Blender Beginner Character Modeling and Animation: Iron Man Addition

1. Introduction: What's up? My Skillshare family, if you hear that means you want to learn how to make characters. A lot of people start off trying to make really complicated characters, but that's like trying to paint the Mona Lisa your first time. That's not you though. You're smart. You're going to master the art of low poly character. We've already done other Marvel characters like Doctor Octopus, phantom, Spider-Man, and we're going to continue the Marvel series with Iron Man, will cover modeling from a reference low poly techniques, extrusion, mirror modeling, how to use the blender could add on, and even how to use Mixamo to pose your character. And second, that's on all either. You're also going to learn how to use blenders, smoke, fire simulation system. That's right. We're gonna make Iron Man Blast Off. Oh, and if you're completely new to Blender, take a look at our interface and getting started class. It's a great place to start if you're completely new and without any further ado, here's your teaching, Nina. Hello everyone and welcome to this Blender tutorial. I am Nino and I'm working with William and Edward crops ideas. Today. We're making, I remind, you probably know Ironman, right? Item from Marvel or I remain from the comics or to the movies. So we're going to make him in a pretty much a low poly style. And we're also going to focus a little bit on thrusters. 2. Using a reference: So let's get started. This is blend or 3.1. Default cube in place, deleted by eight is not needed, right? So first things first, we're going to go to Edit and Preferences. And let's get to some add-ons. We are going to need mesh. Yes, at mesh export objects. So it That's a little checkbox. And also look for Blender kids, this one and enable it. And then go to this menu, Save Preferences, and close it. There we go. Now, first we need some references to press Shift a image reference, and you can download this file from the description. There it is. Ironman is going to be important, quiet. Rotate it. So we're going to go to tap on sobriety and zeros, zeros 0. There we go. Just to make sure that it is nice and straight. I'm going to now press ours at 90 and our Y and Z and areas. I'm just going to place this off to the side. This is not bought recruit to make, this is too detailed and to advance. So we are going to make a little Polish tile. 3. Modeling the chest: Bro, Shift a and we're going to start with the basic shapes. So first, this shape is going to be Mesh, round cube. There we go. It doesn't look like anything. But we are going to decrease the radius, to increase the radius to one and decrease the Rx2. Maybe two or 32 or three. Why do you think to two is fine? So that is going to be our chest piece. Oh, now we're going to make this just piece. And the one way we're going to do this is by first getting this shape. So let's select our objects, press tab, and we somehow needs to create this little shape right there. And this going to be easy or well easy. We can just select this vertex right there. So press one and select the vertex and hold Shift and select that one, press S Y, scale it down a little bit so we can get this nice shape as x and then hold shift and select that word press S, x is 0. So then you scale with in the x direction, all in the same line. So that's perfect. Now, I feel like we can already start deleting stuff. So let's press three, select this, this, this, this, this and this. There we go. Delete faces. That's not what we're going to need anymore. Right? Next up we need a whole for the head to press Tab. Press three selectors, top four phases and press I to insert that we go. Press delete faces. There we go. This is already starting to look nice. Next up, we need the abdomen. So what are we going to do is select this, just be suppressed step was to just hold shift and double-click those edges until you've got the whole edge loop selected. Press Shift D, Escape selection tab. Now we've got a new object and press Tab a and E. There we go. S and S, 0. There we go As or press G, Z, move it up a little bit right there. So this is going to be the chess piece, going to be quite nice. Actually, I'm starting to think we may go for a little bit more of a stylized look, right? So we should just not keep the original proportions. So we can make, actually make this look a little bit more on preps, Similar to make this look a bit more rounded. So I'm going to add an edge loop right there and scale this down a little bit like so. And I'm also going to select this bottom loop and press E. So this is where the legs are going to start. I'm going to want to move this out a little bit. So press E and S to scale with Gs that move it down. Is that right there? S, move it or make it bigger? Just like that. And I'm going to press one and select those three middle vertex this and press G is as I move it down a little bit. There we go. Then it is going to be fine. Just press Control S for well, it was pretty much automatic. It is something I do a lot in Blender just because it crashes sometimes, especially when you're going to use large hair systems or smoked Sims or fluid seems there's going to be very dependent on your computer and again, of course, crashed from time to time. So make sure to save your file a lot of the times. So I'm going to call this man stylized. And I'm not sure yet in what kind of stylized way it's going to look like with is going to be fun. I'm going to select this and press G, Z and scale it down. I think it's all going to go down. A little bit more Indians ever, That's fine. Okay. 4. Modeling the head: Next up, let's create the head. And I want the head to be quite big for our stylized character. So what I'm going to do is select the torso, press Tab, press to double-click those edges. Shift D, Escape, selection. There we go. Now select this new edge. Rest tap, press a, press E, S, E. Let's scale it down a little bit, something like this. And let's press Shift S cursor to select it. There we go. Press Tab. So now our cursor is right there in the neck and algebra shifts a mesh and we add, for example, a cube is going to be added in that area. So now press S and scale cubed down. Scale it up a little bit more. One of those hair to be quite big, so nice and stylized. And now let's add a sub deficient for surface. There we go. Set this to 21, is fine. Now, there's a little bit bigger. Once again, like this. And I would press tab, I'm going to add an edge loop or two by pressing Control R and hovering over this top edge. And I'm going to scroll up once to get two edge loops. Left-click escape and press X and Y. And actually no controls that, that we don't need it. So press tab and I'm going to go into the modifier right there and press Control a, I'm going to apply this would go to skilled modes and I'm going to enable the y axis symmetry right there. And I'm going to press G and scale this up a little bit with f. And then just move your mouse. And then we can move this up, for example, it's going to apply the same changes on the right side. And I'm gonna move this down, this inwards and just left-click and drag the points to where you think you need them, right? So I'm going to move this interface in a little bit more just like that. And it's already looking nice way to move this to the left a little bit this up. So it's actually getting the shape often more, right? So right now it's not connected to the neck obviously. So I'm just going to select the neck. And we can actually yeah, Let's just select the neck and the head breadths, comfortable or sorcery. Select your neck hold Shift, select the head Comfortable, j and I press Tab, and now they're the same. They're the same mesh. So now we can actually connect them quite easily by simply removing, for example, this face and this face. Delete basis one. And we can now select four vertexes. We want to connect the chin, this one from the neck, this one and this one press F. Same thing for this one. F, Same thing here. F. F. So make sure that you hold shift of course. And then after having breast F, You can really shift and select for new vertexs just like this. So that's looking nice already. We can make this look like RMS phase for sure. Now next up we can worry about those arms. 5. Modeling the arm: Arms are always quite difficult to make in my opinion. But it's going to be all right. Don't even worry about it. So first things first, we need a whole for these arms to come out of. I want some big arms for some reason. So I'm just going to make big arms select all of those phases right there. Press I to insert and insert them to about there. I'm going to press R and X and just rotate these Socrates right there. And then I'm just going to press, or what am I going to? I'm going to press delete faces. There we go. So now I'm going to press to double-click on those edge loops and press E and S, kill him down a little bit first. And press E and y and just move them in a little bit and press G sets and move them up a little bit. And then we can actually press one, or sorry, three on our keyboards, limp or three breast tab. And I'm going to press tab again to get back into edit mode. I'm going to press one and I'm going to toggle on the X-ray mode. There we go. And I'm going to delete this whole right side of our chest. So delete those vertexes. She'll be fine. Now toggle off x-ray mode, so there's a little button and let's add a modifier, mirror. And this mirror or it's in the y-direction. There we go. So now those changes on the left side are also changed on the right side. Beautiful. Now we want this arm to come out. So I'm going to select our torso, press tab, double-click with two selected so two on your keyboard and then double-click on the edge loop valuable arm. She'll start press number three, and then just select E and scale this down a little bit. It's way too huge steel for an arm. I wanted to larger rooms, but it's still a huge So that's looking better. I can press S. Are actually Shu Lai. No, no, no, it's fine. Extrude this, wrote to this a little bit. Move it in a little bit. Extra to it one more time. Rotate it, scale it down. It's too big. There we go. Looking fine. I'm gonna go to model the entire hands just because I don't think it's necessary right now. So we've got the basic shape ready, and it was actually quite fast. So that's some ways a model geometry quite fast. So you can just free handed a little bit rotated, move it the way you want to make sure to use mirrors and stuff. Now we're going to make those legs. 6. Modeling the legs: I'm first going to select my reference image and present g y, move it to the side a little bit. And I'm going to worry about the legs now. So we need a point where those legs come out of. So first, we need to kind of close this mesh and I want them sites, selected, press tab. And let's see, present in but 31 on your keyboards. And let's enable X-Ray mode. That's not actually remove this one and delete the whole right side. Delete vertexes, press tab and add a subdivision, or sorry, add a mirror or modify and read their breasts y and this will x. Then we should be ready to go. There we go. Now we can start working on closing this match. So to close a mesh, we need to make quads. So to make those, we get simply start selecting for vertexes and pressing F and it will connect the entire mesh. So for this part, we're going to need more vertexes because we've got 123. For five vertex is right there. Oh no, actually we do have 1234. So we cooled, probably just close this. So that is perfect. And now I'm going to add an edge loop or to left-click escape. I'm going to select this face right there. I'm going to press G. Is that move that down a little bit. I'm going to press to select that one. Press G, why I moved it in a little bit. The first ours at something like this. I'm going to press Control R and animal or a tube right there. Then I'm just going to select this edge, I plus G. Plus G is just to make it look like there's a little bit of a black hole there, so there's room for something to go in. And now I feel like this should be a little bit lower. So this entire part. So I'm going to press G, sorry, hold shift and select both edges and prestige. And I'm going to select this one and press G. Why I just move that in. Their control are at an age group right there. Press one, select this vertex and press G and move it in a little bit less. So that's looking nice. So this is going to be the place where our legs come out of. I'm going to move these corner points inwards a little bit. So I'm going to select these through breast, g, y, like this, and gx and gy a little bit more like so That's better. That's way better. Okay. So that is now starting point of our leg. We can press Tab, we get Br2 and we can select this entire edge loop. We're holding Shift and selecting those edges. If you select the wrong edge, just press Control Z and workforce relations as well. And then press shift the escape P-I selection, press tab and select your new mesh and press Tab again. Now we're back in edit mode in our new leg mesh. So let's press E, extrude this. I'm going to scale this up a little bit, actually, looks quite nice. E, Once again, scale it up and I'll press E, rotate it a little bit. Risky once again, something like this. I will just double-click on this edge loop and just move it in a little bit because it's a weird bend of the leg that made S E Rotate Skew. So this is where we're going to start the nice already suppress ie a little bit and scale it down. Risky and move it up a little bit and press S, scale that down elements and press E and then just move it out again a little bit. You can see that we didn't pay any attention to our legs in the side view. But we are going to do that in just a little bit. 7. Modeling the body details: So what are we going to do is just go to sculpt mode now and make sure to enable the y symmetry. So now I'm actually just going to make this look a little bit better in the side view. Okay. Deep face is now very much clean. So nothing really IRA men about the face changes when we add a little bit of geometry. So we want this mouth shape. So to make this, We need more loop tools. So we are going to preschool through our hover over an edge. We need one right there. It feels like one right there. Where the red there, one right there. First ways we could even do the same thing we call breast one. Enable extra, excuse me, enable X-Ray mode with all x, x, o. Hello, Alt X is not working. Should be. Oh, my bad. Press Alt Z to remove the entire right side of your head. Delete, go out of x-ray modes and add a mirror modifier in the y-direction. Of course. There we go. And then we can just press one or sorry, tap and go into edit mode and then press one. Then we can move some stuff around. So what we need is this one to be more up, this one to be way more up with. First, let's add another edge loop just above that point. So we actually keep that bottom pointy corner and move this one up now. So press G, G and that moves your vertex are alone. It's along its edge, but we don't need that one. We need actually we do, we need this one to go up a little bit, GG, and this one to GG, and then this one down GG. Let's see. Yeah, that's fine. And then we can select this one GG move there. I would just want to go out a little bit. So plus GG, move it out just a little bit, right? So actually I don't like that. I'm going to press Control R and add another edge loop right there. And I'm going to move this one in a little bit. So maybe like that. Yeah, that's better. And then maybe prestige and move this one out a little bit like so. Maybe even bit better or more, which comes from our natural breath there. Select this vertex or prestige and move it in. It's going to be a little bit of a cheek bone. And then it's going to be nice. Okay. So back to front view. We now have like this face shape that we have, or at least we almost have it. One more thing that we can do is press one and press Control R and add one more edge loop right there. Press G, G, and move this one in. Right there, select this one and prestige and move it in as well. And this one to the top part, like this. And now I'm going to select all the faces that I want to be the mask, right? So press three and select the faces that you feel like should be the actual mask. So it's going to be all of this. Isn't this and this and this, and this. This is all going to be the mask. So I'm going to press P selection. So now we can already see some kind of shape forming. And I now want to write like outdoors eyes. So press tab and we need more, even more, yes, more loop cuts. So press Control R, one more hair, go through R1 more, There's will. And then we need one more right there. And I'm going to select this one and press GG, move it to the left. There we go. And it will just select this one GG move to the right. There we go. So now select these two and add one more edge loop actually, like so. Press three and select all of those phases right there, except this one. And press E and just move that in a little bit more like so. And by the way, it looks like we have a kind of a pointy mask. So I'm going to select it and press killed mode, press G, and move the skill up a little bit with f. And then I'm just going to move this in a little bit more like so. So it's a little bit more flat. Choose, make it look a little bit more like the actual Iron Man mask. That's better already. We can also use shift and click with. It's going to be a little weird. Let's see. So just keep it like this. Should be fine. I'm going to move this inverse little bit maybe. No, let's not, let's not go into too much details. Okay, So next up, I'm going to select my chess piece or knowing where just like my abdomen piece and we're going to oppress right mouse set origin or it's into geometry. Countable set. First, apply the mirror modifier. So press Control. Tab, press a right mouse. Alright, so we need to be in object mode. That's my bad, right? Mileage set origin order to geometry, press S and just scale it down. A tiny bits like so. Yes. And then we're going to press Tab. And we're going to press through and select this top, top edge loops to double-click on it and press E. Just little width, make sure it doesn't like poke through the chest piece. The same thing from the bottom side. So double-click. Actually, we may have to do that manually. So hold Shift and select those entire loop of edges. Some things just require a little bit of work, which is fine. Actually, we don't even need to do that. No, no, no, There's no need at all. Just leaflet because we already like connected those faces right there, so there's no need to connect it manually. So let's make sure Ira man gets his iron heart. So we're going to select our chest piece press tab. And let's select this inner peace right there. For this to work feels like we first need to apply the mirror modifier, right? It is right, but before we do that, we can add a little bit more details. So press tab and press Control R at some point where you want some differences. So for example, their breast three, double-click E, S, scale it down. So it just makes it look like there is some sort of stuff going on there, right? It doesn't really matter what. Just press Control R, add an edge loop, three, double-click on the new face loop and press E and S and scale it down. There we go. So that just adds a little bit more tough to see. We can even do the same hair, press I and then press I once again. And then you will have the separate phases being insets and then we can just extrude them a little bit. That's quite interesting. And it matches the official Ironman a little bit. It doesn't make it completely with its fun. Alright, so next up the heart. So we're going to apply this mirror. Press Tab, press those inner two faces and press I and just insert that and press I again because we just split it the inset, but we want it to be one piece. So then we press Enter again and it's going to be one piece, just like that. Skill it down. Like so. I want to press one and select those three. Upper vertex is at 0. Why did that not work as 0? There we go. And select the three one-on-ones, right mouse. Merge vertex is at center. So now we've got like a triangle. Select both triangles and press S 0 and r plus g, x. And our y just wrote it in a little bit. And we can press one and select this top vertex is pointing out with a little bit. So Priest Jesus just moved it down right there. Looking way better. Now let's select this art thing, triangle and press S to scale it down a little bit like so. Press I to insert and then E to extrude. And then he separate selection. So now it's different objects, so we can use that to shade it a little bit better. So that's already looking quite right. If you ask me now, let's select this torso press tab. I'm going to select those inner two. We're actually, let's add an edge loop first, one there, Control. Left-click. Once they are called left-click, select those abs, press E to extrude. Let's press I to insert and I to insert once again. So they're all separate a little bit like so. Actually, let's not do that. Let's select those separately in those two separately, press I to insert extra a little bit. And then those two, and those two I and e. There we go. So now it's just like a little bit of apps there. It's not completely matching with, I still love the way it's going to look. So next up, we are going to worry about shading. Yes, but first, we could even add a little bit more detail in the legs. Let's just do it. We did any arms. Same thing we're going to do in your legs. So we already have a loop, good, right here. Double-click the S. There we go. One more here maybe. Or red there. Move it. Three. Skill down. There we go. For the legs. We could add some more loops. And we could even add more loops are, and just swipe those all to the previous edges there as well, and press three and then double-click on those loops, hold shifts, and adds the new ones to press Control Z. If you do something by accident, a select something vaccines and press E and S, just scale it down. It just adds some nice geometry, are some nice details, right? Same thing we can do for the shoes, which are looking a little bit weird by the way. So let's go to scale-up mode and press seven and number seven. Just rotated the camera a little bit and I'm just going to make sure that I move those vertexes a little bit cleaner. So something like this could work. So at least now I know what's going on. Alright. Alright, so let's go to Edit Mode, the shoes. Let's select those basis LS press I to insert the extrude brand. That should already be nice. I'm just going to leave it like this. I'm going to press Shift a mesh. And let's add a plain bread g, z. And let's press number three passages that we can see where the floor should be somewhere at their skill, this skill this up and select the moods. Press Tab to double-click this edge loop. Press S is at 0, and then just move it to the floor like that and press F to close it to every code is looking perfect. Now, one thing I still notice is that these arms are a little bit short or they look a little bit shorter. I'm going to select them skilled mode G. And remember, we applied the mirror modifier so we need the symmetry in the Sculpt Tool now. So there's this little button right there. And then we can just move it down a little bit. So maybe that works. We can even increase the width a little bit of this. Yeah, that's fine. And the hands cool. Maybe be a little bit bigger, too. Beautiful. I actually really liked the way we're doing this right now. It doesn't not like the actual proportions. I really loved this style. We'd love to see this in a game, for example. 8. Shading and texturing: We are now on to shading. So for that, we're going to go to the Cycles Render properties, and we're going to set the render engine from EV two cycles first, of course, and then the device or GPU. I have a strong GPU. Gpu can handle rendering in rent blend very well. So that's what I'm gonna do. So let's actually see what this looks like in the render view now. Well, it's just a lot of white birth. The geometry looks quite nice and I like the blocky look a lot. So I'm not going to shade smooth anything because I like this tile for now and we're just going to keep it. Why not? So let's shade this and I made you actually enable the blender kit add-on at the start. So that's what we're going to use now. So this is the little, little kind of role that you see on the top now with the products or the objects, materials seen, things. So if you go to the materials, the second one is church, for example, for metal. That you also be surprised that we can have a lot of metal texture. Just apply. For me somehow, the arrow buttons aren't visible anymore. But if you go to the right of your materials, there is this little button that pops up if you hover over it and maybe it's an arrow for you. For me, it's not. If you press that you can go to the right. So there are more materials. I love using this one, metal for it. It's just, it's just show some degradation. So you can just select your objects so they wanted, you wanted to shade and then select the material and it will be applied. So now hover your mouse to the top right corner of your screen. Left-click direct to the left and set this from 3D view port to shader editor. Now we can see how this material is made. We're not going to get into all of the materials, but basically it lets us change the colors as well. So if we follow the base color of the principal BCF shader and goes through the hue saturation to record or a color color is, and then to the color ramp. And this is actually where all of the colors are being made, right? So for example, if we change a lot of this course to a more reddish tint, lighter, maybe all of them. So not only one, we need all of them to go towards the red colors. I think. Unless of course I'm changing the wrong thing now, I am going to preschool through that a few times. I really thought it would be the one to be the base color will be this one. Then let's try this. All right, so this seems to actually do more. Let's pinouts. Can we make this rat? We can't. Alright, so there's another thing that does the coloring. That's a little bit annoying, but nothing we can't fix because we can simply add a new material or sorry, a mu core. So if we do shift a and storage for our mixed RGB, There we go. Now it's gonna be white. If we set this to red, is going to be read, is this easiest debts? So obviously it will take a little bit away from the initial texture. But you set this to color, color. And it will color it is only, but it will be a little bit more hard to get the extra colorize because it's getting too dark. Most of the times. You can scroll through this options and see what works the best for you. Screeners, a nice trick where there's nothing. You can get a dark color with the screen. Well, dark enough actually. So we can actually use this one. So keep in mind that are currently, this is looking quite blurry and that is probably the box we have the uv maps pecked wrong. So if we select our objects and we changed the right window to UV editor, and I press a, we can see how it is written reps, and this is nothing like the shape that we actually have here. So if you press U and the left window and select Keyboard diction, there's already more geometry that we see and we can even press tab and press a and the right window and press S and just kill this up like that. And then we should have smaller objects for smaller, smaller texture skill. If you wanted to try another material. For example, if you don't like this one, then you can always try and find something else. So for example, if you want something more shiny, you can find, or you can even change the material. It doesn't matter where you can find the learning material. For example, this one. It doesn't look right at all at this point. But that's just because of the rain. We will fix it in a little bit. First, let's find a nice material that we want to use. I'm just going to use the one we had before. This one, I'm going to go to the shader editor. My boss is being used without the UVs, right? So the texture coordinates defines the mapping of the texture. So if there's a sudden object and will basically take the object info if you set it to UV, it will use the info from the UVs that we just unwrapped. So if I now plug this in, for example, you can see the entire texture changes to this. Now, if you go to your UV editor, tap and lift concrete and steel on the right side. So as you can see in the left side, the texture is changed. If you scale this down, increases in size, scale down or scale up, you can see it I'll changing quite nicely. Alright, so the main reason that most of the blender renders look our most some of the blend renders look like they are rendered in EV, even if it's cycles, for example. It is all because of lighting. There's just so much that lighting can do for peace. It has incredible. You can make a ****** 3D model look incredible with lighting. You can make a sick 3D model look like ****. If the wrong lighting is just as easy at that. Lighting is a huge deal in 3D modeling. Alright, before I make a huge deal on lighting, just make sure that all of our materials are applied first, we need to add material to be the same as this. So select your head hold Shift and select your upper arms control l Materials. Do the same for the abdomen and the boots, hold them down with Shift Control L at your materials, objects link materials. There we go. So now everything is red and not unwrapped. Let's unwrap it first step, a UQ prediction. Same thing for the legs. True projection. There we go. So now I have a nice look, even a little bit better. Now we need a bit of a goal material and we can look for that as well, right? So if we search for gold, it is probably not good. Is it like copper at? I don't know. We're just going to try and use a cool material. I'm looking for something that's a little bit rough, a little rough goals. This is too rough per year. Settings. Keep that in mind, but it's not the right one. So what I'm thinking is, let's just try one. That's ready for step a. You keep projection. Wasn't ready, UV unwrapped. So that's fine. It is a red goals. We can apply that same material to relax. So select your legs press tab and we're going to select every part that we want. So we want this top part, this, this, this, this gold. And maybe this, this is what? This, yes. So go to your material properties right there in the bottom right. Select the plus icon, select New, and hit Assign. Now, they will be white because it's an empty material, but we can make this the goals material, so procedural material, then it will be goals selected. Once again, we can, for example, make this together with this and this, and this and this and this hold shift and double-click on those edge loops. And this, we can make this, for example, even a new material you assign. We can make that material, for example, fully metallic, low roughness and make a little bit darker. I'm making less and metallic. We can even search for another metal material, for example. A little bit rusty x is exactly what we need right now. Well, Rusty is maybe not maybe some scratchy missile. Yeah, that's fine. Okay. So for those arms, we also want them to be like a little bit of gold. Gold like go just like this and this and this, all of this stuff that this and this mature to select everything you want to shade. It can be completely up to you. So a plus sign, new assign. We also need to incorporate the right side. Now. Double-click and just select everything you want to shade your new material and Halo sign. And now we can make this material whatever we want. So for example, the gold, and now it's gold. That's looking nice. Now I've got this chest piece New. And we're going to change this from principals, do and mission and Teaching Scholar to like this bluish right now it looks like ****. When we can increase the strength to five or even 210. And the whole thing that's going to Here we'll be in the post-processing of Blender. It will be nice and glowy, believe me. Just not now. Make it nice and strong, and least. There we go. And now we can actually do the same thing for the eyes. So select your face plus three in edit mode, of course, and select all the faces that you think should be glowy. Hit the plus sign. Then turn this into the emission that you made so material for, for me and hit Assign. And now you've got this nice phase with the glow even, Wow, that's incredible, isn't it? Well, next stop. Boring shading. Very boring shading or not the shading with the environment is very boring. So first things first go. So your world settings, it is always set at gray. Gray makes everything boring. So we're going to use an HDRI. So open up your web browser and let's search for Holly. Hey, there we go. Pull the Haven completely free textures, H2RAs, models we need to issue arise right now. There is one HDRI that I love to use. For example, Shanghai. Shanghai burned. It's this one, so it's nice and colorful. You can get some very nice reflections. And for things like this, so an Ironman suit, which is generally found in the CDS, like fighting crimes and stuff. I've always found something like this to be perfect. So it's downloaded for k. By default. You don't really need anything higher than that until you once really, really clear reflections in your, for example, your metals and stuff, but for now it will be fine. So to actually use these, we have to change the color to environment texture. There we go. Nice and pink. Yeah, this is just think in Blender means that blend or can't find the texture and we have no texture selected, so it gets pink. Well, let's try a search for Shanghai. Shanghai burned. I have eight k n for k I'm going to use for K opening image. Right away. It gets implemented and you now have shading and reflection from the entire scene. If you want to rotate your environment around, you will have to add some mapping. So go to the shader editor in the right window. And we can change this from object to world. There we go. Now, there's nothing showing you're seeing on your screen and that's because it's just focused on the wrong part. So press your home button and it will find the notes for you. Now, I'd like you to go to Edit Preferences, go to Add-ons, and let's search for Node Wrangler. This is something that just saves a lot of time every time you do shading. Enable this, press the menu, safe preferences close. Now if you select your image texture right there and press Control T, you will see that automatically. You will add a mapping notes and a texture coordinate nodes. So that's the Node Wrangler, It's very easy. So now we can actually change the z rotation. So you can see we've got a huge, huge environment, beautiful environments, and we can change the way our character is now being affected by the environment. So rotated around the Z, you will see the background changing as well. Something like that. So I advice you to find a nice, nice angle that you're happy with. I mostly try to avoid something that hits completely formed from the front or completely from the site. And you can primarily see this for the shadows of your character, right? So the best way to see the geometry of your character is to have something loaded up from multiple directions with different kinds of light strengths. So this is looking quite alright for now, but of course the background is looking horrible. So we're going to go to Render properties, go to film and just hit that button right there. So now you will keep all of your reflections, but you will lose the actual background. So one thing I noticed right away, this is not bright enough. So I'm going to say this length 3030 will be 50. Let's just write the brighter you said it, of course, the less color you will see in your actual thing, in your actual life. And it's just obvious. Of course, I want it to be a little bit blue. It's a little bit Lexapro. Perfect, Right? So if you don't feel like the environment section alone does the trick, I'm first of all come to skill up this back plane. I'm going to rotate this a little bit around the z so it's perpendicular with the camera. I'm going to press Tab to select that edge, whiskey. Just like that. Perfect. I'm going to select this middle edge Control V and just make that big and scroll up a few times. So we actually get this nice bet for breast step, right mouths and **** smooth. So there's a very easy trick to get a smooth backgrounds. We use a lot for, for example, products, photo shoots as well, where you don't really want this hard edge in your background. You can just make, for example, in A4 paper or an A3 paper, curl around to the top. So you get this very smooth transition of light and it's all working perfect. A lot of times now this lane has no shading, so change your right window from worlds to object and New, and select home. But now I'm probably going to go with some kind of a red background. So just because it matches the character quite nicely. Or even some new, it gets some columns raise or maybe some black. Now, I'd like to read because it matches the character nicely and it reflects a nicely and gold as well. So I feel like the texture is not doing, is just as so I'm going to set this lower. So maybe 0.2. I'm going to press Shift a. I'm going to repress a light area, and I'm going to press R Y and just rotate it a little bit. British g x. Now I'm going to go to the light properties right there. Skill up this light. That's too much salt like this. And I'm going to increase the power quite a lot actually like this. Now if you go to your front view, you move around you or light, you can see that it's already becoming a little more interesting. Let's simply because being lit up from the back just pops or character out from the background a little bit more like this because the background is red and now your character get this nice hard highlights. And you can even change the color if you want. If you want it to be. Blue, red, and blue just goes well together. So let's try that. You can even duplicate it and move to the left, rotated. So you also have some lighting from the left side. Right. So I changed the color to orange, but you can pretty much change it to whatever you want. I usually go to orange because it looks like there's like an explosion heparin happening in the back of the character. But in this case, it does actually take away a little bit from the character because the background is already read, so it's not that well, I'm just moving the light to see what it's interesting. I actually like it. We can even try some different stuff. Yellow. It adds nice to go by the way. I'm going to stick with that. It really adds to the goals. So this is width, this without some interesting this and because we have those flat surfaces, it adds some nice stuff to be actual character. So I'm going to try to go to this red color now. So metal O4 go to the shader that I'm actually going to go to my roughness value. I'm going to try to make everything a little bit more reflective. Probably I'm going to press Shift a search warrant to search for a minute, just swipe that in-between rent, they're set it to multiply. And let's see what happens. So now, if we set this to a low value, it's going to be this is minus as being width. Weird. But you know, if you're turning this down to below, one is becoming more rough. Right? So now you can see more of those reflections, hard reflections. If you turn it down, turn it up and gets basically rough. So I want us to be nice and reflective and glossy. Same thing for the gold actually would think that gold is already quite reflective. So let's see. We can just, Lord is referenced if we want. Yeah, it was it was already fine. I'm going to leave that. I'm going to select the backgrounds and actually change this color. Maybe a little bit darker still, or maybe lighter. What do you guys think? Maybe a little bit more blue sides. Let's see. There's a lot that we can try here. I like to read just a little bit, tend to forget like so. Looking nice. Now we can actually start working on some thrusters. 9. Modeling Iron Man thrusters: So this is going to be fun. This is what I've been waiting for Ashley. So the trustees of Ironman, I'm not even sure what it looks like. Let me check. I run this basically the beam that just shoes out of the shoes of Ironman. I have never really tried to make something that looks like this. But I'm quite positive that we can, because all this is, is like unlike are very, very high, high temperature beam of fuel being burned. Obviously something has to be asked to turn into this energy boost. So it's very much just some very efficient burning process. I feel like there's not a lot of smoke. You can see most of the images environment. There's no smoke coming out of anywhere. Which pretty much means that it's just a very clean, clean process. So we are just going to make smoke simulation. Which smoke? So he's only going to be fired, but it's going to be pushed out as a very large beads. So we can actually try and achieve to get this, this, this, this nice, this nice image. So to do so, we gotta make sure that we're working in the right proportions. And to do this, I'm just going to select, for example, my chess piece and I'm going to see the size. So the one thing that you want to avoid when working with simulations and stuff is that your whole scene is very, very tiny because your domain for the smoke or for the liquid, will need some resolution if you decrease the scale of everything. So we also decrease the scale of your emission objects and your domain. Then blender just needs a very high resolution to get that small shape of a smoke simulation going on. So if you work in a larger size, then Blender has way more. It's just simpler for blender to calculate all of these simulations and stuff, and it's just way easier to work with, Believe me, I've tried it a million times. So to start off, we need to define where the objects are that are going to emit the shading or sorry, emitter smoke, right? So let's move this background down. We can make it look like he's already flying off. I'm going to select the camera, press G and you're zooming out a little bit. Move this down just so we can see the flame coming out or the thrust. So we want there to be smoke coming out of his shoes. So let's select our cursor and move it to the zoo. So just click on the bottom of the feet for shift a mesh. And we want the shape to be something like maybe, maybe a circle, sheer scale it down, like so. And pre-step an F or Control a and apply all transforms, right, mouse that origin, origin to geometry. There we go. Now go to Object, quick effects. Lets go to quick smoke. Yes, quick smoke. Now, it's instantly adds a smoke domain, which is something we need in order for blender to render out the smoke and stuff. So if we now run the animation, because the smoke simply goes up and it's smoke, it's not fire or anything. But if we change some stuff, we can actually make this look incredible. So I'm going to go select my smoke main press Tab, press a, and I'm going to press G. Move this down. We don't want smoke to come above the feed anywhere, so we can just move this all down. Press S, scale this up a little bit so we can get some nice, maybe some, some bounces from the floor or anything. So press G and Z, move this down, like this. S shifts at, just move this up a little bit. You have to remember that we are going to use one smoke domain for both our objects. So both thrusters or the feet. So we need to make this cover the entire part of what's going to be smoke or fire, right? So this will do the trick. There we go. So all of these settings for the small domain you can find in the physics proper step right there. So this is the main type. Resolution subdivisions very important. After everything, every change you make in either the emission object or the domain, you will need to change the resolution deficient in order for those changes to actually be applied, right? So let's play it. Still smoke that wants to go up, but it can't go up because there's already the limit of our smoke domain. So let's go back. And let's first of all, set this domain to an adaptive domain, which basically means it starts small and it will increase. Its size whenever the smoke is about to touch the domain, right? So now we're going to have to select our emission object. Just like that. So select it and we want some velocity going down. Actually, we want a lot of eliciting to go down. So what we're going to do is just change this F value to minus 60. Let's see what happens. So make sure to select your stomach domain and of course change the resolution. Otherwise it's not going to play those changes right now. Incredible force down already. So 60 miles or what is it? Meter per second? This, I think the unit that is used by default. Here, it's about, I think you can do it times 3.6 kilometers an hour. So it's quite fast. Now, you can see that there's smoke is coming out of the sides of this object. And that's actually because our smoke domain is still at like 32 resolution deficient for our final render, I'd recommend once you aids or to 56, depending on the amount of details you need. We can also select our emission object and change the flow source from 1.5 to one, which basically means the distance of which is emitted. Let's change the resolution deficient. So that's already changes it a little bit. If we set this to six for, it already is, becomes a little bit smaller. So play this out now. You can see a nice thick thrust are coming out. I actually love already. I would just look so we don't even have like materials and stuff yet. So it's going to be fun, right? For now. I'm going to set this background and scale this up a little bit by the way, because it's not reaching the upper left side. Scale this up at certain us into a collision, collision object and this is a plane. So do we have to change anything? That should be fine. Let's replay this at the resolution deficient of 62. It should be interacting with or plane now, which is this. And let's see what happens or plane. We can try to turn off single-sided four ones because it is a plane and sometimes just add some difficulties with the simulations. Alright, so that's not working yet. Let's see. Let's see what we need. We can also just try to extrude this. Bristle brushes. Select your object first step because a and E and just extrude that down a little bit. So now our, sorry, it just scale that up. So now you have some thickness in your plane. Make sure to shake this smooth and set your normals in the object data properties to outer smooth. There we go. Now let's try again. Let's see what happens. Go to your domain, changed the resolution deficient. And let's replay that. It's still looks like it's going right through. Which is weird. Oh, it's not weird at all. It's not where I'm just being retired. And we're going to call this a few times. I want to take this off the plane. The thing is that we actually need this to be fluid simulation. Set this to what is it again? Let me, let me think for a second. This has to be effector be a collision. So if I'm right, this should be below fluids flow, smoke inflow. So this is going to be an effective collision of the fluids. That shoe, they should do the trick, right? It's planar. So this is a plane, so that's what I was looking for a little while ago. So now let's find out if I now finally know what I'm doing. Yes. Look at it. Isn't that amazing? Isn't it amazing? Yes. Okay. So that's looking dope. I actually want some of that to be seen in my camera. So I'm going to zoom out a little bit more. We can even make this a vertical image. It could be way easier actually. To change the proportions of your camera, go to your scene output properties and you can just change it, for example, your way around like this. That's better. So now we can zoom in a little bit more like this. That's looking nice. Move this up like so. And now we've got two random view. We can actually see some smoke coming out already. Had some amazing for Ironman. There is no real smoke. I may just add a little bit because I loved the way it looks okay. Alright, so from this point on my audio got a little bit weird. So I'm just talking over it right now. So I'll talk, talk you through the steps anyway. So what I'm doing here is just selecting some options in the smoke domain. And you can see that by default, the smoke domain is set on only smoke. And we want to set this to fire and smoke. Because that's actually how we get the flame in their setting only smoke, then there's no real way to get fire. And then you get these extra options, fuel, density, temperature, and those will all change the way your flame looks and the way your smoke reaction is going to act out. So make sure that after making changes, you change the resolution of your smoke a little bit to get those changes to be applied and were just playing the smoke simulation for a few frames, actually get the smoke out there. Right next up, we've got the materials. So there's one material principles, volume that is automatically applied to your smoke domain. So the smoke domain takes care of the actual way the smoke looks and the fire looks as well. So there's one node that controls the fire and the smoke, right? So first things first, there is a little bit of stuff that we still want to change. There is one principle, volume nodes. You can see here on the left, there's one smoked maintenance. Well, in the end, we want to have two thrusters from, from one from each feed. Of course, it weren't for which foods are better right now we're going to worry about the emission object for a second because we can still change some values, right? So for example, the velocity, we can change this to maybe 1, 100th minus 100s just to get a little bit more speed out of the thruster. Why isn't that can change the entire look of the flame? And of course to do that, we can have a small look at our smoke domain. So let's go to Solid View first. Real, first go, who's a copy of this? Tourists and other foods. So select your object and then press shift D bridge. Gee, why? I just moved it to the right. There we go. So right now you can really see anything yet. And that's because we have to update our smoke domain. And the reason why we're doing it like this is because that way the thrusts, those wounds look exactly the same. So the other way you would do this is to just duplicate the object, but now change the resolution deficient by one or two and go back in your timeline to the first frame and then play your animation. And in that case, it will render out your new simulations. So it's going quite fast. So that's really nice. You can already see what's going on there. So now we've got two thrusters. There are still quite big. And that's because our resolution is still set quite low. So it's set on 66 right now. Let's see how it actually looks. So there's double the smoke coming from these thrusters. And it's really nice because they have some kind of feedback from the crowds, they collide. So let's go to our principles and volume right now. And there's actually a lot of stuff that we can change in the principled volume shader. So to do this, we need to be rendered for you. Otherwise, we can really see what we're changing. And there's a few options that really, really help getting this fire out there that we're going to discuss in just a second. 10. Texturing thruster flames: If you look at this, we want the thruster to be, it doesn't have to be real fire, but it's going to be more like, like a restaurant, like a beam. So first example is change the blackbody intensity, swap it all the way up, but you can see it stops at one, but you can menu type in larger value, for example, 50, which is quite high. So we can actually change this back to something like 20, 30. It's looking way better, but it's still looks a little sloppy, a little bit chaotic. So we can actually change a lot in the principled volume to make this look like we actually want. And make a little bit more space to swipe the screen to the left. And now we're going to press Shift A Search and regrown to search for a volume info. And it basically gives us, gives us the information of volume. So that is being created in the simulation, we flip density, flame temperature density basically defines the density of the smoke at a given point and the flame actually defines where the fire should be. So that is the one option that you can have if you change the emission objects from smoke only to fire and smoke. So we've got the right now and once you connect it to the blackbody intensity to define where the flame is, it's going to be a very dull, it's not going to be quite bright. So we want to increase this brightness that step once per shift a and search for math nodes, swapped it in-between and change the value. So if you're going to up this value, they can see that it's just good. At another value. Your fire intensity are due to the blackbody intensity. So set this at ten for now. We'll change that later. We can even change the setting from add to multiply later. But that's something we can worry about in a second. So first things first, we're going to change the color ramp. So Shift a and search for color ramp is swapped with in-between and swept the black to the right and just see what happens. So this is something where we can define how much of the flame is going to be visible and what part of the flame is going to be cut off. It's right now. It's not doing that much. You can see some slight changes, especially when we decrease the nodes. Of course, if we have to add ten, then those changes are coming to be very slight of the color ramp because it's just going to add that ten value to a value from 0 to one. Certain value is going to be anywhere from ten to 11. So of course that's not going to be that visible and we'll change that later to multiply. But right now, it is nice to see what it does to our fire. We can add another point there and swipe it to the right. We've set it on constant right now. And we're going to set this to a little bit of a more grayish color, right? So it's a little more bright at the sensors. Something like that. That's what I did back further to the left. And we can even change B-spline to get a little bit more of that transform failure. So I live in more of a smooth transition, right? So next up, we can actually add a new color ramp because we want to use the density of the volume note as well, because it can define the density of the smoke. But we can also use that for the density of the flame. If we want a part of that smokes to just become part of the flame, that we can use that as well. And we can use that dissolve value of the flame to actually cut off the flame at some point. So let's actually duplicate. We can add a column rep or we can duplicate it. I'm going to left-click this one per shift the move that down. And we need to reset that first, select your math nodes and duplicate that and swipe it to the bottom as well. Because obviously we're going to have to use math nodes and connected in-between. Because that's where we want this color ramp to connect to the bottom socket. First x, first, click the little arrow and reset the color ramp to its default settings and just collect the density to the factor and the color to the value. There we go. That is the basic setup. And now we can change the color ramp in the way we want. So this is going to use a density value of our smoke. And we can basically change the cutoff of that smoke. So once again, it's not doing that much yet. We'll get to that in a little while when we change the add nodes to multiply. So let's check the density of the smoke. We want there to be a little bit of smoke visible in the final simulation. Just to show that it is. It's a reaction. A fire is being created. There's feel being birds. And I just liked the way the smoke looks about. It reflects off the ground surface. So at this point, I'm trying to figure out why there isn't that much changing and that's because we've got our color ramps are sorry, our notes set to add. Jesus, do multiply. And there's going to be a huge difference. And what's happening. Because right now it is multiplying all our values of the actual color ramps. So now you can see it's very dull. Notion is that feasible? So now if we change our multiplied failure to large value like 150 is actually going to look very different because in now actually uses the values of our color ramp, right? So let's change the density of our smoke. And it will just decrease that. We can worry about the smoke later and keep us at 0. And now we can go back to this color ramps and actually start worrying about the actual flame. So I'm going to leave a little bit of smoke in there, not too much. So set this at Any ends at like for one or two, maybe a little bit more. But for now 0 worry about the scholar rooms. So now when we change this slider, you can see the blockchain says how much the outside of the virus visible. So that is basically the smoke density at root that's being used. And we can add a new one, changes to a dark gray color or a little bit darker. There we go. And then we can get some nice color change in the minimal as well. So you can really see that in the center, the fire is transparent. And then there's a small layer of fire festival and a small layer that is again not visible. So the top is the flame. We can change the more values of this, but now it's going to look more like an actual flame. So you can just see me here playing around with those values in a color ramp. And that's basically all you do with volumes. It's a lot playing with color ramps and don't worry about just trying new stuff, right? Add more, more points in there, remove points, slide points where you want them and just find out what it does to the look of your flame and try to achieve the look that you want. So once again, I, I'm still not quite happy with the look. I'm changing the resolution deficiency P256 just to get a little bit more more information, more detail in or smoke or fire. We're going to have to run this one more time in order to get those results. So it's a little bit slower, so it's going like it's one frame. Few seconds. But you can see that's already looking at limit more details and a real struggle will be once this fire hits the floor, then blender is going to have a little bit of issues calculating what the fire's going to do once it collides with the floor? Well, that's going to be fine for now. It's working quite right. You can see it now slowing down by quite a lot. And read. Just go to hope that at some point school to start. So what I did, I was just ending the recording for a second and I am now bec because it took way too long to keep recording. So now it is at frame 25. You can see there's some nice stuff going on. You can also see that there is an issue. Right and left are looking different. Right? We changed all of those values of the flame. So we change the velocity, the velocity and also the vorticity of the actual she'll flame. And we have to make sure that we get those changes that we want. So keep moving those sliders until you get what you want. I can't stress it enough. I'm also just trying new stuff here. I've made fire before, of course, and stuff like that. Those kind of beams coming from, from the shoes. They just need to look a little bit different than actual shoe. So I'm just playing around here with colors until I get what I want. And may, we might even need an additional color ramp because you can see that we've got some areas in-between of those bright values that are just not filled with fire. Alright? So we're going to have to find a way to get that in there. It seems to be not working with just two colors. So I'm actually going to select that one, shift, the deprecated and Shift a. And let's add on our math. Notice why read in-between there. Set it to multiply right away, multiply. So we don't have the same issue. Connected color to the bottom seconds and density to the socket of the color ramp. And then let's set this back to ad actually. Because we're setting that to add, we can maybe get some of those values back that are being lost in-between the bright spots. You can see that it works. Although it looks a little bit weird, Maybe. Once again, trying stuff out there actually are like the way this looks a bit better already. So we at least have some new values in between if there's bright spots, right? Slow. Right now, I'm just looking at what we've done. So what we can still change, I'm adding another color and let's shift the color ramp and Shift a and another math nodes right in between those final two. Let's connect it to the bottom socket. Once again, let's collect the flame to the top. We may be able to switch those two points. So move the black to the right. Doesn't really look well, we're going to move back. So set this back to a lower value. Maybe we can use subtract that. Cool. It looks quite interesting. Actually. There's so much you can do with color ramps to get way. The flame looks. Maybe a little moves it all the way to the left. Let's see. Interesting. Moving back to the right a little bit more interesting. There's still quite a large change in values between the bright spots, right? But it does look nice. For now. We can actually run with this. Well, I think we should make some changes in the terrestrial or select that emission objects. Let's just make some changes right there. So we've got those flame values and we've also got the emission. So the servicing mission basically defines how much your object emitters emits. So we're going to 0.5 that instead of one to create a limit of a smaller source and also set the source to 0. Change that philosophy. And we can try to set the frame rate maybe a little bit, a little bit higher. Set this to three, just so that the flame moves a little bit faster. Now, select your smoke domain. There's some vorticity in our fire that I don't like. It has to be a thruster, it has to be hard. So I'm looking for the volume value off the fire. So open the fire tip. There is the vorticity at the third option. And I'm going to set this to 0. I don't want there to be any kind of weird, noisy much higher, at least not much. Right now. I think that should already. Let's write a ruinous first. So let's go and change that resolution by one-step. There we go. Moving back. You can always do that and move your timeline back to the start. And now we're going to play this again, a lag before it can take some time. So I'm just coding and we're back. You can see there's some differences in left and right foot. There's a very easiest explanation right there. And that's simply because we only made restraints to the right foot. Right? So there is a difference right now. At least we can now check to see why those differences exist. We can also see what we like better. Rise foot. There is just at this point there's not enough fire, but it looks way better than the left because there's just much less for test. Yeah, let's check out how it looks in a rendered view. With our shader applied. It's going to have to load for a little, little second. And that's because I'm hitting the animation right now. That's my bad. You shouldn't play an animation inhabitant rendered. Let's just go slow. So I will stop hearing it right away before it gets through laggy. But you can really see the difference in left and right, right there. So the left foot prior to the change we made in the image or object, and the right foods is the changes post the left one. Obviously the right one has a little bit of a higher frame rate right now, so age changing quicker into smoke. So there's less fire. The left one almost touches the ground, but the right one has less vorticity, so I really liked that. Okay. So those changes in her right foot, left foot compared to each other, we want the right foods to be the same as the left foot. Alright, so this one is just better than the left one. So we're just going to duplicate that entire thing. But first, set the frame rate down a little bit because it's not even touching the ground now the grounds and I want it. So let's change that to 1.5. Somewhere in the middle should be amazing. That's pretty much the only thing that we have to change right now to get what we want and the rest is completely fine. So now we can actually delete that first one. We don't need it anymore. We can just select the right one and duplicate it, move it back. Don't worry about those weird changes in the volume metrics. Just go to your resolution divisions and a domain and change it. And we have to run the simulation once again. So I just do that real quick. And we're now at 19 frames. We can move it a little bit further as well. So we have a little bit of feedback on the floor layer limit of collision, and that's exactly what I wanted. And we've got the thrusters. They don't completely trust just touch the floor, but they almost do. I like the way this looks. I want to add the smoke density because I really want to see some smoke. They're coming off from the floor. And I still not really liked the way it's fine. It looks shift a color ramp to the top density through the factor. And I'm going to use this for the density of this principle of volume. So the actual smoke density math nodes in-between set to multiply and change this value to 20. You can really see the differences and that's because we still have to change those sliders. We have to move them a little bit to the left, I guess, to get some of that value back. I'm just, I just wanted to create some custom cuts off, right? So just move that to the left a little bit more. Get a hard contrast between the two. Set the value that was higher. We can really see this extended to Honduras. And that's looking really nice, so nice detail and Jesus, through a little bit darker maybe. Yeah, something like that is looking looking fine. Okay. So let's go back to that fire. It still looks too much like fire, in my opinion. Right. So I feel like one of the reasons it doesn't really look like versus the color is still much of a fire color. I want it to be a little bit more yellowish. So just changed the blackbody tint. And I feel like we need some kind of a bluish color to, to go against those reds a little bit. So you can see that the, it also changes the intensity a little bit. But let's just try to find something that suits the thoracis a little bit more. I think something like this is already more like something we're looking for. We can, this value of the intensity isn't not that much. Maybe, maybe down to two. Let's say life on Earth about there. It's looking nice. And it's still, let's set this back to the thousands with, by the way, just for default value. Right now it's still not really the way I want it to be. So I'm messing around with color ramps. Slide is a little bit more. Maybe swipe left to right. It does add some intensity, but not how I wanted add them or point to make it black. Just so we can maybe try and get some more interesting details in our thrusters. Yes, that is looking way better. The way does it looks like it's just starting off a little bit rough for to start off. I really liked the way this looks. Actually, we're going to keep that. So it's all about playing with color ramps here. Because that's just the way how we can cut off some, some of that fire and get us some new looks at loops that we really like. I'm just playing around a little bit more to see what everything does now because we've got four color rims going right now. So each of those things will of course change the look of our fire. Just trying to find if we can make it look a little bit nicer. Even nicer, yes. So I think this is already looking quite nice. The bottom one is the one that changes the most I feel like. So I'm going to go back to that and try and have a little bit of a different looks till you're going to see me just being very picky on the hottest fire looks. And that's just because I enjoy playing with those values. So you should probably just do the same to get the look that you want. But right now, I'm quite satisfied. I'm not going to go into any longer glucose for color ramps that we're using to James's flame. So there's just a lot of time and we get spent there. But right now it's looking nice. Looking like he's just popping off, is just starting up. And that's nice. So if you want this to be to be rendered out, which is what we can do now is I'm only changing the samples to five 12th because that should be plenty to render this out. And now we can just press Render, Render Image. Actually, I'm going to change this color of the smoke real quick. I think it was too dark. I'm just making it a bit lighter. Just a personal preference, personal touch. Maybe it'll be a yellowish, It's Render, Render Image and we're going to look at the final image. Let's see how long this takes. Can I just wait this out with you guys or should pause it for a second. I think I'm going to have to pause. It's going quite slow there. There is the final render. Five-twelfths samples. Looking quite nice. Actually, I really liked the way this turned out. But there are some values that I want to change and go to compositing tab right there, click Use nodes. So I'm just to the left and we're going to left-click, shift, left-click, sorry. So our viewer appears, shift, left-click on that regularly at notes, shift a search for a bright contrast nodes swapped with the material up the contrast a little bit because it was just a little bit dull. We want it to be nice and hard in contrast. So about two or three brightness. Jason mixed with 0, shift a hue saturation value, and just up the saturation a little, little. Actually, let's move that down because we can move some of the yellowish out of the flame without losing that much red. Then I think that is the final touch that we actually need it. So you don't have to change it. Lots of 0.956 in this case works in nice for me. I like that a lot and make sure to connect the nodes to your composite tab as well. So that when you go back to your render, it is the same as your viewer. Save it and name it low, poorly, Ironman or anything you want. There you go. Alright, so what the render done? There's only one step left to do, and it's gonna be an interesting one. 11. Final render: So there's this program on his website called Mixamo. And I'll show you right now, I've already uploaded to character, but we'll do the steps. It just a, just a second. It makes them all basically lets you upload your own character that you made in any 3D program. Doesn't have to be blender, and you basically add a rig, so our skeleton to your character in order to create animations. And Mixamo has these basic animation, so that's included with the best, so it's completely free. And you can just use, so for example, if you wanted to make your Ironman fly, you can just search for flying animation. If you want to make him do a hurricane kick, beautiful, then you can just make them do a hurricane kick. That's all you can basically just select and it will apply it to your character. I'll show you how to get your character in Mixamo right now. Alright, so we're back in Blender, so we already got the renderers and stuff, we've got the material setup. So we're going to start bringing about the skeleton now. So let's start by selecting all the objects that you want to export. So hold Shift and just select everything that makes sure that there isn't something in the background selected. You can see by the orange outline. Just de-select it. So hold, Shift and select everything. You can always double-check if you have selected everything by just pressing G and then moving those objects, you can see that I missed the entire abdomen. So let's select that as well. And this little triangle. Alright, so if you have everything selected, you can just press File Export. And let's do an OBJ works fine in most cases. Then we can also set this to select. Only. There we go. So it doesn't include the background and stuff. And let's just also go for material groups. I'm not sure if it's going to work with mixed-mode, but let's just select it and then you can export it with the name you have. So Ironman stylized dot OBJ, export. It should be very quick. It's quite a simple model. Now, let's go to your browser and let's start clean. So we go to make some OAT.com.com. And each time you upload your character, it will save it for the next time because it's dependent on your account. So I will log out. So we have the same starting point. So this is what your website should look like. Just sign up for free if you don't have an account, if you have an account, login, login with my Gmail, most of the times. There we go, logging in, so it's already saved for me, probably the model will already be there. There it is. In the crowd, but that doesn't matter. So what you're gonna do, it basically shows you a default character if you started up the first time. It's the basic, the default Mixamo character. So we're going to press Upload character. If you can see it, make sure you are in the character tap right there on the top. Upload character, Select Character file. And then we can see our OBJ file and make sure not to select your MTL file, which only contains the information for materials, but select your stylized OBJ file. So open it up. And it should take just a second to load. There we go. It's loading. There is how ARIMA model, and it isn't really in the right direction. So we're going to rotate this on the y-axis a few times. So it's facing straight through us. Press Next, and now is where the fun begins. So it makes them there is an outer rigor in Blender. If you have to break, you have to rig it completely yourself. You have to add bones and connect the bones to a certain part of the mesh. It makes them or you can just apply these pointers. So left-click and just drag it to where the chain is. Same for the risks you have symmetry enabled by default. So you can just swipe these two, the wrists, elbows, There we go. Knees and it doesn't even have to be perfect. Last one to the groin. There we go. And just press Next. And now let's go to Rick, your character. It says it can take up to two minutes depending on the size of your file and the amount of details and stuff. This should take us four seconds. And it makes them who they will automatically smooth everything. So we will lose our flat faces. But that's only going to be for Mixamo. Once we imported back in Blender, those phases will all be straight again as we like. So here is the rigged character and then we'll start with a default animation right away. So it's just looking around a little bit. But you can see that it works. You can also enable the skeleton view, which doesn't really work in this case. I think because our character is quiet, small size. And then we can press Next, Next. And we can see our character in the right view a little bit through the floor, but that's okay. Then we can go to the animation step on the top. And we can search for an animation and I want to make them fly. So we can search for fly. There are a few animations we can choose, even though a lot of them are not actual flying animations. So we're just going to pick the first one, flying. There we go. Now we can just select Download and there are a few other options that you can select as well. You can, for example, over-exaggerate the movement of your service to overdrive. You can think, widen the arms, the legs, and you can also change the frames. But I'm just going to keep this as default. So we'll just select Download. And now there are few options that you can choose off. I'm just going to keep this as an FBX and mostly works fine. And I'm going to do with the whiskey in as well. Otherwise you will only get the armature. And the rest is all fine. So just download your file and it will save As the name of the animation. So it's going to be flying. Mike is Frank three because I've already tested this before. Alright, so now we go back to Blender. We can just select File Import FB x. There we go and then find your animation. So flying three in my case, imported. And now it is There. It is very small, so we're going to have to press S and just swapped it up a lot. There we go. Something like that. And then I'm going to press 0, go to camera and view, scroll out a little bit and just move that into the camera view. Once again. If we want this to be somewhere in the camera, we can just swipe it in. This is just to show you how to work with a mix of all I'm not going to change. Like the entire scene is going to take too much time. But now you know how to import it. And for example, if we go to rendered view, now, you can see that it's there. And it is in front of our bother Byron men. But the materials are lost. So that's a little bit of a petty, but we can easily get that big, especially since we have a splitted up model anyway. So what we're gonna do is just select the legs, select the legs of your initial version, press Control L, link materials. There we go. Do the same for the other ponds. So the chest Control L link materials select ahead hold Shift. It's like your first head control. L link materials. Same for the face. There we go. Same for the eyes, will already be there actually. Then for the ends is part of the chest, abdomen, hold Shift Control L link materials. And there should be one more piece, the triangle right there. So select that one, the other one. Let's see, Control L link materials. There we go. I think we still have to define the material in the eyes because it is part of one object. So select your feet, press Tab, and it will move back to its original location. So make sure to go over there and press three. Let's select the faces that you want to be D emission material again, Alt Shift, just select those faces, select the material right there, and hit assigned. There we go. Now press Tab again, and it should be back. Now we can hide, for example, our initial models, but we can also just check it out right now. So let's go to rendered view. And look. There we go with some serious are now completely back like they are supposed to be. And we can rotate and transform this new model by simply selecting the armature and press R. And it's going to rotate it around the initial position of our model, which is a little bit to the right because we're not on frame one of the animation, but we're on frame 24. So the animation is already running for a little while. And that's because we want to be a few frames in for this smoke simulation. So what we're going to do, it's just rotated around the z-axis or is that something like this? And then move it back into the frame. Let's just popping into frame. It looks got relate. It looks great. Now let's render this out, Render, Render Image, and let's see how it looks like. I'll be back in a second. Alright. So there are still a few few issues that were not taken care of. For example, the arms materials are now I'll read this because we didn't define which part of the arms has to be the metal or the data gold again. So we can read through that. So just press Tab on your object and select all the faces that you want to be gold. So hold Shift, double-click, and keep doing this until you have everything selected. You have to do the same for the other side as well. Of course. There we go. This one too. And then you select your goal material and hit Assign. Just like that. We should probably do the same for the legs. Then press tab and let's go to the legs. Press three and double-click, hold shift, and double-click all those faces that you want to be gold. There we go. You can always hit Control Z. If you select something. That's wrong. This, and this is one, this is going to be gold. I don't want this in the price to be the initial metal. So hold shift and select all of it and select the metal scratched, hit Assign. We forgot one face right there. We want to do the same for the other knee. Of course. There we go. Select it all. It's not that big of a deal, not that much work to do. And select a material and hit Assign. There we go. Let's see if the face has the proper material. Should be good. And I'm just going to move this back a little bit suppressed G of X, G. And let's just move it behind our character are right next to it. So it catches some of that initial lighting that we set up as well. We can always move the camera a little bit. So select it and press G and move that up a little bit. Just like that. Now let's render it out again. Alright, the render is done. You can see that all the materials are now applied correctly. And it basically measures the initial model of Ironman. It's just a little bit of extra work that you have to do to reapply some of these materials. But that isn't that much of a deal right? Now. In this tutorial, we've learned how to model. I remained in a low Polish tile, quite an interesting style. If you asked me, we've learned how to make a smoke simulation looked like the way you want it to look like and get the material rights. And we've even added this character in Mixamo and created a rig for a character to get it Any made it. So there's a lot of information in one to three, let's say. So I hope you enjoyed it. I hope you learned something from it as well. Then I'll see you in the next one. 12. Your Done!: That's it. You did it. You made it to the end. Congratulations. If you like Marvel characters, check out our other Marvel Carrie's to courses. And if you'd like Rick and Morty, we've got high poly classes on that too. Don't forget to check us out on social media. Tell us how you like the class. And last but not least, please drop a review on this class that helps us out a lot. And I cannot wait to see you on the next one.