May I ask for the best method for rigging the collar of a shirt?
Should there be one bone chain stem off the chest and wrap around the neck?
Should separate bones start from the chest bones and flare out to the points of the collar?
Or, is there another better way?
That all seems like more trouble than is necessary for a typical collar, which deforms the same way that the body deforms; and if it ever doesn’t, you’re going to have clipping problems anyways.
The most you should need from additional bones is a no-twist neck (duplicate neck, damped track tail of original neck) to keep the collar from rotating with the neck. If it even has any neck weights.
The only mildly tricky part is the weights, which can’t be generated from autoweights for what you’re showing. Instead, the loops of the collar should have the same weights as the weights at where they are closest to the body, for the entire loop.
I suppose there might be a tricky part if you had a collar that was very close to the head, where you were trying to simulate collision, but that shouldn’t happen on what you’re showing.
I would like the collar to move as if it is being effected by wind. I would like the control of that effect so I can create interesting timing in the animation without a wind effect.
Then you want bones with origins at the body (where the collar is anchored, does not sway with the wind), with tails pointing at the far parts of the same loops.
This would be most like your first picture, except those bones are centered in the middle of the collar; you don’t want that, you want them at the location of the body surface.
If you place them in the middle of the collar and try to rotate the bones, the collar will rotate into the body.
Bone at rim of collar: everything’s fine. Bone in middle of collar: collar clips into body.
No, origins of bones should be close to the body. Not far from the body. The collars will rotate about the origins of the bones.
If you do it far from the body like that, then it’s technically possible, but you have to be doing it all as translation of the bones to get the right efet, and that’ll make everything a lot more difficult and, probably, choppy.
Don’t do that with bones- especially since trying to combine wind simulation with bones is near impossible. Just use shape keys - make a Blown key, Keyframe the value, and put a noise modifier on the keyframe f-curve. Done.
I need to learn how to sculpt shape keys and assign the shape keys to a Rigify rig. I’ll look for YouTube videos.
