Blender 3D | Full 3D Character | Easy Workflow | Juandre Lab | Skillshare

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Blender 3D | Full 3D Character | Easy Workflow

teacher avatar Juandre Lab, 3D Character Artist, MoGraph Teacher

Watch this class and thousands more

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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

10 Lessons (1h 58m)
    • 1. Intro

      1:20
    • 2. Rough Modelling

      9:04
    • 3. Details Part 1

      15:29
    • 4. Details Part 2

      16:18
    • 5. Details Part 3

      18:40
    • 6. Rig Preparation

      8:30
    • 7. Rigging

      17:29
    • 8. Weights

      20:02
    • 9. Materials

      10:19
    • 10. Outro

      0:42
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About This Class

Description

You will learn the full process of modeling and rigging a simple stylized character in Blender 3.0. This is an intermediate-level tutorial, and if you are absolutely new to Blender or 3D, you can watch some of my other Skillshare absolute beginner courses.

In this you will learn:

  • Simple modeling
  • Easy rigging
  • Bone constraints 
  • Weight painting
  • basic materials and rendering 

I won’t be covering everything Blender can do, but this course will have everything you need to get started and you will still learn a lot about making a basic character based on a simple design

Resources Included:

  • All the Blend files from different stages of the course’s progression
  • Concept sheet
  • Handy Blender Hotkey’s for both WIN and MAC OS
  • Extra blend file of the character with more refinements made

Meet Your Teacher

Teacher Profile Image

Juandre Lab

3D Character Artist, MoGraph Teacher

Teacher

Coming from an industry background, I really love the creative arts, especially within 3D and 2D Animation. I passionately enjoy mentoring people and teaching artistic disciplines across several platforms, primarily my YouTube channel (PIXXO 3D). It's never too late to learn graphic design & motion graphics. You can get started with Blender (FREE) a completely capable and industry-tried software available to anyone. Why not get started today and express yourself with digital art.

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Transcripts

1. Intro: Hi there and welcome to my intermediate level blender course where I'm going to show you step-by-step how to make a simple character and how to rig it. Now, this concept here is just a really basic one. All I did is I opened up and I sketched out a super basic idea as super basic concept. Now, this course is going to be focused around this design here you can see very basic notes here, very basic idea. But I'm going to be encouraging you guys when you're done with discourse to try and make your own concept, but kind of try and follow the same style hair, try and use the same method. This is a intermediate level course, so I would not recommend this for absolute beginners. It probably will get a bit confusing if you want to check out some of my other courses on Skillshare, they'll take you through to complete process. Has a beginner teach you everything you need to know and then you can come and watch this course. And as with all my courses, I will be including older different stages as we progress, which means I'll include everything from stage 1 all the way to the final product where we haven't wrecked. And you guys can open those up and you can check them out. Now it also will be adding an additional bend fall away. I add a little bit extra in there so you guys can check that out as an example, just a few extra bones and a few extra corrections. So if you think this is a course that you would enjoy, I encourage you to keep watching and thank you for taking the time. 2. Rough Modelling: Well, let's go ahead and jump into Blender. I'm using Blender free point O as of recording this tutorial. At the time when you're watching, this may be a new aversion generally thinks should be the same. So let's just see how we go and we'll follow along. You can see down here I have my screencast keys and I will, I'll try to have that visible as much as possible. So any of the keys that I'm using, you guys will be able to. I'm just kind of see that. So what we're gonna do initially before you get into kind of like domain modelling is we're going to block things out. Now. I'm going to include in a few sketches so you can look in the resources file and they're going to be a few sketches and they're just kind of like guidelines and ideas. And I do encourage you guys to kind of sketch it your own ideas after you've done this course. So you can kind of like, you know, not just copy exactly what I'm doing, but you can kind of learn something as well. You can kind of learn to workflow and then apply it in a way that works for you. So I've got my other monitor on the side there. I'm looking at those reference images. You can see them right here. I'll quickly popped them up on the screen. But yeah, you can just open them on a separate window or just have them on the side somewhere, print them out. So let's go into our front orthographic view. We're going to do that by hitting one On our number pad. So if you're not sure about the number pad there where he had wanted to come to your front orthographic view. You can simply just go to Edit and then Preferences. And then you can go over here to your add-ons. And over here you can just type in, sorry, I meant the input. So you can come here to the input. And under the keyboard here you want to go to emulate number pet. So that's essentially just gonna enable you to be able to use the numbers digital, conventional 1234 numbers to top of your keyboard. You may have a laptop as a number of pads. It's emulating that I'm actually using a normal keyboard, so I don't have to do that, but if that's confusing, you just keep that in mind. I guess now we've got those little details out of the way. Let's get into it. So we're going to use some very primitive shapes to get started with. Now cubed is okay, but that's a little bit too primitive. So what we're gonna do, the cube active, we're just gonna hit X and we're gonna delete that cube. We're going to go Shift a and under Mesh Primitives and we're just going to add in a UV sphere. Now, this UV sphere is quite high poly, which means it had a lot of geometry here. So let's go to the add a UV sphere settings and we're going to make it 12 at the top. And on the bottom we're going to make it eight. And that's a good number for now. And we're just going to drop that down. And what we're gonna do. So this Act that we're going to hit Tab, and that's gonna take us into our editing workspace. So we're going to hit Z and we've gone to our wireframe, then went to click and drag and just active, make the top face as active. And we're going to get e to extrude, and we're going to extrude it up. So by default it should be on z, but if it's not, you can just hit G z and constrain it to disease. So we're just extruding up these faces to here. So let's go about that much. And we're now going to go S. And I'm just going to scale that. So this is a very kind of basic, almost Pinochet, but it's kind of roughly describes the kind of stylized character that we're trying to achieve. So we're just going to just come over here, control are. And it was just kind of cursor fin here, pointed over it. You can see the yellow line. Just click and you can see it adds it and you can also move the mouse once you've made that initial click. And we're just going to move it to about the middle here and an S to scale. So we're not gonna get any more than that for now with that shape, we're keeping it, like I said, really easy. So we're going to hit Z, going to solid, and 10, we're going to hit tab and tab out into object mode and we're going to hit G and the middle mouse button. Third, not the middle mouse button, and we're going to hit G and then the Z key, okay, So g, z, and we're going to move it up. And we're gonna think about the height of the leg. So we're going to kind of touch the bottom of the body. So I'm going to move it up to about here. And you can see here, you can look at the grid spacings here for reference. So just about a default cubes height almost to where the hips would be. And we're gonna go Shift a. And let's just add in a nut or object rather than a cylinder. Excuse to the Add Cylinder. And let's make diverts over here, something like that should be enough. And when jot that down S to scale it, G to move it up to here. And let's go and return lot of fires. Add modifier and let's give that a subdivision surface modifier. And we're going to click well also on the Add Modifier again. And let's give that a mirror. We're going to click on the little eyedropper and select body. And now that is using that as a reference. And now we can see it's mirrored. Now at the moment, I actually don't think we need to submit for now. I'm just going to turn that off in the view port. I'm just going to turn it off. Now this is clearly tab into edit mode here. And let's just select these bottom parts. You can also just go to face select and select them which ever option you prefer. And if that active, we're going to go G, z. I'm going to bring that down to about here and an S just to scale it a bit. So I'm going to give us a bit of a rough like placement. Don't get over the top with it. At the moment, we're just trying to establish a general idea. So we're now going to tab out into object again. They're going to object mode. And now we can kind of roughly place out the arms. Very simple way to do that is just to take the leg, Shift D to duplicate it, move it up to here. And then we're gonna go into a front or photographic view. So we're going to go are and just rotate it up like that. If you hold Control or Command, you can kind of snap it. So you'll see what I mean if you do it. So only control, you can see it snaps or we're just gonna snap it until it's nice and straight. Everyday like that. Now we have that nice 90 degree angle and we now have some rough arms supplies now with the arms here, if we select, you, select them and we tab into edit mode, we can hit Z, got to wireframe, and then we're just select that face there S to scale that down. But what we're gonna do, select the end one here and scale that up a bit. And that's going to kind of create this kind of cartoony looking feel. And I can maybe move it out just to give the arms a little bit more length. But that's going to kind of look cool. Remember, just kind of be like a sleeve. So essentially we will model a hand inside of this leaf later on, but let's just tap back into object mode. And for now I'm just gonna move it down just a little bit. Okay, so far, it's looking really basic and have the whole point. We're trying to go for simple shapes here just to give us an idea. Now another little thing I like to do, and I noticed a lot of people might do this a bit differently, but I'm going to start adding placeholder materials. If what a viewport and reason I do that kind of gives me a bit more of a visual feel, a little bit more of a like a little, almost like a little mini preview forward might be dealing with, with the color. So I'm gonna select the body here and I'm just going to go to the materials tab and I'm going to add my first material I'm going to call skin. And let's just jump to surface down and let's go down to Display. And I'm just going to give that Let's make that whatever, whatever, you know, she had a skinny want to make, the subject doesn't really matter. And then we're going to come here to the plus again, it wouldn't go New. And let's call that shirt. And the shirt, we're gonna make that a bluish color or whatever. They're going to simply tap into here, Z wireframe. And then we're just going to go to vertex select or whatever. Just like these bottom verts. And enough That's shirt material assigned, selected. We're going to go sign. And now we should have those guys, they're assigned and that kinda gives us a feel for the shirt. Tab out back into objects like the arm. And let's give it that same shirt material. So we're gonna come to the materials, come to the drop down here, give it that shirt. And if the pants, let's actually give that, it's our materials. We're going to click New and let's call it pants. And with the pants there, Let's come over here to material preview. And let's just kind of give it something. Whatever kind of pants looking color you want. I'm going to kind of go over a little desaturated yellow, which kind of gray. Then we'll select the body again quickly tab in kind of wireframe just like somebody bottom faces. And just click plus over here, come to the drop-down list, select that pants and assign it to that bottom half tab out. And now we can kind of see that's what we have. So you can kind of already see it just by simply adding some viewport colors. Look what we've done. We've already kind of given ourselves a little bit more of a little abstract idea of what's to come. So what we're gonna do eventually is we're going to start refining the shape. But now we have this initial idea kind of sentence I would come in here later on. Make this into a shirt, make the flow of the shirt arm coverings here, make them blend into that shirt design. Maybe put a little bit of a color RV here and blend things together down here and we don't even have to model any feature. Some simple, basic shoes would also look really cool. So that's what we're going to be doing in the next part. Now we have a general idea, kind of established. 3. Details Part 1: Okay, so now we're going to be into Part 1 of adding some details 2D initial rough layout that we did in the first part. So you can see here this is it. And let's start actually by working on the, the head shape a little bit. So the head shape, if we just select the body and tab into edit mode, Edit mode, you can see we kind of have this kind of like almost like a peanut shape here, which is good because we're going for that stylized, cartoony look. But let's come over here, add in a bit more geometry. So we're gonna go Control R or Command R. And you see the yellow line when we hover the cursor over lists is click and you can move it once you've done that click until you happy. And it can just right-click the kind of stuff, the whole thing if you don't want to. So now we have an extra cut in there. We can also now think about the kind of shape. Now, you can make the neck a little bit narrower by kind of adding an extra loop here and scaling it in. You can give it a bit of a wider neck. What kind of scaling things up here as well? Kind of making it look a little bit buffalo bit more wide shoulder, but I really want to kind of keep as almost like a cylinder peanut shape. I like to think it's cute foot a sort of stylized shapes. So what I'm gonna do is I'm not going to add anything in at the moment there. I'm just going to come here to the proportional editing tool. And I think that's a really going to help us shape things a little bit more. I'm going to hit Z and I'm going to go into wire-frame. Then I come down here, click drag and just like half of these verts and out front for graphically, don't want to hit X and I'm going to delete those farts. They want to get out modifiers and let's give this a mirror modifier. And if we don't enable clipping over here, what's going to happen if we move things around to going to split. So we need to come here and enable clipping before we do anything. And then you can see things will kind of stated get her nicely. We're now going to come over here to decide, select somebody spurts and aside we're gonna go G. And you can move them now, but you can roll your middle mouse button to control the fall off if the proportional editing, and that's just kind of gives you a lot more control with shaping. One's going to come to the top, select the top version. We're gonna get a GI C and it is flattened ahead just a little bit more. And also S and just kind of scale it in. So kind of just creating a shape like that. And then we're gonna come over here, over this shirt we're going to go control are adding a loop here. Just click. And that's what we're looking a little bit better. We can also go Alt S If that active and just scale it out to London normals just a little bit. And we also want to just think about creating kind of like a shirt over here. So cool way to make the kind of look like a shirt is to kind of add a color. Sorry, let's separate some of the meshes here for now. So we're gonna go Shift Alt, and I'm going to click on this edge here to loop select it, and then I'm going to hit V on my keyboard. So if you hit V and you right-click to let go, you can now go Alt S and scale out London normals, but you can see the proportional editing. It's affecting things. So you can come here to the top, click on that and go connected only. So if you've got Alt S Now and you scale it out along the normal spaghetti Alt S, you can see the disconnected geometry. It's not falling along, so we're just going to scale it out a little bit, default S. And then when it come here and select this vertex over here. And we're gonna go G, Z, and we're just going to bring it down a little bit, rolling down proportional full of just to make it slope a little bit. And then we're going to go Shift Alt and click on this edge here. Now we have to come here and de-select or deactivate our proportional full off. So click on that. And then we're going to get e to extrude. And then z and we're going to move it up a little bit. Then we're gonna go Alt S, and we're gonna scale out along the normals. Then went to go free on a number of path ago right before graphically. And it wouldn't go E to extrude, I'm going to extrude the whole thing down Alt S and scale it out lamda normals. And you can see just like that, we made a really simple color kind of design here. Now we do want to split it a little bit here in the middle. So what we're gonna do is we're going to hit K to bring up a cut tool. So hit K. And let's click over here. And let's click on a top edge here. And coming in here, let's click on this bottom edge. And then when we get there, we're going to hit Enter. Now you can see we have a cut here. So let's select this vert and holding Shift select this vert, didn't hit X and delete vertices or vertex, and then we're going to select that one there. And in fact, we need to make an additional cut. So let's just hit K to bring up a cut tool. Click on that vertex there and then bring it down to this one here. Let's see if we can click on that. And then hit Enter. And now we have a face there and let's go and delete that face. You can see now we have that little slice there. Now, if we go Shift Alt and click on this edge here, we can get eight to extrude and z and extruded down on the z like that. So already you can see with very basic modeling techniques, we kind of made what looks like a shirt. So if we tap into object mode, we right-click and we go shapes move, we can already see how it looks. So it's pretty low poly at this point, which is really good. We don't want too much geometry. In fact, while we've got everything active, Let's just hit a to select it. Right-click and go shaped Smith's now everything has some smooth shading to it. So that's really cool, is we now have that shirt kinda flicking. Like a shirt, but let's work on it a bit more. I'm going to tap back into edit mode off the body, select it. And let's go down here. We're gonna go Shift Alt and click on this edge here to loop select it. Then I'm gonna hit V to V key again to cut it. Right-click the left guy, then go g of z and just bring that down just a little bit. You can see there the select and I'm going to go Shift Alt and then click on this top edge to loop select it. And then we're gonna get S or Alt S to scale. So we're gonna go Alt S, scale that out a bit, and then g, z and then bring it down just a bit like that. So now we have that shirt looking a bit like a shirt. And while we actually have vertex active, so any vertex, make sure it's active on the shirt. Didn't you can go Control L or Command L. And it'll just select all of this geometry because it's separated from the rest of the mesh. And then we can hit P and we can go separate selection. So now it's, it's an object. We can tap back into object mode, just select that shirt by itself, and then hit Tab to go back into edit mode. And now if we hit a to select everything, you can see it's only this fungus gnats aren't editable object. The other stuff is it's a separate object and an object marts we can in our tab back out, select different thing. Tab back in, like that. So that's really, really good end using blender to 0.8 or higher than this case blender free point. You should be able to select multiple things and in tab and still go into edit mode, even though they're technically SEC, separate objects. I'm going to hit Tab again, just like the shirt by itself and then tap back. So just keep that in mind if you're modeling in the future. Okay, So with the shirt here while we're at it, let's us add an extra layer here. So we're gonna come over here. We're going to go Control R, add in another loop, just click and move that down. Click again. And then we're done with that. And I'm going to go Alt S and just scale it in just a tiny bit just to add a little bit of a detail. And let's tap back out. So let's also just select the arms. And the arms, we're going to just bring them out and down just a little bit more. And then we'll just select a shirt quickly. Just select this vertex right over there about the arm g, z and just move it up like that. So we have to kind of just sitting on the color. So it doesn't look like it's just kind of penetrating right through it. Okay. So that has been the making of the shirt part for now. But let's work a little bit on the face. Let's kind of get a feel for what his face is going to look like. So let's just select the body again and tab into edit mode. And at the moment, I don't think we have quite enough geometry to work with. So what we're gonna do. So we'd actually tab back into object mode. And let's just give this a subdivision surface modifier. Put it above the mirror and make sure it just has level of one in the view port here. And let's come to the job down and this is applied at. Now Let's tab into edit mode and you can see we have a lot more geometry. So I probably shouldn't have put it above the mirror. I don't know why I did that. But don't worry, it's not a big deal. Just got Shift Alt. Click on an edge to loop, select it. Shift all, still, click on the bottom edge. So you can just go S, x, z are, and then hit Enter. So I'm not a big deal. Okay, we've fixed that. And you can just get g x and just kind of move everything together because we have clipping enabled. But other than that, we can now work on some facial detail. So let's go over and select out by select Options. And let's select this face here holding shifts like this one. And in this one, they're going to get e to extrude S to scale. Then stop it and go s, z and scale it down and dizzy just a little bit. And then what we're gonna do is we're gonna go to Extrude and extruded in and just a little bit so they don't want to get too much. Let's just try that again. So e to extrude and just extrude in about that much. And then we're gonna go eat to Extrude, extrude it in to the body. About that much, bring it out a little bit. Okay, so let's try that again because it's kind of fused together. So let's undo that. Let's get E2 extrude and then go G, then go y and move it along to y. So g, y and move it back. I got that. That's a lot better. Then we're going to select these bottom places while we're holding Shift. And I'm going to go eat two extra dice frame. Then I'm going to select these top faces while we're holding Shift and then E, z and extrude them up on the z like that. So now we have a mouth cavity. Let's select this face over here, s, z and skeleton and dizzy. Back into your front or for graphic view by hitting one. And you can go G and just kind of move it up in there. Okay, gotta to your vertex. Let's, let's just select some of these verts here. Go back into your front view, select proportional editing. Then go G and N. Just roll your middle mouse button to control the full off and just bring that down to about there. Just to kind of create a file and it kind of has a smiling default pose, but that's okay. I kind of thing that'll work for us so that we have the mouth. And you can also come to the modifiers again, just give it a subdivision surface modifier just to smooth things out. That's fine. One heard anything tab back in and we can continue to work now. We did model the mouth as an actual part of the head, moves the eyes. We're just going to add that in as a separate object. So maybe what we'll do is we'll tap back into object mode. Shift Alt lunches add in a cube, and we're going to take this cube and we'd go G and move it up and move it to the head S to scale it. And we're gonna go, gee, why and move it forward. And we're gonna go to a modifiers, Give that a mirror modifier, and then click on the eyedropper and then select the body as a reference. And if to keep active, we're gonna get s, z and we're going to scale it up into Z. They want to go into our right view kind of just to see better S, Y and flatten and the why of it. And once you have that shape, Let's give that a subdivision surface modifier. Bump it up into view port levels. Right-click and then go Shade Smooth. Now we can go to a top view by hitting to seven on a number pad. You can go G and kind of move it into what's a body to rotate it a bit and just place the eyes right there. Let's go to materials. Material, Let's just call it eyes. And in the viewport, Let's give that a nice dark brown color. And there we have the eyes, so they're looking nice and stylized, which is exactly what we want. And just by simply scaling these and moving them around, you can completely change to feel and look of your character. So don't copy me. Forbade him try and make it something that really works with your style or your sketch. In fact, I'm going to move mine down just a bit. Couldn't voice adjust them lighter so it's not too big of a deal. Okay, so what else can we give them? Probably some little eyebrows, So lets you reuse what we have. So we're gonna select the eye here, Shift D to duplicate, move it up, rotate it a little bit, and then tab into edit mode, go into wire-frame. And this is select these verbs here. And let's move them out a bit. Rotate down, and let's select these ones and let's get e to extrude them, are to rotate, move them down a bit. And let's actually just extrude them out a bit. So much like these verts eat to extrude amount of IT, S to scale. And maybe the same with D Swanson anterior, it's true D that S and scale. Okay, let's go to a top view by hitting seven. We still have proportional editing and able to have these inverts selected. We're gonna go G, role and middle mouse button to control the fall off. We're going to bring them in closer to the head, rotate them a bit. And over here we're gonna select these G and we're going to move them out a bit. You can see what we're doing here. Just simply making it work with the curvature of the head. Doesn't matter if they lived over it a little bit because it is kind of cartoony. So it's just something like that. Tab back out. And now you can scale these. You can also come to your materials, get rid of them. Let's give them a new material. Let's just call it hair. And in the viewport, Let's just give that a color that you can make it whatever you want. Just something like that for now, I'm going with a brown animals, so just scaling it a bit more. Okay, so we'll mess around with us later. But now we have some eyebrows and we weren't add into noise for now. We'll do that a little bit later. But you can already see we're getting there with the character. Let's select the shirt. Let's give that a subdivision surface modifier as well. So look where we are so far. I'm not just elect him and just get to the skin and just change that a little bit because it looks a little bit too much like the pants almost say, yeah, just something like that. But you can see it's totally sun to come together. So what we're gonna do in the next modelling part, so I'll probably call that modelling details part two is we will obviously keep working into details, work into the rest of the shirt a little bit. Maybe make some shoes, add some ears, little things like that. So I'll see you guys in that part. 4. Details Part 2: So now we're in modelling details part two. Let's work on this shirt a little bit more. So we're gonna select the arm. So it's a shirt because I kinda like part of the shirt. I'll explain later how we do to hands, but listeners tab in here. And I'm going to disable the proportional editing for now. I'm going to go into wire-frame. And we could actually select these verts and inside to select that face, hit, Delete and just delete them. And late phases, we don't really need to be seeing that. And then we're gonna come over here and select these and verts dislike that face and bottom. I'm just using the verts. You could use face lectin, just click on a face or even edges. It's completely up to you. I just prefer to work reverts because I could kinda select a mole is like the face, but completely up to you how you want to work. We're then going to go E to extrude S to scale. Do it a little bit like that, and maybe scale even a little bit more. It's just something like that. How do you front view? And in Wireframe, There's just got E and extruded into about here. And scale a little bit. Didn't hit X and just delete faces. So we don't really need to make it any deeper neck is you're not going to see in their wants to hand goes in. But we're also just going to come over here. Control are, you're gonna see a loop cut role and middle mouse button and just add in about that many cuts. It doesn't have to be exactly the same numbers, maybe just enough so we have something to deform. And then over here on the end, Let's just come over here, Control R, click, and then move your mouse. Let's just drag one over to here and this S and scale it out a bit. Control our ADA Natalie appear, click and drag and then S to scale it a little bit. And that little detail there is kinda gonna give you the feeling of like kinda like a slave. And you can also just select it. And it can make the sleeve as long or short as you want. It really depends on the style that you're going for. You can always add in more loops where you think they might be needed, like around the risks or Control R, click, move, you know, super easy control are, maybe add in another one. But you guys get the idea. It's just about adding these little detailed us. We've got to kind of give ourselves that feel of the style. So whatever you're going for, you can look at different references. I'm just kind of going for like kind of like a shirt with some neatly tucked colors. Maybe just guys kind of like a businessman or he's off to golf session or something. So it just keep, keep the idea of your character in mind. I'm going to tab out, and I'm just gonna go to my modifiers. And remember earlier we added a subdivision is enabled at Navi ports. We can see it. And there you go. Eventually we will add that to the rest of the body so it probably doesn't matter too much at the moment. Okay, so let's work now on the pants here, they're super easy. And then select the legs. I'm going to do the same thing in edit mode. We're going to just select the top face and hit X to delete that face and then select the bottom. And let's think about where we want it to be. So I'm gonna go G is the move it up a little bit to where I think kind of like the ankle would start. And then I'm going to actually let's just quickly add in a shoe or foot just to give us an idea of where we'd want that. So let's just tap back into object mode. And I'm going to show you how to do a really simple shapes. Let's go Shift Alt, add in a cube S to scale it down, G to move it under here. So just roughly like that. And let's give that a mirror modifier under our modifiers. And I'm going to click on the eyedropper, select the body as a reference guide to your right orthographic view by hitting three on your number pad. Then tab into edit mode with the cube active. And let's select these top verts G to move them down. Select these ones here to front. You can see in an E to extrude them forward without that much. And it's like these top verts and go G, Z and bring them down. And then we can come in here, control are at an a loop. And then we can go S XX of that active skeleton on the X a little bit. And now let's go and give that a subdivision surface modifier to round things out and it's looking horrible. But what we're gonna do is we're now going to go into a right orthographic view again. And in wireframe, Let's just select all of these bottom parts and I'm going to get e to extrude them down. And that's going to give it a little bit more definition at the front. And then we're gonna come over here, go to our Face, Select, select the top face here, and let's go eat or extrude S to scale. And let's go eat to extrude and z and just extrude that down S to scale. And now we have that kind of closing intellect that control our ad in a loop over here. And you can double G, just a slight edge. Let's slide it forward a bit. And I'm gonna get S x and just scale it on the x. And then we have a very simple, stylized little shoe they can be proud of. Now it's one extra little detail. You can go Shift Alt and click on an edge for this bottom loop. Then you can go Control B, which can create a bevel. So Control B and make a little bevel. Then rolled a middle mouse button once. And only once, okay, and then go click and then go G is the move them all up a little bit. And now you can simply de-select everything. Shift Alt and click on this edge in the middle of the loop, select it and go Alt S and scale it in under normals. And that's just gonna create an extra little detail which looks really cool. Let's tap out to object mode, right-click and then go Shade Smooth. And you can also come here to subdue level and bump it up in the viewport. And there we have shoes, really, really simple, stylized little shoes. And now we have an idea of how it can work with the pants. So select leg, pants part, whatever you wanna call it, and tap back into edit mode. And while we have this bottom face active, which you should have, Let's go eat to extrude S to scale, to extrude and scale it in. Then we're going to go, let's get X and delete that face. Then we can go Shift Alt, click on an edge here to loop Selected, Shift D to duplicate it and then g, z and move it up. And then E to extrude and z and just extruded down into the pants or and down into the shoe. And while you still have that edge there, active, Go Control L. Natalie, select all of this loose geometry. Let's go into materials. Click on plus and then come to the drop down and let's make get skin and then just assigned it. And now I can see that has that skin shader. So now if we tap back out into object mode, we can right-click and go shaped so that I can see we have there's pets. And just like we did here, if the shirt, if you want to, you can come over here control are, you can sit a yellow line role in some extra geometry so that, that many till we get some little squares, as you can see. Then come over here, Control R, click, Move, and then Alt S and scale it out a bit. And just create a little bit of a detail down here. You can do the exact same thing here. Just be as creative as you want with your design. And just that simple. Let's now go over to and modifiers. And let's give an able to submit for that as well. Let's put to subduct under the mirror. That'll also helps now we have that. We can actually join the bottom of our pants, two legs. So let's all we'd have to apply it first. So let's just leave that for announces. Leave it as it is. But let's select our shoes and just go to Materials. Click New York should give it a shoe material. And let's just go into the view port and those kind of make that color like that. So there's something for now. Okay. So we worked in the legs a little bit more to looking a lot better. We worked in the arms and his shirt, but the shirt itself we can actually work on a little bit more. So let's go over TO modifiers. And I'm going to do something that it's, it's gonna look a bit crazy, but it will help. So let's go here to mirror modifier and let's just apply it for now. And then we're gonna give it a solidify modifier. Now to solidify is essentially going to give us some thickness. So I'm going to just bring it out into positives. And you can see here now we're getting some thickness here. And I'm going to tab into edit mode. And now we're going to go here to edge select. We're going to hold down Shift and Alt and just click on an edge and loops selected or edge select if you will. So you can see it's selected all of these edges. Got your front or for graphic view and any gonna hit V on your keyboard to v will cut. So we're going to bring that and then move it over to our right. And I'm gonna go, gee, why? And move it forward. And now that shirt looks like it's kind of tucking over. We can put a little buttons there later. Come over here, control are adding another loop here, double G, just slide it up a bit. And then go Alt S with just this one here selected. So just these two, alt S and scale it out alone with no holes. And now we've got a little bit of a fold that is happening over there. How cool is that? If you wanted to, you could just like these, these edges right here. And you can just go E and extrude and just a little further over, just for extra little detail, but you don't have to go that far. Just make sure that the shirt, It's kind of tuck diver. And now what we can do eventually is come in here and just Avenue the row of buttons, which would be very simple, but I'm just noticing right here at the side now that we might just have to select an edge in here and just enable proportional editing and go, gee, why? And just move it forward. We want to make sure that this looks like it's laying on their properly. So just like that. It's Vega. So I'm going to leave it at that for now. And let's have a look. So maybe we can sharpen a cholera as well. Maybe you just come into edit mode control are over the color, adding a loop here. And then once you added it in, just move it and just tighten that up so you can see what I'm doing here is really just isn't matter. Have coming in and out. And seeing what needs doing. So that's what we're looking a lot better. Let's quickly make those buttons that back in object mode. Let's just go shift a. Let's add in a circle, add circle settings. Let's make that eight. And this guy over here, let's just circle tab into edit mode. With all of this active hit F to fill in the face. Just disable proportional editing. And then we're just gonna go to Extrude S to scale, then g, z and we're going to move it up. They want to select the bottom face. So let's just got to Face Select, select the device down here, E to extrude down S to scale a little bit. And yeah, I'm just making a button that might extrude just one more time S to scale and Zhe Xie move it in a bit and then eat to extrude it down S to scale it a bit. And let's give that a subdivision surface modifier, tablet to object mode, right-click and go sheets move. Then we can get our x nine cr and hit enter Codio right to view and then G to move it, S to scale it. Move it in a bit, and then go to a front view. And this is just going to be up buttons. So you can just Shift D to duplicate a few like that. And it goes, It's a very stylized character. You don't have to add in too many just for so we'll do he can go into a side view if that helps. And I'm just rotating them and moving them again and let's give them their own materials. So I'm just gonna get a new let's call it button. And I'm just gonna go with kind of like a dark blue into view port. And now I'm just going to select these by holding Shift. And while I'm still holding shift, I'm gonna select the last button with the color Control L. And it's just link the materials. And now that it will have that same material. Okay, so the shirts coming along, we've got the pants, Let's give them some ears. So that is really simple. Let's go Shift Alt, add in another circle. And let's tab into edit mode here. Each extrude S to scale. Okay, so we've got fi select either one works. Let's go to vertex. So each extrude S to scale and F to fill in that face. A to select everything then eat to extrude up. Control are added in a loop over here, S to scale it out. And then come over here, Control R to add in a loop G, z moves that edge down. And then just select this top face and bring that down to about until object RX 900 hit Enter. And let's give this a subdivision surface modifier. Right-click to go Shade Smooth. And then in your front or graphic view, move it up to decide here S to scale. And let's give it the skin material. And let's give it a mirror modifier. Click on the little eyedropper, select a character as a reference. And now we've added some really simple ears. You can come in here, hit eight, deselect everything you can go Alt S, scale out along the normal to thicken that up. Or you can do the opposite Alt S and make it thinner. But the affinity go to it kind of doesn't work. So for this kind of style will keep them a little bit thicker. But what we can do now is unable to proportional editing. Select one of these top efforts AND, and, OR GI. And we've had active, you can kind of just pull it up and add a little bit. And then it makes it look a little bit more natural and not to round. So just like that, we've made a really, really simple, stylized ear. And over now sub-disciplines bump it up in the viewport a little bit. And every habits we've added some simple ears. So around before we go to the next part, we'll just quickly also add in a nose. So just select the head here. Good. If I select, select the, the, the place above the mouth here, each extrude S to scale. And then g, x move it in a bit. And then E to extrude out, and then S to scale, and then G to move it in a bit. So just a super simple little nose like that and have to have out. And that's what we need to do for the nose for now. So that is coming together quite nicely. So what we're gonna do in the next part is we're going to add in some arms, I mean, some hands for him. And we're going to probably add some hair, maybe some teeth, tongue, and a few little extra details. But that's going to be in modeling details part free. And hopefully that'll be the last one. If not the second last one. We have the modelling before we actually get into stuff like the rigging and all that. 5. Details Part 3: So we're now in part 3 of modelling details. And what we're going to be doing is starting with the hair. I think that's quite an easy thing to get out of the way. So we're just going to select the head mesh here and we're gonna just tab into edit mode. And a simple way to do this is to hit Z. Make sure you're in wireframe. And let's hit free to go into it right there for graphic view. So we want to make sure everything is de-selected. And then we're gonna go see if you hit C on your keyboard. Go to Select tool here and you can enroll your middle mouse button to control the amount. So let's go and select the topmost scalp. And we're going to work our way down kind of like a triangular shaped like this. So coming down to like kinda like a 45 angle, little bit down to there. So you see we've got all these active here. And what we're gonna do is we're going to go Shift D to duplicate, right-click to let go. And then we're gonna hit P. And we're going to separate selection, tab out into object mode and then select the new object right here. Let me write it down materials quickly just to help it stand out. And let's just get rid of these materials either to drop down. Let's get that hair material that we credit eyebrows. So we could extrude this up and just make something out of it. But we kind of have this jaggedness here. So let's get rid of that. Let's go to edge select option, and let's select this edge holding Shift, select this edge and then hit F to fill it in. And let's come down here, select this edge holding Shift, select this edge, hit F to fill it in and didn't do the same with this one here, f to fill it in. Now if this one here, we're going to leave it as it is, but we want to come over here and select this vertex, then go to our proportional editing G, z and move it up into z and we're rolling l fall off as we go up. So you want to kind of make it just got over the ear, like that. Now before we go further, I think 50 ear anyway, I just replaced elected and an object mode and we're just going to go S and we're going to scale it down a bit. I think just having it like that a bit smaller works better. So we're now going to select the hair again, go into edit mode. And yeah, doesn't have to be too perfectionist about it. What we're trying to do is just round out the hair so we can also just grab this vertex here. Bring down one down. Don't worry too much about how needed geometry looks. Really doesn't matter. Roof the hair. We're then going to come over here to this vertex here in the middle, we're going to go G, Z, bring it up while we're willing to forceful fall off and just bring that up. Like sex. We don't want it perfectly straight at the top. And let's actually just grab this bird here and let's flatten that. So long as you do you flatten it doesn't really matter how you get there. Just try to flatten that. It'll out it's back here and bringing it all out. The judge making kind of like this dime over the head. And once we have that, what we're gonna do is we're going to select our base select option. And the, Let's hit eight, just like everything. Turn off, fortunately editing. And let's go to Extrude and then right-click. Then we're gonna go Alt S. I'm going to scale it in under normal. So Alt S and scale in just a little bit just to give that hair some thickness. And then what we're gonna do is we're gonna hit seven to go to a tuple for graphic view. These select everything by going ALT a and then we're going to hit C. And we're just going to select the top of the head, anything that's visible from the top, except maybe these ones here. And let's see, make sure nothing is selected underneath as well. So just these faces like that. Oops, these ones. And we're gonna go to Extrude and then z, I'm going to extrude them up on dizzy. Too bad here they're going to go S, Z. And we're just going to flatten it like that. So it doesn't have to be perfectly flat, but going S and Z just helps you to get it more or less there. Now what we're gonna do is we're gonna come over here, control are, you can see this line up here. Few roll your mouse about two times. You can add in some extra loops and then just click. And then what we can do is if D is still active, we can go Alt S and just scale them out a little bit. And I know it doesn't look too good at the moment, but we can always shape it later with proportional editing. So I just select them, edges, move them about or we're just trying to create. It's a really stylized looking hair like this. If you have any sort of funny shading, just hit age selector thing, ALT N and just recalculate outside. Whereas the normals. And over here we've got some funny twist and going on, but yeah, it doesn't really matter. So we've got that edge. Maybe we've sent out a bit, but I will kind of have to avoid idea here was to hand we're going to work on it a little bit later to make it look like a little bit better. But that's generally how to simply make some stylized hair for our character. So on top of that, let's quickly add some teeth. So that's really simple. So Shift a to add in a cube and just scale that cube down like this. And then S x. Scale on the x a bit. And then we're going to get y and we're going to flip that on the y a little bit. And then I'm going to tab into edit mode, Control R to add a cut or a loop. Click. And then once you've added it in, go, gee, why and move it forward a bit. Then go Control B and make a bevel. And if you're getting any kind of funny shading or, or I should say funny formations like this is taboo out into object mode and just go Control a or Command a and apply the scale and then edit mode with that edge activity can go Control V or Command V and you shoot, it should be fine because the scale has been corrected. So we're going to now scale it like this. Rule, the middle mouse button a few times and now we have rounded out. Now let's give that a subdivision surface modifier. And the sky control are adding a loop here. Double G Control R, click. You can also move it instead of clicking double G. So just bring that up. But we're just typing those, seen, those edges up a bit. Tab back into object, Right-click, go Shade Smooth. And now you have a set of teeth, which you can just move up. Long dx, move it up here, and then G, Y, move it forward. And if it's too big or too small, just scale it. It's that simple, completely simple and easy to do. But we don't want to over-complicate anything. We're really, really keeping it very simple. So we have some teeth in there. Maybe I'll move them up just a bit more. And let's add a very simple tongue. So shift a, add in a cube. Scale it down to about the size of the tongue. S, z, flatten that, give it a subdivision surface modifier. And let's give it its own materials. So we're gonna go to materials, go new. Let's call it tone. And in the view port is just give it a viewport display color that looks like a tongue tab into edit mode Control R, click drag. And over here as well, click drag. And then we're going to go here, control are correct that, so it just selecting these top edges, g, z, moving them down a bit. Maybe select that edge and then g of y, move it forward. So very basic shape. And we're going to tap back into object mode, right-click, Shade Smooth, and then g, z. Leave it up into the mouth. You can scale it if you need to. You can move it more forward. Just something like that. A really, really basic tongue. Okay, let's quickly add in his hands though. We're gonna keep him very stylized. So we're going to go Shift a to add in a UV Sphere, come to you UV sphere ad settings here. So make sure to pop that up and let's make the top 14. Now let's make the bottom eight. We're now going to hit G and move it up to where the hand is, the end of the arm. And we're going to go S and we're going to scale it down. And I'm going to go our y 900. I'm going to hit Enter. So let's just make sure it's kinda talked up nicely inside of there. And then we're gonna go Control a and we're just going to apply to scale. Now I'm going to tab into edit mode, go to vertex select option and select this vertex on the end. Hit X and delete vertex. Shift Alt, click on edge. Loops likes to loop select. Then when you go Control F and when it go grid, bill. And let's just set the offset to one, the span to two. And we should have it nice and even like this. So you can mess around with this, but just make sure it's not at an angle like that. You just want it nice and straight and geometrical or symmetrical, I should say. And then what we're gonna do is we're gonna hit a, just select everything and go to a smooth tool. I'm just going to smooth it out a little bit. Now we've got some faces we can work with. So let's select these faces here. E to extrude S to scale X and delete those faces. Then select these faces that are on the opposite side, e to extrude S to scale, hit X and delete faces. And now we can select these four here. And we can eat you extrude S to scale a little bit and then hit X, delete faces. And the same with these ones here. E to S to scale X and delete faces. So now we're going to hit eight just like everything again. And we're going to use the smooth tool, which is going to smooth everything out a little bit. And then when it go to edge select, select the middle edge, proportional editing is on and we're gonna go S role the middle mouse button. We're going to scale those two closer together. Shift Alt, click on this edge and this edge S, Z and flatten them of it. And the same with these ones here. And you can scale them, flatten them. We're just trying to make them roughly the same size. That's what a fingers are going to come out. So once we have that in place, let's model I super easy finger. So let's go Shift Alt, click on an edge for this one here. Shift D to duplicate, move it forward on the X, E X to extrude on the X to that here. So about that long and let's hit F to fill it. Control D or Command B, and then create a bevel, rolled and middle mouse button down to make it less high poly. So just something like that. One edge loop and there should be fine. And I'm saying funny shading here. So I'm just going to hit a to select everything Alt, Enter, and I'm just gonna go recalculate the outside. Then we can come in here, Control R over this, and roll in just a few extra loops. So now we can select a finger. So I'm just selecting the whole thing because deselect any part of it, Go Control L. And that just selects the loose geometry. Shift the and move one over here, we're just finger whole list so you can rotate it if you need to. And all we're trying to do is just line these up. Referred fingers will be. And the way we connect them as we deselect, shift old to click on this edge and then Shift Alt this edge. I'm still holding it in. When I do those two, I'm going to go Control Eden and I'm gonna go bridge edge loops. And you can see it's bridged it. Same here, Shift Alt, click on this edge and this edge. Control a and then go preach edge loop. And it's breached it for us nicely. We're then going to just simply just Shift Alt, click on an edge over here. Control, gloss, finish, grow to selection tool you have finger selected and let's just duplicate it again. My maybe I'll just rotate this one just to straighten it. And we're gonna go Shift D, move on over here, R to rotate. Bring it in here. It's lined up. And now we're going to go Shift Alt, click on this edge, this edge, and then go Control E. And for each edge loop, and because they have the same amount of edges, they should bridge quite nicely. And then we're going to just do the same thing. Select this edge in a loop control plus that can grow to selection to have to hold finger active duty, a top view, shift the R to rotate it. Bring it over here and let this edge by hitting Shift Alt, click, click Edges active. And we're going to go Control E. Bridge edge loops. Now we're going to hit a to select everything. Smooth tool here still selected and we're just going to smooth things out. And now we have a style are slight. Pull the hand. Let's just quickly go into wire-frame, vertex select, select these verts and we still have proportional editing enabled. We're going to go G, the end, we're just going to move it up. Bhava control of fall off. And you're going to just make it something like that. Then we can select these inside verts, hit X and delete them. So we have this very stylized, cartoony hand that kind of goes with the style of our character. We're going to tap back into object mode, right-click, Shade Smooth. And let's get to materials and give it that skin material. And let's also mirror it. So we're gonna give it a modifier. Mirror modifier, click on the eyedropper and select the head as a reference. And now we have some super cool, easy little hands. That's all. So now let's get to modifying this shirt a little bit over here. So a few things we can do to greatly improve it is to select it tab into edit mode. And for now let's discard to solidify and just hide it for now by clicking on this little screen. And what we're gonna do is we're going to come in here, Control R, add in another loop over here, alt S. And we're going to scale that in a bit. And then what we're going to do is we're gonna select this vertex and this vertex. And then go, Gee, we're going to bring him down and we'll roll out proportional full off to just affect that just a little bit. Then we're gonna go, gee, why am moving forward? And then S, and we're just going to scale those apart like that. Then I'm going to come here to our buttons. We're just going to select these verts over here. And we're going to move him more in this way a little bit. And then we're going to have out quickly and just like these buttons and a smooth and more to the middle edges looks a little bit better like the shirt again, just tap back into edit mode. And let's make it look a little bit more natural by selecting avert on the edge, sag it down a little bit. And the same over here. Sac that one down and then just select the verte over here and just sag that down a bit and that just makes it look like it's actually a shirt. We can now just enable the solidify modifier again. And we can see that's already looking a lot nicer, a lot more stylized. And it just has a nice load to it. It doesn't look too flat at the bottom and doesn't have to be symmetrical. In fact, we don't want it to be symmetrical. In this case, as long as it just looks bright and it looks cool down, we're good to go. So let's tap back into object mode and let's see what else there is to do. The hair, we can just quickly select it. And if you're ready to do it, you can just apply the mirror modifier tab into edit mode and just select the top farts. Proportional editing. A seal enabled. We're going to go R and we're just going to rotate at top. And then, which are going to move it a little bit like that video, right view. And we're just going to rotate it like that. Just to create a little bit of a style that's not perfectly symmetrical and that's looking a lot better. So I really, really liked the feel of this and spend as much time as you want fiddling around with the hair. But really simplicity and, and quick little adjustments like I just made. That's all there really is to it. You don't have to overdue, um, every little element on this character, just keep it as simple as you want. I'm really not overdoing the hair order topology, just really kind of quick and dirty. So what we're gonna do now is just quickly select the head tab into edit mode. And I'm just gonna give them math and insight colors. I'm going to go to Face, Select, select a face and hit back and go Control Plus to grow selection tool. The whole inside of the mouth is selected. Go to your materials plus guiding you and then assign them. Let's call this material in the mouth. And let's just go down to the viewport display and give it a mouth kind of color, whatever you want. Remember these are just place holder materials will work on them a little bit later, but this is pretty much as far as I am aware, if there's anything I've missed, I'll mention that in upcoming parts, but this is pretty much the modelling done. So what we're gonna do in the next video, because it was just done for modeling videos. We did blocking out Part 1, 2, and 3 if detailing. We're going to now go to the next part where we're just going to prepare the mesh here, prepare a character for rigging. And then when we get into reading, that's going to be really fun because we're going to be adding to skeleton. It's going to make us, give us the ability to control this character. So if you've made it this far, congratulations, and like I said, even though I'm not doing every little detail and polish and it's toil. You guys can definitely use the techniques you're learning and refine it and neaten things up by all means. So I'll see you guys in the next part as we prepare our little character here for rigging. 6. Rig Preparation : Okay, So we're now into the part where we're going to be preparing our mesh or rigging. This practical reasons we're doing this and really just make sure that when we actually get into that part, we don't have the true Barbara cells because the geometry of our characters and ready and at the moment there are several different little pieces and it will have different subdivision levels. And it's just going to make things hard. So we're going to kind of try and turn it into one mesh as much as possible. And make sure that they, they share the same modifiers and that everything is okay. So let's start by selecting the body itself. That's the main thing. And we're going to tap into edit mode. And you can see at the moment, this is our subdivision level. I mean, if we were to actually remove the modifier subdivision, this is what we have, right? And we want to leave it that way. We don't really want it to be applied. So we're going to for now get rid of that modifier. And what we're gonna do is we're going to now select the tongue. And we're going to actually just come to the drop-down and just apply that to have a subdivision level of one. And holding shift, we're going to select the body and we're gonna go Control J, and we're going to join the top. Let's select the teeth and let's leave it at a viewport level of let's get rid of that. Actually, I don't think we need it, so just get rid of it altogether. Holding and shifts like this, the character select, the teeth burst holding shifts like the character Control J and join it. Now the teeth material is gone because we didn't have it over here. Just click on Plus, come to a jock down and give it that TIF material as well. In fact, I don't think we named it. I think it's just material. Let's just tab and select the teeth and then just give it that material. And let's while we're at it, just call a TIF. Yeah. So I just give it a TIF material. So we have that now. Tab back out and let's select the ears. And the ear selected. Let's go to the modifiers and let's get rid of to mirror. But let's come to add modifiers, go down to a level of one, come to the drop down, and let's apply it to ear. And while we have that Now, let's hold down shift and select the body and Control J or Command J to join that. And now what we're going to do, select the arm. And let's not apply any things. Get rid of the subject. Let's get rid of the mirror. And while we're holding and shift like the body Control J, and now that arm is joined to the body sampling of the hand. Let's get rid of the mirror holding Shift, select the body, Control J. And let's do the same. It depends down here, kid would have to subdue holding Shift while you have that active, select the body control J and join it. Now select the shoes, give it a subduct level of one, and then apply that. While you're holding Shift and you have to show active flood the body and go Control J and join that. And anything that is symmetrical, we pretty much want to join. We can do the same thing with the eyes. Get rid of the. In fact, let's just drop the subduct down here to one and then apply that holding Shift, select the body to control J. And now we've joined the eye. And the same thing of the brow, let's give it a subnet level of one. Apply that. Have an active holding Shift, select the body Control J. And now we've turned out. And let's think about it. So the hair we haven't joined because that is not symmetrical. The reason we're thinking about symmetry here, and I'm going to explain this is when we do our rigging, we really want to take advantage of the x mirror ability. What it means if we do white painting and adjustments on one side of outbreak. Because we're gonna be working with a proper extension. On one side. It'll automatically copy dice white, white settings over to the outside. And that's going to make us not to twice the work, but we kind of are limited with on geometrical or unsymmetrical objects like this, thinks that don't have symmetry. Like this shirt here isn't symmetrical if you were to divide it perfectly in the middle and neither is it the hair. So they're going to be left to why they are. So let's just leave them. But the buttons here. And what we're gonna do is we're going to select them, all of them. And we're going to go Control J and just join them altogether. You can see it all one object. And let's just get rid of the subduct here. And holding and shift. Actually we're not going to join them. You get to the shirt, we'll we'll get to that. Well, maybe we should. I think we probably should because we're going to have to at some point. So if the shirt here active, while we're going to do is we're going to just quickly tab into edit mode. And let's just hit Z going to Wireframe. Go to edge select and make sure everything's these selected. Go Shift Alt and then just click on it a loop and the inside here. Okay, maybe the one that's just a little bit higher than that, just a loop in here. And troll plus to grab the Selection about two times and then hit H to hide it. And what we wanna do is come in here, Control R and add in a loop over here. And then want to go Alt S. I'm going to scale that in just a little bit. To close the gap into neck here and then we can go all teach and just bring that color back. You don't have to do that. That's just something I've done. I just think it looks a little bit better. So now we're going to tab back out. And let's just go over here to solidify comes with a drop-down and then apply it. Now it's one. It's no longer a modifier. So that has to thickness permanently applied now. But we're going to leave the subs over here and we're gonna just leave it at a viewport level of one. But make sure to leave it out of your render level of two. So it'll look like this when it renders. And guess what we've done. And yeah, that's pretty good. So we now have the shirt, the hair, the body is all one object. But one quick thing that can do, It's a body is just quickly tab into edit mode. And let's go over to a face left and then a front view. We're going to click and we're just going to drag and just select half of the geometry here. Some of these things here are not mirrored and edit or not only on one side inside of edit marred. So you can see here they need to get B to need to be removed because we're relying on the mirror modifier to mirror them on dx. So we're going to have x and delete those faces. And you can see here it hasn't heard anything because we have the mirrored. What I could do that Let's just select this edge here and just move it in on the x. I just a bit of clipping because we have clipping enabled, but that's about it. So now you can see it's all mirrored and it can actually come here to the mirror and turn it off. And you can see we only see half of the body. Everything is pretty much symmetrical if this character was just really, really nice. And it's gonna make things easier for us later on. And on top of this, we can also add a subdivision modifier, which we can turn on and off when we need to. But for now when we get into the rigging and stuff, we don't really need a subjective because it's not going to, we don't need to see it in the viewport because it's just going to slow us down. So for now, we could always just untick that the predominant need to have it to active in the viewport. But the mirror, we do want to leave that on. So that has been preparing our rig or our character mesh for rigging. And also just quickly hit a to select everything, control a, and just apply to scale. That's also going to be really important there while we're gonna do now, in the next part is we're finally going to get into our rigging. But we make an armature for this character. And then the part after that we'll do white painting will attach the character to death rig. We have an armature modifier, and we'll do a little bit of white painting. And we'll just make it all kind of work. And then we can get into the part where I show you guys how to use the little rig and fun little things like that. So I'll look forward to seeing you guys in the upcoming parts. 7. Rigging : Okay, so we're finally able to get into rigging. I'm really excited about this part. I think bringing is like it's just one of those things where when I get to rigging, I'm really excited because now we're adding the thing that is like the skeleton that gives us the ability to animate a character eventually or to pose. It was just really fun because it just gives you the ability to kind of play and work with your design, which is really cool. So let's start by adding an armature. Now, I'm assuming because this is not a absolute beginners course. This is for intermediate blender users. So if you're not aware, you do need to make sure that your 3D cursor is center of your characters. We're going to hit Shift a or Shift S, sorry. And we're gonna go curse her to rural origin. So because we've started this character here by placing in a primitive object like a UV sphere. By default, Blender had the origin or to the free to cursor right here. Integral origin, which means there was perfectly in the middle, so it should still be there. So we're not going to just shift a and we're going to add in an armature. So just added an armature. And you can see here we have a single bone placed in the 3D space. So what we're gonna do is when I go to Settings, settings here, and actually the little man here, just click on that. And we're gonna go to our viewport display. And the display as we're going to make it be barn. Okay, so that's the display type. And because we were actually want to see that buttons and we don't want it to be hidden and diminish. And we don't always want to be working in wireframe mode. Just to make it simpler, we're going to go in front with the bone active under the viewport display settings here, because if we now move it inside of geometry, it's actually inside the mixture, but it's kinda being X-rayed. You can never not see it even though it's inside of there. Okay. So that's good. That's really handy. So that barn active, we're going to tab into edit mode with divine. Okay, so we're now inside of edit mode with this bone that we selected and is bound here is going to be our root button. So we're gonna go over here to the little bone tab. And up here, we're going to name it brute. Now be careful not to confuse the armature name up here. The armature name that is under the Object Data Properties. Foot bones is pretty much to the name of the system, to the overall thing itself, not the individual bones within the system. So if we want to name individual pines, make very sure to come down here on the bone properties, not the object data properties again. So cold that route. And what we're gonna do is we're going to grab this top navbar. We go G, z and just bring it down. We don't need to have it that high for it. I'm going to select the bone and we can go shift the z and we're gonna move the whole thing up till it hits here bird's pelvis or the hip, whatever you wanna call it would be. And that's just going to be here. So I might grab the top knob and just move it down a bit on the Z sub g is the make it a bit smaller and just bring it up. So that's how hip and make sure to disable proportional editing while we're in here. So that's the hips. Let's go over to a barns tab, make sure it's active. And let's call that hip. And let's now select the top knob here. And we've got E, z and extra, don't know z. And let's call this. Now. Let's take it about halfway. And let's click on that and let's name it. Spine 1. Select the top knob and then go to Extrude and NC and extrude it to about where the top of the neck would be. And then select this bone and let's call it spine to probably wondering why didn't you just cold this NYC Resistor where to the neck with BIM because I usually would if there was a defined neck, but because of the very stylized character, it doesn't really matter. We didn't need to create like a proper neck bone or whatever because it's just kind of like one big peanut shape. Okay. So we kind of get away with it. Just make sure that this knob here is kind of just resting underneath where the chin would be, kind of like that. Once you have to have that select that top knob and then go to Extrude and then C and just extrude it up and that's going to be a head bone. So select the bone and let's call that head. Let's go for it. So this one's called head. Click on this one, you can see its spine to this little one here, a spine 1. And then that's our hip. And that's a weird one. But that's super easy. And you can select these nubs at anytime and move them around. So just keep that in mind, okay, as long as we haven't added or actually white painted the character onto this this rig. We were still able to move things around and edit mode. Now to make things a little bit easier, I'm just gonna select these two buttons while I'm holding Shift. And I believe you go Control Alt S, you can scale it in and make it a bit skinnier. So that's just Control Alt S or Command Alt S if you're a Mac user and I just kind of makes it a little bit easier to see. So I'm just going to do that. But that's completely optional. It's not important to the functionality of the req. It's just the way I prefer to see it visually into the view port just to make things a bit easier. So let's talk about the arm hair. So let's select. This bone here to the upper spine bone. And we're going to go Shift D and F front of graphic view. And we're going to move this one here to where the arm is. So you can see we want the bottom of to bind to kinda be where the arm, the end of the RMS, we don't want it too high or too low and kind of just in the middle of the end of the arm there. The back and the front or Friday we're going to select the top nub. And I'm going to go G and move it to the middle of the arm. We want to make sure we have replace it. We have an edge there in wireframe so we can it has a place to bend and deform. So I might move mine right here perfectly in the middle of the arm. But I can see there isn't really any geometry there. So I'm going to tap out into object mode. I'm going to select the mesh tab into edit mode, Control R. And I'm just gonna add in a loop cut here, and there we have it. Now I'm going to tap back into object mode, click on the armature it, and tap back into edit mode. And now I can continue. So now what I'm going to select this knob, I'm going to get e x. I'm going to extrude on the x. And I'm going to extrude it to kind of just the back up the hand and we're to the wrist ends. Keep in mind this is very stylized. So anatomical accuracy is not that important here. So what we're gonna do now is select this bone. It down here under our bones tablets cold that arm. Upper, got capital L. Now the most important thing I can stress here is that the dot capital L is the most extent important extension. If you do dot under like small l, it won't work. If you do underscore L at one to work, you have to go dot capital L, make sure it's exactly like that. But you can name it whatever you want. So I'm just going to arm upper dot capital L. I'm going to select the bottom arm. And we're gonna go arm lower and dot capital L. And it's very important. And let's select this end. E2e extrude X to move it along to excellence is extruded out as little hand bone. And if this particular character, we're not going to make individual little controls, foot or fingers. Even though you technically could it, it's more just about being able to pose the character overall. So we're just gonna make one bone here that's going to control the whole hand again. But what we also need is a controller. We don't have to individually come in here when we animate and work with forward kinematics, where we have to individually select the barn and move down the chain like that, which just takes time. So to make things easier, we're going to add in a IK controller. So back in edit mode, I'm going to select this number, but here I'm going to go to Extrude and then z, I'm going to extrude it up in the z. Then I'm going to select this bone. I'm going to go Alt P. I'm going to go clear parent Alt P and disconnect bonds. It's completely disconnected. And while we have, That's one active under our bones tab, let's call it hand I, k dot capital L. And let's select this hands bound here, and let's just call it hand capital L. Okay? So handled capital L, hand I k dot capital L. And then we already named Ds here. So what we're gonna do also is to quickly select this upper arm bone holding Shift. And this is very important. Select the spline to bone. So this 1 first and this one, then go Control P and then go keep offset. That parent-child relationship is very important. Because if we were to animate this lighter and loops and CIF example, we rotate it, it'll move this barn. We want that arm to go along with it. So back into Edit, might we already have all of these things nicely named? But let's make the leg bones here as well. So this is going to be very similar to the arm. So we're gonna come over here down in front orthographic view, select the hipbone, Shift D to duplicate it and move it over here to the top, just sets sitting on top of the leg. Then select the top knob and the front orthographic view, or G, and then just move it down, select the whole thing, and then go Control Alt S and make it a bit skinnier. But the same thing here. We want to select the bottom knob and we want to make sure that it's kind of in the middle of a leg. And we want to make sure that there is a edge wherever the middle is, so it has somewhere to deform. So you can see in this case we have it. And with that knob still active, we're going to get e to extrude z and extrude it down to half foot. And we're just kinda wanted to be here where our ankle would be if a character had an ankle. So in my case, I'm going to put it just above the shoe there. Even though it's not exactly a 100 percent accurate. In this case, it'll work for what we're doing. But what we're gonna do is just select the middle NEP again. Got it, right, or for graphically, by hitting free. And we're gonna go g of y and just move it forward on a little bit. And that's going to be important for when we use the IK four to one to bend in this way instead of the other way. And that's something that's always important to keep in mind when you're working with these things. And it's the same thing as the arm. If you go to a top view by hitting seven, just select this middle knob and go, gee, why? And just move it back just a little bit. So it's just when we move this controller, it's just kinda want to naturally bend out this way, like that. Instead of bending in like this. Okay, So I'll quickly get rid of that notation. Like I said, now that we have that done, Let's keep working here at the foot. So we're gonna select the bottom knob here. And let's get a roster of graphic view. And we're just gonna go E to extrude. We're going extrude down a bone that's going to be a foot bone. Then select this knob over here again. E to extrude and y and extra death back. And that's going to be our control. Let's select this button, old p, and we're going to disconnect bone old p And we're gonna go clear parents, so it's disconnected completely. And while we have that active Codio been defined properties and let's just call that. But I k dot capital L. Then select a foot bone and this is cool. That foot dot capital l like the lower leg bone and Colet leg, lower capital l, like the top button. Let's call that leg upper dot capital L. And let's with that bone still active, it's a tough one. Holding Shift and select the hip control P and then go keep offset. So now that parent, this upper leg bone is a parent or a child of the hip, which is acting as the parent into a hierarchy. And what we can also do is have the hip here, select it. We can hold, Shift and select the root bone, Control P and then go keep offset so to hip should be parented to divert bind. So you can kind of see how the hierarchy works here. Okay, So now we have that all done. Just make sure everything is properly named, okay, It's all good. So what we can do now is we can go quickly in to pose mode and just give this some constraints. So let's quickly go over here and let's go into pose mode. Okay, so now that we're in pose mode, we're going to just select the hand-eye k gets started with holding Shift. I'm going to select the lower arm bone. Then we're going to go Control Shift C and want to go inverse kinematic. We're now going to collect, click on the lever arm burn. We're gonna go to this tab here, which is called Outbound constraints properties. And we're going to come here to chain length and bump it up to two. All that simply means is when we now grab our IK controller and we hit G to move it or whatever. It's only affecting 12 bones up to change that one too. So if I were to actually bring that number down to one and then select this controller, it only affects one bond. So it's very simple and easy to understand. So now we can grab this controller and we can easily control our hands, our arm, I should say. And you can select the hand bone here and also rotate that. Pretty cool, very simple, very beginner friendly but, but cool. If you want to reset anything, you move in pose mode, just hit a to select everything, and then go Alt S to undo any scale. Old are to do any, undo any rotation, and Alt G to undo any movement because G moves things. But all g undoes that. Then. Now we have that done. Let's do the same thing here with the leg constraints. So let's select the IK controller for the leg holding and shifts like the lower leg bone. Control Shift C, inverse kinematic. Select the lower leg bone and give that a chain length of two. And now test by selecting your foot IK. And you can hit G and you can move it and look at, at how cool that. And not a little trick. If you tap back into edit mode, you can actually select the foot bone holding and shift select the IK controller. And then you can go Control P and then keep offset. And we can do the exact same thing here If the hand select the hand bone holding in ships like the hand-eye K, Control P and then go keep offset. So now if we go back into pose mode and we select an IK controller, we can move it, but if we rotate it now affects that hand bone as well. The same here with the foot. So not only can we move the leg up and down, if we rotate it, the foot goes along with it. So I'm just hitting a to select everything. Hold Alt are all das. Okay, So that's pretty simple. So what we're gonna do now is we're gonna go back into edit my barns. And because everything has to adult capital L naming extension, we can now select everything that has to dot capital L naming extension. So the arms and the legs, we can go over to armature and then go symmetrized. And now it's symmetrized everything for us on that side. And we don't have to remake it on that other side. How cool is that? So while we can also quickly do is go back into pose mode. And this is very important. There are certain binds. We don't want to affect the geometry. When we do white paintings, That's going to be the root button. So let's select the root bind, bind properties and let's untick to form. And any IK bone. So this is an IK bone. We're going to untick that like this IK bone at the back, untick that and into two, arm IK and barn. So we're gonna select the one here on ticks to form and the same one with this. That's actually very important. So make sure you don't skip that. But the rest of them, they can all have deformed. That's exactly what we want. So next part, what we're gonna do is we're actually now going to add a armature modifier to this character. And we're going to white paint this rig to do character. And we'll be able to start actually controlling it, which is going to be really cool. So that's going to be in the next part. For white painting. 8. Weights: Okay, So welcome to the part where we do to white painting. This is really exciting. So we're actually adding the character to the armature. And we're going to get to the point now we could actually control it, which is really cool. So keep watching and we'll get right into it. So we're currently in object mode, as you can see here. So what we're gonna do is select the character itself right here. We already prepared it in a previous part. And then holding shift, we're gonna select the armature itself when it hit Control pay. But this time we're going to get more parent object options. So just some, we're gonna go down to one cold with automatic whites. So essentially blender is going to try its best to wait. The geometry. We have vertex groups to this armature. So if we select the mesh now and you go over to Object Data Properties, all of a sudden you've got all of these vertex groups here. So, so essentially each one of these bones here, blender has taken this geometry here. It's taken a bunch of verts. And instead of IDs, ones have a specific value and they should be controlled by this amount, by this specific B9. And it's kind of approximated things, but it kind of is emotionally into ballparks, that should be really good. So let's see how it works. So just to test that before we do white white corrections, let's just select the rig and let's just go into pose mode and let's test it. So I'm gonna select just the IK controller here and I'm gonna go G, and I'm going to move it. You can see we're now controlling DR. pretty cool. Now you can see there it's obviously yeah, it's messy and it's not controlling the shirt because we haven't white painted that yet. But you guys get the idea, right? It's blenders tried to do its best guess. And it's pretty cool. We've kind of already kind of gives us an idea of what's going on. It's not perfect. But you guys get the point, right. It's it's already kind of, you know, we can do something. So we just need to essentially refined awaits our cells. So you can see some of the things are floating around and not exactly what I need to be. But yeah, so hit a to select everything if you've toyed around with it like I just did. Bulgy hold Alt S just in case any transforms have been changed with these bones. Let's go back into object mode. And we're going to actually just for now select the hair and hit H to hide it. And the same with the shirt hair, just hide those objects by hitting page. Select the armature and then holding and shift select the body mesh. And then we're gonna go into weight paint mode. So what we're gonna do is we're going to hold in control. And when I click on this arm bone hair as a start, and we're going to hit C and we're gonna go into wireframe. So you can see anything that has a warmer color. This particular bone which is on lower.tail, is affecting that geometry. So over here it's actually not too bad. But what we wanna do is when it come over here to the draw and we want to make it general and we want to make sure to strength, is it about point 2 to point 3? And now we're going to come here and we're just going to paint a little bit more onto the hand. So that controls the hand just a little bit, but not too much. You can see the color here is getting a little bit warmer. And then we're gonna go control. I'm going to click on the hand bone. And now that's active and you can see anything that's a warmer color is going to be affected, right? We need to to affect the sleeve a little bit. So we're just going to slowly paint and paint somewhat averts over here. While we have that hand bone dot L. And now you can see for you rotate that by hitting our IT controls to sleep a little bit more, but we don't want it to happen too much. Okay. Just a little bit like that. So it's a little bit more organic, a little bit more natural. Now if we come over here and we hold it control and we click on the other side. You can see it has the exact same properties, so we don't have to go back and forth to both sides. Blenders automatically going to mirror it for us, which is pretty cool. So let's come over here and holding and control click on this point here. And you can see this one is quite bad. So that needs quite a bit of work. We only want that to implement the arm upper arm geometry. So if that bone active, we're going to go up here. And I'm gonna change it to subtract, decrease the strength to about 0.4. And I'm going to hit F to grow the brush. And when it come in here, we're just going to paint the body away. So you wanted to the body to be completely LW. We don't want any anything to be controlled over there or affected by the upper arm bone. Dot capital L. Okay, so just paint that away. Same with these ones here. Just decrease it. Okay, so now if we let the IK by holding Control and click on it, and you can see that everything turns pink because there is no group for the I k. Remember we unpicked deform. So that's not going to affect anything. But if we now select the IK, we move it. You can see the body isn't like controlling everywhere like that. That's much, much better. And it's exactly what we're looking for. Okay, so let's just go back and holding Control List, select the head. Now the head here you can see hasn't done a really good job at getting everything. So let's go back and make it add. And let's just paint everything we want that headband to controls. Remember that warmer to color is the more influence it has. So we're just going to paint, paint, paint, paint all the way down just below the mouth. Just to about here. We don't want to want to go any larger than that. And then come here to the back and just do the same thing. So very, very easy. I can't imagine anything that's easier than white painting. It's super-easy. So now if we hit R to rotate at headband, you can see the influences a lot more accurate. We're now going to hold down Control and just select this button here but just to chest bone. And let's just paint to chest. And let's just warm that up a little bit. And same with the back here. Remember to warmer to color is the more influenced that particular bone has on it. And I'm just gonna come here, paint around like that. And now we can test by going R to rotate that. And look at that red tea. Cool. Okay, So this one here, we didn't have to really worry too much about that, but holding and control, that's like the the hipbone. And over here we're going to paint that till it gets a little bit warmer on the color values there. Let's get to the back. We're just painting the whole bottom part, red here for the hipbone. And then what we're going to do, we don't want to got to learn to the leg. Let's just go back and get to subtract and just subtract that off the leg as much as possible. Okay. So we don't want that hipbone really affecting the legs too much. Then I'm going to hold in control Emptiness like the upper leg bone. And you can see we definitely don't want it to be affecting the bottom part of the body. So while we still have the subtract, let's start painting away. What are the upper leg bone? We're going to start painting away, getting rid of those warmer values here on the bottom part. Just so that the influence is lessened. It just like that. And let's quickly test that by holding Control and selecting the IK, then hit G. And now you can see that is a lot nitrogen with Blender did by default. Yeah, it's a pretty cool. And remember you can come in here anytime, even after you've done an animation and edit to whites, that's really forgiving a more flat. So let's just select the foot by holding Control and clicking on it. And we can go over here, go to Add. Now let's just paint that server. It's nice and warm in the values. We want that to put bond to have full control of the foot. And just a little bit at the bottom of this leaf, but not too much. So let's quickly test it by holding down Control and selecting the foot IK R to rotate. And you can see what's happening. Like I said, there we have a little bit of an issue. So what we're going to have to do is we're going to have to hold down control and select lower leg. And there's a problem is affecting the foot too much. So let's go make the brush subtract and let's just paint away that lower leg bone. We don't want it to be affecting that. Okay. So we really need this lower leg bone to be affecting the the leg part inside of here, which it's not. So that's going to be a bit tricky to paint. So what we could do is just go back into object mode for now, the electron geometry and then hit Tab to go into edit mode. Just select any bit on the foot and gun control L, and then just hit H to hide it. And now we can just tab back out, select a reg holding and shifts like the mesh. And let's go into white paint. Ok, so that's still hasn't worked. Okay, so now if we click on this little tab here, now you can see it's not there because we've hidden it in edit mode. So click on this little, just as a little button here. And now, okay, holding shifts. So holding Shift, and then just click on these bottom faces here for the leg. And then we can go to Paint, make it add, and then just paint it'll like that to give it a warmer value. Then now that lower leg bone is going to be having a full effect on that. So let's go click on this little button here again, we don't need to see it. Now we can holding Control, click on this IK R to rotate it. And you can see that's a lot better. Still at a 100 percent, but a lot better. So all that's all we pretty much do is it's just a matter of white painting and making small edits and corrections to your work. So they are holding and controlled is just like the barn. Very simple to do. Holding Control. Click on the top one. Yeah, that's looking good. You can blend it a little bit here at the knee. But overall blender has done a really good job. So I think that's pretty much it for now as far as correction goes, you guys kind of get the idea of it. But that's how we control the whites. And we can edit them and make things work a lot nicer. You can see here. That's pretty. Pretty nice. Okay, so one thing we will have to do to you select a chess burn here. So holding Control and just click on a chest been, let's get to the Subtract brush and just paint it away from the face. It's having a little bit too much of a effect on the face. Okay, cool. That should be enough for now. Let's go back into object mode. And let's go old H to unhide the rest of the items. Now let's select the hair and holding and shift. Let's select the rake and let's go Control P and then go whoop, automatic whites. And let's now go select the armature holding and shift select the hair. Now let's go into white paint holding Control and click on ahead. And let's make sure that has full influence on the hair. So we're just going to add brush and let's just paint the whole thing there. Make sure it has fully influence. And then holding and control clicked on, click on the top line one. And let's just make sure that it has just a little bit if influence here at the bottom. But that's about it. Okay, so now let's holding Control. Click on the head barn R to rotate and you can see it's affecting that hair beautifully. I got let's do the same thing. It's a shirt to go back into object mode holding. I'm selecting the shirt holding Shift and select the armature. And then go Control P and N with automatic whites. Select the rig holding and shift, select the shirt, go into white paint and then you can hold Control and click on the various buttons. So I'm going to select the hipbone. I'm gonna go to Ad, Set the strength really small and I'm just going to barely effect the top. Here's just giving it a little bit of influence. The bottom here. Just like that. I can then holding and controlling and select this law respond burnout. I'm just going to paint the oldest inherent well around here. Just make sure it has nice influence there. And then holding in control, I'm going to select the upper spine barn and I'm just going to paint around here like that to make sure it has all of the proper influence. Working my way around. That anything that's warmer is going to have more influence. And you can subtract anything, you don't want it to influence. That exact same thing we did with the body. But you guys kind of get the idea. Then holding and control, select the head. And let's just slightly paint the top of the color just to give that hipbone a little bit of influence are but a top but not too much. Let's test it by rotating to headband. And let's test this one. Get the upper spine bone and definitely paint the color a little bit more that one to give it more influence. And same with these ones here. So you guys kind of get it's really simple. You're just holding Control, select the bone and, and you used a different values to control the amount of influence you want. So I don't really have to go into too much details on that because that's one of those things that Yeah, It's just self-explanatory. It's very easy to, to do. It's just a little bit tedious sometimes, but the actual principle behind it is really simple. So you guys can see that's all it really is to it. So what we're gonna do now is just go back into object mode. And last thing we just like this, use these buttons. I'm holding in Shift. While we select, we select the buttons first holding and shift select the armature and control P. And we've automatic whites, and let's select the buttons. Actually, let's select the armature first and holding and shifts like the buttons. And the exact same thing, white painted. But at this point is pretty self-explanatory. So you guys kind of get the idea by now. Definitely not too hard. Just make sure to bones closest to it have to be a bit more influence. As you can see there. Maybe this one here, a little bit of influence. But yeah, just like that, Very simple. And let's test these. And I guess you can see here the arm, unfortunately, it's having a little bit of influence on the shirt. So if we just go back into object mode and we select the armature holding and shift, select the shirt, go back into white paint holding Control and select the upper arm bone. And let's just make that a subtract. And let's just paint the way this shirt here. We don't want to be having too much influence on the shirt. Let's just paint it away. And we're going to have to click on the other one here because it's probably want mirror properly. Because it's not symmetrical. So holding a control clicks into right arm and just paint a way to influence as well there we don't want it to have that sort of influence on the shirt because it should only be really affecting the upper arm bone. Maybe just a tiny little bit too. We don't want to get rid of it altogether, completely. Just a tiny bit. And now if we select the IK, okay, It's a bit better, but still not quite right? So let's just see holding controls like the lower arm bone. Okay, so still having more influenced and it should, Let's just select that lower arm bone again. And let's just completely paint that away. Let's see what happens. I guess is something else here is affecting that. Let's try holding and control. Select the lower arm bone. I guess it's lower arm bone is having influence on there. So let's select lawyer on button and let's just paint that all away. You don't want the lower arm bones to have any influence at all on the shirt here. So make sure it's completely paint that away. And now let's try it out. So select an IK and a can see that it is a lot better already. Okay, We still need to correct a hair a little bit, but you guys kind of get the idea much better. So let's just go back into object mode. Select the red holding and shift, select the hair. And let's go into white paint. And let's see what's affecting dot. So hit Z, got wireframe. Holding Control, click on the lower arm bone to click on the upper arm branch, that's your upper arm bone. It's creating that problem. So just like that. And then just subtract that from the heads. Now, select the IK G to move it and you can see the influence is no longer there. Let's try it on the other side. Okay. Same issue. So select the lower arm brown hair and just paint it away so it doesn't have an influence. Now if we select that IK, you can see that is a lot better. So that's pretty much all there is to it. You can do the exact same thing with the buttons, but I've pretty much demonstrated how to do white. I'm editing said spawn those things where you can't really do it. Like step for step with a tutorial is one of those things where it's going to be a little bit different view. So now that you guys know how to do white editing and go in with all the different parts, edit the whites and get it all working right, but overall, you should have a rig that works pretty well. So go ahead, refine things a little bit. And if anything's confusing, I am going to be including all of the blend file. So at anytime you guys can look at the blend files folder, different stages and you can see exactly how I set things up. So that's there as a resource for you guys. Just in case you get stuck. Keep in mind, this is or intermediate level course. So I'm not expecting to explain every little detail. So if there's something that you don't understand, I would suggest you maybe watch. I'm going to my more beginner friendly courses where I teach people on Blender from absolute beginners perspective. But for now, if your intermediate this shouldn't be too hard hopefully. So what we're gonna do in the next part is we're probably set up some lights, mess around with the renderer bit and maybe do like a nice render, give them a nice pose. So that's definitely going to be in the next part. 9. Materials: Okay, So welcome to Materials. And in the previous part, we did to white painting. And I know that was probably the most confusing part because it's I didn't go step-by-step and everything. And only the end of the day it is one of those things where it's going to be different depending on exactly how you have things set up. But the overall idea, I did explain that, So I think you guys should be fun if that, But at this point, we're going to go ahead and add some materials and lights. Now, I have gone after the tutorial and just tweak the round off to whites a little bit, made it a little bit nicer. So if you guys want, I like, like I said, this model is available. So anytime download it, check it out completely. There is a resource for you guys, so if you get stuck on anything, so what we're gonna do is we're going to add in a plane. So we're gonna go Shift a to quickly add in a plane and S to scale it up. But that big having to edit mode. And on this you select that back edge, E2 extrude and Z, bring it up, and then just select this edge and go Control B and create a bevel and roll the middle mouse button. Very, very simple tab back out, right-click and shade smooth and there you have a backdrop. I wanna select the light to get rid of it. But we are going to go Shift a and we're going to add in an area light. And we're going to just move that area lot that Bob by character. And let's cut our Render Settings and let's make the renderer cycles. If you have a GPU, I'd recommend you use it. And let's just quickly go to denoising. And if you have it there, enable it for rendering. And just make the optics. Yes, and now we have cycle setup. So we're now hit Z and we got rendered. You can see, we can see things, but there's a lot here that we have active, we do need to go to a light settings. Let's give that a strength of a 120, and let's make it two meters. Okay? And what we're gonna do is we're going to, they're shifting and duplicate it. We're going to bring one to the side. We have it in. They want to go to a top view, rotate it, just placing it there. And then while we have this new ones selected, I'm just going to make the strength to 20. And we're going to go S, z. I'm going to scale it up on the Z just a bit like that. But then I'm going to go Shift D to duplicate it, bring one to decide and rotate it in towards the subject. And you can see we have a nice lighting setups. Let's select that camera. Let's hit 0 to go into camera view. And if the camera active, you can double-tap R to rotate it. You can hit G to move it. And just place your camera somewhere that you like. In fact, I'm just gonna do it in the viewport. I'm just gonna move my camera here. Just rotate it, and let's just see what it looks like. Okay, so under the camera settings, Let's go have a focal length of 120. Let's make the dimensions here 900 at the top. So it's not a 100 by 1080 on the y. And if the camera active just GO ji middle mouse button and just zoom out, there's this isn't a camera tutorial because that's really basic and this is an intermediate level tutorials. So just place your camera about here. Let's select that rig haben. And let's just move this IK for the arm down. Rotate the hand and you can actually select the top bone and move it. Now, this is not conventionally how I would do it usually. Alright, It's not a conventional way for ageing. Usually we'd have some target bonds here and the arm. So we can actually control that bend and all that sort of stuff. But the goal here is to keep it really simple and we're just posing. So let's select this icon here and let's maybe, yeah, maybe grab this one here, rotate it. You can rotate that arm. Now this is make his hand out like that, whatever, just give it a dynamic pose. Let's select the spline here and R to rotate it and look up. And let's select these head bone and let's just maybe have them look over to the side. And then we're going to select this hip. We're going to just double-tap are maybe March hit him like that and maybe bend his legs just a bit to try and create a pose that makes it look like he's not just standing there. I'm just maybe he's looking at something or he's enjoying himself, whatever you want to do. So it just rotating the bounds. I think that's a nice looking parts, very simple. So I'm just going to tap back out into object mode. And we have the rig here to be organized. So I'm going to select it. I'm going to hit M, new collection and discard K. And I'm just going to hide that. So we don't see it a rig. We're now going to select our shirt here. And let's just put the subdivision under the armature. It'll be a nicer result and the same with the body. We want to make sure we put the subducts under the armature. I guess now we're going to hit Z. I'm going to go rendered controlled b and a camera view and just Drag over to camera, and that's just going to limit the rendering to the camera view. And now we can get to our world settings and just make the value here a little bit lighter. I guess now we have lots. We have a post. And let's get into materials. That's super fun. So go into shading here. And you're shading workspace. Make sure in a camera of a marred Z rendered. And let's start. So let's select the hair, the head, Okay? And we've got the hair material here active, so let's just come here. And I'm going to make mine. I'm gonna go with like an orange. And this is really where I'd encourage you guys to do your own thing. So just make a color palette that you like. It's unique to you. But I'm just gonna go with that, bring the roughness up a bit. And that's looking cool. I'm going to select the body. And let's start with the shirt, okay, and we're gonna select the shirt material. Let's make that a nice kind of bluish color. Bring the roughness up on that a little bit. Let's grab the pants. I'm going to make that kind of like Gino's have very simple stuff, guys. It's so easy, I hardly have to explain. Let's just select the mouth. That's an inside. Let's give that a just like a reddish color, lighter saturation. The tongue we can make that pink, bring the roughness down so it's a bit more glossy. The PIF we can leave as is the shoes. Shoes that we can make that may be gray, I think, like that. Okay, so let's go to the eyes. The eyes we can make them black, make them really reflect that by bringing his roughness down. And let's go to the top where the skin is. And let's just give him a skin. And a MAC, make that value a little bit darker, give them a bit of a tan. And let's just bring it up, roughness down just a little bit. And let's select the buttons and the button material. Let's just make them darker, kind of low saturation, blue. There's like that. And I think the pants here, they look a little bit too much like the skin, so I'm going to maybe make them a little bit darker. Oops. Where's the pants? I'm gonna make pants. Maybe it's just a little bit darker in value. Almost a little bit brown like that. And let's select the background and go New to create a material for that. And let's just go with a nice kind of pinkish red. I think it looks really good. And let's just play around with our lights a little bit. So I'm going to just duplicate this light one more time. Maybe bring it to the back here, rotate it in and that should give us a little bit of rim lighting, catching a character here. And that's just helps him pop out from the background. You can do the exact same thing on the other side. Like that, just right behind them. And that should just help him pop out from the background. You can see if I hide that light, see the difference it makes. Yeah, this makes it look a lot better. So play around with your colors and your scheme. I think the yellow actually boot some of the better. I might saturate the hair a little bit more. Yeah, playground to be color pellet. But for now, let's just quickly give this a test render. Make sure to save as you go to our Render Render Image. And let's see what that looks like. And there we have it. That is our render. So data has been a very quick character, very stylized. And I know there's a lot of refinements that could be made of this and I could go and spend a lot of time making this nicer now, and I usually would, but because this is just the tutorial thing here, should to teach you guys to workflow for making a simple stylized character like this. And I'm encouraging you guys to not only follow this full class, but to also make your own version of this. So you can see here this is the result. Am definitely spend more time with the white painting and all that sort of stuff. But yeah, that is that is it. So see what you guys can come up with and feel free to share it. So I'll just note a few things here with the character, with the rig, right? Like I mentioned, you could add in target bones to control that elbows a little bit better. And Denise, in fact, what I'll do is I'll add an example of that in the resources folder. So I'll make a version of that. It has those target bonds. Very simple setup. And then you've got some kind of see how it will look. So if anything has confused, you have discourse. By all means. Please look at the provided blend files. I have laid out everything very neatly and you guys can open it up and see how I did things. Okay, I'll probably even do a version of this where ever find that a little bit more with the lighting into materials and I'll put that in there as well for you guys to have a look at. But the overall thing here, x0 to teach intermediate blender users how to, how to do all of this. 10. Outro: Thank you guys so much for watching my course. Like I said, it has been intermediate. So if you're confused about a lot of the things I did, it didn't really make sense. Definitely check out some of my more beginner friendly courses. I'll put some of that in the scription stuff so you can check it out. And by all means, check out the blend files that I've provided. They're going to be a really big help to you. But more importantly, I'm challenging you guys to take it, this technique that you've learned here and turn it into your own style. Experiment with different formats and different themes. See what you can come up with and share it with people. Once again, a big thanks, and I'll see you guys next time.