Blender 3D Character Design: Build a 3D Model from a 2D Reference

1. Welcome to the class: To transform a TD character into a fully amazing three DD model using blender based on reference image. In this class, I will walk you through the entire process from importing reference image to modeling, texturing, and lighting your character. Even if you are new to blender or three D modeling, I'll break everything down step by step, so you can follow along at your own pace. Modeling. You will learn how to use modifiers like the screw modifier, the metal modifier, and the proportion editing tool to perfectly shape your characters body based on the reference image. We'll cover every detail, the eyes, the mouth, the arms, and even clothing to make sure your characters feels complete. Once the modeling is done, I'll show you how to texture your character using blender painting tools. We'll paint our character skin, adding realistic touches to the skin, painting the clothing, including the hat, the jacket, the pants, and shoes. You can even customize the look to match your own style. Finally, we'll set a studio lighting. Your character has that complete professional look and I will teach you how to use the compositing to render stunning final images. By the end of this class, you will have a fully textured treaty model that looks exactly like the reference image, and you will learn all the skills to bring any to the image to the word of treaty. I'm excited to see the amazing characters you will create. Join me. Let's bring your design to life. 2. Drag & Drop Reference Image: Fore I can model our character, I'd like to delete everything that we got in the scene and we have to bring a reference image. You can just left click and select like this, track to select all these elements or we can press A. A for all the selection, and we can press x and I just delete the selected objects. After that, we can simply drag and drop the reference image. We got it here, so the tot character, I'm going to simply drag it and let's drop it here. Perfect. Next, or to do I like to align this reference image. We can press n, and I'd like to reset the location. We can just drag left click and drag down, and you can reset all the locations back to zero. This way, our character is going to be at the center. I'd like to do the same thing for aisation, so we can left click and drag it down. Let's give it zero degree. Let's press enter. Perfect. Now it's on the x axis. What we can do, we can spin the x axis. Up like this, until it reaches 90 degree. Basically we want our charcure to be standing on the grid. The last thing to do, is going to be to drag our character up until the feet are touching this red line. We can press one to be facing the front. You can see that front orthographic, one on the numpad, and you can simply drag your character all the way up until the shoes or feet are touching that red line. Basically we got it. Now our character is ready to be modeled 3. How to Use Screw Modifier to Create Basic Shape: The next step is going to be to use the screw modifier to generate a basic shape for our character. Let's go ahead and do that. First, we need to have a plane. I would like to press shift A, and let's go to mesh, and we can start with the plane. For this plane, all I need is just one single vertex. We can just wrote it here. I'd like to sue a edit mode. We can press tab, the shortcut for it, and I'd like to select only one single vertex. We can reverse this selection by pressing control I inverse so that we can select the rest of these vertices, and we can press x and delete them, because all we need is just a single vertex. I'd like to select it here, and we need to put it right at the center. Here for the location, we can give it on the y, can give it zero. Now it's on the x axis. I'd like to press one to be facing our character from the front and let me take we can grab our vertex by pressing G. G as grab. And we can start for the bottom from here, and we can start extruding. Let's press e to extrude and we can keep extruding like this. Some parts are not visible, so we're going to just make them use our imagination. This is the first part, which is the body or the trunk of our character. The next step is going to be to duplicate this point, so Shift D or actually we have to take it a little bit up, something like this. Duplicate it and we can drag it down here to form the head. Let's and let's continue our tn, like this. We reach the top. For example, here we can't see the heat, but we're going to just make a nice circle. Extrude and for the last time like this. Now for the hat, I'm going to duplicate again this vertex. Shift D to duplicate it, and we can drag it down here. Let's go ahead and follow the hat. This vertex, I'm going to just drag it down here. This one, we can put it here and keep extruding. We reach the top of the hat. There we go. As a last step, we need to make sure that all these vertices, they are on the same level. As you can see this one here and this one, they are not on the same level. What we can do, we can select all the last vertices that we got here, and we can press S to scale them on the x, S x. We can see they are moving, so we can press zero. And press er. This way, they will be all on the same level. Perfect. The next step is going to be to use the screw modifier. We can go to the modifiers right here and let's add a new modifier. It's going to be the screw. Scroll modifier. Once we add it, check this out, we're going to have this basic shape. Basically, the screw modifier is going to take this edge. Let me explain what's going to happen. As you can see the angle, is 3,360 and the steps our 16. What's going to be doing, it's going to be taking that shape and try to spin it around by 360 while filling those empty spaces. This is what that screw modifier is going to be doing. Let me just enable it back and now we go 4. How to Use the Proportional Editing Tool: The next step, it's going to be to use the proportional addition tool to make some adjustment to our character. I'd like to press one here and we can duplicate our reference image. Let me select it from here. We can press d to duplicate it, and let's drag it to the left side. This one is going to be for aligning our character with it, and this one for just keep an eye on our character reference image. As you can see here, the shape of the hat is a little bit left up here. It's not straight like we got here, so we can fix this problem using the proportion ddition tool. I'd like to select my capture right here and first, I'd like to activate or to apply the screw modifier. We can collect here and apply it. This way it's going to be applied. Next, I'd like to switch the edit mode by pressing tab, I want you to select, for example, this edge line, this edge right at the bottom, and we can take it up. But this is not the right way to handle this list to make that scare vature. Instead we can use or rely on this proportion edition tool. Activate it, and it's going to be allowing us to drag that part down up to create that curvature for the head. But the problem we got here is that this proportioning tool is affecting the entire body. We don't want that. We want to affect only the heat. We got an option here to check only the connected only. If you check it, we're going to be affecting only object. In our case, our hat is separated object. Now if you try to play with the hat, we going to affect the other elements. Let me press one to be facing our capture. We can press Z, so which w frame so that we can see the level. Think, something like this. We can increase the size of that proportion individul by scrolling the mouse down or up. Something like this is going to be perfect. Let me just check it on the solid. If you want to switch from the solid, you can press Z and switch the solid or y frame. We're going to get back to the material preview and the render in the coming sections for now, going to be just using the y frame and the solid. The y frame is going to be fors through our character and the solid forseen it like this. Next step, I would like to give our Carter some details, as you can see here at it's slow own details. As we can do, we can add the subdivision surface modifier. We can search for subdivision surface, this one right here. As you can see we cut more details, we can increase the level viewport to two. This we're going to be having a perfect shape, it's completely smooth and it's slogging great. You can see the difference here. Let me just uncheck this, can see the difference. 5. How to Use the Mirror Modifier: The next step is going to be to use the mirror modifier when modeling. This is really important for symmetrical objects. Our character here is symmetrical. We can only model the right side or the left side and we can use the mirror modifier to have it duplicated on the other side. Here I actually do, I'd like to select my character. I'd like to apply the subdivision first. I'd like to select my character here and we can press one to be facing the front, and we can press tab to switch the mode. After that, we can press z, switch the wire frame, and I'd l delete. Here we can be on the vertex mode. I'd like to select only this half right here. And you can press x and delete those vers. The next step is going to be to add the mirror modifier. Let's press back to the solid and here on the modifiers, let's add the new modifier is going to be the mirror modifier. We need to have it applied on the x axis. By default, it's set to the x. For example, if you are working this way on the y, you can check the y instead of the x. You can see the difference here. We are having the symmetrical on the y. Also check the z. It's going to be symmetrical on the z axis. Our case, we're going to be making it symmetrical on the x. But we're going to see this problem here, this problem has to do with the subdivision. Basically the subdivision needs to be after the mirror. We can drag the mirror and put it at the top. The order of the modifiers matters. Here we need to start with the mirror and then the subdivision modifier. Now if we apply any change to the right side. For example, if you select this, let me just try to extrude it. You're going to see the same change on the left side. This is really essential when modeling symmetrical objects. Let me just sverte back, control z, to reverse back. 6. Create Character Eyes: Moving on to the next steps and I'd like to show you how can we model the eyes of our characters. To model the eyes, I'd like to press one to be face in the front, and on this mode, I'd like to grab these four faces. We can start with these. Next step, I'd like to create an inset inside this box, so we can press I to create an inset, and we can drag it like this down. So like that, and so X or I'd do. I'd like to delete this phase. We can press X, and let's delete it, and we can work a little bit on the whole. First, I'd like to make it look like a circle for the eye, not like this sharp edges. We can press all here to grab all of those, and we're going to be using the loop tools. There is a built in add on in blender that's going to allow us to reshape any kind of geometry. Let me install it first. I'm going to go to edit here preferences and in the Git extensions. I want you to search here for loop tools. One right here, you're going to find the install button right next to this loop tools. I already did that, you can just click on Install, and after that, you can jump to the add ons, and let's make sure it's installed, so let's search for loop tools. So make sure you check this box right here. Immediately, if you are on the edits mode and if you press n, you're going to see this edit tab added to the list. If you click here, you're going to find a lot of tools. In our case, we're going to be using the circle, if we click on circle, we're going to be turning this shape into a perfect circle. You're going to see that. So this is what we want. Also we can tweak it a little bit to make it like an oval shape. You can try S x and try to spin it or to scale it on X S Z and scale it a little bit up. This one's going to be perfect I. Next for lecture, do, I'd like to extrude it on the inside. Also let me try to take it a little bit up. Let me just select the top parts. Try to drag them up a little bit here. To give some space for the mouth down below. Let me just also take these up, something like that. Double G to slide this one, we have to slide it upward, like this. Next, we have to extrude this hole that we got. I'm going to press old and left click right here to select the entire edge line, and we can try E to extrude and y to go on the inside. Something like this and after that, also here, I'd like to show you a trick in order to see our geometer even better. You can check the gauge on the subdivision modifier. You can see the difference here. Now we can see all the geometry. Next, I'd like to press E and S to scale it down. We can just press F to fill that gap. That's nice. Next, I'd like to create another layer so that we can use it as the eyelid. So we can press control R to insert an edge loop here. We can select this vertex, double g to slide it upward. Can just do that manual here. And we can press again control r on the middle. I think we have to add another one. We can press control r on the inside again and we can drag it inside. You can drag this part inside. Sound like that. This part here is going to be serving. I think that's to much like this. This part here is going to be serving as the eyelid. Let me show you that. Later we're going to be animating our we're going to be dragging this part down. This is the easy way and the fastest way to drew the eyelid. We're going to be doing something like this. All right for now. Let me just revert back, control Z. Let me just revert back, and I'm going to keep it just like this. The last step to do, is going to be to add the actual I. Also here, let me try to add. I'm going to try to scale this parts a little bit down. S x make it close to each another. Same thing here on the top, strike it down. S be having that large space over there between the i and that bridge. Next, I'd like to put the cursor here so we can press shifts and right click. Brig right there at the center, shift A, and we can bring UV sphere. Let's click on the U V sphere. Since we are using the subdivision motif, I'd like to reduce the amount of versus C that we got. On the bottom here, you're going to see this add U V sphere, you can click on it to expand it, and we can reduce the segments down to ten, as well as the ranks, we can set them back to five. And as you can see we didn't lose too much of that geometry. Let me just scale this part down. Something like this. We can push it to the left side. We have to spin it on the x, so we can try r x and let's spin it. We can type 90. This is the actual i, so we can just sce it down. And let's make sure to position it correctly. Also, I don't want you to be popping up this art, so we can do, we can try S Y to smooth it a little bit back. We can drag it a little bit to the left side, and we got it. We got our eyes. We can work now on this part. Let me just drag it a little bit down, for example here. We can activate the proportion intent tool and we can drag it backward. Let me just reduce, I'm going to scroll the mouse so that we can reduce the amount of that proportion indigent power, something like that. Here we can try to push it. I want to drag it down, take it to the left side. Same thing here. That's good. Seems to be good. We got the eyes of our character, so we can continue our work in the next coming lecture. 7. Create Character Mouth: Let's go ahead and create the mouth of our character. On that mouth again, I'd like to select these phases that we got here. So we can start with these two, and I'd like to press to create an inset. Here, and we can delete this phase at the center x deleted, and we can simply select this edge and drag it here. But just can see we got our problem here. Let me just deactivate the propertdal. So we should not be going beyond the center point, what we can do. We can activate the clipping here in the mirror modifier. This way, check this out. We can always stop right at the middle. Cannot pass this point. Now, let's select these faces and I'm going to press x and delete them. Next, we have to work on the shape of the mouth. Let me just try to drag this part down. This part here, we need to make it look smiling a little bit. Something like this. We can drag this part sideways. And let's go outside and work on it on the y axis. So let's push the lips outside. Take this part up. Something like this. That's good. Also we can push them outside again. All right. Just take your time with the mouth, so it's going to take some time to get it right. Once you are good with the first step, which we can do next is to extrude the lips. We can press all here, and let's try E, y, to go inside, and I'd like to drag this part here, and for the for the bottom lips. We can select the manually like this, and we have to left them up. Next, we have to sharpen this lip. It should not be this smooth. On the edge mode, we can jump here to the edge line. We can press old to grab this entire edge line, and we can press n to access the item. Inside this M increase, I wanted to increase it up. You can see if you increase it to one, it can be having that sharp edge line. I think sometime around 0.75 or 0.5, it's going to be great. And we got it. We got a nice smile. Here we can try to push. Let me try to select this point here. It's a little bit difficult to do this selection, but we're going to try our best. I don't like this clipping to be honest. Let me just switch to the it frame. We can select this vertex. Let me drag it a bit down. There we go. Now it looks good. We got our character mouth and he's smiling right now. 8. Create Character Arms: The next step is going to be to work on the body of our character. I'd like to expand or to add the arms of our character. Let me just press one. I'd like to do some quick tweak ins to our character. For example, the hat, we have to expand it a little bit up, so we can try S x, and let's try to expand it. Sathing here for the face. You can grab this verge x. Let's activate the proportion in this joule. And we can drag it like this. I need to make ourt head looks a little bit large. Now let's work on the body. Here, I'd like to do. I'd like to extrude the arms. On the edge line here, on the side, I'd like to select these four faces that we got here. And what we can do, we can lift them a little bit up, so strike them a little bit up like this. All right. That's the first step. Next, I would like to create an inset here, so we can press I to create this inset. Next, I'd like to flatten this area. So we're going to have that nice that we can have those nice shoulders. So we can try S x in flatten this area. We can reduce the size of that mouth, the mouse, something like that. After that, we can extrude And we can take it down. Let me just deactivate the proportion of this inte. We can take it down and we can spin it on the y. Let's try ry and let's spin it sideways like this, scale down, and we can spin it so R Y. Again, here, we have to turn this shape into a circle. So we can press n, jump to the edit, and we can click on circle. Now it's like a circle. Next, I'm going to just extrude this part, press one to be facing it from the front, and let's drag it all the way down here. We can scat it a little bit down. Let me press all here, scale this part, and push it down, something like this. Here for the bottom. I'd like to create first the thumb. Let me just press one again. We can try E to extrude this part. We can spin it. Something like this to form the thump of our hand and we can create or select this part and extrude it outside again. Let's put it right here, and we can switch to the i frame, select this part, take it up. This part, let's take it back to form the hand like this. Let's switch back to the solid. Here we can try to improve this section. Something like that. Now we've got a match to our reference. Also here for the shape of the body, we can try to expand it, so let's activate again the proportion is joule, and we can drag it like this. To make our capture looks fatter a little bit. There we go. We got the arms, we arms of our capture. I'd like to tweak a bit the back, so we can select these points at the center and we can try to push them inside. Something like this. For the butt, we can make it pop up just a bit send the near, a little bit here on the shoulders. You can push this part inside. We're going to have a flat back, not flat, but it looks at bit flat. Also we're going to have a big belly on the front. 9. Create Character Clothing: I'd like to work on the clothing of our character. First, we have to create the jacket, the bands, and the shoes. Let's go ahead and start with the jackets. I'm going to be selecting my character and we have to select some faces. I'm going to be grabbing these faces here. You can keep selecting this part here, this area. Here on the pack can press C to make the selection easier. Let's select this part also. We can press shift D to duplicate this part. Next, we can press P to separate selection. You can press tab to exit at this moment. Now I'd like to add the solidify modifier to give it some depth. Let's add that. Let me just clase the mirror in the subdivision and we can add the new modifier, it's going to be the solidify modifier. We can increase the thickness up to something like 0.15 15. That's nice. I think it's going to be better if we drag it if we apply the subdivision to be the last. Here we go. Now it looks much more better. We can apply some tweakins. For example, here at the top, it's going to be better if we can see the neck just a bit, or also here, we can try to drag this part. Let me select them both these two edges, and we can drag it to the left side, G Y to push it outside. Same thing here, let's grab this vertex. We can drag it to the left side. Also, we can press one, press Z, which is the wi frame so that we can investigate the shape. It looks a little bit straight. I think we can go with that. Next side look to make this corner a little bit sharp, not rounded like this, so we can select this vertex, we can press n, go to the item, and Let me increase this vertex crease up to something like 0.6. I think that's a little bit too much. So 0.5, just to t manly. Something around here. It's going to work just great. Next I actually add this new layer that we got you. We've got this yellow layer and the red on the back. Let's try to add it. So going to press control r to insert this edge loop like this, and control r again on the bottom. What we can do, we can select these faces and try to extrude them outside. Let's continue to turn here. We can try E to extrude. This way, we're going to be popping up that color. Nice. Also, here what we can do, let me select this vertex and we can increase the vertex crease up, same thing here. Something around this. We can also try to make this part sharper, Let's select all these edges and increase the increase up. This way we're going to be getting close to this edge line. Instead, let me just select the edges, these edges that we got here. And we can do increase up, something like that, synth for this edge. There we go. Now it's not rounded anymore. Also, let me check the back. Here at the pack, we have to take this part up. Let's deactivate the proportion in the dual and we can drag this part up, and switch to the vertex mode, to have more control, and can push these outside, tack them up. Something like the heads. For these, we can push them outside. Let's go back to the objects mode, right click. Can select this, right click and sheet smoke. There we go. We've got the jackets. Next, it's at the pants. For the pens, I'm going to be selecting again the body and we can grab the bottom section of the body. We can press Z, switch the y frame, can press C to select the bottom like this. We should not be selecting any parts of the arm, so we can press C and shift to de select, and you can left to de select as part. Let's go back to the solid. With this part selected, we can press sift d to duplicate it, and we can press P to separate selection. Now we've got this part here, so let's do the same thing, which is to add the solid of fi modifier to it. Let's add the solid fi modifier. I'm going to keep the thickness like this and we can take it up to the middle. We got the mirror first, the solidify, and the subdivision last. That's good, but we've got some clippings, which we can do, we can work on our jacket. Let me just take this x, activate the proportion in the in joe, and we can try to push it outside to avoid that clipping problem. Same thing here, we can try to keep it open like that. This can be better. It looks like the reference image. For the bands, we can take this point up I really like to have that turn here. For the belt, it's silted up, can achieve the same style. Same for the second vertex, and we can push them inside. For this one here, we can push it outside to avoid the clapping. The last step is going to be to add the shoes of our cursor. We can select the pens here on the edit mode, I would like to press Shift S, or actually let's put the cursor here. Shift S curses selected, and we can press shift A, and I'd like to bring a que. And we can sket way down. Here we go our problem with the cp. What we can do in the metal modifier we can check the lein for just a second til we divided these two parts like this. So here we can scale on the x, S x, contrate to expand the shoes like this. Let's push them down, scale a little bit down, something like this. Here at the bottom, we can insert an e room, so Control R, and let's drag it down. Again, let's press L to select the entire unit, and we can scale it bit down. Contr to spin it on the x. Also here at the front, what we can do. Let me just push the shoes here. We can press z to the iframe. We can take this part down like this. Now let's select the shoes, and let's push them back where they belong, which is here, we can scale them lit up. On the bottom. We can drag it down like this. Basically, we got our shoes. All we have to do is spin them on the z. Actually without the need for the proportion editing oe, we can press L here. Try Z, and let's spin them, let's say by -45 degree. Let's do right click and sheet smooth, and we got the shoes of our character. 10. Apply Final Modeling Tweaking's: Last object to add is going to be this little art that we got on the pants, so's go ahead and model it. I'd like to use one single vertex, so we can select our pants here. Let me grab one single vertex, we can press she hit D to duplicate and let's move it sideways. We can press P separate selection, and let's work on it. For this new vertex, I don't want to have any of the mirror, solidify or subdivision. Just one single vertex. Let's go ahead and create the heart, so we can extrude like this. I'm going to just make only one half of that art. Something like this here. Next, we can duplicate it. We can shift d to duplicate right click and we can move it here. In order to invert it, we can press S x and minus one. This way we're going to invert it. Let's put it here. Also, I'd like to combine these points, so we can select them both. Press, and let's merge at the center. This we're going to be merging those vertices into one single vertex. Let's do the same thing here, selecting both press, merge at the center. Nice. Also now let's tweak. You can do tweak ins. You can scale this part down here. This one also here. Next, I'd like to apply the subdivision surface modifier, Let's add it here in the modifier stab, to give it more details, and what we can do. We can select these two versus Cs, press n, and let's increase the mean vertex crease up. It's not working. Let me try the pavl weight. It sounds even working. So what we can do. We can exude it first, so let's press A to select everything. We can press E, z, and let's go up. We got our heart. This part here. It's completely sharp. If it's not sharp, we can increase the increase of it to one here. Same thing for this part. After that, what we can do, we can pval it or give it some inner depth. What we can do, we can try E a extruded on the inside. As per seven, we can drag it a little bit down here. We can try to take these verses like this. To keep this distance even across our heart. After that, we can press old, try E, z, and let's push it down. After that we can just press F to fall the bottom. Select our heart, right click and shade smooth. To fix this problem here, what we can do. On the mode, we can select everything by pressing A, and you can type shift to flip the normals. Now we've got p normals. Also here, I'd like to make this area here a little bit sharp. Let me grab this vertex here, and we can also increase the increase here, decrease one. Also, let me just activate the cage so that we can see our heart in better details. Here tro press control to insert an extra edge loop and go down like this. Let's stretch to increase that increase all the way to one. I want to do the same thing here. For this engine, let's increase that crease to one. We have it, we have a perfect heart. I'm going to just put it at the right place. Also here, this is the center of it, should not be like this. Let's go to object, such origin to the geometry. We can put it here. Let me just try R x to spin it around by nine degree, and we can spin it on the z axis. Take it up. We can scale it a little bit down, and let's try our best to connect it with our pans. R x R Y, R Z, and let's connect it to the shoes to the pants. Something like this, it's not a big deal. You can just leave it like this. Small heart on the bottom right of our pants. Another thing that I'd like to do, I'd like to tweak a little bit the yes. The yes they look huge. What we can do, we can scale them down, if you want to scale them down. We can select this circle, we can press here, and let me try to scale it down. After that, we can press old A to deselect all the selected geometry, and we can press L to select here the eye bulb, and we can push it here, scat it a little bit down. This is better. Let me just push it back or outside. For this side of the eye, we have to push it also outside to avoid any clapping, so we can take it a little bit to the right side, something like that. Now we got smaller eyes and they look much more better. We finished modeling our character, so in the next coming section, I'm going to start texting. 11. Unwrap the Character Model: This new section, we're going to start texturing our character. The first step before we can start texturing is to unwrap our character. We need to generate a UV map so that we can paint on it. I'd like to show you the way to do it. First, I'd like to get rid of this bottom window. We can just right click here in join area. You can join it down below. Here we can divide this panel into two parts here. The left side is going to be for this UV editor. We need to keep an eye on our UVs, and here we're going to be seen our character. Right now, if we select our character, if we press tab, and if we press A to select everything. This is what we got a UVs. It's not optimized, we have to work on it. But before we can work on it, we have to, we have to apply all the modifiers we got, but also we have to combine all the elements of our character into one piece. To do that, we have to do some cleaning first. I've actually reduced the amount of subdivisions because check this out if we apply the subdivision like this, see that's going to be dense in geometry. I don't want that. Let me just revert back present control z. I like to reduce the level viewport to just one. On is going to be great. Same thing for the jacket. Subdivision, let's reduce it back to one. We're going to bring pack the subdivision later once we do the unwrap. For the level viewport of this subdivision of the heart, it's good, such one. I think we're good here. Let's set it back to one. The next step is going to be to select all the elements. Let's select the jacket, select the head, and shift select, left's click on the heart. We can press G so that we can grab our character and make sure that all the elements are selected. Here we got some clipping. Let me just fix this clip in here. We can select this vertex and try to push it outside. G Y, push it outside just a bit to get rid of that clipping. Now let's select, reselect all the elements. Press G again to move it. It's perfect. Now in order to apply all the modifiers at once, there is a quick trick. You can go to objects, converge into a mesh. Here, I want you to press old so that you can apply this conversion into all the selected objects. Press old and click left click. After that, we can press control J, J as join. Now our character is one single piece. You can see here it's set to plan. We can call it here character. Now we can bring back our subdivision surface modifier, so let's print it from here, so let's search for subdivision surface modifier. The next step is going to be to unwrap it. Now it's ready to be unwrapped. On the Edit mode, you can press A to select all the elements and the fastest way to let blender do the nwrapping is by pressing, and you can use this Mart TV project. Just click on it. Here, I want you to set the scale of the UVs to the bound. Let me explain if you check this box and if you do unwrap. All those UVs, they will be touching the bound of our map here, which is perfect. As you can side the results here. Our capture is well unwrapped, and now it's ready to be taxed. We're going to be doing that in the next coming lecture. 12. Create Material Image: That's our character wrapped. The next sp is going to be to create a material that's going to allow us to paint on our character. On the left side here, I'd like to again split my scene vertically up like this and the new window, it's going to be for the shader editor. We can press n to hide that panel. Also, we can jump here to the material properties and we can add a new material with this character select it. It doesn't matter if you are on the edit mode or the object mode, so we can select our character. Let's go back to the edit mode, we can see our vies, and here we can click on you. Material, and let's call it character texture or character material. When creating a new material, you're going to see these two nodes, you're going to see the principal BSDF connected to this material output. If you want to see your material, you have to switch from the slid to the material preview. Here we can press Z and switch the material preview. Also, I prefer to work right now on the abstract modes as we can see our character. If you change the base color, for example, if you choose the red, any color that you It's going to be projected onto our character. What we need to do instead is to create an image, an image that's going to allow us to paint on our character. Here, let me just middle mouse and we can scroll, tack it sideways. We can press shift A, and let's search for mage. Tax. And we can connect the color to the base color. Next, I'd like to create a new image texture. Let's click on you, and for the name, let's call it character texture. For the width, we can give it four k. So I'm going to just add the multiple sign, multiply it by four, same thing here for the height. Let's multiply it by four. For the color we can pick any color that you'd like. We can pick let's pick the red. We're going to be painting into or on top of this t of this character texture. Now let's just create a new image. On the top here, we can choose this new character texture that we just created. There we go. The red one, let's just click on it. Now we got it. We can just scroll back here if we press edit. This is what we got. We're going to be painting on top of these UVs. This is what we're going to be doing in the next time a lecture. 13. Paint Character Skin Color: Now I'd like to paint the skin of our character. I'd like to do, I'd like to be painting the skin only this part here. What we can do with our character selected, we can switch from the object mount to the texto paint. Now we can try to paint. Let me just we are painting with the white using this jaw brush. Let's just paint like this. It's pending on the UV map, but it's not shown here. The reason why it's not shown here is because the normals or the geometry is inverted. If you switch to the pack, you're going to see it here. We don't want that in order to fix this problem, so we can recalculate the normals. Let me show you the way to do it. First, we can go back here to the objects mode. We can press Z, switch back to the solid. If we scroll a little bit here on the top. Here on the overlays, you can check the phase orientation. You can see the difference here. We got something red and we got something blue. Basically, we need to make sure that everything is blue so that we can make it in the right orientation. Let's do that, we can press tab to switch ds mode, old A to the select everything, and we can select only the parts that are red. We got the body here and the head and the hat. As we can do right now, we can press shift to flip or recalculate the normals. Now we are on the right track, so let's just go back here, and we can switch to the tex paint. Also I'd like to just hide. Let me just hide that pace orientation. Now if we try to paint. Let's make sure that we are on the material preview. Let's tr paints, we're going to be painting on the front and not on the back. Now let's go ahead and paint the skin. For the skin, we can pick the color from here. I'd like to you can click here on this color, the white color, and we can use this eye dropper here, so that we can pick any color that we want. We can pick this color from here, and we can start painting. Can start painting the skin. But the problem that we got here is that we are painting on some areas that are not skin. What we can do to fix this problem, we can use the mask so that we can specify which areas to paint with that skin color. Also here we can jump here to the fill. In order to see our character even better. I'm going to be painting it with black. Let's make this color black and we can just click here. Now our Cture is black. Let's go back here to the drawer, and we can use the mask. If you click here on the paint mask, so we can press. We can press tab to switch mode, and we can select only the skin parts. Old A, to select everything, and we can select the head by pressing L and the body. Now let's go back to the objects mode to the texture paint mode instead, and we can start painting. There we go. But this way it is going to take too much time, but at least we are not touching other parts. We can use the fill bucket here so that we can paint the entire element. Here we can score a little b back, so we can pick again that color. Let's click here and use the eye dropper to pick this colors we got and we can just click and there reh it. Now we are ting our capture skin with the skin color. 14. Improve Character Skin: Our next step is going to be to improve the skin of our character. I'd like to add, for example, some pinky cheeks here. We should not be leaving the skin like this, just a linear boring color. We can add some variations to the skin color. We can jump here to the jaw tool, and we can pick some darker color, for example, here, and we can start painting, something like this. This one is a little bit too strong, so we have to work on it. Also, we have to make it symmetrical. We need to see it on the other side. Let me just reverge back here. Let me check here. We can check the mirin on the x axis because we are on the x axis, which is the red axis. You can see here. The x is the red. Let's try to paint here, but we've got a problem here. The symmetry is not working perfect for this object, so let me just reverge back. To fix this problem, we can jump back here to the objects mode. We can press n. First as you can see the center point is not at the center, it's set to the heart. We can go first to object, such origin to the geometry. Now our origin is right at the center, so make sure it's at the center. Also here if we check the rotation, it's not set correctly. We need to reset it back to zero, same thing for the scale to avoid any problems. We can press control A. Let's apply both the rotation and the scale. Now it's set to zero for all the axises. Same thing for the scale, it's set all to one. The location, it's not necessary to change it. We can apply it Control A, can apply the location, but you're going to have the cursor right at the center here. Let's continue right now, so we can switch back to the text or paint, and let's start painting here. We need to make sure that the x merin is enabled. Let's press F, to increase the size. Let's click. But before clicking, we have to reduce the strength. I'd like to decrease it to just 0.2. Zoom in, press F, to increase the size of the brush, and let's just left click. One more time like this. We can add another touch right at the center. There we go. We got nice pinky cheeks. I think it looks a bit exaggerated. Let me just reverte back, and we can decrease strength to just 0.15, and Let's start again. Let's make a circle and we can click at the middle. That's nice. Next I'd like to do the same thing for the eyes, so we can make the eyes a little bit pinky. No Pinky I just give them some different color here. All right. A little bit here for the nose. Just be creative with this. For the mouth, we have to work on the lips a little bit. We can the touch here. I'd like to work on the lips. For the lips, I'd like to make them a little bit darker, so you can pick a darker color. For example, something like this, and we need to keep the strength down. If you are working on a female, so you can make the lips look pinky. If you want to have a male, you can make it dark like this. On the edit mode, we have to highlight only the lips, you can press old here. Shift old to select the inner side. Also here on the outside, we can press control r to insert a new edge loop so that we can be able to select it, we can press old shift old and shift old. Now let's go back to the texto paint, and we can paint here. Let's try to paint like this. Let's check that out. We can add another layer. Let me just reselect the same selection that we just did. Switch back to the texto paint and let's give it a new layer. L et's press A to make sure that everything is selected and we got the lips colored. Also I'd like to add some touches on the arms here. Let's go back to this color here. Let's make it lighter, and let's be on the top of the arms. As you know, this part is exposed to the sun, so it should be looking a little bit darker. Something like that, also here on the side, just a bit of a touch. Sthing here for the chest, we can make the chest a little bit darker. Press A to check everything. The skin looks much more better right now. The last thing I'd like to do I to change the skin and make it more alive. There is here an option. Let me show you inside the subsurface, we have the option to increase this radius. If we increase, for example, this amount on the one, We're going to let me show you. Here for the weight, let's also increase it to one. Let's try these radiuses. If you increase this amount, let's say 2100, I'm going to just exaggerate so that you can see the effect. You're going to see that the scan looks much more better. It looks like a real skin. Instead of 100, I'm going to just keep it at 25 or even 15. You can see the difference, let me just reduce the weight all the way to zero. It looks like a doll. But if you increase the weight. This is the subsurface scattering, so it looks much more better this way. After you finish, always make sure you save your image texture because if you lost it, if you lose it, you're going to get it back, so make sure you save it always. 15. Texture Paint Toad Hat: The next test can be to paint the hat of our character. To paint the hats, we have to highlight it first. On the IS mode, we can press old A to the select everything. Let's use the L key to select only the hat. Next is jump straight to the text paint and with the mask selected so that we can paint only on the hat. First, if you check the reference, first, we can see that the heat is white. The main color is the white. You can jump to the fill and we can pick the same white that we got here. Can just left click. This way, we're going to be painting the hat with white. Next, we need to add these puddles, these white or these red puddles. Let's go back here to the draw. And we can pick again this new color, which is the red, and let's go to the center here and we can click. Here what we need to do, we have to increase the strength all the way to one. Also we should remove the mirin effects because this is the front, we can use the mirin here on the side, but not here at the front. Let's just scroll here all the way till the end and we can uncheck the x mirin. Let's click again. That's nice. But as you can see the problem that we got here is that the edges are not sharp, so we need to have some sharper edges. I'm going to just scroll here until we find the fall off, and I want you to change this function to constant. If you set it to constant, so this way going to be having those sharp edges. But as you can see, if we check the reference, we have this black edge. We need to start with the black and inside, we can draw, for example, a black puddle and inside it, we can write or draw the red puddle. Let's do that. I'd like to make it black first. Let's be facing the front here, we can press F, to increase the size of the brush, and we can just click here. Next, let's pick the red color here that we got. As you can see, I didn't move so that we can keep the same size here. I'm going to just press F to to decrease the size of that brush. Let me just find the best position here. You can just click again. Now we got not a perfect circle, but just take your time with the b is perfect. Now on the side. For the side, we have to check the mirroring. Let's check the mirror on the x as always because we are on the red axis. First, we have to start with let's paint here. We have to start with the black color. I'm going to just press F to increase the size of the brush a little bit, and we can click. There we go, we got the black and now it's time to pick the red. We can pick the red from the reference image here. This part here, we can pick the red from it because this is the front heat, the front puddle on the head. Here let's just press F to reduce the size of the brush and just take your time with it and click. This way, we're going to be painting that puddle on both sides. The last step, it's going to be to paint that puttle on the back. Let's do the same thing. I'm going to make it black first, and you can click Let's pick again the red color, and you can press F to reduce the size of it. And let's click one more time. We got those three puddles. This is the way to paint the hat. Also we can make it a little bit interesting by let me just draw or we can pick the white again. For the white, I'd like to make it a little bit darker and we can paint on the bottom here. Now actually that's a little bit too strong. Let's revert back for the strength, we can reduce it down to just 0.2. Also for the fall off, let's bring back that nice smooth curvature. Here I'd like to make this area a little bit darker. It's going to be good. This part here that connects the heads with the head. So like that, you can add an extra layer. Something like this. As press A to check our character. We are on the right track. In the next coming lecture, we're going to be turing the clothing. 16. Texture Paint Character Clothing: Now it's time to paint the clothing of our ture. I actually start with the jacket. On at this moment, we can press old to the select everything and we can select only the jacket. Let's go back here to the texter paint. Make sure that the mask is checked so that we can paint only on the jacket. Here I lecture give it first, the main color, which is the red. On the fill tool here, we can pick the same red that we got on the jacket here. Let's click on it, nice. Next, what I'll lecture do, we can paint this yellow edge. On this edge right here, we can select it first. We can press old. Here. Shift old like this. It's call back. Let's also select the bottom, shift old, just like that. On the other side, we need to select two, shift old. Select that P two. The pack is selected. Let's press tab to go back to the tex paint, and we can just paint with this color here, the yellow color. I'm going to just pick it again from here. Pick and we can click like this to have it highlighted. Let me just press L here to select both of these units. Perfect. I'd like to add that black this black edge line as we got here. It's going to be great. Let's do it. We can go back here to the draw image zoom in here. We can press F to reduce the size of the brush, and we can switch this color all the way to black, and we can start painting like this. Can increase the strength all the way to one, and we can continue like this. But it's going to be some wobbling. I'm going to show you a a better way to handle this. Let me just the way from here, we can press F to reduce the size of the brush. Also, we have to use the stabilized stroke so that we can paint a perfect line, here on the stroke, you can check the stabilized stroke. Check this out. If we click and drag, you're going to be painting a perfect line. We're going to be facing any wobble in whatsoever. Just continue all the way till the end. I'm going to grab this point here and go all the way to the other side. Basically we got it, we got the jacket. So now let's work on the pants. For the pants, we can press A and let's select only the pants by pressing L, and we need to make it white. We can use the fill tool and let's use the white color. And we can just click. On the edit mode, we can select again the top. We got it. Also we can add some line on the top, which is a back. It's going to be great. Let's go back here to the draw, and we can draw a black line at the top here. Something like that. It's going to be good. Now for the heart, let's paint the heart. Alt A two selects everything Lt select only the heart. The heart is black, and it has some red on the inside. Let's make it black. I'm going to just actually, let's make it red. You can pick the red from here, click, and let's go back to the draw. So Let me check. The edges are plaque. We can use the plaque again and start painting on the edges like this. Just take your time with it. You can press f to increase the size of the brush. Last thing is going to be to paint the shoes. A again to select everything. Let's select only the shoes. First, we have to make them. Let me check if we've got some mer. No, we don't have any mirin. Let's use the fill bucket and we can pick the same color that we got here. Let's click. There we go, and we can use the draw. I'd like to pick the same color, and we can play a little bit with it. Let's make it darker, just to give it some variations here. Something like this on the bottom. Basically, we got it. We got to our character. Let me just press A to select everything. You might face some problems like this. Let's go ahead and fix them. If you want to fix this problem, you have to spot it first. On this mode, I'm going to just select this part here. Let me just check the on cage here. You can select only these three phases and let's find them out. These are the two phases. But this phase here is missing. Let me just press point on the numpad to find it. This is that point. This area here should not be like this, we can do. We can, for example, just move it to the skin color. Let me just press G. You can move it up like this. This way, but, this way we're going to be fixing that problem. We can do the same thing for example here. This part here. We can press A to select all the versite and press period. This way we're going to be zooming on it. I'm going to just move it by pressing G, and let's put it here in the skin area. And let's investigate our tex scaring and it looks perfect. 17. Texture Character Eyes: The next step is going to be to texture the eyes of our character. To make it look like our reference image, we need to make it a black glossy material. I'd like to switch back here to the object mode and with our character select, we can jump to the material properties, and I'd like to add a new material. Let me just expand this menu here, can add a new material, let's call it ye. Ice. Next, we have to assign this ice material to the ye to the actual mesh ice mesh. With our object selected, we can press tab to switch dit mode, press old A to make sure that everything is D selected, and's select only the ys. Next, I'd like to a sign. You can click on a sign. All right down below, here we're going to have the surface tab. Here we can tweak the settings of our material. Here, let me just press tab so that we can see our material better. For the color, we need to make it dark to make it look like our reference image. Next, we need to make it shiny. I'm going to just reduce the glossiness down to 0.05 For the IOR reflection or the value of the reflection, you can even reduce Damage 1.45. And I'd like to show you how can we use real I texture to texture the IOR character. We're going to be using this image here, this texture. What I want you to do, we can add a new material here. Let's call it Is. And we can call it real, the real is. With our character with our material selected. In the shade ed we're going to be C the principal PSDF, I'd like to do. I'd like to drag and drop that image, that reference, not the reference, but the texture. Next, we can just connect it to the base color. After that, we have to assign this new real material to the eyes. On the edit mode, can press old A to de select everything, select only the, and we can press a sign here. Now we got it assigned. Have to work on the UV mapping, I'd like to press U, and we can use this project from view bound. This way we're going to be creating this big map. Let me just switch here to the taxer, so that we can control it, so we can control it from here. We can stre scale it a little bit on the Y, we press A to select all the UVs, S X to get an even UV map, and we can try to scale it up. We can keep it like this. I'd like to take we can drag it down, so GY, drag it a little bit down like this. Next which we can do, Let me also try to scale it, can scale it up. And push it down here. Next what we can do, we have to duplicate. Also, we should not be seen that at the top, let me just press G Y, scale it a little bit up. Let's duplicate the i. On this mode, we can press shift D, but before we can do that, let me show you a way. I'm going to just let the other I here. And x to the list, and let's select our actual I. We can put the cursor, for example here, shift as curse to select it. L et's press to select our single i. Here we can switch this pivot point to the three dcursor. After that, we can press shift D to duplicate the i and we can try S x because we are on x and we can just type minus one. This way, we can be duplicating our i on the other side. There we go, we are now using real is. You can pick anything that you'd like. You can use real I or just that black shade just like our reference image. In my case, I'm going to just stick to the first met that we just created, which is the black is. There we go. 18. Set Up Studio Lighting: In this atoro, we're going to be working on the lighting. First we have to do, we have to switch from the material preview to the render mode. We can press Z and switch from the maury preview and click on rendered. This can see the lighting is bad, so we have to work on it. The first step is going to be to add new light source. We can press shift A, and let's go to light. In my case, I'm going to be using the area light. I'm going to be simply dragging that area light to the left side here. Also here for the center point. Previously we set it to the tree dcursor. Now I'd like to bring it back to the medium point. Here, I'd like to spin my light on the x, so R Y, and let's make it pointing toward our character. Same thing here we can try R z and t spin it a little bit sideways. For the strength, so you can click on this object data properties and you can increase the power. Let's say 250 watts. Not to make it too bright, we can just take it a little bit back here, a little bit forward. This is the first light source. Next, I'd let you do, I'd like to add the second light source. We can press shift D while selecting this lamp, shift D, and let's move it to the back. Let's press z seven to go to the top and we can put our light here and we have to orient it or to spin it around. O Z, and let's spin it like this. Now we've got some nice emission here, some nice light on the back. So you can change the color of this background light. You can click here and I prefer to use that blue. I really like this blue emission that we got here. You can also increase it to 350 because the blue is low on emission. Next step, I would like to change the environment lighting. We can click here on this word properties, and I'd like to switch this background, this gray background from this gray to some real sky texter. If you click here, if you try to change this, you're going to be affecting that background light. Instead of using color, so we can click on this yellow dot, and I'd let you use this sky texture. You can find it in the texture ap. Sky texture. There we go. We got a nice sky we can do first. We have to reduce strength. So you can al scroll a little bit down here for the strength. Let's give it 0.1, very subtle amount of sky texture. Next I'd like to hide the background. I'd like to hide the sky, but keep its lighting. You can do, we can jump here through the render properties, and we can score a little bit down we find the film tab, click on it, and I want you to check this transparent. We need to just focus on our character. The next step is going to be to add the background, so let's press shift S. I'd like to put the cursor to the word origin, and we can press shift A. It's good to match. We can press tab to switch the de mode, and we can select this plane, skate it up to something like this. After that, I think that's a little bit too much. Something like this can be fine. Next, I'd like to select, we can switch the edge mode, and we can grab this edge and let me just move it a little bit here, and we can try E to extrude it and press Z to fix the extion on the z axis. Next, I don't want to keep this edge sharp, so we can bevol it, so we can press with it selected, we can press control B, and you can simply move the mouse a little bit. If you want to insert some edge loops, you can just scroll the mouse. Let's score it four times. If you don't have the score mouse, you can click on this tab, and you can increase the segments here. If you want to have more, you can just increase it here. Let's exit it mode. We can do right click and sheet smooth to avoid have that smooth shading. Next, which we can do, we can change the color of the background. Also, let me just try to scale it. We can scale it on x, expand it, expand its edges. There we go. That looks good. We can change the material of our background, so we did select. Can go to the maturity properties, and let's add the new material. We can click on you, and let's call it your background. For the base color, we can change it to some kind of a blue. Let's find the best spot. You can just keep scrolling here. I think something around here looks really nice. I like it. Also here for the metallic or the roughness. If you want to have a glossy background, I don't want that. I'm going to just increase this roughness to 0.75. There we go. Also, we can add a little bit of metallic, can be better, so let's give it 0.45. There we go. The last s it's going to be to add some emission lighting. Let me show you that. You can press first shift A. Let's add a plane, and we can take this plane above our character. And what we can do, we can simply scale it on the y. On this mode, we can scale it on the x and scale it a little bit on the y. Going to be like a light bulb. W we can do here, we can give it a new material, so here on the material properties. Let's add the new material. We can call it here emission. We call it anything that you'd like. For the surface instead of using this principle BSTF, you can click on it and we can search for emission. Let me just score a little bit up until I find emission. This plane is going be melt right now. We can increase the strength to something like 15. That's good. Next, what we can do, we can duplicate this plane. We can press shift d and keep duplicating it like this. But I prefer a better way, which is to use ray multifier. Let's select our plan. We can jump to the modifiers and let's add a new multifier, it's going to be the array, this one right here. Let's click on it. Since we are on the x axis, I'm going to be affecting the x axis here. Let's just tick it a little bit here, and we can increase the count to something like six. We can reduce that amount x factor. Now to have a better lighting reflection, we can check the rate racing. Let's jump here to the render properties and we can score little bit down to define this option, the rate racing. You can see the difference here that we got. With the rate racing, we have better render is going to handle the lighting even better. We can zoom in here. You can see the background. We have some noise here, so we can do to fix this problem. We can increase the number of samples that we got in the render mode. We can score that bit up, so the sampling for the viewport. This is the viewport and for the render, this is the render. We're going to be discussing the render later on. Now I'd like to increase the samples on the view port or something like 250 samples so that we can see better results. Now the background is completely smooth. We can continue our work in the next coming lecture. 19. Add Camera & Render Images of Your Character: This storio, I'd like to show you how can we render some images of our character. First, we're going to need to add a camera. Here in the scene, we can press shift A, and let's click on camera. Next, we have to position our camera, so we can take it like this, tick it up, and make it pointed toward our character. We can press zero if we want to switch to the camera view. This method is a little bit slow, so there is a better way. For example, if you can pick this shot, if you want to look at our character from this angle. What you can do we can press control, old and zero. This we're going to be grabbing the camera to this actual position. This is really. From here, we can adjust it easily. We can press n. On the item, we can, for example, make our character position it at the center. Let's do something like this. We can lift it up, take it back. The back is the y. Something like this. Also we can take it lift it up. Let me just for example, reduce the Z size. I'd like to position my camera from the bottom up. There we go, something like that. Let me just take these lights a little bit up. Also, there is an option to lock the camera to the movement of our mouse. Let's select the camera. We can jump here to the view, and we can click on camera to view. This way if you move your mouse, you're going to be moving with the camera on it. I think something around this is going to be great. Let's to show you some settings that you can adjust in the camera properties. You can click on the camera with the camera selected, of course. We can click and here first, we have the focal length, you can adjust the focal length. If you want to capture a wider angle or if you want to reverse, you can adjust the focal length. Next, we can affect the depth of field. We can give some bluriness in the background. Let me just check this box here. To show you the difference, I'm going to just reduce the focal length all the way to zero. We're going to be having that blares. You can play with it like this until you're going to achieve something good. So we can pick the focus distance to be our character. Let's pick our character. As you can see our character is far from the camera with. This is the distance, 12.28 meters far from the camera. I'd like to press and let me just remove that camera to view that we can zoom if you want to zoom in on the back. Here to increase or to decrease the F stop so that you can have a blurry background. That much. Something like this, it's going to be great when we're going to be doing. We're going to be rendering our shot. 0.75, I think it's going to be great. We should not be having too much of that blurness. Also for our character, to drag it a little bit down, so we can press Z, and let's push it down until it touches the ground. Now we are ready to give our scene a render. Also for these lights, let me just try to bring them down. Let's go ahead to the render on the top tab and you can click on this render image. And there you have it, we render our first shot of our character. You can go ahead and save it. You can click on image and save as you can save it anywhere that you'd like. But before we can save it, I'd like to work on the compositing. 20. Apply Composting Tricks to Improve Your Renders: We got our render, so the next step is going to be to improve it using the composite in. What should do is to jump here to the composite in, and what we can do next, we can check this use node so that you can be able to see these nodes that we got here. Next, we can bring our render and put it in the background. As you can see it's blur here. You cannot see cannot see much of it here. We can press shift A and a search for our viewer node. This viewer is going to allow us to see our final render. Let me just connect here the image to the image. Then we got it, so we can see our render in the background. If you want to zoom in, you can press V, actually V to zoom back. If you want to Zoom n, you can press old V. V to zoom back old V to zoom n. Now let's go ahead and work on our render. First, I'd like to start with adding some glare, so we can press shift, that's glare node. We can drag and drop this glare and put it between that line. Some like that. Also we can connect the image to the image here. Basically, we need to connect this clear to both the viewer and the composite. We have to tweak the setting got here. For the streaks. I first to increase the quality, make it high. So we can change it from medium to high. Next, I'd like to increase the number of streaks. The streaks are the number of This star here, it has four edges. We can increase the streaks to eight. Now it's like a fall star. Also, I'd like to reduce this strength that we have here. We can increase the threshold to higher value, something like 50, let's see. We go so now we reduce that amount. We can even increase it up because we're going to be using a double glare. I think something around 75 is going to be great. Next step is going to be to add the second glare, so we can press shift D, this one shift d, and let's put it here. For the type of it, I would like to switch it from streaks to fog glow. We need to have some fog in our render. For the settings, so I'm going to be reducing the threshold down to just one. Also for the size, let's reduce it down to something like three. That's nice. I le experiment with something here. We can take the glare and put it after the streaks clar. Here, let's just try to put it here. Let's see if we're going to be seeing any difference. Actually it's the same, but that's fine. You can just keep experimenting with these cla nodes. The last node that elect add is the color balance. This nodes can give us the ability to change the mood of our render. You can press shift A, let's add color balance. And we can drop it between the color and the viewer, and let's connect again the color balance to the composites. Every new node on the right side needs to be connected to the viewer and the composites. Here check this out. We can change the mood of our render here. For example, if we give it some kind of bluish blueish color, you can see the touch. We're given it a cold touch to our render. On the other hand, if we try to give it, for example, this yellowish or orange color. Our render it's going to be warm. We can change the feeling that we want the viewer to perceive by just tweaking this color balance. In my case, I'd like to stick to the blue. The final stab it is going to be to save our render. You can jump here. To save render, we can switch, let me just switch this menu to the UV editor or the image editor. And we can click on the viewer node. This is the final result. Going to just click on mage. Save As, you can save it to your documents like Td character, final render. And there you have it. This is the final render of Td character, and as can see it looks amazing. 21. Conclusion: Congratulations. You've made it to the end of this course by now you've transformed Troy reference into a fully textured customized treaty model. That is a significant achievement. Now that you've learned the process of turning any to the image into a treaty model, feel free to use your own to the character images and turn them into treaty models as well. So the possibilities are endless. The more you practice, the more comfortable and creative you'll become. Don't forget to share your final vendors in the project section. I'm excited to see your creations. Also, if you have any questions or need feedback, feel free to reach out. I'm here to help. Thank you so much for joining the class, and I hope to see you in future projects. Happy plan.