Blender Beginner Character Basics: Stylized Characters with Realistic Hair | EduCraft Ideas | Skillshare

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Blender Beginner Character Basics: Stylized Characters with Realistic Hair

teacher avatar EduCraft Ideas, 3D Animation with your imagination!

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

11 Lessons (2h 17m)
    • 1. Introduction

      2:23
    • 2. Learning the interface

      13:48
    • 3. Using a reference

      2:57
    • 4. Modeling the body base

      10:27
    • 5. Modeling Summer's head and feet

      7:14
    • 6. Modeling Summer's hands

      18:55
    • 7. Modeling the final details

      16:29
    • 8. Modeling Summer's face

      12:10
    • 9. Modeling Summer's hair

      28:09
    • 10. Texturing Summer

      10:59
    • 11. Lighting and final render

      13:36
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About This Class

If you're here, you're probably a fan of Rick and Morty, or maybe you want to just learn character design, or maybe you just want to learn how to create realistic hair. Either way, you're in the right place. We’ve already done classes on modeling and animating Rick, and the Rick and Morty spaceship, but now it’s time to continue the Rick and Morty theme with Summer, Rick’s Granddaughter, and oh my, is this class special. You're going to learn how to take a simple 2D character like summer and make a 3D model from a 2D reference. Once you understand this technique, you can take any of your favorite 2D Characters and bring them to 3D life.

You'll also learn how to model realistic hair using the particle system which will bring a whole new dimension to your characters.

We'll also cover:

  • How to model from a reference
  • Modeling with symmetry
  • How to model hands
  • The dyntopo technique for sculpting
  • Hairstyling with blender sculpting tools

Requirements

  • No prior Blender experience
  • No prior art experience
  • No video game experience
  • A great imagination

What you'll get from the course

  • over 130mins of instructions
  • Blender User interface essentials
  • Blender Hair particles
  • Sculpting
  • Support and answering of any questions you have
  • Character design basics

Who is the course for?

This course is for anyone who wants to learn 3D modeling and has no prior knowledge.

Ready to get started?  Download Blender 3.0.0 here.  Extract the zip file and open the blender.exe file.  No installation is needed.

Meet Your Teacher

Teacher Profile Image

EduCraft Ideas

3D Animation with your imagination!

Teacher


Modeling and animation are all about your imagination.  Here at EduCraft Ideas, It's our pleasure to teach you how to bring everything in your imagination to life.

In the pic above you'll find Linda.  She's the next subject of our upcoming classes.  William, one of the EduCraft Ideas team learned to do character modeling in a very reasonable amount of time.  Coming soon, I'll show you where I started and you'll be amazed at how far I've come and how you can do the same even faster.

It doesn't stop there either.  We're going to cover many facets of modeling and animation and it'll always be on free software.

See full profile

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Transcripts

1. Introduction: If you're here, you're probably a fan of Rick and Morty. Or maybe you want to just learn character design. Or maybe you just want to learn how to create character hair. Either way, you're in the right place. We've already done classes on modeling and animating Rick and the Rick and Morty spaceship. And now it's time to continue that Rick and Morty theme with summer, Rex, granddaughter. And all my is this class special. If you're going to learn how to take a simple 2D character, life something and make a 3D model from that to dereference docile going to learn how to model realistic hair using the particle system. You'll learn some simple sculpting techniques, how to model hands close much more. Now, here's your teacher. Hello everyone and welcome to this blended tutorial. I am Nino and I'm working with William and edit craft ideas. To date, we're going to create a summer from Rick and Morty. And let me show you real quick what it looks like and you might know or if you'd help Rick and body if you don't know, Rick and Morty is a very brief explanation. So Rick and Morty is a Netflix show. I'm not sure if it isn't Netflix purely, but at least it shows on Netflix in most of the countries probably. But it is a show about Rick and Morty, which is basically Rick being the grant part of mourning. So we're going to create some are today. And that gives us a chance to get into the particle systems of the longer hair for, for, for a second. So we're also going to create more you someday. But today we're going to focus on simmer. And the reason why is because if we are giving to you as particle systems on Maury at dead, it will be very weird probably because he's just got this slip of brown stuff on his head. It's not really any shape. So there's no real way of telling what this areas is it curly? I don't know. It's a straight there could be. We don't know. So for similar we can tell what's happening. So it's a ponytail on the back of her head that's just going down like hair us. So a summary is a perfect character or to actually experiment a little bit with the hair particle systems, which I really like to use. And that will show you why. 2. Learning the interface: So before we get started with the class, Let's talk about how you actually get blenders. So the first thing you're going to want to do is go ahead to Blender.org. And once you get the blender.org, you're just going to simply click on download blender. Now after you click on download Blender, you'll see Donald been the 2.93. Now this class is special because we're actually moving on to 3.03 is stable enough and it's going to be the future. There's going to be some changes in the upcoming blender and you're going to be all caught up in up-to-date on those changes because we're going to show you how to use Blender 3 now. So you're going to get to this and then you're just going to scroll down and you're gonna click download Blender, experimental. And once again, don't worry, it's pretty stable. It's actually in beta right now, so it's right on top of his release. And you're going to click the blender 3 and download that to your computer. Now, once you download that and it'll be as a file so you can extract it. It'll be this folder here wherever you decide to put it. So that's blender 3 beta. I'm going to click on that, click on again to get inside of it. And then you're just going to click this blender executable and that will make it so you can go ahead and open up, wonder. So once you have it or open, it is going to look like this. This is the splash screen for the current blender. And if you just click anywhere, it will, it will show you the 3D view port. And like I said, the 3D view port is this area here where you can see everything that is 3D. Now on the right side you have the outliner. And outliner allows you to see a kind of folder tree of everything that's currently in the scene. Now, before we get started on the actual how to use the interface of Blender. Now you may not have a full three button mouse and you may not have a full keyboard with a numpad. And if you do not have those things, and you're going to go ahead to the edit here menu. And you're going to pick preferences. And under Preferences you're gonna go to Input. And you can see here input emulate three button mouse. Now that just means that the Anasazi here, the main one to 0 keys act as numpad ones. So when we are wanting to see front view, side view, top view, typically we use the numpad. Now if you don't have, if you have a laptop or you have a small keyboard and don't have a numpad. Now you can use those numbers in the tab. Now let's suppose that you don't have a three button mouse. Now, if you're using Blender, I strongly encourage you to get a three button mouse. But if you don't have a three button mouse, you're going to click this. And then if you hold the Alt and left mouse button, that will emulate that three button mouse. So I'm not going to click that because I do have a three button mouse I can, I encourage you to have, I'm going to go ahead and close that. So now you should be all set for using blunder. So the first thing I'm going to show you how to do is just navigate around this 3D environment. If I want to rotate the environment around, I'm going to hold the middle mouse button that we're going to push it down, but I'm not going to roll it. And you can see when I'm pressing here, I have the screencast keys on and I can rotate the scene. Now if I want to shift the scenes or mountain, I'm going to hold down the Shift button and the middle mouse button and move my mouse around. And that allows me to shift or pan without rotating. Now if I want to zoom in and out, That's really simple. I'm going to just roll this middle mouse button. Now, if you want to zoom in on something particular, you hit numpad, period. Alright, and that will zoom in on whatever it is that you have interesting because, you know, if you're, if I'm over here and I want to work on let's say the camera over here I don't have is not the center of my scene. Right. So if I hit that numpad period, that allows me to put it at the center of my thing. So that that's the basics of moving around the scene. I have rotated around it, which is pushing the middle mouse button. And I have shifting around it which is hitting the shift and middle mouse button and then zoom in and out, which is the middle mouse wheel. And then last of all, we have just selecting it in the period. Now, what you have just learned inadvertently was how to select an object. Now to select an obsolete, All you have to do is left-click and when it turns orange, you know that it is selected. Also, if you look here on the outliner, you can see that it's selected as well. So I can select it in the outliner or I can select it in the 3D report. And if I hold down shift, you can see that I can select multiple objects. And the last thing you select is a slightly lighter shade of orange. That's really not that important for you right now, but it will be as you get farther in your blender career. So the next thing we're going to talk about is how to interact with the objects and how to change the objects. So right now, everything is selected to deselect everything. I'm going to hold down Alt and hit a. So everything is now disliked if I wanted to select everything and just simply a for Select All. So I'm going to hit a, to unselect that I can also, if I want to undo something I think Control Z and that will do it. And that's very similar to any program you use. So let's say I select this cube here by left clicking on it and I want to move it around. All I have to do is hit G for grab. And now I can move this cube around. But because we're working in 3D space, It's really not that helpful to move it freely like this because I don't really know what it is. I'm gonna hit Control Z to undo that. Now let's say that I want to move it around. So I'm gonna hit G and this, I'm going to add x. Now x allows me to move it only in the x-direction. I can hit Y and then only in the y or z or z. And that just allows you to restrict the movement in a way that makes it more predictable. Now the next thing I'm gonna do, I'm gonna hit G and I'm gonna hit Shift Z. Shift the allows me to move it in applying. So I'm holding the Z constant and moving it on the x and y. So let's do that a little bit different. I'm going to hit one on the numpad or you can hit one and the numbers above if you use it, emulate numpad. And that gives me front view G for ground and hit Z so I can move it up and I'm going to move it up just so that it's sitting on this axis. So now if I use that middle mouse button, move it around, you can see us on the axis. But now I'm going to hit G and Shift Z. And you can see that it's moving on this plane. So anywhere I put it, as long as I have Xizhi is going to stay on the same plane that it started on. So I'm going to hit Control Z to undo that, put it in the center. And now you know that G is for Grab. The next thing is to rotate the object. So if I hit R for rotate, you can see that we can rotate it. But once again, it's not that useful. So just rotated in free space, but hit R and then I acts, it rotates only on the x, y only on the y, and then z only on the z. So that's really simple. R-square rotate. G is for grab and then for Zoom. Guess what letter it is? No, it is not V. It's actually S. So it's Zoom. If you say zoom, zoom. Anyway. If you hit S for scale, actually is not retire tomorrow zooming with our scaling, so it's estrus scale. And this allows you to change the scale of the object. Now just like all the others, you could hit S for scale. And then you can hit X or Y, or you can hit Z to hold it in those axis. And similarly you can hit S for scale Xizhi and it'll only scale in the x, y, and z. And you can use, it's not just the z. We have the hit Shift, X, Shift Y. Whatever you wanna do that excludes the axis that you don't want to scale it along. So that was G For Grab, S for scale, and R for rotate. And you can grab those axes separately and do the scaling and rotating on the individual axes. So that covers how to move objects around. But we actually didn't really make any changes to the internal structure or the actual structure of the object. Now we're in object mode, which it says up here. One of the other modes that you use in Blender quite a lot is edit mode. If I want to look at one to edit mode, select the object that I care about that I want to go into edit mode with, and I hit tab. Now this was me an edit mode. And now I can see these points and lines, points and lines here. Now the points are called vertices. The lines are called and you can see them appear depending on what mode where n edges and then you have faces. Now blender is a mesh modelling software which means that objects are typically made of sets of points, lines, and faces, and they generally don't have internal volume. So you can see that with this cube here, I have these phases and if I select all four corners of a square, I get a face. And if I select just the vertices, I have only a point. Now, which you already know actually is how you can change the shape of the actual object. I can hit G for grab and move it just the same way. And I can hit X and then move that only in the x or y. And then if I tap out of that, now this is what my object looks like. I'm just going to Control Z out of that. Get back to our perfect cube and I can do the same thing. I'm going to tab, I can hit R for rotate Z, so we just rotate about z. And now we have a new structure tab out of that just so you can see what that looks like. So that was R for rotate. I can also do S for scale and scale it up. That allows me to do all of these same things that we did before. Rotate, scale, and grab or shift the actual thing around. Now, let's say that you want to do more than just moved the end individual objects you can do. And we're going to teach you what I think is most useful for union and now is you can do an extrusion. Now an extrusion involves that you select a face. Right now we're in vertex select mode. So to get a face, we have to select all of the vertices that are on the face that we care about. Now if I go to this top menu here and select Face mode, now I can select a face, a face by itself. If I want to do an extrusion, face select mode, I select that face, I hit E for Extrude and I can pull a new base. That base yep. Pays out of the page. I'm going to say that. And as with any base, you can do that. I can hit E for Extrude. And I can pull these phases out and create completely new shapes and structures based these faces. So that already allows you to create a lot of different shapes just from the shape of a cube. The second thing you can do is let's say that I want to select this face and I want to create a face that's kind of inside of this face. So I hit I for insert face and that allows me to put a face on the inside of the face. Now if I hit E for extrude, you can see that I can pull a face. I love that one. I continue, I think continue to do this extrusion trick that we've been doing. Now let's say that I want to create a hole in something that's the same shape as the outer shape. I can hit I for insert face, then I hit E for Extrude, and then I can pull down. And now I have kind of an inset inset Hall and wherever I'm looking for it. And I can do that in any structure that I want. So you can imagine just with these inset face and then extrude and then being able to move the vertices around, you can create a lot of complex structures. So what I encourage you to do right now is make a chair, make a table, make anything that forces you to use what I just taught you that way when you move on to the more complex parts of this course, it'll be easy peasy, and you will know how to navigate the environment and to do minor changes to meshes. Meshes, Mesh, mesh. I who knows? All right, anyway, good luck and I can't wait to see you. And then next one. 3. Using a reference: Okay, first things first, let's go to Blender and we need a reference image for summer. So we're going to use this one, which is the second image if you search for this phrase. So safe image S summers. With that, we go, go to Blender, and here we are. Create a new file real quick. Just to start in the same way is used. So I'm using Blender 3. By the way, you can just download this one, the lender website, I recommend using blended 3 right now because cycles excess already included in the Alpha version and it's very stable. But this, I haven't encountered any problems with it so far. So let me just turn on my screen GAS keys. There we go. We're just going to delete this default cube first because that's just what we do in Blender, or we delete the default cube and then we add another cube. So delete this cube, shift a mesh. I had an UQ, is this is new to you. Welcome to Blender. And welcome to the blender means it's just basically a thing where everyone always delete the default cube. And at some point somebody, you actually made a video about the blender cube graveyard, I think. Let me check it. Yeah, there we go. Way to delete the default cube, 16 seconds of video. Alright, alright, alright, alright, You get the idea. So this is basically the default cube that every born in Blender is always talking about. So we already creates a new one. So don't worry. So we are going to work with this cube to create summers base. So first things first, breast and the three go into decide for you. Press Shift a and add on image. Whereas the image, but there it is, image reverence. And we're going to look for some or smith. There she is, load reference image and it is actually transparent, which is amazing. So a lot of the times when you search for a transparent image, and I'm just going to explain this is if you get this image with a background that is supposed to look like it is a PNG and transparent. And then you download it and it's just got this background. So you're basically just back because that's one of the hardest services to remove as well in Photoshop. So yeah, fair play. All right. Anyway, let's not get carried away. Move somewhere away from the center. X and move are in the x-axis. Bye-bye. And let's select our cube. And we are going to toggle x-ray. There we go. So now we have a presenter, but three begins see somewhere, reportedly staring to us behind our cube. So perfect. 4. Modeling the body base: And I will show you how that works. So Slater cube, first step, press one, and now we are in vertex select mode. So first things first. First things first, yes, yes, we're going to keep articulating. Let's select this symmetrized button. So you see this little butterfly icon right here, or am I just saw a butterfly in there? It will be a course as well, but it's basically this symmetrized button and wants some symmetry in the y-axis. So select Y. And now when you move this vertex, for example, it's also going to move the left one in the same way because we now have symmetry. And that's going to be perfect because now we don't need to add modifier for symmetry or whatever, or we can just do it in edit mode. All right, so let's move this vertex to the shoulders somewhere like this. One thing I have to mention this, I use the select box, which I never use the select circle, and the Leso eyes used sometimes. But slip box is so easy you can just draw a cube or a square, whatever you wanna call it, around, vertex or a vertex group and it's going to be selected. I just, I don't know, it works fast. That's what I use. So let's create the shape of summer. We've got shoulders right here. We want these two verticals to be located around the where the hips are, which is somewhere like this. We'd need another vertex group in the middle because the waste of a female's I was a little bit thinner or in in cartoons or stuff where if he most portrayed as a female or basic female, then the waste is generally a little bit smaller than the hips and the shoulders. So that's what, that's also how somebody looks at a salt that you represent. So Control R and swipe this to around the center of the waste and let's press S and scale it down. So d like this is going to be fine. So next up we need our neck. And the neck is basically just what is the neck is just actually in between the head and torso, I guess. So as you as you can probably see, anatomy is not my strongest point, but that's okay because we have a reference image, so don't worry. So we're going to select the shoulder and I'm actually going to move this a little bit to the bottom of the shoulder. So where your armpit b. And the reason I do this is because I want to extrude this one more time. So we've got a surface from where we can exclude the arm wrong to do this, you can see the side view is looking terrible, but don't worry, we are going to do one thing at a time. So we're going to press three and select this top face president, but three again and press E and just extrude that up to where the shoulder would end and then go to kill this up a little bit at moved it to the side a little bit. I'm actually MI something like this is going to be fine. So that's where the shoulder will be start. So I'm going to extrude this right there and then extruded for the arm. So I've just the S we go I'm trying to figure out a time going to do this. Then we should want to do forever project, right? I just figure it out on the go and I want to show you how I do it as well. So you can maybe follow the same process if you'd like. But I I've worked for this for a long time though. And I just figure it out as I go. And that learns me a lot about Blender as well and about ever ours I can make and how to fix those arrows. All right, So it's a very learning process of modeling. So it's going to keep getting phos or at Fosse are and that's what I'd like. So we're going to extrude this for the neck. But first, it has to be a little smaller, so pristine, and place it somewhere like that and press S and scale it down and crispy once again, I'd like that and press S and scale at that. So this is anemic and we're going to proceed and move that down a little bit like so. So that's looking pair enough. So before we move on, I'm just going to press E S, I press X and just scale that down so it's S port the shape of a body and less the shape of a cube. Or was it more like a car or something? So let's press the number 3 again, and let's worry about this site for you. So obviously you've got those hips now and you can see that the legs are, well, at least for similar how they portray or those legs will split a little bit to the bottom. So they are not being split right here at the hips, but they are being splits a bit to the bottom. So generally what lakes look like, or at least how, for example, an enemy images look like. And I'm going to show you this. So let's see, let's see, let's see this one. So we can see that there is this V-shape. And from there, the links are. Going down. So it's a very, let's say heart, heart of h that is generally for scores. Well, so what we can do is just extrude this whole phase down to person number 3 with that phage selected, press E. And we're just going to press S and Y and skill that to the inside, something like that. So what we do with this vertex selected, and let's select both then if we come to prison than the big three, E int just extruded down like this. And let's press S and scale that to insight right there. Alright, so now we are going to change the global orientation to local. And we're going to set the transform pivot point to individual origins. Because now when we want to rotate, for example, this stuff, we want them to rotate it individually and not around the same point because that's when we're going to get rotation issues. So I'm just going to rotate this like so. Scale it down a little bit, rotated a little bit more. So those are going to be the lines spread and needs are. So it's like this kilowatt-hour, maybe a little bit. And let's press B and move that down, scale it down, move it a little bit more to the inside. So he bent is a bit more natural. So this is where defeat start about there. So make it little bit smaller. There we go. Older bent. It's not looking natural at all by the way. And I'll do nice bed. Okay. Let's move them outside a little bit more straight. Like this. That's looking fine. And now we're going to worry about those arms. So what we're going to do is roots, those arms. I'm going to select both faces. And you might think why are introducing a mirror modifier. And the reason why is because I don't want an additional edge loop in this center because I first want to see how it looks like when we add a subdivision surface modifier later. So we're going to extrude those arms like this. Well, actually that's too far. So control Z at full-time, select both services and E like this. And I want this to be the shoulder. So I want there to be a shoulder piece salty like this. Right. So just so we have a little bit of an armpit and some kind of shoulder, like so. And now we're going to extrude this once again. So we're going to make an oppose instead of a T posts, which is fine. We can also make a tea post, but I think in a bush works fine as well. I've wrecked both posters before and I've use Mixamo for both posts as well and it works fine. So we're going to extrude this arm to press E. Like so. It's, s, skill is done. I'm going to press E Once again, like so. Scale this down. And now we'll have to guess or estimate what's the length of the arm is. So I'm just going to imagine if this would be a circle, it will hit right there. And so in general, when you stand up, so stand up and move your arms down so they are right next to your legs, that you will notice that your finger digital touch anywhere between your hips, enter nice. Probably a way about halfway down. So they are in the middle of your legs or at least somewhere around there depending on. So there's always want to try to imagine. So this is fortunate with two lone pairs. I'm going to move them a little bit to the insights. So just press G and because you have to mirror modifier and you can also just select one side and move them. So I'm just going to move them a little bit more to the inside. So double-click, by the way, if you want to select the whole edge loop, Let's double-click on the edge. Move that lipid to the insight, something like this, and make sure that there is a slight bend in there. And that'll make your rigging life way easier. And let us simply because when you reach something and it is completely straight, so 180 degrees, then blender won't really know what sided S2 bent too. If you know what I mean. So if this was completely straight, blender, wouldn't know if has to bend this way or this way, this way, or this way, this way, this way. So I always try to get a little bit of a bend because I want this arm is going to be, let's say your palm is going to be to the crowds, right? So your hand palm is facing the ground, then obviously your arm cannot really, it's this way. Right? So imagine that. Okay, So for next thing, we are going to bury a pollute. Let's see. Are we going to do the headfirst or the heads first? 5. Modeling Summer's head and feet: This will be headfirst. We had this an easy shape. So let's, let's get the easy stuff out of the way before we go to the hands. So I'm going to select this face right here, the neck. And they're going to present it. But three, and I'm just going to press E and extrude it up. Scale it up to about. There. Must be skilled up or sorry, move that up, scale it up. And this is way too wide by the ways of scale that down again and double-click on this face right here. So double-click on the site to select the whole edge loop. And actually instead of the face, we're going to press two and double-click on the edge. We want to scale this edge down a bit. So press S, scale that down. Now double-click on the top edge. And that doesn't work because when something is the end of an object, it does not see it as an edge loop for some reason. So if I will extrude this and then double-click on this edge loop, then it is an edge loop that when I don't exclude this and the double-clicked Glenn needs not an edge loop, so fun. It's just something we have to deal with. So select the whole HB holding Shift and just select those edges mainly present in but three. E, scale that up. So, but there are speed, sorry, scale it down like so. One more time, e, scale it down. And then we've got some kind of a face. Looking fine. Press Control S once in a blue moon to save your file, we're going to call this. What's her name again? Summer? Yes. Similar from Rick and Morty. There we go. So that's a file saved. Next stop, beat. So let's bring three, good Face Select, select those and call phases personally, but three. So we have to select both of them because extrusion doesn't work in in the cemetery mode, in edit mode, suppress, be, moved it down, scale that up a little bit, like, so. Maybe rotate them a little bit to look inwards as well. Sort of like this. And extrude them once again, moving down. And let's extrude them to the inside, little bit like so. That is looking fine. And we're going to select those front parts like this emergence going to extrude them. So press B, and this will lock this one to the x axis by the way. So press X and move them away and scale them down little bit and move them a little bit too. Bottom as well. So plus g is at and make them flat and with the back part, like so. So now when we go out of edit mode and we disable remote, now we've got a basic human shape that matches, well it doesn't match. Some are completed with still images square, but origin that it's lipophilic. So this is a very basic human shape. And actually let's go ahead and worry about those hands for now. Yes, hence. So select your objects, which is going to be summer, and select those end phases. So we want to create hands right now. And, and actually let's see. Let's go to object mode first and let's add a subdivision modifier. So go to the Modify tab, which is this gear icon or gear. What is it the tool will you use to do things at modifier, subdivision surface? And there we go. It's now very thin because it's trying to basically divide everything. So let's take a look and see how it looks if we add an edge loop right in the middle there. So over, over the middle edge after you preschool through our left-click and press Escape. So that's already a little bit better. So at least this shows us that we can use a mirror modifier next, graze dot, create those hands, and that's perfect. Okay, So now we're not going to worry about this yet. We are going to worry about those hips because I think they should be as width, as wide as those edges right here. So we're going to do is double-click on this edge right here. And we have to manually select a loop. Some reason. So select that whole loop and press Shift E and just swipe it up a little bit like this. So it gets a little bit closer to where you want your hips to be. But don't make it too much because there's going to be sharp again if you know what I mean. So make it just so that it is still smooth but more to the side like this. And if you want them to be even more to decide because anymore edge loop through our hover over this edge, left-click and just move that down. And now you can just scale them up. If you want more. Hip-width. Scale them up if you want, select that. So that's looking fine. We will get rid of this hard edge by just right-clicking and shading smooth. There it is. Bye, bye. So there's still a little bit of a sharp edge right there. So what we can do is double-click on this whole edge loop. Once again. It's a lot of repetition with that is just how it works. And we can just press Shift E and move it a little bit more like show. So that's fine. So next I'll be going to worry about those hands. So let's select our object and press Tab to go into edit mode. And I am going to work from this point forward. So let's press three. That's because this edge and actually this Bard, we might have to work in normal orientation mode because we don't have the arms straight, which we can just easily make for a second. Let's do that. So you can see I'm thinking about the process on the go. So first things first we want it more. So we're going to enable X-Ray mode right there. And we're going to draw a box to the middle, to the middle edge loop that we added a while ago. So right there. Press Delete. Vertex is actually controls that, that press delete faces. And now we've got half of summer left or almost half because this one has to go. So if the lead phases, if you have any leftover basis, did not pick up yet, just delete them manually. But there you go. Add a modifier, mirror and make this from x to y. And there we go. So now when we do things, there things will happen. There was a great explanation or a mirror modifier. 6. Modeling Summer's hands: So actually what we want to do is move this up. I'm just going to press G and Z and don't worry about this yet. I just want this to be straight, something like this and then I'm going to rotate it as well like that. So what this allows me to do is just work in a global orientation for now. So if I set this to global, and you can see that the phase is basically the y-axis while the bottom side is flat. So that is the zed x is flat and that's just going to be way easier. So when an outburst number 7, I know that when extrude this is going to be matching the view, right? So let's go and make the head. And to make this hand, I'm going to add a reference image of a head, which is also why I use, I'll be looking at all of those heads at the start, right? So let's press Tab Shift, a image reference. I already downloaded an image by human hands from Beck. I think it was the first one that we saw. So it's this one. It's not a female hand, but it's fine. We can make it female. So I think when we look for hand, just a hand. Yeah, I just basically used first image. Perfect. So just use that image as well. If you want, if you want something else, you can use that as well. I'm just going to scale this down all the way, all the way. And you see that we might have to mirror this image because it doesn't match. It doesn't match the, the orientation of a character because the thumb has to be on that side. So let's see if we can make that happen. Selected image, press F3 and search for mirror. And then we want x global. There we go. Move it right there. And let's see. All right, so it has to be limited more to the top side. So plus g, is it just sorted? We can see the size of the hand. Maybe a little bit bigger like this. That's fine. So let's work on this hand. There we go, Gy, there. So now when we go to Edit Mode, we still have this facial elected. And so now we can actually press S and Z, make this a little bit thinner. So it is going to be the rest are going to go through our red there and move that little bit more towards the wrist and scale this one up to n and z directions as it, right? So, just so that our risks a little bit thinner. Alright, personally, but seven. Okay, to start off with the hand, we're actually not going to work in the same object because we want to add some salt deficiencies that are not going to be present in the arm and the rest of the body, for example, if you're actually right there, it's going to go all over the body and this is what we want. So what we're actually going to do is select this phase duplicated. So per shift the escape, we separate the selection and select the Michigan and move it a little bit our weight from the body. So now we've got a separate objective matches the shape of the hand or at least of the wrist. So especially in Part 7. And get back into the field where we can see your hand. Let's first step to go to Edit mode. Let's press a to select everything so the, all the phases. And let's just extrude that up like this. From the start, you can see that those edges are not, let's say they're not in the same, the same line in the z-direction rates. So this one's a little bit more to the outside. So this phases in that angle and we want this to be in a single line so we can actually to work with one line in the top view if you don't know me. So we're going to do is select those two lines right here. So top and bottom by S, xx 0. Let's see. X is 0. And that's important because we have selected individual origins right here. So let's set it to medium point S, x is 0 once again and do the same thing for the other side. So select the one which shifts like the bottom one as x 0. So now you went and you go, don't feel you can see that we've got some nice straight lines. So let's move this whole thing a little bit more to the startup, to a G. Let's scale this down a little bit. A G, move it. And let's press one to go into verdict select and let's select those left vertex is moved them out a little bit. Selectors, right? What's moved about a little bit. So two, where the, the hands starts to go outwards a little bit. Let's select this whole edge face loop. Let's extrude it up. Let's move that. They're rotated, scale it. So make sure that that just matches the shape of the hand. So I want this line to be where the fingers starts or at least close to where the fingers stars. All right, so we need another edge loop or right here. So preschool through are at hover over this edge and swipe it up a little bit about where the thumb. So we have to start if you accidentally click away, just select this edge loop. So you can move the edge loop. Something like this. I'm going to select the right ones and move them out a little bit. And select this one and move this out a little bit as well. And go to preschool through our hover over this top edge. And I want to add about race edge loops right here. So left-click and apply. I moved it a little bit to the side so they match where the fingers split. So I'm going to move them all up a little bit. So I'm going to select this one on the right and move them up a little bit. And this one down a little bit just to make it a little bit more perpendicular to where the fingers coming out of. So this one has to go somewhere like this. This one is actually all right. I'm going to move this one down a little bit. And this one didn't go down a bit as well. All right, so next up we want to create a little base for each finger and the thumb as well. So what are we going to do is select each of these phases individually because he will select all of them together and then extruded. It's going to extrude this 11 mesh. And that's what we want. So we're going to do it for each phase separately. So personally, but seven, select this first phase first be something like this. Just so we've got a small base to start from, scale this down a little bit. Do the same thing with this one. Just draw a little box around the center point is E G, rotated, scale it down a little bit. So there we go. Do the same thing for this one. E, scale it down a bit, rotate it, move it a little bit. Maybe. I just create a base for each finger like this. Now for the index finger as well. Move it so that we've got a base for those fingers and I also want to base for the top. So was the thumb is going to come out of this page right here. As you can see, this is where the whole and the whole base of the thumb side. So that's what we're going to use as well. So we're going to press B and it'll extrude this a little bit. And to make this a bit more unlike the shape of the thumb, we're going to rotate this, something like that. And are we going to press one and select this bottom, or sorry, this top vertex. And press G and just move that to about there. So that's looking fine. Now we want to extrude this whole surface once again. So depressed three on your keyboard and select this surface right there and press E. Like this, an upper GI and rotate, scale it down, move it up to about where you would expect the first little bent of the finger to be. So obviously this is not as this is a little bit harder to estimate whether this, but you can look at your home terms and see where where it bends a little bit, right? But our two points where it kind of bends and you just have to try and find the right place. And if you don't find the right place as fine as well. Because the main one that we need is right here. Because we already have some geometry aren't here to create that bend. So the other one has to be there, right? Because that's where it has the pit. So extrude this two are there, rotate it, scale it, something like that, and extruded one more time. Let's kill it and rotate it as well. So to like that. And if you want more detail, you can add one more edge loop right here to create this little bit of a curve in the top part of the thumb. But I don't think there's going to be needed right now because we're working with an animated character for rigor what? Alright, so let's do the same thing for the fingers. Let's extrude this one to the first section of the finger. And I'm just going to do the same thing for each finger first before I work on a total finger, right? So I'm just going to work in steps. So it's like this one at extruded. Move it, rotate it, scale it a little bit. Same thing for this one. Its roots rotate, move with G, scale with S. Same thing for this one. Extrude scale, rotate. Like so. So now we've got this first and we're going to do the same thing for the second one. So extrude this, scale it down, move it, rotate it like this. Same thing for the ring finger. Extrude, rotate, move with G, scale with S, You know the drill. Let's do the same thing for the middle finger. Like this. Move rotate, said before the pointer or the index finger extrudes skill. Like so. All right, last bit is the tip of the finger. So select the one more phase that you've got extra root. So E, scale, move with G rotate. So you get the tip of the finger, e, skill, move, rotate. E, skill, move, rotate plus 1 e Skill G to move, R to rotate. So now we've got a dose fingers lined up nicely and then we go to side view. We can see that some fingers have to take somewhat thin. And it's just because we skilled services in all x's. So we also scale them in a Z to X. So some edge loops will need to be scaled up a little bit. For example, this one is a bit too thin, so select the edge loop by a spring 21, your keyboards double-clicking on the edge. And let's press S and Z, scale it up a little bit. Same thing for this one. I guess. As to the same thing for this one. And for this one we will have to select every edge because it's the last one, is that with all of them selected. So now we've got the thumb, fingers, they are little bit too thick. So we can scale all of those down a little bit. So select all those edge loops like this. And if you select the wrong edge loop, just press Control Z and then select it once again. So select it as z, scale it down a little bit. Same thing for the next one in line. Hold Shift and select all of them by double-clicking. Press S, scale that down a bit. And now we want to do the same thing for the faces that are last to go into face. Select by pressing 3 and select all of those phases. Essence it. Let's scale that down just a little bit. Like so. All right, so the next thing that we want to do is add an edge loop in the middle of this hand, superscalar to R and hover over one of those vertical edges and just add an edge loop, left-click, press Escape. So they've got an edge loop and we want to scale this up a little bit. So let's press Alt S and then you can scale along the normal. So let's person if it's seven and press Alt S again. So you can see that IT skills along with the normals, but we have some close geometry so we can scale it to mature. This is going to intersect, which is already those. So something else that we can do is skill those top edge loops instead of the middle one. So select the whole top edge loop by holding Shift and selecting those edges like so. Just keep double-clicking until you've got the whole outline of the hand selected. Like this. And I'm actually going to turn off x-ray mode right now because that's just making life a little bit easier. This one, this one. And the bottom one course as well. Like this. Like this, like this, like that. Just make sure that you've got the whole thing selected nicely. And there we go, Everything should be selected. So now when we press Alt S, Let's scale this down. You can see that the hand is becoming a little bit more shaped like a hand because we moved those normals in and it's all getting a little bit more rounded. All right, this will be fine. Obviously. We also submission skill, this is a direction. So let's see if you press Alt S. So that's going to scale in the normal direction, should discriminate to skill down a little bit as well, but that's fine. We can scale it up later as you scale it down slightly. So it's like this. And are we going to select this edge loop first, set and scale that up a little bit again. Same thing for those right here. So select all of them. And excuse me, I just went to wire the wire mode. We don't want that. So select all of those processes that scale them up. Like this for the fingers is actually all right. So we've got the handy place now. Another we've got the hand in place. Obviously, doesn't really match the shape of the risk right now. So let's re-enable this subdivision modifier on both for objects. And let's see what the hand, I want all of those edges to line up nicely. So I'm going to double-click on this top edge. Set 0 for a bottom edge, 0, 1, S x 0, and y 070 for the right one as x, the rule S Y 0. And then this edge right here, the middle one, SX slope y 0. The same for the top one. That's why 0, this one as y, 0 ands, and I want all three of those 300 same line as well. So we'll probably have done one go. But you know, why not suppose XYZ with all those selected. And now we've got this nice straight face that I'm going to press S and scale this up a little bit just so it matches the shape of the rest of it more. Alright, so right now I'm going to want to connect those two things. But first I see that our thumb is very flat again, not sure why, but let's fix that. So double-click on those edge loop. S and z. Same thing for this one as z. Select those faces right here and process instance that as well. So like that are right. So now I'm going to select my hand hold Shift and select a my body object and press Control J. To join those. I'm going to press Tab and we're going to do next is just, let's see, bridge those phases. So we're just like this one. And I'm going to select all of those little ones right here by holding shift versus white mouse and a bridge phases. So now obviously it's going to look a little bit odd because it's going to add some right angled faces because that's just how it's going to bridge phases that are not in the same number of vertex. So to fix this, I'm going to select this whole edge loop right here. Hold Shift personally, but seven, and I'm just going to move this away a little bit. So blender has a bit more space to switch between those base counts if you don't want a mean. So I'm going to press S and X, just scale it down a little bit. Same thing for this one as x. All right, Next up, I don't need those edges, so I'm going to select all of them are holding shifts. So select all of those weird diagonal edges and press right mouse and just click on dissolve edges because we don't need dose. So this already looking way better. So let's fix the students read a little bit more. So select this edge loop for its S and Z, scale it up a little bit. Select this one. Like so. And let's scale it down a bit. Like so. Actually let's scale it up a little bit. And this one as well. So to like that, That's looking better. At now. We have this straight line right there and that's because we've got the normal outer smooth enabled. So go to the object, sorry, the object that property that, so the green little triangle go to Normals outer smooth and we can just direct this number up until we've got some smooth shading. So they will do. So now we've got our hands connected to our arms and it's actually looking fine. And we've even managed to keep the nice geometry in our body. And then of course you've got some detailed hands. And obviously when you move this vertex around, it's going to be a little bit because this face doesn't have that machine three, but that's fine. So now we've got summer or body ready and we can actually burst tab and just move this edge loop right here a little bit to the top again to make this bent a little bit more natural. So double-click that. And let's move that up a little bit so it's a bit more straight, like so. That's looking great. 7. Modeling the final details: So next up, we can start worrying about some of the details. I'm actually gets first-class the side view because we need to fix that site feel a little bit. So what I'm going to do is go into skilled modes instead of object mode. So select the object and go to skill modes. So this is where the fun begins. So in skilled modes, we are just going to work with the verge. Just a brief already. Got. All right, so now if you press a G, you can go to the Gretel. So now it's going to grab those vertexes and just move them away from, well, well, it is going to move them in direction that you drag it, right? So when I press F and scale this up a little bit, so direct your mouse, for example, select this and just move it to the back a little bit to add some curves. So that's how you can add or remove some thickness from your body without actually having to play around in any mode and make sure that you've got the symmetry enabled. So on the top you can see the same butterfly icon that you can see an edit modes. I just select the y-axis. And it's now going to the side view and play around with those proportions a little bit more. So this is where we need for thickness right here as well. So hopefully there's not too much, of course, for the back as well. Maybe a little bit. This one can be down a little bit. Body head. We want a little bit more thickness right there. Right there. So you can see I'm just dragging dragging around until I am satisfied with the shape for the neck. I want this to be a little more to the back because that's how next work and this one can be a little bit more to the back as well. Like so for the legs we want to add a little bit more thickness in the top part of course. So does you can see that it doesn't really change that much. And it's because you simply don't have geometry there. And so any lecture you probably have one edge loop at the knees. So that's all we can actually write and skill. So there's no SQL right here to add some thickness in the legs, but that's fine for this enemies character. If you need more geometry, just go into edit mode and preschool through R in it, add another edge loop and then you can move it. But I don't need that right now. So this is looking fine. I'm going to press tab and look, take a look at those shoes because I think it can be a little bit bigger. So I'm going to double-click on this edge loop and press S and scale them up a little bit. And I'm going to select this one, this one, and this one. And there is an edge loop that we can see right now. So let's go ahead and go to the, what's it called, the X-ray modes. Let's select all of those right here. Now this able extra modes, and let's press Shift E and direct SIP a little bit simpler like this. So make sure it's still smooth, but you also get a little bit of a harder edge right here. Same thing for this edge here. Press Shift E. Let's break that up a little bit. Scale it up a little bit as well. Right? That's looking fine. Next, we can go ahead and go to our object data properties and just increase this out those numbers so we lose those hard edges right there. So that's looking great. Let's go into site for you. Is this okay? I'm actually going to go back into skill mode and just change this from part a little bit because it's too far out in my opinion. Something like that is looking more natural. Like so maybe move, maybe move this one a little bit. Our head is tilted forward a little bit as well. We don't want it. Something like this fight. So let's go into front view and we can still change, for example, the hips a little bit if you think this is too sharp. Hello, there we go. So like that for example, it can increase the width right here. It's just area that we want. Let's actually see if we can find a hex to connect two. Alright, so if for some reason you can select the left part, which is probably because the mirror modifier just go to the right sides of your body and do the changes there. Like so. A little bit of thickness everywhere where you need it. I like that. Let's see summer, how do you look? Alright, so we might need a little bit more geometry right here. So let's press tab and add some edge loops. So we need one right there, for example, maybe one more, maybe one more. Like they're, maybe we need one over this side as well. Actually, we're not going to do that. Let's see if we can manage it like this. So if she wanted to create a little more often, just area right there. And maybe they are all a little bit too low. So I'm going to move this one up, supersedes it. Something like this. This one is, well, jeez. This one. You said this once we ought to use it. And now let's go back into it's corrupt mode. And we're going to move those out a little bit again. Like so. This one can move in a little bit, decides make it smaller if you need to, and then move this out a little bit again. So that's what I said. We don't have any geometry right here to work with. So we need another edge right here. So let's just add one. Actually, let's just apply, apply sufficient modifier, but let's set it one for now. So let's press Control a and 0. Actually we just applied or mirror modifier such control a. Y is our mirror being. Alright, so it is our mirror was selected. So let's select our subdivision fluorophores and cross-cultural a. There we go. So now we've got a little bit more geometry to work with. So let's go into skilled mode again. And let's move this over. Like so. So it can be moved in a little bit. We move this down a little bit. And if you don't like it, just press Shift and click. That will change it so that we'll do. So first things first before we go into too much detail, Let's add another subdivision modifier. So sufficient surface. And let's set that 11 because then in total we've got two, which is the same result as we had before. So let's go back and skill modes and now let's work on this a little bit more. Something like this. I think they'll be fine. Maybe we need to move this one inverse a little bit if there's any geometry police. Alright, so that's not really working. So let's go into edit mode and see we actually need a little bit more geometry. So we can just apply our subdivision surface. And now we can actually see that we've got a nice geometry. And we can try and move this part inverts. So let's go back into skilled modes. Let's move this inverse a little bit. There we go. So we get this shape a little bit better, right? So it's like that is going to be fine. Alright, so if you think you've got some weird edges, brush, hold Shift and just click a few times so your mesh and it will try to fix it, prints out a little bit more maybe. So that's what we'll do as a base measure. Obviously, we're going to place a shirt over this so we can already keep that in mind. Silver like that. I'm just going to be fine. All right, so let's not get carried away too much. And let's not spend too much time on this. So let's keep it like this. All right, so next up, we are going to take care of the shirts that are going to present it. But three, I would slit one measure for step. And let's see if you've already got some geometry to create our mesh or our shirt right there. Well, we don't really have the geometry that we need. So what we're going to do is select what we can use a press three on your keyboard. And so began. We want to make the shirt, maybe this part right there. So this is going to be the bottom side of her shirt. So double-click on that edge loop. I want this one as well, all the way up to where we can use it. So it's going to need this, all of this double-click, double-click. We'll click, double-click until you get to a point where you think that you don't need it anymore and energy. Think I added one too much already, are too, too much. So you can see that it disappears under the armpit and goes around. And then it goes up and over, right? So what we want is actually, and we can manually select from Hs that we will take clued now and manage those later. So I'm just holding Shift and selecting edge loops that I want to include in the shirt, which is this one. We're going to make it look better later. And we want those as well. So just box-like those there. And we probably want all of those will like this. Alright, so now press shift D, escape P and separate selection. So now we've got this shirt, which of course is not yet on the right place or sorry, on the right angles. So the vertex is honor them. Perfect places yet. So we're just going to fix that. So what we're going to do is I'm going to side view and we're actually going to enable snapping for this. And I don't think we've used that before, so let me just explain what snipping does. So if you enable snapping, which this magnet symbol right there and the box on the right, we'll explain what's it snaps to. So it is now set on edge perpendicular. By default when I do something like this and we'll just sit in your face. And what it does is it's going to try to snap every vertex to the face behind it, right in front of it. So now if you move this vertex is going to try and keep snapping it to the body of Sumer. So let's see how that looks in action. So press G and move that to the side edge BC, it is trying to snap to the surface. So obviously because we have limited geometry, sometimes it can get inside of the body, which is totally fine because we can move that away later. But first we just want to create this curve a little bit more, right? So we just go to move this there, this one a little more there. And this one. We can actually connect this one like this. So select all of those and person F. And let's move this one back a little bit. At this 12 is 12. And let's move this one up a little bit, so we get this curve a bit more. Do the same thing for the back part. Like this, like this, like this, like this, like this, like this, this. So that's looking fine. Don't worry if your mesh is inside of the body yet because we are still going to add a solidify modifier which ago to add some nice thickness. But for now I think this looks fine. We want the curve to be a little bit better in the fronts of precedent, but three, and let's move this one down. Like so, like this and just create a nice looking what is it called is not assured, but you know what I mean? I just go to call the shots shirt so we got the moves them to the side a little bit. So this whole shape is a bit better. This one is well, that's looking fine. So we've got some overlapping stuff going on right here. So try and fix that. We lost one vertex, I think so let's enable that stuff. So we need to fix this one. Turn it off. Let's move that up a little bit. Like this, maybe. That's fine. So now we can add solidify modifier. So modifiers solidify. And we want the offset to be one end and not at the stake. Of course we would list so be like that, That's looking fine. And I'm just going to press Tab or stay abreast of all S and hold shift and scale this up a little bit like so. So now we've got a shirt that is placed over this body and that's already looking perfect. So we can actually do the same thing for the trousers. So let's hide our shirt for now. So select the interest, age, select the summer, the body of silver, and let's see what we need for pain. So for this one, we're going to enable X-Ray mode. We're going to press three. And we're just going to select all for just that we need. So we want everything from here to there, right? So this is going to be the trousers because obviously summer has like this three quadrupeds or something like that. In Dutch we call it. The literal translation is three-quarter Behance. I'm not sure if that's even a word. That's what we call them. So I'm going to press shift the escape, the selection at a depth and let's disable x-ray mode. So we have a nice base for our pens. This right away at our solidify modifier. Set this to one. And let's move, sorry, let's make this a little bit ballistic, something like this. An opportunity. But three, Let's press tab and let's disable the solidify modifier it for a second. So click this little icon right there. And let's let this whole edge loop and press S is 0. And that's looking with. So let's disable proportional editing to see if this fixes it. Protests that room. We'll do. And let's just scale it up a little bit and rotate it to slightly like that. This would be 5 n3 and a large solidify modifier. There we go. That's looking fine. Let's press Alt H. Let's get our shirt back. There it is. So now we've got shirts, we've got trousers, and we want those shoes to be included. So let's select the body or step. And we already have some nice geometry for the shoes. So we want this edge loop. This edge loop. So just double click, hold shift and select all of the edge loops that you want to make it to the shoes right? Hold, Shift, and draw some boxes around the services that you need. You need all of this. Let's let's actually is able those. So hold Shift and just click on the surface that are selected to the select them again, like so. So let's press shift D, escape P-I selection. To go out of edit mode. Let's select those shoes. Add, modify or Slidify, make this one. And those shoes can be a little bit less thick as well, something like that. So that's fine. So now we've got the close pretty much set up already and that was very easy. It's always, always a nice thing when you're modeling if something goes easy for tags. So we could add materials to those clothes later. 8. Modeling Summer's face: So next thing we are actually going to take a look at her face. So obviously there are different ways to create her face. But we already said that we go to work with hair particles. So a particle system, but for the eyes and the nose and the mouth, there are some different ways to approach this. So we could try and skip this. So we'll go into skilled mode. We can actually add some new geometry if we need to think that it's going to be the case in this one. Because we don't really have enough geometry to create ice circuits, to grit eyes, to greater knows, to create a mouth. We just don't have the geometry. What we're going to do is press the number 3. Select our object, go into skilled mode. And we're going to go into the brush. So the DAO tool, which is the top one, go into your tool, tap on the top right. And let's just select the director Bu. And there are going to get a message when you enable this saying all sorts of stuff. It basically means that there is vertex that I detected that will not be preserved. So if you've already applied to vertex colors, if you're ready edits, vertex of weights, UVs or other stuff, then it's all going to be a little bit messed up by using dynode typologies or always use dynode TOPO before adding vertex data. And if you've got a modifiers, then I recommend you wanted to apply those first as well. So you've got the modifiers, we've got this mirror modifier, so we can apply it. So press Control a. And now we can enable the symmetry option in the sculpt mode, which we already have officially. So let's go back to the Sculpt Tool. Let's enable data TOPO, let's hit okay. And now we've got some settings. If you expand the menu, detail size, which is going to be the detail amount of the geometry. Let's go to the edit. So if I draw in the head right now, you can see that the geometry changes. We add some geometry, right? So that's looking nice. And this is going to be based on how much you zoom in so far as her mouth. And it's going to be way less detailed. If I zoom in, it's going to be way more detailed. Alright? So that's just going to depend on how much you zoom in. You can also change that and set it to, for example, constant detail. Which basically means that no matter how much you zoom in the detail or is always going to be the same. So I'm actually going to keep this on relative detail because I like it. And we're just going to create those eye sockets. And to do that with C, what we need, we just codes and the two big eyes. So let's go ahead and create that. So I'm going to hold control. So if you draw right now we're going to add geometry. If you hold control, you're going to remove geometry. So that is going to be perfect. So we're going to hold Control and just remove some geometry for the eyes. And let's see how big they have to be. I think something like that we'll do. And now we want to create this point, the nose, which you are just going to guess how it looks. So we need some more geometry right there. Just like this. And just left-click a few times to get even more geometry and go to site for you to see how it looks personally, but one rest G. And now with the G2, which is basically grep tool, you can make this into a pointy nose because point somewhere has this weird pointy nose. And let's make this nice and pointy. And we want to move this out a little bit as well. Because obviously that's going to be part of the nose. Like so. Move this out, make this nice and pointy. Move this up and make it even more pointy. And now go back into front view personally, but three, and we're going to move this to the side a little bit more to make it more like an actual most like so. And we're going to move this inwards. So it's more like a pointy nose again, something like this is pointing but that's too big, I guess. So let's move this all inwards a little bit, something like that. Let's select the brush tool again, and let's just add a little bit of thickness right here. This would be fine. And now let's take a look at this mouth. So there's a mouth is just a simple line. So what we can do is go into the crease tool. So select, Decrease, do, and let's just see what happens and scale this down a little bit and decrease those. Basically going to add a crease, right? So creases basically this is going to add a little bit of an indent. And if we make that small enough, we could actually create a nice mouth with this. At least that's what I hope. So like so we have cuts, the mouth looking kind of like soma think didn't know, still needs to be a bit smaller suppressed G and move this up a little bit and just decrease the size of this nose. Certainly this and hold shift on some places if you want to smoothen out the geometry. Like so. For the mouth, I think we probably need is to be limited. The personal select a crystal again and make it a little bit smaller and zoom in a little bit more so you can add more detail and just move all of this in words even more. Like so. Let's see. She's smiling a little bit. So our Such as well, G, F, scale it up and just move this down a little bit. And move this inwards a little bit. Maybe. Just try and create the shape, recreate everything. So I'm just working for the geometry render. All right, so that's looking fine for now. I think this is going to look alright if we add the hair. So let's write mouse Shade Smooth and you can see that we've got some ugly looking geometry, right? So we can fix this by either going into skilled modes, only shift and smoothing everything out. Or we can try and fix this by adding a smooth modifier. It first things first, I still need some differences in this nose. It still doesn't look right. So we're going to just change that until we are satisfied. It's as easy as that red mover thing out a little bit. This one is to go up a little bit maybe like, so let's see the side view. So it's too pointy, maybe make this all straight and let's make this one straight as well. Or it's maybe a little bit too. Alright, so that's fine. I'm going to move this out a little bit for this one in a little bit. Obviously you've got the forehead and stuff. So just try and follow me or do your own thing, what you prefer. I'm just going on my flow right now and I'm just changing stuff until I am satisfied with how it turned up, right? So you can do the same thing. If you want. If you don't want it, then you don't. Alright, so I'm not going to get carried away into the nose too much. I'm just going to move this out a little bit. Once again, like this. All right, so let's just keep it like this. So next up we're going to add modify modifier, and it's smooth. And let's repeat this a few times. Maybe five. And nice. We're going to play around a little bit. Not too much. Something like this. It's just going to smooth everything out a little bit. But we can also see that it doesn't fix those problems. So we're going to go back into school mode. And we're just going to select our brush tool, decreases strength to about 0.1 and we're going to hold Shift soil zoom out a lot entity just, oh, let's do much. So many little bit all shift and just try to remove a little bit of this geometry that is looking poorly. So with shifts, you smoothen everything out. Make sure you don't overdo this. So you lose your details like we just did for the mouth. But it's fine. We can just change that in a second. Let's go back to the mouth. Let's move all of this out a little bit as well, just so that we lose those nasty geometry. Alright, so now it's officially looking like she has no mouth. So let's recreate that. And now we have dynode up with disabled. So now the geometry should look better when we do this. There we go. It's a little bit better because still try and make this limits from water by holding shift. All right, so that's looking fine. I think that's going to look perfect when we add some nice shading. All right, first things first, the head and act actually need to be a little bit wider. So go into skill Motor plus g and make it nice and big. Just moved his head out a little bit at some width, something like that. Okay. And go to the side view and we might need a bit more of a chin. So let's move that out like that. That's all right. It might look a little bit creepy right now, but I think it's going to look finally at eyes and hair and everything. So let's press Shift a while in object mode, and let's add a mesh. Let's add a UV sphere. First GZ, press S, scale that down. So this going to be one I, f plus g at y. Move that to the side a little bit. Plus g x. We still have snapping enabled. So that's why it's going to move a little bit weird. So let's disable that right there. Let's press g x, g x. Let's scale it up a little bit less Gy of gx. And do we need to be out a little bit more? Suppose GX, just scale it up a little bit once again. So that's looking fine. So what we're going to do now is select our object and make sure that our 3D cursor is in the center. Mind still is. If yours is not, just select your, your, your body object and press Shift S, select cursor to select it. That's lecture. I. Select red mouse, set origin, origin to 3D cursor. And now hit Tab. Hey, where's our y and present 90. So now we've got a geometry that we can use for a pupil later on. First right, mouse sheets moves, ads now go to the Modifiers, add modifier, and let's add this nice audit modifier called the mirror. And we don't want x, but we want y sub two mice, which is basically what humans do have. So next up, let's see, I want to move this a little bit more outside, Outward supers g and x, something like that. All right, that's looking fine. Let's see the side view. Okay. Not bad. Let's vary about the hair next. And this is where it's going to get more fun. Because hair is just with the hair particle system is just going to be a lot of fun. So I'm going to explain all of it to you. So how do we use particle systems? How do we achieve this hair in particular? And we're just going to have some fun. 9. Modeling Summer's hair: So let's go ahead and first of all, we need to add some weight groups. So if we go into edit mode with our body selected, you can see that our geometry is now a little bit messed up. And we can change that if we want a by simply adding. So what is it called? We can throw a new geometry over it, which basically what they always do, if you're skilled, something that you want to use, for example, for games or for animations, or you want to make the geometry nice and smooth. I'm listing out of quartz, which basically means that there are four vertexes which we now don't have because to be some triangles as well. So if you want to make this all nice and smooth, you're going to add a new object. You're going to drown new geometry over it until you are satisfied with what it looks like. Obviously for this tutorial that's going to take way too long. So we're just going to stick with this nasty geometry. So, excuse me if you don't like that, but we're going to take one step at a time. So right now we're going to go into the select Leso. I'm actually RB. Are we going to do that? Now we're just going to go into weight paint. So now we're just going to derive some weights on our character. So you can see that we still have the symmetry option enabled. So what we can do is just the route some weights on our body. So the weight is set on one which is what we want. So places with 0 weights are not going to have any here. This would have one way they're going to have hair. The places with anything in-between officer and one are going to have some hair as well, but the less dense of course. So let's try and route the hairline of summer, which basically this rounded shape. So we're going to recreate that there's drought at round shape. Maybe it needs to go up a little bit. Something like that. Wrote that first. Now move your camera around. We might want to increase this a little bit. Like so. We want this to go down to about ready. Yes, she does a failure, so well, it seems like we need to create that as well. But let's worry about the hair first, right? So it's going to go down all the way there and then to the back. So you can see that it's looking a little bit blocky, little bit pixelated. And that's just because we are now a weight painting on vertexes. So that just depends on how much geometry you have, right? So if you have more vertexes, you can move more detailed weight maps. But there's going to be five because hair is always going to be placed a little bit random. Which basically means that if we now add hair, It's going to place it. I am well random on the weight line. So I'm going to show you right now. So we've got our nose, our nice weight paint group. And if you go to Object Data Properties, you can see you've got now got a group and I'm going to double-click on it and set it to hair. So this going to be our head group. So now let's go to the particle properties and this Redfin is going to start. So enter particle properties, there is nothing until you click on this plus sign, and then there is a lot. So there's going to be a little bit intimidating if you just start out using particle systems. But I'm going to explain it the best way possible, at least I'm going to explain what we need right now. And what do we need right now is hair and not an emitter. So an emitter is what you use when you exactly, for example, want some kind of explosion, for example, or if you want something to fall out of the surface or be pushed out of a surface or anything like that. So for example, if I go into my timeline to the style I'm going to hit space, those little blobs are going to be emitted from the surface, right? And that's not what we want, what we want in this case. So let's go back to frame one. Eta, going to change emitter to hair. And now we've got hair all over the body. It has some default settings, the amount, the seeds, obviously the random generated seed, and the hair length is usually set on four meters. So you want to decrease that later. And the segments are settled five, which is fine. So first of all, going to go in to the vertex groups. So this is where we can define length, density, king, and everything through our hair. So what do we want right now? Well, we just three aware we want the hair to be, which means that death is where the hair needs to be dense and on the replace it needs to be 0. So no density et al. So we're going to set the density to the weights group here. And then you can see that our hair is being added on our weight group, right? So let's just decreases hair length a little bit. So just drag it down. And now you have to go and start thinking about how you're going to achieve this point till right? So all of this hair is going to be coats back. I'm just going to put we're going to get into that later and then it's going to come out again into the ponytail. So you can do it in two steps or you can do it in one step. If you're going to do that in one step, is going to be little bit harder because they need to cope with a very, very precisely. And if you go into the roof steps, then it's going to be a bit easier. So we can actually go and do this in two steps. I think that's going to be the easiest way that I can show you and that way I can also show you a little bit more about how I usually use hair systems to create what hair I want. All right, So first things first we're going to create the hair is combed back until the points where it is being claimed by whatever it, maybe it's an elastic thing or maybe it's a rubber band. But anyway, it's going to be clamped by something. So this is where we're going to commit to. So let's see what length we need. I think this is already fine. Yeah, this is fine. So we're going to keep it like this and we're going to go to children and select interpret a role-related interpolated yes, exactly. At Hendrick going to change this to maybe 30 and 30. I usually like to set them my display amount to what my render amount's going to be. So just, just so that we can see what it's going to look like, right? So if you set this on 10 and your render amount of 30, I usually have the problem with, I can't really see what's going to look like in the end. For example, when I go into render preview and add some hair thickness, then I just don't know how it's going to look with the renderer amount until I'm going to render it. So I usually just set my display around to my Render amount if my computer can handle it. So obviously when you've gotten more hair systems and more particles, then it's going to be a little bit rough on your system. But since B, this is the only hair system that we have and I've got a strong computer. I'm just going to set this off 30. If you've got a little bit of a if your computer isn't that strong, Let's put it that way. Then you can keep that arm five or 10 or whatever you can handle. So right now, if you set your children, your children to simple, they are going to be edits on a little bit of a chaotic places, but if you go and select it interpolates, it's going to add them to each strands are in-between each trends. So that's always a little bit easier to work with when you do hair. And now you can change some more stuff as well. So if you go to hair and select interpolated, Then you've got partying, clumping, roughness and kink and partying. I don't really use that much. Basically shows you how much those children will be separated. So you can set a minimum amount, you can set a maximum amount of piling as well. I'm just going to leave this off. I don't use it that much. So you can also select long hair right there. So you can, children that suit long hair doesn't really change that much, but we can enable it anyway. For clumping. I use this a lot, but not that much in female hair because clipping is going to let's see if we can find you an image. I actually we can just do this. So if I increase clumping, you can see that it's going to try to clump hairs together 1. And how this happens depends on the shape. So if I increase the shape, then it's going to do it more towards the end. And if I decrease this shape, it's going to do it from start. So you can see now it goes into it from the start that you get those spikes. So this seems like you can't really control it that much, but that also depends on how much segments you have in your hair. So if you, for example, go to render, you can see that we have three steps. I mostly said this on five. In Viewport Display you've got strengths steps, That's two. This means that our long hair only has two steps. So that means that you can have one bend and that's it. So you can't really get a flow in your hair or it can't really look nice and viewport display. So if you set this to five as well. So now we can actually see what we're doing. So you've also got this clip noise option. And if we enable that, you can already see we've got little bit more control because it also add some noise. So now each strand has a little bit of different clump and it's just, it's a little bit more natural. Now you can also use a curve, which is what I use sometimes as well. And the clip curve basically shows you how your hair is going to clump. So this endpoint is actually the endpoint. So right now there's no clipping. So if you move this down all the way, then your endpoints is going to be clumped. But now you could also add points in between. So I can add a point here by clicking, dragging it up. And it basically means that our hair is going to clump more towards the end and less in the start. You can add even another point. That's a code knots with it. So you can play around with it as well. So right now I'm just going to keep it for maybe other linear. Let's see. I want some clumping that much. I'm going to disable clip noise for now. Actually let's enable it with, Let's decrease the size. Something like this. So similar probably has straight hair and this you don't read any curls, which is basically because it's an animated series. So right now I think our clips a little bit too strong as well. So we're going to go to the clip settings. Where is it? There's results. So we can drag this up a little bit. So the clipping is becoming less. So let's just play around a little bit. And we are just going to do the next step, which is roughness, kink, so refers ageing. Well, they are separate things, so let's explain them separately as well. If you go to the roughness, you basically change the randomness of your hair. So right now everything is straight. But if you increase this random uniform value, you can see are sorry roughness. It's going to add some roughness to your hair. So it's basically some kind of swirly vibe. Like just like if you would have a little bit for curly, curly hair. But it's different from girls, believe it. And you can affect the size of this roughness. So we're right now it's at one. So if you increase this, then it is going At less roughness. If you decrease this, then of course you're going to get away more roughness. So if you've got something with very rough hair or very chaotic hair, then you can play around with the roughness. Obviously, if you go into the small values, then this segment of five, then we just set is not enough. So you might have to set this on for a simple eight. So then you can see the detail in a roughness. But what, we don't need that much of roughness because I think Summers Harris registration. So we're just going to set our roughness on a low value, maybe 0.05, and set the size, the size of one is fine. So now you can also play around with the end point. The endpoints basically going to define a which points to it's going to add the random roughness. So if you increase this all the way, then it's going to try and add more roughness to the end of your hair straps. So it's going to move them all into a different location. If you move this OPT and it's just going to try and achieve this at the start. So I'm just going to set this somewhere like this, 0.06. And I've got shape as well. If you decrease the shape all the way, you can see, it is going to affect your starting point. So the shape of 0 means that it is going to and change the roughness of the starting points of the hair. If you set this to the end, it is going to change the endpoints of your hair, right? So that's basically it. And let's just set our value. I want those starting points to be straight. So I'm going to set this just at about two or one could work. Random value. It's basically randomizes the roughness. So you can increase this, then it's going to randomize, I think all of those failures above it. So I usually do add a little bit of a rush of randomness, but not too much. And you can also increase or decrease the size of that. Just like we did for the uniform value. All. So for King, Let's just get it out of the way. For King, you can add a curl. For example. You can change the amplitude, which basically means how strong the curl is. So 0.2 is a very strong. If we decrease this, you can see that the curls are becoming more subtle edge. You can also change the clump of those girls like we did before. The flattens as well. So if you increase this and it's going to try and think, it's going to try and curl one parent particle together with its children particles because is, this is all part of the children system right there, the interpolated till system. So I think it's going to try and cruel all of those sets together. So I don't really at depth flatness, frequency of course means how many kernels you have increasing this, It's more curls. The shape. You can increase this and then it's going to only curl the endpoints. For example, if you do this all the way to the minus, it's going to only curl the start or more at the start. So for, if you want to add curls and it's mostly more realistic if you increase the shape a little bit. Because at the start, so wear your hair comes out. It's obviously a little bit thicker at curls, less easier. So usually increases a little bit. But we don't need cursor. You can also set this to all other stuff, wave, braid as well. Spiral. So you can just play around with all of this. Let's, I'm not going to get into detail on all of them. So just have some fun playing around with them. So that the next thing is the hair shape. And there's basically a strange shape, which doesn't really do that much. Let's see what it says. Actually stretch shape parameter. All right, so. Never actually changed that value. So I put good to bother explaining it. So the next thing, diameter root, basically means the thickness of your hair on the roots are where it starts. And for this, It's always good to set your render engine cycles device, the GPU, if you've got a nice GPU and let's see the rendered view. So now right now it's set on one meter. So our hair is a very, very thick. So let's see. Diamond root is one meter. We can change this. I usually try 0.2 or something like that first, which is what I use a lot of the time. So this is still a little bit thick. Of course, this also depends on this keel in Michigan reads your character. So we might have to tries buoyancy 05, maybe a little bit thicker. So 0.1 might be the way to go. And the tip at 0, I always think that 0 of a tip is a little bit oversaturated, right? So the tip of a hair, of course it goes into a point, but I mostly like to have some kind of thickness there. Just a little bit maybe. Alright, so sort of like that. It's going to be fine. So let's go back to the solid. Let's change our object mods to particle edit, where we can actually change the shape of our hairs. So you've got a few modes right here, and I'm going to explain what I am going to need in this tutorial. So the CO2 is the one you use the most. So if you need your hair to become back or in some kind of shape, you're going to use the coat tool. And as we did for the scale tool, we now have the circle, which basically is the radius. And we can increase this by pressing F and it's dragging this up. We also have the strength value right here. 0.5 is usually find a regret. So now you can just left-click hold and direct your hair and you can just shape it any way that you want. So for example, we now want to have it all go through this point where the ponytail comes out of. So it's going to lead to go there, just drag with their worry about this excessive hair stuff. Rotate your camera once in a blue moon, see what happens in other views as well. So it's going to go up like this. So it's going to disappear into this pole detail. And I'm not going to worry at all about this stuff right here. Obviously, we could try and make this out of one out of what hair system, which we may still actually do because this works. This looks better than I expected, but to really see what happens, we have to enable children. So children of the hair particles on this view as well. So go to options on the top right, and that's enabled children. So now you can see that even though our our hair looked like it was very tightly bundled together when we show our children than it is a little bit thicker. So let's see how thin we can make this. And then we'll see if we can record this or if you need a secondary hair strand. I so I think it will be fine. We're going to work with one hair system. So obviously now with that we are going to use the healthcare system. This era's now no longer long enough. So we need to add some length. Now if you go to the top of your particle settings, you can see that you can know our genes, the hair length, or the number of hairs, and that's because we now edited the hair. So right now there's no way back. No way to change the hair length deceit unless you delete or edit, of course, but then you are going to lose every skill, but you just did. So to add length without having to delete your edit, you can go to the length tool. So you have got two options, grow and shrink, which hopefully obviously in lengthen, shorten the hair. So I'm going to increase my radius and just hold the left-click right there and increase my hair length just like that. And when we go to longer hair, so if our hair is going to be a very long, then our viewport in the particle edits might not be detailed enough anymore. So that's another, another segment setting then the one we already set. So we set the viewport display segments on five as for the render settings as well. But in this particle edit view, it is still being affected by those settings. So we need to set this manually. So if we go to Options, you can see on the bottom you've got both steps, which is sent off to, if we set it on five, it is going to change those settings. And now we can actually add more detail in our skills, in our particle edit. And it can get a little bit demanding out of your system if you increase this size of the, of the best steps and if you enable children, so be careful not to overdo it. So if your system has some issues, just disabled children from low and decrease the path steps to four or three, whatever you need. So I think we've got an arc length right now. So maybe you need a little bit more. Let's increase it up. Just a tiny bit, like so. Let's go back to our brush tool. Let's put this all together, like so. And now let's kill this bony tail. So it's going into it, it needs a little bit of a curl. So I'm just going to go into different views and try and recreate this curl real quickly. Something like this. And we need some more thickness right there. So if you can't get the thickness of your hair, you can use this tool. So if you select this path tool, you can add and subtract. And if you click now it's going to try and prove everything up. As you can see. It's going to try and perfect All Up until it is. I'll chaos again. But you can't do this just a tiny bit. So if you decrease the strength that for example, click here. It's going to try and move your hair's outwards a little bit. Which can be fun to use, but it's not what we need right now. So we would just want to scale this shape, this pony tail. And I think we still have a little bit of a length issue. It's a little more linked there. Something like that. So now let's skip this. That's looking better. This is looking like an actual ponytail. Or at least it will so many more thickness right there. Move that up. Let's go to Luke, even thicker when we re-enable children. So the children particles just have some fun sculpting. If this is your first skilled of hair, then you might have a little bit of issues with some things. But don't worry, you'll going to do fine. So this is the hair of summer and we're already pretty much done. Remember to change your view anytime you need, because something you do in one view might look terrible in an overview. So make sure that you change it once in a while. And you get spent ages trying to get your hair system right. And sometimes you just need to mess it up and started to get it right again. I don't want to get into too much detail on this, but we do need this to be a little bit closer again to create a part where where the elastic bands is going to be right? So poorly run there. See, I'm just, I'm just doing this quickly because I just don't want to spend all my time creating this hair system. So I'm just going to go through this very quickly, very rough. I want us to be outwards a little bit more. First, something like that. So that when we go into front view you can actually see the hair strength. Like so. Let's go to side view. Let's move this up a little bit. Let's move this in a little bit. Like so. That's looking fine. All right, let's go back to object mode. And let's actually increase our steps to maybe seven. Was longer hair just requires a little bit more steps. Maybe six is going to be enough. And let's see what is happening. Okay, this is looking fine. We might go back into our clumping. So I don't really like the way those shorter hair strands are spring out. So we can try and fix that by changing the care clip curve. So if we change all of this value, Let's see when we get the best results. So that's looking into best for the head, actually. Something like that. I'm going to disable clip noise for now. And let's see if we disable this. And we go to go to the roughness and we're just going to change the end point a little bit. You can see if we drag this down, then we're going to have less of those random end points, which is what we need. And right now it's actually looking. Okay. So we're going to go into our camera view for now. I'm going to select our camera. Just click on the square, press Shift F and press W, a, S, and D, and change or rotate the camera with left-click or sorry, left-click. I mean, just drag your mouse. And we're just going to move this camera to a place where we can see Sumer and see her hair. Something like this. Maybe. That's looking. All right. We're going to select this plane of the hand are deleted. We don't need that anymore. So let's go into Reynolds few and see what our hair looks like. So that's actually looking fine. Obviously we don't have any material yet, so we're going to have to add that a little bit later. What I am going to do is go back to particle edit and just add a little bit of well, I'm not sure what it's called, but I'm just blend those hairs out a little bit just to make sure that we have got some volume. Right. Some volume in the hair. Like so like so you can see that I'm still spending a bit of so I'm only here because I just like working with it's so soft like that. It's looking fine. Now, we are going to get into the shading part. 10. Texturing Summer: So to do that, we are first of all, I'm going to go into real-world properties. All right, So first is first, I set the color to be. So click this little button and change to RGB. You can change the color of the background. I'm not sure what I want this to be yet. Maybe little bit darker. We will get to that later. First things first we're going to add a crowd plane. So press Shift a mesh playing for genes that move that down, going to side view. Make sure that's at the bottom of the shoes right there and press S and just scale that up. A lot, something like that. So now I've got some nice shadow on the ground. Okay, next up, we're going to add some nice materials. So we want the shirt. We're going to make it a little bit realistic, so we want some cloth. So what we're going to do for that, we're going to go to Edit Preferences. We're going to go to Add-ons and we're going to search for the lender kids. There we go. Just check this little box. Make sure to hit this Menu button and save your preferences. Close the box, and I've got this, the search bar on top. And you can search for objects as materials and stuff that are part of the blender kit, which is amazing because there's a lot of it in there. If you are a lot of time or you need a specific texture. So for example, if you want cloth, you can go to the materials tab and just search for clock. And it's going to search the whole blender kids. So those are all cloth textures and you can just find one you like, don't worry about the color. I like this one. I'm going to select that It's obviously white, which is not the color of the shirt. But we're going to select this and it's going to apply it. There we go. It often looks a little bit weird, but we're going to change that. So I'm going to hover my mouse up to the top right corner. And the boat to drag this to the left elbow to set this to what do we need the UV editor. So with this shape selected, I'm going to hit Tab members a. And we can see that we have our geometry laid out in front of us. And we're going to press U in the left screen and select Q projection. Keep protection, in my opinion, useless. The best results for things like this when your texture is small anyway, and you don't need all of there seems to be perfect. Cube projection usually works fine. And we're going to go to the right window, press a and skill everything up a little bit like this. So now we've got this nice cloth geometry. Now let's go to the shader editor and fix this pink color that we need. Let's breast color. Let's just make this purple or pink, green. Pink color. It's a little bit brighter. Maybe it can also be the light. We don't really have a strong light yet, so it's going to get lighter anyway, or the trousers go to select its rivals. And we're just going to look for what is the material of Thrones. I don't know. I'm just going to look for February, see if there's anything we like. I don't really care anyway, I'm just going to search for genes. Yeah, we're going to use this one and now we're just going to make it white. But first, let's set this to UV editor again. Brisk tap versus a U L Sue skew cube rejection, letter a in a right winger skill this all a little bit like. So. Let's go to the shader editor. First home, if you can't find your notes, there they are. And now we can change the color. So for example, we want a white color, so we don't need this blue better and color. We can just disable this. And we can use the Paste color, so this white. So there we are. Next up, we want this skin to get a material. And there are some skin materials in this packet as well. So let's search for skin and let's see if there's anything that we can use. So we don't want any, for example, those materials. So there's looking way too nasty and realistic to me for this character. So we're just going to find a procedural skin that we like and not anything like that. Maybe this one is fine. Let's try it. Give it a second to load. L, see how it looks. Okay. So this is not really a skimmed tier or the like. It's two to glossy and will. It's just not really what I want. And we can see how it looks if we go to the UV editor step a, and now press U and Q projection. And I'm just going to scale this up a little bit and see how this looks. Now, maybe we now have some more roughness because we've got the normals that are a little bigger. Yeah, it is a little bit better, but it is too large now. So let's scale this down. Or actually we needed the skill is my bed. Sort of like that. That would look better. Well, it still doesn't really look that well. So let's write this one. And I'm just trying to find something that I like are at, so this one will do. So you can see there's one isn't nice and rough, and at least it looks a bit more like skin. And to make it more skin can always check if there is a slip deficient or sorry, shipped deficient subsurface, tap right there. So there's a subsurface which we probably good to see you at our beck life. Whichever you are going to do in just a second. But first we're going to worry about this hair. So the hair is medically trying to use the top material of your when material list, right? So that's an outcome to try to use the same skin material. So we want another material. So hit the plus sign right there and hit New. And let's find it right here in the shader tab. And we're going to delete this principle as the F. And we're going to press Shift a and search for bringing support hair BSD F right there. And we go to drag this into the surface like this. And we're just going to set this melanin concentration. Ever going to decrease the melanin? Well, we want to see what's going on. So what we're going to do first is go to the particle settings and we're going to change the material to material one, which is the hair. So there it is. This is our hair now and we have the melanin returns. Would you set up? And obviously, summer has some orange hair, so let's recreate that. So that's why we have the redness on one. If you turn this off, it's going to be more bonds. If you turn it all the security more red. So something like this. It's actually fine. You can also try and change the tint to a little bit more reddish. If you want more orange hair. Something like this, maybe it's going to look better when we add a light. For the eyes. We're going to add a new material and we're just going to decrease the roughness completely. Let's see. We're going to go back to the viewport shading from now. And they're going to hit tab. And we want there to be a very small pupil. So this is two big orange I'm going to select. I'm going to go back into box, select right there and select all of those services and goods perspire to be inserted. Something like that, maybe a little bit bigger. So let's scale that up a bit and let's go to the material. It plus hidden. You hit Assign and make this black at decreasing reference all the way. There we go. So now we've got like pupil, right? Did we assign it to a mature? Yes. So you've got a black pupil and servers I and that's looking a little bit better already. So now we can actually delete, so recalled at those ears by the way, but I don't think it, it it's that wish to character because they are not really deep finding summer. So I think when we get to Rick, we didn't need here, so I'm just going to skip it for now as well because I didn't know that humans prevent the air. So what we'll do is just add a new mesh, add a UV sphere. And I'm still making years now. So I'm going to scale this down for Gy. Press S and X plus gy plus g z at y. Scale this down a little bit. Rotate this a little bit in set X is read this like this, G Y, G, Z. Illustrates in a bit three, skills down a little bit and move this to where the ear is located. Something like they're shaded smooth. We're going to select the body shift S goes to select it, select the air, right mouse origin, origins of 3D cursor at a modifier selected mirror. I might be going a little bit fast, but I don't want to spend that much time on air. Select the x is going to be Y, not X, and go to preschool through a all-trans forms. There we go. We've got some ears, right? So I'm going to select those areas, selected body of similar preschool L and Lincoln materials. And now it should have skin material. If you go to rendered view, let's see. There it is. So if I go to my shading, then we can see we've got some years. Well, that's very easy. I'm just going to make them anymore detail because it's not that important. I am going to go to edit modes and move them up a little bit like this. That's looking fine. So now we're going to worry about lighting. So let's delete summer. We don't need that anymore. Oh, actually we need to choose to be black. So let's add a new material, new in this desperate there and make this black. Right? That's it. So what we're going to do is try and make a nice render out of this. And I'm going to select my ground plane. I'm going to press R and Z and just move this back plane perpendicular to the camera, like this. First step was to select a back edge, e and z. There we go. I got to select this edge right here and preschool through B and just beveled it and scroll up a bunch of time. So it's nice and smooth. Step out of edit modes, right? Mouse, shit, smooth. All right. 11. Lighting and final render: So now we've got some nice light. I'm sorry, some nice background. I'm going to go to the rural settings and go to change this to maybe a white or is that too much? It's too much. I'm going to make this a bit darker, maybe. Maybe a little bit blue, mature yet, just play around with some of the settings. Something like that may be fine, edible. Going to select this light red there, that standard in the scene. And they're going to move it down. And this is going to be my my backlight. So I'm going to press G and x, z and y, z and z. Z and x, z and y. This should add slip it in the back of summer. And I'm going to go to the light properties. And I'm going to change this to area. Right? So now we're going to fix the rotations are were to press R and y and just make that a at the back of similar like this. Let's decrease the spread of this light a little bit. So where is this press? The more you know, so there's not. So I'm going to change this to spot them, I guess. Change the radius a bit more. And now I'm just going to reduce this size of the spot shape. So it's more focused on summer and less focus on the ground like so. And we're going to make this a nice orange color, something like that. So our hair looks more orange as well and we've got some nice backlighting and let's make this a little bit stronger, maybe 5000 soap like that. And I'm going to press Shift a at a late, add an area light plus g, x, y and brush RY Zhe Xie, ours it, make it rotate to Summer. Bridge Gy little bit. Ours it. So there's going to be our phone lights. So we want the frontal server to light a lightened up a little bit as well. So let's change this to about 200, maybe. Maybe a little bit more or a 100 and I'm going to move it to the left me was do you weigh our set R, So still brighten out and it changes the mood. 100th. All right, So now you can't really see the mouth because it just it doesn't show it that much or we're going to move this light up a little bit. So plus g, z, rotate it down a little bit. So we've got this, so we get this hard shadow in the mouth, which is going to look better. So we go to its mix of its strong and out 150 numbered 0 go into your camera view. So this is looking fine actually. Next thing that we can do is make this plane a little bit more or a little bit in the rest of rough. So add a new material and make the base color maybe a little bit brighter. And JSON reference to maybe something like this. So now you can see that our points light is being artists actually spotlight is being reflected in the bottom right there. And that's not a problem, but I don't really like it. In this case, I'm going to select my point light and go to Object Properties, go to visibility, and I'm just going to turn off glossy. So there we go. Actually. Yes, it's possible. Okay. So what I was checking out was if you disable this glossy property, then it's also going to be disabled in order glossy surfaces, for example, in the ice. So if a turns on the end, it will be reflected in this eye, then the reflection of this point light would also be lost in the eye. So just so you know. So I'm going to turn this off and glossy. I'm going to select the plane that go to chase a roughness, a little bit less as well. And maybe change the color. I think brighter works better for some because she looks happy in this, at least in this scene. She looks up like this. Yeah. That's fine. All right. So I think we are pretty much done. This looks like summer, at least in my opinion. We made her in a T-pose, so we cooled easily at the student, for example, Mixamo to reoccur and add an animation. For now, I'm just going to keep it like this. Because I like the way this looks. And I think I've shown you plenty of things in this tutorial. We edit the hair particle systems and stuff like that. So we're just going to render this out. So I go to set everything. We have already set them shackles and GPU. So I'm going to set the sampling at, let's see, maybe to five-sixths, that's going to be fine. I always try to keep this in steps of what is it, 32, 16, 8, 64, 128, 256, 512, 1000, 24, and stuff like that. And we're going to enable adaptive sampling. And I might actually. I don't think I'm working in Blender 3100 anymore. I had to reopen the file and I think I opened this in my old Blender version. So let me quickly just try to reopen this in Blender treatments arrow. Just so you can follow me along with the Render Settings because it's a little bit different. So we have to open some rural Rick and Morty, go back into rendered view. Wait a second. All right, so now we are in and cycles x. So you can see the settings here a little bit different as well. So MC samples to 560 is fine. We don't want the noise to get. Everything else is fine. We don't have to worry about this anymore. So we can just render, render image. This should be done very, very quickly. Let me show you how psycho sex Brooks is just going to render everything in at the same time. So it's no longer going to render separate frames and stuff if you know what I mean. So there are no longer different tiles that the scrotum to be rent. So it's already done rendering. It rendered 20 ohms or 56 samples in 16 seconds, 15 seconds. So that's great. So I think we are pretty much done. We can try and make the air, it's more attached to summer. Let's just see how that works. So if you go into select our head and we go to the modifier properties and add a Boolean. And let's select our ears. And let's hit fast, and let's select Union. And now we go to the ears and let's see if it worked actually, because we have got a mirror network. So we're going to select our object summer Control a on the Boolean. Well, all right, never mind. We're not going to apply this. Actually. Can we apply this? Then our system is going to get a little bit messy because we're going to add a new vertexs and we're going to change this vertexs and then our hair particles are going crazy. So we're actually not going to Boolean this for now. So let's keep in mind for next time I want to do is we're going to add the Earth years first instead of later. But for now I think it's going to be fine. So we can actually go into edit mode a and rotate this a little bit more. So it just smooth this out a little bit more. Move it down a bit like this. That's fine. For the shirt. I note something in the rendered mode that it was a little bit too strong in the displacement map. So let's see. So you can see there's a lines and stuff. And I think that is because the displacement maps a little bit too strong. So what readings do is select this node group, right mouse edit group. Let's select our sorry, let's see. The standard normal map as well. Yes, it does. So it might also be the normal map that's too strong, selecting the hormone node group, rightmost edit group. So there is our normal map somewhere. Let me just try and find out how cost named this setup. So this is the automatic Material Editor. So it means we could try and change this to that this isn't going to work actually. What we're going to do is right mouse, button group, right mouse, edit group. Realistic look. So we can just go to our normal map or shift a search. Oh, excuse me, shift a search for non normal map and just swipe to say between and change strength through 0. See if that fixes the problem. Let's see, Let's compare it. Alright, so it fixes problems. So take a look at this point right there. So there are two strong lines. If we connect this one, then those streamlines are pretty much gone. So I think it was a normal map issue, not a displacement map issue. So we're just going to render it out like this. So render, render image. Let's see if it can beat the time. It did not. Alright. But anyway, this is the result of the render. Next up, we are just going to minimize this window and we're going to go to compositing regularly to go to use notes. We're going to go through this step right here. So the view layer properties, select de-noise, move this to the left or shift. A surge below is, swipe it in between and connect normal to normal and albedo, albedo. And let's see how that looks now. So it just de-noise everything and that's looking better. So there's no longer this grainy texture over our character anymore. So that's fine. So I think this is the end. We will wrap it up right here. I think is looking nice. This is summer from Rick and Morty. I hope you'll learn something about hair systems by really like to use it. So keep in mind that we did not add the hair strands right here, so we did not add the elastic bands in the hair. And that is simply because didn't really need it in this view port right here. So if you're going to use it for 3D stuff, then we obviously can add it. So let's press Shift a mesh. Let's just add a torus versus z. Z are widened 90, scale it down, move it to where it needs to be. G, z, G Zip, rotated a little bit, scale it down. Like so. I'm not sure what this is going to be. But it is going to be Lindy hair into shape, rightmost Shade Smooth. And we can make this some kind of a rubber material if you want. So I'm just going to make this really easy for rubber. 1 second. Just like one doesn't matter which one. Like this. And right now we're doing and what we can actually do is add another lights. Do we need another light? I'm just going to keep going is because with this, because there are always things that can be approved, we're just going to render it out and see how it looks. It should be done in about the same time. So let me come back when stone. Alright, so the render is done. We've got submarine place, the hair is looking. Good. De-noise a little bit. So if you increase the samples to 5, 12, then obviously there's hair strands are going to be more and more visible. But it doesn't matter for this one because it's an animated character and it looks nice. So we've got some nice big lighting through the hair so you can actually see that it's actually the hair and not a clump. And I think the skin looks alright. The close loop, fine. I think altogether it represents summer. You can judge for yourself, of course. For the boy, hope you learned something with particle systems and that it's very, very faint. The US, you can do a lot of stuff with them to make nice hair. And I hope altogether that you enjoyed this tutorial. So thank you so much for watching and I'll see you in the next one.