Beginner Simple Character Creation: Spiderman, Venom, and Dr. Octopus | EduCraft Ideas | Skillshare
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Beginner Simple Character Creation: Spiderman, Venom, and Dr. Octopus

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

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Introduction

      1:14

    • 2.

      Getting up to speed

      0:46

    • 3.

      Making the main body

      14:58

    • 4.

      Adding the texture

      8:21

    • 5.

      Creating suit details

      7:43

    • 6.

      Making mask details

      6:10

    • 7.

      Scenography and main lighting

      5:48

    • 8.

      Final details

      6:05

    • 9.

      The Final render

      3:32

    • 10.

      Modeling Venom

      13:39

    • 11.

      Venom's materials

      13:08

    • 12.

      Venom's final texture details

      11:49

    • 13.

      Final Render

      6:26

    • 14.

      Modeling the Dr. Octopus suit

      15:40

    • 15.

      Modeling the tentacles

      6:39

    • 16.

      Modeling the tentacle claws

      9:08

    • 17.

      Final modeling details

      2:02

    • 18.

      Texturing

      3:53

    • 19.

      Final render

      9:34

    • 20.

      Conclusion

      0:36

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About This Class

If you’re here, you want to make amazing models of popular characters, amazing environments, or anything else your imagination can think of.  You might be worried about where to start.  Well, you’re in the right place.  In this class, we teach you how to create any character in a simple stylized manner.  Using these techniques you can take your favorite anime hero, or movie character, and make your own version you can impress your friends with.  

You're going to learn how to take a character like Venom, Spiderman, and Dr. Octopus and make a 3D model from a photo. Once you understand this technique, you can take any of your favorite Characters and bring them to 3D life.

You'll also learn how to model simple clothes along with a host of other things.

We'll also cover:

  • How to model from a reference
  • Modeling with symmetry
  • How to model something many times using arrays
  • How to use the mirror modifier so you only have to model one side
  • How to use curves to create tentacles

Requirements

  • No prior Blender experience
  • No prior art experience
  • No natural talent
  • A great imagination

What you'll get from the course

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

Who is the course for?

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

Ready to get started?  Download Blender 3.0.0 here.   First time using Blender?  Check this out for some simple fundamentals. 

Meet Your Teacher

Teacher Profile Image

EduCraft Ideas

3D Animation with your imagination!

Teacher


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

We've already got tons of classes here but we like to work in themes.  Our most recent theme is Rick and Morty and you can learn a ton about modeling and animation if you do just these classes.  

We've also got classes that cover everything from realistic water to 3D modeling and Video Game design.

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

See full profile

Level: Beginner

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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.