3D illustration: Create a Typographic 3D hairy monster in Cinema 4D | Edgar Paniagua | Skillshare

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3D illustration: Create a Typographic 3D hairy monster in Cinema 4D

teacher avatar Edgar Paniagua, Graphic designer and animator

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

16 Lessons (2h 6m)
    • 1. 01 Introduction

      1:42
    • 2. 02 Cinema 4D Basic Concepts

      10:17
    • 3. 03 Typography selection criteria

      2:15
    • 4. 04 How to get a Cinema 4D Trial Version

      0:55
    • 5. 05 Choosing the right typeface

      1:14
    • 6. 06 Extruding the letter in 3D

      5:39
    • 7. 07 Adjustments before applying hair

      2:58
    • 8. 08 Applying the hair

      2:26
    • 9. 09 Customizing hair and basic illumination

      15:32
    • 10. 10 Customizing the hair and camera creation

      15:51
    • 11. 11 First render

      6:31
    • 12. 12 Character design explorations in 2D

      8:45
    • 13. 13 3D modeling our design I

      22:39
    • 14. 14 3D modeling our design II

      11:31
    • 15. 15 Last details and final render

      5:36
    • 16. 16 Retouching and final adjustments in Photoshop

      12:04
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About This Class

This is a 3D illustration in Cinema 4D class, in which we will learn about character design, basic concepts of 3d modeling, and specially, we will learn about the Cinema 4D hair module.

This class project will consist of creating a hairy monster using an alphabet’s letter, applying the concepts we’ll be learning during the course.

Anyone can take this course, even people who don’t have any previous knowledge of Cinema 4D or any other 3D software, cause all the concepts will be explained from scratch, and the first two classes will consist of the more basic concepts of Cinema that we’ll be needing during the course.

Meet Your Teacher

Teacher Profile Image

Edgar Paniagua

Graphic designer and animator

Teacher

My name is Edgar Paniagua, I'm a graphic designer and animator based on Mexico City with 9+ years of experience. I've worked as animator for films, TV, and digital media.
Currently, I'm working in the marketing area at Aeromexico, responsible for the brand's animated content on social media.
One of my hobbies is illustration, and I've collaborated with "Picnic" and "Aire" magazines in México, and for the book "10 000 words in english" published in Chengdu, China.
I participated in the Letterpress Workers in Milan, Italy in 2013 and 2014.
I've been selected for "Illustration served" and "Typography served" galleries in Béhance.
I'm very passionate in my work and I like to be in constant learning and research of animation and design trends.

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Transcripts

1. 01 Introduction: Hi, my name is heavier Pamela and I am a graphic designer and Animator. In this course, we're going to create the monster using the cinema for VR simulation. We're going to create a Haiti letter and converting it into earlier monster. First of all, I will tell you the rules that are used to select a nice typeface. Then we're going to extrude it in 3D and cover it with hair. After that, we're going to have a quick character design lesson in Photoshop, and we're going to come back to cinema to recreate our designing treaty. Finally, we're going to add the final details to export the image and share it on social media. As an additional resource, I will share with you all the verbal files of the character and all these to, so we can explore it and analyze different hair settings. To take this course, you will need any plug-in or spatial render engine. You just need a computer with enough for D and Photoshop. If you don't have seen them on your computer, I will show you how to download the trial version to make the course. You will need any previous knowledge because the first two lessons are going to cover the more basic concepts and all the processes will be explained from scratch. The final project will consist in taking your favorite letter and transforming it into a hairy monster, ready to sharing social media. This project is going to be so fun and very easy to know in practice, many basic and useful concepts for any 3D project. So let's get started. 2. 02 Cinema 4D Basic Concepts: Sr For the is a 3D animation software. And in most of these programs we have these four views. This is very common in 3D software. I'm going to create an object, maybe a human figure. And watch again are for views. You can see that three of them are parallel views where the perspective doesn't exist. We can see a top view, side view, and a frontal view. And the last one is the perspective view. I'm going to explain it with an example. If I get closer to the head of the figure, i have very similar view. Very similar, similar view with the top bill. But the main difference is that the head looks much bigger than in the top view. This view has deformation based on distance. And these views, in these views, the objects never gets deformed. I'm going to repeat the same example with the side view. If I get closer to the arm or to the hand, it looks even bigger than the head. And it's not true because the head is bigger than the arm. The name for these four for Windows is viewports. And we are going to be using these concepts during the course. As you can see, I'm navigating on the viewports just by clicking on them. I'm going to show you the most common ways to navigate. The first one is by clicking these three icons. So if I click and drag here, the camera is going to move to the right, left, up and down. And the next two buttons works the same way. Just click and drag. And it will affect the soon. The last one is the orbit, is to orbit the object. To be honest, it's not my favorite way to navigate. I preferred to use the keyword by pressing the alt key on Mac. I think it will be the control key on Windows. So by hitting out and left-click, we're going to rotate the view. And with the right-click, we're going to zoom in. And if you, if your mouse has a wheel or if you are working with a Wacom tablet or similar, you can configure and middle-class. Or by clicking the wheel on your mouse, we will be able to move inside the scene. Remember this one for morph replicates for some and left to orbit. Just with your mouse. You can. But remember, we always have to press the Alt key, something we must know. And it's very, it is at every viewport has an independent way to show the objects. And in this view, the RTP solid. We can see that the lights and shadows, and here we can see only lines. This is something we can modify it and Castile and customize as we prefer. Let's show you how we can modify the view. Just click here on display. And if we select lines, we will have a view like this. I'm gonna go back to shading and also select shading on this view. And remember, it's just a visualization option. I think using the line visualization and these views is the best way to work. But if you want it, you can change it to shading or if you need it. I'm gonna go back to lines. And now I'm going to talk about the shortcuts that I'll be using during the course to scale, rotate, and move the objects. We can also use these two buttons here. Here. If you want to move the object, scale and rotate the object. But I prefer to use the E key for moving, the hierarchy for rotation and the Tiki for scaling. And these keys are besides one to each other on the keyboard. I'm going to be using these circuits all the time during the course. And they are very useful. I'm going to create another object, this good work. And in cinema, we also have the option to show and hide the objects. All the elements in our scene will be shown on these library on the right. So if we want to hide something, there are two possible ways to do it. The first one is only for primitives. We're going to explain the primitive later. We just have to click on this green checkmark. Now the objects are hidden, but they are still here. We just have to turn them on and by clicking the red icon, the second way is by clicking on the green cycle circles beside the checkmark. The first circle is indicating if the object is visible on the viewport. When the circles are our TEN rough like this, that means that by default, the objects will be visible on the viewport and in the Render. And if we change it to green by clicking on it, it will be visible also, if we click again to make it red, it's going to hide the objects on the viewport. I'm going to click again to take it back to a default value. And now the second circle is to show and hide the objects on the render so an object can be visible on the view port. But in this evil, in the final image, let me show you an example. I'm going to hide this figure and you can see it's still on the scene. We can change the angle, we can modify it. But if I hit render, the object. One, be there. I will be doing this many times during the course. So it will be very useful to know how it works. Now I'm going to go back to the primitive objects. And the objects, I'm going to delete it and I'm going to create a tube. And as you can see, cinema for the, recognize it as a tool. I mean cinema for the note that we are working with the tube because it shows the specific parameters that we can see here on the object tab. We can see the parameters, especially for these objects. We can modify the tubes height. And also Cinema shows more options. For a tube like the external and internal radius, which we can modify them very easily with these contours here. But if we convert this primitive into a durable objects, we can do it by clicking this button. I'm gonna go back when the object was selected and I'm going to hit c and the object will become a datable. Let's change to another view where we can see the lines of the object. We can also see all the faces. And most important thing, once that we converted to a digital cinema, doesn't recognize it as a tool anymore. Now. It's just a bunch of polygons which are creating an object. But it's not a theory anymore. We don't have anymore the menus to edit the basic properties of a tube. And once we make this change, it can't be done. Well, only if we press Control-C. But I mean, you can go back later and make a tube again. And finally, the last concept that I want talk about. Let me go back to this. This concept is tax. These little icons beside the objects. They are very useful. If we want to assign behaviors to the objects, we can assign many kinds of tags and add functionalities or behaviors. I'm going to show you an example. I'm going to click on tax cinema, and I'm going to choose simulation tags. So let's assign the behavior of a rigid body and just hit Play to see what happens. We can see the object is falling because of the tech that is modifying the object to react to the gravity. The tag, we can modify many parameters to change the behavior. Well, we're not going to use very complex simulation, but I wanted to explain a few dynamics because we are going to play with forces and dynamics. So I think that's all for now. We already checked all the basic concepts for the class. So let's begin. 3. 03 Typography selection criteria: First of all, I would like to review some basic concepts that we're going to use. Some of them are about typography and the rest are about technical concepts of cinema for D. So let's start with the typography section. It will be very simple. We're going to review a pretty general classification, which device they type faces in Serif fonts and sensory funds. The main difference between these two groups, actually the serifs that are this short length at the end of some strokes. And as you can see, they doesn't exist on sensory type faces. Here I have two examples of each one of these families. The first one is very famous, The Times New Roman, and the second one is Bodoni. These two are type faces and this kind of letters are not the best option for this project. My recommendation is choose sensory front and there are some other things to consider. The first one is the thickness. As you can see, Helvetica has a constant thickness in most of its strokes, or has very slight variations. On the other hand, we have a typeface called dual sense, which is also one num type face. And we can see that it's a sensor fund, but thickness variations in some parts of the letter, like here that is much thinner than here. So we have to select a sensor funds for this constant stroke thickness, for example, could be a very Camp. And I think it could work so well. And other examples of useful typefaces for this exercise are L'Oreal or universe, just to mention a couple of the most famous. So in the next lesson we're going to review some basic technical concepts of Cinema 4D. 4. 04 How to get a Cinema 4D Trial Version: If you don't have cinema for the, your computer, I will show you how to get a trial version of the software so you can take this course. We're going to go to maxim, that net, then products and cinema for. Once we are in this page, we're going to click on try. And it will take you to this form with questions about the personal information and other data in order to know what kind of user you are. And finally, after answering all these questions, we're going to click on download trial version, and that's going to generate a trial version of Cinema 4D with all the features included. 5. 05 Choosing the right typeface: The next thing we're going to do is to select a typeface for a project. And if you're working on a Mac, you have to open the phone book app. And if you are working on BC, I think the fund management is made from the control panel. Once we are in the fund manager, we're going to make a search in order to find our ball fonts. Because the best option for this project is to use a thick font. Once we filtered our funds, we can discard also the italic font like this, because it's better to use a letter without any tilt. We can also discard all the serif fonts that we identified in the previous lesson. Also, you, as you might remember, we need funds with constant thickness. If you don't find an ice ball phone, you can also look for black font, which are a bit thicker than the bolts. In my case, I'm going to work with Helvetica Black because C has all the features that we need. It's sensory fund with a nice and constant thickness. So it will work so well. 6. 06 Extruding the letter in 3D: Now that we are finally in cinema, let's begin with the project. The first thing we have to do is click on the menu and then more texts. The more text is the cinema for the object for 3D text. And we can modify from this panel. I'm going to work with the letter a. So we have to write or our text here. Then we have to select the font style. And as I mentioned before, I'm going to use Helvetica, Vertica inversion black. I'm going to mean with a middle click of the mouse. And the next thing we have to do is to round the caps off the letter. So we have to click on caps and change this value to Philip cap. And it's going to add a little bubble to the letter. And now we need to make it smaller. So we're going to modify it from here. I'm going to move to this view because I would like to show you something. If I increase this value that is becoming thicker. And the geometry will start to have some breaking points. So what we had to do now is to click on this option called constrain. And now the bubble is limited to the original size of the letter. Now we can start to play with the bubble size and we have to take it to the highest value. Because the reason I decided to use this view is that you can see this geometry breaks from the moment these lines are star integrals. We can see these broken faces like this or this. So we have to avoid these crossing lines. I think the highest value for our pebble could be 14. And as you can see, the levels to look so straight. We can fix it here by increasing the steps of the Bible. And as I increase the value, the level becomes rounder. I think we could set this value in 14 or 15, but this R1, this is applied in just one side of the letter. In order to, in the earth psi, we still have a flat face. So you have to change this value again, fill cap, and we already know the right values. We have to set it in 1514 here. And once that we have earlier with the correct values, the next step is to set the depth of the letter. I think the current value is to be. And we're going to modify it from here in the object tab. And then the def option, I think right value could be something around 13 or 14. There's no recipe for this. The way that I use is to decide the value is trying to have a squared termination at the end of the leg and trying to match the frontal thickness of letter. So we're going to set this value around 14 or 15. And it makes the shape look a bit more balanced and proportional. And now that we have this finite geometry, I would like to show you something that may reason why a widely serif fonts are not the best option for this project. I'm going to duplicate the letter with contravened control controversy and Control-V, and I'm going to hide the original one. Now in the copy, I'm going to change the font for a serif one, for example, Baskerville. And we have to see what happens with the letter. I'm going to go to caps and select cap to make the back face completely flat. And let's take a look to the frontal view. As you can see, the serifs are thinner than the other parts of the letter. Even we could see thickness variation between the different strokes. And if you take a look at this stroke here, you can see that the roundness is too small and the thin strokes are reaching their limit. And again, if we continue increasing this value and we set it to five, still looks good. But if we set it to six or more, we start to see these deformations. That's the reason why the Serif Serif fonts doesn't work well for the section size. Finally, I'm going to delete this example and turn on again the first one. 7. 07 Adjustments before applying hair: Thing I'm gonna do is to apply the hair to the object. And very important thing here is that we're gonna be using many elements that we will be aligned to the middle point of the letter, like the eyes, the mouth. So we need to move our letter to the 0, i mean, the center of the workspace. And by doing this, every new element will be created in the center of the letter and it'll be easier to, to place them over the letter. Now, another thing to consider is that the hair is only a playable on editable objects. So we need to convert our mole text2 available. And as I said on the third lesson, we're going to raise sea on the keyword and it won't be a more texts anymore. It will become into this object that actually is not an immutable object yet. And I know it because of this green, green icon, we have to hit the sea again. And finally, the letter is just a group of polygons. Say all these polygons, we can identify them with this little blue triangle. I can. We're going to take them out, out of this group by dragging every object out of the group, all of them. And all these elements with this icon made of two arrows in 0 or null objects. We don't need them anymore, so we can select the fiber and lead it. Now, we have to take all these individual elements. Right-click and we have to select connect, connect objects, delete. We are going to believe all the tags from the new object. And let's see what happens with these new polygons. Let's click on the polygon selection tool. Select the object. And now I'm going to get a little closer. And if I select a phase of the object and I move it away, you can see that the face is not attached to you object to the object. And it happens with many of them. This one, for example, is attached with the rest of the object, but this one is not. Let's undo this movement. And now we have to connect the phases of the object. We're going to select the object with the objects selection to then click on Mesh comments and optimize. Now, if I select again the face, we can see that all the faces are finally attached to the object. 8. 08 Applying the hair: The next thing we have to do is to assign a name to all the objects because we're going to create several objects. And the good practice is to have everything organized in our library. So I'm going to call it just a. And I'm going to select the object. And by pressing T on the keyboard, I'm going to modify the values down here. Depending on the type you have chosen. You have to set the highest value from this tree. That in my case, is this one to something closer to a 100. And scale the object big enough to have a nice proportional. And I've proportion between the size of the letter and the amount of care. Now that we have a value around 200, it doesn't have to be exact. We are going to apply here. So let's go to simulate option here, objects. And finally, at hares. With this button up here, we can see a quick render from the view that we're using in this moment. If I take a look to the render, we can see that the hair distribution is a little strange and it doesn't look natural. We're going to change it from this menu. We have to select the hair object. And once we are here, we have to open this menu and change it to polygon area. And great, the distribution is better, better, but we can see that the hair is too long. We have to change it to something around 14 centimeters. We're going to rotate this view in order to see if the new Harris are making disappear the holes of the letter, maybe a little bit short, something like this. Now the hair has a better distribution and length. It was our very first step to start to work with her. And in the next lesson, we're going to begin to customize a Harris and give it a more realistic look. 9. 09 Customizing hair and basic illumination: Before I continue with the class, I have to mention that if you look at the filename, I'm saving each, each lesson in a new file. And I'm going to blow them out. If someone get lost or you want to review some specific steps, you will be able to download the source file or an lesson. Now, let's continue with this lesson. As we saw in the previous one, the default hair of cinema doesn't look so real. Even we could say that a little fake. And we have, what we have to do is to customize it. We're going to move some parameters and the hair will look more real. The first step is to open the hair material with double-click. And now we could see all the hair parameters. I'm going to zoom in on my letter. And the first thing that, that I used to do is to turn off this value called specular. We're going to turn it on later, later. But I prefer to do it at the end of the process. Specular creates all these white reflections in the hair. And that's why we, we could see many hairs that look completely white. And that's because the brightness is too strong. So let's turn enough heat render. And again, we could see a uniform, uniform color of the here. And now let's go to the cooler section. And by default, we have these two colors, the main color and a brighter tone for the tip of the hair. Usually, I don't use the tic color, but it's up to you. So I'm going to live this color and we're going to have just one color across the hair. Let's click on this triangle. Click on the color and you will see the color contours if you see different values. That because cinema always work with RGB color profile, I prefer to use the HSPs lights. The number of colors you can, you can get are exactly the same. But I feel more control with the HSB sliders. Again, that's up to you. So let's modify the color, maybe a blue tongue, something like this. That the saturation value. Well, let me tell you how the H is the values work. The first value is the tone. We can select the color from this life, and these two are in saturation and brightness. In this moment, we have a very dark color. So let's increase the brightness. Maybe a higher value for a vibrant color. Every time you went as vibrant color, you have to set these two values as high as possible. This is the recipe to get saturated colors. No matter if we move across the towns like we, we will always have a nice, nice and brighter saturated color. Now, let's go back to our previous values. It was something like this, and these two remain the same. We will be modifying these values many times during the process. For the moment, I'm gonna leave it blue and you can see the change in the object. Next thing we have to change is that I think the hair looks too thick. If we take a look to a render, we can see the current thickness. So let's reduce the value in order to make it look more real, we have to modify this perimeter. And that's already check the thickness, the thickness value. And we have the change the root value from one centimeter, 2.5 centimeters. Here we have a preview of the hair. And when a change this value, the sample updates in real time. Now let's change the value to 0. And again, you can see the update. The next parameter will be the length. Let's turn it around. And we have to set a variation of what 100%. What this value makes is that the hare will have the length we set here. Click on here, and we could see a value of ten centimeters. That means that the hair will have a length of 100 per 100% of these ten centimeters. And the variation value means that the hair could be 20% longer or 20% shorter than the rest. It provides a more realistic look. I'm going to set this value to 0. And we could see that the hairs changes first in our preview. And when I hit render, we can see the length variation of the hairs. The next parameter is very similar to the length, but it affects the brain, affects the length of the share and the thickness. It's like kind of proportional scale of the hair. We're going to set the variation to 10% because if we increase it to match, our hairs will look so different. Let's make another render and maybe you won't see, it, won't see a big difference, but it begins to look more, more real. The next value is maybe you have heard about this word before, especially from the Harper at the fits means that the hairs will grow in the same direction as they do now. They will fail. He will grow in different directions instead. And that's another little change. To make our hair look more natural. I'm going to make a post so we can see these changes in real time. If I click on the object, we could see that we are working with a total of 5 thousand hertz. Hearing the Share tab, we have the hair count, and we have 5 thousand hertz. And the next step called Editor, we have to find the Briefly display option. There is currently showing these blue lines Cole gave these guys. Only represent the path that the hair will going to follow. But we could have a more detailed preview. Let's change it to here lines. And we can see a preview of the real Harris asymptotically, as I told you before, we are working currently with 5 thousand hertz. A good number to deal with it. But if we increase the amount of shares, the number of hairs on the preview will increase. Also, if we live this value in 100%, probably the computer will cool crash. So we have to play with this parameter. This moment. I don't have any problem with 100% value, but I have to reduce the value. As I increase the amount of hers, I'm going to turn the fits. So you could see how they used to look before and during January and again, we could see that the hairs are going in different directions. If we deselect the hair, we could hide the share guides in only see, rehearse. And experimental is a kink. The kink is quite similar to the fits in, but what King dose is, I'm going to turn it off to show you all the hairs are falling a straight line. They have no variation on the path they're following. And what King does is to convert this regular path into some kind of zigzag or something like this. You can see that all the hairs are growing in non-straight path. Once it's applied, let's make a new render so we could see him. I think that currently we have a few hairs on on the letter and it looks so covered, but we will increase the amount of Harrison in x minutes. And the experimental is the clump options. And now I think that here is a little short. I'm going to make it longer by selecting the object. And here we have the length. I think I could increase it by a teen or 20. I think that we still can see the whole of the a and we can easily understand the shape. Now, after that term on the clump parameter, I'm going to exaggerate it. To see exactly what the clump parameter does. I'm going to set it to 100. And you can see that the hairs get together in this kind of groups. As I said, 100% is too much. It was just to see the, see the look of a completely complex hair. So I think I'm going to reduce the clump maybe to 20%. And we could see this sub clamps that looks more natural than the previous version with 100% I'm going to set the count to 20% and it makes the hair looks more frame or natural. Well, as you can see, there are many parameters that we can use. The, I'm explaining only the ones that I usually use. I think they are enough to get a nice result. And now I'm going to turn the curl, which is going to make our hair more. Currently. If we leave the default values, the hair moves too close to the letter. I think it doesn't look good. So I'm going to reduce this value to 10% and maybe a variation of ten also. It Arabic change that every little detail counts. In the final result. I like the look. I think it looks natural and real. That's making another render. And now I'm going to show you something that will make the hair looks even better and that's adding light. This will create lights, shadows, and in consequence, volume, I'm going to move the light here and it looks that malaria is not aligned to the center. I'm going to fix it really quickly by selecting the object. And I see that my anchor point is in the corner, and it makes it difficult to center the object with precision. So the first thing is to center the anchor point from this, from the mesh menu axis, center and center axis to this common move the anchor point to the centre. So we have to select again, the object in the coordinates tab. Look for the x axis, that is the horizontal one, and move it to 0. Now we have a letter in the center of the tree, the space. Later we will see how useful is to have a letter writing center. Now I'm going to switch to the top view and move the lag we've just created. I'm going to move it far. And now we begin to see light over the object. And now I'm gonna move it closer to the camera. And in the frontal view, I'm going to set this light to fall in 4545 degree angle. And now the light has some nice distance to the object. We can see the light and shadow. And if we hit render, we can see that there are no big changes. We can see a lighter and darker area and we're going to get a bit closer. And after this step, we are going to see a big difference because at this moment, the hare is still, is not projecting any shadow. And that's the reason why we hear still looks a little fake in this menu. Add a shadow. As you can see, there's a shadow right now. And we're going to select the area shadow. I'm going to make a render. And we could see that the hair begins to predict shadows on the object. I'm going to explain the different types of Shadows very quickly. And you will see why we selected these one. I'm going to create a plane object and make it bigger. And going to change the parameters of the shadow and turn off the hair Because we don't. Now, if I render, we can see that our object is projecting a shadow on the plane, this area shadow. And these areas arrow. And you can see that the edge is very soft and it's very similar to the subshell that is here as shadow maps. The shadow is very similar, but this one is a little bit more hard. It's a soft shadow but less than the first one. On the other hand, if we select the harsh shadow that cinema, cinema is called ray traced, we could see that the shadow is completely sharp. I'm gonna make some into the plane. So you could see all the details and we could see the hardness of the shadow, and it doesn't look so real. If we go back to the previous settings, the areas shadow, it looks softer and more realistic. We're going to turn on the hair again. And we could see that we need more hair, but for now, we heard looks much better. 10. 10 Customizing the hair and camera creation: The first thing we have to do is to delete this plane because it was only for the light examples on the previous lesson. And the next will be to create a camera in order to have control of the render view, we can create a camera just by clicking this button. And something we have to consider before creating the camera is I'm going to delete the camera, is that we have to create the camera when we're working on the perspective view. So cinema will create a perspective camera instead of a parallel one. As you may remember, we checked the difference between the parallel and perspective view in the previous lesson. Now we can see that our Cameron was created. And if we move inside of the perspective view, we can see that we are not watching through the camera yet. We're still using our default perspective view. To use this camera, we have to select the perspective view in the viewport and click this little square. Now, we could see that a change to white. And if we move this view, we will also move the camera. Now we need to put the camera just in front of the object. To do this, we're going to select the camera and in the coordinates window, we have to save the rotation values to 0 because the camera's pointing a bead right and a bit down. So we're going to change it to a front of you. To do this, we just need to change the rotation to 0 in the three axis. And here we can see that our camera is looking completely to the front with no rotation. Now we have to move it to the center in order to framed letter. We're going to move it manually. And as you may remember, the letter is 200 centimeters high in average. So we set this value. If we set this value to 100, that's our Y position. There will be vertically centered. Now, we just need to center the letter horizontally. In the last lesson, we place the letter right in the 0 position. And this is the first time where it will be very useful. If we move the camera to the 0 position. Letter will be automatically frame. We just have to move our camera a literal fire so we could have a wider view. We can see the limits of the camera with this highlighted area. I'm gonna move it again a little far so we can see the entire object. And now what we have to do is to increase. I'm gonna make a render just to check. And now we're going to increase in number of hairs. But I don't want to tag my computer's performance. So we have to go to the editor and we can see that we are currently seeing 100% of the Fab, Five, 5 thousand Harris. I think I'm going to set this value to 20%. And the chairman will, will increase on the preview window, will decrease on the preview window. Because all the time I've been working with 5 thousand hertz, I'm going to set this value to 50 thousand Harris. Remember, the viewport is only showing 20% of these 50 thousand Harris. I'm gonna make a render. And as you can see, the render time is taking a little longer. So i'm going to accelerate this process in post-production because I'm going to get render times of 30 seconds or more, even one minute, you will depend on your computer's performance. And I say told you, mine will take 30 seconds to one minute per frame. So for now, the render time will be accelerated in post-production. Now we can see that there are character is still have some empty areas. So we need to increase the number of hairs, maybe to 100 thousand. And now we with 100 thousand Harris. But for now the letter looks much better. Now, I would like to show you something, okay, to decrease again to 5 thousand harris. So to show that if I get a little closer and actually moving the camera, and if I try to undo this movement, I can do this. So the manual camera movement can be done. And that's a bit annoying when work because you have to adjust the camera position again, they hand and also the rotation parameters to 0. I'm going to set the vertical position again to 100th and the exposition to 0. So we can go back to our original view in order to avoid this behavior, we're going to use the first act of the course. We have to go to cinema for the tags. And there is one called protection. We just have to add it to the camera. And we can see that this stack can, can lock the basic values of the object like position, scale, and rotation. Even we can lock all the specific, specific axis. But now I want to lock everything. Now you can see that if I try to move the camera, by the way, the scalar value doesn't apply to a camera, but position and rotation are locked. We can unlock them here if we set this value to none. But I'm gonna leave it locked because if I try to move using the mouse as I have been doing, you can see that I can't. And that's the same if I tried to, up here, all the possible camera movements are locked. So this is very useful because now we can move the camera even by accident. If we want to orbit around, we just have to turn off the camera. And the camera remains on the same place and we can move it around the object. Now I'm going to turn on the camera again and we can move. So I'm going to get out of this view to show you what I mentioned. Maybe this view can work. And what I want to show you is that in cinema for the, the dynamics are always activated by default. I mean, the Heracles be effective by forces like gravity or wind. In this case, we don't have anyone in the meter, but gravity is always activated. I'm going to make sure that the letter has only a few hairs. So let's make sure it won't be heavy task for the computer. I'm gonna hit play on the time lines. Just to see what happens with the hair dynamics. You can see that the hair falls until it stops, but something happened. There are some hairs across the object. I'm gonna get back to the beginning and move forward frame by frame with these black arrows. And we can see how the shares begin to fall. And in this point, some hairs like this one are beginning to fall across the geometry. I'm gonna go back to watch these hair in particular. And how it begins to break through. Even it seems that the object has fewer hairs than it really has because many hairs are covered by the geometry. I'm gonna try to move the view. And here you can see all the heroes that are within the object. So I'm going to get out and we're going to fix it with another tag that is over here. We have to select the object and then go to tags. Tags and the menu. We have tackled hair Collider once we add the stack, and it seems that some heres gets stuck in the geometry. So I'm going to, I'm going to delete it. I'm going to open the editor. And if we take a look again from the inside, there are some hairs inside the object since the beginning. And that's because we added many properties to the care that make it grow in different directions and it could make some hairs move inside the objects. I'm going to disable for the moment some values like curl, kink and fits. And it makes that all the hairs are pointing to the outside. And now we can add against attack. Remember cortex, then her collider. Now all the Harris are free. We can turn it on again, all the values. We've turned the rough fits King and curl. And we can see that the hairs begin to bounds when they touched the object. I'm gonna get back and I'm going to hit play. And maybe with the side view, we can see how the hair starts to bounce. We can see it here. The reason I made this, I made all the process is because I like how they heard looks. With this movement. I'm going to go back to our camera view and I'm going to move forward some frames until the surrogates, this effect. I think three frames are enough. I'm going to hit render. And we have the same type, 1000 hertz that we had at the beginning. That we apply the physics, I'm gonna change this number of hares we have that was 100 thousand hertz. Hit render. And it looks much better. Maybe I would like a bit more clumped. Remember the primary that organizes the hair in groups, and I think it will be better with higher clump, as I told you before, we are going to be playing with all these value depending on the results you want to get. I'm going to increase it to 35% and we can see how it changes. Let's see how it look. If I render, maybe that's too much. I'm going to read this it to 30%. Hit render again. And I like how it looks now, in order to give more volume to the hair, I'm going to turn on again the value, the first one we turn rough when we apply b here, and that's the specular. The specular reflections are the highlights of an object. And if we use the default values, we're going to have a very strong highlights. And what we have to do is to reduce the intensity. I usually set it between 3, 4%. I'm going to set it to three. I think it could work. I'm going to hit render again. And now you can see that we're beginning to have brighter areas like this one where the light falls. We can see that it looks brighter but not completely white. As in the first time we apply, the hair helps to give more volume to here. And I think I'm happy with this result. Bam, still having some empty areas where we can see the geometry and got to fix it without increasing the number of Harris. I'm going to close the Material Editor and we double-click and going to create a new material. Here we have our material and I'm going to add a color in order to apply it to the object. I like to use the same color of the hair. And we can see it here in the color scale. Amusing. That is, h is V, the hue is 240 degrees. That corresponds to this blue. So we have to go to the color tab and we're gonna set it to 214. There's no change because the saturation is 0% and the luminosity is quite high. This is a great color, almost white, going to increase the saturation and reduce the luminosity. I think that the csa darker color than the one we're using for the hair. So it looks like a kind of shadow. I'm going to apply to the object and we can see that it changed to dark blue. I'm going to hit render. And we can see that the empty areas are not so evident because the geometry is almost the same color of the hair. But let's see how it looks. If we add 50 thousand hairs more, I'm going to hit Render. And sometimes this could happen. There seems to be displaced from the geometry. Don't worry, because it doesn't affect the project if just to preview error. And if we see the render is the place. I like how it looks. I always work with values closer to 100 or 150 thousand Harris. Depending on the letter, it could be something between 150 or 200 thousand. In this case, I'm gonna set it to 150 thousand. And in next lesson, we are going to export a surrender of our image. And it will be the base of character design lesson. 11. 11 First render: Was it we have a render. We need to change the aspect ratio of the image. And we can make it from these menu where we can, we can change all the render values. We can see that the aspect of the image is set to landscape format. And we are going to change it to a square format. We can change it here in the output option. And you can see that this is an HD preset. And as I said, we need to change it to a square format. Just be careful with this option because it helps to kill out, keep always the same proportion. So in this case we need to uncheck it. I'm gonna change it to a square format. And you can see that the camera proportion has changed and now it's square. We can also change the output format. This is where we can specify the folder, where the file will be saved when the render ends. But this time we're going to save it manually. So we're not going to be using this option for now. We're going to select PNG format so we can keep the transport transparent background, also called Alpha channel. And we need to check this box to activate the alpha channel. We can close this dialogue and we can see the same error of the previous lesson. But as I told you, it's just visualization problem. I'm going to turn up the hair for a moment and I'm going to move the camera because the letter is quite far from the camera. Parachute is to open and the object looks so small, we need to get closer. But as you might remember, the camera position is locked. So we need to go here and unlock the position by selecting none. Then we can get, get closer and I'm going to turn on the air. And again, they should doesn't allow me to see her, but I'm gonna make not so accurate shut maybe this could work. I'm going to hit Render. And since the beginning, we have been using this button to render, which shows the image inside the viewport. But now we're going to use these new option that creates the render on an external window called picture viewer. I'm gonna make a new render. And here we have our first full size render. But I think we're losing some areas because we're only using one light. So we need to adjust the elimination and then we're gonna make a new render. I'm gonna close this window and I'm going to adjust the elimination. Here we have our main light. And I'm going to duplicate it by pressing command C and common v. I'm going to call these light as Maine. And the other one will be called fill light. I'm going to take these light. The fill light and put it on the other side. I'm going to turn off the hair for a moment. In order to work a little quicker. I'm gonna get a little closer. But first I'm going to lock again my camera to prevent move it by accident. I'm gonna put this light a little down and we can see how these new light affects. I'm going to reduce the intensity because we want to preserve the shadows of the hair. I'm going to say set it to 0 and then increase it slowly. To see how it affects the shadow. Maybe this could work something around 38, mainly. I'm going to share a little elimination trick to create a natural illumination very quickly and simulating the daylight. This kind of light has two main elements. The first one is the yellow light that comes from the sun. That is our main light source of light on a sunny day. And the second one, also called field light, is a reflection from the sky that most of the time is blue. We are going to assign a low value so we can keep the original color. I'm going to hit render without the hair. So just to see how the elimination is working, I'm going to remove the fiddle light to see the difference. And maybe it's not a big change. But in the final render with the hair, we will see the difference. Now, we are going to compare the image without the fill light, with this one, with the field light. And you can see on the right side of the letter, we're getting information that we haven't before. We can see new Harris here and here. And we haven't seen that, we haven't seen in previous versions. I think this image works great because we can see the shape of the letter and we're going to save it with right-click. Save, as, save as PNG. Got to be sure the alpha channel is own. Click OK. I'm going to assign the name of the file and save it. Let's go to our desktop to see the result. And here is the image with a transparent background. And in the next lesson, we're going to add background in Photoshop. 12. 12 Character design explorations in 2D: As you can see, this lesson will be done in Photoshop. So let's take the image we exported in the last lesson and open it in Photoshop. I'm going to drag it. And the first thing we need to do is to create a solid background. I prefer to do it from here. I'm going to choose a color like this and drives the layer to the bottom. And now we can see our image separated from the background. I'm going to add a new layer and all my character versions are going to be done with the pencil tool that is here. Or we can use a shortcut for this. That is the letter B on the keyword. I would like to use shortcuts in order to work faster and other useful shortcut to modify the size and hardness of the pencil is to hold the control and alt keys. If you're using a Mac. And we can see that if we click and drag left or right, it's going to change the size of the brush. And if we drag up or down, we can modify the hardness of the brush. We're going to work with 100% hard brush. So we need to drag it down. And the size is going to change during the exercise. And other shirk good I'd like to use is to hit the letter D to return to the default colors, black and white. And the last one, if we hit the X key, we can switch between the current colors so we can paint with black and white. Alright, let's begin with the weight. I would like to explain the basic, basic example of how we used to create a character in a classic way. The first thing we have to do is to divide the phase in three equal sections. And all we have to we have to draw the ice over the first lane in the mouth over the second line and repair it all the time. And this is very useful when we draw realistic character. But now I'm going to hit X for the pupils. And maybe a red color to draw the mouth. And as you can see, it's not very interesting. And even it looks a bit boring. We have to remember that this is a fantasy character. And it doesn't have the magic that makes a character attractive. So let's make some exercise where we're going to apply some principles. I'm going to save this layer. I'm going to turn it off and make a new layer to make some sketches. For me, there are two main rules we have to follow, and it's to make variations in the size and position of the objects. Let rows some elements. The eyes, the mouth, for example, I'm going to hit D. And it takes me back to the default colors. I'm going to hit X to use white. And if we decide to experiment with a single like Kircher, I'm gonna hit X again. And maybe we can make big eyebrow here. This is more interesting than this. This could be my first version of the character. I'd like it. So I'm going to save it and turn it off this layer, this layer to create a new one. We could keep playing with position again and put the ice in the top of the character. I'm going to switch to black by hitting X. And maybe I can place the pupils a little closer to each other, something like this. And considering that the eyes are on the top, this could be the mouth. Then we can grow a mustache. And I think it will be more interesting if we place it just below the ice. Definitely is more interesting. I like it. I'm going to save it. And let's create a new one. Maybe with a bigger eyes and even below some thing like this. And maybe in this case, the mouth is not necessary. This could be the mouth. And then we have a new option of the character. I'm going to play a bit more with the position I'm going to hit X. And maybe disruption has the ice even below, or maybe something around here, something smaller. The first i and the second I and peoples, I can choose a smaller brush. And as the eyes are so separated, I can grow really big mouths. And I really like it. Let go back to the first example to decide which one is more interesting, the classic one or something like this. Let's make last one or maybe two. Well, as I liked the separated eyes, let's repeat the formula. The first one, the second one with bigger peoples. And skip the mouth because it already looks interesting. I can draw another option with the eyes side-by-side, but let's switch to white. And the peoples. Even closer and smaller mouth. And I'm going to show you a very useful functionary in Photoshop. With this layer selected, click on this icon called transparency. What transparency does is to block all the empty pixels and only allows to paint over the pixels that are already painted. Let me show you how it works. I'm going to hit the icky for the eyedropper. And I'm going to select the blue tone like this. And I'm going to paint over the ice. And this could be the islets. Maybe it'll be better if we painted in the bottom of the ice. And the character looks concern, I like it. And in a new layer with the default colors, we can draw the eyebrows. To give our character a bit more of personality. We can also tell down the eyebrow. And this one, I like disruption. I think it's the one that I like the most. I'm going to check them all. This is the first one. The version with just one eye with a mustache. I like this one also, but I think my favorite is the last one. It's more complete and intersting, so I'm going to choose it. And in the next lesson, we're going to bring it into the 3D world. 13. 13 3D modeling our design I: The first thing we have to do is to return to Photoshop and I will save the image generated. The last lesson. I'm going to put it on the desktop and I'm going to call it a monster face. Now that we save the image, we're going to import it into cinema. By following these steps, we are going to select the front view. Let's turn off the hair. And once we are in this view, we're going to go to this menu called modes. Let's click on View settings in the back tab. And on image. Let's click on these three points and select the image that we just created called Monster phase. I'm going to make these view beaker. And what we have to do now is to adjust the background image to the size of the 3D object. And we're going to do it with these controls here. Let's start adjusting them manually. Maybe something like this. And now that it has similar size, we can move it with this controls here called offset. I think maybe it could be something like this. Maybe a little closer to the center. So the eyes will fall right in the center of the face and then move it a little high. I think that's fine. It doesn't need to be very precise. We don't need a 100% match with the 3D object, and that's it. Now we're going to start creating the elements. The first thing we are going to create is the first eye of the character. Of the character. We're going to do it from this menu, objects, primitive objects, and let's select the sphere. Now I'm going to adjust this size with this control in the edge and put it on the right place. I'm gonna get a little closer. And remember that it doesn't need to be very accurate because we draw the matching by hand. So nothing is completely accurate. Now that we created the first IE, what you're going to do is to add a texture to the eye. Let's double-click here again to generate the new material and double-click it to open the properties. Then in the color option, click on texture. And we're going to add a gradient, and it's the same. I'm going to change the display options so we can see what's happening. I think I'm going to use this one here and I'm going to adjust the position of the eye. And here we can see that the eyes inside the letter. And that's why it's not visible. We have to move it to the front, maybe something like this. Remember, these are not defined in positions, but I think it's fine. As a starting point, let's apply the material to the eye and select this view until this point, we can see a big change. We just have linear gradient from dark color to a white color. Now, let's click on the gradient to edit the properties. There is a small arrow. Let's click on it. And here we can see the interpolation of the gradient. Let's click on it and set it to no interpolation. Now the object becomes totally black because the white section is here. We're going to start moving the white section and we can see how our gradient is changing. Now, another important setting that we need to change is degrading tag. Let's change it to circular gradient. Here we begin to see a black circle inside a white background and we need to make it smaller. And a preview, we can see the shape of the eye, but it's not being applied to the object. So let's move it to here and select the material tack and write in projection, let's change from UV mapping to frontal. But sorry, the one we have to select is flat. It seems that nothing happened. But if we start to make it smaller, we will start to see the pupil. Now, let's have just the size for this. I'm going to hide the letter because it's covering my background image. I'm going to double-click. And with this, I can see the size of the people that we are creating. Maybe you can do something like this with rotation by pressing the hierarchy. I'm going to rotate the pupil a little closer to the center and a little down. I think it's a little smaller than the original design, but I think that's okay. If we want to just something we can do it from here with numerical values. Maybe we can try three. That's the big. So we can try to 0.8. And it's more or less the size that we set on our original design. Now we are going to do it with this. I, let's close the Material Editor and we'll move into cinema, into a cinema object called symmetry. Let's create the asymmetry and drug the eye into the symmetry object. With this, we have two eyes, but only one of them has a texture. To fix this, we will select the first die and in the Tags menu select sigma four detects and we're going to select it tag called Give me 1 second. Stick texture. With that, the texture is takes to the first i and is reflected to the symmetry. So we finally have the design of the twice, maybe by pressing the E key, I'm going to move them down, something like that. And as I said, they are a little smaller than the original design and I want to stick to it so I am going to adjust the size and that's it. The ISR query in 3D. So let's turn on the letter n. The next thing is to generate the mouth. For that. I will go back to the, to the line moles from view. And let's create a rectangle. It's not visible because it's a very big rectangle. But from here, we can start editing the size. What we are going to do is to fit the size of the mouth, the width. I'm going to get a little closer. And now we have to adjust the height of the mouth. It will be something like that. I think I'm going to hide letter for a moment. Maybe something like this. Let's click on rounding and check this box, increase it to the maximum value. It was already there, that is 3.5. the rectangle becomes a literal, smaller than the current shape of the mouth. But that's okay for now. Now we are going to generate the thickness of the lips. And we're going to do it with a circle, which is to be also, let's make it smaller. The circle is going to determinate the thickness of the melt. And I'm going to increase. I think I can sell it in three centimeters to make a first test. Now we're going to use another Modifier called flip. What sleep is going to do is to extrude this circle through the rectangle. We have to take the circle, the rectangle in this exact order, and drag it into the 3D object. It doesn't look very good. But if we move to the perspective view, we can see that the mouth is now three-dimensional, but we can see that is covered by the, by the object is going to be inside the letter. Lets take the rectangle and we're going to align it to the eyes. All these value are not accurate, they're not defined values let generate new material for the mouth by double-click here, double-click again to the properties. And the color for this material will be something between pink and read. Something like this, or a little more pink lead supply to the mouth. And by now we have a few objects in the project. So this is a good moment to start renaming, renaming them, to keep them in order. I'm going to start renaming this one as i. And this one will be the ice. This one here will be the mouth shape, and these will be the thickness. This one will be the mouth. So we have to, we have created or two main features in 3D, the eyes and the mouth. So we can move to the next part. The eyebrows. I'm going to turn up the letter again to work a little faster. And the Iraq will be based on two capsules. The capsules are here in the object menu. Now, we can see that the capsule is too big. And I want to rotate this capsule to be oriented. This way. We can see that it's aligned to the y-axis and I want it to the, to the x axis. So let's take the capsule and we're going to edit this value to x. Now, let's move it somewhere around here with the manual controls. We can do it from here, and also we can do it with the controls on the side. I find it easier to do it from here. Now, let's adjust the size of the capsule and make it a little smaller and the Earth than the original design. You will see the reason for this in a moment. Something's manner, I think something like this. It doesn't need to be very accurate. Let's move it into the place, and that's it. We have the first eyebrow. Now we can copy and paste it, and we have created a second capsule. So let's move it where the live Libro is, and now we have the two eyebrows. Let's go back to the perspective view. We can see that the IVR is placed on the back. Let's align them to the ice. For now, we are now going to apply any texture to the eyebrows and juice. We just can see that they are aligned with the original design. Let's start renaming them. This one would be the right eyebrow Of the character. I'm going to copy this. And these will be the left one. Now that we have the eyebrows, we're going to ask her to them to make it to make it look more realistic. The first thing we have to do is the same we did for the letter. That is to convert the capsules into editable objects. We can do it with this button here or, or by pressing the letter C on the keyboard. Now, they are objects. We can see the blue triangle and we can apply the hair. Let's start with the left arrow. And we are going to repeat the step two was to apply the hair that is, simulate her objects and adhere. We're going to see that we have to change the hair distribution here to polygon area. And we can see that the hair is too long. So we have to change it from 100 centimeters to, I'm going to zoom out and see to something closer to what we previously defined. I think fortunately meters will be okay. This is very good. It's almost the same that we define it at the beginning. Now we can hit Render. And again, the hurdle doesn't look so real. We can start to make the same adjustments that we already made for the body. And when to make it a little faster, I'm going to change the color to a purple. Maybe. I'm going to decrease the specular to maybe 5%. The thickness is already activated. I think it's okay if the hair looks a little bit thicker. Let's turn on the length. With 50% variation. Maybe the scale is okay in 20%. We also can add some frets and some king and the default values. We can see that we get a bit of a clump. Let see how it looks. Great. I think that's OK. In the end, the eyebrows are complimentary element and just with making them darker than the hair, they will become more visible. We're going to lubricate these hair with currency and common V. And I'm going to rename it as left eyebrow and this one as right eyebrow. Now, this new object that we created is linked to the left eyebrow object. And what we need to do is to link it to the right eyebrow object by pressing this arrow here, we can also make it by dragging the object into this box. Now the two eyebrows are okay. I'm going, I'm going to hit. And there again. The two eyebrows are ready, Harry, and eliminated. The next thing we have to do is to create the islets. Let's move on to this view where we can see that the character is still doesn't have the islets that we see the sign. That's quite simple. We just have to copy and paste this symmetry of the eyes. And right now the ISR duplicated. Let's remove the texture and we still don't see any difference, but I'm going to turn off the symmetry of the ice. So we can see only the original i without the symmetry. Now the symmetry that we see here corresponds to the islets. Let's rename the objects. Now what we have to do first is to change some parameters of the sphere. And here in this menu in the objects tab, let's change to m sphere and it changed into a half circle. And that's why he, and this will be the starting point for the highlights. What we're going to do now is to take these circles switch to this view and we're going to rotate the Ayelet. To make it more similar with the original design. We can make it manually. I like this. Or if we press shift, we are going to rotate in ten degrees steps. We're going to make it a little bit more precise. I'm going to repeat it. And maybe something like this will be okay. Because the eyes are still visible. But we can see that the island is the same size of the object and it looks overlapped. What are we going to do, for example, is to scale the radius of the eyelids. We can see that there is a gap between the I and the eyelids and it doesn't look good. I'm going to fix it by adding some thickness to the sphere with this option here in the simulator menu, Close and then closed surface. Let's write the island object to the closed surface that we created. We have to remove this subdivision. We don't need it from now. I'm going to leave this value at 0 boat. We're going to add a bit of thickness to the sphere, maybe one centimeter, and it looks good. I'm going to rename this subject. As you can see, this object is the eyelid. This one, this one duplicates the island, and this one gives some thickness to the island. I think I can remove this tag also. This one is okay. And now the islets are created just as we define them in Photoshop. Now all we have to do is to add the skin texture we already created for the body. Remember that when we created the letter, we decided to assign these material for the skin. So let's add the same material to the islets. Now we're going to turn on the symmetry of the ice and the character is almost finished. I think it will be better if the mouth position was higher. So let's take them out and press the E key. Then we can move it a little bit and moving the mouse closer. All these heard little adjustments that we are making to the original design. That was just a kind of a sketch. And it could be improved during the process. What we can do is to hide the capsules, as we did previously with the letter in order to hide the original geometry. And we can hide it from the viewport and also hide it from the Render. Now we can make a quick render. We can actually turn on the camera view. And it looks pretty good. Let's make the last render with the hair applied. And we can realize that the hair is covering some parts of the character. We can fix it from here. In the side view. We have to turn on the hair that is actually turned around. And we're going to take this object away from the hair. Let's take the ice, press the E key, and with this control, move it away. I think I'm going to move all the objects of the face. So I'm going to group them by pressing and g. And this is going to create a new object that can control all the, all the objects inside. So let's take the object and move them away from the hair. I think we have to move it a little bit more. Maybe something like this. And we can even assume it to see things in more detail and make corrections. Let's make a new render. Great. I think we still have some lighting directions left to do and more liberal adjustments. But let's finish this lesson here. And in the next one we're going to adjust the lighting and the final details. 14. 14 3D modeling our design II: I think the character has some very dark areas, like the eyelids area. So I'm going to correct that by using an elimination Drake, very simple. I'm going to create a new light. And again, I'm going to turn up the hair for faster render time. And in this first test, we can see that the light is creating reflections just here in the eyes and it doesn't look so good. So I'm going to transform this light into an ambient light. We're going to do that just by checking this checkbox here. And it's going to light up everything. And one generate any shadows. It doesn't matter if the object is covered by another object. I'm going to hit Render. And we can see how all the objects are eliminated. Because the light is too strong, we need to reduce, reduce the intensity may be by 50%. And we can see that the object is loosing volume cost by the light and shadow contrast. So the only thing we want to eliminate is the face. So I think I'm going to remove the hair to preserve the volume. I'm going to take it out of the group and also rename it as face. Lightened cinema. Have an option where we can define which objects will be eliminated by this light, we can find this option and this tab called Project. And here we can decide if we want to include or exclude any object from the list. I prefer to do this with inflation. And as the list is empty, we can see that the light is not eliminating any object. So we have to derive the face object to the list, and automatically it lights up. And now we have softer shadows and lighter areas on the face. For example, the lips and the ice. I'm gonna change this view and turn off the camera. And it seems that the edge of the eyelid sees very hard. So I'm going to, first of all, on this stack goal Fung, I'm going to remove the angle limit. And that improves the edge of the islets. Work. We still have some low quality here on the edge. But that's basically the, the vision segments of the sphere. We can see that if I increase this value, it becomes softer. I think that could be something like 60. And now we have two various very soft dialects. We can also increase the segments of the eyes because they look like low poly objects. I'm going to try 50 and it looks much better. Now, I'm going to show you more types of shadow that can help her character to look more real. If we hold the click on the render to picture viewer icon, we can see this menu where we have this option called Interactive render region. If we select it, we can have a quick render of a portion of the scene. And with this little arrow, we can adjust the quality. It depends on how fast we want to render. I'm going to increase it a bit. And I'm going to hide the hair because it's slowing the Render. And also I don't need the share for this example. I'm going to frame the face. You can see that I can modify the small window. I can move it, I can scale it. But I'm going to focus on the face. We're going to generate the type of shadow called occlusion shadows. We can find it on the Render Settings. And you will see what's going to happen. If I turn on the ambient occlusion, we can see these new shadows over the object. The shadows actually exist in the real world. We can identify two different shadows. The first one is projected by an object that stands between the light source ends in a second object. These are called cast shadows and the occlusion shadows are generated when two objects are very close. Various example consistent watching your fist and you can see the shadows generated between your fingers. So we added these shadows to make our growth are more real in terms of lighting, I'm going to remove the interactive render region and also turn the hair on again to make a render. I'm going to just the frame. And I think it's better if I use the camera frame and we're going to make a render. I think this key material is really dark and it gets quite lust with the shadows. So we need to make it brighter. Something like this, to separate it from the hair. And they think it looks, looks much better. We already have more detail here and something we need to add is number one, we are not rendering the eyebrows because they are turned rough. And number two, it seems that the mouth is still little far from the body, so we're going to move it closer. Just remember to keep it away from the Harris. Now I'm going to add something that is not in the sketch, but I think it can help. I'm going to turn off the cameras to have more freedom to move, also the hair to make this change a little faster, I'm going to create a cylinder that will be oriented on this axis, the c-axis. So we need to select the z-axis. Now I'm going to make it smaller. And I think we don't need the background image anymore because we have completed all that. We define u on the sketch. So again, view settings back and just by unchecking the show Picture option, we can remove the image. Let's go back to the cylinder. I'm going to get closer and move it near to the mouth because we're going to create a tough from the character. I think it's too big. I'm going to change the view and modify the scale. We can also rotate it, move it. And here we can start to see it integrated with the character. I'm going to move it up to make it come out of the, come out of the mouth then and have just a rotation and a couple more of little adjustments. I want to round the cylinder with the Philip option. And that's it. It looks round it. I'm going to hide it with the mouth. And I'm going to generate the new material. We can duplicate an existing material like the mouth material, for example, just by dragging and pressing the common key. And it's going to duplicate the material in the material panel. Then just reduced the saturation because we want that to be white. Maybe can have a subtle sand color a bit later. And just apply it to the cylinder. I'm going to hit Render to see how it looks. And I think it looks good, but a bit dark. So I'm going to place the object into the phase script, which is more eliminated with this light. It looks much better. Now I'm going to duplicate it. And just as we did with all the other objects, I'm going to put it in a symmetry and then rename it. And when we draw the rack, the object is automatically generates a symmetry. And I think we're done for now. So I'm gonna go back to the camera view, turn on the hair again, and make a quick render. Well, I think I'm gonna make a little adjustment to make the eyebrows a little bigger. I just have to make the hair longer to make them more visible. As this is one of the most important elements of the face of the character. So I'm going to increase the length to five centimeters, not too much. I'm going to hit render again. And I really like it. I can consider it as the final version. Next thing we have to do is to take it to Photoshop, to add a background, make some color adjustments, but we're going to make it in the next lesson. 15. 15 Last details and final render: Something I would like to do before the final render is to add one more object that I think will help. We're going to do it from the object menu. I'm going to create a cone. And I'm going to turn off the hair again so we can work faster. I'm gonna move the cone over here and I'm going to scale it down with the letter T. And we're going to rotate the object may be, you can imagine that it will be little horn, I mean, a couple of horns with the symmetry. I'm going to increase the size and rounded tip of the horn because we're creating cute character. And sharp horn won't match with this area. So we're going to create these roundness from here by increasing the size and adding roundness. Just like we did with the letter. Maybe the harnessed to be I'm going to adjust the size. Maybe maybe a little bit thinner, maybe something like this. I think that's OK. And now I'm going to bend the horn with the former. From this menu. I'm going to use the bandy former and we're going to place it below the cone. Then we can collect disruption called Fit to parent. And it will make the former the same size as the object. I'm going to increase the bending strength. That is sera, right now. And the horn bends maybe not in the correct direction. We need to bend it from here to here. So we have to rotate this 90 degrees with the letter R. We're going to take this axis and by pressing shift, we can rotate it more easily. Now we have to click here again and click again the feet per option. And also this other option called keep y-axis length. To keep the length of the object. It may looks too big, but once we add the hair again, it will be partially covered. Any way we can adjust it later. I think we can use the same material that we used for the teeth. We can also put it in a symmetry to generate this second horn. Then we can take the symmetry and put, put it in the Phase group. With this, it will be illuminated by the light that we defined before. Let's hit Render. And I think it looks pretty good. Let's turn on the heritage he how, how it looks, maybe the horns are too big. So let's take the original and with the letter E, we can move it closer to the center of the character. Maybe we can bend it a little bit more. Hedron there again to see how it looks. I really like it. So I think we can get a final render. Maybe one last adjustment, rotating the horn a bit more like this. And maybe move down, hit render again. And I think the character is finally ready to export. So I'm going to create a again PNG image. We already know the settings. We can save it with the same size of the previous render in PNG format with alpha channel. Let's close this window. And I'm going to create a render in the picture viewer. Now that we have our final image, we're going to repeat what we did the last time. Save it as PNG with alpha channel. I'm going to save it in the desktop and call it a monster 3D face. Let's go to the desktop to check the file. That's OK. And in the next lesson, we're going to add the final details in Photoshop. 16. 16 Retouching and final adjustments in Photoshop: Okay, we're going to add the finally tools in Photoshop. So let's take the image. And the first thing we're going to do is to convert the image into a smart object. We're gonna do it by clicking on the layer, right-click and select Convert to Smart Object. With this, we can scale the image, make it small, make bigger again. And the image one lose resolution. That is very useful in case you decide to resize the image and also apply some filters. The next thing is to add a background color. I think it could be something like this, maybe a little lighter like this. And then we're going to add a gradient. We can do it by selecting this tool over here or by pressing G on the keyword. We're going to take this gradient type, which is the three color gradient. And by holding Shift and dragging, we can create the gradient. We can do it a little higher. Starting in the touchpoint of the feet with the floor. That's okay. So let's change the Blending Mode to linear born. I think it's too dark. And what we can do is to apply a hue saturation effect. As you can see, I'm trying to work in non-destructive way. That means that the most of the layers and the effects we are creating, we remain available. Now I'm going to change the lightness of this black session with the filter, and I'm going to increase the brightness from here. But the adjustment layers are applying to all the objects below them. So this one is supplied to the gradient and the background color. But I want to modify only this layer. So we're going to click on the Adjustment Layer and we have to press a Mac. I'll comment and the letter g. And this applies the Adjustment Layer two, only the layer right below. We're going to keep increasing the illuminance area in order to reduce the contrast of the gradient until it looks like a shadow projected by letter. I think that looks okay. Maybe a bit more, maybe 80. And I think that looks pretty good. Now again, generate another gradient for the final touches. I'm going to generate the gradient. And this time I'm going to select the radial one and inverted. So the selective color will be on the outside of the circle. We can do it from here with reverse. Let's click on the gradient to the properties. You can see. If you can see this option that shows the color and the site and the transparency and the other one. You can find it here. And this is the one that we need. I'm going to double-click to edit the properties. And it's going to open a new window where we can select the color. Lets choose the color. Maybe, I don't know, dark purple, maybe something like this. And now we need to make, is the blend color of the gradient a little harder by moving closer this box here, we can see that we are getting harder gradient. We're not gonna make it totally smooth. Maybe something around the half or a bit more. Now let's increase the scale. Maybe something like this. And maybe we can make it softer to make, get more subtle. Something like this. And now let's modify the passage. I'm going to reduce to start reducing the capacity because I think that's too strong. Maybe something around 60%. And now I'm going to make the same color adjustments to the letter. I'm gonna use a filter for this. Click on the filter menu and then the camera row option. I have to say that I really like this filter because with just one filter we can edit values of the image. And most important, keep these changes editable. I'm going to increase the exposure a bit to make it brighter. And I'm going to make the blacks a bit more lighter. We can also adjust the color temperature. Maybe as we have a warm background, we can move the colors to the warm tones and maybe add some magenta. Another thing that I really like about this filter is that we can adjust. The hue saturation and brightness of each independent color. So if I think the blue tones have lost a bit of saturation, we can saturate the blue tones without affecting all the scene. And I can add just with this control and see how. And as you can see, I'm not affecting the returns that are already saturated. I can change the tone also. And as we created a purple gradient, we can move the blue tones abit more closer to the purples, maybe not too much, something, something around here. And the red tones could be bit more pink. I think I like how it looks and I'm going to click OK. And as I told you before, the filter will be here. If I double-click, I can edit again and again. And if I don't like it, I can disable the filter to return to the first version. I'm going to turn on the filter again. And something that could help to integrate the image is to double click on layer, but not on the layers name something around here. And now we can see the layer styles. I'm going to select the color overlay and it's already applied. So let's simulate that. It wasn't going to deselect it. And select the color from the default values. That will be something like this. And what I'm going to do is to select the colour of the environment. It's going to help to integrate the image because we're simulating some ambient reflection from the environment into the character. Maybe we can do something over here. Oh, okay. I think it works to integrate the image with the background because it starts to share some towns with the background. And now we can add some shadows. Let see how they look. I'm going to create a new layer, and i'm going to press the B key to paint with a brush. And I'm going to paint to length here. They will be like the shadows projected by the feet of the character. I'm going to change this menu to linear born and then Blur, Gaussian blur. And well, maybe the shadow could be something like this. I'm going to press command t to transform this because I think the shadows are high. And by pressing alt, it will make the selection grow or get smaller in a proportional way. I think this could work. And now the letter has the letter ESA bead more integrated with the background with this little shadow? Me. The last adjustment would be to reduce this effect that makes it tips of the hair look a little lighter than the rest of the hair. And to fix that and going to create mask by pressing the common key and clicking on the original layer. And it's going to create a selection around the character. I'm going to press comment plus H to Hide Selection and see what's happening. I'm going to select again the character layer and then create the mask. With this mask, we can hide all the white tips. Pressing Shift plus click. Again, ssh. I can show and hide the mask. I think that's even more integrated with background just by doing this little adjustments. Here we can see with the mask and without the mask, I prefer the masked version. And I think this image is finally ready to share. So let's make the last thing. We have to save it with, Save As. And I'm going to choose the GPG Format and I'm going to save it to the desktop with the name monster final. We have to choose the maximum quality, that is 12. And here we can see the estimated, say, file size. Very acceptable. Click OK. And our final image is ready. Let's take a look at the desktop and here is our final image, ready to post it and get some likes. So this is the end of the class. I hope you liked it and remember to share your results. Thank you so much and see you next time.