Blender 3D: Design 3D Characters in Blender from Scratch | Arash Ahadzadeh | Skillshare
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Blender 3D: Design 3D Characters in Blender from Scratch

teacher avatar Arash Ahadzadeh, UI/UX Designer | University Lecturer

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Introduction

      0:41

    • 2.

      Requirements

      0:30

    • 3.

      Introduction to the Project

      0:17

    • 4.

      What's a Moodboard?

      1:50

    • 5.

      Create a Sketch

      2:20

    • 6.

      Modeling - Bunny

      29:49

    • 7.

      Modeling - Eyeglasses

      12:02

    • 8.

      Modeling - Umbrella

      10:20

    • 9.

      Modeling - Cloud

      4:35

    • 10.

      Modeling - Rain

      6:29

    • 11.

      Scene Composition

      15:45

    • 12.

      Adding Materials to Your Objects

      12:11

    • 13.

      Add Realistic Lighting to Your Scene

      5:54

    • 14.

      Prepare Your Scene for Rendering

      2:21

    • 15.

      Render Your Scene

      7:24

    • 16.

      What's the next step?

      0:50

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About This Class

This course has been prepared using the latest version of Blender (3.2 or above).

Do you want to become a 3D illustrator, but you don't know how to start? Have you ever wanted to create your own 3D character for your design projects? This course will allow you to develop your 3D design skills, and you can add 3D illustrator to your CV and start getting clients for your skills.

Hi everyone. I'm Arash, and I'm a designer. In the past few years, I helped over 50,000 designers worldwide to build their own design businesses from the ground up. In this course, I will help you learn how to design 3D characters in Blender comprehensively from scratch and become a 3D illustrator.

Blender is one of the most powerful 3D software in the market that many design agencies use. In fact, Netflix used Blender for one of its movies. You can use it for video games, visual effects, animations, 3D illustrations, and many more.

Many designers think that 3D modeling, especially character modeling, is hard and complex, but I will teach you how to build amazing 3D characters in a simple, fun, and engaging way.

This is not another 3D design course where you just learn theories. Instead, we will only focus on practical and essential things you need to know to become a 3D artist.

In the first part of the course, I will teach you how to create a moodboard and draw a simple sketch. In the second part of the course, you will learn how to model a 3D character step-by-step. Next, we will dive into scene composition, texturing, lighting, rendering, and so much more.

In order to complete this course successfully, a basic understanding of Blender is required. So if you are new to 3D modeling and Blender, I highly encourage you to take the following class first.

Learn Blender 3D: Become a 3D Illustrator by Mastering Blender, which will teach you the fundamentals of Blender and 3D modeling.

An amazing course for people who want to design stunning 3D characters in Blender. By the end of this course, you’ll have a complete real-world project for your own portfolio, and every student will have the knowledge and confidence to apply for a 3D illustration job.

Course highlights:

  • Mastering Blender Modeling Tools

  • Advanced Tips & Tricks

  • Build a complete 3D illustration project

So, what are you waiting for? Join the class!!

Meet Your Teacher

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Arash Ahadzadeh

UI/UX Designer | University Lecturer

Top Teacher

I am a UI/UX Designer & an iOS developer with almost seven years of experience in application development and also ten years of graphic design and UI/UX design.
My passion is helping people to learn new skills in a short-term course and achieve their goals. I've been designing for over ten years and developing iOS apps for four years. It would be my honor if I could help you to learn to program in a simple word. I currently teach Figma, Sketch, Illustrator, Photoshop, Cinema 4D, HTML, CSS, JavaScript, etc.

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Level: Beginner

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Transcripts

1. Introduction: Have you ever wanted to create 3D characters but didn't know where to start? If so, you are in the right place. Hi, I'm and I'm a designer. And in this course, you and I are going to create this little bunny from scratch using Blender. We will start by preparing a mood board, this simple sketch, and then we will move on to modelling, composition, texturing, lighting, and so much more. By the end of this class, you'll be able to design and render your own 3D character. So if you're ready to create stunning 3D characters, I'll see you in class. 2. Requirements: Hey, welcome to the first lesson of this course. In order to complete the course successfully, a basic understanding of Blender is required. If you have never worked with blender before, makes sure to check out my other blender course, spheres in which there is a dedicated section called Blender Academy. On the other hand, if you know the basics of blender, you can continue discourse with ease. 3. Introduction to the Project: In this section, we're going to work on a 3D character from scratch, you will learn about modeling, texturing, lighting, composition, rendering, and so much more. So see you in the following video. 4. What's a Moodboard?: Hey, welcome back. In this video we're going to create a mood board. But what's a mood board? Well, a moodboard is a collection of your visual ideas that works as a reference and a source of inspiration for your project. No matter how creative and experienced you are. Whenever you start working on a new project, it's always great to start by creating a mood board so that you can organize all your ideas and references in one place. Believe me, it will save you so much time down the road. But you may ask, why do I need a reference? If I modelling something I'm familiar with? Let me give you an example. Let's suppose you want to model a watch. You know, it's overlook, but you may forget to include its details. That's when the reference comes into play. Alright, now that you know the importance of having a mood board, Let's create one. There are many ways to create a mood board. You can use different software for it, but I always tend to keep things simple and I prefer to use Pinterest for this purpose. For this project, I'd like to create a funny and stylish bunny. Therefore, I'm going to type binding here. As you can see, there are many images you can get inspired by. I really liked this cute bunny with its pair of sunglasses. I'm going to save it. What else do we need? I want to make the scene rainy. So let's find an umbrella for our bunny. Here it is. I think this one looks good. Let me save it. And that's all. Of course, you can add more images to your mood board. But I think for this project, that's enough. Next, we're going to create a simple sketch. So see you in the next video. 5. Create a Sketch: In this video, we're going to create a sketch in case you don't know. A sketch is a rough drawing without details that will assist you in making the final model or seen. If you're not a good drawer, don't freak out because I'm a terrible drawer to. But here's the good news. As long as you can bring your ideas on paper, you are good to go. We just need to understand what we are trying to achieve. So if your sketch is not very clean and polished, It's totally fine. We want to use it as a guide in the modelling process. So please grab a piece of paper and a pencil. I use an iPad instead to create a more polished version. Keep in mind that sketching can take so much time. So take as much time as you need to prepare one. It usually takes me around an hour to get my desired result. But for this class, I'm going to fast forward this process to not bore you with reiterating our right. Let's get started. First. I'm going to start with the bunny's head. Let's draw an ellipse and then move on to the ears. For the ears, we need to have the inner part according to our reference. Now let's draw a tiny mouth with teeth and the tongue. I actually want the tongue to come out of its mouth. Something like this. Looks very good. It's cute, isn't it? Now let's draw its eyes and also whiskers around its mouth. Next, we can dry pair of shoes to indicate that it's working. But I am going to make them detached from its body to make it a bit stylized. But what about its sunglasses? Let's write them. Obviously it needs a nose as well. Next we can draw a simple umbrella right here. I think it would be nice to add a cloud right on top of this umbrella. And finally, the rain. There's one more thing I should do, and that's to eliminate this line from its tongue. Our right, our sketch is ready. Now, you can take a picture of your sketch and have it on your computer as your reference. You can also download my sketch from the resources section if you want to get it done the way I do in the next video, we will start modelling the character we just drew. See you in the following video. 6. Modeling - Bunny: Hey, welcome back. In this video we're going to start modelling our little bunny together. Are you ready? Let's begin First things first, I'd like to mention something whenever I use a hotkey in blender. You can see it appears here on the bottom left corner of my screen. Let me show you how it works. Let's suppose I hold down the Shift key on my keyboard. As you can see, the piers right here. Most of the time I mentioned them myself when I'm using it. However, in case I forget, you can always take a look at this part of my screen. Just keep that in mind. It's going to be handy. The other thing we need to do is this. You need to save your project now and try to save your project frequently as you go along. This case, if something goes wrong, you won't lose your project. Before we start, we are going to change something in the Preferences. I'm going to go to the Edit menu. And from here I'm going to go to Preferences. And then I'm gonna go to input. Here under the keyboard section, we have this option emulate non pad in case you don't have a keyboard with a numpad, make sure to check this checkbox. Emulate numpad because this way you can use the numbers of your keyboard to change the views in Blender are right, We're good to go. First of all, we're going to remove all these objects. We don't need them right now. We have a camera or a cube and a light. I'm going to select them all. And I'm going to hit Delete on my keyboard to remove them all. Now we need a reference image, which is the sketch we prepared. But before we add it, I'm gonna go to the front orthographic view. To do that, you can use this symbol here. Alternatively, you can hit number one to go to the front orthographic view. Now I'm going to hit Shift a and from image I'm going to choose reference. You might not have this Images as Planes option. That's totally fine. That's because I'm using an additional add-on for this option, but we're not going to use it here. Just click on Reference and just look for your sketch file. Select it, double-click and it's there. Okay, Now I'm going to scale it up a little bit. I'm going to hit S and try to scale it up. Something like this should work. Then I'm going to move it up. I'm going to hit G to move it along the z-axis. And let's move it up just like that. Alright, our reference image is ready. There are two ways we can use a reference image in our project. The first way is to just place it here and try to model everything according to this reference image. And try to, for example, modifying the location of each object, rotate our object, etc. That's one approach. The other approach is to just try to use it as a guide. And later when we want to create our composition, we can try to locate everything precisely according to our sketch. I'm going to use the first approach. I'm going to use it as a guide for now. And later, we will position everything precisely according to this sketch. Alright, now I'm gonna go to the reference image option here. And I'm going to check this opacity checkbox, okay? By default it's set to one or 100%. I'm going to make it transparent. Therefore, I'm going to decrease this amount to something like 0.4. Okay, now we can start working on the bunny's head. So what do we need here? Well, for the bunny's head, we can use a UV sphere, okay? If you just hit Shift a and you go to Mesh, you can see that we have many different primitives. I'm going to use UV sphere. So let me hit shift and a mesh. Click on UV sphere. It's right there. I'm going to open up this menu right here at the bottom. Makes sure that you have a 32 segments and 16 rings. That's enough for our head. I'm going to close this menu and then we need to scale it down. I'm going to hit S to scale it along the z-axis and tried to scale it down like this. Something like this. Looks very good. Are right, we need to scale it along the y-axis as well. I'm going to hit number three on my numpad and then hit S Y and try to scale it down like that. Okay, it looks very good in my opinion. Let's go back to the front orthographic view. I can now hide my reference image. I'm not going to need that right now. Okay, here is our head. Let's hit G, Z and bring it up. What else do we need here? Well, let's first create its mouth. To do that first you need to go to the Edit mode. I'm going to hit Tab on my keyboard to enter the edit mode. And now what we can do is this. We can select a few of these phases and try to extrude it in instead of out. Okay, so for the mouth, I think these four faces would work very well. Let me take a look. These four should work fine. So please select the Face, Select tool and select these four faces. You can select them like this, left-click and drag. Or you can select them one by one, but you need to hold down the Shift key on your keyboard just like this. Now what we're gonna do is this. Before we extrude these phases in, I'm going to insert them a little bit. The reason is later, we're going to add a modifier to this sphere in order to make it smoother. If I extrude these phases in without having an inset, the edges around its mouth are going to be very sharp. That's not what I want. I want them to be smooth. That's why I'm going to insert them first. I'm going to hit I on my keyboard and try to insert them just a little bit. Not too much, something like this. Now we can extrude them inside a line, the y-axis, I'm going to hit E, y to like them, allowing the y-axis and try to extrude them in. Just like that. Alright, looks good. But as you can see, it's not smooth, right? So what we can do is this. You can go to the object mode. You need to hit Tab again and right-click on this UV sphere, click on Shade, Smooth. Our UV sphere is much smoother now, but as you can see, our mouth doesn't look very good. Alright? That's because right now we don't have many vertices around these corners. Therefore, blender cannot create a smooth mouth. So how can we add more vertices to our geometry? We can use a modifier, the subdivision surface modifier. Let me go to the object mode. And I'm going to go to the modifier panel. And from here I'm going to add the subdivision surface modifier. As soon as I add that, you can see that these corners are starting to smooth out. However, it's not enough because we can still see these edges. Therefore, I'm going to increase the levels here, both for viewport and render. I'm going to set the levels of view port 23 and render to four. So it means that in our final render, it will be even smoother. But if I increase it to four or five in the viewport, it would be hard for my computer to just render everything in real time. That's why I chose a 34 here. But now as you can see, our mouth looks very good. Everything is smooth and we can move on to the next part. And the good thing about using a modifier is that it's non-destructive. It means that I can always remove the subdivision surface or even disable it temporarily to adjust my geometry. Even if I go to the Edit mode, I can still modify my model. Right now, these faces are selected. I can hit G, Y to live them allowing the y-axis and try to move them even further inside. Just like this. Alright, The first step is done. Now let's move on to its teeth. Alright, for its teeth, we can use a cube, make sure that you are in the object mode, not edit mode. Because if you add an object in the edit mode, those objects will be considered as one whole object. It would be very hard later to adjust them. But if you are in the object mode and you hit Shift a and add a cube for instance, you can see in the outliner that now we have a separate object. That's exactly what we need. I'm going to scale it down, hit S to scale it down, then hit G, Z and bring it up right here. I'm going to go to the right orthographic view and I'm going to hit G, Y and bring it here. Perfect. Now we can see it. I'm going to scale this cube, allowing the y-axis, it's s, Y, and scale it down, something like that. Then I'm going to scale it along the z-axis to make it taller. It s, z and scale it up. I think it looks very good. Maybe we can scale it up little bit, hit S and scale it. Now, we're going to make it smoother. So what can we do? Yes, you're right. We can use the subdivision surface modifier. I'm going to add this modifier to it. And as you can see, it doesn't look very good. That's fine. We're going to fix it. First. I'm going to increase the levels viewport to three and render to four like that. Then I'm going to right-click on it and click on Shade Smooth to make it smoother. Now, what we can do is this. We can go to the Edit mode, hit Tab on your keyboard. And here we are going to need more edges and vertices to modify this object. To do that, we can add loop cuts. Alright? To add loop cuts, we can use the shortcut Control R or Command R if you're using a Mac. So let me show you how it works. I'm going to hit Control R. And if I hover over this object, you can see this yellow lookout appears. Okay. It's not there, It's just showing me It's possible location. Now I'm going to increase the number of luke cuts to, to using my mouse wheel. I can increase it. Now. We have to look cuts. That's exactly what we need. And I'm going to left-click to create those loop cuts. Now I can move them around, but I don't want to change their location at the moment. I'm going to hit Escape to place them where they are. Well, I think we need to make this bottom part and also this top part a little bit sharper. So what we can do is this, while loop cards are selected, I'm going to hit S, then z to scale them along the z-axis. Just like this, okay? Of course you can do it one by one. To do that, you just need to select one loop card. Just make sure to select the edge, select to hold down the Alt key and click on one of these edges. And this way you can select this edge loop. Alright, now I'm going to hit G, Z and bring it up to create something like this. And I think it looks very good as our tooth are right now. Let's move it up, hit G, Z, and bring it up. Let me check its position. I think it looks very, very good. We need one more. And to create one more, we can have linked duplication or a normal duplication. The difference is when you have a link duplication, when we later on add materials to one of them, the materials will be applied automatically to the other one as well. That's not the case with a normal duplication. Alright, to create a link duplication, you can use the hot key Alton D, or you can just right-click on it and click on duplicate linked. Okay, I'm going to use the shortcut Alt D and then hit X to Luckett along the x-axis and just place it right next to the previous one. Maybe I can scale them up a little bit. I'm going to select them both. Hold down the Shift key to select them, hit S, Z and just scale them up. Then let's move them down, hit G, Z and bring them down. Okay, It looks nice. Now we can move on to the tongue, okay? For the tongue, we are going to use the same technique. We are going to start with a cube and then we're going to adjust it to get our desired result. So let's start. First of all, as I said, we're going to need a cubed. So I'm going to hit Shift a and I'm going to add a cube here. Let's hit S to scale it down. Then I'm going to scale it along the x-axis, hit S, x, and scale it like this. Now I'm going to hit S and scale it down because it's too big. Then hit G, Z and bring it up. It's right here in the middle. I'm going to go to the right orthographic view, hit G, Y. Just like this. To easily model this tongue, I'm going to hide the other objects and later on high them. To do that, I'm going to hit the forward slash. And as you can see now we are in the local view. Okay, that's why we can only see this object. Alright, so how should we start? I'm going to go to the right orthographic view. Then I'm going to hit tab to enter the Edit mode, Let's select this face in the front. Okay, we need to extrude it out. I'm going to hit E, just extruded this way. Left-click to confirm. Then I'm going to rotate it a little bit, hit R and rotated this way. And finally I'm going to move it down, hit G, Z and bring it down. We're going to repeat this process again and again and again to get our desired result. Once again, E, just extrude it out, R to rotate it, left-click to confirm g and bring it down again. E, excreted out, are rotated. G, bring it down. Once again, E extruded out are rotated and G bring it down. Something like this should work as our tongue. However, we need to scale these edge loops down a little bit. Let's start with this front face. While it's selected, I'm gonna hit S and scale it down like this. Then I'm going to select this edge loop. Let me select the Edge, Select Tool, hold down the Alt key, and select this edge loop like that. I'm going to hit S X to lock it along the x-axis and scale it just like this. I'm going to hold down the Alt key and select this edge loop, hit S and scale it. Then I'm going to select this face right here and scale it down, hit S and scale it down. You see we're getting there. I think it looks good. Maybe we need one more extrusion here. Let me go to the right or too graphic view. We can select this face and try to extrude it out. E, extrude it out like this. R to rotate in g to bring it down. And then you can easily scale it down. Something like this. Alright, it looks very good. And here as well, we can have an extrusion. I'm going to select this face and hit E to extrude it out, R to rotate it this way, and g to bring it down, let me go to the top orthographic view. I need to scale it down as well, something like this. Now I can select this edge loop and scale it up a little bit. Okay, I think it looks good. Now I'm going to add a subdivision surface modifier to it to make it smoother. I'm going to increase the level to three and here the render to four, okay, looks much better. And right-click, Shade Smooth. There it is. Our tongue is almost ready. Maybe we can adjust it a little bit to make it look even better. I think the thickness here is too much and I am going to select this edge loop and also this age group. Hold down the Shift key Alt and click on it. Let me go to the right orthographic view. I'm going to hit G and try to make it thinner, something like this. Make sure that you are on the right orthographic view. Okay? Yeah, it looks much better now. Our right, our tongue is ready. I'm gonna hit forward slash to exit the local view and we just need to scale it up, hit S, scale it up like this. Hit G, bring it down. And since the origin point of this object is placed here, it scales down or up in relation to its origin point. So while it's selected, I'm gonna go to Object, Set Origin, origin to center of mass. I'm going to scale it down or up here easily. Great. Let's go to the right orthographic view. Hit G, bring it here. I can scale it up, okay? I'm going to place it here and we can rotate it as well because this part should touch the floor of its mouth. So I'm gonna go to the right orthographic view heats are, and try to rotate it like this. Nice. And also we can rotate it here, hit G, bring it right here. And then I'm going to rotate it this way. Hit G, bring it down. Yeah, it looks very good. Of course, we can adjust it whenever we want. I'm going to bring it out a little bit. Alright, it looks good for now. Now we can move on to the next object, which is its eyes. For its eyes, we can simply use a UV sphere. I'm going to hit shift and add a UV sphere. Scale it down, S, scale it down, hit G, bring it up like that. Let me go to the top orthographic view, hit G, bring it here. I'm going to scale it up a little bit. Right-click Shade Smooth to make it smoother. Okay, It looks very good. Now. Hit G and bring it inside are right. Now we need to create the pupil as well. So for that, we just need to duplicate this hit shift a to create normal duplication. We don't need them to be linked. I'm going to scale it down, hit G and bring it right here. It's S to scale it down and I'm going to place it right there. Okay, it looks very nice. Now I'm going to select them both. Hit shift and a move them to the right side. Let me go to the top orthographic view. Okay. I just need to change the pupils position to hear our right. Good. Now let's create it snows for its nose. We are going to use a cube, hit Shift and add a cube, scale it down. Just like this. It's s, z, scale it along the z-axis. Just like that. Hit G Z and bring it up. There it is. And I'm going to make it smoother. So I'm going to add a subdivision surface modifier to it, increase the levels and also the render, and then right-click on it, Shade Smooth. However, I'm going to adjust its shape. I'm going to go to the Edit mode. Let's add to cuts here, just like this, left-click to confirm Enscape. Let me go to the right orthographic view. Scale it down, hit R to rotate like this. Hit G and put it right here. Very nice. But what about its whiskers? They're gonna be simple as well. We just need a cube, obviously. Hit shift and a mesh, add a cube, hit S to scale it down. Just like that. Then hit S, x, scale it along the x-axis, hit G, bring it up, go to the top orthographic view, hit G, bring it here. And we just need to add the subdivision surface modifier to it. Just like this. Right-click and hit Shade Smooth. Alright, it looks good, but I'm going to make it thinner. Hit S Z and make it a little bit thinner. Go to the top orthographic view, hit S Y and make it thinner like that. Perfect. As you can see, it's very straight. That's not what I want to make it a little bit curved. I'm going to enter the edit mode, and then I'm going to add a few loop cuts here. I'm going to hit Control R or Command R and just create three loop cuts like this. Left-click to confirm and hit Escape. First, select this edge, select tool, hold down the Alt key, and click on this edge to select the edge loop. Now I'm going to use this proportional editing tool. I'm going to enable it. Go to the top orthographic view, hit S, adjusts the fall of using your mouse swill to something like this, hit G, Y and just bring it down like that. And as you can see, we can make it curved. Okay, looks much better now I'm going to hit G, move it inside. Let me go to the top orthographic view. Rotate it. It's R to rotate and g to bring it down. I'm going to place it right here. Then I'm going to duplicate it. Hit Alt D to create a link duplication, bring it up, hit R to rotate. This way, I'm going to select this one, hit Alt D, Bring it down R to rotate. Let me check them out. Okay. I think we need to move them inside, hit G, Y and move them in like this. Alright, they look nice. Probably we can rotate them like that. Perfect. Now we need to duplicate them. Alt D, move them here, hit R, rotate them like this, hit G and bring them right here. But they are too big. I think. Let's select them all. Hit S and scale them down a little bit. Now we can adjust their position. Once again. Are right. Now. Let's move on to its shoes. I'm going to create a pair of shoes for it. So to do that, we just need to use a cube. Again. I'm going to hit shift and a and add a cube here, scale it down, hit S, to scale it down, hit G, and bring it here. I'm gonna go to the local view so that I could focus on this shoe. Hit the forward slash on your keyboard to go to the local view. Alright, let's get it down. It S, So what are we going to do? Just like our tongue? We're going to extrude this face out again and again and again so that we could get the overall look of our shoe. And then we will add a subdivision surface modifier to it and adjust its details to make it look good. I'm going to enter the edit mode and I'm going to go to the right orthographic view. But first, let me select this face. I'm going to go to the right orthographic view now, hit E, extrude it out just like that. Let's go to the top orthographic view. I'm going to scale it, hit S, but make sure that your proportional editing tool is turned off. Okay? So I'm going to turn it off first, then hit S, x and scale it along the x-axis like that. Once again, go to the right orthographic view, hit E, extrude it out like this. Go to the top orthographic view, hit S. X and scale it down this time, something like this should work. Now let me select this top face, go to the right orthographic view, hit E and extruded out like that. Okay, I think it looks good for now. Now we can add the subdivision surface modifier to it, increase the levels of viewport to three and rendered to four. And now right-click on it, Shade Smooth to make it smoother. Well, it doesn't look very good. We are going to adjust many things to get our desired result. First things first, let me select this edge loop here. Scale it more. I'm going to select the Edge Select Tool, hold down the Alt key and select this edge loop, hits S x and scale it up. Just like that. It looks much, much better than I'm going to make this top part sharper. So I'm going to add a loop cut right here. Let's hit Control R or Command R. Left-click here and just move it up. And also, I want this part to be sharper. So I'm going to add another loop, cut Control R or Command R and just bring it down like this. The other thing we need to do is this. We need to make this bottom part sharper as well. So let's add another loop cut right here and bring it all the way down here. Alright, it looks much, much better now, however, this part is too tall. So what I'm gonna do is this. I'm gonna go to the wireframe mode, hold the Z on your keyboard and click on Wireframe. And I'm going to select the Face Select tool and try to select these faces. But first, I'm going to change my selection tool to select box like this. When you're in the wireframe mode, you can select all faces around your object, just like this. Okay? And then I'm going to hit S, Z and just scale it down, hit G, Z and bring them down as well. Now I can go back to the solid mode much better. The last thing I'm gonna do is this. I'm going to select this edge right here and try to move it up, hit G, Z, and try to move it up or write, our stylized shoe is ready now. Now let's exit the local view, it forward slash on your keyboard. I'm going to scale it up. It s, just scale it up. Hit G here. Let me see. All right, it's positioned. Looks good. I'm going to create a link duplication Alton D x and bring it right here. Later, we will try to adjust its position. We will rotate them to indicate that it's walking, but for now, we're good to go. Alright guys, are bunnies ready? I hope you enjoyed this video. In the next video, we will create its eyeglasses. So see you then. 7. Modeling - Eyeglasses: Hey, in this video, we're going to model a pair of eyeglasses for our little bunny. Are you ready? Let's begin. For the eyeglasses. What we need is a torus. We're going to make it circular according to our sketch. So I'm going to hit Shift a and I'm going to click on torus. Before I click somewhere here, I'm gonna go to the Add tourists panel here. And I'm going to adjust the major radius from one meter to something like two meters. If I go to the top orthographic view, you can see the effect just like this. Alright, it looks good. Let's go back to the front orthographic view. And then I'm gonna go to the local view by hitting the forward slash key on my keyboard. And then I'm going to rotate this tourists along the x-axis. So I'm going to hit our x two lucky to align the x-axis and then type 90 hits Enter to confirm, and there it is. Okay, now I'm going to scale it down, IT S, and just scale it down to something like this. Now I'm going to make it smoother. So I'm going to right-click on it and click on Shade Smooth. Alright, perfect. So now we need another tourists. Okay? So what we can do is this. We can hit G x, move it to the right side and try to duplicate it on the other side. Or we can use the mirror modifier. To do that. We need to place the mirror right in the middle. Okay? So basically when you want to use the mirror modifier, it will mirror your object in relation to its origin point, which is here right in the center. So what we need to do is this. We need to move our object without moving its origin point. And to do that, we need to enter the edit mode, hits a to select all these faces. Vertices, then hit G, x, and now we can move it to the right side without moving its origin point. That's very, very important when you want to use the mirror modifier. Keep that in mind. I'm going to place it somewhere around here. Cool. Now I am going to add the modifier to it, the mirror modifier, and there it is, we have our duplicated object here on the left side. If you're not happy with their distance, you can simply hit G X and try to adjust it. I'm going to increase it to something like this are right, it looks very, very good. Probably to make them smoother. We can add the subdivision surface modifier as well. I let set the levels to 23. However, I'm going to put it behind this mirror modifier because the order of modifiers matters. Alright, what else do we need? We need the handle, right? There are many ways to create a handle. We can use a cube and extruded out, then try to add a subdivision surface modifier to it. But I'm going to show you a very cool technique to do that. Because I believe it's gonna be so helpful when it comes to modeling. I'm going to go to the right orthographic view, entered the edit mode, and I am going to select the vertex select tool. Okay? If I move around, I can simply select this vertex here and then I can duplicate it. Alright? If I hit Shift and D, As you can see, I just duplicated this vertex and I can place it wherever I want. I don't want its location to be changed, okay. Because I want to place it right here. Therefore, I'm going to hit Escape on my keyboard so that it stays where it is. However, I want to separate this duplicated vertex from this object because later we're going to add different modifiers to it. So to separate it while it's selected, we just need to hit P. As you can see, this separate window pops up and just click on selection. That's all. Now I'm going to enter the object mode. And if you take a look at the outliner, you can see that I can simply select this tourists dot 001, which is our duplicated vertex. Very good. Now while this duplicated vertex is selected, I'm going to enter the edit mode, hit a to select this vertex. Make sure that you're using the vertex select tool, not the edge or phase. Otherwise it won't work. It's very important because right now we don't have an edge, we have only a single vertex. That's why we need to make sure to use the vertex select tool. Now that it's selected, I'm going to extrude it out. Okay, I'm going to hit E and just extrude it to somewhere around here, like this. Nice. And then I am going to again extruded out. But before I do that, I would like to remove this subdivision surface modifier from it for now and then hit E and extruded out just like this. Perfect. But here, this point is too sharp. The way they are connected, I'm going to make it smoother. So just select this single vertex and I'm going to bevel it. Bevel, you can just hit Control V or Command B. But as you can see, nothing happens because we need to select the vertex tool as well. Then I'm gonna hit V to select the vertex tool. And now we can try to bevel it. However, we need to increase the number of segments here using our mouse wheel. So just like this, I can increase the number of segments and try to make it smoother. Something like that should work. I'm going to left-click to confirm. And we are done just like this. We created the handle, but right now it doesn't have any thickness. And that's a problem that we are going to fix very quickly. We can use another modifier called skin. I'm going to add the skin modifier to it. And as you can see now, it has some thickness, but it doesn't look good because we need to add the subdivision surface modifier to it as well. I'm going to do that. Let's increase the levels viewport to three and the render to four. Let me zoom in. If I just right-click on it and click on Shade Smooth, you can see that nothing happens. That's because when you use the skin modifier and when you want to make it smoother, you need to enable this smooth shading option right here in the modifier panel, I'm going to click on it and now it's much smoother, are right, good. But I'm not happy with its thickness. How can I make it thinner? Well, first we need to go to the Edit Mode. Then we need to select these vertices. So make sure that the vertex select tool is selected. Hit a to select them all. And then if you just hit Control a or Command a, you can use your mouse to adjust its thickness. I'm going to make it a little bit thinner, something like this looks very good. And last but not least, we need to attach it to the main part. Okay? So what I can do is this, I can select this single vertex, hit G. Try to attach it this way. We don't need to have so many details here. It looks just fine for our purpose. We just need to have one more thing to attach these two main parts, we can simply use a cylinder. Let's go to the object mode. Hit shift and a, add a cylinder, it s z, scale it up, then hit S to scale it down. Heats are why 90 to rotate it along the y-axis. Then hit S, x and scale it up just like that. And finally, right-click, Shade Smooth. Okay, The last thing we need to create is the lens, okay? And it's gonna be so simple. Well, there are many ways to do that. We can use a circle and try to fill it and extrude it out and put it right in the middle. Or we can just select these tourists into the edit mode. Select this edge loop here in the middle, duplicate it, then separate it and extrude it out. If you want to precisely puts the lens right in the middle, I prefer this way, because this way you can do it with precision, but the first way works as well. Alright, let me show you the first way. I'm going to hit Shift a and add a circle here. I need to rotate it along the x-axis, hits our X 90. There it is. It's s, scale it down. Bring it here like this. I'm going to go to the top orthographic view and a wireframe mode. It's right in the middle. Looks nice. Now we need to fill this circle. We just need to enter the edit mode, hit a to select all these vertices, and then F to fill it. If I go back to the solid mode, you can see that it's filled now, but we're not done yet. We need to add a little bit of thickness to our lens, because obviously lenses have some thickness, right? So I'm gonna go to the right orthographic view, entered the edit mode, hit a to select all vertices, and then I can go to the wireframe mode to see what I'm doing then E and just extruded out like this. I can select all vertices, hit G, Y, and bring it back to its original place. Our first lens is ready. Now what we can do is this. We can add the mirror modifier to this object like that, but nothing happens. That's because its origin point is here. Now we can change the mirror object using this option. If you just click on this eyedropper icon, you can select another object as the mirror. For this operation, I'm going to choose this cylinder in the middle. Still nothing happens, but that's because the axis is set to x. Now we are going to mirror it along the z-axis. So I'm going to click on X, then I'm going to enable z instead. And there it is. Okay, nice or eyeglasses, I'm ready. Now what I suggest is to parent them. So I'm going to select all of these objects, right? However, I need to decide which object is going to be the parent of the other objects. Probably the tourists would work or this cylinder. Let me just select this cylinder. If I just hold down the Shift key and click on it, you can see that it will be highlighted with this yellow border instead of orange. It means that this is the active element. And if I hit Command P and click on Object keep transform, I can parent them. Now, all the other objects are children of this cylinder. And here in the outliner we have one single object. If I just select it, hit G and move it around, you can see that the other objects move around as well. And that's exactly what we need. Let me rename it by glasses. Of course, we are going to rename the other objects as well once our models are ready. Alright guys, that's all for this video. I hope you enjoyed it and I'll see you in the next one. 8. Modeling - Umbrella: Hey, welcome back. In this video we're going to model an umbrella. It's gonna be so fun. So let's begin. First of all, I'm going to go ahead and hide my eyeglasses here. And to do that, if I just select the parent element and I just click on this icon, Let's see what happens. You see I can only hide this connecting part, but that's not what I want. I want to hide all of these elements. To do that, I need to select the children as well. So if I just right-click on the parent and I click on Select Hierarchy. As you can see, all the children, including the parent, are selected. Now. Now I can simply hit H on my keyboard to hide them. Alright, great. So how can we model an umbrella? As usual, there are many ways to do that, but I'm going to show you the simplest one to model an umbrella. We're going to need a UV sphere. I'm going to hit Shift a, and I am going to add a UV sphere here. There it is. Before you click somewhere, make sure to open up this bottom-left panel and make sure that the number of segments is set to 12. You don't need to change the Rings, but segments should be 12. Alright, good. Now I'm going to go to their local view to just focus on modelling our umbrella. I'm going to hit the forward slash key on my keyboard, and then I'm going to enter the edit mode for our umbrella. We're going to remove many of these phases, the phases that we don't need. First I'm going to select this face select tool, and then I'm gonna go to the wireframe mode. If you remember, when we want to select the faces in front and behind our model, we need to go to the wireframe mode, okay? And now I'm going to select these bottom faces, hit Delete, and click on faces. This is the first step. As you can see, inside is empty and that's exactly what we need for our umbrellas panel or umbrellas fabric. Alright, let me go back to the solid mode. Now we need to add thickness to it, right? There are two ways to do that. We can extrude these phases along their normals, which is a destructive way of adding thickness to this umbrella. Or we could use a modifier called solidify. I prefer the second way, I'm going to add the solidify modifier here. As you can see, now we have some thickness. I'm not sure about the thickness value right now because It's not smooth. First, we need to add another modifier, the subdivision surface modifier to it to make it smoother. Let me increase the levels of view port 23 and render to four. And then just right-click on it and click on Shade smooth. Just like this. As you can see, the overall shape is ready. But what about thickness? I think we need to increase this thickness value. Let me see. Probably 0.03 would be a good value. You can also check this even thickness option. Okay, So far so good. What's the next step? Now that's our panel or our fabric is ready, we need to create the top tip. So I'm going to enter the edit mode. And then I'm gonna go to the top orthographic view. And I'm going to select these top faces, just like this. Now that these faces are selected, I'm going to insert them. I'm going to hit I and just move my mouse around to insert them inside, just like this. Okay, now let me go back to the front view. And I'm going to extrude these faces out. So heat ie and just extrude them out, something like this. And since we have the subdivision surface modifier, you can see that these edges are smooth now and that's exactly what we need, are right, great. But what about the shaft? Well, we can just extrude these faces here as well. But I really want the shaft to be a separate object. Therefore, I prefer to add a cylinder here. I'm going to scale it down just like this. Then let me zoom in. I'm going to enter the edit mode. And probably I can select the top face. Let me just select the top face here. Great. And now I can move it up. I can hit G, z and move it up. But as you can see, we've selected both the top and bottom faces. That's not what we want. So let me select it once again, since we were in the wireframe mode, That's why it happened. So I'm going to click somewhere else to deselect them and just click on this top face. Great. Once again, hit G, z and move it up just like that and connect it to the top tip. Okay, Perfect. Let me select it. Bring it down a little bit along the z-axis because I'm going to make it taller. Something like this should work. And I'm going to move this top face up a little bit more. Let me go to the Edit mode. It's selected. I'm going to hit G, Z and just move it up. Okay, great. Our shaft is ready as well. Now the only thing left is a handle. For the handle, I can use a tourists just like this. I'm going to add a torus here. Let me scale it down. It's s, scale it down. Then I'm going to rotate it along the x-axis. So our X 90, perfect. Then let me bring it down, hit G, and just bring it somewhere around here. What do we need to do now is remove some of these phases to get our desired result. So I'm going to put it right here. I'm going to enter the edit mode. While I'm in the wireframe mode, I'm going to select these faces just like this. Probably it's better not to remove these faces, these bottom faces. So I can deselect them. To deselect them, you can hold down the Command or Control key on your keyboard and just drag and drop, make sure that you pass these circles in the middle, otherwise you can not deselect them. Okay? That's so important, just like this. Now, we can simply remove these faces. Okay, nice. Let me get back to the object mode and also to the solid mode, something like this. But as you can see, we don't have any face here. So we can go to the Edit mode. Once again, we can select this edge loop. If you just hold down the Alt key or Option key on your keyboard and just select the H Select tool, Left-click and hit F to feel this area and do the same thing for the other side to fit it. Okay, So far, so good. What else do we need to do? Well, we need to make it smoother, right? So I'm going to add the subdivision surface modifier to it. Let's increase the levels viewport to three and render to four. Then I'm going to just right-click Shade Smooth. I'm going to make it smaller. Something like this should work. And also the other thing I'm gonna do is this, I'm going to bevel this top face here. So while this top face is selected, I'm going to hit Control B and try to bevel it to make it a little bit smoother, just like this. And let's do the same thing for the other face here. I'm going to select it first using the Face Select Tool, hit Control B and bevel it. Alright, it looks very nice, but before gut to make this shaft smoother. So if I just select this cylinder and I just add the subdivision surface modifier to it. You will see something like this happens. That's totally fine. I'm going to increase the levels viewport to three, render to four. And then just right-click on it, Shade Smooth. And now I'm going to enter the edit mode and we just need to add a loop cut. So hit Control R or Command R, left-click and bring it all the way down to here. Now we have a smooth shaft as well. We can also increase the levels viewport to four to make it even smoother. Let me check inside. Alright, we need another loop cut here. So let me add another one and move it all the way to the top tip to make that H sharper as well. Alright, I think we are done. Now what we can do is this. We can select all these objects to parent them. But first, we need to decide which element is going to be the parent. I think if we just select the shaft as the parent or this fabric part as well, that doesn't matter. I prefer the shaft here. So I'm going to make sure that the shaft is highlighted by the yellow color. So I'm good to go. If it's not in your case, just hold down the Control or Command key and just left-click on it once. Then I'm going to hit Control P or Command P, object keep transform. And let's rename it to Umbrella. We can exit the local view. And here is our umbrella. Nice. Alright guys, that's all for this video. I hope you enjoyed it and I'll see you in the next one. 9. Modeling - Cloud: Hey, in this video we're going to model a Cloud together. It's gonna be so interesting. First of all, let me just unhide my reference image to see what kind of cloud we're going to need. So we can achieve this kind of Cloud by using different methods. For example, we can start with a cube and just try to extrude different phases out, then tried to make it smoother at the subdivision surface modifier to it and try to adjust it in the edit mode. However, I'm going to show you a much, much better way for this kind of cloud. What you can do is this. You can simply add a metal ball. What's a metal ball? Let me show it to you. I'm going to hit Shift a and I'm going to go to metabolic instead of mesh. And from here you can see we have different options. We have ball, capsule plane, etcetera. I'm going to use ball. Let me bring it up, hit G, z and move it up. Okay, So this metabolic has its dedicated menu panel here, right here, as you can see. And this panel has different settings that you can tweak. For example, we have resolution, viewport, render, influenced, threshold, etc. But how does it work? Let's see what happens. If I duplicate this metal ball. I'm going to hit shift and D and move it to the right side. There it is. It's magical, isn't it? So that's basically how a metabolic works. And for our Cloud, That's a perfect example because we can simply connect them somehow and I can just duplicate it. Once again, let me just put it here. I can duplicate it once again, hit Shift and D and bring it up, place it somewhere around here. And maybe I can just scale it, it s, scale it down. I'm going to bring it here. And from the top view I'm going to adjust it to make it something like that. I'm going to select this metal ball. Let's bring it up, something like this. Looks very good. However, I'm not satisfied with its resolution, but we can simply fix it. We can easily adjust the resolution view port here. If I decrease this amount from 0.42, probably 0.1. Let's see what happens. 0.1, as you can see, it's much smaller now, and that's exactly what we need. I really liked this cloud so far. I just want to select this top metabolic and adjust its position and also this one. Let me adjust its position as well. Yeah, something like this looks very, very good. What do you think? Makes sure that you change the render to 0.21 as well? And here I'm going to show you the influence threshold. We don't need to change it, but I just want you to know how it works. If I just adjust it, you can see how our metal balls are changing. You see, I'm just going to set it back to what it was. Alright. I think our cloud looks very good. I just need to link them, parent them basically. I'm going to select them all. Hit Control P and click on Object, keep transform. And now I can select one of them, the parent, and easily move them around. I can scale them whatever I want, just like a normal object. But what if you want to edit the mesh? If you enter the edit mode, you can see that you won't get all the other objects because it's not a simple mesh. To do that first, you need to convert it to a mesh. To convert it to a mesh, you can just right-click on it. Go to Convert and convert to mesh, just like that. Now, if you enter the edit mode, you will see all these faces and you can simply modify them just like a normal object. However, for this project, we don't need a mesh because we're not going to edit our geometry. So I'm going to leave it as is our right. Let me just scale it down and put it somewhere around here. And we're done. All right guys, that's all for this video. In the next video, I'll show you how to model the rain. So see you in the next one. 10. Modeling - Rain: Welcome back. In this video, we're going to model our rain. Well, tomato allow rain. We can just simply use a cube or a cylinder. Okay, that's all. So let's get started. For our rain. I'm going to first check out my reference image to see what kind of rain we need. Let me just select this cloud, move it around. As you can see, we just need simple cylinders or maybe cubes for our rain. However, here we have the splash of water. Okay? So to create this effect, we can use the proportional editing tool as well. Obviously, we will create the composition in the following videos, but for now, I'm just going to model the rain later. We can just adjust their position and try to locate them correctly. I'm going to hide the reference image. And I'm going to put the rain right here so that they could see what's going on. I'm going to bring the 3D cursor here. So if I just hold down the Shift key and right-click, you can see that our 3D cursor is placed properly. And then I'm going to add probably a cylinder. I'm gonna go to Mesh, add a cylinder. Let's scale it down, hit S to scale it down, make it so tiny. I'm going to bring it up. It s z and just scale it up, something like that. Now I'm going to apply the scale to it because I'm going to bevel this top and bottom faces. And if I don't apply all the transformations to this object fares, my bevel wouldn't work properly. So while it's selected, I'm going to go to Object, apply, apply all transforms. Then I am going to enter the edit mode, select this top and bottom faces. Then hit control V or command V, and try to bevel them. In case you don't have this many segments, make sure to increase the number of segments by your mouse wheel. Okay? Just like that, Let's make it smooth. Now I can just right-click on it and click on Shade Smooth. It looks very good. Alright, this is gonna be our first drop. We can just create a link duplication. But before I duplicate it, I'm going to make sure that its origin point is placed right at the center. Because right now, if I try to scale it, you can see that it scales in relation to its origin point which is placed right here. That's not what I want. I'm gonna go to object, go to set origin, and click on origin to center of mass. Okay, now it's placed properly. Let me create a link duplication. It's Alton D and bring it here. Now, we can scale it up, it s z and just scale it up like this. Another link duplication, Alton D hit S to scale it down. You can bring it somewhere around here. And I'm going to repeat this process again and again to get many drops just like that. Again, Alton D, it's s, z, scale it. Alton D. Put one here. Alton D here. I can scale it down. Again. Alton D, one here. Alton D here. Scale it up probably. Alton D, bring it here. And I think it's enough for now. Later when we create our composition, we can duplicate it more, but for now it's enough. Let's create that splash of water, okay, to do that, I'm going to create a normal duplication. Hit Shift and D, duplicate it, scale it down, hit S, Z, scale it down. And then since we are going to use the proportional editing tool, I'm going to enter the edit mode and I'm going to add a few loop cuts here. So I'm going to hit Control R or Command R. And let's add a three loop cuts. Left-click to confirm and escape. Okay? Now I'm going to hold down the Alt key and select this middle loop cut. That's all we need to enable the proportional editing tool, hit G, adjust the fall of amount by your mouse wheel and try to create a curved version of this water drop like that. Alright, it looks very good. Probably we can add the subdivision surface modifier to it as well. Maybe 23 or 34. And now I'm gonna go to the top orthographic view. It's s, scale it down. Now. Okay, Bring it here again. Go to the top orthographic view, heats our rotate it. Let's go to the front orthographic view. Hits are rotated here. I can scale it down. Let's put it somewhere around here. Rotate it. Nice, and Alton D, duplicate it. Go to the top orthographic view. Hits are rotated this way. Let's bring it here. Hits are rotated. G, bring it up. You get the idea, right. You just need to reposition it until you get to your desired result, okay? And finally, we need a drop of water right here as well. So I can just select this one. Alton D, Bring it down, hit S, Z and just scale it down, hit S and just scale the water drop down. Put it here, something like this. Obviously these drops should be placed right here, okay? They should be placed above our umbrella. But for the modelling part, I placed them there later. When we put all our models together. I will reposition them. For now. I think we're good to go. I hope you enjoyed this video and I'll see you in the next one. 11. Scene Composition: Hey, welcome back. In this video, we're going to compose our 3D scene. But before we do that, we need to model our bunnies ears as well because we forgot to do that before. So I'm just going to quickly go ahead and model the ears for it. But let me take a look at the reference image first. Alright, we can model these ears using the cube simply. So first I'm going to bring the 3D cursor right here. Do that. I can just hit shift and C on my keyboard. And as you can see, it has been repositioned. Let me add a cube, Shift a go to Mesh and add a cube here. I'm going to scale it down just like this. G, Z. Bring it up. Let me go to the top orthographic view. Alright, it looks fine. Probably I can scale it along the x-axis. So hit S, x and scale it just like this. Now I'm going to scale it, aligns the z-axis as well, s, z and scale it up. Something like this should work. I'm going to scale it along the x-axis a little bit more to make it wider. And also I'm gonna make it taller. Nice. Let me scale it, allowing the y-axis as well. I'm going to hit S, Y and just scale it like this. Alright, good. Now I'm going to add the subdivision surface modifier to it. Let's set the levels that you pour 234 as always, and then I'm going to right-click on it, Shade Smooth. And finally, let's enter the edit mode to modify that. So what should we do? Well, first of all, I'm going to make this bottom surface sharper. Therefore, we need a loop cut. I'm going to hit Control R or Command R. Left-click to confirm and bring it down just like this. And then I'm going to select this face. Just like that. I'm going to insert it, it's I and inserted inside like this. And finally, let's extrude it in, hit E and just extrude it in. Something like this should work. Not too much, by the way, nice. And then I'm going to select this bottom edge right here. And I'm going to bring it down, hit G, Z and bring it all the way down to here, like that. I can select this top edge as well and bring it up here, g, z, and just bring it up. Something like this should work very well. Alright, so far, so good. Now we need to duplicate it. So I'm going to hit Alt and D to have a link duplication. Then x two, lucky it along the x-axis and put it here. And I can add a little bit, rotate it like this and this one like that. Let me move it to the right side and something like this looks very good. If you need to modify it later, we can always do that. But for now, I think our bunny is ready and let's jump into composition. Before we compose our scene. I'm gonna go ahead and parents all these objects. I'm going to select them all. And then I'm going to make sure that the active element is the bunny's head. Therefore, I'm going to hold down the Command key or Control key. And in the outliner, I'm going to choose this sphere, this main sphere. Just left-click on it. And as you can see now it's highlighted by this yellow color. Now you can hit Control P or Command P, object, keep transform. Perfect. Let me rename it to Bonnie. Nice. And we are done. In order to compose our scene. We need to use our reference image because we are going to reposition our objects. So I'm going to unhide it in case you didn't do it, make sure to select your reference image. Go to the reference property panel. And from here, check this opacity, check bikes and turn down the opacity to something like 0.4 to make it a little bit transparent. Now I'm going to select my bunny. The parents object, and I'm going to reposition it. So I'm going to hit G and move it to somewhere around here. And I can also scale it down a little bit. And then I can go to the top orthographic view and rotate it like that just a little bit. Okay, yeah, it looks nice. I'm going to move the bunny to the right side a little bit, and then I am going to just rotate it here a little bit. Alright, we can reposition these years. We can make them bigger. Let me just select these two ears, scale them up like this. And then if I just move it around, I can just rotate this one towards the left like that, and this one towards the right like this. But make sure that they are placed right above eyes, okay. Not something like this. That's gonna be problematic if you cannot place them perfectly based on your sketch, that's totally fine. Okay, Now I'm going to bring the eyeglasses here. So I'm going to go to the outliner and let's unhide all these objects. Then I'm going to select the parent. Scale it down because it's too big for our little bunny. I'm gonna go to the top orthographic view. Let's bring it here. I'm going to rotate it. And then I'm going to bring it up, it G, Z and bring it up again. Top orthographic view, hit G and put it right here. I can move them from this view, G, Z and bring it down. But check that everything is in place. Probably I can move it towards the front. Okay. Alright. Think it looks nice. I'm going to move it to the left side a little bit so that the lenses are placed right in front of eyes. Maybe I can just scale it down, hit G and move it to the left side. Alright, for now, it's fine. I'm going to leave it as is later. I can always adjust it. But what about these shoes? Well, I'm going to select them both and I'm going to scale them up because they are too tiny. Hit S scale him up, He Ji, bring them down. I'm going to select this one. Go to the top orthographic view, hit R and rotate it like this, maybe a little bit more. And then I'm going to move around like that. It's R and just rotate it this way. G, bring it up. Nice. Go to the top orthographic view and just rotate it a little bit more. Now let's select this shoe. Go to the top orthographic view, hit R, rotate it like this. He Ji, bring it here. And then I'm going to move around a little bit and I can rotate it like that so that we could indicate it's working somehow. Let me go to the top orthographic view. Hips are rotated, it are here, G, and put it right there. I think it looks very good now. Okay, What else? Let me just select this bunny's head and hide it so I could see the position of the tongue and also the position of its teeth. As you can see in our sketch, our bunny's head is rotated a little bit, it's tilted. So I'm going to do that here. I'm going to select bunny and also this eyeglasses object hits are just rotate them like that. He Ji, bring it here. And let's take a look. Okay, it looks much better now. Now I'm going to select its tongue and let me reposition it a little bit. I'm going to go to the top orthographic view. Hips are rotated this way, great. And from the front orthographic view, hips are rotated this way. He Ji and bring it down, make sure that it's attached to the floor of its mouth. It's very important and I think now we can leave it as is probably I can select this shoe, hit R and just rotate it, hit G and put it here. Okay, so far so good. Now let's select our umbrella. Okay, here is our parent element g. Bring it right here. I'm going to hit S to scale it up like that. Let me just select my bunny's head. I'm going to hide it. So the Handle should be placed this way. Therefore, I'm going to select this umbrella and I'm going to rotate it. It's our Z and try to rotate it, something like this. And then I can move around and rotate it as well. It's our rotated this way, okay. Again, in the front orthographic view, hips are rotated this way so that we could see the inner part of this umbrella as well. He Ji, bring it down, IT S scale it are rotated a little bit more G. And then I'm gonna go to the top orthographic view, hit G, bring it down. Now I can just unhide my bunny's head to position this umbrella properly. Let me go to the wireframe mode, hit G and bring it somewhere around here. I can just scale it up a little bit, hit G and bring it down. Obviously in our sketch, the handle is a little bit bigger, so we can select the shaft, hold down the Shift key, and the handle entered the edit mode, hit a to select all these faces and vertices. Hit S to scale them up. Like this. He G and move it down, something like that. Alright, nice. Now it's time to position our cloud here. So I'm going to select the parent which is here. Hit G, bring it right here. Maybe I can scale it down a little bit. Hit S, G, bring it down. Something like that. Should work. I can move it up a little bit because right now my umbrella is a little bit bigger than what it was in my sketch. So I can bring it up, hit G, z and move it up so that we could have enough space for our rain. Let me go to the top orthographic view. I'm going to rotate it here to R and just rotate it this way, okay, then hit G and bring it right there. I think it looks very good now, the last thing is to locate our water drops. So I'm going to select them all here in the outliner. Like this. Go to the top orthographic view, hit G, bring them all here, rotate them are like this. Go to the front orthographic view. He Ji, bring them down, something like this. However, we need to reposition a few of them. Let me move around. So I'm going to start with this one. I can just hit G and move it to the back. And maybe this one hit G, move it to the front. Let me move around. Maybe this one hit G, bring it here. This one He Ji Hu width to the back, something like this to make it look natural. And here we have one water drop, bring it down. Probably we need one here. So I'm going to select this one. It's Alton D. Duplicate it. Bring it right there. Okay. Let me check its position. It's not placed properly. So I'm going to bring it there. He Zhe Xie, move it down. And I'm going to make sure that this one touches this umbrella surface because I'm going to place this water splash right here. So let's move it down. He Zhe, Xie, bring it down. And as you can see, it goes through my umbrellas panel. It means that it definitely touched the surface. That's exactly what I wanted. Now I'm going to select these water splashed drops. Go to the top orthographic view. He Ji, bring them here. Let me see. It should be placed right here. Let me bring them down here. G, bring them right here, scale them up, It s, scale them up. And then from the top orthographic view, I'm going to just rotate them. It's our, rotate them this way. And I'm going to rotate every single one of them now, according to the position of this water drop, I'm going to select this one and remove it. Let's select this one. Scale it down a little bit. Okay? And now I can reposition these drops, something like this. Let me zoom in and here it looks fine. Let me check it out. Probably I can rotate it from this angle as well. Alright. I'm gonna bring it up a little bit. Hit G Z, bring it up. And this one as well hit G Z, bring it up. I can just scale it down. We can have another water splash somewhere around here. So I'm going to select these water drops. I'm going to duplicate them. Alton D, move them somewhere around here. He GZ, bring them up. Maybe let's place them here. Okay. He, Zhe, Xie, bring them up and then I can rotate them, hit R and just rotate them this way. And also I can rotate them this way. I think we can select these water drops and rotate them as well. Okay, like this. Now they look much better and is as well. You can just modify these water drops as long as it takes to get your desired result. That's totally right. I'm going to select this one here, G, and move it here, and I need one here. So let me just duplicate this one, Alton D and put it right. There are right. I think our scene looks pretty good. Now. It's time to apply materials to our objects. So see you in the next video. 12. Adding Materials to Your Objects: Alright, now that our scene is ready, it's time to apply. Materials are objects. First of all, I'm going to select my reference image and I'm going to hide it because for now I don't need it. And then I'm going to start applying materials to my bunny. So first, in order to be able to preview your materials, you need to head over to the material preview mode. Right here. As you can see, everything is white for now. That's totally fine. I'm going to start with the bunny's head. I'm going to select this head and I'm going to head over to the material property panel. From here. I'm going to click on New. And let's call it white, because I'm going to use the same material for many other objects. And I don't need to change anything. I'm going to set the base color to white and we don't need to adjust any other properties here. That's the first step. Then let's do the same thing for the ears. I'm going to select this year, but this time I'm going to reuse the material that I previously created from this drop menu. I'm going to choose white for this one. We don't need any other material because we created a link duplication, if you remember, therefore, if I add a material to one of these years, it will be automatically applied to the other one as well. For the nose, I'm gonna do the same thing, white. And for the whiskers, I'm going to apply the same material to them. I'm going to select one of them. Let's add the white material to it. Again. Since we had a link duplication, we don't need to apply the same material one-by-one to all of them. Just like this, as you can see, it has been automatically applied to these whiskers as well. For the teeth, I'm going to create a new material because I'm going to make the teeth reflective. Okay, so I'm going to select one of them. Then I'm going to click a new, Okay, Let's call it teeth. And base color is going to be white. That's fine. The only thing I'm going to adjust here is the roughness property. It determines how reflective your object is. If I decrease this value, I can make it more reflective. I'm going to set it to 0. If I zoom in, I'm not sure if you can see it. You will be able to see the reflections. Right now. We don't have any light, but since we are in the preview mode, you can simply see these reflections. If I increase that, look what happens. You see it's not reflective at all. So I'm gonna decrease it to 0. And for the tongue, I'm going to create a new material. Let's call it tongue, just like that. And then I'm going to change its base color to something like pink. Pinkish color. Yeah, I like this one. It looks good. Later we can adjust it if we need to. For our cloud, I'm going to use white as well for our shoes. I'm going to use purple, okay? So I'm going to select one, hit the New button. And here I'm going to write primary. It's going to be the primary color I'm going to use for this whole scene. Alright, let's change the base color to something like this. Something a little bit dark. The two vibrant. Okay, nice. If you want to get the exact same color code, you can head over to the hex mode and just copy this hex color code from the project that you have access to. Keep in mind that you can always download the final project and just check all the properties that I said already. And now I'm going to move on to the umbrella. I'm going to select this fabric part. I'm going to enter the local view, hit forward slash, enter the top orthographic view. First, I'm going to give it the white material. So from this drop menu, I'm going to add white to it. However, I'm going to use my primary color here as well. I'm going to enter the edit mode and I'm going to select these faces. Alright, just like an umbrella. So what I'm gonna do is this, I'm going to choose the Select circle selection tool. It's going to make my life much easier when I'm selecting these faces. And I can decrease this radius to something like eight. I'm gonna go to the wireframe mode. Let me zoom in. I'm going to select these faces like this, hold down the Shift key and select them this one as well. Just like this, these phases. These phases. Okay, nice. One more, hold down the Shift key and select these faces as well. Alright, nice. Then I'm going to add a new material here. Click on this plus button, click on New and make sure to click on this Assign button, to assign this new material slot to the faces that we just selected. I'm gonna hit Assign. And then if I get back to the solid mode. I can simply use this primary color and just click on Assign. And I can just go to the material preview. And there we go. Our umbrella is ready to as easy, wasn't it? Let me exit the local view. The other thing I'm gonna do is this. I'm going to select the shaft and also the handle. I am going to use this primary material for it, for this one as well. And now I'm going to apply the primary material to my eyeglasses, okay. For the handle, I'm going to select it primary for these circles, primary for disconnecting part, primary. But what about the eyes behind and also these lenses? Well, right-click on it, select hierarchy and hit H to hide all those objects. And then I'm going to select this. I, the eyes are going to be reflected fright. So I can simply use the teeth material or you can just create a new material for it. In this case, the teeth material looks good as you can see now it's reflective. Let's do the same thing for the other eye teeth and for the pupil. I'm going to select one, hit New and let's write pupil. Okay. I'm going to make it dark, something like black, just like this, and make sure that it's reflective as well. So just decrease the roughness to 0. And for this one, I'm going to use pupil as well. And now we can unhide our eyeglasses. So I'm going to unhide them. What about these lenses? Well, our lenses should be transparent, right? Because these are not sunglasses, these are eyeglasses. So I'm going to select this circle. As you can see, these are connected and I'm going to add a new material to it. Let's call it eyeglasses. Right now we are using this principle, the PSVF shader, and we can make it transparent by just increasing this transmission property here, like this. Or we can just change this principle, BSD of Shader with Glass, be SDF, just like this. I think everything looks fine. We don't need to adjust anything. We can just modify the roughness. If we want to make it more reflective, we can decrease the roughness. I think maybe 0.2 is fine. Right now, we cannot see through it, but later when we prepare our scene for the final render, you can definitely see the eyes through these lenses. I'm not going to change the color as well because white is fine in this case. Alright, but what about the ears, the inner part? Well, I'm going to select one entered the edit mode, and I'm going to make sure that the Face Select tool is selected and just select the face in the middle. Right now since we moved that phase in, we can't see it. So if you just go to the wireframe mode, you can see that I just selected it, right, it's right there. So I'm going to get back to the material preview mode. And I'm going to add a new material slot here, it new, and let's call it here. And then I'm going to assign it to that particular phase. Now let me adjust this base color to pink. Something like this would work. But I really don't like this shape. We need to adjust it since we are in the edit mode, I'm going to go to the wireframe mode. Okay? I'm going to select the Edge Select tool and just select this edge, hit G twice to enable the edges slide tool and just move it up. And I'm gonna do the same thing for this bottom edge, G, G, move it down. Let's see what we've got so far. It looks much much better. Let me see if we can make it taller a little bit. I'm gonna go to the wireframe mode. And I'm going to select this face, hit S, Z, Z twice because I'm going to scale it allowing its local z-axis, okay, if I just hit S and Z, look what happens. It doesn't make sense because it's scaling, align the global z-axis. But if I want to enter the local z-axis, I can hit Z twice. First S to enable the scale tool, then z and z. And if you take a look at the top-left corner of my screen, you can see it says scale one allowing local z instead of global, and that's what we want. I'm going to scale it up a little bit, not too much. Then I'm going to select the Edge Select tool. Let's select this top edge here, G, G, and just slide it up. I think we are good to go. Yeah, it looks very good. But what about these water drops? Well, for them? I'm going to select one of them. Okay. I'm going to add a material to it. Hit New, let's call it water. The water. I'm going to make it transparent. So if I just scroll down, I can increase this transmission value to one. Now they are transparent. A few of them are not linked. So make sure to add the water material to them just like that. And also we need to adjust this IRR. Irr stands for index of refraction. It comes from physics. I'm not going to get into the details because it's going to be too complicated. But for water, the IOR is 1.33. You won't see any difference here. But later when we add light to our scene and we tried to render it, it would make it a little bit more realistic. Alright, we're almost done. The other thing I'm gonna do here is adjust the size of this tongue. I think it's too little. Then we're going to select it, hit S to scale it up, hit G, Z and bring it up as well. And also these teeth could be a little bit wider. So I'm going to select them both. Hit S XX and just make them wider. Alright guys, that's all for this video. I hope you enjoyed it. And I'll see you in the next one. 13. Add Realistic Lighting to Your Scene: Hey, welcome back. In this video, we're going to add realistic lighting to our scene. Lighting is so important no matter how great your models are, if you can't get the lighting done properly, your final render wouldn't look very good for this project. I'm going to use a popular method called three-point lighting. It's a well-known method in the film industry, in the photography industry, etc. It has three main components. It has a key light which acts as the main light source. It has a fill light which will be placed on the opposite side of the key light. And also it has a rim light or a hair light that illuminates the back of our object. I'm going to start by adding a backdrop as our background here. So make sure that the 3D cursor is placed right at the center. If it's not, just hit Shift and see to make sure that it's placed correctly. Okay. And then I'm gonna hit Shift and add a plane. It's placed right here. Go to the top orthographic view and just scale it up dramatically, something like this. Okay, now I'm going to enter the edit mode, make sure that the H Select tool is selected. And just select this edge. I'm going to go to the right orthographic view now, and I'm going to extrude this edge out, hit E, Z and just extrude it out. Something like that. However, is still your backdrop has a smooth curvature right here. And we're going to make it easily. So we just need to select this edge and we need to bevel it, hit Control V or Command V. Then try to bevel it and just add more segments by scrolling your mouse wheel. Just like this. Now it looks very good and our backdrop is ready. Let me call it BG for background. And for the background, I'm going to use the primary material. Make sure to right-click on it and click on Shade Smooth to make this part smooth. Okay, the first step is done. Now to see all the lights, I'm going to go to the render view. If I just click on this little icon, you see that now we are in the render view and everything is dark because we don't have any light source. So let's add 1. First, I'm going to hit shift and a, and I am going to go to light. And from these light sources, I'm going to choose the area light hit G, Z, bring it up. As you can see, our light source is placed right here. I'm going to move it up here, g, z, and it's too small. If I just go to the top orthographic view, you can see that it's too small. So I'm going to scale it up, hit S to scale it up, something like this. You can also adjust its properties in the light property panel here. You can modify its size if you want. Right there, its shape. We have square, rectangle, disk, ellipse, and also power and color for the main color, for the key color. I'm not going to change the color here. However, later, I'm going to change the power because ten watts is nothing basically. But first, let's adjust its position. I'm going to hit R, then y two, lucky it along the y-axis. Then I'm going to rotate it by 45 degrees, 45, it's Enter. And then if I go to the top orthographic view, I can hit R, z, and this time Luckett along the z-axis 45 and then minus to place it right here. And finally, I'm going to move it this way. Hit G x, x, and just move it here, hit G, Z and bring it up. But as I said, the power is too low, so I'm going to increase it to maybe 1 thousand. Now it looks much better than we need a field light as well. But first, let me bring it down here. I'm going to duplicate this light, hit Shift and D Escape, then hit our z 90 minus its Enter, hit G, x, and bring it to this side. Okay? It looks much better now, you can adjust the power as well. And for the rim light, I'm gonna go to the top orthographic view. I'm going to duplicate it, hit Shift and D Escape r, z 90 minus, and then g, y and bring it up to place it right there. Okay. Let me take a look. It looks good for the rim light. I'm going to adjust the color to something like purple or blue or something like this. Looks good. I can increase the power to 2000s. I can bring it near my objects. So hit G ZZ and bring it near. Okay, So far, so good. Now I'm going to select my backdrop and I'm going to move it up a little bit because this money is walking on the ground, right? So he G, Z and bring it up somewhere around here. We've added our lights to our scene, and now it's time to prepare our scene for the final render. So see you in the next video. 14. Prepare Your Scene for Rendering: Hey there, welcome back. In this video, we're going to prepare our scene for the final render. So let's get started. First of all, when you want to render your scene, you need a camera. Although we are in the render mode right now, we cannot render our scene and save this image if we don't have a camera, because we can render whatever we can see through our camera lens. Alright, so let's add a camera to our scene. Hit Shift a and click on camera, or a camera is placed right here. And now I'm going to make sure that my camera lens is directed to whatever I can see right here. So while my camera is selected, I'm gonna go to view a line view alone active camera to view. Just like that. Then I'm going to hit N on my keyboard to open up this menu on the right side. And I'm gonna go to View here. And here we have an option called camera to view. If I just enable it, I can just navigate my camera based on what I see here in the viewport. I'm going to enable it and look what happens. There we go. It's very easy, isn't it? I can simply adjust my camera view. Here, the type that lens type is set to perspective, it's fine, but I personally prefer the orthographic lens type just like this. Let me increase the scale here and then I can go to the output properties and change the resolution here, the dimensions of my final render. Right now, the resolution is set to 1920 by 1080. I'm going to set this one to 1200 and this one to 1600. Then let's move my camera up. Once you're satisfied with the position of your camera, makes sure to uncheck this camera to view checkbox. Otherwise, you may accidentally move your camera around and it's very hard to get it back to where it was. So don't forget this step. I'm going to hit Enter to close this menu on the right side, and now we are ready to render our scene. So see you in the next video. 15. Render Your Scene: Hey, in this video, we're going to finally render our scene together. But before we do that, I'm going to mention something in case you move around like this, you will see that you are not seeing your scene through your camera lens. To get back to your camera lens, you can always hit number 0 on your numpad, just like this. Okay, so keep that in mind. Now I'm going to go to the render panel right here. And as you can see here, we have the render engine option, EV. As you know, we have different rendering engines. Ev work mentioned cycles. Most of the time we use EV and cycles. Well, EV is a great real time render engine and it basically allows us to preview our scene in real time in the viewport, like what we can see here. But it's not that precise and realistic when it comes to shadows, lighting, etc. So instead, for our final render, we are going to use cycles, which is more realistic as you can see. As soon as I changed it to cycles, the lights have been changed and everything became more realistic. However, my maximum samples here in the Viewport panel is set to 1024, which is way too much for the viewport. I'm going to set it to 32 to accelerate this process. And for the render, it's set to 49 to six. It's way too much. You can set it to 128 or even 256. Most of the time I use 512 because the more samples you have, the less noise you will get in your final render. But obviously it's gonna be more time-consuming for Blender to render your scene if you use a great number here, for now, I'm going to set it to 128. Let me zoom in a little bit. As you can see, as soon as I change the render engine two cycles, my lenses became transparent and we can see how many's eyes through these eyeglasses and our water drops are transparent as well as you can see. And I think we're good to go. But before we render our scene, I'm going to adjust something here while we are in the render panel. I'm going to scroll down. And from the color management here, I'm going to change the Luke from none to high contrast. Look what happens. You see it increases the contrast between our colors. And I really liked this. You can also increase the exposure if you think you are seeing is a little bit dark. But for now, I think we are good to go. Probably I can adjust the power of my area lights. I'm going to select my fill light and let me just decrease this power to 500 maybe. Now it looks much better. And in the background we can see the shadow of our rim light light source. Let's fix that. I'm just going to go to the solid mode. Let me go to the top orthographic view. I'm going to make it larger it, and make it much larger. Let me go to this view and just rotate it a little bit like this. Hit G, bring it here, let me see if it fix the issue. Yeah, it's much better now. We can still see the shadow right there at the bottom. So let's move it a little bit more, maybe towards here, a little bit up. Rotate it. Now the shadow is outside our scene. I can just increase the power 2500. So here is another tip. Now, blender is rendering the whole scene here, even the areas that are outside my camera view. In order to make our viewport render faster, we can just crop this area. I'm just going to hit Control V or Command V and just try to select this area. You see now your viewport render is going to be done much faster and you won't see the areas that you don't need. Alright, great. Now let me just go to Render and from here, click on Render Image. It's going to take a few minutes, but I'm going to fast forward this process for you are right there it is. This is our final render. As you can see, all shadows and lighting look realistic. You can also go ahead and adjust the colors, the lighting, whatever you want. For example, you can change your camera view and see how the changes look in your final render. But before you do that, make sure to save your render. Just click on Image, Save, and just save it somewhere on your computer. I'm going to call it final render one. Okay? Then you can just adjust the camera view, adjust the colors and whatever you want. In fact, let's go ahead and do that. I'm going to hit N on my keyboard to open up this view panel. And I'm going to check this camera to view option once again, in order to see the shadows on the ground, I'm going to just use my mouse wheel to move my camera a little bit like this. Hold down the Shift key and move it down. Now, from this angle, I will be able to see the shadows. And I really like this version. I can now simply render it. Let's see what happens. As you can see, it looks much better now. You can also go ahead and change the primary color to something very warm. Let's give it a try. In fact, I'm going to select the background because for the background object, we use the primary color as well. And if I change the base color here, the change will be applied to all the objects and all the faces that are using the same material. So let me change the base color to maybe yellow or orange and look what happens. There it is. Since we used one new material slot for all these objects, you don't need to go ahead and modify them one by one. You just adjust one of them and you will get this beautiful result. And also, I'm going to select its tongue and make it a little bit darker, just like this, and add a little bit red to it. Now we should select our rim light and adjusts its color because we set it to purple. But in this case, I can set it to yellow or orange. It looks much better now. Then I'm going to render it. Let's see the result are right, fantastic. So as you can see, it's very easy to adjust the color. Make sure to modify these settings by yourself. If you want to become a good 3D designer, I'm gonna go ahead and save it now, final render too. And that's all right guys, that's all for this video. I hope you enjoyed it and I'll see you in the next one. 16. What's the next step?: Hey everyone, welcome to the last video of this course. Congratulations on finishing the course successfully. It was a long journey for both of us and I'd like you to know that I am so proud of you that you've come this far. Now. You are officially a 3D illustrator and you're going to build amazing projects. I hope you enjoyed this course and I would appreciate it if you could live an honest review of the course so that they could make it better and better for you if you'd like to get notified of course updates and my new courses, you can follow me on Skillshare. If you want to learn more about UI, UX design and web development, make sure to check out my other courses on Skillshare. It was an honor to be your instructor and I wish you all the best. See you and bye-bye.