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The next major landmark is the mouth. I copied the part of the profile that makes the lips and teeth and extruded that sideways a few times:





I scale and rotate the cross section into place and close off the corner.





Closing the corner is a bit tricky. I deleted the cross section from the end of the extrusion and left the hanging spline ends...





... then matched the splines from the top and bottom and attached the new loops to new CPs I added (y key) to the center spline.


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Mouth Copy/Flip/Attached





This mouth is somewhat more complex than on the paper maché model previously shown above as reference (basically painted on), but much less complex than a mouth that would need to be rigged and animated.

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The eye will be rather like the mouth, not anatomically correct, more of an indentation on the surface. I start with the eye opening:





Closing the eye is like the mouth corner... I extrude the eye ring in a couple times and delete the last ring to give me a bunch of free splines:




The horizontal splines are extended toward the center to meet at a new CP (blue arrows). The vertical splines will be matched and attached to it. (Yellow arrows)





I'll do a little bit of shape fixing now but not much because when I attach other face splines to it it will probably need to change some more.




Next... Trying to stitch it all together!



Added Note: I would not normally model a face with an extreme smile like you see here.


If it were a mouth that needed to be rigged and animated I would model it in the most neutral, flat, unsmiling pose possible. It's very difficult to rig a face with a smile built into it to do the small mouth poses like "oo"

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Most of that original profile spline has been replaced now by modeled parts, so I'll delete all of it except the back of the head.






There are some obvious splines we can add to connect the chin to the top of the head.





As you add splines some patches become obvious that can be completed and filled in. But after this it gets more mysterious. You have to experiment with making connections from one part to another and always aim to use the fewest possible CPs to describe your shape.





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Here's a completely filled in view. Much adjusting will be done but I think this will work.





Doh! Forgot the ear!





revised to move 5 pointer farther off jowl bulge



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Now I see. Looks good.




Yeah, it was looking kind of doubtful for a while.


There are some hooks that are causing some surface weirdness and not CFA ing so I'll have to rethink a bit of it.


Tomorrow. This has been a full modeling day for me since I almost never model.

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After studying Xtaz's solution I realized there are some hooks (highlighted in color) right next to each other that could be re routed to join in a conventional CP.


The red and yellow can be joined as in b but that makes a 3 pointer right on the crest of the cheek and has a hook in its side which will be hard to smooth.


Hooks going into 4 point patches are generally fine, but into 3 pointers not so much.


Instead I ran the red spline up to the eye and hooked the yellow into its side as in c. The green and blue cause a 3 pointer when they join but it's not in a problem spot so it's fine.


In d I simplified a bit more under the ear by shifting the the pink and purple hook and spline down one CP and eliminating the brown spline.


This result CFAs fine. It's not that the original a would not have worked, but simplifying the topology was probably better anyway.





Here's a turnaround of the possibly finished head mesh. I'll probably need to add a simple neck



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Where the ear and cheek meet seems to stick out to the side too much.


Yeah, I also don't like the way the jowl and bottom of the ear seem to be the same thing.


I'm finding hooks that work smoothly on one side refuse to be smooth on the other side. So while resplining those I've reworked it to give a more definite ear lobe, send the jowl line down farther.



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Don't use hooks, except in discrete places. Run those splines all the way around if neccessary. The price of a few more patches is better than the pain that hooks will cause you.;)


I love the sock puppet tests, Robert!:D


Mr. Punch is coming along nicely. Next you're going to need a Judy, a rolling pin, a hammer, a saw, a crocodile, a policeman, a baby..........

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Now to try to paint the thing. I'm going to use my brand new, minimal manual unwrapping, cylindrical UV mapping method.


I made a pose that bends the chin down and aligns the head around the Y axis




The nose is so prominent I'll map that separately, so I hide the nose when I apply a dummy checkerboard map to the head with cylindrical application method.





I made another pose that aligns the nose around the Y axis.



I hid everything but the nose and applied the lower portion of the map you saw above.


When both applies are done the head looks like this:




The resulting UV view looks like this:




This looks like pretty reasonable mapping with not too much time spent moving the mesh around to get it ready for a decal. Extra bonus... because these are cylindrical decals I only have one seam to paint over at the back of the head and one under the nose. Although the UV view looks like the seam point are one patch over front the back of the head and the bottom of the nose, 3D painter seems to still interpret the seam as being at those splines.



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Here's another feasibility test for cloth. A shirt with neck opening and sleeves. Cloth likes to be just 4 point patches and a shirt doesn't like to be just 4 point patches, so that's the challenge. You may notice holes at the arm pit where I didn't connect the sleeve to the body in order to get the simulation to work.


It does well up until the very last frame.



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It's taken me several false starts to get the ins and outs of 3DPaint but here's The Punch Puppet head painted. I've tried to make it look more hand made by leaving visible paint strokes.


That's my story and I'm sticking to it.



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Here's what my all-in-one cylindrical mapped color map looked like after all that painting in 3DPainter. The bottom third is the nose portion.





Pretty cool, looks more interesting than the model!





That should be fun to animate


That's when it really gets hard. :o

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Here's a slightly different tactic on creating a shirt for the Punch Puppet.


I'm going to use the Grid Wizard to create some flat cloth I will cut to shape. 1CM patches seem to work well on the sock model so I'll stick with those.





The wizard creates this rectangle and I will delete the section I've highlighted. This makes me the front right side of my shirt.





Of course it's still flat ,




I'll need to puff it out a bit to fit deflectors inside the cloth. I'll use the Distortion box to make that easy. When I used the Grid wizard I chose values that made a grid easily divisible in quarters and halves. I'll choose D-box settings that put d-box splines right on the edges of my cut cloth.




I can puff out the arms bit with one D-spline...





and grab some other CPs in the D-box to puff out the body. I'm just unflattening the cloth a little bit so there will be room to slide something inside the finished shirt





to be continued...

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I'll Copy/Flip/Attach that piece of cloth to make a back half.




Check your results after a CFA, I had to do some clean up on the spline attachments to get the above.


Then I CFA again to make the left half






For the inside deflector mesh I'll borrow a part of Thom...





and size him to my shirt.




I can't run a ClothSim with the deflector poking thru cloth so I make a percentage pose to flatten the Thom body.





In the chor I sim the cloth dropping onto the flattened body, then expand the body bakc to normal shape:





After that test, I think i'll go back and redo the shirt with even bigger sleeves and torso for a floppier look. Notice the edges where the front and back meet try to maintain their shape. That may be useful for things like a crease in pants but for this shirt I'll also try to dull that sharp corner in the mesh.


I also think I can leave out the neck opening since that will be covered by a ruffle.

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That works well. I'll be interested in seeing how well it works when he's animated.


After 10 hours of trying I got one to work. Reducing the density of the cloth to a quarter of what was in the last test got it over the hump and got it to survive fast animation motion. Cloth does not like being rushed about.





I liked the floppiness of the higher density cloth but this stiffer look is probably more like the the way cloth on a small doll would behave.


But I think we can say that this ClothSim thing is pretty powerful. We've just been giving up too easily.

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But I think we can say that this ClothSim thing is pretty powerful. We've just been giving up too easily.


Oh the possibilities! I can remember trying to model a character wearing a kilt some 4-5 years ago, and giving up since the folds and creases simply wouldn't work and animating it would have been near impossible. Now, I'm wondering if sim cloth will support such an endeavor.


Great job, man, my punch hat is off to ya!

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That looks great, Robert. The stiffer cloth looks alot better for a puppet, as you said. I'm wondering if stiffening the cloth for the sock puppet would be better as well. Socks are a little more clingy/stretchy than you have it now, it looks more like a handkerchief type cloth.

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Reducing the density of the cloth to a quarter of what was in the last test go it over the hump and got it to survive fast animation motion. Cloth does not like being rushed about.


Could you show the wireframe of shirt so we can see the density please?

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Could you show the wireframe of shirt so we can see the density please?


Here's the old and new at the same frame of the simulation, just before the dense version would begin to fail.


The dense version had 1cm patches the light version has 2cm patches.


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