling Creation - Styling Modification 05
38 Styling Creation - Styling Refinement 01
39 Styling Creation - Styling Refinement 02
40 Material Creation - Material Basis
41 Material Creation - Adjust Overall Material 01
42 Material Creation - Adjust Overall Material 02
43 Material Creation - Adjust Overall Material 03
44 Final Modification - Suggested Issues 01
45 Final Modification - Suggested Issues 02
46 Final Modification - Suggested Issues 03
47 Final Modification - Suggested Issues 04
48 Final Modification - Suggested Issues 05
49 Final Modification - Suggested Issues 06
50 Final Modification - Suggested Issues 07
51 Final Modification - Suggested Issues 08
52 Final Modification - Suggested Issues 09
53 Organizing Projects
Rigging
01 Bone Basics 01
Free
02 Bone Basics 02
Free
03 Common Bone Constraints 01
04 Common Bone Constraints 02
05 Pre-Checking
06 Introduction to Rigging
07 Skinned Body Bone Creation
08 Bone Analysis for Facial Expressions
09 Creating Skinned Facial Bones
10 Model Skinning
11 Spine Rigging
12 Neck Rigging
13 Foreleg Rigging - Leg
14 Foreleg Rigging - Foot 01
15 Foreleg Rigging - Foot 02
16 Foreleg Rigging - Assigning Custom Shapes and Creating Custom Properties
17 Hind Leg Rigging
18 Tail Rigging
19 Facial Rigging - Secondary and Linked Effects
20 Facial Rigging - Facial Actions
21 Facial Rigging - Tongue
22 Facial Rigging - Assigning Custom Shapes
23 Facial Rigging - UI Panel Shapes
24 Facial Rigging - UI Panel Rigging
25 Weight Painting
26 Creating Facial Expressions with Shape Keys
27 Creating Angry Facial Expression
28 Setting Controller Colors and Final Checking
29 Blender 4.1 New Features
Animation
01 Walking Animation: Introduction
Free
02 Keyframe Basics
Free
03 Graph Editor Basics
04 Reference Analysis
05 Getting Familiar with Rigging
06 Basic Animation of Body and Limbs
07 Refining Posterior Spine Animation
08 Refining Hind Leg Animation
09 Mirroring Hind Leg Animation
10 Refining Anterior Spine Animation
11 Refining Foreleg Animation
12 Mirroring Foreleg Animation
13 Tail Animation
14 Neck and Head Animation
15 Animation Detail Processing
16 Facial Expressions
17 Final Adjustments and Modifications
18 Howling Animation: Introduction
19 Reference Analysis for Howling Animation
20 Howling Blocking 01
21 Howling Blocking 02
22 Refining Hind Leg Animation
23 Refining Foreleg Animation
24 Refining Spine Animation During Walking
25 Refining Head Actions
26 Refining Body Animation During Howling
27 Refining Face Animation During Howling
28 Tail Animation
29 Final Adjustments and Modifications
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Model Topology 01

June 5th, 2024
Iterms: Individual License
One copy to be used by a single user.
In this lesson, we will start the model topology, beginning with the body.
Comments Section

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10 Comments

  1. mwsheeler says:
    June 17, 2024 at am11:38

    Creating that n-pole (3-edged) at 14:18 took me over four hours to figure out. There were so many edges and verts that were not visible in your video as they were under the high poly mesh. That was what was so confusing to me. After restarting the entire topology from scratch four times I finally got the 3-pole constructed. Now I just hope I can finish this first topo tutorial video with no more hiccups. Thanks again for your detailed reply in helping me with this.

    Reply
  2. mwsheeler says:
    June 15, 2024 at pm5:22

    something weird on this website. When I make a comment and hit the “Comment” blue button, it takes the video back to the beginning. Just thought you should know.

    Reply
  3. mwsheeler says:
    June 15, 2024 at pm5:21

    The slide/relax tool in sculpt mode does absolutely nothing on the retopo mesh. I’m using Blender 4.1.1

    Reply
    • Jerry Lee says:
      June 16, 2024 at am9:32

      There could be several reasons why the Slide Relax tool isn’t working, and I can’t pinpoint the exact issue without more information. Here are a few possible causes you can check:

      1. Brush strength is set to 0; try increasing the strength.

      2. Check if any options in the auto-mask settings were accidentally enabled.

      3. Ensure there are no existing shape keys on the model, and the current shape key value is 0.

      4. Check if the model’s normals are correct.

      5. See if there are any modifiers on the model, such as a mirror modifier (you might be drawing on the mirrored half rather than the original model).

      Try these steps, and if you still can’t draw, could you send your project file to our email? I can test it with you to find the issue. It’s essential to resolve this because I feel this tool is very helpful for our topology work.

      There are other ways to achieve similar effects. You can adjust the brush settings in the Smooth brush to achieve a similar result. However, this will also affect the smoothing effect when holding Shift while using other brushes.

      https://www.dropbox.com/scl/fi/avru10lfpmpr640n7yya2/20240616.png?rlkey=ho5lsq1lfpnwzu31xuoez2im1&st=yc0mi62h&dl=0

      Reply
      • mwsheeler says:
        June 16, 2024 at am10:33

        Many thanks Jerry Lee. Your replies are way beyond what I expected, and I thank you for the detail and length you went to carefully explain the possible reasons for it not working and for providing me with an alternative method with which to achieve the same result.

        Reply
  4. mwsheeler says:
    June 15, 2024 at pm2:57

    You totaqlly lost me at 14:38 in the video when you made the n-pole. I have spent the last half hour going back over it (the video) and it still doesn’t ring a bell as to how you did that. Frustrating! I will keep pluggin at it.

    Reply
    • Jerry Lee says:
      June 16, 2024 at am9:33

      Let’s look at the wiring method from a different angle. As we’ve learned earlier, N-poles help us change the direction of edges in a model. However, before creating an N-pole, we need to know the effect we want to achieve, meaning we should have a clear idea of where we want these edges to connect.

      An N-pole affects the direction of lines in three areas, and determining the direction of these three lines is key to creating an N-pole, as shown in the image below.
      https://www.dropbox.com/scl/fi/s2chs3vmbvun0gb0y4n0m/20240616.mp4?rlkey=h919grqrqzuyddq02r02a5ph5&st=bdr6a4hk&dl=0

      When creating an N-pole, these three edges are crucial. Once you’ve determined their direction, the N-pole is formed.

      I received the screenshot you sent. I noticed that you’ve already created an E-pole above. The difference between an E-pole and an N-pole is that an E-pole affects the direction of five edges, making it harder to control, but it offers more flexibility than an N-pole.

      Here, I suggest you use the E-pole directly. The N-pole you created below is redundant, and you can delete it. In the video I sent you, I adjusted the wiring based on your current model for your reference.

      However, since I can’t see the overall model, I’m not sure if this approach will affect other views of the model.

      I hope this helps! I admire your eagerness to learn and am happy to assist you. If you have any questions during your studies, feel free to email us or leave a message here. I’m always glad to help. Happy learning!😊

      Reply
      • mwsheeler says:
        June 16, 2024 at am10:40

        Again I thank you for your amazingly detailed answer and for the sample video to go into depth about creating the N-poles. I will go back and rework the inner part of the upper leg to try to match what you have shown me. I also gtothe Slide Relaxe tool to work.

        Reply