Transcripts
1. Introduction: What's up my blender family. If you are here,
you probably are new to modeling and you know, it's better to start
small, then start cubed. That's why we're going to
cover everything you need to know to start making
simple, cute cat, unless basic characters
are awesome, if you want to do an animation
or create a video game, you probably want
to make characters. Now we've done lots
of characters before, everything from
Western characters to Rick and Morty characters. But those models are kind of complicated when it
comes down to it. But if you want to start off
by making cute versions of your favorite characters like this when you're in
the right place. In this class, we'll
cover how to take a photo reference and create a stylized, simple
character front. We're going to cover lots
of different kinds of modeling techniques and even some bonus ones
you use to make Dr. activists and tentacles
and venoms teeth and without any further ado,
here's your teacher. Hello everyone and welcome
to this Blender tutorial. I am Nino and time working with William and Edward Craft ideas. Today we're going to make a nice stylized
version of Spider-Man. And we're not going to add too much details
because we wanted to keep it nice and simple
and nice and stylized.
2. Getting up to speed: If you are completely
new to Blender, I recommend you take my
everything you need to know about animation in five-minutes and how to get started class. I know it's the same list plug, but it really will help. So in this class, I talked
generally about how animation works if you're
not interested in that, no problem, just click on the Getting Started
part of this class. It's only about 12 minutes long and it will make your
class experience for any, for any of the other
classes more enjoyable. Now to get to it, there will be a link in the description. So all you have to do is click on that and you
will have access. Good luck.
3. Making the main body: We're going to start by deleting this default cube regards to go to Edit and Preferences because we need to set
something up first. Go to Add-ons and
search for extra. Just enable edit
mesh, extra objects, hit this little box and press
menu and safe preferences. There we go, close this window, and now we can actually
press Shift a at a mesh and it's a round cube. There we go. The settings box real quick and set
the radius to one. There we go. So now
we've got a nice sphere. And the reason why
we're not just adding a UV sphere like
this one is because this geometry is just a little
bit better for what we're doing to make. In a UV sphere. Those vertex is right
there on the top. Those faces are not quads. And overall the geometry is just a little bit of a sphere, at least four
character creation. This one works a
little bit better. So we're going to
add a modifier and at subdivision and just
set it to true for now. We can always change that later. Precedent, but three or
one, whatever you'd like. I'm going to press number
three because I wanted to have the y-axis in the, let's say the
landscape direction. Just because I'm used to that. And I'm going to press
Tab precedent and one on my keywords enable X-ray
right here on the top corner. And select this whole right
side, delete a vertex. Alright, now at a mirror
modifier, there we go, set this to y and move this in front of the
subdivision modifier. And now we've got a
nice mirrored sphere. Right? So this is
what we're going to use to create a character. We're going to
press Tab and we're just going to make the shape of the character
before we're going to worry about the
materials, the colors, and the texture of
Spider-Man refers to one to create our nice base
model for the character. Okay, so we're going
to press G and Z. And actually let me see, we're going to enable
brush no editing. So first it's right there,
this little button. And it means that we can use a vertex to move the
vertices around with it. If you press G, Now for example, you've got this nice
circle in your screen. And that basically defines
the radius of the amount of vertexes that will move with your selected vertex,
if that makes sense. So we're going to
select this top one and this bottom one
by holding Shift and press S. And bridges guns kill this whole face up a
little bit like so. So make your portion of
Ed's two nice and big. I'm going to select
this one and this one, and just press G and Y. Move that to the
side a little bit. Make sure your
proportion of adding two is down a little bit. So you don't move this
whole inside edge. You can also enable clipping
in your mirror modifier. Just this makes sure that
we can move this further to the right than where the
mirror modify starts. So we've got this head shape
right now. Respiratory tab. And let's see, do we
want to change anything? We can select those
to really shift and press G and move
that up a little bit. Like so. I think for now this is
going to be fine, right? So let's worry about
the body next. We want pretty much the same, the same kind of work that
we just did for the head. So we're going to press Shift a. We're going to press mesh. And round cube. There we go. It is going to be the same
settings as the previous one. And we're going to hold shift
and select the first one. Press Control L on your keyboard and press Copy
modifiers. There we go. So now our new sphere
is all set up. Actually it is not quite
right for some reason. Alright, let's move the
subdivision modifier in front of the mirror modifier
for both of our pieces. Actually. Alright, that's a little bit odd, doesn't matter. It's probably because
we didn't remove the right side of
this sphere yet. So we're going to press Tab, press one and select
this right side. Press Delete vertex. Is, there we go. Now we move the mirror
in front of the stuff. That should be fine. Okay. So let's select our
body, breast, Jesus. And I'm just going to
move that up right here. We're going to press
Tab personally, but three, and we're going to scale the body to
how we want it. So I'm going to select this
bottom vertex plus g, z. And just move that down
a little bit without selecting or without moving the top part,
something like this. I'm going to press S and Y. I just scale the body like this. That's looking fine. Press S and X and do the same
thing for the x-axis. Something like this. Beautiful art press Tab. I like those proportions. I like the character references. A little bit of a big
head does look fine. So select the body, press tab. And let's see what
has to happen next. So before we create the neck, we're just going to grade
everything that we can mirror, like the arms, for example. But before we do this, a which should probably think about how to make those arms. And I just wanted to
have them sticking on the sides
downwards like that. So what we're actually
going to do is create a new object. And we're going to make this one probably a rounded cubes. Well, where is it? Mesh? Round cube. There we go. Just move that skill with
a little bit like this. I'm going to move it to where
I want the arm to start. So pretty much there. Now we're just going to
shape this the way we want. Alright? And actually, I'm not
quite sure if this is the way I'm going to delete this object and I'm
going to select my body. I'm just going to create
my arms out of this body, which should be a little bit harder maybe because we
don't have separate objects, but I think we could be fine. So we're going to delete
this vertex right here. Delete vertex. I'm going to press two and
double-click on this edge, right mouse, look
tools and circle. So now it is nice. Circle. I'm not sure why it's so weird. They're all twisting
a little bit. So let's see if we can twist
this back a little bit. Just custom. Yeah, that should be fine. Alright, so now we've got
our nice start of the armor. Think it is a little bit big, so let's kill this down. Something like that. That
is looking beautiful. Like so we can even move this
up a little bit like that. Alright, so let's extrude this because we want to
have some shoulders. So we're going to press E, extrude and we're just
going to rotate this right away and scale it
down a little bit. So this part is going
to be shoulder. We want us to turn down, so RMS to go there. So what we're going to
do is just extrude this, rotate, this skill, this. So just try and make
the twist the arm. We're going to have
to do some custom and moving and scaling. Breast g, z, and y. Those are all the
buttons that we need. E. Short this down. Let's first just create the
upper arm until the elbow. And I want us to actually
move out a little bit so that it looks like
it is getting a little bit thicker like this. And press E Once again. Like so, press kill,
something like that. Then we can press R, rotate this a little bit,
maybe scale it down. Just a little bit. Double-click on this edge loop. You can see that it clips
into the body a little bit. So let's move that out
slightly like this. We can move this one
in slightly like so. That is looking beautiful
and we can extrapolate this one more time for
the hands, so to speak. Rotate this, maybe scale
it up a little bit. Let's press M and
merge and center. There we go. We can move this up just a little bit so it gets
a little bit more rounded. And then we can press, or, sorry, we can hold, Shift, double-click on the edge loop
right above that vertex, and just move that
down a little bit. So our arms a little bit longer
because I like long arms. All right, scale it
up a little bit. Good being nice to
scale this up and the x axis a little
bit more as well. Same thing for this
edge loop right here on the arm, the elbow. Let's double-click on
that and press S and x. Something like this.
I quite like this. Alright. I've gone through S out of just something
I do regularity. Remember to save your
file before it gets lost. And let's call this Spider-Man. But let's just call this
stylized character body because we can always use
this again in the future. Alright, so let's
press Enter three. I don't quite like how the
shoulders are sticking out. So I'm going to select this one and enabled
proportional editing to write their British G.
Move this down a little bit, so it's a little bit less big. Just move that to
the body like that. Let's move this one
up a little bit. I want it to be one smooth
motion with the arms. Just like death. That's looking quite alright. Okay, so now we've got our arms. Next thing, we need legs. So select your body once again. And for the legs, we're
pretty much going to use these three
phases right here. So let's turn off x-ray for now. We don't need it. I want this whole part become the leg
of course is just too big, so we're just going
to press I to insert that to about there. I think that's a nice
size to start off with a right mouse,
look tools circle. So there is our
circle once again. We can try and rotate it again. It is weird. Why does that? So for like this, that's fine. It doesn't really matter. But I just like to
keep my geometry nice. So let's extrude this down. Alright, so that's
outward with a start. I guess. Something we can actually
do is extrude this first. Sorry, I think we
have from duplicate, duplicate its edge loops now. So press control Z a few times, unless you see that shadow
change right there, if you have the same issue. So press E, that
oppressed S is 0. There we go. Now we've
got a nice circle, or at least it is lips, but we can press S
and Y to fix that. So just kill it out
a little bit until your cross-section
looks like a circle, like this person number three. And now we've got those
starting points of the legs. And I'm just going to
move this one down. Plus genes that, move that down to where the nice would be. Let's see, we don't
want the legs to be too long.
Something like this. I press V and Z one more time. Something like that. I think that's a nice
length for the legs. Are going to preschool
through R and add an edge loop right
here just to move this close to the body so our edge
is a little bit stronger. Alright, so you can
actually see where the leg start and where the body ends. We can actually do the
same thing for the arms. So select your body per step. And we could try and actually do we want it
for the arms we can write. So we add an edge
loop right there and move it all the
way to the right. And we can scale this
down just like this. So I just made my proportional
to very small like this. We have to decrease this
one a little bit as well, so that we can
actually see where the arms are coming out. It looks quite alright. Alright, so this
is the main body. Now we have to worry
about the neck, so we have to connect
our body to our head. So let's select both of them by holding Shift and press tab. And let's see if
there's anything we can easily join together
and there actually is. But before we go into this, we're going to apply both
of the mirror modifiers. So let's do Control a on
that mirror modifier to the same thing for the body of your mouse over it
and press Control a. There we go. Now select
both of them and press, we can actually
join them together. So press Control J. Now this is one object
and I'll press Tab. And now let's just
join them together in a way that we feel like is nice. So first things first I'm
going to delete both of those top vertexes,
delete vertexes. So now we've got a hole
in our head in her body. And the easiest way to just join is double-click this edge
loops and this one as well. Right mouse, loop tools circle, and then just press right mouse. And there should be an
option called Let's see, bridge edge loop there and
this bridge edge loops. Now we're going to Nick,
what I'm going to do though, is scale this down just a little bit and press S and Z skill
it's a little bit open. What is that? X is. Press Control R
as crawl up once. So you've got two edge loops,
left-click and escape. Press S and Z. I
just killed it up. So you've got some nice
hard corners right there. So this is our neck. Now, that's looking fine. We could even dissolve
this bottom edge loop. So double-click and edge,
sorry, in edit mode, right mouse and select
dissolve edges. There we go. So now it moves smoothly
through the body. But you've got this nice
heart condition to the head. Beautiful. So this
is our main body.
4. Adding the texture: This is what we're
going to work with. Alright, so first things first, we are going to need to see
what Spiderman looks like. And that's going to
be quite interesting. So what we're going
to do is press Shift a and which reference, and I've already downloaded
the reference image, your average dimension
will be attached as well. I'm using this one, so press G and X. And like I said, you can find yours in the
description somewhere. We're going to scale this. So press S and scale,
press G at the next, move it away a little bit, just so it does not in the way. And this is what supplying
them, it looks like. The interesting part is that
the suit is quite hard. So you see all those
webbing parts right there. Those are pretty hard to make in let's say a quick way or
let's say a stylized way, because you've got
those round webs, it doesn't match to geometry. So usually what you
will do is paint this on a texture and then place it on a
body with UV and reps. But it's going to be
way too much work for a stylized model like this. So what are we going to do is actually find a little
bit of a workaround. And I think I found one. I think we just made a geometry that works
for that quiet. Alright, and that's exactly why we should use those
rounded cubes. The geometry is just way better. So you can see that when I
select my body and press tab, you can see that
those lines go quiet. Well, not completely,
but they go into similar direction as
Spiderman suit, right? So you can see those webinars
as faces on pyramids body. So what we're going to do, Brit, I'm going to make this
hard webbing in front. We could make that maybe if we scale this down, Let's see. It's not going to be nice. So we're just going
to do is create this webbing with the geometry
that we have right now. And I will show you
how in just a second. First, we need to define where
it's webbing needs to be. And we're just going to roughly match this shape right here. Alright, So we're going to
press Tab to select all of the phases that we need to create this nice texture, right? So I wanted to connect or think right here to where
the shoulder stars, I don't I'm not going to
take this one into account. For now. It's going
to be too difficult. So this is going to
be blue, blue, blue. All right, What else? I think we're going to
make this one blue. This one blue. Let's see here. This one is one, this one, this one. This one. There's one. There's one. I just tried to follow
me on this one. I am just selecting a random
things that I want to make blue without making
it too difficult. Like this. And I'm actually going
to take this one as well because I just like that. So that is something that we need on the
other side as well. So we're going to do, is, I should have done this a little bit different, but it's alright, so we're going to select the same things on
the other side, hold Shift and just
double-click and hold Shift and just select
what you need to select. In order to create
that blue base. This one or this one. I think we had this
whole thing as well. Like that. Alright, so this is
going to be blue and the parents is pretty
much going to Blue. Going to be blue up to the point where the shin
pretty much starts. I'll be loading the
cytokines do is hold Shift and just double-click that right there at double-click one, sorry, double-click
that one as well. Let's should be blue, and actually it should be
blue up to about there. So let's see what
happens if we add an edge loop here that's going to mess around
a little bit. What we're just going to do is add an edge loop right here. First of all, let's go to
the object data properties. Let's go to the
preferred age group. It a plus sign and
hit assignment. So now we've got those phases assigned to a vertex
group. So that's perfect. Now, when you hit Tab or
select something else, we can always select
this group by hitting the Select button
right there, right? So what we're going to do is
add an edge loop right here. Like so. This is going to be where
the pens start looking fine. We're going to press tab. We're going to hit
select on that group. And we're going to select
this one and this is one. And the reason why I
select this is just due to look what is selected that
doesn't need to be selected. So I want this red line right
there to be red, not blue. So I'm going to
select these two and I'm going to hit
Remove the group. So now those two vertexes are going to be removed
from the group. I'm sorry, There's two phases. And actually those two are deleted as well
for some reason. So we're going to
select that group. And we're going to hit Assign once again with
those to select it. We're going to select this one. This one, this one is
still on that one and had to remove it,
select our group. Alright, we also need to delete this one, so I had to remove. And I'll just select your
group once again and select everything that you need that had just been deleted. So this is pretty much
what I want to make blue. So go ahead and assign that. Once again, There's a
little bit of a hassle. Especially when you have geometry removed
from the group ends. When you have dermatology
want to add to the group is always going to be
limited by hassle. But right now we've got the
right geometry selected. The group and we can
start making the pads, or sorry, the blue parts. So now when we add a new window, so go into the top right where this little cross icon appears. Left-click and drag
this to the left. And let's set up this
window to shader editor. And let's go to rendered
view in the left window, select this button right there, viewport shading.
Right now it is an EV. I'm going to go to
my Render Settings. Random properties are
going to change this to cycles and I'm going to
set my device at GPU, because my GPU is a lot faster. I want to right mouse model and select Shade
Smooth. There we go. We've got one hard
edge and that's where the paint starts, so I'm totally fine with it. It's actually adds
some nice geometry. And right now, we're going
to go to shape this. So click your character. It's the new material. And let's change
the base color of our Spider-Man to read
something like this, it may be a little bit to
red. It's totally fine. We can find the right
color in just a second. Alright. Just
something like this. It doesn't really matter, but
it's also because a light that's probably
not bright enough. So this is red. We want that border
color blue to appear on the spots that
we just edit, right? So what we're going
to do is go to the Material tab right
there, hit plus. It knew, there we go. Then we go to the
object data properties. We're going to press tab in
the left window on our model. It is still selected, but if
it isn't selected for you, you can hit select right there. Then it is selected and
go to your material, select the second
one and hit Assign. It is now blue. We want that to be, sorry, it is not white,
we want it to be blue. So we're going to set this
color to blue and a little bit darker and a little bit
less saturated as well. Something like this is
actually looking great.
5. Creating suit details: Next up we want to create
that Spider-Man wedding. So to create this, we need to think a little bit about how we make those lines. Right there they
are black. I know another Spiderman suit where
they are actually geometry. And that's what we're
going to use right now. So what we're going to do is
press tab on our spider guy, click away, select it, press a, and select, de-select. Alright, so for some reason, just not selecting everything. So we're going to
have to add some of the phases manually. Right now. I'm going to press three
and I'm going to press Shift D Escape selection. So now we've got this suit
part as a different object. As you can see that
one too much face and just delete that an
edit mode. There we go. I went to press Tab and
I'm going to actually double-click this edge
loop right there. Hold shift and double-click
this one as well. This one, this one. Double-click, Double-click,
Double-click. Alright, so right mouse and
dissolve, dissolve, Dissolve. Where is dissolved?
This OHs, there we go. Now it looks a little bit
different than our suit, but that's certainly fine. Because what we just want to do is select those
vertex right here. And let's press G and Z. Like this. Press G and X and move them
out a little bit like this. That's fine for now. So
before we do anything else, we want to see how this looks
with actually wireframe. So with those lemmings. So what we're going
to do is go to the modify properties and
Brigham to add a modifier. And we are going to
add a wireframe. Alright, so right now it is
a little bit too big, right? So what we can do is actually set this subdivision
modifier to maybe one. That's already
looking way better. Maybe we don't even need. Alright, so it's looking
a little bit weird. So we want at least one thing. And now we can
actually try and add a shrink wrap
modifier like this. And we want to target
to be this body. Alright, so that's fine. We are going to try and move this in rooms of different modifiers and we're just going
to add the offset. A little bit more like that. That's looking great.
I'm going to press tab. And you can see that it
doesn't work at all points. And that is because we've
got differences in where the points are compared to where the shrink wrap object is. So for example, these
points are on the outside if we had tapped on the outside of the mesh and these
are on the inside. So that means that
when we offset the wireframe modifier or
sorry the shrink wrap, these points are going
to be moved outwards. At these points
are going to move inwards because those are
already inside the measure. We're going to
have to move those points outside of the mesh. Something like this. And that one as well. Just, just move it
outside a little bit. That's looking great. We can always increase the
offset a little bit more. It's still not completely right. Maybe the HSS to be and I'll spell it out a little
bit more. It is okay. We can fix everything. Something like this.
It's looking fine. You can always make some
tweaks and the amore. For example, if you
think this should be a little bit
more to the right, you just move it a little
bit, pull to the right. Like so you can do the same
thing for the right side, or you can simply
enable the mirror mode, which should be
somewhere on the site. There it is. So go into
edit mode and we can select the y symmetry. So when we move this one, the right one will move as well. So that one, absolutely. Great. This inner wheel of bits
move this down a little bit. This one. So that's looking fine. Maybe move this one in
a little bit like this, and maybe move this
one up a little bit. Let's enable X-Ray mode for now. Because what to see what
is inside of our mesh. Alright, so we might have
to scale this whole neck part up a little bit, right? Just select the whole loop. You may have to double-click
a little bit more. That is because we Use
the circle Loop tool. That's just, it is not a loop
anymore for some reason. So we're going to press S and
scale this up a little bit. Just so that webbing is
now outside of our mesh. Same thing we can do here. This is pretty much
all outside of our mesh because we
don't have the wife. Sir. We don't have the
superficial same level. If we have that on
the same level, we wouldn't really
have the problem. We can fix that by simply moving some points
outside surface. Like so. Same thing for, let's see this one. With that out a little bit. Maybe even more. So it doesn't really matter
how far you go because we have that shrink
wrap modifier, which is pretty
much just going to move the points
back to the mesh. So the only thing
that we need to do is make sure that those points are outside of our mesh, right? So how far doesn't matter,
don't worry about that. It will move back. Alright, so I think
this is fine for now. Those arms could use
a little bit of work. We could even add a new
edge loop right there. That's looking great. And
maybe move this out a little bit like that one as
well. Looking great. So now we've got that
webbing setup and we can actually make
this a new material. So let's delete both of those. Hit plus it new. And let's make this
black like that. That's already looking great. And we can even tweak
this a little bit by may be decreasing the thickness on the wireframe a little bit. Maybe even more,
wireframe thickness down. We can even play with the offset of that one a little bit. Move it maybe in a bit. So I think that's
looking at dope. The head is not looking
at Chris. Let's see. Let's not move it in too much in that case. Maybe
something like that. Alright, so I think
that is fine. Let's try and focus on, let's see, the ice now.
6. Making mask details: The eyes, the eyes, the eyes, those are something different. So let's dig a little bit
of a shortcut on this one. We're going to press
Shift a mesh polling, press G and move it
out a little bit. Let's go back to
object mode for now. Press R, Y 90. Scale this down.
Person who by three. Let's make the I
scale this down. Move that to the
side a little bit. And let's press Tab. So we're going to try
and recreate that. Actually, we can do it even easier if we do this,
scale that down. Let's do bulk editing tool. And now we're just going
to make the eye shape. Just like verdict. Just move them around. Make sure that you
maintain a debt ratio. So you have four
points for each phase. And now just select
an edge I press Control and right-click
to extrude them out. Press S to scale them and
R to rotate it like so. And just tries to get at that eye shape a little bit down. Something like this.
For the final one, we can just merge this
point at the center. So press M and just merge
and center that we go. That's looking beautiful. Does an I. Now add a modifier, subdivision modifier and
set this to maybe two. Right, So that is
our initial shape. Let's see how that
looks on our character. Not too bad. Actually. We can add some new geometry if we think that is necessary. For example, if we think we need a bit of a sharper corner, we can make that happen. Like so. That's looking fine
with that too, the size and scale it
down a little bit. So this is Spider Man I. It is of course not
located near the body, but we can fix this with
the shrink wrap as well. So press G and X
and move that is close to the face as possible. Even rotate this around
the z axis, r and z. It's just so every point is as close to your face as possible. And then just add
modified your rink. A rep aware is to shrink
wrapped by never. I've never able to
find it there it is, shrink wrap and just
add the round cube. The first object we created that we could just add
a little bit of an offset, moved it out. So make sure that it is just
outside of our wireframe. There we go, right
mouse to shade smooth. And you can still tweak some of the shapes if you're
thinking is too small, you can just move this
out a little bit. Move this out a
little bit as well. Something like this. Maybe move this
one out like that. Or we can always try and move
to shrink wrap in front of our ship diff that can sometimes make it look
a little bit better. Then of course you have to
make the offset a little bit bigger as well for
some occasions. So you may notice that now it is too much outside
of your face, which is totally fine. Because you are almost never
really going to see that. And you can always move it back, or we can do is just
move it to about there. Edmodo fire, solidify and add a solidify modifier
just before your life. There. And I just increase the thickness until
all of it disappears. There we go. Nice and beautiful. So that is an I of Spiderman. If you want to create
the black and whites, we can make this
initial material. So go to Materials hidden, you make this black, just completely black for now. And now we want that insight to be white so we can hit tab. And we should be able to just duplicate this. Scale
it a little bit. Let's see. Let's go even
more. Something like this. And what we can do now is
just going to modifiers and offset this wireframe a little bit more, or
sorry to shrink wrap. And now it is just a little bump or sorry, that's a
little bit too much. Maybe. Like this should be fine. For the top part that
we might actually, I think I just actually resembling its
vitamin quite nice, quite nicely. So select it. Go to Materials. Hit this little button
right here. New material. It's still black. So
now make it white. They would go right, right mouse set origin, origin to 3D cursor
to the same thing for the outside
origin to 3D cursor. Now add a modifier
and at a mirror, Mirror, mirror,
mirror there it is, Jason from x to y. The press Control a, something
doesn't work. There we go. Now, you can see that once
you apply the modifier, the other modifiers are
going to look a little weird and it's because
we apply the skill. So before we apply
that modifier, we're first going to apply the orders so the shrink
wrap to solidify, deceptive and then mirror and not yet first applied skill. And all transforms by pressing
Control a all-trans forms. There we go. Now you
can apply a mirror, but that doesn't really
need to be done. So for the inside of the
eye to the same thing, apply all the modifiers except the mirror or we don't even have a mirror
yet, so that's fine. Now at a mirror set as to why
go into your left screen, press Control a and
apply all transforms. There we go. So
now let's see what this looks like in rendered few. That's a nice little Spider-Man. Pop it right there.
7. Scenography and main lighting: I don't really like
the environment yet, so we can change that for sure. So let's see how we're
going to do that. We're going to delete this
background image first. We're going to press Shift a mesh prolene
residues that move this down to about
where the legs start are the fees that
we go scale this up. Just like this. Let's pertinent but 0 and select our camera or Shift F and
just move your camera to a place that is a little bit more or a little bit better
for the final render. So maybe something like this, maybe a little bit more to
the grounds, could be cool. Like so. Alright, so I'm going to
select my point light. I don't really like
it, so I'm going to set this to an area light brisk G and just
move this, rotate this. I think I want to have a little bit of a back-light,
something like that. R and z move that a little bit, rotated to your Spiderman. Are. Let's increase the
size a little bit. So instead of a rectangle, I want this to be square
the goods or increase the size just so that shadow on the ground gets a
little bit more, more rough or more faded away. So personally, but 0,
Let's see how that looks. That's looking nice. I wanted to have this nice
edge light around him. Maybe a little more
from one side, like so. And let's make it stronger. Maybe 5 thousand will do. There we go. That's
looking fine. Excuse me. I'm going to press Shift a mesh and plane actually,
no, we're not going to do it. We're going to select our
plane on the ground and select that h by pressing
on your keyboard, and then selecting the
edge and then press V z. There we go. And I'm going to
select this edge in the middle,
British-controlled, be, moved it out and scroll
up a few times, like so. And now we've got a
nice rounded edge right there, right mouse sheets. And the reason why we
do is that when we now press number 0 for a camera, we get this nice
solid background that has no hard
edges whatsoever. So of course, our
lamp is a little bit too close to
the ground through, actually have a nice
gradient shadow. So what we can do actually
is pressed gx and gy and move this in the background of
that plane, like so. And skill the big plane
up in the y-direction, SY, just scale it up and move our plane
a little bit more. So it is completely outside
or behind our plane. Just like that. Now
there's no life. Of course not because
we wouldn't have a nice lady from the light. Select that plane, go
to the object settings, and let's go to visibility and uncheck shadow. There we go. We now have our light
back from this plane and maybe move it up
a little bit like so. And we can even make
it stronger now. So maybe cities to 15 thousand because it's a little bit more
in the back now. It is a little bit further away. So we needed stronger
and also a little bit bigger to get all of
those nice shadows back. Make sure that this
stays behind your plane. Doesn't get it from something
like this. Looking fine. Let's make this a little
bit stronger or 50 K Maybe. That's looking fine. I'm going to select my plane hitting you. And let's see how
this looks like. If we make it black,
That's looking nice. What I wanted to do is duplicate this light Shift D and move this in the
y-direction suppressor y, like this, press ours,
move this around. Breast gx and gy delivered
close to this vitamin. Maybe a little bit
more from this side. Suppose g x, g, y, x, or z. Wrote it a little
bit more like this. So this goes to B or from light, it is too strong right now. So I'm going to set this
up maybe ten K. Because we still want to be able to see this nice backlight
coming from the right. Like so. That is looking beautiful. We can even decrease a reference over plane, maybe a little bit. So we get some cool
reflections in debt crowds. We can even make
it a little bit of a dark blue color maybe
to match the suit. I think that's
looking beautiful. Now let's see if there's anything that we
need to tweak on a suit, I think we should move this
out a little bit. So hit Tab. Our mirror symmetry is still on. So we can just move this
out a little bit like so. And maybe this one as well. And this one like so, right? So now that is a little
bit more outside of the body. That's looking great. Let's see if we have two. Match this a little bit
more to the actual suit. There we go. So we're not going to be able to get this completely perfect. I think that's fine arts. I'm just going to
leave it like that. So I think that pretty much
has been Spider-Man or no.
8. Final details: I think that it looks right. Maybe we should change some roughness settings of this suit. It is quite rough, so I'm going to swipe that
all the way up. Same thing for the
arm materials. Go to Materials and
select the arm. Just increase that reference
desk, it'll be fine. We can even add a
little bit of a bump. Press Shift, a nice texture. I keep selecting
the white noise. Make sure it is the noise
texture with a color ramp. With normal map that we go
swipe that all in between, connects the little dots and collected right there
as well to normal map. Right away you can see
some weird **** happening. So let's first see how
this noise tissue looks. Swipe those blacks and
whites a little bit close to each other so we
can see what happens. Group Shift-click
your color ramp. There we go. Let's increase the skill
once some very small bumps just for the cloth
material or cloth. I'm not sure what material this, but we're just going to
edit something like this. Now, cultural shift
click your normal map. Decrease the strength.
Something like this. Now couple Shift-click your principled and let's
see how it looks. So now you see some
small bumps right there. We can even decrease this
strength a little bit more. Something like that. They've got some small
bumps on your suit. They can be a little
bit more, actually, something like that.
Some nice small bumps. The same thing we can do
for the blue material, Control C and Control V. Just try it and see if it
works in this material. And then, you know, it
is copied for sure, go to the second material, preschool through V
aqueduct that as well. There we go. So in this one you can see
it a little bit worse. But we can actually
make this a little bit bigger or smaller. Because we want to see
some nice spots in here. And maybe a little
bit more rough. Be more detail. Ctrl Shift, click your color ramp,
see how it looks. Alright, just swipe
them a little bit closer. There we go. Go to Shift-click
your principles. You could try and
increase the strength of your normal map
a little bit more. Something like that. Let's look at maybe we can even decrease a reference on
that one a little bit. Shoot, to make it a
little bit nicer. All right, so I think
that's looking nice. It looked like
Spiderman for sure. It looks like quite a derby
version of M, but I like it. The hardest part will always
be this webbing right here. I think we did a quite
a nice way right here, but some parts need a
little bit of tweaking. I'm not going to do
it at right now. You can do that for yourself. If you'd like that. You can actually move them
along with a little bit. Or you can, for example, move this whole edge loop a
little bit down like this. So it is matching a
little bit more to where your arm will start. This same thing for the legs. For example, select your legs, double-click on the
bottom edge loop and just move that
down a little bit. Like so. Just try some different stuff. The difference in
your webbing and you're rescued underneath
is simply because we have different modifiers on. So the thing is we've
got this one on one and this one on to reset this
one on to from the start, then we won't really have that issue, but
then I'll ribbing, be small, my opinion. So I think this is a
nice middle ground. You can always try and
chase materials or change the offset on the shrink wrap if you increase this, of course, it's going to look a little
bit better on some parts, but it's also going to be
worse or harder parts. So try and find it I'm
in the ground that, or if you really
have to just add edge loops, for
example, like that. That is always one
way to fix problems. You can do it here as well. Like that. Go to
the contours that, that sum like this, like that. So now it is more solid
character is looking fine. You can double-click
this whole edge loop and scale it up a little bit. So you can see that when
the black values are outside of your red values, the shoot is going to look nice. And if they are clipping
a little bit there, you can see that it
looks a little bit worse because the webbing will not be completely on
top of your character. You can see that we also need another edge
loop right there. Great. I think now it's
looking fine, right? You can always move them
away from your character, or down or up. Just make sure that
your black values are outside of your red
feathers because the blacks or the
suit and the reds are the blacks or the webbing and a red sort of shoes. I
think that's looking fine. We can try even to change
this color a little bit. To measure suit more, maybe. Give a nice look. I actually like it
when it is black. So make that back to black. Maybe decrease the
roughness a little bit. That's looking fine or prove it. It doesn't really matter,
just play around. So I'm going to leave it
like this because I like it.
9. The Final render: I'm going to select the
slides and press shift. The reason why, as far as it
scale it down a little bit, I want some editorializing from debt side as well and maybe
make it a little bit. Or maybe orange. Orange Bronx quiet, nice. In a lot of renters, simply because it can resemble a lot of things
are streetlights, the car line, then explosion. That your brain will
probably think of something that can
match the orange light. Same thing goes
for yellow light. Blue light can be
there as well because it's can be a reflection
of the sky, for example. It could even make this stronger if you want maybe a 100 K. Increase the size of that one. Something like that, looking
fine, can even move that up. Like this, are moving more to
the right of the character. Everyone's more lights to
hit the actual character. You can make it stronger
again. Just play around. I like the way this looks. It's a nice details
on the bumps. You can see that the
booms in a light or a little too strong now. So play around with
those failures until you've got
the right failure. Same thing on the suit. On the red values. Go to a red material out
there and decreased strength. It's a little bit like so. You can also try to connect the color ramp to
your displacement. That might look even better. So search for displacement, map and edit in-between instead of the normal
map and connect it to the height instead of
normal and just decrease the skill until it is a subtle, subtle, perfect little detail. So maybe 0.05,
maybe a little bit less even by two over
two. That's looking fine. You can really see it now. So let's maybe do
poured over five anyway. Just like that. If you are completely
satisfied with your model, you can just press
Render, render image. There we go. Renovating houses
are nice, tidy. I think it went
quite alright for the for the stylized
fruition of him. So you could use this, for
example, for your game. You do gain for 3D game
or for something else. It is quite a hard
model to make, even if it is simple. It doesn't simply
because this suit of spiderman is just
very complicated. We did it in a quiet, a simple way right now
with the wireframe. Wireframe, it will be easier or look better
if we will match the sub deficiency of the
suit deficient offered at wireframe because then they
would match perfectly, which they don't really do. Now, in a perfect world, we would probably set this up deficient of our
character to one. Set, the wireframe,
subdivision 21 as well. But in this case, I just liked
this a little bit better. So you've got this smooth
lines of the character with this webbing on top, which actually doesn't
look half bad. I think we are just going
to keep it like this. And I hope you enjoyed it. I hope you learned
something about making some nice
stylized characters, and I will see you
in the next one.
10. Modeling Venom: Hello everyone and welcome
back to this Blender tutorial. Today we're going
to make venom and we're going to make it in
a nice and stylized way. And like usual, we're
going to start this off by getting a reference image just to know what
we're getting up to. So let's go ahead and find
ourselves a nice image of the full body of phantom. Let's get it. Save your image. Remember where you save it, just so we can get it
big, easier in Blender. We're all already
have the body setup. So we are going to work from this point to create the
venom and re going to press Shift a and let's hit
Image and reference. And then we're going to go
to our download folder. And we're going to select
a phantom. There we go. G at x, I just moved it
away a little bit so we have a nice and
clean view-port. Press S to scale it up a
little bit and moved away a bit further with
g and x. Alright, so venom is kind of a buff
character with a unique face. And we are careful
to try to make him in this stylized version. So there's going to be tricky, but it should be fun. So first of all, we can try to match
the body proportions a little bit more to
the actual venom. So let's make him a
little bit more buff. Let's try to do that. So we already have this setup. We've got our nice
subdivision modifier. So let's go ahead and go
into the sculpt mode, because that's just
the easiest way to change some of
the proportions. And before you make any changes, you just want to
make sure that you have the symmetry
option enabled. So go to this tool
tap on the top right, and let's go to symmetry. Let's enable the y-axis mirror. So now that everything that
we do on the left side or the right side will be
mirrored to the other side. We only have to do it once. Now press G on your
keyboard so we can get the grep tool and
we're just going to move around some points. Is shoulders needs to be a
little bit wider. Perhaps. Maybe we can scale the abdomen down a little bit just so that it looks
a little bit more buff. I still want this
stylized version, so I'm not going to change too much about the
body proportions, but we aren't going to
make some small changes. So let's go ahead and get into a little bit
more of the details. Alright, so if you go to back
to object mode and is top, top left, and let's go to
Edit Mode repressing tip. We can see that we don't have a lot of geometry to work with. And I actually already moved
this mountain little bit, so let me just move this back so you have the same
starting point as I do. And I think it should
be somewhere like here. It should be fine. Answer now, before we do any changes, we want to apply this
subdivision modifier. Otherwise we're
not going to make the detail changes that we want. For example, I want
to show some of his teeth and I want
those eyes as well. So we're going to need more detail than
we've got right here. But before we apply this subdivision
modifier or increment to make one change first. And let's go to Edit Mode. And we're going to enable the
y-axis symmetry once again, right here, this little icon. And then we're just
going to move this point up a little bit so we get the smiling shape of his
mouth a little bit better. And that's going to be a
nice starting point for the four after reapply
that subdivision modifier. Alright, so now we're just going to select all of those phases. Three on your keyboard and hold Shift and just click on them. And we're going to press
E. Then we're just going to extrude it a
little bit like this. They probably won't
look good right now, but we can make it
look way better at once we apply that
subdivision modifier. Alright, so hit Tab I, just exit edit mode and hover your mouse over the subdivision modifier
and preschool through a. There we go. Now
press Tab again. You can see that we've got a lot more geometry to work with. So let's go to object mode and change that to sculpt mode. Now once again, we are going
to go into Symmetry mode, which should still be enabled from the
previous time we did it. And then we're just gonna make this mode shape a
little bit better. Alright, So do this. We're just going to freehand it. And let's see what
this looks like. It is pretty crazy. So we're just gonna make
it to something that looks a little bit
crazy and scary, right? So this is pretty
much a little bit of an horrific character. We're going to move this
backwards a little bit. And you can notice that if
you get bumps like this, you can just hold
Shift and left-click on those parts and it will smooth it out a little bit more. You can also notice
that we've got some rough stuff
going on right here. And that's because we still
don't have enough geometry, but that's okay for now because
we will probably just add another sip deficient modifier in a little, in a little while. So let's change the head
shape a little bit as well. I think the model is gone. There we go. Press F and just scroll up a little bit or move
your mouse a little bit just to change the
size of the brush and move those jobs
in a little bit. Just so it's nice and
pointy on the bottom side. And we can move this
up a little bit, make it a little
more rounds as well. And I think that looks fine. Maybe we want to move this up as well, something like that. So the whole point
of doing this is that we will now be able to add those teeth that
look nice and sharp. So to do this, we of course need a new object because that's
going to be way easier. So let's press Shift a mesh. We're going to add a UV
sphere for this one. Just scale it down.
What press S? And let's press G and
just move it down so we see what we have, right? So we need a lot of those teeth, so we're just going to make
one and we're going to duplicate that a whole bunch of times just to make
it nice and clean. And of course, to
make it efficient, we're only going to make one side and just
mirror that later. Alright, so select
your little sphere and change to object
mode, to sculpt mode. There we go. Instead of the grep tool, we're now going to make
the snake hook tool work. So select that one, and now
you can pretty much just drag the outside of
this sphere down. For example, like that. Now you can really see
what happens because it moves inside of the object. So inside the body. So just go back to object mode, brushy and actually just
moved it to the front a little bit more through about where the
teeth would start. This will be fine.
So personally, but three, Let's
go back to that. And let's try and shape
that up a little bit. So let's go back to sculpt mode. And now we can use
the Snake tool once again and just make
it nice and pointy. We can always edit this later. So that should be nice. It's nice and pointing at least. Maybe we can change
the width but the grep tool and just make that a little
bit more organic, little bit more straight,
maybe, something like that. Okay. So that'll do for now. And what we're going to do
to make us odor odor t, There's just press Shift
D to duplicate that side. And three are the few times they rotate the live
with as well with R and do it again like so. And just make sure
that you follow the jaw line a little bit. It doesn't matter that they are coming in front of the face. We can change that later. Maybe skill one or down as well. Make it nice and dark. Alright, so select some of
those teeth brushed g and y, or g and x to just
move them in reverse a little bit and the outside, something like this, That's
looking better already. Maybe this one a
little bit more. Look that up. Rotate debt. Do with it whatever you want, It's all going to
look fine in the end. So breast number three. Just see how it looks, right? If you see something
that doesn't look nice, then you can always change it. I think we should move everything inwards
just a little bit. So press G and X. I just
moved it a little bit. And G and y's, well, something like this,
that's going to be fine. Alright, so now we're just
going to select everything. So all of those spheres. And we're going to press shift
the escape F3 and mirror. With this time we're going to
be mirrored in the y axis. So why global? Press G and why I moved out to the
side a little bit. So let's see where we need
them right about there. So we're missing a few
teeth in the middle, but we can just select
the middle one and press Shift, rotate it, and scale it up a little
bit, maybe like so, do the same thing for
the bottom row, rotated, scaled down, maybe same
thing for this one. Let's do it. That's already looking
nice if you ask me. So that's a nice and
quick way to make some of those organic deed for
the eyes is going to be a little bit more tricky
because they are very, let's say they are quite odd. If we select our
model and press tab, you can see that we don't have that much geometry even after
applying the subsurface. Sorry, that's deficient
Surface Modifier. So we're going to
add another one, set that on to rescaling
through a and just apply that. So now we've got
something to work with. So let's hit tab and
go to school mode. And now we want to make
this shape in the eye. And there's going to be, are we going to make use
of that symmetry modifier? Once again, we're just all
about efficiency right now. So it's still enabled. And the first thing
that we're going to do is actually look at those eyes. There's like an hard edge separating the eyes
from the actual skin. And one easy way to do that, It's just by using decrease to decrease till you can just
follow that line on the face. So we want to make those
eyes nice and big. So what are we going to do is
just make that a little bit smaller and then just follow that line that you
want their eyes to be. Soap like that,
maybe move them up, make them a little
bit or clinics. So at some imperfections
That's always looking nice. So that's a nice line
for the outside. For the inside, we
need to make this go around like that to the
inside a little bit as well. And then let's go
up and make this nice and pointy,
something like that. And that look like eyes
from venom if you asked me. So let's make this a
little bit deeper. So zoom in a little bit
more and just hit that edge one more time to make
it go in a little bit stronger. There we go. Same thing happens
to the other side, so we don't have to worry
about that for now. Just make that edge nice
and hard. There we go. The first thing is that this is a very easy way to
make some thing alike. Material separation, right? So where materials come
together every now and have a nice and hard edge
to make that official. So we can also add some
imperfections on the face. For example, we want a
line right here, maybe. And hold Shift if you
think it's too much, just remove it again, maybe here as well, and here on the site. But just hold down and hit Shift and click if it's
too much just to smooth it out with
maybe here as well. Just make some
imperfections, right? So right now it's
all symmetrized. So there's the same thing
on the left or right side. Later if it's too symmetrical, we can always turn off
that symmetry tool and then add some
more details, right? So let's press in a bit 31, less person g at F and
make that a little bigger. And let's just
reshaped this head a little bit because it's
looking a little bit odd. Alright, so that's
looking better already. Okay. So this is a very
stylized body phantom. I'm going to make
those arms little longer because he has some
long arms for some reason. Maybe it was shoulders as well. Do we want to make
them a little bigger? It's not going to be needed. I actually liked this stylized
version of this arms. So let's go back to object mode. And now we can already
start worrying about some of these
materials and that's going to be the main the main
problem, I wouldn't say, but it's going to
be a difficult step because she has
those veins and we don't have the geometry
to actually paint those things because
then we will have our, we will need a lot of geometry. So for example, do that in a program called says,
what is it called? Separation as amperage. So that's where you can actually work with a lot of geometry. And then you can export the displacement map to
Blender after you're done. But for this tutorial,
we're just going to try and choose a texture. I think it's going to look fine. Or at least it's going
to look interesting. So that is going to be fun.
11. Venom's materials: So we're going to hit the
material tab right there. We already have
one main material. I'm going to remove
that just to have the same start shoe,
hidden new material. And we're going to hit
Plus new material. Why the way we're going
to name this one eyes, and let's name the
first one skin. There we go. So
just double-click. And now we want those eyes, this material to be assigned
to the actual eyes. So to do this,
we're going to hit the object data
properties tab and we bought another
vertex group heads. Actually do we need
a British group? I think we're going to go
with actual vertex course. So hit plus on a vertex colors. Let's actually go to the where is it further
explained right there. And now we start y's and we
want to paint with black. So make this brush
nice and black. There we go. We want the
same symmetry for this one. It should be already happening. So if I draw here on the right side is going to
be black as well. Cookers at that real quick. And now we'd want to follow
these lines of the eyes. And it's going to be a
little bit blocky because we just don't have
that much geometry and I'm fine with it because we can always try to smooth
this out a little bit later. Just draw, zoom in and try and stick to that
edge as much as possible. Like so. If you have those
triangles that I have, don't worry about them for now. It's going to be fine later. Like this. It's
going to be nice. You can see with the venom in a reference image
and I will show you in a second after I actually try and
nil this HLA a bit better because it is just
going to be a little bit hard. Especially because some of those parts look like they
are not completely filled in. But that's just because
the light hits it different because
it's a triangle, triangle geometry and blender is always going to show
a little bit of a weird shading or
this sometimes because triangles are not the best
geometry to work with, you most want quads. So for example, if
you will try and use this model for a game
or for an animation, you will always read topologies this and
make this all quads. And you can always add
the displacement map of the HI Diesel model
on top of it later. Alright, So we're going to
blur some of those H's. So hit the blur tool
and to make it a bit smaller and just blur that edge. And that way we can define
with a color ramp later how far we want that
color to come up. This is just so we get
rid of a little bit of that hardness on the edge. This, okay, that's looking fine. So now if go to object mode, and let's actually go to
rendered view. There we go. Let's hit three to
go into front view, you can see our nice head is looking quite
Derby, I like it. So we're going to go
to the shader tab. So it is this pole right there. And if you don't have this step, if you have one big
screen, that's fine. Just hover your mouse over
in the top right corner. You see this little plus sign, left-click and drag
that to the left. Now it's the same, a few pointers left, but we want to
change the editor, type two shader
editor. There we go. So now when we shift a and press Search and we
search for attributes, Enter, there we go,
place this somewhere. And now we can actually
change this name to call. You can see that this
cold name ref or sorry, meshes with the cool
name into vertex colors. And now you can basically
get the information from this vertex color in your
material and that is perfect. So now for example,
when we press Control, Shift left-click and you can't really see
anything happening. Let's see what it is. Well, I think we
might need a column. Let's try and plug this into
the base color and surface. Alright? Alright, alright, so we
actually placed it on the eyes. So that is the issue right here. We want this to be on the
skin, so not on the eyes. We actually don't even
need this material. So we're going to
select everything, hit Control C and just delete everything
and delete that I'm materials will just
go to the skin and I'll press control V
and let's hope it's copied. Nope, clipboards empty. So sometimes the blender
that happens when you try and copy a
material or a node, it will not actually copy it. So then it is going to be gone. But we didn't do
that much or just go to attribute once again by pressing what does
it have three, shifts a search and
then hit attributes. Yes, it enter and there it is. No. Let's select all,
once again for color. And then just connect the color to the base color. There we go. So now those eyes are
black and you can see that we still have the shading issue. And let's press your right
mouse and shade smooth just to make sure that it
is set on sheets with. Now when we press
Shift a and search for our color ramp and
swipe it in-between. Now we can actually change
how far this black will go. We want it to stop right
on that edge, right? So I think this looks fine. I think this. With shading issue, we'll go once we maybe add on auto ship
deficient modifier, let's try and add one more. It's going to be a
little bit slow. And it's simply because we actually have a lot of geometry. If your computer
can handle this, then just stick to
what we had before. But now we can actually
use this color ramp right here to specify which
material we want where. So let's move this to the side. And we don't want this to be plugged into the actual color, so move that away
and now hit Shift a. And let's see mix shader. So just typed it in and press Enter and swipe to
the right there. Move the principal to the left and the disconnected from
the material output. And let's just plug it into the bottom sides
of the mix shader. Now, let's select that
mix shader, or sorry, the principal BCF and press
shift D and move that up. And let's connect it to the
top socket right there. And now we want our
color ramp to connect to the effector. Right? So now our top material
is going to be where all of the white parts
are in this vertex color. And the bottom side is going
to be where it is black. So connect your mix shader
through the material output. Now of course both
of them are white. We want those eyes to be white
and the body to be black. So make your top
principled BCF black. Alright, so the other way
around, the bottom one black. That's my bad. Alright, so this is going
to be the main body and we can also just switch
those materials up. But if we want, I might just do that because it
looks a little bit smoother. So make the bottom white, make the top leg. Now, let's play around with
this color ramp because this is not nice at all. So move that white
value inwards a lot. Maybe the black one to the left a little bit and move it in. White one inverse
a little bit more. Something like this
actually looks fine. So now we have a
very rough material and the skin is quite
shiny, actually four skin. So we're going to make it this color just a
little bit bluish, move it up a little bit and
make it a little bit bluish. Just because it looks nice. I think it's skin is
actually quiet gray. But just stick with
what you like. And then we are going to
set this roughness value down until you get
something that looks similar to the roughness
on venom itself. So read them off. Officially has a lot of skin imperfections that we are not going to
already present or resemble. But what we can do is
press Shift a search. Let's search for noise texture. There we go. Let's connect
this noise texture, the color, to the displacement in the material output, right? So it's one long stream
through the material pretty, we can also move this a little bit closer,
maybe that's easier. And then you can see a lot
of bumps happening already. So press Shift a and
search for a displacement. Map both displacement. There we go. And
now we can actually control the height and stuff. So we want this color to
connect to the height. So swept it up. We want the scale of
this noise texture to be much, much smaller. So we want as few of
those bumps visible and now it's obviously way
too strong and that's fine. But we first want to focus
on this noise texture. So press Control
Shift left-click. Let's see what it looks like. It's actually not looking bad, but we can increase the
roughness a little bit. And details will see. And then we also
want to increase the contrast a little bit more. Maybe just killed it can be
a little bit less like this. Press Shift, a search
for a color ramp, enter and swelling in-between the noise texture and
the displacement. So you can see that little line getting lifted up a
little bit when it's, when it's going to
connect to left-click, Control Shift click
the color ramp. And now we can move those
values closer a little bit so it will get more contrasts and boom, it's going
to look better. So now press Control Shift
click on the mix shader. And now you can see what
the skin looks like. And I think this value
is way too strong. So what we're going
to do is make the skill lower, like so. And we're also going to set the scale of the
displacement to maybe 0.1. Let's see how looks
still too much 0.01 then maybe it's always a little bit
of trial and error. That's looking a little
bit better already. It might still be a little
bit too small actually. So let's set the
size to about 350. See how that looks. That's
looking way better. And I actually liked
the way this looks. Maybe it's still
a bit too strong. So we can go and
set this to 0.05. Maybe. Yeah, that's better
or maybe 0.07. Sure. That's looking fine. So now for those eyes, we want the color
to be a little bit yellowish and the roughness
can be way lower as well. I've done all the way
down and set the base goes to a little bit yellowish, baby, little bit darker as well. Like so. More yellow even. Just lecture to check your reference image
once in a while. Does the easiest way to get the materials and
the colors, right? Of course, the lighting maybe a little bit different,
but that's fine. I think this is looking great. So we need to lift those
teeth. So select one of them. We are not going to select
all of them right now. So select one person, you, and this is going to
be the teeth material. We're going to set the
base color towards the yellowish will
little bit darker, zoom in a little bit as well. And we're going to set the
shading to smooth later, something like data,
so she's fine. And let's actually keep this
nice and simple for now. Select all of the
sphere objects. So left-click here in the layout and hold Shift
and click the last one. And then in the view port
to the left hold shift and click the one that you
just shade it like so. And then press Control L, link materials, right
mouse and shade smooth. That should do the
trick quite nicely. Alright, so for those
teeth, alright, so I can see that we actually
selected body material. So what we're going to do is
hit Control Z a few times. You don't have to if you
didn't mess it up like I did. But until you see
that venom outline, go on. Can take a little while. There we go. Now hold Shift and select that last tooth and its till
Chrome to select venom. So what we're going
to do is just move our camera to the side so there is no venom
to actually select. And I'll hold Shift and
select the teeth once again and then hit
Control L link materials, right mouse, Shade, Smooth. There we go. Now we can actually change this material itself and increase the roughness value by a little bit like this. Okay, That is looking fine. And now we're going to try
and add some of those things, some of those missiles. And I actually go
ahead and select venom and maybe make it
a little bit lighter. Lighter and maybe
a little bit more. I think that's
looking way better. Okay, So now for
that vainly texture, we are actually going
and try to just use a vein texture
or a fine material.
12. Venom's final texture details: And to make this happen, we're actually just
going to swipe in some textures, right? So this is the download
folder that you will have. There are a lot of
things going on. The base color we
of course need. We also need the height. So swiped it in there as well. Let's get that back. We
need the normal map for sure and the roughness.
We need to run it. Now we don't need to reference. So just click this away. Now we have three things. We can connect these veins
base color to the base color. Then we can see at least
what it looks like. Now, hit your venom
and press Tab, press a British Jew, and let's just try to
go with qp projection. There we go. And I
can see that we have some nice hard lights. So does the issue with
the UV projects on time. So I'm just going to
go to the front view. It tap, press U, and let's just hit
project from view. Right, So then we have got
our nice front view of venom. I'm going to go to the UV
editor in a right tab. Press tab on the left window, and let's just press S
in the right UV editor. And let's kill this
up a little bit. So we've got some more
things to cover the body. Maybe something like
that. This is going to be nice and press Tab. Of course it doesn't
look that much like the actual things or venom, but that's fine because
we don't want to make that completely custom because he's going to take a long time. Go back to the shader editor. And we don't actually want the color of this,
sort of swept it out. Let's press Control Shift, click almost based course. So now we've got some
red and white values, but we want this to
be black and white. So press Shift A
Search color ramp. So hybrid in-between
Control Shift, click on that color ramp for a second and make sure
that it is color. So just click again. And then we're going to swap those values a little
bit close to each other until we get the
layout that we want, right? So we don't want a
lot of gray values. We just want those
veins to pop up. Something like this is
going to be nice. I think. Something we can
work with at least. And now I'm going to
select both of those and move it to the left because
we're still not done. Because now if we plug that in, it's still not going
to look right. Well, let's just see
how it looks like to actually control Shift
left-click on the mix shader. I make sure that you've
got the colorRamp connected to the
actual base color. And now we're going to press
Shift a and search for unmixed RGB stripe that
in-between real quick. So now our color one will
be actual at this color. But we want this to be connected to the factor because we want those black and
whites to control what colors are character are. Let's see. The top one controls the veins, bottom one controls the wrist. So we're going to make
the bottom one leg, or at least close to black,
something like that. And you can see that our
veins are way too big, so we're going to
mess around with the color ramp right here. So let's see, we
want more black. So let's just move that like failure to the left and the white value a
little bit closer. Something like that. Those veins are actually
popping through quite fine. Maybe not as fine as I would have hoped for with it is okay. Because it is still, of course, stylus character. Let's go back to the
UV editor by step. And I'm going to make
it a little bit bigger if it's press S and scale it up. Something like this. Yeah,
that's looking better. Okay, so go back to your
shader editor and I don't want the bottom part of
phantom to be this vein. So what I'm going to do,
we're going to do first is work with this normal
map of the veins. So where did I leave
that? There it is. So just connect it to the
normal map right there. Press shift a, shift a and
search for a normal map. One that's wider than
in-between, right there. And now we have to zoom in a little bit and check
out the strength. So set this lower 2.1 million. Let's see what that looks like. This looking a
little bit better. So now we've got a
little bit of texture. Actually almost things. What I wanted to do
is I also want to include this height map, right? So to do this, we're going to swap this two where we have the
displacement map. So let's press Shift a search
and let's try mixed RGB. Swipe that it's in front
of our displacement map. And we just want at
this height value to be edits to our color ramp. So swipe this to the core. There we go. So now we actually
have some height value. In this vein, we can try
and set this to maybe add. There we go. So both of them are now a little
bit stronger visuals. So those veins, they aren't going to look as realistic as the official one. That is completely fine. I'm going to make this color a little bit more of
a halo actually. So it's not completely
white. Something like that. That's looking nice. Alright, so now we want this
bottom part to be a little bit more dark so that there is not
much veins there. You might wonder, how are
we going to do it as well? There's a very easy
way to do this. And I'm going to show you how. So press Shift a and search
for our gradient texture. There we go and just swipe
that anywhere you want. Now press Control Shift, click on that gradient texture, and let's press Control
T while it is selected. There we go. If nothing
happens for you, go to Edit and Preferences, and then just go to
Add-ons and search for Node Wrangler and just hit the checkbox right close
to the window down. And now press Control T while the gradient texture is selected and you will have
the same thing. Now, we are going to try
and get what we want. So we want this gradient
texture to define where we want those
things to appear, right? So for that to happen,
we want the top part of this grainy textures to be white and a bottom
part to be black. So we can exclude some
of those vain textures. And to do so, we're
going to rotate this creating texture around and see if we can
make this happen. I'm actually going
to set the texture coordinates and you
feel so connected to the vector and set the z
value on 90. There we go. We might have to move
it up a little bit. I'm not sure. It doesn't need it that much. Alright, so now hit
Shift a and search for color ramp and place it
after your cranial texture. This way we can control
the actual gradient. So I'm going to set
this to be spline. That is just a way smoother transition from white to black. We want some more
black in there. So we're going to o, that is way too much. Let's see. It's being a little
bit slow. That's fine. Alright, so for some
reason we're not getting a very smooth transition. So maybe move that
back to the left. And let's see if we can
change this a little bit. We should be able to just
move this to the right. Now it's nice and smooth, but this is a little
bit too low maybe. So what we're going
to do is just move it up with the mapping
nodes a little bit. So let's see which one we need. You would expect this set
failure to do the trick, right? Sometimes it works a little
bit different though. So for example, maybe it is the y-value doesn't really work. Maybe x then because we
also rotated address. Alright, so that's better. Checking the actual
reference image. It has to start at
like the naval line. We want dislocation
to predict like five, maybe, maybe a little less. 0.3 will probably do the trick. There we go. Alright, so now we have this gradient
texture is set up. And let's see how
we are now going to control these things. So we want, Let's see. We wanted to actually
control this factor, right? So if we control shift
click on this color ramp. We want the bottom sides
to be completely white. So we're going to do is
press Shift a search for mixed RGB and just
swipe right there. That's looking fine. The cultural shift, click it. Now once this gradient
texture to come into play. So we're actually
going to set this to the factor right there. And now we can probably
just play around with this value and see
what actually happens. Alright, so we want
this bottom part to be completely white for sure. We may need to play a little bit more with the color
ramp because it's always turns out a little bit different than how
we expect it to be. So we want this white some value to come up a little bit higher. So we need to play around. Actually, we can play around
with this x location. So let's try 0.5. And now it should
move up a little bit. And it did maybe little
bit more meat point A's. There will the restriction
now only the top half we will show the veins. Now if we control shift click, and actually we still need
to reconnect this one. I think, yes, This one has to go into the
factor right there. I never get Control Shift, click the mix shader right there. And we have still have a little bit of
color in the bottom side. So let's see, we
can actually fix that with the color ramp. So let's see this mixed nodes. Let's just check what
it looks like, right? So this one is looking, alright, but we have a little bit of
that color coming through, which is not what
we want at all. So we're going to go back
to the gradient texture. Where is our nice gradient? This is the grain and texture. Are we going to move
some of these values a bit closer and
see what happens? So by doing that, it
got more visible. So this one previous
goal is to the left. Let's see if we move this
wide world of value closer. That the trick. So now let's go back to Control Shift click
our mix shader. I can see that there's
faint start nice and high. So they are going to
start building up from the bottom sides and
peek at the top. Alright, so it's still
a little bit too blue, in my opinion. Now we're just going to move this a little bit more
to the yellow side. Once again, maybe even a
little bit more like that, maybe a little bit
lighter as well. Play around as often. That's looking fine. Maybe even a bit more
brown like that.
13. Final Render: Yes. Alright, so now that
is looking quite nice. I'm actually going
to leave it at this. Let's just delete this
plane right there. Just delete. Breast,
shift a mesh plane. Press G and Z. I moved out to about
where to start. I personally bit three Gs
and just kill it up now. So now you can also
see that we get some nice reflections
from the bottom plane. And we're going to press Tab on the plane Br2 and select
the edge and press E and Z. Screwed that up what's
selected edge right there. Once again, press Control B and just swapped it out and scroll up a few times
to add some edge loops. So now we get this nice
curvature inner plane, like so. First step, right, mouse, shade, smooth. This person who bets 0. I'm trying to position
your camera a little bit more like I have right now. You also probably a
little bit higher. If you select the camera
and press Shift F, you can use W, a, S, and D and your mouse to control the camera to position
it wherever you want. So I will mostly likely have lipid bottom view just
because it looks nice. Alright, so now we're going
to worry about those lights. So I think venom is a mysterious figure
and little bit dark, so I'm going to select
this point light. Those are my settings at
the moment, by the way. And let's press G and X and moved it to the
back of our character. Maybe even behind the plane. Of course, we need to select
this plane in that occasion, go to the object properties
and go to the visibility, and just turn off shell. So now delights of our
point comes through this plane right there
and we can try and position is a little
bit nicer like this. And I'm actually going to turn this from a
points to an area. An area lights, just so we get a little bit more control
of the direction it goes in the press R and Z and
just rotate it around. Like this. I'm going to
change this color to maybe little bit darker blue
could be actually nice. Not too much though. Yeah, something like that. And I'm going to
select our plane. I'm going to hit and you, and I might just make
this nice and dark. So select the base color, mix little bit darker, something like that, and
turn a roughness down. I would like to have small reflection in the
ground plane like that. Select our polling or sorry, are very light plus g
x and move it away. Just so that we don't have those heart reflections
in the actual background. Just move that to where you think the light
should come from. I want it to be a little
more from the fault, maybe suppress g at x
and our z like that. Just so we have a
little bit more light coming from actual shape. Now press shift the press G and Y are set just so we have a
second lights. Which g, x. We want this one to go from
the front a little bit more and it's way
too strong now, set this down to
maybe 50 thousand. That's still too much,
I think 20 thousand, maybe, something like that. And we're going to
lower the size as well. Maybe one meter. And it may still be a
little bit too strong. Actually. Just increase the size to
40 or something like that. And let's change the
value to 50 thousand. There we go. That's looking way
better. And I'm going to shift it one more time. Press X and press R and Z. Move it so that it
points towards venom. And just reduce this
size significantly. I'm going to set it at like 11. Now prisoner bit 0. And I want this one
to be like one, orange, something orangey
are just always nice. It can resemble
anything, a car lights, street light, maybe an
explosion in the distance. It can work for so many things. So 50 thousand might
be a little bit low. Let's try 100s. This one can be nice
and strong because it defines the shape of an
endlessly the press G and y. Let's move, just move this to
where you think it's nice. I like some of those
colors to be visible in front of her thing,
but not too much. I'm going to select
that plane and we can play around with
the specularity. So you can see that if we lowered as those
officials or sorry, those lights are going to be less bright in
the actual surface. And we can also try
and up the roughness just a little bit,
something like that. And we can even increase
the color or just slightly so we get some of
those reflections back in. Then maybe set the
color to a little bit. Bluish. Something like
that is looking fine. So I think that is nice. Of course we still
have a grid here, but I'm going to render this out with the following settings. So we've got cycles, of course on GPU and the samples
are set to settle for k, but the noise threshold
is quite low. So it will stop once the
noise threshold hits 0.01. And that one group to
render this out and then I'll be back. Right? So we finished the event. This is what it looks like. I think it worked out nice. It shows some nice detail and the teeth, it
looks like venom. It is still a very
stylized version. But I think it looks
quite alright. I hope you learned
something and I hope you enjoyed them
making, for example, those veins I already
showed you in a nice way of achieving
something like that without having to actually skip something like dead
completely yourself. So I hope you liked it. I'll see you in the next one.
14. Modeling the Dr. Octopus suit: Hello everyone and welcome
to this blender to Turiel. Today we're going to make Doctor Octopus,
the evil villain. And it's actually a very
interesting guy to make, especially because he has some tentacles are usually
quite hard to make. And I'm going to
try and show you a way that you can achieve it in a nice and stylized or
nice and easy way, right? So I'm going to start with the basic
character that we made. We're just going to add the reference image
to press Shift a fresh image reference and go to downloads and just
add your image plus g at x. Move that away,
scale it up with S. There we go. What's G and X? And
actually let me enable my screencast keys. Where are they? Are? There we go. That's number three. So that's what we're going
to take in a stylized way. So this is the base character
that we're going to use. Alright, so to do, so, we want to make sure that we get the icon weakness
of this character. So we need the
long coat when you understand the goals and
we need those classes. So let's start off
with the easy part. Let's make those classes. So press Shift a mesh. It doesn't make it
a pulling force, R and Y and 90. There we go, press G and X. Let's go back to number three. Scale this down. Like so we got the
hydride process and why? Something like this
and pretty simple Gy, let's kill this town. Do. So. Right now, press Control
a and all transforms. Press tab and press one plus a. So we've got all our
vertex is selected. Press Control Shift B as move your mouse up
little bits and scroll up. Just so we get that nice
roundness of his glasses, something like this.
It's going to be nice. Press tab. And there we go. We have the first-class set up and move that around with GI, scale it up a little bit, maybe. Something like that. Sql done a little bit,
something like this. That is looking fine. Let's press or so, let's set a right
mouse set origin, origin to 3D cursor. That is, if your
origin is still, our 3D cursor is
still at the origin. If it isn't, press Shift and press cursor to world
origin right there. And then press right mouse
is set origin to 3D cursor. Now let's select the
modify properties, add modifier and just add
an easy mirror modifier. There we go and change
the x is two y. So now we've got
two sets of glass. Right? Now, right away at
solidify modifier, Let's route camera
and that looks fine. So press G and X moves
closer to the face, like so. And now we've got those
classes setup for Step. Press one and select
this point right there. Shift S curves to select
it and press Tab, press Shift a mesh, and let's add a nice cylinder. Press S and scale it
down significantly. So press R and X, 90, press S and Y and just
scale it up a little bit. Like so. Press G, y, like this.
Skilled up a little bit. And there we go. Now we've got this
nice pointy parts in the middle, right? So let's make the actual code. Shall we start to do so? We are, we are actually
having two options. So we can make a
cloth simulation with a code that looks
similar to this. Or we can actually just try
and model it ourselves, which I think is going
to be way easier. So what recruits to do
is select our body. Press tab. Let's toggle on X-ray. I just draw a nice box around the part that
you want, the P code. We actually want
everything up to the neck. So something like here. Shift the escape and
p selection tab. I just toggle off x-ray. And now we've got a new
object with a new party. That's going to be the code. We've got a brown coats on bottom and a black coat on top. So we're actually going
to try and resemble that. This is going to
be the brown coat. So hit tab and what
we're going to actually remove this top edge loop. So double-click it
right mouse, dissolve. Edges are just delete, press Delete and
delete vertexes. There we go. We're going to try and make this nice fee like right there. So to do this,
we're going to have to separate the two sides. So press Tab, press Control a on your mirror
modifier or sorry, the subdivision modifier
on the right, a hit Tab. And we're going to
toggle on an X-ray. Select that whole right
side like this, and hit. Let's see what we need. First one actually, and
press P, separate selection. And actually we're
not going to do that. We're going to select the
whole thing up to the center. So we want this
vertical edge included. Press shift D. Escape and separate selection. So now we have that
part different. So let's total of x-ray
selected the right part. And now we're going to
hit Tab and we're just going to try and model
it a little bit. So we have got it on the
outside of the board, so we actually see this
nice overlap of the codes. So let's go to skilled mode. Press G, F, I just swipe this all a little
bit more to the left. Like this. It doesn't matter if it is
on the outside for now. It doesn't matter at all. And we're also going to try and make this nice
connection right here. Something like that. I don't worry about
this for now. We're going to move this
outside a little bit so it is not anymore like that. And remember that everything has to be a little bit
outside of the body. Are a lot of a lot
outside of the body. It doesn't really matter
as long as it looks. Okay. Alright, alright. Alright, so we're
actually going to try and just use the inflates. So right there, just inflate
everything a little bit. This easiest way to get
objects outside of order upset because she was
simply inflate everything, the whole geometry,
something like that. Alright, so personal pet three, Let's hit tab and we want to
remove this whole bone site. So let's double-click one of those H's going in the
horizontal direction. Let's hit Delete vertexes. There we go. And
now we can delete this whole bottom side.
The lead vertexes. There we go. This is going to be
the inside code. We're going to have
to do the same thing for the left side. So select the codes below, go to skilled Modes,
press G and hold shift. We can drag this out
first by the way. So just drag it
out and then hold shift, something like that. And don't worry about the actual parts of the code
going inside of your mesh. We go, going to fix that. Just like how we fix
it the previous time. Just move this to the
outside a little bit, like so, hold shift like that. Select the inflate
to make sure that everything is nice and
outside of your object, once again, like so. This one is well, there
we go, Looking nice. You can always try
and hit control if you think it is too much. Take something like
this looks fine. Maybe a little more. Alright, personally, but three, see if you missed any spots. Like so. Okay, Now press G and
move this part out. And let's make this one. There is well present
in bed three, press tab and let's
double-click on one of those H's
like we did before. Delete vertexes. And let's delete everything
that we don't need. Toggle an X-ray if you
need polling right there. And then just delete all
of those edge loops. If you need to delete, delete, and they're a little
bit chaotic right now. So just select those edges
that you don't need anymore, like this and delete them all. Let's see, we missed
one right there. I think that is a newer one. It doesn't matter personally, but three, disable X-ray. Let's see how it
looks. Not too bad. We're going to go to Edit
mode and go to x-ray, and we're going
to move to remove this whole right side
up to like dare say, F2 here, delete vertexes. And these ones as well. Just pick a nice point that
you think is looking good. There we go, because
those are pretty much up to half size of code. So select your right one per scope mode and just move
this one out a little bit. So they overlap nicely. We will have more to
the bottom as well. Plug that hold Shift if you see any hard edges that
you want to remove. Like so. Number three, nothing
that's looking fine. We're going to move
this whole top part outside a little bit
or outward, I'll say. Just so we get that
nice color that is good to object mode. Select the left one
and do the same thing. Scaled modes from part as well. Don't have it in the body, would have it
outside of the body. Like so. And you can see that
for some parts it is still looking like it overlaps. So go back to that inflate
tool and just move it out like this. Alright, so that
is looking fine. Now, we want this
black coat on top. And that's going to
be even more tricky. Select this right
part, by the way, and go to school mode and go to inflate and just
click on that arm. There we go. So this is looking like
the inside codes for sure. And then we're going to
worry about that one. So let's put in a bit three. Select our character
model, press tab. And let's go to x-ray. Select this whole
top part once again. That's fine. Press Shift D, Escape selection, tab, and
let's go out of x-ray mode. So now we've got
one more duplicate of Ted body right there. Press tab, go to x-ray mode. And now we don't actually need this hole inside part, right? So we don't need this edge loop. While the backside we do with
data from parts so we can remove everything from there. But first, we're going to
remove this bottom part. So go to front view
in a bit three, go to box select right there. And let's select this
whole bottom off. We don't need this anymore. Delete vertex is there we go. Select this bottom side, disabled proportional
editing through. So just double-click
on this bottom edge loop or Alt click, depending on what
setting you have. The row. There we go. Let's kill
that up a little bit. And I want this whole
front edge loop. This one, this one and this one. Hold shift and double-click, press Delete and delete edges. Actually that's
probably a one-to-many. Let's just delete
this middle one. Delete vertex is
person number three. Let's disable x-ray mode
and see how it looks. Alright, so it is still inside of a character a little bit. So we can do what we did before and as skilled modes
and go to inflate. Inflate everything outwards
should be completely fine. Like that. You can see at some point our arms
begin to overlap a little bit with
the extra clutter. But the thing that's
fine, we can always move the arms out later. So let's go grab let's grab
this whole neck part that I would live with
because it has to be outside of the first coat. And we can always try and select the snake hook and we
can extrude this out. Same thing for the other side. So let's extrude that.
They're just so we have a little bit more
geometry to work with. And we can even try and fault that a little bit like this. Or equal to that if
you're not happy with it, like that, say D4
decides, folded inwards. This nice thing or
the snake hook. It's false nicely if you just work your magic with the mouse a little bit, something like that. Nice and organic. Hold shift and click
if you don't like anything or you don't
like something. And you can just try and
do it again like that. Now go back to your
inflate tool and just make sure that those
shoulders are outside of your objects or press
G and move them out yourself. That works as well. Coats. I got to move it up a little
bit more with the grep tool. So g, left or the
right side as well, booted out a little
bit so that it isn't not more reasonable,
no longer visible. There we go. That is a nice-looking
code, in my opinion. Okay, now select the left
side of the inner code and just move it out a
little bit so it matches more with the right
side of the coat, something like that.
That's looking nice. Go to object mode. Select your outer
code tab and select this bottom edge loop by double-clicking person
E and Z. E and z, once again scaled up in
that build up, in that. Actually delete that last one. There we go. That's looking nice. So we
call that both code setup. And that's actually the
hardest step, I think, is our step than actually
making a standard course. The back part is looking a
little bit messy actually. Let's go to the outer
code. Go to sculpt mode. Press G, and just move
this back a little bit or up depending
on what you need. This one is good to the left. This one can go to the bottom little bit
or to the outside. Let's see. There we go. I was just looking
quite fine. Actually. Just move everything out. If it is inside of
the other mesh. Shouldn't be that hard to fix because it's all very
close to each other. It's going to be very
easy to fix, right? Like this, like that. And you can do a better job at this an item currently doing. Because I'm going to
do this quite fast. Alright, so there we go. Go back to object mode. Let's look way better. Now. I think this goes
to look very nice.
15. Modeling the tentacles: We're going to make
those tentacles and we're going to try to make that quite efficiently. So I'm going to select
my code, press tab, and I'm going to select a press one on my keyboard and
just select a vertex that I think is a nice start
for those tentacles. So press Shift S
cursor to select it. We're going to press Tab,
go out of edit mode. And I'm going to press
Shift a and choose curve. And a little bit, one side view plus g x. There we go. Move that to the left a
little bit like this. And we want this curve
to just be wild. So this is going to be
one of his tentacles. Just curve this, however you feel that it should be curved. Of course, we need to go a little bit to the
side like this. Like that. An extruded forward a
little bit like so. That is great. And let's press Control a or transforms and right
mouse set origin, origin to 3D cursor. I just want the origin
to start right there. And I'm going to press Shift
a mesh pulling our Y 90. Actually, we don't
need to do RY 90. We're going to scale
this down like this. Are we going to try to make
those tentacle shapes? I'm not sure what
they look like, but I'm sure we can
figure out something. So press Tab enable X-ray. Let's go through our list
actually first add a modifier. Subdivision surfaces
satisfy two. Now let's press
Control are about to three times right there. Three times right there as well. And let's just press
Select that one, breast g at x. Move it out a little bit, select this one and move
it in a little bit. Select those two points
at x a little bit. I think that's
already looking nice. I'm going to select this one and this one by holding Shift, press S and Y, and just scale it
down a little bit. So now we've got a nice
and unique looking shape. I'm going to press Tab a, E and extrude that a little bit. Actually, I'm going
to preschool through sets few times like that, just so we are back
where we started. I'm first going to apply
this subdivision modifiers, especially go through that. And there we go. Press Tab, eat and extrude that. Let's see something like that. Now, what I want to do is
disable X-ray for a second. Press three, so we've
got the Face, Select. What I'm going to do is
breasts and the seven. So we go into top view. I want to extrude this
whole part once again because I want a little
bit of thickness switch. So press Tab, press shift the z. Let's kill it down as we go. And make them match or make them touch just
slightly like this. Most Shade smooth. The other one is
Will Shade Smooth, go to Object Data Properties, normals, and hit auto smooth
for both of the parts. There we go. Now hold shift and
select both of them. Hit Control J, and
now it is one object. Alright, so we scaled
this down quite hard. So press Control a and apply
all transforms, right, mouse set origin,
origin to geometry, Shift S, selection cursor. Okay, so now we've got the
cursor or so we've got the origin of the curve and
our object on the same point. And now we can select our curve. Or we can select our object, go to modifiers, and
we get choose array. There we go. And I go to set this
to the set x for now on one and just put the count so we can actually
see what we're doing. And we want this to
curve with this curve. So we're going to add a
modifier and go to curve. And I am now going
to select the curve. So click on the eyedropper
and hover over your path. There we go. So something weird is
happening right now. We can fix that by
changing the D form Xs. So we have to go with a Z as now it starts on the
wrong side of the curve. So we can try mindset so
that it didn't do anything. Let's try minus one right here. It starts on the wrong
side of the curve. And why is that? Well, I actually have no
clue at this point. We can play around with it and
it should work eventually. So we do need that. Maybe if I actually
does it even matter. If we set this to
one and we just have to count up to where
it touches the shirt. It is going to be fine. Alright, so we have tentacle. We want to have this two
more or three more times. I'm going to select
both my objects, enter the path and I'm going to press number three, shift D. And it moved it to the
other side a little bit, or actually don't just rotated. There we go. Press shift D wants more escape, rotated to the bottom, shift, the escape route
that it wants again. And now we can just
change those curves. So select NURBS path one in
your viewpoint on Horizon per step and just move
the curve around so it's a little bit different
than the other ones, right? So if you've got some variation, I want this to be right there. Let's extrude it out. E. Just extrude out like this. Let's select the second one, press tab, and let's
move that one as well. A little bit like that, like that, like this. And like that. With this one up
maybe could be nice. And the final one,
but three step. Let's just do the same thing. So this, move it
around a little bit. That's going to be Hellenized. Alright, So no personal 0. And we can see
that each tentacle is looking a little
bit different. That's really nice.
16. Modeling the tentacle claws: So what we're going to
do next is actually at these clouds and I'm going
to make them very quickly. So press Shift a
mesh and playing, It's all hard surface
modeling and it's always a little bit easier
than the rest. Press G and X and move that out a little bit and
press S and Y, like this. Press Tab plus two. And let's select this
edge and press g and x, move it out a little bit and genes and move it
up a little bit. Now press E and G, x and g x. We put in a little
bit like this, looking like one of
those integrals. Let's select this one plus
g x simplify a little bit. And let's scale this up. And let's kill this up as well. And finally, this one as
well, like this scale, this one down a little
bit, maybe. Like, so. This one a little bit
as well. Like that. Let's take this last one
and press E and G x. And this one can be quite small. Something like that
is going to be fine. G x g said. Alright, so that's
one of those claws and actually switch genes
x, something like that. Let's press a and
actually press Tab, go out of edit mode
and add a modifier. We go to do it the easy way. And as a solid phi and increase the thickness to the inside
just a little bit like that. I think that looks quite nice. Let's go through a on
the solidify modifier. Step. Select this top edge in G and Z, then move that up a
little bit just to have some thickness variation
in the whole part. Same here, same here. X in a little bit,
this one as well. And she's moved up this one, g x, move it in a
little bit like that. Now, I think that
looks quite alright. We're can actually make this
look a little bit better. We're pressing the tip and let's add two edge
loops right there. Left-click and escape. And actually, let me show
you how they disperse, come through our scroll up once. So you have two edge
loops, left-click, escape, press S and Y, and skill that outputs a little
bit like that. Now we're going to
select those inner Pauling's and we are actually
going to extrude this. Press E and just extrude this, let's say a little bit
to the x-direction. So look into x and plus g sets
and move it down as well. So g x be sure it doesn't clip something like
this looking fine. Press Tab, press three. I just delete this
face in front. Let's delete this one as
well, delete phase one. And let's connect
these two vertexes, three and these three
as well by pressing F and select those
middle four and hit F, and that will connect them. Alright, so that's looking fine. Now we can press seven. We can, Let's see what
we're going to do. Shift a, hit empty, plain x's plus g and x. Move it to about there. Now, select our object. Let's first select our empty
Shift S cursor to select it, select our object, right mouse set origin or which
is 3D cursor. Okay, so the reason we're
doing this is to actually mirror this object
but around the empty. So we actually have something
like a circular pattern. So let's go to a modifier. Let's go array. And we're going to
de-select red object and we're going to go
with Object Offset. Now open this up and select our empty with
the eyedropper tool. Looking beautiful,
rich, cultural a. Apply all transforms, right, mouse set origin,
origin to 3D cursor. There we go. Now
nothing is looking different and that's because we have to rotate this empty. So let's see how much
we want to rotate this. We want to have three
of those clause. So we need 120 degrees. Press R 20. There we go. And let's up. The value of the array
modifiers are three. There we go. Looking quite alright. Alright, so what I'm going
to do next is apply this. So preschool through
a press tab. And I'm going to select those corner vertex is
on the top right there. And also the bottom right there. Like this. They're
going to hit Shift D, escape P-I separate
selection step and just select that new
objects and press Tab. And we're going to press
two to go into Edge Select. And we're going to start
connecting some of those edges. So select two of them were
holding Shift and press F. Now select that one
and the next one is F. And continue that
pattern until you close the whole
circle, like this. Now, double-click on those
edge loops on the bottom, press F to the same thing
for itself, Double-click F. And now we've got a
closed part and that's looking quite nice.
To add some detail. I'm just going to select
that middle part for step three and hit
that top face, a press I to insert
something like this. Left-click and press E and just extrude that a
little bit so you get some nice
differences in height. Alright, so now I'm
going to select on my class hold Shift, select the middle part
and press Control G. There we go. What I'm going to do next
is select this tentacle, press Tab, press one. And actually we selected the
object and not the curve. So I'm going to
select that curves or isn't a NURBS path
three for this one, press step, set that
final point shift as curse to select it. Hit sceptical out of n mode, select our new objects. We already have the
origin set, right? So what we do now is press Shift S and hit Selection Tool, cursor, scale this down with
S or something like that. And let's rotate this
so it actually matches the direction of the Cloud. So just rotate it in the viewport to the duration
of your camera, right? So if you wanted to
wrote it for example, in this way, you go to the top. You can also present a bit
seven and then rotate that. I want to align it with one
view sides of this object. So it's going to be, this
is going to be this void, and it's going to
be decided as well. And then just try to match it to the normal direction
of this tentacle. Now, hit Shift D, Just escape. We don't need this
for now. We want to select an earbud through. Press tab, select
that final point, again, Shift S
curves to select it. First step, select the copied
Cloud Shift S selection to cursor and just
wrote it this again. So we need to go to the side view of that
cloud first, rotate that. Do the same thing
for the other sides. The other x's, That's
already looking fine. Alright, you can also
go to the full part and rotate that a little bit. So it's a little bit with an offset rotated a little bit more and press G to move it. So it doesn't clip which
are tentacle like that. And do the same
thing for this one. So you can see it
clips a little bit, just moved it to the
outside, like that. Now the NURBS path, one, tap, Select the final point Shift
S curves to select it. It's very repetitive
at this point. Select your Cloud shift, the escape Shift S
selection to cursor. And let's go ahead
and rotate it. I'm going to do it quickly now because you wouldn't
know what we have to do red. So moved it out, make
sure it doesn't clip. That's the last thing
you want to happen. Something like this. A
little bit of an offset, maybe. There we go. Final one, the first NURBS path, Tab, Shift S tab. And let's duplicate
this cloud escape Shift S curves to select a
resolution to cursor. Just rotate that to match the normal
direction once again. So make sure it doesn't clip. Of course. There we go. I'm going to rotate
this just a little bit with an offset. There we go. Let's go crazy like that. Alright, looking amazing.
17. Final modeling details: So next up, we want to add
a little bit of the hair. So what we're going to do is
press tab on our character. And I'm just going to select
the hairline that I want. So hold Shift and select some phases that you
want to be here. Something like this. Like that. That's fine. Press shift the escape P-I separated selection. Selected once again,
press Tab, press E. Extrude that, maybe scale
it up a little bit as well. Let's choose it. There we go. Move it down a little bit. This looks fine already. Actually, I'm going to select
the first nurse path and press Tab because it is
in the view of my camera. And I'm just going to move that final point to the left
a little bit like that. Press tab and I'm going
to move this one with it. So just manually press
G and R to rotate. Our There we go. Go south a little bit like this. There we go. Looking better. Now we can actually
start shading. So go to rendered view. So let's go ahead and
go to Edit Preferences. Search for Blender
gets enabled it. And actually in 3 does a
different way of doing this. You are, you will
actually have to go and downloads the new blender kits. So you can probably
go to Blender kids.com and then just
download Blender kit. You'll get a zip folder
in your downloads map. And you get to Edit
Preferences and hit Install. And then just find
your new zip folder. And then install add-on. Closest window and
then search for Blender kits and enable
this little checkbox. Right? Then click away. And then you will
have this new kind of window in the top
side of your screen. You can basically go
to the second one, which is the material tab at the eyebrows. And
to see the materials.
18. Texturing: And then we can select
this inner codes. I want it to be bounded. Alright, so let's find
a nice brown leather. Let's see. There should be one
that we'd like. There are loads,
I like this one. So I'm going to left-click with the code selected and it's
going to apply it right away. Now usually you have
to press tab and press a residue and just
Q project that. Alright, so generally the UVs of an item by not set properly, so we need to manually,
this is looking fine. I will just select the right
part Alt Shift and select the shaded part Control
L link materials, right, so that's looking brown. For the right path, hit tab a, u, and q protected as well. There we go, you can see
the lighter material coming through a
little bit as well. Now for the outside
part is going to be what is it? It's also Brown. How boring? It's fine. We need a darker brown. So maybe this one, we're
just going to make it how we want is our model so
we can do whatever we want. So that is applied. Hit tab, a few cute protection. There we go. Should be fine. It's nice and leathery. It is still all very
dark because we haven't no we don't have any
lights in our scene. That's just it. We're going to do that
later. So select the head, so the base model, select New. And we're just going to make
this into a skin material, select the base color
and just set it to like a color that
you think is skin. I'm all always having a
little bit of trouble finding the right color,
but I think this is fun. I'm going to decrease
the reference allele with not too much though,
something like that. Now select those classes, hit New, and we want
to make this black. Let's make it fully
black and decrease the roughness a lot. And that is looking at
dope. For the middle part. I'm just going to click it, hold Shift and select one of those glasses, L link materials. Now we're going to hit
the head material, hit New, and make this brown. So he's got a nice shiny hair. I guess uses some nice
jail or even what is it? The degrees, we're
going to lower the roughness to
make it all nice and smooth and nice
and greasy like that. And we can actually try and add a mouth quickly by selecting, for example, two edges
like this, shift D, Escape, selection, it tab
and select that edge. And let's do Object
Convert curve. Let's go to the curve
and geometry and just up that depth right
there a little bit, is going to look quiet laying. It is also very fun. Hidden you and make this
full black. There we go. We can even press S and Y and just make
this a bit smaller. I think hasn't been quite fun. Alright, so now for
the stent goes, we want this to be metal. So select it instead of letter, we're going to find metal. And then the icon appears and recommit to select
our rusty metal. So this one is a
little bit damaged. So we're going to apply that. It tap a few objection. It's up there. We're just going to link all
of the other metal parts. That's material, right? So select everything
and then lastly, select your final parts. Control L, link materials. There we go. Present it but 0 going
to perform for you.
19. Final render: And now we can actually
delete this big plane. We don't need to
reference image anymore. Let's press Shift a mesh, lean, brush genes that
precedent but three, and just move this cube to where the feast. So
right about there. Just kill it up
and we already get some nice reflection
from the scalp plane. Let's hit Tab to select the backplane Presby
and set it up, press two and select the
bottom edge right there. It's going to be just scroll up. Make that nice and round. There we go. 0. Let's see how that looks, right? Mouse sheets smooth. Of course. Let's actually, I want this camera to
be a little different. So I'm going to press G
on the camera and G and just hold your middle mouse and then drag your mouse
backwards to zoom out. You can also just select
your camera like this and press Shift F. And
then you can just press W, a, S, and D. And to move your mouse
to set your camera. I've got to keep it like this. I'm going to offer my mouse over the top right corner until it
becomes this little cross. Left-click, drag it to the left. Go to your shader editor. And let's select the
back plane hitting you. And we're going to make
this a little bit greenish. For some reason I thought
greenish would work. Actually. Right? Maybe we first need some lights, shift a light area. Go to your view port
chaining first, press G and Z. I just move that to where you
want to live to come from. I'm thinking some
nice backlighting. Just move it with the
CI and rotate it so it matches your actual
object direction. So make sure this little
line points towards your objects are
from the top side. Wrote it into your
objects like that. And what I'm going to
do is actually move this light the back of my plane. So press G and X,
makes sure that it's just behind your playing. A plus gy looked like that. So now it's still points
to our character. And the reason I do it
behind playing It's because otherwise we
get that clipping of our area lights with
the crowd so you can see where the light
starts because it's pretty much a square that
sends out light and that's going to interact
with our plane. And moving it behind will
pretty much fixed that issue. Let's just scale the size up. Quiet heavily. Unless I actually wrote it
this message a bit more. So it's 0 points towards
our character like that. And we're going to
select that plane, go to the object properties, go to visibility and just
inject shadow and that way it will let off the light from
that new light through. So go to uranium view. We already have a point light
here. Let's delete that. Now it's all environment light, and select this one
person to the 0. And now we want to make that
one a whole lot stronger. So maybe 100s, thousands. There we go. That's already looking
quite decent, actually. Looking nice. We can even make
this a little bit bluish. Does that work here? But I'm going to make this
backplane bit more white. It might be, it's too green, and I'll select that light again in a bit 0 and
change that color to more of a white or
maybe even a lipid. That's looking fine. So we're going to select
that plane and just plus g, z at the top of bids because it looks like our
character is floating, does not what we want. Now. That's looking fine. I'm going to select
that area lights and just change the size. So I'm going to reduce
this slightly like that. So it's a little bit more
of a directional light. And I'm going to set the
power to maybe 200 K, because we just set
it at 1 million, is just a little bit too much. Alright, so shift the
area light, press x, g, y. I want this one to come a bit more for the front, and maybe a little
bit more from there. Write something like this
and scale this down. Like so. Make sure it's still pointing at your character like that. Snippet 0. It's way too strong. I'm going to set
this at 50 thousand and make it maybe
a little bit more. I really like blue for this one, but I'm going to move
it a little bit closer. So something like this
and change this size. You can also just scale
it with S by the way, and then rotate it a little bit. So I think that's looking nice. Maybe move it to the
side, a little bit more. G and X or something like that. Maybe even a little
bit more. Let's see. Yeah, that's looking better. So let's change this
color a little bit. What I'm going to Shift
D this one more time. I press X and g, y and z. And I want this one to
be nice at the origin. I've said this before. I use orange or red
for backlight is quite often because it usually shows. Or indicates something
like a street light, a car lights, and explosion. It can be so much. And I love using orange for BEC lights or even fibroblasts,
doesn't really matter. I just love that color because
it can be so many things. Alright, and then put 0,
Let's see how that looks. It can probably be a little bit stronger and maybe also 200 K. Maybe even more actually
made for all nodes. That's looking nice.
Alright, I'm going to select my background and
I'm just going to make it a little bit darker now, we can get some better
contrasts in our scene. And I'm going to make
it a little bit. We can actually go
with cream maybe. Just like I wanted to. Alright, so we can
do it like this. What you see now is that
if we put an input 0, those clouds will look
a little bit gray. And that's simply
because there is nothing here to be reflected. So we can change that
if we, for example, press tap on that plane
and just extrude this up. So E and Z for simple
like that, personally, but zeros and now they're
already a little bit more reflected from this part. It is still quite clean. If you wanted to look better, you can simply add an
environment texture. For example, in the
world properties, you can set the color to
environment texture open. Already downloaded an HDRI. So it is an HDRI, doesn't
matter which one. But then you can get the
reflections of the environment. Simple like that. So you have a whole environment. Now, I know if I delete
this point like that and go back and you can already see some reflections that are
better than what we had. But I'm just going to remove that because it
doesn't really fit the style of the
character in my opinion. So we'll just set this back to RGB and make this a
little bit darker. Like that. Looking beautiful. I think this code is a
little bit too black. So what I'm going to do is
just swipe this base color out of the material tab and
make this brown myself. So then we can control it ourself and I just liked
it a little bit better. Something like this,
nice and dark. Select the inner one as well. There's something wrong
with that material anyway. So let's find it. Select your object and
go to the material. And I think the displacement and maybe a little
bit too strong. So what we can do is try and
decrease the sperm strength. Alright, So that does
the trick already. Set this at 0.1. Let's go to UV editor, hit Tab. Let's press S and scale this up. Nice and big city
for the left side, the first step in the right window process
and scale it up like that. First step, go to the
shader editor and I'm going to change the
brim string is 2.5. Maybe that's still too big. Yeah, let's set it at 0.01. Okay, that's looping
with better. Let's change the
color to a little bit more bright and less
saturated like that. Alright, so that's looking fine. I'm not going to render this
out and then we'll be done. Alright, so this is
the final render. We got quite a lot
of details in there. If you look at those
tentacles, the code, even the materials,
it went quite nice. I hope you enjoyed it
and learned something, and I will see you
in the next one.
20. Conclusion: Alright, my Skillshare family. Thank you for taking that class. You did amazing. If you made it to
this point, you know, a lot of people quit before
they ever get to the end, but that was not you. So congratulations. If you are interested in
any of our other classes, particularly this amazing if I don't say so myself
class on Rick and Morty and how to do the sculpting for their
various heads and faces. I should only recommend
you check it out if not, don't worry about it. Once again, thanks for
taking the class and I will see you on the next one.