Big Course on Rendering in Marmoset

1. Lecture 00. Introduction: Hi, everyone, and welcome to my big course on rendering characters in Marmoset. I'm Anna Beganska, a SID character artist with ten years experience of making characters for game D. I worked for projects from such studios as Blizzard Airship Syndicate Rod Games and others, and I have helped dozens of students to refine their SRD skills as a mentor at Sigi Spectrum and Stank Training Center. Now let me tell you a couple of words about what we are going to study at this course. This course is an absolute must have for anyone looking to develop their really character rendering skills to a professional level, covering every essential aspect of the process from mastering the tools in Marmoset to creating, styling renders of human skin, metals, fabrics, and hair. Each lecture offers in depth guidance and practical techniques. You will learn how to work with camera angles, character poses, and lighting to make compelling compositions, as well as how to create high quality clay renders, wireframes, turnable videos, and Marmset viewer with a special focus on both high poly and low poly workflows, this course ensure your art station portfolio will truly stand out. Don't miss this opportunity to refine your skills and showcase your work like never before. So now it's high time to start our course. Let's proceed to the first lecture. 2. Lecture 01. Review of the instruments in Marmoset: Everyone, let's start our first lesson and today we are going to discuss the interface, which we see when we open our Mrmoset for the first time. I will describe and I will speak about all the menus which we see here, what do they mean, how we will set up everything, and I will explain the most useful functions and buttons which we are going to use while rendering our characters in Mrmoset. When you open Mrmoset, you see it the way it looks right now. We have a lot of menus for standard one. And here we have different render views. It depends on what you're going to do here. It's render, it's classic, if you want to animate and so on U and B, we are going to work here or in render workspace or in classic workspace. I prefer the render one because it's a classic and its simplest one. And here we have all the menus which we need. So here on the left, we have kind of an outliner similar to what we usually see in May. Three main nodes which by default exist in Mrmset and we are going to set them up. I will talk about them later. Also we have here Nazi menu. What we can also create here's baking. This one stands for baking. This one stands for fork, this one stands for light. This one stands for importing your model and so on. Also here in outliner, you have a chance to turn off visibility of whatever you want. Will show it later when I will import here the model and you can all the transformation. On the right, we have a menu with material. Here we will be setting up our materials. We will create new ones, we will delete them. First of all, let's learn how to import your model here to Marmaset. Wrap two options as far as I know, three. You can click here. Or you can go to file and import press like this or you can just dragon drop, which I'm going to do. I'm dragon dropping my model here. So here we are. It's my by the way hi poly moodel. It's Sand clock. We see the Sand clock in outliner and by Sand clock you can see consists of three elements, so I can turn off the visibility of any of them. I can lock the transformations. For example, I right now sand clog navigation, same as in M W ER, and then I take the Sandlog and you see that I cannot move it. I can do nothing with that because it is locked. But if it is unlocked, you see, I can scale it, I can transform it the way I want. I go to the scene here in the menu, what I see? I see that by default, my scene is in centimeters, and I import everything also in centimeters. You can always change it if you need, but actually I never change. By default, you have one camera here. But if you want to create several cameras and you want to set up several cameras, you can go here to the menu with cameras and create a new one. So now you can see that a new camera is created. And for example, with this camera, it's camera one here. I'm setting it up here, and for example, I want to change the exposure. I want to change the shadows clarity. It's only settings in camera one. Then if you go to camera, main camera, you see everything is back. So here you can select which camera you are looking through at your object. To tell the truth, I'm not a big fan of creating different cameras, but it can be an interesting option which you can also study if you have some free time. Let me delete this camera. Also from this menu, I can select top camera. Here it is. I can select front camera, here it is, I can rotate the camera because it just front and from here, I can go to my main camera here. This menu, we will discuss a little bit later because before we go to this menu, we need to discuss what we have in render main camera and sky. I would start with sky because sky is our main resource of light. And here, by default, we can have different HDRIs because K, it's your HDRI and you can select it. There are different HDRIs. There are some HDRIs which are from the collection of Marmoset here. You can see a lot of different HDRIs here. To navigate here, to rotate your HDRI, you press Shift on your keyboard, press and hold, and with your right mouse button, you can rotate your HDR. Actually, I always try to select something or neutral or with soft shadows. My favorite HDRI here is this it gives me soft shadows and it gives me soft light, which I really like, and I use it almost for all my renders. This is your HDRI. By default, the brightness is one. Of course, you can change it if you need. During our course, you will see that or leave it as it is, or I load the brightness in this HDR in general, HDRI because HDRI works as a plate and more in detail, we are going to talk about this in our next lecture. Tight light brightness. It refers to lights which you have in your scene. Right now, we don't have any lights. But if I had here, three, four, ten, no matter how many lights were here, except of this HT. So this parameter helps you to reduce or to increase the brightness of all the rest lights which you have here, but I never use this perimeter because I can't control all my lights which you create in the scene. So I don't need, the general reduction or general increase of lights in my next, we go here to backdrop and mode. That refers to what we have on our background. So we have selected our HDRI, and here in mode by defaulted Ambien sky, which I actually don't really like. I usually select here color, and now I can go to color picker. And I can select any color, any background which I need. Pay your attention to the fact that AHDra is still working. What has changed is only the color of your background. So this is what I need. I always start with kind of a neutral background, and then in the end when I set it up everything, I go back here, and I sometimes change the background color if I feel that the change of background color can be beneficial for my final render even more. So that was what I wanted to say about Sky, and let's speak a little bit about our main camera settings. So we have some transformed settings. It's like you can rotate your camera, whatever, what Actually, don't do anything here in this transform palette. It's just exist in case I need something. In the lens, here, important two parameters. The first one is SFrame. What is the frame? SFrame is the actual borders of your final rendered image. So I always tur it on so I can see I can understand what's going to be rendered, what I'm going to see on my final image. Resolution of the Save frame can be changed in render settings. I will show later when we will talk about render, but right now, you need to remember that if you want to see the borders of your render image, you need to click here Save frame. Another important settings which we have here is this field of view, this camera angle millimeters. What these numbers stand for? They can be the size parameter of your perspective. So if I press here ten, that means that my perspective is incredibly big. I almost never work in such perspective unless I want to make something ridiculous. If I put here let's say 100, I will not almost see any changes. The range in which I usually work is from Soti depending on the character which I have here 30-70. This is my favorite range on which I work. Test them and check which one you like the most. And as a parameter which we also should review is focus. Here, we also have one interesting parameter which I really like, and it is depths of felt. We need to turn on here. Post effect. And right now, we see that Everson blurs. And now I will show you how to focus on your object or on a special spot on your object. So you take your mouse and you click Middle button here. And right now, your object is in focus. But the magic goes next. You need to roll these parameters. You see what happens. We see the depths are filled. We see how the parts of our objects which are far away, they become blurred. And you can regulate this blur by rolling this, I don't know ruler here and checking how it works. You can also click here and press sticky focus. That means that your focus will not change when you move your camera. Distortion. Here we have one interesting effect, which I'm using when I'm rendering maybe Sci Fi characters, it works nice. And the parameter which I'm talking about is the chromatic abersion. Look what it is doing. You see? Pretty nice effect, which I sometimes use for my Sci Fi models. It's obvious that it's not going to work nice if you're rendering a fantasy character or a Disney princess, but for this kind of aggressive overwatch or whatever cyber pun character, it can have a very nice effect for your render. Next one, we have tone mapping. Tone mapping is additional perimeters, which we can set up to make render or more vivid or more tender or more dark or we can just change the exposure or change the contrast. We have three primate tone mappings here, but even not three, four. Like linear is default one and three more, which is in hard tell and the ACS. Try to apply them and see how your render changes after you set it up everything here. Sometimes it gives me nice ideas how my final render can look like. And in my renders, I prefer usually Ortgos linear or with one of these with ACS or another important option which I highly recommend you to do and do it please every time when you render your character in marmoset. And this is sharpen. I don't know why, but marmoset blurs everything what you do. And if you want to preserve nice natural sharpness of your render, then I highly recommend here in strength to put one. And the final picture will look really bad. Without it, it will be blurred. Another parameter which we have here is bloom. I'm not great fan of bloom. What it does, it eliminates light, as you can see. From your model, you can change the size, you can change the brightness. I don't really like it because it blurs. It really always blurs the colors, the shapes of my model. That's why I usually don't use it. Vignette something what I do. Vignette is something that can be edited in Photoshop, but very often I edit here because I want to see the final result which it brings to me. The grain, grain is a great option and I always add noise to my final renders, but I don't really like the way grain works here in Marmoset. Don't like this green and whatever I try to set it up, I don't like the result. That's why I usually don't tune it on here. And when I render the final image, then I just go to Photoshop in the end with my final rendered image and add noise exactly here and it works much better than adding grain straight here in Marmoset. Finally, let's discuss the render parameter here. Turn on tracing. Re tracing is obligatory function, obligatory parameter, which we need to turn on when we are rendering something and Mrmoset. Rey tracing is more physically based parameter. It helps us to make a better rendering. You want a good quality render and more PBR more physically based, then please turn on retracing and continue adjusting your render. Next, we need to increase bounces. The higher bounces are the better this retracing works. When you are setting up the material sprint, please don't put here ten. It can kill your computer, but when everything is set it up and you are ready to press to make the final render image, then you can go back here and increase bounces even more. Miss transmission is another interesting parameter. Let's see what happens when transmission is one. See, actually, nothing has changed. Transmission parameter is very important when we are talking about transparent materials. Here, by default, we have transparent material, which is glass. Let me assign glass to the transparent part of my glass clock. What we see, we see nothing. It seemed to be glass, but we don't see the send inside. Look what happens if I increase the parameter of my transmission. My glass becomes more transparent. So this is why and this is where the transmission parameter is important. Next, we go to viewport. I need to emphasize here that in the viewport settings, it is only the settings of your real time rendering right now. For the file render image, we have different settings, not in the palette, but in another. Don't put the very high top parameters for a viewpoint, if your computer is not very powerful. Like, mine is not very powerful. I'm not going to put in samples like one K here right now. Here, I just I leave it almost as it is and never set anything up here. The parameter occlusion shadows, we don't need because it is raster parameter. Raster render is our render without tracing. As I said, we are using tracing. That's why we don't need these raster parameters. Next, goes output and output, we have here image and video, and this is where we are adjusting our final quality. Here, you select a folder where you are going to save all your renders. You select the resolution. Remember when we were talking about the safe frame, I told you that the resolution of your safe frame you can change here. Here it is. Let me show. For example, here I want to write one K up a per center, and I see how the resolution changes. I can change the proportions of my render and obviously of my safe frame. For the final image, if I need a high resolution twice, I can top it up by pressing the arrow up or if I want to make it lower. Press the lower arrow. I don't recommend to check the box a transparency because for the final render, we will also render material ID or object ID passes, which will help us to select whatever we want on our final image if we want to fix anything. And transparency I don't really like it. Dnise for the final render image, you should always select CPU because in this case, your shadows will be cleaner. Be less noisy CPU, sorry, I forgot to mention that CPU stands for your computer processor, and GPU stands for your graphic card processor. If your graphic card is very good and very quick and very powerful, then at least for the viewpod you can select GPU. Your shadows in the viewport are going to be more noisy, but the whole render is going to be quicker. For the final image or for the final video, I still insist on selecting CPU resources for rendering. 100% what you should do, quality, high, and the noise trends, maximum. A lot of people forget to increase the noise trends to maximum, but this is one of the most important parameter. When everything is adjusted, you can just press random image and that's it. Then we go to the video parameters. If you want to render animation or if you want to render turnable video, then you should go to these video parameters. So here it is. It's very similar to what we see here in the image. But for the video, remember to top up samples, same as you need to top up samples here. I think I didn't mention it when I was talking about image compression quality of Costop, the noise of costop and also select here. If you want to be video, that should be one of these parameters I personally always select Impec four. What else do we have here? Also, we have render camera. Remember, at the very beginning, I was talking about the fact that you can create your own camera. If you want to make the final render from a camera which is not the main, you need to press at here. If you have extra cameras here, then here you will have a list of them and you can add them here. Since I have only main camera here, nothing happens when I press at you. Render purse, render purse is something amazing, which I like. It is a place where I can add different render passes. What kind of render passes I can add here. Remember I told you that we will talk later about this full quality palette here. It's not full quality palette here. It's just another palette which we have here. So here we have different options. We have here draft quality. It's like our render without ate tracing, full quality our rate tracing, which is important. And also we have here gray it's kind of our lay renders, which I don't really like here this one. We have textured version, we have a frame, which is also not looking nice, especially when you have hi polymodal like this one. And also we have here render passes. We have here material ID. We have here lighting. Let's say direct lighting. We have here I don't have specular we have here rando passes like material values, albido which is white, obviously right now because we don't have albido which has metalness, which is black, obviously because we don't have any textures on our material. We have roughness and so on. So here in this palette you can only check how your render passes look like. If you want to render them, you need to go here to render to the render pass, and here where you have final composite. You can add them, light in material value, all those which we checked with you a minute ago. This is very important. If you want to render additional render passes, don't select here and the press render. No, you need to select them here in the render pass. And the last one set in the render here is what mark? I didn't know, I didn't use it. Some people use it, it's pretty obvious what is doing. Not something what I like. So this parameter is always off on my renders. Your viewpoint, if I click here, I have more settings here what's interesting, what we need to remember about is if I want to look at my wife frame, how it looks like, maybe I need, then I need to turn it here. I see my wife frame on top of the textures on top of the materials, which I have set it up here. It's not like just frame. It's this wireframe on top of your mesh. It looks like this. You can change the color of it to whatever you want. You can change the opacity of your wireframe. But again, it's only the preview. How to render this wireframe as a separate purse. We will talk it out one of the last lectures at the course. But here, you can check how it looks. So another important parameter which we have here is show scale reference. Scale reference, this parameter is very important for you because according to this, you are going to check your every character, whether the proportions and the size of the character is okay. Because transmission, this parameter in the materials which you set up depends heavily on the size of your mesh of your character. That's why this parameter we will use very often. Another nice parameter is show guides. Right now, you don't see anything. You will see it if I create a light. Let's create light. Here it is. And right now, I see the light. Sometimes it's not convenient. All these guides of the lights, all the shapes of the lights distract me from setting up the scene. That's why I can uncheck the box here. But if the light here in the outliner is selected, I still can adjust the settings. Here you see changes, despite I don't see the light itself. Here we are. Show guides. And since we started talking about the lights, let me show one more time how we can create the light here. So when I want to create a light, I move the mesh closer to the camera. For example, I want to create the light which lights this area, so I go here and I press light here. And I see in the outliner and I see here that the light is created. There are three types of lights here, which is directional. Which is spotlight and which is Omnilt. We have a separate lecture where I discuss each of the types of the light. Very quickly, I will show you the parameters which you can adjust for them. It can be brightness. It can be temperature if needed. I usually don't take it diameter. When we are changing the diameter, the biggest diameter is the softer the shadows are. You can change the spot angle and the brightness and you change the spot sharpness, which I usually don't touch. Well, this is what I wanted to say about lights. And this is everything what I wanted to say about the viewport settings. You can divide your viewport and you can split it horizontally like this, for example. And you can select here, let's say, a new camera. Mm hmm. Here you're going to have your main camera. You can work this way. If you want to delete one of the viewports, then you can press here. You can tear it off and you can just shut it down. You have one viewpoint again. Materials. In the next lecture, we are going to talk about each of the settings here in material, which we're going to just later. Right now, I want just to speak a little bit about the materials menu here. Obviously it's our material menu here. And if you want to create a new material, you can click here, which is, again, pretty straightforward. You can select among the materials which already exist here in Marmoset. For example, my favorite is usually glass. I select the glass and I just pull it to where I need it. Very obvious about the latin. If I want to duplicate material, I make a right click and select here duplicate. So here VD duplicate. You can rename it very simple. One useful thing. For example, you have a lot of different materials here and you already don't remember which materials they are on your mesh, how you can delete the extra materials which you don't need, delete unused notes, press and hold on your keyboard control, and you press backspace. So right now you have only those materials which are assigned to the objects in your render sin. If I want to assign material to my objects, I can select the material and rag it to the object like this. If I can't get to the object from my viewpoint, for example, I can't get to the sand, which is inside of my clock here. Let me show how I can do it. I can create the material. Let's change the color to red. Of course, I can't drag it here because it will be assigned to the transparent part. Here in the outliner, I have sand and I can take my material and and drop it to the send. Right now, this material is assigned to the send. The last but not the least, what I want to mention in this lecture is how we can add Turnbll backdrop, and the shadow catcher. So we should go to the scene. Here, we have a menu at object, and the most obvious one is here turnable. So you see a new node is created. What I need to do right now is I need to dragon my mesh under the turnabl to make to parent it to the turnable. And then if I go to me and if I press play, it goes like this. The same clock rotates in a via way just because it's pivot not in the middle of it, but here. But if the pivot of your model is somewhere in the center of your model, then it goes exactly the way it should go. Then I go again at object, and here I have shadow catcher. I adore making shadow catcher. So this is kind of plane, which is created under my mesh. And I think from the name of it, we can descend what it is. It's like shadow catcher. How I usually work with it. So here, I select it in the Viewboard. I press indirect shadows. And now I can see that it can be kind of a mirror. And I can control the roughness and that can control the specular intensity. This one of my favorite parameters. Okay, I can pull it up to where I want, but I usually keep it where my object stands, my character stands. What else we can add here? We can add the backdrop. Backdrop is what you're going to have on your background. You can create it in advance. Let's check what we have. Is my render from another lesson. But you can see on the backdrop, I can apply any picture and my mesh is going to be on the foreground and my image, the backdrop is going to be on the background. You can change the opacity here. You can change modes straight. I usually select fill. If I have a nice backdrop, why not to use it? I think that for this lecture, this is it. On the next lecture, we are going to discuss the properties for the material settings. We will talk about each of them. So see you in the next lecture. 3. Lecture 02. Camera angles and placement of your character on the render: Hello, everyone. Today we have a very interesting and useful topic, a lecture about camera angles and the placement of the character on your final render. When you understand how the camera angle affects the render and how you can enhance your render simply by choosing the right camera angle and the character placement, you can contribute a lot to your portfolio, as well as to your professionalism. Our field and in art in general, nothing is accidental. Whatever you do, whether it is the tailing stone, texturing, adjusting lights, or choosing a camera angle, it all makes a lot of sense. It is important to remember this and to use it in your projects. This lecture, we will study the types of camera angles and how to place a character on the final image. Let's start with the types of camera angles. What is a camera angle? A camera angle is the position of the render camera relatively to your character. The camera angles, which we need to know for rendering characters are neutral, lower ground level angle, high and the Dutch tilt. The main idea which I want to demonstrate is that the camera angle which you choose can either enhance or weaken the emotion which your character expresses. That's why we are diving into this topic today. So the first camera angle which we will discuss is neutral or natural. This is a camera angle whereas the render camera is positioned at the eye level. It is called neutral because it doesn't influence how the viewer perceives the render. It neither enhances nor diminishes anything. If we analyze the works on art station, particularly the projects of three artists, not to the artists, we can notice that the majority of renderings are done with the neutral camera angle. It makes sense. And it is expected because if we imagine our eyes as the render camera and the monitor with our character remains at the eye level throughout the entire workflow, we can conclude that we adapt our character for a neutral camera angle from the start of sculpting in that brush til the finish. Overall, the neutral camera angle is a good choice for rendering as the character will look good in it by default. However, the downside is that the most works on the arts titan I created with this angle and we all want to stand out. Therefore, I will recommend not limiting yourself to just the neutral camera angle, but also experiment with the others, which we will discuss further. Here you can see my render and the screen short from the annual trend arranging showing the camera placement. Camera is positioned exactly at the eye level, resulting in the neutral camera angle. And here is another example of the neutral angle from my renders. I apply the same principle. The camera is at the eye level. The character is looking straight at the camera and we get a neutral camera angle. Here are two more examples of a neutral character angle from other through the artists. It doesn't matter what the character is looking at, whether he's looking directly at the camera or to the side. The key factor is that the camera is positioned at the eye level. Second camera angle also popular amongst D artists is the lower angle. In this case, the render camera is positioned slightly below the character's head. When rendering a character from this angle, the character appears larger, more significant and powerful both physically and metaphorically. This camera angle is suitable for your character if you want to emphasize traits such as competitive attitude, serious intent, a sense of threat or confidence of your character. For better understanding how this camera angle works, think about your feelings when you look at someone physically much taller than you. They seem serious, confident, or even intimidating. That's exactly how the camera angle works. On the right you can see where the camera is positioned and on the left the render from it. Character has a large head and she's sitting, so it might seem like the camera is at the ground level, but now it is just slightly lower than the head. Here is another example of a character from this angle. It emphasizes the character's serious intent, perhaps even a competitive attitude. Lower angle is often used for overwatch characters. Have you noticed that the game is about fighting. The characters are combative and the lower angle perspective is the perfect choice to enhance this mode. Here I write two more examples. The same principle can be seen on both renders. It's unlikely that anyone would say that these characters are full of love, kindness, or inner harmony. Quite the opposite, they both appear dangerous. Now let's analyze the camera angle from the ground level. This is a variation of the lower angle. But here, the camera is positioned at ground level or even lower. In real life, we can take a photo below the ground level, but in three D, everything is possible. This camera angle works the same way as regular lower angle. But it amplifies characters weight, significance, and danger even more. By the way, the illusion of long legs is achieved when the photo or the render is done from the ground level angle. Here is an example showing long legs and the sense of thread which is felt from the character. In the screen short, you can see that the camera is placed below the level of the ground. Compared to render from the low angle, you can notice that the character's combative nature is significantly enhanced. By the way, I've noticed that in anime, characters are often depicted from this camera angle right before or during the battle. Here is another example with my character. You can clearly see that the camera is positioned below the ground level, and here is a very strong and convincing example of how this camera angle amplifies the character's combative nature. Imagine if the character had been rendered from a neutral angle, all the significance and danger of the character would have been lost. Here are two more examples of renders from the ground level. A fury with the lion's body and wings doesn't look like a cute kitten, right? Also look at the screen short of Jimmie Lanister from the Game of Thrones. In films, this camera angle is often used to raise attention. Have you ever noticed this? Recently, I've watched the game of thrones and this particular scene inspired me to include electron camera angles to my chorus. It is an effective and brilliant tool to diversify renders and to emphasize whatever you want there. Upper angle. This is a very interesting and quite tricky camera angle. It's rarely seen in renders on artitation. The camera is positioned above the character. If the render includes additional elements besides the character, this camera angle visually diminishes the character in relation to other objects. This perspective is best used to show vulnerability, weakness, sensitivity, submissiveness of the character, or to make the character appear funny and ridiculous. I found this camera angle tricky because creating a successful render from it is incredibly challenging. Even more, it doesn't suit all the characters. For instance, if you are working on a combative, aggressive character, this angle can either make them look funny or weaken their significance. Upper angle is appropriate when your character is gentle, exhausted, desperate, or even ridiculous. It works even better if the character is looking upward. To relate it to real life, think about how much we are enchanted by kittens when they lift their heads and look at us with their big eyes. At that moment, we are looking at them from the upper angle. Here is an example, as you can see, the camera is positioned above the character's head. The kitty from the League of Legends looks absolutely adorable from this camera angle. On the right, I have another example which shows despair, the end of road and hopelessness. This camera angle amplifies these emotions. A render from the low angle and the neutral one would have evoked completely different feelings. Classic example of the kit from Wreck. I think there is no one who doesn't find that cat utterly charming in this scene. The second work here, which I find absolutely stunning depicts loneliness and suffering beautifully emphasized by this camera angle. And the last example of the upper angle where the character looks funny is this little guy, as you may have noticed, in three of the five examples provided, the character is looking directly at the camera. As I mentioned earlier, this camera angle works wonderfully in such cases. Final camera angle for the character renders is the Dutch tilt, also commonly known as a tilted horizon. This camera angle is extremely rare in three D renders, but dot artists often favor it for illustrations. It is used to show dynamics in a render or to demonstrate a character's difficult emotional state. Examples, a cat rolling downhill. Here we can feel the movement and perhaps see a metaphor for the chaotic uncontrolled destiny of the cat's life. On the right, ATD illustration also has a tilted horizon conveying the dynamics to the in these examples, we first notice the lower angle right, which adds hostility and then the tilted horizon which brings dynamics to the renders. Now that we have covered all the mentioned camera angles, let's move on to the character placement. The key principles to understand here are the rule of certs, symmetry and negative space. Rule of certs, image is divided into nine equal rectangles and the focal point, the entire character or its most important part is placed at the intersection of the lines. Main focus is the massive shield, which stands out because it is in the foreground, large in size, the brightest element in the render and positioned at the intersection of these lines. Another example featuring my character is the entire character is positioned at the intersection of the lines. This example is from Nikita Vprikov whose works always excel in the artistic composition. You can see the most important elements of the story on the render are also located at the intersection of these lines. One more interesting example, at first glance, it might seem that the character occupies only a small portion of the image. However, however, the render appears highly engaging and appealing. If you apply the rule of search in Photoshop, you will see that the character is positioned according to this role. Second, symmetry. This is another method of placing a character in a render. The character is positioned in the center of the frame with approximately equal negative space on both sides. Here are two examples, one featuring Mysur Lancelot and another the render of a Japanese woman. The same principle can be applied to close ups. The character is positioned in the middle of the image. Negative space. This is not exactly a placement rule, but rather a set of guidelines about the use of negative space in render. The negative space refers to the entire area around the character. There are a few rules for working with negative space. First, if the character is rendered at three quarters, there should be more space in front of the face than behind the head. And the second, avoid placing the character's head too close to the upper edge of the render this can make the composition feel. And on the left, you can see the right way how to place your character. So this is it for today. Thank you for watching and see you in the next lecture. 4. Lecture 03. Poses for your character: Hello, everyone, and welcome to our lecture about posing your character. Why do I recommend posing the character and why does our course start with this? A character in a pose always looks more appealing because through the pose, we tell the characters story. In the viewer's mind, the characters story unfolds preciously at the moment depicted on the render. Therefore, the entire composition evokes emotions. Art should always evoke emotions. Pauses can vary. The main thing is to pay attention to the silhouette and the lines. I will demonstrate the examples. After reentering the character in a pose, it's also a good idea to load several renders of the character in a standard a pose. When we pose the character, render it, and perhaps add some environment for the atmosphere to the final render, it is called the beauty we simply show the character in an A pose, it is just a presentation render. These are different things. Someone looking through a portfolio might not even scroll down to the presentation renders if it's not what they're looking for. A beauty render should tell a story or hint at one. Convey a mood. It should look like a picture in an art gallery. Presentation renders, on the other hand, showcase our skills, highlighting all the details. Here is an example of a character in an A pose and in a final pose. Here are the examples you can see. Here are the examples I was talking about the character in a standard pose or a pose and a post character. To create an interesting and attractive pose. We could talk a lot about the golden ratio and Fibonacci numbers, but most people won't understand how to apply them practically. Honestly, I would soon break my head than create an interesting pose strictly following those rules. Let me simplify it. Try to avoid symmetrical poses. If you do it, then change the positions, til the head, work on the facial expressions. Even a slight smile or partially closed dyes can make your character more captivating. On this character, even a symmetrical pose looks okay because the closing isn't symmetrical. If you character or their clothing trical, I would try even harder to break the symmetry with pods. The classic and simplest variant is to follow the S curve when posing new characters. Just straight line in the pose doesn't look attractive. Character poses should have a natural flow. The classic and the simplest approach, as I have already said, is to create a pose that follows an S shaped curve. Even a relaxed pose will look better if it follows such curve. This character pose, the ribbons from the head and waist also enhance the flow. They aren't just straight, they follow a curve. Generally, when creating a character, we avoid straight lines, especially in organic forms. Everything is built on curves. The exception is stylistic choices where everything is straight. Even a similarly straight pose of the character upon closer inspection follows a curve. This is an example of lines. On this render, we see that secondary lines complement to the main line of the pose. In both cases, we see that the secondary lines complement to the main line of the pose. To choose a pose for your character. Select references, without them, it is impossible to make a decent pose. I know that when you recommend taking a photo of yourself and posing based on that, in my opinion, it is not very effective method because how would an ordinary unprepared person know which pose looks good and which doesn't? Therefore, here are my recommendation. Follow the professional photographers on Instagram. They are the people who know best, which posts will look more attractive on a photo. We can learn best poses for our characters from them. TikTok. There are TikTokers who create short videos like five Beautiful poses for your photos, movie poster. Interesting options can also be found there. Pinterest, you can also go to Pinterest looking for pods. There's a big variety of pictures where you can find something worthy. Art station, safety collections characters, which poses you really like. Where you can create a pose, you can either rig your character or pose it in Z brush with a default transpose master plugin. I don't know rigging and I don't like it. I always use Z brush for pose in my characters. All the character poses in my portfolio were made using that brush without actual rigging. This is it for this art lecture. See you in the next video. 5. Lecture 04. Lighting your render scene: Hello, everyone. Welcome to today's lecture. Here we are going to discuss how to set up lights in your render scene. We will look at light sources used to illuminate the scene, such as spotlight, Omnilight, directional light, and HDR images. We will also talk about the types of light, field light, kill light, and the room light. Additionally, I will point out common mistakes that the beginners often make when working with lighting in their render sense. Start with light sources you can use to set up lighting in the render scene. HDRI images, spotlights, Omnilight and directional light. These are light sources available in Marmoset where we are learning to render our characters. In Arnold and in other render ngins the slide source may be named differently. We'll begin with HDRI images. First, let's clarify what it is. AH DRI is a technology for handling high quality dynamic ranges. In simple terms, it is an image that contains more information than a regular photo. Look at the image below. Here we see a sphere lit by a regular photo on the left, and by an HDA image on the right. Obviously, you can find numerous HDA images online if you need them. But in Marmosat there is a sufficient library of HDRAimages available. However, we won't use HDRA images as the only light source for the final render because relying only on HDRI is insufficient. Yes, it is important to select carefully HDRA images, but spending too much time on it is not needed, just because the HGRI images are not going our main source of light. By the way, in substance painter, sin lighting is done using HDRI. The image above shows a panorama that is the standard HDRI used by default and substance painter. Is what you see for texturing substance painter unless you intentionally change the HDRI. Why is HDRI insufficient for the final render? Lighting the scene only with an HDR image can make the render look not interesting enough. Moreover, we lack full control over what needs to be highlighted or shadowed. We cannot properly place axons because as I mentioned earlier, there is a limited control. However, for presentation render, where you need uniform lighting, HDRI can be suitable. The image shows two renders, one using only HDRI and the other with fully adjusted lighting. When can HDRI be applied? As I mentioned, HDRI is suitable for presentation renders where uniform lighting is required. Additionally, HDRI creates reflections of the HDR image itself on reflective surfaces like glass and glass bottles. The left, we can see the reflection of HDRI in the sand clock. We also use HDRI as a low intensity field light as an additional light source to illuminate the scene overall. We will explore this shortly. Let's look at an example of a scene lighting using HDRI. On the left is a render without HDRI and on the right is HDRI at low intensity. As you can see, HDRI allows you to quickly and gently increase the brightness of the scene. Now let's move to the studio lights. The first step is spotlight. We use this one most frequently. In the spotlight, the light spreads through the cone as it is shown on the picture. The spread of light depends on the brightness of the spotlight, its placement and the cones radius. In the setting of spotlight, you can also change the lights color and the sharpness of shadows. Let's look at an example. On the left, we see a render where the scene is lit only by spotlight. In this case, the spotlight is positioned diagonally in front of the character and slightly from above. Screenshot from the right, you can examine the placement from different camera angles. Next, let's consider how the radius of the spotlight affects the lighting. The narrower the radius is the smaller the illuminated area will be and the more intense and bright light will be. A larger radius diffuses the light more widely, illuminating everything within its radius. In the example above, I show an example of the render and the screenshot from Marmoset with the spotlight of small radios, as well as one with white radios on the image below. Regarding the shadows created by the spotlight, you can also adjust the hardness. For three D character renders, we almost never use hard or sharp shadows. We tend to use soft ones. The sharpness of the shadows can be adjusted by the diameter parameter in all the types of lights. I spotlight, in omnlight in directional light, whatever. On the render on the left, we see sharp shadows, while on the render on the right, we see soft shadows. Also change the lights color. This works especially well when setting up the rim light, which I will discuss next. However, I must note that the color of the light greatly affects how the material and textures of a character will look like. This is quite evident in the renders you see now. In one case, I change the light to pink and in the other to yellow. Moving to the omnolt. Omnilt works as a regular light bulb. We all know how light spreads from it because we have light bulbs in our apartments. Omnilt shines in all directions and around itself. How the light falls on the character depends on the placement of the light and its brightness. Unlike the spotlight, which is limited by the cone through which light goes, the light from the omnlight is not limited. It gradually diffuses depending on the intensity. You can also change the color of the light and the sharpness of shadows, same as in the spotlight. In these two renders, you can see how the character looks when we light it with the omnlight first from the left and then from the right. Directional light. It works as our natural sun and gives light just like it. How a directional light shines depends on its rotation and brightness. You can also change the color of the light as well as the sharpness of shadows. I won't talk much about the slight because I've never used it in practice. However, it is often used in the environment rendering. Now let's move to the types of lights in the lighting schemes. Let's review three main types, fill light, gay light, and room light. We'll talk about each of them separately. The first one, let's start with a fill light. We begin with this one because it is the first light which we started adjusting when setting up lights in the render scene. Always start with the fill light. The fill light is a neutral ambient light that evenly illuminates the character. HDRIs are ideal for this fill light. You should choose a neutral HDRI that won't affect your materials and textures. Fill light is an additional light source. It helps to illuminate the whole character overall, especially in the shadowy area. Light should not be clearly visible to the viewer, and this is an interesting thing. When we add our lights, such as key light and trim light, we reduce the intensity of the field light to avoid overlighting the scene. Here you can see a render scene lit only with the field light using the HDRI image. The intensity here is high, slightly more than default. I want to attract your attention one more time to the fact that I recommend starting setting up the materials and the character specifically with the field light. By the way, this is a standard HDRI from the collection that comes from Marmoset, use it. Key light. This is the main source of lighting for the character. It is light which we use to make accents on the render and to control attention of the viewer. It silently tells the viewer where to look first. It is obvious that the attention falls at the brightest part of the character first. Key light creates noticeable contrasts which are exactly what we need for our beauty renders. The best choice for creating the key light is the spotlight. Primary goal of the key light is to create a light shadow pattern on the character. In our case, we light one part of the face while another part of it remains partially in shadow. Typically, key light is positioned diagonally in front of the character. On this light, you see the actual render and the layout diagram of the key light created with the spotlight. I also suggest looking at the screenshots of the light settings. You can see a screenshot with the settings of the spotlight, which is our key light and above there is a screenshot of HDRI, which we set it up while talking about the field light. Probably already noticed that I reduced the intensity of the HDRI, as I mentioned. Let me move on to the rim light. By the way, I don't recommend changing the color of the quelli too much because it can heavily change the materials and the texture look. If you really want to change it, at least do it to unsaturated sheets. And finally, the rim light. The rim light, in my opinion, creates all this magic. The rim light, as you can see from the render, outlines the character. Rim light is necessary light source to separate the character from the background, revealing the character's shape. You can create rim lighting using a spotlight or an omnolt. The lights are positioned either directly behind the character or diagonally behind. I will show you now. In this render, the rim light is created using the omnolt and it is placed directly behind the character. You can also see the settings of the slide on the slide. By the way, unlikely the key light here. In the rim light, I highly recommend changing its color. The whole scene will look much more interesting. Here is an example of another rim light setup. This time, I have two light sources. I've used two spotlights positioned diagonally behind the character, each one with a different color. You can see the settings and the placement of the lights in the screenshot. And the last example for this rim light setup here I'm using an omni light and a spotlight. One is positioned directly behind the character and the other is positioned diagonally behind. This is the result we get on the render from such lighting scam. Mine plays that the kilt and the field light are also present in the scene. Now, let's review the most common mistakes, which I often see in the works of beginners. The first example is when the kilt is positioned directly above the character and gives her shadows. No doubt that in some cases, lighting skin can be beneficial. However, such a setup will highlight all the imperfections of your sculpt. It's a great scheme if you want to portray a villainous character, but it is important to understand that if your scalp is not perfect, it is better to avoid placing the key light straight above the character. The second example, the high intensity key light placed below the character. Kind of lighting makes the face look flat and the shadows appear weird. To make such lighting look appropriate, you need at least to work carefully on the expression of the character's face. The third example is an overlid scene. Everything becomes flat. Textures aren't visible and even some objects disappear, and obviously there are almost no shadows. First example, insufficient lighting of the scene. There are no contrast. Everything is lit more or less evenly, but the overall picture is dark and uninteresting because you can't see anything. The details if there were any would be lost due to the lack of light. Lastly, I would like to give you a few tips on adjusting lights in the render scene. So first, try to work with a few light sources as possible. Ideally, no more than six including HDRI. Managing 20 light sources in a scene can become too challenging, and it will not become impossible to avoid the overlighting. Also adjust your lighting gradually, start with the fill light, then the kilt followed by the rim light. Be mindful when adding additional lights. I highly recommend studying renders created by experienced artists and analyzing the lighting setups. Also, pay attention to the lighting schemes in movies and cartoons. I love analyzing cinematic lightings and studying the camera angles there. And the last but not least, te brakes. Step away from your computer to give your eyes and brain rest. Is crucial because staring at the screen for a long time can lead to the difficulty distinguishing what looks good and what doesn't. This is all that I wanted to cover in this lecture. I hope I've contributed to what you had known about Latin and render since. Now let's move to the technical lecture. 6. Lecture 05. How to make a clay render in Marmoset: Hello, everyone. So today, we are going to learn how to make a clay render of your character. So here we are and the first thing which I'm going to do, I'm going to import here my mesh. Here it is. But before we start, I want to make a small note. If your computer is not very powerful, I highly recommend to decimate the model in that brush before importing into Marmoset. My computer is not enough powerful, so I decimated this girl in that brush in advance. So here we are, what we should do the first. Still go to the sky, and I want select the HDRI, which I like. Usually, I select one HDRI for all my projects, and let's find it. It is among the gallery of HDRIs, which are by default here in Marmoset, and this is it. I like it because it gives us soft shadows, and this is exactly what we need for our rendering. Next, we can select here the color, the color of your background, whatever you need. So at first, I select something neutral because later I can always go back and change it to something which can suit my character later when the materials are applied. So I press the key and that's it. Next, I go to the main camera. And what should I adjust here? First, I always absolutely always in the sharpened parameter in strength put one not like this, but like this. Because Marmoset has a tendency that it blurs a little bit the renders, which I absolutely don't like. That's why in this parameter, I always for all the renders, put one. Next one, we can put a check here for the safe frame. That's the borders of my render. We'll fix them a little bit later because I don't want such big borders here. Next, I usually change the field of view here from 28 to something like 50 if I am rendering the bust like this. If I put here ten, for example, it will be too much, perspective is too big. If I put here 100, 100, no perspective at all. For busts, I usually use 50, 70. Let's put 50 here. Next, what we need to do, we need to check our scale reference. But the material which we are going to adjust, we need to have realistic size of our character. So I go to show scale reference, and I can see that my character, nevertheless that the character is here on the bottom, the character head is same as the head here on the scale reference. This is it. If your character is bigger or smaller, you can select the mesh here. Are on your keyboard, and you can reshape it the way you want. It should be like this of course too much. But in my situation, the character's size is okay. So I can turn off showskie reference and we can continue. Next, we go to render, first of all, tracing on. Here we are bounces, ten, transmission could be left as it is. You put samples, I would put a little bit higher. Not too much. It's only samples for your viewport, not for your final image after the rendering. So in order to save the resources of my computer, I'm not putting very high numbers here. CPU. If your graphic card is very good, then you can use here for viewport GPU, but in my case, it'd still be CPU. The noise trends maximum. These parameters we don't need because they are very useful when we are rendering without trade dressing. Next, image. Here we select the folder where my character is going to be. Let's create a new one and let's name it girl. If next here, I can change the resolution. I can change the shapes, the proportions of my final render. So let's go with 1,500 here. Here we are. You see, the safe frame has changed. This is exactly what it meant for. For the final image for the final render, you can also increase it a little bit. I'm not going to do it for a test, but you'd better do it for your final renders samples higher. The noise CPU here, of course, and the noise strengths. Always maximum. Remember to save your project. Marmoset has tendency to crash, so that's why I remember to press control us. Next, let's go finally to our material. I need to create three materials. The difference between these materials will be only in color. Let's create the first one for normal snacin for libido. I already know we need to select color. Let's pull it here. Let's say right. And I already know what color I need. You can also make a print screen of the colors which I use for coloring my materials for clay renders. And here we have AE 967b. Right here we are. It's going to be this material. Next, what we are going to do I diffusion, we have lambertan transmission, we select subsurface scattering. We can increase fa a little bit like this. Then we go to reflection GGx correct, Microsoft roughness, correct. Roughness, I put with this parameter. Reflectivity for reflectivity, I choose Advanced metalness, metalness zero specular as it is. And this is it. The material is ready. Then I duplicate this material and two more and for two more materials, what I need to do let's go here met two. For this material and for the another one, I just change the color. Again, I already know what color I want, and it's going to be CAA, EF, vir little bit later. Let's pull it just for test here. We see it's a little bit later. And I duplicate it one more time. You material. Three. And for this material, I also change color, and this time, it's going to be eight C E B, this color. Here we are a little bit later. Next, before I start pulling these materials to different parts of my mesh, I want to set up the lighting. The fill light, which is our HDRI we already have, next one, which I'm going to do is I'm going to create the key light. So I move my character from here because I want that the light falls goes to my character lights, my character from here, and here I press this icon, and here we are. The light is created. Right now, I can move the light the way I want. And I can increase the brightness. I can change the diameter. I can change the spotlight angle. So this is it. Next, I go from the back because I want to create a rim light from here. Again, I click here. I think I want to move a little bit my lighting source like this. And what I'm going to do next, I'm going to increase brightness, change the color because it is a rim light. Change the spotlight angle, change the spot angle, change the diameter Mm let's try to move it closer and increase the brightness like this. What if I pull it up a little bit higher? I can rotate it a little bit like this. Too much color I want it to be a little bit closer to these colors. Okay, here we are No. Next, what I'm going to do. For this character, I also know that she has eyes and she has eyeglasses. So I want to make the glass in the eyeglasses transparent and any transparent material. Now, I don't create a new one. I go to here and select class and pull the glass to the mesh. So right now, we have class. Next, what we are going to do. When I have class material, I can increase the transmission because the higher the transmission is, the lighter your glass is. If the transmission is low, then your glass would be dark. So now, I can proceed with assigning my materials to the parts of my character, which I need. Let's take the lightest one here, the darkest one to your hair. Here we are. Next, I also think that the middle one we can pull to s glass here. The dark one can be pulled to your eyebrows and toss your bandage and to the cigarette. The middle one, I can pull to your earrings. Eric's right. Then I want the dark one to this part of your clothes and this part. The latest material I think I can use for this mesh, yeah. And the middle, I can use for the oye, correct. The latest we can also use for the sports and still we have her small crown here, which can go also with the lightest material, and you can also do it this way. She has eyes we need to get our eyes here in the outliner and for the eyes, I think I can use let's try to go with our middle material like this. The materials are set up. What else you can do? You can go to first of all, press controllers. To create a shadow capture, we go to scene at Object. Here we have shadow catcher for the shadow catcher I use next parameters. I click indirect shadows. So now you see that we can see her mirrored parts here. I can increase and reduce roughness a little bit like this, maybe even less can increase intensity if needed. Maybe not the case. And I can move my shadow catcher. But in this case, the parts of your hair is going to be hidden. Like, just for this character, let it be like this. Time, maybe specular. I want to be lower. Roughness maybe also a little bit lower. This way. What else I can do here? I can I want to try to catch some interesting shadows rotating my HDRI, which is shift right mouse button. Let it be like this. And I go to the main camera, and here I can apply vignette. I like vignettes. I can do them in Photoshop. Sometimes I can add them here. So it depends this time it's going to look nice. How my character is going to look like without shadow catcher if I turn it off. She's flying in there. I think I should go with Shadow catcher right now, and then we go to render increase samples here and press render image. That's wait. Now we can open our render. So this is my clay render. Last thing which I always do to my final renders is I add noise in Photoshop. Because if you don't add noise, it looks like virus red, which I don't like. I want to make it look a little bit more cinematic. So you go to Photoshop. So here is my character. I duplicate just in case the main layer and I go to filter noise, add noise. And here, depending on your resolution of your model, you can add a little bit, maybe or res okay. So now in my opinion, she looks more cinematic. Let's compare. Let me move her closer to the camera and without, without Wes. So this is it. So now you need only to save a render and upload it to your art station. See you in the next lecture. 7. Lecture_06. How to render human skin: Hello, everyone. Today we have a very interesting and important lecture. So we will discuss how to set up various materials in Marmoset so that they don't look the same. Let's start with the most challenging one which is human skin. Human skin has certain properties that many other materials don't have. They include subsurface scattering, oil ness, decebum on the skin surface, secreted by sebaceous glands, and fast the fine hair which we also have on the skin. Additionally, when rendering skin is better to choose pecular than metalness in the reflectivity parameter. Another important point is, I feel it is necessary to mention that the degree of stylization affects the number of parameters you need to adjust for the skin. The more stylist the character is, the more it resembles the doll, the fewer physically accurate parameters you need to adjust. Just the opposite, the more realistic the character is, the more precise and physically accurate your material settings should be. What texture maps are necessary for the proper skin material? Obligatory ones include albedo, color texture, normal map, and roughness. These must have additional maps, but very beneficial as specular ambient occlusion can be baked in substance or in other programs and cavity can be baked in that brush. Again, these maps are not obligatory texture maps, but having them allows you to set up the material much better. Now let's move on to the properties and settings of the skin. Skin has such a property known as subsurface scattering, which describes how light penetrates and scatters within semi transparent objects. Materials that have such property include skin, milk, wax, mobile, chad, and others. In MermsdFur two types of scattering have been added, subsurface scattering and volumetric scattering. The difference between them can be seen in the screenshots. Might ask which one to choose for rendering. From my experience, both types are suitable for rendering high polymodals. But for the low polyrenders, it's better to use subsurface scattering to avoid polygon visibility. A very important parameter for getting subsurface scattering to work correctly is that your model size should be physically correct, just like in real life. You can check the model size in Mrmoset by enabling show scale reference. Seen from the screenshot on the right. On the left on the renders, you can compare how subsurface scattering performs with the same settings, but with different character size. Please be very attentive to this. Fuzz is a parameter meant to simulate fine hair on the skin. However, since we don't have this hair physically modeled, the simulation is limited. I conducted four tests and we can see the best parameter for its range 0-0 0.5. Beyond this range, the lips start to light up very unnaturally. General, you can also leave the fuzz parameter at zero and it will be enough. However, it can be useful if you want to add some slight detail in fact the existence of the fine hairs. Regarding the color of fuzz, it can be different. Naturally, white color is the most appropriate, as you can see from the screenshots. In my opinion, other colors look quite cringey, but who knows maybe if you have a highly styles character, a colored fuzz could look appropriate. Don't hesitate to test it out. Into the reflections. Reflection is the ability of a material to reflect the light pretty obvious. There are two types of reflection, GGX and anisotropic. GGX creates a typical circular highlight while anisotropic creates an elongated one. We don't use anisotropic reflection for rendering human skin. It's unnatural. We use anisotropic settings for metals and hair for skin, we use only GGx. Next, reflectivity. This parameter determines how much light the material reflects. There is a rule that for organic materials we choose specular and adjust it rather than use metalness. This is because metalness controls how metallic the material appears, whereas specular controls how much the skin reflects the light. Remember, if you don't have specular map, it's not a problem. You can adjust reflectivity using just the slider. You can also choose the color of the specular. Traditionally, a desaturated blue is the best option here. Color refreshes the face. Here, I want to show how specula works to make it clearer for you. In the first trender, specula is at zero, meaning that the skin doesn't reflect light at all. In the last trender, the parameter is set to one and the character has too much glow as if their face has been heavily highlighted. The middle option is the most natural. So skin has a layer of fat because there are sebaceous glands in the skin that produce oil, which we can see on the skin. That also can be adjusted in marmoset using clear coat settings. For this, we need three parameters and clear code, reflection, microsurface, and reflectivity. With reflection, it is clear. We chose GGEs instead of ansotropic because we need a circular highlight, not elongated. Now let's deal with the microsurface and reflectivity. Clear coat microsofhys, we immediately choose roughness. In the screenshot, we can see how roughness works in this parameter. In the first screenshot with zero roughness, the kin is too glossy. Appearing is a sweety ovett. In the last screenshot with a roughness at one, we get the same result as without adjusting clear coat parameters. However, in the middle render with roughness 0.4, we achieve what we need skin that looks more natural. Next, the clear code reflectivity parameter, which use the refractive index. The refractive index is a coefficient of light reflection that all materials on the planet have, and it varies. For skin, it ranges from 1.35 to 1.55. You can see how skin differs within this refractive index range in these renders. It is especially noticeable on the cheek near the nose. Lastly, in setting up the skin material, if you have ambient occlusion or cavity maps, apply them because these maps will add volume and realism, especially cavity. You can see how these maps affect surrender here, particularly noticeable on the cheek where the light falls. The final slide is a screenshot of my material settings in Marmoset and a brief summary of the main points of this lecture. Of course, I recommend taking a screenshot of your screen render and saving it on your computer. Here the theoretical part regarding skin is over. Let's move on to the practical part where I will demonstrate directly in Mrmoset how to adjust the human skin material. Now let's render our skin material. Let me show you the mops which I have. I have had bent occlusion, base color, cavity, normal and roughness. First thing which we are going to do, we are going to create a new material, pull it to the face. Here we are, and let's start adjusting the material. Normal goes to normal. Albedo goes to albedo, diffusion lumber tation, transmission, subsurface scattering, transmission, subsurface scattering, set to one. Here we don't touch anything reflection hit micro surface roughness. I have roughness map, so I pull it here. Reflectivity specular for the specular, select the color, desaturated blue. Somewhere here. Intensity, should be higher. It's zero dot 15 like this. Next, you go to clear code. Clear code here, we select GD, clear code, microsurface, we select roughness, and for clear code reflectivity, we select refractive index. The value which should be here is the range which I mentioned in the theoretical lecture. Let's put it this way and we need to adjust roughness. I feel like roughness should be a little bit higher maybe four like this, and then we go to occlusion. Let's select Embent occlusion and here we take embent occlusion to occlusion map, and we take cavity to the cavity map. Let me think I think this is it. Here we are Yeah, here, here. So this were my way to set up the material in marmoset for human skin. See you in the next lecture. 8. Lecture_07. How to render metal: The next material which we are reviewing is the metal. Let's dive into its settings. In my opinion, metal is easiest material to understand in terms of settings, but it also has its own pecularities. First, let's discuss some specific features of metal rendering. First, metal can have either GD specular or anisotropic highlights, whereas skin, which we have covered in the previous video can only have GG specular. Secondly, when setting up metal material and even during the texture stage, it is better to choose the metal roughness pipeline rather than specular glossiness. Also metals like all the materials in Marmoset can have the clear code settings. This is optional, but if you want to add a color tilight, clear code settings are perfect for this. Why do I recommend the metalness workflow of the specular one? Because the metalness parameter or map already determines whether the material is metal or not. You don't have to think how to indicate metal using specular glossiness maps. The metalness workflow handles this task the best. What texture maps do you need to set up metal? The obligatory ones are Albedo, color map, normal map, and Trougness map. Additional map include metalness ambient occlusion, and cavity. Why is the metalness map, which is the most important for setting up metals considered to be additional of if you are texturing regular metal without any paint or coating, your metalness map is likely just white. This means you can simply adjust metalness with a slider directly in Mrmoset especially for stylized acids. Now let's move to the settings. For reflectivity, we choose metalness. In the three renders, you can see the difference between various metalness settings. In the first render, metalness is zero, meaning the material is not metallic and indeed it looks more like plastic. The last render, metalness is one indicating that the material is fully metallic. In the middle render, I slightly reduced the metalness and kept it this way for the final render. You might ask why I did this. Because with metalness set to one, the material looks too dark and this cannot be changed. I wanted the light material, so I slightly reduced the metalness. This is small tips and tricks. Reflection parameter controls the type of secular highlights the material will have. Here we have two options, the standard GGX also known as isotropic specular or anisotropic sepecula. Which one should you choose? Anisotropic highlight occurs on surfaces with circular grooves or deformed surfaces. A flat polished surface will not give an anisotropic highlight. Which specular should you choose? GGx or anisotropic. You need to test it out. My rule is if my character shouldn't look like the bottom of a pot, I choose GGxs. I can always add anisotropy later when I set up the clear code. We will get to that in a bit. In these two renders, you can see how the GG specular differs from the anisotropic one. For this armor, I choose the GGxspecular. If you choose anisotropic specula, let's look at the settings. The run many isotropytensity and its direction. First, let's talk about intensity. If you set the anisotropy value to zero, you get a simple GGx specular. The higher anisotropy value is, the more visible anisotropy becomes, and the narrower the highlight is. This is evident in the renders provided. On the first trendertrophy is zero, so we have a GGx isotropic highlight. On the last trender anisotropy is set to one, resulting in a narrow and sharp highlight. The middle render, the highlight is wider and more diffused. An isotropic direction depends on the placement and rotation of the shells on your UV map. The direction in Mrmoset is notated according to the UV layout, not the model as a whole. The shell in the model are placed randomly, so the highlight rotates randomly. However, you can still observe in the render how the highlight rotates based on the different anisotropic direction parameters. Personally chose GGC over and atopy for my main highlight when setting up this material. Finally, we reached the clear code settings. Remember, the clear code is like a second transparent layer on top of your metallic material. You can adjust additional highlights on it if needed. It is optional, but if you want to make the material more interesting, clear code can help with this, especially for adding colored lights. Clear code settings have three parameters, clear code reflection, clear code microsurface, and clear code reflectivity. You should adjust three altogether, not one at a time. Clear coat reflection choose the type of additional highlight you want. Since I chose GDX and the primary highlight, I decided to make the additional highlight and this tropic. Next, to see this highlights switch to the clear coat reflectivity and choose specular. Now we can change the intensity and color of this highlight. The renders show how the highlight changes depending on the intensity. With intensity at zero, there is no highlight at all. With intensity at one, the highlight is very distinct. In these renders, I show how the highlight looks when colored. Examples are given with pink, yellow and green highlights. Let's return to the clear code microsurface. Whether you choose gloss or roughness doesn't really matter. If you choose gloss and set a parameter to zero, the highlight will be very diffused and unclear. If set to one, the highlight will appear sharp and clear. If you choose roughness instead of gloss, it will be the same, but the opposite. At zero, the highlight will be sharp and at one, it will be diffused. This is the only difference between roughness and gloss in the clear code microsurface. Regarding the ambient occlusion cavity maps. If you have them, definitely include them. In my case, I have them baked, but they are not very informative since there wasn't much to bake. This model wasn't made for game dev, so my low polymodal is essentially the same as my high polymodal. There wasn't much to bake, as all the details were done in substance painter. And the last slide show the final render and the screenshoot of my metal settings in Marmoset along with a brief summary of the lecture on what to keep in mind when setting up the material. Now let's switch to the Mrmoset where I show how to set up the material. So let's set up the metal material here in Marmoset. Let me show you which maps to I have. I have already talked about them during our previous lecture. So I have base color, metallic, normal, and roughness. So we create a new material. I have already created one. I think this is it. Let's move it here. And the first thing which we are going to do, we will assign our normal map here. So I drag and drop normal map to the normal map slot here we are. Next, we go to Albedo, Albedo here. Right now, we can see colors. Lambertian is Lambertian, yes, reflection GD. For microsurface, we have roughness map. Let me pull it here. For the metalness also have map. That it's not obligatory one. As I told you, I want to reduce a little bit value not roughness of the metalness. Let's leave it a little bit like this. Next, we go to my favorite settings, which are clear code settings. In the clear code reflection, we select anisotropic. In the clear code microsurface, let's do it with glossiness. For clear code reflectivity, let's select specular. Anisotropy we can increase intensity so I can see it and here we have direction of an esotrophy. We can play with this. Now, let's make it this way and let's decrease it a little bit. As for the glossiness, let's do it somewhere here and for the specular intensity, think I want to increase it a little bit. And I would like to select the color. I want to select maybe this one and maybe increase a little bit the intensity. So here we are. This is how I set up the metal material in Marmoset. Try to do it on your own objects. See you. 9. Lecture 08. How to render hair made with mesh: Hi, everyone again. Now I'm going to show how to render stylized hair. We have already covered skin and metal and I hope that with each lecture, you're getting a clearer understanding of character rendering in Mrmoset. Now hair, the main features of hair rendering are the following. In reflectivity, we choose metalness, make sure not to set an easy trophy in the clear coat settings and enable emission at a low intensity to get rid of grayness from metalness. Let's break this down into more details. The obligatory maps which we will need for rendering low poly hair are the albedo map, color map, and the normal map. Additional maps which are not obligatory, but it would be nice if you have them are the roughness Avent occlusion and cavity map. However, if you don't have them or they are not good, it's not a big deal. You can set up the material even without them. In reflection, we select GDX specular. This is important. We will adjust the isotropic specular in the clear code settings. For the macro surface, we select roughness and choose the neutral value somewhere in the middle. In reflectivity, we choose metalness. This is a key feature of styles here rendering that in these settings, you need to choose metalness. The value of metalness depends on the level of stylization of your character. I can't give you an exact number here because all the characters are different and so is the style. However, in the screen shoot, you can see three render options with different metalness values. You might think, judging by my characters render that using metalness with the value of one is just a cringe. But in the next slide, I will prove that it is not always the case. Everything depends on the style. Here a three different renders of a character by Lucas Lima, where you can see how the hair looks with metalness set to one. Also in the screenshot from Marmoset that he posted on his art station, we can see that indeed the metalness is set to one. If you're interested, you can also take a closer look at his settings to achieve similar hair on your render. The conclusion we can make is that everything needs to be tested. I think these type of hair renders use arrogant characters. If you have such a character, definitely give it a try. Now let's move on to the clear code settings. Remember, the clear code is a transparent second layer on your mesh where you can adjust the specular highlights. This is where we will adjust the anisotropic specular. In the clear code reflection, we use anisotropy. I went into more detail about anisotropy in the previous lecture on metal, so I won't repeat myself here. If you forgot to repeat the lecture on the metal material settings, Remember, anisotropy direction, if you have UVs and in your low polycharacter, you definitely have them. Then the Nisi trophy will rotate accordingly to the UVs. If the Vs are randomly placed and rotated in different direction, the ANs trophy will also rotate randomly. Clear code microsofas is a very interesting parameter. We don't enable it, we just leave it as it is because we need the specular to be made as possible. Probably don't need a mirror like specular on the hair. If clear coat Microsofs is not enable, you will get a made specular. Of course, if you want a mirror like specular, then enable roughness here. In the clear coat reflectivity, we choose specular and here it gets very interesting depending on what intensity value you choose. I need all your attention here. Higher the intensity value is, the more metallic the hair will look and the less texture will be visible. You can see this in the provided renders. But this is a big butt, the lower the intensity is, the more visible Dniotropic specular will be. Therefore, you need to find the balance between the level of metallicity i and the visibility of the anisotropic specular. It is also important to mention that the color of the specular highlight can be changed. In the provided renders, you see three different highlights, white, yellow, and blue. For the fular render, I choose to keep to a neutral white highlight. The highlight color you choose for your character depends on your character, obviously, and the overall atmosphere of the render. A colored highlight of the hair doesn't always look appropriate, but it worth testing. When working with stylization, many things look interesting compared to realism. Very important setting in the material for stylist hair is the emission. Emission helps to counterbalance the metallic look of the hair. Additionally, emission visually makes the hair less heavy. On the renders, you can see the difference when the emission is set to zero and when it is more than zero. You can change the color of the emission, but it is crucial to adjust it in the glow render than in the emission color. I recommend selecting a color close to what you have on your diffuse map so that the emission color doesn't kill your texture color and went occlusion. And but occlusion and cavity maps are always should be edded if you have them. They won't make the worse. On the contrary, these maps will add contrast, especially if contrast is lost due to metal ness and demission. For this character, I only had an ambient occlusion map, but you can see the difference in the provided renders. That is all for the stylist here settings. As usual, the last slide presents a brief summary of the lecture and my hair material settings. As always, take a screenshot and save it for the reference when setting up your materials. Now let's move to the Marmo set where I will show you how I set up the material directly there. So let's set up the hair material. Let me show you the maps. We have vent occlusion, base color, and normal map. We create a new material. Let's pull it to the hair. Here, for test, usually go for normal map. Then we take our base color and pull to the albedo. Lambert as lambertation, reflection roughness, Roughness, I think, I think we should a little bit pull it up like this. Reflectivity, as I said metalness. This is full metalness. This is without metalness. Let's add a little metalness here, not much. Let's go with zero dot two. Then we go to my favorite clear code. Clear code reflection, anisotropic, clear code microsurface, or nothing or gloss. You can select here. I don't select anything. Then we go to clear code reflectivity, which is pecularGod now we can set it up. This is our anisotropy. Let's pull it up. Intensity, pull it up to see what we are doing here. And it's a tropic direction. I can adjust the way I want, let it be this way. Now I can lower the intensity. Let it be this way. Next, we set up a mission where the whole magic goes, we select a mission here. Select the color in glow. I want to match libido and let's select something like this. Here we can control the intensity. Let's do it this way. You can sell it here. The last one is ambent occlusion. Let's take ambent occlusion and it here. This is it. This is our hair material. See you in the next lecture. 10. Lecture 09. How to render hair made with planes: Critics, everyone, let's delve into how to render hair done with planes. I've covered rendering hair made with mesh in the previous lecture, and now we will be working with planes. So let's get started. The rendering properties of such hair are almost the same as with mesh hair. Vituse metal ness and reflectivity amphi make the anisotropic reflections in the clear code settings. However, there is one important thing. When rendering hair was planes, you can use sin surface perimeter in the transmission settings. It adds realism, but we will talk about this a bit later. For the main maps, you will need Albedo and Alpha map. The Alpha map is a black and white map that shows us what should be visible and what should be invisible. However, the normal map is not an obligatory map. It is great to have it, but if you don't won't cause any apocalypsis. Let's move on to these mysterious transmission settings where we choose the sin surface. In Marmocd four, developers edit the sin surface, which they recommend using sin meshes or meshes that don't have sickness because in this case, the material and the light will behave more physically correct. The renders, you can see how hair looks if we don't turn on the sin surface and if we do. It can be adjusted by the mask parameter. Honestly, I'm not fond of how hair looks with the sin surface parameter enabled. I still use it because the developers highly recommend it, but I use it at low settings. Perhaps it will look better on hair of different color, but as it stands now, I'm not keen on it. However, I recommend everyone to test it out. After all, developers put efforts into adding the syn surface to the transmission parameter. In the end of the video, you will see my syn surface settings as always on the screenshot of my material settings. I forgot to mention that how transmission behaves heavily depends on the physical scale of your character, don't be lazy and check the scale with scale guides. Next, reflection and microsurface. In the reflection, we choose GG for the specular and in microsurface, we choose roughness. The specular shouldn't be too intense because later in the clear code settings, we will be adjusting an isotropic specular reflection as well. So we don't stop here for long. In the reflectivity settings, just like we did with a he made with mesh, we choose metalness. On the renders, you can see the difference between different metalness values. Difference here lies in how the specula is rendered. The more metallic hair is, the less realistic it looks. The color of the specula has the heat of the color of the hair, which leads to losing realism and contrasting the color. I don't set metalness to one when rendering hair. In some cases, it might be appropriate to maximize metalness for the hair made particularly as a mesh, but it is not the case when rendering hair was plains. As a rule, he made with planes is closer to realisms than to stylization. Therefore, I reduce metalness for such hair. Now let's talk about the clear code settings. These are my favorite settings because they add moytails and diversity to materials. The first one is clear code reflection where we choose an isotropic. We can adjust isotropic direction as we like. Clear code microspheres, just like with the here wet with mesh, we leave it as it is. Let it remain as it is. In the clear code reflectivity, which is specular and here is where it gets very interesting. Look at all the three renders. When the specula is at zero, nothing happens as if we haven't adjusted the clear code settings at all. But when we increase the clear code specular value, we start seeing shin. However, if you raise it to maximum, the hair becomes black and white. If that's not your goal, then setting specula to one is not appropriate. Color of clear code reflectivity can be changed the way you want. Here it is important to remember that the more stylized your character is, the more unrealistic settings you can apply. The more realistic it is, the more limited you are in creativity. However, since we are discussing stylized characters here, feel free to try different options. Moving to the transparency. Everything here is quite simple. We choose Disser and move on. Why not cut out? Because the cut out parameter cuts out the invisible part without antializing, making the hair looking patchy. And we want hair look like hair, so we choose Disser and move on emission. It is not necessary setting, but I like it. Visually, it makes the hair less heavy and reduces the possible grayness which appeared after the variety previous settings. Mind, please, that we change the color, not in the color parameter, but in the globe parameter. This is important. And the last slide is a final render and a summary of what you need to keep in mind when adjusting hairplanes the screenshot of course, of my material settings. Now let's move on to the marmoset where I will show everything once again. Now let's set up the material for hair splints. Let's create a new material. Here we are, pull it to the hair. And let's start our settings. Let me show you which maps I have. I have Alpha map, base color, and normal. We usually start with normal, normal to normal, hair base color to hair base color, Tl bito. Then I can go to transparency, select here Diesel and apply hair Alpha. We can see hair. And here I should. Right now we see nothing. So I need to change the channel. Yes, here we are. I changed the red, so we can continue. Even right now without all other settings, it looks already pretty decent. But let's continue in diffusion, lumbar tation, transmission, that same surface. He looks by default, sin surface. Let's adjust it. We need to adjust mask parameter. Let's put it not very high. Let's leave it like this. Next, reflection GD correct microsurface roughness and we can adjust roughness. I think we can raise it a little bit like this. Then goes reflectivity and we have metalness. Let's raise it a little bit. It will be very saturated of metalness one, not what we need. Let's pull it up a little bit. Then clear code reflection, we select isotropic. Clear code Microsoft is we're not touching and here in the clear code reflectivity, let's select specular. Yes, here we are. Let's increase isotropyo one. We still not really see that direction to see it, we need to increase a specular So, now I see it. Let's this way, maybe new. Let's try do it this way. Next, intensity here. Maybe we need to make it lower, like this. The final one which we have is emission. We select here emission. We select the glow. I want to match it to a solubido like this a little bit later. More rosy, more pink, and let's lower the intensity. Like this. Here this is our hair done with plains. See you in the next lecture. 11. Lecture 10. How to render fabrics: Hello. Let's now figure out how to run the different fabrics in Marmoset. On one hand, it is quite straightforward, but on the other hand, we will need to put in a little effort to understand one unique property of fabrics, which other materials don't have. I'm talking about microfiber settings, but more on that a little bit later. Today we will talk about rendering different fabrics. I've chosen the most popular fabrics among stylist character rendering, which are cotton, silk, leather, lace and latex. Why did they choose these fabrics? Because the material settings for each of them differ one from another. They reflect light differently. Let me explain using silk as an example. Silk like fabrics such as setting and brocade reflect light almost similarly. That's why I classify them under silk like fabrics in my own classification. Linen and denim fall under cotton like. Natural laser and Lazarite fall under laser like and so on. So we will delve into these fabrics which settings differ slightly one from another. What maps we will need? The most essential one is a normal map. Even albedo and roughness are not as crucial as a normal map. However, I have still categorized them as obligatory map. Among the additional maps, there are metalness ambient occlusion, cavity and Alpha map. A map you will need for rendering lace. Why do I emphasize that the most important map here is a normal map? It is because what truly sets fabrics apart from all the materials is texture of the fabric, the thread, and the techniques used to weave those fabrics. Therefore, if you select fabric texture mindlessly in substance painter, then the rendering won't save it. That's why I ask everyone to be very attentive and mindful while texturing fabrics in substance painter. However, there is good news too. You have a very stylish character, then there are high chances that you won't need any specific texture details. Properties of fabrics at the next. The main and the most crucial one is a microfiber setting. Therefore, in the diffusion section, we will always select microfiber for all the fabrics. By default, it is lambertan there, which we should change to microfiber. The second property is that in the reflectivity section, we always choose metalness except for one fabric which is latex because we will need a colored specula there. In Latex, we choose specula instead of metalness, but for the other fabrics, it will be metal ness. Also, for some fabrics, we will need to create metallic sheen. I'm talking about silk fabrics and lace embroidered with gold threads. Let's talk about microfiber settings. It has only three settings, shin, shin tint, and shin roughness. What is shin? Shin is the gloss from the thread which your fabric consists of. If you look closely at any fabric in real life, we will notice that microscopic fibers emanate from each thread and they create this shin effect. Thus, the shin parameter regulates the intensity of this effect. Shin tint determines how this gloss is distributed across the model. Want to emphasize that if shin tint value is set too close to zero, the effect looks bad. Therefore, I don't recommend setting it to zero. Shin roughness is the most obvious, thank goodness. It determines whether shin will be more made or more glossy. Below, I provide an example from Marmoset official tutorial where they show how the render changes when these three parameters are adjusted. I recommend pausing the lecture for a moment and studying the image for better understanding. Also change the color of the shin. Here I show the renders with different shin colors yellow, blue and white. I have a small recommendation for future. When rendering your fabrics, go to Google and search for the reference of how your specific fabric looks like in real life. This will simplify your life a lot, save your nervous cells, and reduce the time spent for rendering. The first fabric we are discussing today is cotton. The big picture on the left is my render, and the small one on the right is an image from the Internet showing how cotton looks in real life. The characteristics of cotton at that, it has very little shine. Additionally, cotton doesn't have a metallic shen, which means the metalness will be zero. As I mentioned earlier, pay special attention during the texture process to the texture detail you choose for cotton. Because in cotton, the texture detail is more visible comparing to other fabrics. Round my render settings for Coton on these two renders. In the first case, I only have a normal map with the same texture detail, while in the second, there are additional textures, such as albedo and roughness. Second fabric I want to talk about is silk. Just like with cotton on the left is my render and on the right is an image from the internet showing real silk. The characteristics of silk and silk like materials is that they have a lot of shine comparing to cotton. So here, shin value will be high. Additionally, silk reflects metallically, so we will slightly increase the metalness in the material settings. Let's take a look at the renders on the next slide. You can see the shin is high in both renders. The only thing. In the first render, I made a small mistake and didn't change its color. It would have been better to use a blue or white shin, but it is as it is. The shin value is set to one, as you can see, and the metalness is also not close to zero. As I mentioned, silk has metallic shin. Now let's talk about lace. Here the shin and metalness of lace depend on the threads of the lace. Some laces are made while others are glossy. Additionally, when rendering lace, we will need an Alpha map and Alpha channel in the albedo. Here with these examples, I'm showing two options. One metalness is zero and one metalness is one. In the first case, we have regular threads, while in the second one, they are golden. We can say that metalness in the second option is maximum. Please note that only the golden threads are those yellow ones. All the other threads are usual. At the bottom center, I've attached a screenshot of a part of my metalness map. The white color on it represents metalness value, while the black color represents metalness value of zero. Additionally, I don't have separate Alpha map for transparency here because the Alpha is embedded into albedo. Next, let's talk about laser and laser like materials. Again, the amount of shine from the shin depends on the type of leather and there are countless types of leather. Also, the metals in this material will be zero. Let's look at all the settings on the next slide. So I have three texture maps, the normal map, libido, and roughness. The shin in this case is low and has desaturated brown color. What's interesting here is that you can apply roughness map into the shin roughness slot as well. It will add some irregularity. If you have a roughness map, test it in the shin roughness slot. And as you can see, the metalness is zero. And the last fabric we will review today is latex. When it comes to latex, I recommend thinking of it as of plastic but with shin. So if you need to render plastic, you need to use latex settings, but in the diffuse section, choose lambertation instead of microfiber. Latex is a very interesting material. It provides shine but not from shin or microfiber because the material itself is smooth. This is why we will adjust shine through specular settings. However, here's an interesting point. We will also add a low intensity shin because as I mentioned, without it, the material looks like ordinary plastic and we need to make it a fabric look. Here are the settings. I have a normal map, but it is just baked map from a high poly with no fibrous air. Now let's quickly move to the specular and then we will return to the shin. I reflectivity, which is specular and we can change the specular color. This adds interest to your render and makes it look more realistic. In we set low values, and we can also change the color. This color change will distinguish latex from plastic. As I mentioned, the difference is influenced by the presence of shin and its color. Now I want to congratulate everyone. I have covered all the fabric materials which I wanted to show. Next, let's move to Marmoset where I will set up all the materials with you. Okay, let's go to the practical part and see how we can set up the materials for clothes. So we start with cotton. Let's select the new material. Let's right here, cotton. Right. Pull it here. Let me show you the maps which I have. I have only cotton normals, normals to normals. Libido. We can select. Let's select kind of gray. Let's go with this one. Diffusion microfiber, which is very important. Shin should be not that high. Let's put it to dot three. As I mentioned in the theoretical part, shintin also three and shin roughness maximum. Then we go to transmission, nothing, GDX, nothing. Roughness, we can pull it up like this and metalness zero. So here we are this is our cotton. Next one, let's go for silk. So I create a new material, pull it here, call it silk. The maps which I have for silk are silk normal and silk roughness. So what I do? I pull normal to normal like this. Then I go to color, let it be kind of balloon. Diffusion microfiber for silk shin is maximum or shin tint, a little bit higher. Let's say 1075 this way for roughness, here I can use my roughness map. Boom. Here we are. Then we go to transmission as it is, reflection, GDI, microsurface roughness, and we can also pull roughness here. Here we are, and metalness metalness a little bit higher. Metalness, we can put let's say six Yeah. And now we can see that this is silk. Looks like silk, acts like silk. Next one, ace, we create a new material, call it lace. Pull it here. Texture maps which I have fallas Roughness, normal, metallic, and base color. Usually we start with normal, normal to normal, base color to Albedo. Yeah, transparency Ds are. Here we are. Use albedo map checked should be checked in my situation. If your transparency map is separate, then you can pull it here. Then roughness map. Let's take a roughness map to roughness, our metalness metallic. We want metallic, then a bullet here. After that, let's go to diffusion to microfiber in microfiber, shins low like this, shin tint also low three for shin roughness, we can take our roughness map. Here we are. Reflection D reflectivity. Yeah. So now you can see how it looks lace. You can get rid of metallic and reduce the metalness if you need. It's going to be like this. Latex. Let's create material. Call it latex. Pull it here. Maps which I have for x. Latex is normal and roughness. So I pull normal here. I put roughness to roughness. Then I'll go to Albido Let's select of nice color like this, diffusion microfiber. For latex, shin is very, very low. Like, let's say, zero dot like this, shin tint high. Shin roughness, let's leave it as it is, reflection, G roughness, this and reflectivity, we can choose specular and let's select the color. Let's make it maybe blue. Like this. And intensity. Yeah, largely but is this. Now this is our latex. We see the blue, specular here, which is nice, exactly what I wanted. And the last one is leather. Let's create a material. Call it leather. Let's pull it to mesh detets which I have base color, normals and roughness. Normals again is usually to normals, AlbdoT libido. Here is what we have. Then we go to diffusion select here microfiber. The sheen should be low. Like this. And we can choose a color. Let's select it match to libido, but should be lighter. Let's saturate it. Let's go this way. Hintintier roughness. We go to our roughness map and pull it also here. Then we go to roughness here and pull our roughness here. And in this case, I would pull down a little bit roughness here. So here we are. This is how the lather can look like. So this is it for this lecture. See you at the next one. 12. Lecture_11. What you need to have in your Artstation project: Hello, everyone. Welcome to today's art lecture. Today we will talk about what should be included in your project on the art station. In general, there are no strict rules about what to post on art station, but after analyzing a lot of works, speaking with other three artists and reviewing the art station contest submission requirements, a certain structure does exist. If you follow at least 70%, your portfolio project will look professional. Today we will specifically discuss the structure of what to include in your project. What renders to showcase on the artistation? We will review the classic case when you are uploading a model created according to the traditional pipeline, starting with a high poly sculpting followed by the topology for the low poly, VN wrapping and final texturing. In this case, you will have everything needed to create all the renders and images according to the structure which I will outline. Project will include Beauty render, close up render, presentation render. The callout sheets will include clay render, Wireframe render, UV sets, textures, render view, and video. Let's go through each of these step by step. I've already mentioned the Beauty render and presentation render in our first lecture, but today, I will quickly remind you of them and possibly expand on some details. Beauty render, let's recall what it is. This is your main and the most stunning render. This render should provoke the same emotions as if you were in a gallery and not in front of your computer. It should tell a story, evoke emotions, and encourage the viewer to stay on your work and examine it closely. This render should captivate someone who stumbles upon your project. The goal of the Beauty render is not to show the entire character or all the details of your work. In fact, it might not even reveal half of the effort you put in as a character. That's not the purpose of the beauty render. Instead, the goal is to do what I just mentioned, to tell a story, stand out, and to create an emotional impact. Another key goal of the Beauty render is to differentiate itself from the countless other works on the art station. Let's look at some examples. All these examples tell a story. They make you want to stop and examine them rather than quickly scroll past and forgot about them. They encourage the viewer to pause, get interested and perhaps even to want to the post, follow you, or offer collaboration. Moreover, you may have noticed or not that recruiters usually don't have deep expertise in three D. Quite often they see a beautiful image and feel compelled to invite you for an interview. Since most of you aim to improve your portfolio to get your first job or better one, we need to pay a lot of attention to the beauty render. I would like to repeat, the beauty render is your best and most polished render. Let's move on. Close up render. This is just a close up shirt. Its main purpose is to showcase the impressive work you've done on a specific part of your character. Most often, close ups focus on the face, especially if you have invested significant time sculpt in pores or detail in the eyes. Close ups are also commonly done for armor if it is highly detailed or on intricate fabric patterns, et cetera. It can be done to any part of the character that you feel deserves a close up examination. Examples. In this project, I created a close up specifically for the rabbit because I wanted to highlight it with its own render. Meanwhile, in the render on the right, the artist showcases beautifully crafted, diverse and detailed armor. I spent at least 5 minutes examining it, perhaps even longer. Using the example of the cyber pun girl, I made a close up on her face because I really wanted to showcase the work I did on her skin. The image on the right also allows a closer and more detailed examination of the character's personality and the artist's skill. Presentation render. This type of render should already be familiar to you from our first lecture. But let me quickly remind you what it is and why it is necessary. The main purpose of a presentation render is to show the full extent of work you've done on the character. Here we make sure to display the character from various angles, preferably with even lighting rather than contrasting lighting, so the viewer can clearly see all the details you've modeled. Traditionally, the character is shown in a pose here, though it can also be shown in more complicated pose. It's not a strict rule. Let's go through some examples. This presentation render is one I really like. We have an almost monotone but not entirely uniform background, it doesn't still attention, but adds a bit of visual interest. The character is not in an A pose, the lighting is soft. The character is clearly visible, allowing us to sorogly examine the details. Next example with my the character stands out well against the background, and we can clearly see the bows, the size of wings, and all the important elements. It is important that we can see all the elements here about the existence of which we didn't even know when we were looking at the beauty render. I'm referring to the mechanical backpack on the character's back. In the presentation render, it is perfectly visible. Another example of the presentation render. Here, the character is shown in an A pose. The interesting part here is that the character is not presented from any direct angles. In all the views, the character is generally turned at three quarters. This is also a valid approach since the essence of the presentation render is preserved, allowing us to examine the character from all sides. Now the last example of a presentation render, which I absolutely adore, there is a lot to say about this one. In this render, just like with my girl with mechanical wings, both of us artists cheated a little. Yes, this is also acceptable. No one is going to complain about it because you did it your way and that's fine. Where is the trick? For both of us, the background and the beauty render and the presentation render is fairly neutral with no distinct atmosphere compared to the girl with angle wings. As a result in both cases, it is almost the same beauty pass but rendered from different tangles. This approach is acceptable. Next, we have a clay render. The clay render is a render without textures. It is literally rendering clay. Its main purpose is to demonstrate how your sculpt looks like. Often, when we set up materials during rendering, the beauty of sculpt gets lost or even hidden behind textures in material settings. It's not bad. It's how it is supposed to be. However, it is always a good idea to create a clay render to showcase the beauty of the sculpt to create it on your high polyme. There are two ways to render a clay render. You can either render your real high polymodal or apply baked normal or displacement maps to a low polymodal and trend as that. Both options are valid, but rendering the high polymodal usually looks better. When we talk about normal maps as opposed to displacement maps, normal maps fake the detailing, which inevitably results in some loss of quality. Let's look at some examples. This is my character. Here we see a clay render as well as the render of the hi polymodel with polypint. In this example, I want to demonstrate how the details get lost when textures are applied, even if it is just a polypnt, the presence of colors throws attention away and we no longer see the fine details unless we specifically focus on them. By the way, if you have created only a high polymodel and want to render it beautifully, I highly recommend creating not just a clay render but also a render with polypnt. Let's move on. Here is another example of a high poly clay render that I absolutely love. Pay attention to the lighting. This is soft desaturated blue light paired with soft desaturated yellow light. I highly recommend trying a similar lighting setup for your characters. Now, this is an example of a clay render for a low polymodal with a normal map applied. It also looks interesting, although it would be even cooler if it were a high polymodal. The back with oranges is particularly eye catching. A touch of humor never hurts. If you use touch techniques, it can look fun but don't overdo it. Now let's move to the frame render. This type of render shows the actual I frame on your character. The primary purpose of a IFrame render is to showcase how well you can create a proper and beautiful frame. I have an important piece of advice since I know many people who don't like spending too much time on topology or vis. If you've done a sloopy job with topology, or your frame was generated in the Zetrmesu which stands for an automatic topology. Better not to show a IFrame render to avoid damaging your reputation. However, if you are creating a work for a competition, such as the one hosted by the art station, showing a render with a Y frame is often a mandatory requirement according to the rules. Examples, here is an interesting IFrame render. Why do I call it interesting? Because here we can see how the planes are positioned on which we saw fzers in the beauty pass. It's always fascinating to examine I frame renders, especially when you are working with transparent textures like hair or fissers. It allows us to see how this magic was created. By the way, this character was made not for game development, but according to the film and cinematic pipeline. Here we two examples of characters made for game development. We can see that you can display a regular wireframe or triangulated one as it is seen on the character on the right. Another important and interesting point, if you want to show the polygon count for a model, this is a great example of how you can do it. Here is another iframe render with, in my opinion, an interesting presentation. It's simply a screenshot from Marmoset where we can clearly see the IFrame. The value of presenting a frame render in this way lies in how it stands out from others. Since we work in a creative field, if you have an idea to do something fresh and unique, don't ignore this impulse. UV layout sheet, another type of presentation, but the one I don't recommend publishing if it wasn't done really well. The primary purpose here is to show that you can create good UV maps. If your UV layout is well made, feel free to showcase it. However, if you're participating in competition, showing UV maps is often a mandatory requirement. Let's look at some examples, specifically how to present UV maps for an art station portfolio. I will use one of my own example. Took one of my completed renders, in this case, a frame render because I thought it would be appropriate to show the frame again on the same images as UV map. Then in Photoshop, I edit UV map, screenshoots from Mia. This example is also worth considering. Here, the three D artist shows UVs over latent textures. This is another excellent way to present UV maps. Additionally, using different colors on the model, the artist indicates which part of the character belongs to which UV set. A very informative approach. Finally, a approaching the finish line. Let's move on to the texture sheet. Like the IframeRnder and the UV sheet, the texture sheet is an informative component of your arts tion project. The main purpose of the sheet is to demonstrate your ability to work with textures. This sheet, along with the bframeRnder and UV maps will be essentially useful during the job interviews when you're asked to show how you handle topology UVs and textures. If you have included this in your portfolio, you won't need to scramble to find le frames UVs or texts when asked for them. Moreover, if you present all this in your portfolio and it is done well, it could give you grounds to decline the test task. Potential employers, after reviewing your portfolio will already have a good sense of your skills. Examples, you can keep it simple, gather all your textures onto one sheet. Anyone reviewing it can figure out the details. You can also add labels for clarity, specifying which textures which, base color, normal, roughness, metallic capacity, et cetera. Can make it even more interesting. Select the square for each V set, divide it into segments, and place a piece of each texture into each segment. This saves a lot of space while still providing a clear picture of the textures. Alternatively, you can render each texture individually in Marmoset or take screenshots from a substance painter. Then arrange them on a sheet as shown in the example image. In my opinion, this is the most visually clear way to present each texture separately. Now the render view. It has become very popular to take screenshot of your render scene. The main purpose is to showcase how the render scene is set up, particularly how the light is arranged. Examples, you can keep it very simple, but still interesting. For instance, I have an example from Arnold. In one window, there is the complete render and in another a piece from the render scene with lighting setup. Simple and effective. Let's continue. Example from Marmoset. This is simply a screenshot from Marmoset. It is very straightforward and can be done in 3 seconds using any screenshot too. Here we can see the cameras the artist used for rendering, the lighting setup, and even some material settings. Overall, it's a great approach. Another example is a screenshot from blender. Here we have two screenshots. The first one on the left is more informative, giving us an understanding of how the scene looks, what additional messes the three D artist created for the beauty path, the placement of the lights, and so on. The second screenshot shows the view from the render camera. Finally the last point on art Station, you can also add various videos related to a character. This can include clips like turnable videos, fly through videos showcasing different parts of the character, making of videos or space sculpt videos. In my project, I include turnable and making of videos. These types of videos are very engaging. Additionally, you can edit them for your reels or TikToks. The main purpose of these videos is to provide even more insight into your character. So this is it for today. I hope this lecture was useful and informative. Let's move on to the next one. 13. Lecture 12. How to render the highpoly character with polypaont in Marmoset: Hello, everyone. So today, let's set up our render or our high poly is poly paint. So let's start with NO polypnt from that brush. So I click on all my materials and select vertex color. I'll be vertex color, and I need to go through all the materials which I have here except of course invisible ice. Let's go to Sky. You can select any other HCI. You can leave default which you have here, and here, let's select color. And let's make neutral to start with. Let's make it neutral. Next, we go to render. Now we go to camera. We put in sharpened perimeter, we put one. Next, we go to say frame, which is here, click, and then let's think about the perspective, and this is too much. Let's put it here 50. 50, I think we can start with 50. Then you go to render and I go to image and I want to adjust it a little bit. Five, zero, zero, this is better. That's what I want. Samples of course, higher the noise trans higher CPU, then I go here, I turn on retracing. Bounces. Let's start with four. Samples a little bit higher. The transmission by now it's going to be four, but later I will adjust it. Let's proceed to adjusting our materials. Let's start with our hair. For hair, we have vertex color and I think that my hair is too yellow. I can mix this yellow color with any other color. Let's try to mix it with maybe pink. Light pink like this a little bit. Let's go this way by now. Diffusion lumbar tation, transmission, GG is correct, microsurface roughness. I think we need to add it a little bit like this, metalness. Let's cred it for the hair. Also a little bit. I want to go this way. Then we go to clear code, clear code reflection, anisotropic. Clear code microsurface, I'm not touching and clear code reflectivity, specular. Let's adjust the settings. Anisotropy, let's leave it right now. Right now, I don't see anything. We can increase intensity by now. Okay. Let's increase metalness to see the isotropic direction. Right now, I see it. So let's go this way. Metalness we can reduce back. Mm hmm. Then let's select the color of the clear coat reflectivity. I want to select kind of this one. No, not that big intensity. Let's leave it this way. And it's a trophy. Uh huh. Yeah, I see it. Maybe, let's do this. And what we have we have a mission, a missive. And for the glow, I want to select again, kind of this color. And densities lower with out like this. Okay. Here, done, have let's select our body. Albedo vertex color, diffusion lambertation, transmission, up surface scattering. She has a pretty big face. In this case, I would put here in scatter depths to reflection GDX microsurface, roughness, saying, let's move. Sync roughness we should increase this. Instead of metalness and reflectivity, let's select specular and let's immediately select the color of the specular, desaturated blue. Okay. Well, I think we need to include it. Like this you see, you can see here already the specular. Then clear code reflection, GD clear code microsurface, roughness, for clear code reflectivity, refractive index. Let's go here I don't know. 15, let clef, roughness. I think we should increase it a little bit. The way. So things looks pretty nice already. I forgot to check. Shows color reference. Yeah. Yeah, works good. Let's go for close. For close, what we have. Yeah, vertex, color, diffusion because it's close, it should be microfiber. Shin. Let's make compulhin. I think I want the kind of dark one, not dark saturated. Let's make saturated one, and let's reduce because I think it should be cotton. Let's make it so here. And for cotton, I would also reduce the shint that's three and roughness. Maybe we should increase it. Okay. The metal ness is zero. But the roughness. No, like this. I think this looks nice. Okay, that we have we have brown metal here. Vertex color, diffusion lm rotation, transmission, no GD, correct. Roughness. Sure we should go high metalness. Yeah. And roughness I would increase just a little. Let's go here in the clear coat with anisotropic. Here in clear code Microsoft is with roughness, and in the clear coat reflectivity with specular. So I already want to select the yellow specular. Yeah, exactly what I want. And I want to increase the specular. Like, kind of this. And isotropy, Yes, let's make it one. And what about the direction? Let's make it sink this way. Roughness, maybe indifferent. Let's make it this way. Roughness should be higher like this. Okay. Then we have our yellow metal. What are we going to do for our golden parts, vertex color, correct. Invertation, transmission, nothing, Eggs, roughness. Now, let's start with metalness. Pull up metalness because it's metal and looking nice. Yeah. Roughness. That's again a little bit higher. It's practically the same as with brown metal, clear coat reflection, and sotropic clear coat, microsurface, roughness and clear coat reflectivity, which are specular. What if we select for this one you know this kind of specular increase intensity. Yes. Cool. Yeah, let's go with this specular. Let's increase Anisotropy. Uh huh. We direction. We need roughness, definitely. Fire. Yes, I like it. Then you can work a little bit usotropy direction. Mm hmm. Good. Then let's just all eyebrows and lashes. So here I think, not a lot of, definitely. Roughness maximum and metalness. I would increase the metalness to make it darker. That's the reason why I do it here. What we also have here, we have metal clock. So let's go to see what we can do here. Again, I want to add maybe I think here to make it different from this golden metal. I think I can add a little bit color to vertex color through the color option here. Let's maybe add, I think this one's looking nice. Claation obviously metalness is one roughness. Roughness let's increase maybe lower. Mm hmm. Clear coat reflection and esotropic clear coat microsurface roughness and clear coat reflectivity specular. I would also select here the color of specular. Let it be also kind of deorated blue. Have we don't say it let's intensity increase. Yeah. Maybe even more increase. Okay. Okay. Roughness, definitely, yes, I can make the roughness higher. I can specula make lower sotrop, let's make one. Clear direction of this sotropy. Yeah, select this way. Roughness higher density may be lower. A bit lower. Yes. Looks nice. Next, we also have sand inside of this clock. But first, let's hide here ton of the visibility of the gloss, which we will adjust later. So we have the send what are we going to do with sand? So I don't like right now the color of the sand. So I think I can add kind of something more interesting in colors, maybe closer to red, but not that saturated. Let's go with this one. R. Okay, metalness. It's not like sand is not metallic, so I would choose specular here. And maybe I would choose also. I like blue. Blue specular. Maybe we can increase the specular. Uh huh. Not sure if it's going to be seen through the glass, but let's try and increase roughness. I mean to saturate it Oki this way. What's left? I think left our eyes and our invisible parts here. So let's go for invisible eyes, and I will not this. I will take the glass material, which is default. Let's rename invisible eyes. This, and let's pull them here. Right now, if I render it, I will see that the ice will be dark. To make them lighter, we should go to render and top up the transmission here up to ten. Then on render, they're going to look later. We also have this diamond here. For the diamond for the diamond, I would also create a glass material, but I will change the color of the glass ties Heirets and scarlet diamond. And let's pull this diamond to here. O. So right now, our diamond is not green, and we need to make a green diamond. To change the color of the diamond, we can surprisingly not albedo, but we change it in transmission in the depth parameter here. So we press here, and we select the green color. And right now you can see that it becomes green. The last not the last. Another parameter where we need glass is this one. Maybe for this one, I can also assign my invisible eyes. Mm hm. Let's leave it like this. And we also have our hidden glass for the clock. And for the clock, I would also create a glass material and call it, clod glass. But I would like to change the color of the clock glass. A so we go to the transmission and I want maybe something a little bit violet because I like because I can why not. Okay. That's okay. And finally, the last s in the materials, maybe not the last eye. We also have eyes, those which are visible. I can find them in the outliner. It would be easier to get to them. Let's find this material here. They should be here somewhere. Close, body, body body. If I can't find them, I can create new material. And pull it to ice. Here I can name it eyes because I lost them really eyes. I select here, of course, vertex color and roughness up. No, metalness metalness now this. Final, what I want to do I want to make these hand clocks here. Clock hands. Sorry, clock hands here. I want to make them emissive. It's easier to find them here because I renamed everything in that brush. Clock hands. And for clock hands, I want to go to emission. Well, I think what can I do? Let's make metalness high. Roughness. Well, actually, it doesn't matter because emission will kill everything and we go to emission and go to emissive. Let's select color in the glow. Yeah. But maybe I want them on with this way. Okay. And intensity. What if I make it a little bit higher? So I will receive a nice light from the missive here. I want to create like so I start with the key light, maybe where I wanted to go from. Wanted to go from here, maybe. I'm clicking here on this icon and I'm waiting when the light is created. Let's adjust this light. So First all the spotlight angle bigger. The intensity brighter. I think that right now I want to lower the brightness of my HDRI, go back to here. Uh, but here you see here, I receive very sharp shadows so I can increase the diameter. These shadows these shadows, they become soft. Next, I want to create rim light, rim light which goes let's create which goes from here. Again, I'm moving here where I want to create it, press the second. Let's change the spotlight to omnilt. Why not? Omnilt. Let's change the color. Traditionally, traditionally, should be dark saturated blue like I like and should be lower. Let's increase the brightness. Yes. Diameter, vinegar. Let's make it this way. This is a situation maybe where I want to create another kilte which goes from here. Want your face to be more light. So I come here, I take this light. Let's look from the top. Maybe let's pull it out. Maybe the diameter a little bit, the spot angle, maybe even like this, and of course, diameter bigger and they think of the brightness. And maybe let's lower this promptu not that much. Let's go this way. Next, what I'm going to do? Right now she's flying in there, which is not nice. Let's go to scene and add object shadow catcher. Nice. Indirect shadows here. Right now, she's a little bit mirrored as if she's sitting on a mirror because I don't want it too much mirrored, maybe something this way. Maybe even I want to pull it up a little bit here to the tips of her shoes like this. Great. Next, I go to my main camera. I want to add vignette. Vignette. Let's add vignette. Mm hmm. She's looking very cold with vignette. This way, maybe lower softness. Maybe let's trans lower. This way. Yes. Next. I think right now that the background, that neutral background, we can change it to maybe some kind of color. So let's try to go here and Check like what are the colors, how it works. No on this one. Let's take this one. On this. Okay. The next thing. Let's see what we also have here on the camera. We have Bloom Nu, we have grain. I like adding grain in Photoshop because in Photoshop, it looks better. I will show and let's return to the render. Render settings here, we have PNG ok, CPU trans right. And what I also want to do just in case if I want to adjust something in Photoshop, I would add here also to render pauses. I would add ID material ID. And in my case, material ID, same object ID. Let's go this way and let's select Let's select where it's going to be rendered. Let's leave it here. Let's right home. Okay, let's press Render and let's wait. This is our final render, and this is our material ID. What we do next, go to Photoshop and let's this way, this way. That's why I want to change a little bit the background and press control, and I can just maybe were more situated to it this way. Yum. Then I press Control D, just in case I duplicate this layer, and then I want to add noise. Okay. So here we are. And this is our render. Of course, we can just crop it a little bit. Kind of this one. And here we go. This is our final render. And this is it for today. See you in the next lecture. 14. Lecture 13. How to redner your lowpoly character with textures in Marmoset: Hello, everyone. And today, we are going to render a low poly character with textis and marmoset, and I will show you how to do it on one of my characters. Let's start. We have my character which is already posed is one of my most famous characters. What else? And we have texture sets, which is hair and cloak, eyes, body, and armor. So we're going to set up all the things. First, what we should do when we are already here in Marmcd is go here and to check show scale reference. What we see now, what we see, we see that our character is extremely big because my scale reference is here. So what should I do? I should make my character smaller like this. This is right now the way she should be. She's pretty long leg, done. But that's one of the most important things which should be checked at the very beginning. Next, what we are going to do, we are going to go to sky and I want to select a different HDRI. This time, I want to select one of my favorite ones. Let me find it. It's Something Beach. Where is it? Yeah, here it is. This one because it gives us very soft shadows which I like. Next, let's check here to what we want here. We want here color. Let's take any color which is neutral. Let's take this one. Definitely, and what else, what have I done? Also what we should do, I would go again here and I would add straight away the shadow catcher. Here we are the show shadow catcher in direct shadows, and we see nothing because we need to go to render and turn on re tracing. So here we are tracing this on and we already can see something. Back shadow catcher roughness, specular maybe a little bit more. Here we are. Of course, let's save the project right now. Let's make like render local Okay. Let's see for the folder, be here. Next, immediately what we should do, we should go to the main camera. We should sharpen put trans one, obligatory as I told you in previous lectures. Next, we go to main camera and we put SFrame. And she's standing right now, so this key 30. I think 30 is going better than 70 because for the portraits, I take 70, I think, we can go with 30 here. At least by now, I like the way it looks. Next, we go to render and we go to image, and here we can change this resolution of the image and exactly what I want to do. That's usually these resolutions, and let's samples higher than with trends, and we go to main settings here of the render bounces, we should put at least four I should be more even more transmission should be higher and let's think bounce aspire the noise strands also higher is in my situation. CPU if your video card is more powerful than mine, mine is very not powerful. Then you can also exchange here for GPU. Not my case. Oh. So next, what we do? I want to create at least a key light. I'm not going to set up the lighting exactly right now because I'm going to set up the final lighting after the materials I set it up. But at least the key light I want to set up here by now. So I click here. I'm creating this key light, which is going to be here, and I think we can reteat it a little bit, maybe this way. Maybe it will be even moved closer to here. Not sure by now. Let's leave it here and diameter. Yeah, diameter a little bit higher and maybe spot angle. So here we are. And now let's start with setting the materials. I want to start, traditionally, I want to start with the body. We have here, body group, which was created previously. And for body, kind of what kind of maps do I have? I have normal metalness, really, metalness so weird because it's actually my very old character, and I like it was first rendered many years ago. So yeah, it can be here. Maybe because here I have yeah, because she has makeup. And that's why, well, oh, my God, there's Mtonas here. We will not use Madonna's for this character. Okay, normal map here. Then we take base color, which goes here and we have roughness. Let me think. Let's take also roughness to roughness and then let's set everything up. W is my light. Maybe I want to make it brighter. Let's make it a little brighter. Here you are normal. First of which I need to check if I do I need to flip Y. No, this one is correct. I'll be yes diffusion lumber tissue, transmission should be subsurface scattering. It should be one. Because I have checked the scale. Next, it goes roughness Roughness, I think. Yeah, roughness is okay, why I'm trying to do something here. Next one, go specular and I want to see what's happening. Specular of course, I want to check to the desaturated blue. This one and specular intensity. I think I want to make it a little bit higher cloud that much. What's 15 maybe here. I think 15 is exactly what I need. By now, no. Clear code reflection. Here we select GG, microsurface, here with electroughness, and clear code reflectivity, we select refractive index. Refractive index, let it be five here and what? Here in secular not in specular. Here in the roughness, looks like we need to increase a little bit the roughness. Yeah, I think right now, I like the way it looks. By the way, I've just remembered that I have occlusion mop, which I think I can bring to this character by the normal nim bent clusion he bent occlusion pull in here. Okay. So here we are. This is a character. Next, we have ice. For ice, I think I also have textures. So what we have emissive roughness base color. So we are pulling base color to Albedo roughness to roughness, emission, emissive. Go here we take emissive ice. Let's pull it here and see what's going on. Yes, what else I can do here? Maybe I can make the metallic. No, I think I'm not leave the ice the way they are right now even without setting something else. They're looking pretty good now. Okay, let's deal with the hair right now. What the hair textures we have here, we have a base color. Hair normal go to hair normal. Ha base color goes to base color. Hair metalness think it's just black. It's almost black, so we will not use it. Hair roughness goes to roughness. Ambient occlusion, we will use later all the rest is applied. Let's see what do we have. Diffusion we go lumbertation. Transmission is not going to be applied here, then we go here reflection, of course, GD roughness. Roughness, I think I think we can go a little bit lower with roughness. Mm hm. Metalness, a little bit higher. Now we can see what happens to roughness, metalness lower and we clear coat. Here we go to us atropic. Here we go not touching ensg and reflectivity going to be specular. Let's let the glow of the specular intensity. Which one I want? Let's go with this one presently. Maybe Okay. And anisotropy can be maxim, Anisotropic direction. We can select hunts random, so it's going very randomly. Leave it like this and intensity can lower a little bit of intensity. Let's go to emission and emissive virtue here glow and here again select the color. Let's take this one and lower the intensity. And the color, we can change. Take this one maybe here. Maybe I can go with this color more. What about embienteclusion? I think I had ambient occlusion here. Let's put it to embnteclusion. I think it works not bad. Let me check if I have hair under eyebrow this. Yeah, I think it was here. But what I would do, in this case, I would duplicate, duplicate right here, eyebrowss ashes, Lashes, and I would go to emission none metalness Maxim, is it here still? Uh huh and go like this and roughness maxim I would go without all the then occlusions and here, none clear code, none, clear code, none. I want them just to be modal and lower a little bit. This way. Next, we have cloak. I take cloak. Cloak here, and our cloak is lying on the same textures as our hair. Yeah, we create cloak materials. Next, we pull normal to normal. We pull Albot albedo, we put roughness to roughness and then later we will add occlusion. Since it is close, we are going to use here instead of mortise microfiber, and I think this cloak is more cotton like. In the shin, it's going to be lower, it's going to be three and in the hinten, it's also going to be a little bit lower. That three and the color. I would go with red one and roughness maximum, what I would actually do for the cloak, we have occlusion here so we can add a clusion why I invent occlusion, pulling it here. Right. Metal no roughness according to the map. Good. Then we have this material which is armor. According to the concept, this armor is neither steel nor metal, so it was it's going to be pretty challenging to set it up to make it look at least nice. Of course, we will start with metal settings. And let's see which maps do we have here. We go to model, we go to armor and it's going to build as in here thing. We have base color ambient missive normaltroughness. Let's take a normal. It's going to be here, normal work kit. We're going to pull the base color, emissive. Let's live by now. Roughness. Roughness, roughness, roughness. Yeah, here we go. Here we go with roughness. And we also have a mission. Emissive. Let's take a emissive. Working? Yeah, it's going to be working, good, good. Then we have our metalness. We can increase the metalness. Let's try to go metallic settings for clear cut reflection. What we select isotropic here, what we select roughness here. What if we select secular here? The specular can select color. She is stylist, for her, it's going to be looking and being correct. Maybe I'll do something with this one. We weird, but let's do it. Roughness and anisotropy. Then roughness let's slow and otropy direction. Mm hmm. Go this way. Why not? And roughness higher. What if intensity intensity, Roughness, go this way. Maybe maybe less saturated, make it. Okay. Color still don't like it. What white? What if it go with white? To it. Let's go with white. Next, what we are going to do? We are going to set up our lights. We have one light here. I want to create a rim light from here. Boom. And brightness and color and spot angle and diameter. Here we are. I think what we can do with this slide, maybe brightness, lower a little bit. What if I pull it a little bit here and then I cheat? What if we select? Any other color. She used to be in my previous andasleblue, if you make her red? What if we go with these colors, maybe a little bit lower. Okay, very weird. Let's try and then let's make another ring light from here. Again, it's going to be let's take red. Let's brightness and let's diameter and brightness lower and spot angle maybe like this and whatever you put a little bit, right now, what I would do? I would go to sky. I would reduce the brightness here, and what if right now I go to my main light Keltcreas brightness like this. Let's also go here to the backdrop. I don't remember actually the resolution of this backdrop, which I want to as a backdrop here in Marmo set. Let me check it here. It's 1920. Let's copy this and go to Marmaset to render control and here 2000 2000. Uh huh. Yes, this I go. This way. What we can do? We can add backdrop. The cars which I've selected for the rim lights, they are maybe too much for the backdrop which I wanted. Maybe let's take the ones. Take this one and for the next one, maybe Let's also take this bluish. Then we go to scene object and here we have backdrop. Adding the backdrop just to show you how to do this. If you have the image, you can control them believe. You can use this one as the backdrop. What if I show guide? Uh huh. So you can use this like I used, and we can do it this way. What else we can go to sin, go to main camera and we can add vignette here. So what I like. Maybe to the hair we still can increase, here, here. Can crease a little bit glow. And we go to render. Then we go to our not video, our image and create samples, this thing is going to be okay. I select where to save the image which I'm rendering save and I can add not here. I can add new AD AD IDs object ID or material ID, whatever you need. You need to fix anything. Let me check if I did all the settings, Bones as I would eat right now here. Transmission can go a little bit higher. Sometimes you can add this bloom if needed. We can maybe add it a little bit here. I'm not big fan of this bloom, and what we do next, we go to render and press render Mach and wait. Okay, so here what we have. We have our render Image and we have our material ID. So what we are going to do next, we are going to Photoshop here we are, and we open our final quality of final render, and I can bring my material ID in case I want to fix anything. I personally don't feel like I want to fix here anything, but I can show you how you can do this. So you have your material AD and you can select here. For example, you want to fix this. You select it in the lab with your material AD and then you go to your original lay you can control, for example, press, you want to colorize it and you can select any color, maybe do something this way. Why not? Who knows what you want? Or let's bring everything back like cancel, where you just need to maybe make it more saturated, a little bit change the tint. Who knows? It can be done this way, not my case. The only thing which I want to do with this render right now is to add the filter to add noise. We go to noise, we add noise, and I think more than four, it can be five. Press Okay. And here you are seems like my render is ready. If I want to make it for Instagram stories, I can even crop it with more like this. So this is it. This is how to render a character in Marmst low poly character, we did everything together. Try to render characters with your maps, with your settings in Marmct and remember to show me the results which you can get. EU 15. Lecture_14. How to redner Wireframe, other passes, turnable video and Marmoset Viewer: Hello, everyone, and welcome back. Today we are going to discuss how you can render why frame glossiness, roughness, normals, all the render passes to casawsH to render your turnable video in Marmst and how to make this model for fewer, which you can open and everything is already set it there. So let's start, are going to start with how to render frame and all the other passes in Marmset. Let me show where you can check your iframe and select the colors and so on. Press here and you can press iframe, and here you can select the color which you need, which you want your frame to be white. Let's say it's going to be white. Then here you have this frame opacity. You can control how much is going to be visible on your model, and you need to remember this number or copy. But this one here is only the preview of your frame. To render your frame, you need to go to render final composite here in render passes. Press here, click here on Vaframe your final composite will be rendered with frame. Then you need to select the color that color which you selected here, and here in the via frame here in its opacity, you need to put this number. So you do it this way. It's 05 and here was zero. This is how it works. That's very tricky and very interesting. Next, you can if you turn off here frame and you have wireframe checked here, then that means that it will anyway render the image with wireframe. If you want to render some other pauses, here, you can check all the pauses which you have, like you have here it's like render pace geometry. You can look here, how to look your albedo. For example, you can see how it looks your emissive. You're going to check your roughness and so you can render all these render passes here. You can check how your render passes looks like. You can do it here. But to render it again, are returning to render. And we're going here and we add in here, we it the material, adding the previous lecture. Same as we're adding roughness, we are adding libido, are adding glossiness, are adding whatever. What see whatever you want. You can add lighting cluson pus, whatever you want. And as I told you, you can look here, for example, lighting and bunt occlusion, how it looks like. You can render all the pauses which you have here. And then when you are ready to render them, you just press render image, and that's it. And then all your pauses which you mentioned here, which you edit here are going to be rendered. Next, how to render your turnable video. For Turnb video, we need to create turnable. So I select my Misubm my character, and then I go to SN Ed Object. And here I select turnable, right. So what we see right now, we see that here in the outliner, turnable node is created, and to this node is connected, Miss Ben pose, my character. So I need to go to animate here. And then if I press play here what we see, we see our turnable video. Here how it goes. A small life hug, so we go to zero. I would take a character. And in the first frame in the zero frame, I would rotate her a little bit this way. So when we press play, we can see her from the front for longer because when it is set by default, we see her from the front and then she already tunes with your side and with your back. But if you do this live hack, which I did, so you return her, you turn her a little bit. Then she starts tuning already showing to us her front and then her side, and then her back. So that's really cool. When you are happy with what you're going to receive on your film turnable, like nothing more to do. You just go to video. To render to video, select the folder, select the resolution and pack four, then you select I pack four with obligatory quality of course 100 samples, it should be at least five K, at least, can be even more. The noise, CPU, quality high, the noise trends high, and then you press endos video. I will not press endos video because my computer is pretty slow for such kind of renderings. But try it on your computer. I'm pretty sure that your computer is a little bit more powerful than mine. So the next thing, which I'm going to show you is how to export the Marmoset viewer. Marmoset viewer is something that I really don't like exporting because it steals a lot of quality from the project, which I don't like at all, but I know that a lot of students, a lot of people like exporting it, so I will show how to do it. So first of all, what I need to mention I want to see that Mrmost viewor is very limited. So there are a lot of things which I cannot export. For example, MrmostVewor doesn't support displacement map, height maps, clear code settings, by the way, transmission setting, backdrop settings, a lot of lights. It can support only three lights. It doesn't support area light. You will receive shadows only from three lights and there are a lot of other limits. So before you start exporting your character, I would recommend, first of all, go through all your materials and make sure that you turn off all the clear coat settings, which I like so much and which bring so much beauty to our works because why do I recommend you to go and turn them on like a manually, Bkers if you don't turn them on manually, they may look a little bit weird on the file render on the final Marmoset viewer. Here, I've turned everything off and I go to file. Actually, your backdrop is also not going to be supported by the Marmoset viewer, go to export. I select here the viewer, like the folders model two. And title. You can write here. Un let's see. No, you can adhere your architan link. Textures high, ludless normals, high resolution sum nail export animation don't have emission. Show controls camera, yeah, main camera. Full frame with it. Okay, and aerial lights are not supported in the raster mode. Okay, and then I press export. And now let's wait until our model is exported. So here we are model two. So this is how the model looks like. As you can see, we don't have our HDRI. We have the shadows, but they are not looking nice. In general, I like this Mrmoset viewer only because I can just look at the model itself. I'm not looking at nice rendering. I can check like the maps which we have here, you see. Like, yeah, that's cool, but that's the only cool sale thing. If you want to add Mrmost viewer to arts titie you can do it, obviously. It's not a problem, but d it at least, like in the end because such situation when you have said it all the beauty in Marmoset and on renders it looks nice. While on the Marmoset viewers look a little bit, like, unfinished or outdated or something like this. So, yeah, I think, for this lecture, I have showed you everything, and I want to say thank you to all my students, to everyone who decided to join my course. I wish you good luck in making your renders.