# vtuber model separation guide !【techniques & breakdown】

https://www.youtube.com/watch?v=WGpvSTThQUU

[00:00] Hello and welcome to the second video of the new model series.
[00:02] Today we are dedicating a whole video to separation since, uh, you know, it can get pretty tricky and people always have questions.
[00:10] And there's a lot of ways to do different things, and separation is really important if you want like good angles or like just decent rigging for things.
[00:18] So I'll try to explain how to separate things better for those of you who still struggle with it.
[00:23] I know it doesn't come as easily to other people.
[00:25] So if you're one of those people who are struggling or maybe you want to learn something new and figure out what things can do in Live2D, because certainly a lot of things in Live2D with separation rely on Live2D specific tools.
[00:37] So if you're not familiar with Live2D or with all the tools you can use, I will try to help you out with that today.
[00:42] And I do have a separation guide sort of breakdown for my new model.
[00:46] Of course, it won't really help too many people if you guys are really different from my model, but if you're just starting out and you need an example, hopefully, um, you know, my guide helps you out a little bit.
[00:56] You can skip to that if you look in the, um, chapters of the video, just skip to.
[01:00] Whatever you guys need, but along with the separation sort of guide breakdown, I'll also be showing a few ways of how to separate certain things for different types of rigging techniques.
[01:09] Hopefully you know, once you guys understand what you can do, you guys get a little creative with your rig or with certain things on your model.
[01:17] So first, I'm going to do a sort of brief explanation with how to separate your art for those who are really new.
[01:23] I kind of touched on this on my last video, but there's several ways to separate your art depending on your art style or whatever you're most comfortable with, of course.
[01:30] But essentially, you're just taking the art and putting each part of the art into its own layer so it can be easily rigged.
[01:36] All of these parts will need more art added onto it to be more uh fleshed out, and certain parts will need to be separated in certain ways in order to achieve certain things when it's rigged.
[01:46] Honestly, a good rig can only be as good as um its separated art, in my opinion.
[01:51] Of course, there's still a lot of things you can do with like single layer art by using you know other techniques in Live2D like Glue to make it really like 3D-ish, but you know, it's always good to know.
[02:01] Different techniques for certain things.
[02:03] I and many other people who use Live2D think it's a great idea for V2 artists to learn how Live2D works so they know how to tackle the separation of certain parts, um, as well as like supplementary layers for certain Live2D tricks and generally how layers work in Live2D and what riggers can do with the art.
[02:21] So for those who still have no idea what separation is, or maybe you're just new and you need to figure out like what you're doing, I'm going to show a couple ways of how to separate the art.
[02:29] Of course, and the first method, um, I'm going to call it separating it from the start.
[02:34] I think it's a pretty popular method.
[02:36] Well, I mean, at least I see it being used more with, uh, the people I usually watch make, uh, VTuber models.
[02:40] Usually you just have a sketch and then they just start immediately making each part from there.
[02:46] So let me just do it as an example for you guys.
[02:49] All right, so here is my sketch.
[02:52] I, it's kind of bad 'cause I kind of just took a screenshot from my timelapse in my last video.
[02:56] So I'm, let me put down the opacity.
[02:58] And like I said, for this way of separation, you just have.
[03:02] Your sketch and then you immediately start making each part.
[03:06] One way that I see a lot of people doing it is that they'll do line art for each part like this.
[03:13] So as you can see here, I've got three pieces of my hair lined out.
[03:16] I got this piece, this piece, and this piece.
[03:21] Obviously, um, I don't really do line art, so I'm pretty bad at it.
[03:23] So but if you're new to separation, you're new to all of this, you probably don't understand what I'm doing because all these lines really, really overlap each other.
[03:30] But that is what we want, overlap.
[03:31] What I mentioned earlier about adding more art to your layers is that you need to add more art to your piece for overlap reasons.
[03:37] Why, you may ask?
[03:40] Because when things move, it's going to reveal the things underneath it.
[03:44] For example, if you look at my model right now, imagine me moving around and my hair swaying, but underneath you see the background because it's transparent, cuz there's no extra art under this.
[03:54] That's one thing I see that new vtu artists struggle with is really adding in the art underneath.
[04:01] Not only that, maybe they'll add art.
[04:03] Underneath, but it's done sort of lazily.
[04:05] For example, like they do the shading how it looks normally without it being overlapped, but they don't add the shading for the overlapped part.
[04:13] So when the hair moves and it reveals the hair underneath, it's not shaded, so it looks really weird.
[04:18] I don't know if that makes any sense.
[04:19] You know, like right now when I'm facing the front, you can't see like parts of my ears, but when I turn this side, you can, especially when my hair sways over it.
[04:27] You just want to make sure you have every piece of your part drawn.
[04:32] So like I said, a lot of people will do line art first, and so just line everything out, and then they'll start doing the base colors underneath something like this.
[04:45] And then, of course, you know, they add their shading and everything, so they'll do each individual part like that.
[04:50] So let me visually show what I mean by having bad overlap.
[04:54] Okay, I sort of badly shaded it, but you kind of get what I mean.
[04:58] You know, we're looking at it front-on and it looks normal, but when we move this piece, ooh, it's not filled in.
[05:05] Shadow stops right there, so when the hair sways back and forth, there's going to be this awkward light gray part here where it should be shadow.
[05:13] On the same boat, if we move this piece, it's not even colored in, but when the hair sways, you're going to be seeing all of that.
[05:19] So that's kind of what I mean by having like bad overlap or not filling things in.
[05:22] I feel like most VTuber artists kind of don't do this anymore, but man, I've worked on a lot of projects where, um, the art wasn't, uh, up to par, I guess.
[05:32] But yeah, that's one way to separate everything.
[05:33] Like I said, a lot of artists like to do just a sketch, a quick sketch or something, and then start doing the layers around on top.
[05:40] Everything's already separated by the time they start actually rendering it out.
[05:42] Another way that people separate is that they just do everything from the start, which is, um, probably easier if you're a painter.
[05:49] If you don't know what the heck I mean, let me show an example here.
[05:51] I literally have a blank canvas and I'm just going to start separating and drawing them all at the same time.
[05:57] So for example, here's the face; that's on one layer.
[05:59] And then I'm going to start doing the hair on a new layer and the eyes on another layer.
[06:09] Course, um, you wouldn't be separating the eyes and the hair like this, but just an example, some people like to do this way, which is kind of fun actually.
[06:17] So that's just doing everything just from the get-go.
[06:18] Now, the way I do it is I start with the sketch.
[06:21] I actually render out the sketch as much as I want to, and then I start cutting.
[06:25] For example, pretend this is like my rendered sketch, but I take a lasso selection tool and I will start manually cutting pieces out.
[06:34] For example, let's do my little hair here.
[06:36] I have all that selected; I'm going to cut and paste that so it's on a different layer.
[06:40] Now, obviously it's cut bad.
[06:42] Usually when I start cutting, it's like 80% rendered, so once I start cutting it out, I like finish rendering it.
[06:48] So after I have my piece cut out, I just start fixing up, you know, the edges.
[06:53] I start shading it; I start giving it more detail, and I'll do that for mostly everything.
[06:57] Sometimes, you know, I'll just make the sketch a little transparent and draw over it if it's just like a line, for example, the mouth or something.
[07:05] But that's generally how I do it.
[07:07] Why do I do that? Because the other ways make it a.
[07:10] Little harder for me to make everything look cohesive, so I like to start with a sketch, render it out, fix colors here and there, fix the shading, just make sure everything's uniform, and then I start cutting it out.
[07:20] This way helps if you're, um, have a bit of a messier style like me.
[07:25] I'm a, I'm a messy painter, so, and of course, you don't have to stick to just one method of doing it.
[07:29] You can combine all the methods I just talked about; I know I do.
[07:33] So these are just a couple ways that people separate things, so I would find one that works for your art style and your workflow.
[07:41] But essentially, that is the idea of cutting and separating your art for VTuber models.
[07:44] Also, if you have Photoshop, Live2D has developed this sort of plugin for Photoshop where it'll sort of auto-separate your art for you.
[07:54] This is just the video that I took straight from Twitter, but you know, if this looks interesting for you, it might help with a lot of people's workflows, especially if you're a Photoshop user.
[08:00] I will put the link below in the description if you want to check it out; it looks pretty handy.
[08:06] Okay, now that you sort of get the gist of like what separation is and how you do it, I'm going to talk about.
[08:12] Different layering techniques so how you would separate things and which layer order especially in conjunction with live 2D tools so you can see how you separate things for live 2D and how it'll make it work.
[08:24] In my separation guide in my new model separation breakdown I separate things in different ways just for this tutorials so I can show different ways but obviously you can always just pick your favorite way of separating things.
[08:33] Of course for different situations you might need to separate it differently so hopefully what I'm going to show you now sort of opens your brain a little bit for you know the possibilities of what you can do and how to separate certain things especially if you want to do fancy things.
[08:47] Of course there is still like a bit you can do with just one layer like I said earlier you can do hype maps with glue if you know what the heck I'm talking about but I made this little sort of guide to help hope you guys understand how to use certain things in live 2D.
[09:01] Okay so here we are in live 2D with my separate objects.
[09:04] I will have this live 2D file and the PSD SL clip file on my coffee if you guys would like.
[09:12] To pick it up and look at it, but I'm not doing any fancy rigging.
[09:14] I'm just showing how like certain layers work and everything and comparing like different techniques to each other.
[09:19] So first here we have just a flat face.
[09:22] And what I mean by flat is that we have the line art here which is, you know, the dark brown.
[09:26] We have the shadow here which is the color between, you know, the the color of the face and the line of the face.
[09:32] Um, the only thing I have separated is the blush, so it's not completely flat, but it's pretty much flat.
[09:39] So I just put this in here for an example of like just if you didn't do anything too fancy and it was just the flat art right here, line, shadow, color all on one layer.
[09:48] Now I'm going to show you what it's like for the line art to be separated, the shadow to be separated, and the color underneath to be separated.
[09:55] So right now I have the shadow clipped onto the face.
[09:58] So if I unclip the shadow, you'll see that expands out and, you know, it it covers up more than the face.
[10:05] Obviously, this is the overlap I'm sort of talking about, cuz when our face turns to the left and the right and up and down, these shadows are going to move.
[10:13] So it's good to have these shadows separated so you have more control with how your face looks.
[10:16] So if I clip this back onto the face and I move the shadow, you can sort of feel how, you know, this would really help to convey those angles with the shadow changing.
[10:26] If you're familiar with my beginner rigging tutorials, I did this technique for my face.
[10:32] So we have our line art separated.
[10:35] Usually we would glue the line to the face skin so that they're connected and there's no like weird face skin overlapping anything.
[10:41] Also doing this technique, you can clip stuff onto the face line.
[10:45] For example, on my model, when I look up, my face line disappears a little bit just to show a little bit of an illusion.
[10:52] A little bit, um, I kind of rigged this model bad, so don't look too closely on this one.
[10:55] I do have my blush a little bit more separated.
[10:57] I do do little blush lines on my models.
[11:00] So on this separated face, I separate the blush lines from the soft blush beneath it.
[11:05] So that's one way to separate things by, you know, separating the line art and having the color fill underneath and then having the shadow on top of that, everything clipped all nice and neat.
[11:14] Of course, unlike the flat version right here where I have the blush clipped onto the face, it won't obstruct the um face line because over here the face line is disconnected and on top of the blush, so the blush does not overlap it.
[11:26] On this face down here, I am using the underfill technique.
[11:29] I don't think I showed the underfill technique in my beginner rigging tutorial series, so I will be introducing this technique into the new rigging series.
[11:36] But let me go through each layer.
[11:39] At the bottom is the face line, but it's filled in, and on top of that is the face skin.
[11:44] So it's kind of reversed from the last one; instead of having the face line on top, the face line is underneath, but it's also filled in, so that's the underfill.
[11:52] So we have our face skin on top, and then clipped onto the face skin we have blush, my blush marks, and the face shadow.
[12:00] Like I said, it's separated.
[12:01] The advantages to separating this way, other than the last way we just showed with the line art, is that you have a lot more control over the line.
[12:07] So when you're pushing angles and moving around, you can really emphasize like how far away things are by thinning and thickening.
[12:16] The lines like this also for making certain shapes if the situation calls for it.
[12:20] So along with the shadow and the thick line here you can just really feel it.
[12:25] It just gives it a little more dimension and you get way more control with how your line looks because with the line art one you only have that thin line assuming it's a thin line and you don't exactly have too much control with it.
[12:36] And sometimes it gets hard to work with especially if you have it glued.
[12:39] Also depending on how you do your model, underfill might be very, very, very ideal for certain things.
[12:44] Like I said, you got to pick and choose your techniques depending on what you're tackling, so it's always good to know quite a few techniques.
[12:52] Now for the fourth face here, I'm going to show what I kind of call the underfill but reverse fill.
[12:59] I don't know, again, let's go through the layers.
[13:03] So first we have our face line underfill of course, but instead of having you know our base skin color here, we have the shadow and then we put the face skin on, so the face skin.
[13:16] Is clipped onto the shadow face skin and then of course the blush and blush marks are clipped onto those.
[13:21] Now for this one, you move the face skin color around to reveal the shadow underneath, so it's basically like you know underfill except the shadow and the base color are switched.
[13:33] Of course, you can also do the shadow underneath with the base color on top, but with the line art on top of the face instead of the line overfill at the bottom.
[13:42] You know, you can mix and match techniques for certain things.
[13:44] You know, having the base color on top of a shadow would be easier.
[13:52] At the same time, don't always think about it being a shadow and it being like the base color.
[13:56] You can use these techniques for different things.
[13:57] One example comes to mind are like patterns.
[13:59] Of course, everyone's model is going to look different with different things on them.
[14:04] So hopefully this sort of jogs your brain for, um, a technique for something you could use for a certain part of your model.
[14:10] Now the last technique, which is, uh, the inverted masking on Live2D.
[14:16] Depending on what program you use, you...
[14:17] May or may not be used to this kind of masking on live Tod.
[14:19] You have an option to invert the mask on live Tod.
[14:21] You have an option to invert the mask on all the previous examples.
[14:26] We had everything just clipped reg regly onto the face color.
[14:31] So let me explain the inverted mask.
[14:33] If you followed my life Tod tutorials you might be familiar with the inverted mask.
[14:38] If you don't know what the heck inverted mask is, well, I'm going to show you.
[14:41] Honestly, I would not use the inverted mask like this for faces.
[14:43] Uh, some people do, of course.
[14:46] I'm just using the face as an example to show all these techniques.
[14:50] So this blue box I have here has the face outline cutout.
[14:53] So if I move this around you can see that, you know, it's a square with the face cutout.
[14:59] And underneath my setup is basically the same thing as the underfill example except my face line goes out a lot more just for funsies.
[15:05] So I'm going to take the blue box, I'm going to take the ID and I'm going to put it into the faceline clipping ID.
[15:11] Right now it's a regular mask, so the faceline is clipping onto the blue box, but we can't see it.
[15:18] Cuz the blue box is on top, of course you don't want this blue box there on your actual model.
[15:22] So we're going to turn the opacity of this box to zero.
[15:24] Now you can see the face line is clipped onto, you know, where the blue box is.
[15:28] So if we invert this mask, it's going to show the faceline normally because now the face line is going to show up anywhere that the blue box isn't.
[15:37] And like I said, the blue box had the outline of the face cut into it.
[15:40] So if I move the blue box, which is not visible, it'll show the line like this.
[15:47] Of course, if we go too far out, we don't have enough art there for, you know, to see the underfill there.
[15:51] So yeah, not the ideal way to use this inverted mask for, like, this specific face stuff.
[15:59] Of course, you know, Live2D riggers sometimes you got to bash in the brain to hide, you know, certain things.
[16:02] So you could use reverse clipping for that just on top of the head, but just to show the technique, hopefully that sort of, um, makes sense.
[16:11] Hopefully, but yeah, like I said, I'll put these examples in the description on my Ko-fi you can pick up for free if you guys really want to.
[16:19] Analyze the layers and see how it is in live2D.
[16:21] You can practice rigging on them a little bit if you want to, but yeah, those are just an example of separation techniques on, you know, these little pieces.
[16:28] Hopefully that makes sense; if not, um, I'm sorry.
[16:31] Okay, now I don't have any more visual examples, but I am just going to list out some important points for separation that may or may not help you if you're an artist and you don't do the live2D rigging.
[16:42] If in doubt, always ask your rigger how they like things separated.
[16:47] If you're doing a commission for someone, ask them what their rig artist likes things separated.
[16:53] If you're doing commission for someone, please ask your client if their rig artist has any guidelines or anything.
[16:58] There are certain things that some riggers can do themselves that you don't need to add extra art for, or sometimes they need you to add more art and more layers or separate things differently.
[17:08] A lot of the times if I'm ever rigging someone else's art, I'm always happy to like grab a PNG of their model and sort of like draw on top of it to cut things out so they kind of get how I like things separated.
[17:18] But yeah, if you aren't.
[17:20] If you are doing the rigging yourself, please ask the person doing it how they like things separated.
[17:25] I've rigged some models that killed my brain cells.
[17:27] Other points: sometimes adding too many unnecessary layers is detrimental.
[17:32] Refer to my last point about me, um, looking at models and dying.
[17:37] Also, having too many layers, you know, might be too much for your Live2D program, and it might lag you like crazy.
[17:43] So sometimes you got to ditch all that fancy separation and just do some one-layer magic, which is definitely possible.
[17:50] It might not look as awesome as you want it to be, but sometimes it's just what you got to get done.
[17:54] Like I said, you can clip stuff in Live2D as well as invert the mask of the clipping.
[17:58] There are also multiply and add layers in Live2D.
[18:03] So if you use any layers that are just luminosity or like just subtraction, keep in mind that the only blend modes in Live2D are additive and multiply.
[18:13] So make sure they look good in either of those.
[18:14] On the same note, in Live2D, you can add color to a layer using multiply or screen.
[18:19] I feel like this kind of makes...
[18:21] More sense if you're using live TD and have used it before, but sometimes I will take like if the artist didn't add the back of a skirt or something.
[18:27] I will copy paste the front of the skirt, add a multiply layer on top of it that makes it darker, and then use that on another note.
[18:35] Folder layers work differently in live 2D, so sometimes you need to specify what certain layers do.
[18:39] For example, if you clip a multiply layer over an entire art folder and clip Studio paint, it's not exactly going to work the same way in live Tod.
[18:48] Like I said before, add enough extra art overlap.
[18:50] And when you do, do not make it lazy and just fill it in with one color.
[18:56] You got to make it like it's its own art piece.
[18:58] And if you want to have more movement and range, you got to separate your art more.
[19:02] If things aren't separated, it will look super flat.
[19:06] If you ever look at another rig, you can try to see how things are separated there and you can apply it to your own art and rig.
[19:12] If you're unsure how to separate something, I would draw it at an angle and see what you need to add.
[19:17] Or you can do this technique where people are liquefying some of their base layers.
[19:22] And using that as a guide, I myself make a lot of guidelines.
[19:24] I make mouth guidelines for how I want my vowels to look.
[19:28] So, if you're someone that struggles with doing things freehanded in Live2D, don't be scared to add guideline layers into your folder to use in Live2D.
[19:35] All right, so let's get into my new model separation breakdown.
[19:38] I don't want to call it a guide, cuz I don't want you guys to like think of it as gospel and copy every little thing because I'll admit I separate things kind of weirdly and it might not work for your model, so just a heads up.
[19:52] In each of these slides, I will be showing my layers as you can see in the corner here.
[19:56] These are the layers on Clip Studio Paint, so if you're not too familiar with Clip Studio Paint, let me just go through each thing.
[20:01] Obviously, this is a folder; everything under this is in a folder.
[20:05] My front hair shadow here, I have all these little pieces in there in one folder, and that's clipped along with the shadow, blush mark, and blush.
[20:10] You can tell it's clipped because it has that little red bar on the side of it.
[20:14] I will admit some of these don't have clipping shown on the layers when it should, so my apologies, but I think you guys should.
[20:23] know what you need to clip on your own
[20:24] model normal is just the blend mode
[20:26] layer the percent is the opacity and of
[20:29] course under it is just the name of the
[20:31] layer I will say please keep your layer
[20:33] names nice and organized make sure
[20:35] everything is clearly labeled I will
[20:37] admit some of my names on these layers
[20:39] I'm about to show are kind of whack so
[20:41] have a better naming scheme than me and
[20:43] you will probably see like left and
[20:45] right arrows for some of my naming
[20:47] that's how I separate left and right
[20:49] usually people put like you know L ear r
[20:51] ear but I prefer the arrows because you
[20:53] know just visually it's easier for me so
[20:56] this is the face obviously I did this as
[20:59] the separation example so this is kind
[21:01] of self-explanatory but I'm using the
[21:03] underfill method and I have the Shadow
[21:05] on top of my base fill and My Shadow
[21:08] does go out a little bit on you know the
[21:10] bottom left because the shadow is going
[21:12] to actually go over my neck and my
[21:15] shoulders as well I'm using this one
[21:16] Shadow for all those three parts it'll
[21:18] make more sense when I rig it and then
[21:20] one thing that is probably unfamiliar is
[21:22] my hair Shadow so my front hair Shadow
[21:25] is actually just my front hair layers
[21:27] copied duplicated blurred a little bit
[21:30] and recolored into shadow colors for my
[21:33] face so each of those layers is exactly
[21:35] like my front hair layers that you're
[21:37] going to see later they're opaque and
[21:38] they're just colored like Shadow I do it
[21:40] this way cuz when I rig the hair
[21:42] especially for physics the shadow will
[21:43] move along with the hair and then I just
[21:45] tweak it a little bit it just takes less
[21:47] work for me obviously there's a lot of
[21:49] different ways to do Shadow and hair
[21:51] Shadow hair shadow gets kind of tricky
[21:53] sometimes just make sure you have enough
[21:55] overlap for the sides of the face
[21:57] honestly next on are my ears I'm using
[22:00] underfill again so obviously I have the
[22:02] underfill layer I have the color fill
[22:05] layer and then I have the ear detail
[22:07] layer which is clipped onto that color
[22:10] fill layer and I have separated like the
[22:12] curve of the ear I don't know what it's
[22:14] called but I have that separated for my
[22:16] angles so it can go over the detail and
[22:19] away from the detail for when I'm doing
[22:20] angles just to push it a little bit more
[22:22] and then my earrings are just pretty
[22:23] basic if you have any earrings that you
[22:25] know loop around the ears so you can see
[22:27] the back of the earring make sure you
[22:29] have that included as well as with
[22:30] overlap so when your earring dangles you
[22:33] don't have anything weird showing up
[22:35] next these are pretty simple they're my
[22:37] brows and my nose my brows are just one
[22:40] layer left and right nothing too fancy
[22:42] my nose I just got a cuty little dot
[22:45] anime nose so I just have like my
[22:47] highlight my nose Dot and a little bit
[22:49] of Shadow if you have a more complex
[22:51] nose like if you're doing like an ecen
[22:53] nose where you turn to the side and you
[22:55] have like the whole line sticking out
[22:57] underfill is a great way to do those
[22:59] noses I will say despite having a simple
[23:01] nose you will want to separate it a
[23:04] little bit more for when you're doing
[23:06] face angles you can really show like the
[23:08] angle of the face with your nose so
[23:10] honestly have a good nose rig luckily I
[23:13] have a pretty simple one so not too much
[23:16] to worry about next is like my torso my
[23:19] neck chest waist hips I know a lot of
[23:21] people like to do underfill for the
[23:23] entire body I will say from like the
[23:25] chest up I have everything separated a
[23:28] lsh but from the waist down I separate
[23:32] less just because I don't want to work
[23:33] on them too much since most of the time
[23:35] you don't even see it so from my neck I
[23:37] am using underfill and my top fill
[23:39] there's no Shadow here because like I
[23:40] said before I'm using the same Shadow
[23:42] from my face I have my and I'm using
[23:44] underfill for that body part that's like
[23:47] you know connects the neck to the body I
[23:49] have my collar bone separated because
[23:51] when you turn left and right you show
[23:53] your collar bone turning it looks really
[23:55] nice except you can't see my collar bone
[23:57] in this outfit I'm wearing and then I
[23:59] have my little pits I think there's a
[24:01] different word for them but I just call
[24:02] them pits I might be right I'm not sure
[24:04] and then my chest hips and waist and
[24:06] everything I just have it as one layer I
[24:09] might separate it more honestly there's
[24:10] a lot of things on here that I might
[24:12] tweak a little bit but I will show them
[24:14] like in the video where I'm actually
[24:15] tweaking it so you know I didn't draw
[24:17] any BBA because you don't see any of my
[24:20] BBA for this outfit but I know you
[24:23] people be asking for a boa tutorial I
[24:26] will do that one day okay one day next
[24:28] are my arms and legs like I said you
[24:31] know waist down I stop separating as
[24:33] much so my legs are just one layer I
[24:36] also have no shoes some people like to
[24:38] do angles for their shoes and they look
[24:40] really epic but honestly for me like I
[24:43] said I'm not going to put in too much
[24:44] effort in the bottom half so if you guys
[24:46] are looking for a shoe tutorial for
[24:48] rigging let's just hope you guys learn
[24:50] enough about rigging to uh figure that
[24:52] out on your own and then for my arms
[24:54] here I have you know the top part of my
[24:56] arm the bottom part of my arm and have
[24:58] my finger separated usually I would
[25:00] separate the hand from the forearm but I
[25:04] was a little lazy honestly I wouldn't
[25:06] separate the bicep and the forearm in
[25:08] some cases but I am planning on doing
[25:10] like arm toggles so that's why I'm
[25:11] separating those I'm not planning on
[25:13] doing like hand toggles where the arm is
[25:15] down so I don't mind having the hand
[25:17] attached to the forearm and then this is
[25:19] my only example of clothing because I
[25:21] didn't want to do all of my clothes but
[25:23] I feel like I did enough on the top that
[25:25] sort of shows what you can do with
[25:27] clothing clothing will get pretty tricky
[25:30] especially if you have tricky clothes or
[25:31] a lot of clothes or fancy clothes so you
[25:33] know it's a case by casee situation I do
[25:37] believe that separating like you know at
[25:39] least the top half of your clothes
[25:40] really nicely to really do those angles
[25:43] is important a lot of people also kind
[25:45] of neglect like the top half of the body
[25:47] and they don't add enough layers to
[25:49] really show those angles I will say one
[25:51] pet peeve I have is when artists like
[25:53] draw the boobs and they cover you know
[25:57] like most of the chest area but then
[25:59] they don't draw the body under it like
[26:02] in my torso slide when I have like just
[26:05] my chest there they don't add like that
[26:07] top part so when you're turning and the
[26:09] boobs turn you see all the background
[26:12] and transparent stuff under there I
[26:14] don't know if that makes any sense
[26:16] anyway I'm rambling here's the
[26:17] separation on the left here you can see
[26:18] the separation of my straps I separated
[26:20] them a little more just cuz you know
[26:22] like I said I like to separate
[26:23] everything on the top half a little more
[26:25] so I do have my Buckle separated more
[26:27] and I have the separated I have my left
[26:30] and right Hood separated also I do have
[26:32] a back Hood I didn't show it here just
[26:34] cuz this is technically just the top
[26:36] front and to explain how I'm doing the
[26:38] clothes I am using underfill all right
[26:41] that's that dark blue if you can see at
[26:43] the bottom if you're a little color
[26:45] blind I'm sorry but there is underfill
[26:47] down there and then that blank white
[26:50] part is my color fill and then on the
[26:53] right there I have like the Hem of the
[26:56] shirt separated then I have the shadows
[26:58] of with the shirt separated and the
[26:59] shadow does overlap a lot more over the
[27:02] color fied so when I do the angles I'm
[27:04] going to be turning the Shadow and then
[27:06] there's going to be enough Shadow for me
[27:08] to really convey you know that it's
[27:10] turning does that make any sense I hope
[27:12] that makes sense and of course I have my
[27:14] pits that are kind of messy sorry kind
[27:16] of a lot of my separation is kind of
[27:17] messy so I apologize for that it's just
[27:20] my style I'm just kind of lazy and then
[27:22] my sleeves there's a lot of underfill
[27:26] going on here but first I I have like
[27:28] this little strap in Black gem on my
[27:31] pocket you can't see the other side of
[27:33] the gem on just the front facing but
[27:36] when it turns you're definitely going to
[27:37] see it so I have the back of the gem
[27:39] there um I will say I've never rigged a
[27:42] gem angle like this before so this is
[27:44] just me kind of guessing but when we get
[27:46] to that video I'll probably show how I
[27:48] do it and hopefully maybe what I
[27:50] separated will work but you know we'll
[27:51] see and then my strap here kind of folds
[27:54] over so I have that separated and then
[27:57] my pocket is kind of confusing so I got
[28:00] my three triangles there right bottom
[28:03] one is underfill the top one is the
[28:05] Shadow and the one above that is like
[28:07] the base color so for the pockets I'm
[28:09] doing the reverse Shadow to Flat color
[28:13] thing and then for the entire pocket
[28:15] obviously I have my underfill and then I
[28:16] have the Shadow on top and then I have
[28:18] the flat color and then my triangles are
[28:20] clipped onto that entire pocket
[28:23] underfill so it stays to the shape of
[28:26] the underfill of that pocket whenever I
[28:27] change it and of course it's a wider
[28:30] triangle because when I turn it to the
[28:32] side you know the triangle's going to
[28:33] get wider and you can actually see the
[28:35] other side of the pocket does that make
[28:36] any sense I hope you guys know what I'm
[28:37] talking about but that's how I separated
[28:39] the pocket some things that look simple
[28:41] might need a lot of Separation like this
[28:43] just for angles um so keep that in mind
[28:46] and then my sleeve underneath is just
[28:47] one layer nothing too fancy all right
[28:50] now I'm getting to things that kind of
[28:51] have like a lot more detail this is my
[28:53] hair just taken out of my model just so
[28:56] you can see how it looks you know with
[28:58] the back and front and everything and
[29:00] this is my front hair separated I
[29:03] colored each layer so you can kind of
[29:05] see how everything goes together but
[29:07] yeah I just have each strand cut out and
[29:10] you know there's some strands of hair
[29:12] where there's little flicks coming out
[29:13] of them I like to separate those you
[29:16] don't have to but for me I just feel
[29:18] like when they're separated and I rig
[29:19] the physics it looks a lot nicer and
[29:21] then this is my back hair it's a little
[29:23] more simple I think for the back hair
[29:25] though I am going to use underfill for
[29:28] or you know that that whole circle in
[29:30] the middle I'm going to use underfill
[29:31] for that and then have all that shading
[29:33] on top of it I might change it a little
[29:34] more um just cuz my back hair kind of
[29:37] folds into my pigtails so I think I
[29:39] might need to add more art later but you
[29:41] know if you have something simple you
[29:42] don't have to worry about it of course
[29:44] my braids are separated and each little
[29:46] strand of my pigtails are separated also
[29:48] I'm sorry all my hair art is really
[29:50] messy I might need to clean that up all
[29:52] right now let's get to the detail stuff
[29:54] on the face here are the eyes it might
[29:57] look like a a lot sort of I think
[29:59] everything here is pretty
[30:01] self-explanatory I will say if you want
[30:02] to make your eyes like more dimensional
[30:04] especially for angles try to separate
[30:06] all of your like highlights and shadows
[30:09] of your iris and everything and then I
[30:11] have my eye whites Shadow clipped onto
[30:13] my eye whites some people don't do that
[30:15] but I just like having more control over
[30:17] how the shadow looks some people also
[30:19] like to separate each little eyelash
[30:20] strand I just keep them all in one layer
[30:23] cuz I don't do anything too fancy with
[30:24] them but you know if you want to make
[30:25] them wiggle or something maybe separate
[30:27] all of them that would be a little
[30:29] easier next we got the mouth which is
[30:31] kind of horrible to look at especially
[30:33] with my art style I'm so sorry on the
[30:35] left I have the layers for my lips and
[30:38] on the right I have the layers for
[30:39] everything that's inside the mouth so
[30:41] just going from top to bottom I have my
[30:43] skin fangs on top of my lip skin and I
[30:46] have lipstick for my top lip and my
[30:48] bottom lip obviously I got lip lines for
[30:50] my top and bottom lip I just have the
[30:52] lip line copy and pasted so they the
[30:54] same thing I might change that later I
[30:56] don't know under my top lip line line
[30:58] are my teeth so I like to put the
[31:01] outline of my teeth as a sort of
[31:03] underfill because one time I saw this
[31:06] rig of a model where as its teeth were
[31:09] closing like the outlines of the top and
[31:11] bottom teeth were on the same layer so
[31:13] when the whites of the teeth went
[31:15] together it like melded in together you
[31:18] know what I mean and I thought that was
[31:19] really cute so I've been doing that ever
[31:21] since I saw that and I have the back of
[31:22] my mouth I have my tongue and I have my
[31:24] back teeth and my bottom teeth honestly
[31:26] depending on your style like you your
[31:28] honestly depending on your style your
[31:30] mouth may or may not be more complicated
[31:32] I have a bunch of references of like
[31:34] really detailed mouths and the angles of
[31:37] them but you know for my model it's it's
[31:39] very simplish so I had to kill the
[31:41] detail a little bit honestly you don't
[31:42] want your mouth to be like super super
[31:44] detailed and your model's like not that
[31:46] detailed so your mouth looks crazy or if
[31:48] you're into that you know go ahead but
[31:50] just saying I feel like the mouth is one
[31:52] of the most important parts on your
[31:54] model you know to convey that you're
[31:56] talking so make it as simple or as
[31:59] complicated as you want you know if you
[32:00] look at a lot of like corporate vtuber
[32:02] models their mouths are very simple also
[32:05] one pet peeve I have with other models
[32:08] are when they're talking but their mouth
[32:10] barely opens I don't like that but if
[32:12] you watch my um how to export to vtube
[32:15] studio video you already know that all
[32:17] right so that's about it for the
[32:19] separation video I know separation is
[32:21] tricky guys so hopefully this helped you
[32:23] guys out if you guys are still um you
[32:25] know not too good at it or you know
[32:27] you're just a beginner you're trying to
[32:29] get your your toes dipped in hopefully I
[32:31] could explain some things for you guys
[32:33] if there's anything specific you would
[32:34] like to know how to separate uh you can
[32:37] Google it or if you want to join the
[32:39] Discord and ask there um me or someone
[32:42] else will try our best to help you out
[32:44] but I I believe in you guys right and
[32:47] like I said my separation techniques
[32:50] examples and along with my separation
[32:52] breakdown they are both available on my
[32:55] coffee or Kofi or whatever you want to
[32:57] call it they are free now that we have
[32:59] the separation done on the model we can
[33:02] finally get to riggy and also doing
[33:04] other stuff other fun stuff well unless
[33:06] you don't like graphic design I guess
[33:08] it's not fun and other other drawing and
[33:11] animating and you guys know what I mean
[33:13] but thank you guys for watching the
[33:14] video it was a it's it's a bit of a
[33:16] longer one but I hope it was um
[33:18] informative and maybe just like a little
[33:20] boring instead of too boring but I'll
[33:22] see you guys again soon goodbye and
[33:25] happy
[33:26] separating if you're following along
[33:28] with me and making a new model hopefully
[33:30] next week there will be um the next
[33:33] video