Intro to 3D Modeling: Create your first Character faces with emotion | EduCraft Ideas | Skillshare

Intro to 3D Modeling: Create your first Character faces with emotion

EduCraft Ideas, 3D Animation with your imagination!

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10 Lessons (44m)
    • 1. Introduction

    • 2. If you already know some Blender

    • 3. Lesson 2: interface

    • 4. Lesson 3: Adding objects

    • 5. Lesson: 4 Interacting with parts

    • 6. Lesson 5: What model to use

    • 7. Lesson 6: Mouth Posses

    • 8. Lesson 7: Eyebrow posses

    • 9. Lesson 8: Rendering

    • 10. Lesson 9: Final tweaks


About This Class

During this class, you'll learn how to use one of the most powerful and popular 3D software tools in the world.  It's called Blender 3D, and it's completely free!

If you've attempted to use Blender or some other program in the past and found it difficult, you've come to the right place.  In this class, we're going to focus on using shape keys to create facial expressions filled with emotions.  If you don't know what shape keys are, you're definitely in the right place.  You're going to start with a pre-made blender file so you don't have to focus on anything that doesn't relate to making faces.

If you'd like to learn how to make the teddy bear model we're using check out this class.  It'll show you step by step how to create this model, and if you're interested in the fundamental aspects of modeling and animation, check out my other class.  

At the end of the class, you'll be able to model cute, furry, characters from your own imagination.

This class does not assume any prior knowledge.  You simply need a reasonably up to date computer.  It can be Mac, PC, or Linux.

Start by downloading and installing Blender here.

Get Blender 2.80 Here


1. Introduction: this class is all about expression. I know you want a model, and I know you probably want to animate to, but mastering faces and emotions is one way we tell an engaging story for this class. Don't worry about creating. Instead of your model here, we're going to start with a ready made model you can just download. And if you're interested in creating the model from scratch, check out my other class where I go over step by step, how you can create the model you're looking at. Join me as I teach you how to take a simple model like this and just from a few different base positions. How to make all of these different expressions. I'll see you on the inside. 2. If you already know some Blender: If you are completely new to Blender, go ahead to the next video. Don't worry about anything, I'm saying. From this point on, if you are not new to Blender and you understand the interfaces and some of the rudimentary speakeasies, or if you have taken any of my classes before. Hint. Hint. I want you to go ahead and skip to the class that's called shape keys, so go ahead and skip to the class for shape keys. If you have taken a blender or understand blender abused under before or if you have taken one of my classes in the past, all right, let's get started. 3. Lesson 2: interface: This is the screen you see when you first open a blender. Now I'm using version and blender. That's 2.80 and it marks a pretty big difference between 2.79 and everything from before. So you're using 2.79 1st I strongly recommend you go ahead and download and install, but 2.80 is, after all, the future. And that's a once of things that you can do in 2.80 That's just playing cool that you can't quite do as easily in 2.79 So I highly recommend that you do 2.80 And if you don't, I recommend you look at some of my other classes where cover in depth, How to use Lender 2.79 So let's get started now. I want you to be able to get up and running as quickly as possible, so I'm not gonna cover every single thing you see. You could spend a lot of time trying to learn all of the ends and outs of blended because it's a very deep program. So the first thing that's really important for you to know is the three D report. This is everything that you'll do in three dimensions. You're modeling your sculpting your painting. If you're texture. Painting in some cases will be in the three D report. So this is a really important area, and that's everything in this region. The second thing that's really important to use or at least understand what it is, is this out liner over here. So the outline er has all of the objects that you can be found in your three D V port. So you can imagine if you had lots and lots of different cubes and objects of models over here. That might be hard to find, so you can look on this right side at the outline er and then see so everything can be organized in what they and what blender calls collections. And you can create your own collections by right clicking and selecting new. You can change the name of objects, for instance. I have this cube selected, and you can see over here that it's white, and that's how I know it's selected. If I want to change its name to Big Cube, for instance, I could certainly do that, and then I could search over here for Big Cube if I had lots of things and it would show me where it is. So this is a good place to try to interact with your scene. And when I say seeing I mean your collection of objects over here in from a name perspective instead of from a location perspective like you would in the three D report. The other thing that's really important to know about is this properties area and everything that you do with Blender that's not probably in the three d View port or in the Note editor, which I'm not gonna cover in this particular class, but which is kind of important will be over here in the property, so interacting with the materials. There's different modifiers for how things you can do to different models different interacting with the world settings and the lights. And all of that is over here and the properties, and that's pretty much it for what you have to be able to know to be able to do. Modeling in Blender aspires. The interface goes now. There's also some important preference changes. I personally think you shouldn't make. So in order to do that, go to the menu bar and go to edit. Under edit, Go to preferences and in preferences. You wanna want to go to the left side and could input. Now, if you do not have the three button mouse, I strongly recommend you get a three button mouse. But if you don't, you're gonna want to click this emulate three button mouse that's gonna allow you to use your mouse in a way that useful when you're using blender, the second thing you won't want to do. If you were on a laptop, it's quick. Emulate numb pad. Now when you are trying to look a different views, sometimes you want to look at the front view, the side view of the top view and blender that's on the num pat typically, and that's numb. Pat one. A numb pad three or number firing up at seven and you don't have access to be. You don't have access to the numb pad if you don't have a full keyboard like when you have a laptop. So clicking, emulate, keep word or emulate numb Paddison allow you to hit one at the top degree of the sea pings from the front view or the side view depending on whatever you clicked on. And the last thing that I personally recommend you do is here on the different kinds of inputs on the right side You go to three D view and this is a speaky that we're going to change. And I want you to school down until you see view selected right next to the two of you selected. They're both check. Keep them checked. You're gonna see control Numb Pat Zero and Numb. Sorry, Control, numb pad period and numb pad, period. So we're going to change that. It says, press any key. And I just did that by left clicking on it. I'm gonna hit the period on my keyboard and I'm gonna hit the period for the next one. And I show you precisely with this does as well. But it's gonna make our life Ah, lot easier. So from there I'm gonna cook, save preferences. And then I'm gonna close the window now to be able to see what I'm talking about. Let's say you have the cube and I wanted to be front views. So now on my name on my keyboard. I can quick one and that'll show me the front view. Three will show me the side view, and seven will throw me the top view now because I don't have a full keyboard and this is a laptop I couldn't normally do that. The other thing is being able to center the view immediately on the object you care about. So now I can just hit period. And it will censor, in my view is. So if I was working with the camera period a centrist view and it rotates about that object . So it's a good way when we have a club, that scene to pick what you're looking at, hit period, and now that's at the center of your scene, and you can work on it much easier. So I think those are all the in a base, things you need to know to get started, and I'll see you on the next one 4. Lesson 3: Adding objects: If you're gonna be doing any modeling, you're gonna have to add objects. So the easiest way to add an object is to hit shift A. Now I'm going to add a U this V here, and that's a sphere, and the reason you cannot see it is this because it's inside of this cubes, I'm gonna hit G that you already know how to do then X why? And that allows me to move that object. The other way to add an object is to go to add, and then I can pick mesh, for example. In this time I could pick a cylinder, and it's going to spawn right there that I g grab or why, and then moved to the side. Now the reason they keep warming inside of this cube is because that's where my three D cursor is. So if I put my three d cursor somewhere else and I say shift a and I pick Cube and that's where this cube will now appear, so that's how you add an object. The other way we interact with objects we mentioned this a little bit before is that we can select Vergis is which is over here lines like this and then also bases. And so if we hit a face and then we hit G for grab and then see, for example, we can move that face straight up in the Z, or I can go ahead and pick Vertex Select mode. I can selective Vertex, and then I Congrats, Z and also move it up or down. So that's how you slick bases or burgesses or lines and move objects in different ways. So now let's say that I wanted to select a loop of an object, so I'm gonna go ahead and get out of three D. Curse a modem back into the default mode, left click on the sphere. I'm gonna hit number, period to center it. At our view, I'm gonna hit Ault a to take all to un or de select everything. Now I say, I wanted to just select a kind of circular reason around here. In order to do that, I hit Ault and then I click right? Sometimes you have to quit more than once to get what you want, but but you can see here that I can select just this circle or loop selection So if I hit scale for s here, you can see that I'm scaling that entire region around. Now, if I wanted to change the entire thing, I want to make the entire thing bigger. I would still select everything and then it s for scale and that makes it bigger or smaller , depending on how I want to do that. Now let's say that I wanted to Onley skillet in one axes I would have s and then X. And now you can see that I'm Onley scaling it in the X and I can do that same trick that you learn before for holding it only to two particular axes Rep ahead s for scale and shift Z. Now it's gonna hold the Z the same the entire time. And I'm Onley scaling it in the X and why? The other thing you may want to do is to extrude different regions. So let's say that I wanted to extrude this little square out because I wanted it to look like, you know, I can't really even think of anything that would make me think of that. But let's say that I wanted to extrude this region there are a few ways you could do that. But the easiest win is to going to face a like mode. Select that face and you're gonna hit E for extrude. And that's just allows you to extrude that face directly out. So if I hit you for extrude, I can't do that. I can also go into the object so I can hit you for extrude here and I could hit de for extrude here and then I can be for extruding go into the object. I can also scale it so I can hit e for extrude and then I hit enter and then s for scale. I can make that face smaller and you can see that it's still on the face now. So if I had period Aiken center us on that and then I can grab and I can move it around. So that is how you extrude and how you scale. The next thing that really useful is Roop cut. So we talked about loop Select. But let's say you wanted to create a little. So the best way to do that is to do control, are And once you hit control are you can use middle mouse button to increase how many loops you're actually cutting into the into the objects. I'm using a cylinder here. If I wanted to create three loops, I would just do that. I'm just once again using that middle mouse button. Now. Once I left quick, I can slide them along the lines. Now let's say that I wanted them to be completely in the centre. Equally space. I would just hit escape. And now I have those Luke cuts. So if I go into Bir Tek Select, Modi hit all to to do the loop select. I can now select the different loops just like I did before, but then moves that I created. And I can also do the scale that we talked about before, and that gives me a different look. Now, hopefully, you're getting an idea of how you might create different shapes from being able to do extrusion, zins and scales, and moving different vergis ease around the next thing. That's probably one of the most important things for being able to make things look better . Is this set smooth? So sets move allows you to make an object that was really faceted and then make it smell. So it looks kind of strange when I put it on this, because this was a really sharp edge, Coptic. But I'm gonna go ahead and add a UV sphere. It's over here. And then I'm gonna g for grab ship Z cause I wanted to stay on the same plane and we're gonna move it where we can see it. Now I'm going to go to object. Shade smooth. So now if I look at this fear, you can see that it's very smooth. And now shades move. It's good. And if you're not used to doing Three Mile Island, you probably don't know this, but it doesn't cost us any computational power, so you can make it smooth without ever slowing down How long it's gonna take to render or how hard or how long it takes you to interact with this three report. You can imagine that if you had a world with lots of different burgesses, that this would eventually slow down, and it would be really toppy and hard to interact with. But when use shades smooth, that is not the case. Now, the last thing I want to show you and I'm just gonna scratch the surface of the modifiers. There are lots of different modifiers you can pick here. I'm just going to show you a couple. One of them is sub circus. Now I'm going to turn off the shades, move by going to shapes black so you can see it here. Now, this one on the right side that says view deals only with the view on the white on one of the right deals with the render and we'll talk a little bit more about rendered later. But if you increase this, you can see that it makes it seem like we have a lot more faces. Now, you can do this without actually changing the geometry. So you look close at it. It seems like we have many, many, many tiny little vergis ease. But in actuality, we only had some model. This this is one way to make things smoother, but it's not the most efficient all the time, because the computer does have to figure out what to do with all these Verdecia. So sometimes it is better to simply use shape smooth, then to use subsurface. I'm gonna go ahead and turn that off. The next thing that's really, really useful is the mirror modifier. Now the minimum a fire does exactly what it says it does, but you can't see it here because our object is centered. Not I go into edit mode, and I hit a grab Giefer Grab X, actually, why? And I move this to side and I make sure that it's shadowed or mirrored about the Y axis. You can see here that I now have two objects that are mirrored about its origin. So that's the important thing to know is that the objects are mirrored about their origin. Unless you decide to mirror it about something else, that's a more advanced option. But you can do that. You can mirror an object not with with respect to something other than its origin, but it could just doing the object alone. The origin is probably the easiest way to do it. 5. Lesson: 4 Interacting with parts: now, the next thing you're going to want to be able to do is move the individual parts of your objects. I'm gonna select my object, and I'm going to go from what I'm in now, which is object mode into edit mode. Now, on edit mode, I can actually make changes to the object. So I go over here and I said, like buried texts, select mode. And now I conflict these points. Now I can move them just the same by hitting G and X or Y or Z just the same. And I can do the same thing for the lines as faras selecting and moving. They all were the same. And I can go over here to face the like mode and do it much the same. So I'm gonna tab out of that and that takes me back to object mood. And that brings us to being able to rotate the object. So my head are I can now rotate the object now rule. Taming it like that wasn't that useful. But if I had rotate are her rotate Z? I shouldn't rotate it about the Z or if I hit our and X I can rotate it about the X and that holds also in edit mode when you doing either the Vergis E or the lines or the faces. Now let's say that I wanted to move this along a relative access, so if I had Z, you can see it moves relative to the global access. But if I wanted to move it relative to how it's been rotated, I hit Z again Or in this case I could hit X are hit x again, and that would also know in this case I didn't rotate it about the eggs. So that doesn't really make in changes, so you can rotate it globally by hitting our and then the access, or you can hit it. You can do it locally by hating Z, for example, and then Z again, which will do to the local access 6. Lesson 5: What model to use: So for this class, we're gonna go ahead and start with this model here. Now, if you're interested in creating this model from scratch, check out the description. There's a link to one of my other classes. You can certainly do that class, and you can create this model. But I'm completely providing this along with a reference file that allow you to see the different basis you can make. But we're gonna start here, and this is about what it's gonna look like when you open it up so you can start from here without having to do all the work. Or you can go and check out my other class, create this from scratch, and then we can start from there. And this is Blender 2.72 point 80 7. Lesson 6: Mouth Posses: Now let's give this character some faces. But before we really get into all the faces that we can give it, we're gonna have to do some housekeeping on our model Just a little bit, though. So a tab into edit mode by hitting Tab, you can see that we have the full head model here, but it'll But it'll be much easier when we do this. If we only have to do one side someone. I had B for bak selected. And when a select half the face, I'm gonna do that again so I can get half the nose. And once again, that's a B for Bak Select. I'm gonna make sure the whole thing is selected. I didn't get that little tip of the ear, but it looks like the whole left side of the face. So hit one for a front view. Let me turn on screen capture. So now if you look in the bottom of corner, you can see what I'm typing as well. So now you can see all of the left Verdecia Zehr selected. So I'm gonna hit X for delete and Vergis e I lost half my model. Don't worry, I meant to do that. So let's let's do what we did before by adding modifier. I'm gonna add the mirror modifier. So now you can see that our faces back. And if I hit Tab, you can also see that we only have half of the hair. And that's basically just because I mirror modifier is below the firm modifier. We up that Then we do get the hair back and just toe show you that again. If you move, the more a modifier up, you can see that we get that hair back on the entire body. And if we move the modifier all the way up to the top above sub Sechrest, we get a little bit better interaction as faras, the way the hair is pointed. Okay, so we did that. Now, if we tap into edit mode, we only have to deal with half of the face. The next thing is, we want to give our character some eyebrows, but we don't really have ah place for the eyebrows. So we're gonna do some Luke cuts in order to give him some eyebrows. I'm going to do Ah, Liu cut right above the eye and I had control are to do that, Luke. Cut. And I'm gonna place that just above the eye. And because I don't want the eyebrow to go all the way to the center of the baseline, hit control are again. And then move that in the center so that the eyebrow can stop a certain distance. Some hidden control G Sorry, double G. And that allows me to move the axes along the line that they're on that way. We don't really change any of the general yourself. I look at this, I see that his forehead is just a little bit square. Let's go ahead and fix that. I'm gonna use that same double G trick hit G. And if you look at the courtesy, they were right along the line. So now I took off some of that corner he had to his head. I'm going to do the same thing with this part here. I'm gonna hit double G, pulled back just a little bit to take care of some of those sharper edges on his head. And other than that, actually, you know what? Let's do that same thing for the back of his head. I'm gonna hit three to get into side view Double G again. And now the head is just a little bit rounder than it wa. So now I have this area here that I want to use for the eyebrow. And actually, you know what? Let's do one more look cut right here. And that was just to give us an edge toe t the eyebrows. That way it doesn't go too far to the edge of his head. So we have this area here for his eyebrows, and that looks absolutely perfect. So I'm gonna select that I went to base selectable, which is here on the upper left side I e for extrude. And then I pull out those eyebrows, and that is pretty much what we're going for there. I'm going to give them just a little bit of roundness by pulling by selecting the ones in the centre hitting G. And I'm just gonna eyeball them a little bit, pull him up just to give him just a little bit occur. I wanna go ahead and choose these ones on the end here, grab G for grab pulling down a little bit. Let us like the ones on the end. Giefer Grab Put him down a little bit. And I'm not hitting the axes afterwards because I'm more interested in just how it generally looks. I'm not trying to be super precise, so I am happy with that. Now we can go into actually making the faces. So in order to make faces, we're going to have to save was called shape keys. Now, if you go into the right panel, you want the object data panels looks called object data, and you'll see under Object Day that we have the shape keys and shake keys are a way for us to kind of control. Roll the location of particular Vergis, ease with sliders and you'll see exactly what I mean by that. We're gonna start with the mouth, so we're gonna do shape keys for the mouth. So when I say do shape the use for the mouth, what I'm saying is we're going to do different different orientations of Burgess sees different locations of courtesies for a single mesh. So right now we have the mouth being kind of like a smile, So I'm gonna let this be our starting point our basis. But I want to make the smile just a little bit bigger because is kind of kind of half smile . So I'm gonna grab I'm gonna hit Z because now I actually do. I want it to be straight up and I'm happy with that for the most part. So what I'm gonna do is go over to the shape he's, and it's important that sure, in object mode, I'm gonna hit. Plus, and now I have the basis. So it's what all the other faces are made of and probably would have made a little bit more sense for me to choose a straight face. But why not start with a smile being our basis? That's a good way to start a day. All right, so we have this face. Now, let's make another mouth face. Let's make a straight face. So I'm going to grab those same verses G for Grab Z to pull them straight down. And now I'm gonna go into fists, basil like mold by selecting those faces over there so that these on the bottom when they hit G for grab, I'm not going to hit a particular axes because I'm just gonna pull these straight up Now I'm getting some weirdness here in the center. And if I go over to my modifier menu and I look in the mirror modifier, I can see that I don't have clipping turned out clipping allows me, allows the center vergis ease to stay in the center and not crossover. So right now they open the lip. But if clipping is on, they typically won't cross over and the stay where they're supposed to be. So we won't get any redness happening at that region. And you see that we're not. That's not quite a completely closed mouth. So let's do that one more time we select these Verdecia is here. I'm even gonna select these on the side. I'm gonna hit G for grab. I'm gonna put up just a little bit more, and that's our straight face. But unfortunately, I made a mistake here. So now I inadvertently redefined basis. So unfortunately, we don't really have our original someone hit control Z Teoh under you re Did you find that hitting control Z is something that you do a lot when you don't do things perfectly. So I'm going to keep the smile like I did before I hit the plus keeper basis, Then I'm gonna hit the plus key again and I'm going to give it a name. I'm going to call it. Ah, normal. Call it flat lips. So we're gonna call it flat. Let's now, if I go into the model, I can create this flat this flat live based like I did before by lowering the corner of his mouth. Then I'm gonna go into base select mold by selecting that upper left hand icon hitting G for grabs. Iam gonna pull it straight up now. I'm gonna go back into Vertex. Select more because I want to grab just these very tape Verjee sees right here. I'm gonna hit cult A to de select everything. Then I hit G for grab after I've shift selected those and then I have what you can see is a smiley face again. So in this case, this is on purpose. So if I go over here to what lips, you can see that this slider is set to zero. So if I increase this slider, it goes to the mouth that we just created. So let's make a different face. So I'm gonna hit plus because I want to make sure that we keep all of the faces that we make. The next face we're going to do is a sad face. So sad based. I'm gonna tab into edit moan first I'm gonna call key to I'm gonna call that sad stat What's call its head lips? Because, really, we're just talking about the lives here. So for sad lips, what I want to do, they want to grab that corner of the mouth, make sure that whole thing is selected. I'm gonna grab Z, and I wanna pull it down. All right, Now it looks kind of weird. Not quite sad. Based, Not quite angry face either. Something grabbed the center, grab Z and pull that up. I'm gonna grab some more bird deceives, because now he's got this weird Clift palette thing going on, Some to say G z bring it up. I'm also going to bring the bottom lips up, grabs e the next one grabs e. And basically, I'm just trying to make this look right. So I want to make sure that all of the lips lines are kind of lined up. At least for this. We want them to be lined up, and I'm gonna do that here as well. I'll go ahead and speed this part up. That way you don't have to see me just move around, Bergessio. Because as you're doing this yourself, you're obviously doing the same thing. And there we go. So we have it set to be kind of a sad face. I would say that's a pretty sad face and that's for a sad lips tab out of this again we get the happy face. But if we take this slider over, it becomes our step face. So let's add just one more face. You'd be surprised what you can do with just a few mouth faces. Let's give him an O face. So we're just gonna call those old lips? I'm gonna tab into edit mode again. And now I'm gonna go ahead and create this old face similar to before grabs E I didn't get them all, and I'm just moving these very disease. There you go. There is our old face. So we have the old face. We have sad lips, we have flat lips and our basis is basically a smile. So if I can use this sire. You see, we go from kind of happy to, Oh, anybody who's watched the regular show knows what I'm talking about. 8. Lesson 7: Eyebrow posses: All right, here we go. Let now do the eyebrows so the eyebrows really only have two. I only have two particular areas or to particular orientations we're going to do. And that's eyebrows up. The sensor up and eyebrows the center down because we already have the neutral. And there are, of course, other things we could do. But just with these, we can do a lot of interesting faces. So if I hit the plus key now, I'm gonna say I browse. Uh, So what's happening to edit Mo now? I can select these eyebrows, and the first thing I'm gonna do here is I'm just going to rotate him. Really? I just rotate it from here. You can see that I have that look that I wanted. So if I take be slider and move it over Yep. That's exactly what I'm looking for. Now I only have one more to do. I'm gonna go back Teoh basis. I'm gonna hit the plus. Actually, I'm gonna take the slider and slide it all the way back down. So we start with the normal just basis tab to get into edit mode. And now I'm going to do the angry face. So I'm gonna hit one to be in front of you are or rotate and it's okay if it covers that I just a little bit That's not really a problem. And yes, that is that angry face we were hoping to go for. However, we forgot we forgot again. Teoh at first add the shape. So I hit the plus sign and this is eyes and I'm just gonna say eyes mad. So I tab back to get into edit mode. I'm in the front view. I are to rotate in front of you and now I have those mad eyebrows. So if I goto eyes mad the slider for that Now I have those mad eyes. So this is the really cool thing, Right? Until now, there's a different base for every combination of these. So if I say flat lips with eyes mad so I just go into that slider and increasing I get a different base. Then we did for turning this down and then having a smile. So now he's got the angry eyes, but he's got this devious little smile. I could also give the angry eyes and then do the sad lips. Now he looks kind of power in kind of pouty, so I could take the sad lips out. I can give him the office, and now he looks like he's saying, Oh, you won't bite me. And then from there I could take the eyebrows from mad and then put them up into Now he looks a lot more afraid. So there are so many different variations you can do with just this. You can also mix them so I have the old face. Actually, let's go to Let's take out. We have flat lips turned off. We have the old base. Let's take the turn, the old face all the way down, turn sad lips, uh, and then turn flat lips all the way up. And it closes the mouth so you can because they're sliders here and they're all variations on the same general mesh. You can mix them together, right? So I have those two up. I can Now what happens if I increase the old base? Oh, you're something crazy. Let's not do that. Um, I can change the eyebrows. Take him down. Now, if I make them mad, we get a completely different way So you can imagine all the different faces that you can create when you have something like this, 9. Lesson 8: Rendering: So let's go ahead and render this interesting face that we just made. So the first thing I'm gonna do is in view. I'm gonna make sure lock camera to view is checked, but probably this doesn't look like this to you. So the first thing you want to hit zero to put you in camera view mode. Then you hit you check lock camera to view. If you don't have this panel, it may look closed. All you have to do is hit this plus keep and that will open this up. You click lock camera to view. This will allow you to move the scene around through the eyes of the camera. So now I can get that perfect shot. I can get him looking directly at the camera, looking slightly to the side. But you know what? I love it when he was looking right at the camera. So now this is all set are for is all set up from the last class. Not if you're interested in knowing exactly how to create that bird. Please check out my last class and goes through all of that detail by detail. Now that this is all set All I need to do is render it and I don't really need to do anything to special because this is just a render, not an animation. But we don't want to do e v rendering. And that's because the E V engine doesn't do as well with for as the cycles engine. So we're gonna do cycles. We're going to click that GPU device for rendering if you can. I'm gonna leave this at 10 right now because it turns out this looks reasonably good for me with 10. As long as everything else is set to be normal, you don't have to worry about where this is going to save, because after it's rendered, you can just do save as aunt directly on the render. So this looks okay. I also want to see the expect ratio. So right now I'm set up from 1920 by 10. 80 and that is perfectly fine. I'm gonna down mine to 50% because I'm not really going to do anything with this particular version. I'm not sending it to Instagram or Facebook, but if you want to put yours out there and you want it to be the full 1920 by 10. 80. Right now, my will only be half. But if you want that full 1920 by 10. 80 please do it at 50%. But it will take longer surrender. So right now everything is on set. I'm gonna hit F 12 to render, and now you're gonna see it under. I'm gonna speed this up. So there you have it. Our model has finished rendering and we have our angry 10. Lesson 9: Final tweaks: bear. Now, this is fine. I'm gonna leave it here, but just to give you an idea of some things you can change right now, you can tell that the right side of the face is a little bit light. That just has to do with how the light is hitting the base. And which part of the hairs air kind of showing There are lots of things you can do. I'm not gonna go specifically into it, but I encourage you to look it up. You can definitely rush and lay the hair in different places. I really wanted you to just get an idea of how to do the faces here. I'm the other thing you can do. First of all, let me show you how to save it. So image save as or save a copy will allow you to save the image on your computer wherever you like it. Please do that and upload it so I can see. But back to how you could make it slightly better. I'm gonna go ahead and uncheck la camera to view and you can see that the hairs on the side of his face our face different than the hair, the hairs on the right side of his face, or kind of based differently than the hairs on the left side of the face. And you? Of course, you can fix that by combing the hair in different directions. And if you select the face you can see under select one of those particles edit with this little comb, feel free to work with that. It's actually pretty self explanatory. Um, however, it can be slow, and it's not really the focus of what I wanted to do today. The other thing. You can do it pure render isn't looking absolutely the way you wanted to, and it's a little grainy. First thing you can do is make sure that Denoix Zing is checked. So that's under this here view layer, and you want to make sure Denoix Zing ISS check that will help with some of the graininess . The other thing you can do if there's a little bit too much graininess, and if you're using the D noise, there are a lot of times they'll be like blotchy shadows so you can just increase the performance. So the number of cycles that get run so that is located under sampling. Right here. Sorry, that took a minute. You can increase this to I've done as much as 150. I think more than that for me. I have not gotten Inc an increase in quality. You might actually not get in increasing quality of much over 100. But I know for me at the highest I've ever gone for something like this is 150. Try it for your triumph for yourself. But, you know, it's gonna take much longer the longer the more samples that you have. So I'm super duper excited to see whatever it is you may whatever bases you can get your a bear to do. Please upload them. I'd like to see lots of different projects with lots of different faces. See you on the next one.