Blender: Modeling Your First 3D Character

1. Intro: Have you ever wanted to make a 3D character? But the whole process seems really intimidating and confusing. If so, this course is perfect for you. My name is Eve, I am a freelance artist and in this course I'll be showing you how to make your very first character in Blender. You'll learn how to model UV, unwrap, texture, light, and render an image of this character. Here. I'll show you every step of the process and explain how in most importantly, why we do each thing. By the end of the course, you'll have a fully finished 3D character and you'll be able to competently build your own characters. This course is perfect if you're a beginner, but intermediate users can also find a lot of value from it. I'll show you each step of the process as well as all the hotkeys I use on-screen for complete beginners, I've also included a navigation cheat sheet in the description so you can refer to it while working on your model. Okay, without further ado, let's get started. 2. Part 1: Settings & Navigation: Before we start modelling, you need to turn on a few add-ons that are off by default in Blender, go to Edit Preferences, then go into the input tab. Here you want to turn on emulate three button mouse. After this go into the key map tab. Here you want to turn on tab for pie menu as well as extra shading pie menu items. And finally, in add-ons, turn on Add mesh, extra objects you can find in enable this by typing in the name in this field here. Enabling these is going to make your workflow much easier and faster after that, click here and Save Preferences. Okay, Now let's run through some Blender basics for those of you that are complete beginners, if you're not a beginner, feel free to skip this part. To rotate around your object. You use the middle mouse button. You zoom in and out with the wheel of your mouse. If you press Shift middle mouse button, you can pan around your scene. Now, I'll do a quick shortcut demo. I won't be demonstrating all of them because blender has endless amounts of shortcuts. But I'll show you the ones that we need. You press G to grab your object and move it around your scene. You press S and drag your mouse to scale your object up and down. You press R to rotate your object. If you press X, Y, or Z, after pressing R, you can constrain the rotation of the object to only one axis, e.g. here I press R and then x cube only rotates in the x-axis. Then if I press why, it rotates only in the y-axis, and if I press, it rotates in the z-axis, you can do the same thing when moving or scaling your objects. Next, I want to show you edit an object mode. Currently we're in object mode to go into edit mode, press tab, and here choose Edit Mode. In edit mode is where we adjust the shape of our object. Here you can edit the individual vertices, edges, and faces of your model. If you press one while in edit mode, you enter vertices selection mode, all of these little points here called vertices. You can select a vertex and use G to move it around. If you press too low in edit mode, you enter edge selection mode. Now you can select edges. This is an edge here is the line between two vertices. Here you can press G to move the edge, S to scale it, or R to rotate it. If you want to undo any point, you can press Control Z, which undoes your last command. If you press F3 in edit mode, you go into Face Selection Mode. Phases are where three or more vertices me to make a visible surface. So all of these here are faces. You can move, scale or rotate these faces with G, S, and R as well. Next, I want to show you sculpt mode. Sculpt mode, you don't edit the individual vertices, edges, and faces, but instead you alter an area of the model using a brush. In this tutorial, we'll be using scope mode to quickly adjust the shape of our model once we have the base, to go into sculpt mode, press tab, and then choose sculpting mode. Now here on the left you have a lot of sculpting brushes. We will mainly be using the grab, smooth and inflate brushes. I just wanted to show you sculpt mode so you know what we'll be doing later. Finally, I want to show you blenders modifiers. I won't be demonstrating all of them as that would be a whole separate course on its own. To find the modifiers, press on this wrench tool here, this is the modifier proper ace. Then click on the Add Modifier box. Here you can see all the modifiers you can add to your object in Blender. Each of these does a different thing. One that we'll be using a lot in this tutorial is the subdivision surface modifier. Let me just quickly show you how it works to add it to your model. Just choose it from this list here. What does subdivision surface modifier does is it splits the existing faces into smaller faces. And in turn that makes the objects mover. At the moment, the modifier hasn't been applied, so it's only a preview. So if you go into edit mode and now you can see that the cube is still made of six faces. So we essentially are just previewing the smoothing without it being applied. We have to apply to modify or if you wanted to actually smooth the mesh to apply to subdivision surface modifier go into object mode. Then from this little tick mark here next to modifier click Apply. Now the modifier has been applied to your mesh and your mesh is smoothed. You can see now when we go into edit mode, there more faces on the object will be using this for the tutorial to add more detail to our model, so keep it in mind for later. Okay, That concludes our quick beginner summary. I've also included a hotkeys cheat sheet in the description where you can start to familiarize yourself with the hotkeys. Keep in mind that blender has a lot of hot keys, but you don't need to know all of them. I'll be explaining more as we go along in the next part of the tutorial. So don't worry if you haven't picked everything up right away. I'll explain the shortcuts and the reason behind everything so you can understand how and why we do things. So now let's start modelling. 3. Part 2: Modeling The Body: Hi, In this part of the tutorial, we will start modelling our character before we can do that though, first, let's import our reference images. I have supplied these so you can get them from the course resources. We'll import our front reference first, press Shift a and select image reference. Fine, your front reference image unclick aligned to view and then load the reference image. Now you want to rotate it, press R to rotate and then extra constraint, the rotation only to the x-axis after that, type in 90 on your keyboard, that rotates the image 90 degrees in the x-axis. Now let's add a side reference the same way. Press Shift a and select image reference, find your reference image and aligned to view still unchecked, load the reference image, press R and then X to constrain the rotation and only to the x-axis after that type in 90, then press R to rotate again and then z to constrain the rotation only to the z-axis, then type in Nike again. Now we have both our references important. Let's position them. Select the side reference and press G and X to move it over to the left side, move the front reference back with G and Y. So it's not in the way. Now we want to reduce the opacity E of d images and position them so we can see them while we're modelling. Select one of the references and go down here in Object Data Properties enable opacity and reduce it to something like 0.08. After that set D image depth to front. This allows us to see the image in front of the mesh, which will make matching the proportions while modeling much easier. Let's do the same for this side reference, select the image and go into Object day appropriate is enabled the opacity and reduce it to 0.08. Then in depth, press on front so we can see the image in front of the model. Press numpad free for side view. Here we want to flip the side image so it's facing the other way. Press S, Y, and then type in minus one. This flips the image on the y-axis. Next, we just want to grab both references as well as the cube and move them up a bit, press Shift and click on the Free objects to select them all, then move them up with G and Z. You want the feet of the character to be at this red line. Nice. Now, everything is set up in facing the correct way. Let's start modelling tomato, our character. We're going to be using a technique called box modeling. Box modeling is when you use a simple shape, in this case this cube here to block out the overall shape of your model. Once you have the overall shape down, you go in and reshape the model to get it looking closer to your desired object. Reshaping involves changing the location, rotation, and scale of the vertices, edges, and faces. The box modeling technique is great for beginners. This is because when you're modelling is very important to have the base shape down first before you jump into details, box modelling really helps with that. So how will be working today is we're going to start very simple and then we're going to work our way to the details only after we're happy with the base. Now, let's start blocking out our model. Press numpad one to go into front view, select the cube, position it where the head is with G and scale it down with S. Here you want to make sure your references centered. And notice that mine is a bit off center, so I'm just moving you with g in x, so the center aligns with the blue line. Now we're going to start extruding this cube to block out the rest of the body, press Tab and go into edit mode. Press F3 for face selection and select this face on the bottom of the cube. Press E to extrude the face, then press S to scale down the newly extruded face. You want to scale this phase in, and you want it to be the size of the neck on the reference. After that, press numpad one for front view, press E again and extrude the selected face down like this click to accept the extrusion. This will be the neck. Now, let's extrude the shoulders and the torso with the face on the bottom of the next tool selected, press E to extrude again, press S to scale up the newly extruded face. Move it down a bit with G and Z. Now let's extrude a torso. Press E to extrude again and move the new face all the way down to the hips. Click to accept the extrusion. Press S to scale up this face and match the size to the hips on the reference. Now what we're going to do is we're going to delete half of this model and mirror it over. That way we can only work on one half of the module at a time. And then the result will get mirrored over to the other side. This way we can save a lot of time on modelling. To delete one-half of the mesh, we first need to add a loop down the middle here to separate the two halves. To do that, while in edit mode, still press Control R. Click to add a loop down the middle here. Now we can delete one-half of the mesh. Click on this little icon here to turn on x-ray mode. X-ray mode allows you to select the faces on the front of the mesh as well as the ones at the back. Now, drag your mouse and select the left half of the mesh, all the faces selected, press X and choose faces to delete the selected faces. Now we want to mirror over the remaining half of the model. To do that, go here into modifier properties. And from the Add Modifier menu at the mirror modifier, this mirrors the mesh over to the other side. Here, makes sure that clipping is turned on so your mesh is merge down the middle. Now when we work on one side of the mesh, the results will get mirrored over to the other side as well. Next, let's extrude the legs. Rotate to the bottom of the mesh here and select this bottom face, press I to insert the face. After that, press S and Y to scale the face in the y-axis, you want this face to be square. Now press G and Z and move the new face down. Scale it up to match the proportions of the leg on the reference. After that, I'm just killing in the y-axis again to make sure that phase is square's still. Once you're happy with the shape of the face while it's still selected, press E to extrude it. Extrude it all the way down to the bottom here, click to accept the extrusion. Now let's do the foot. Press Control R and add a loop on the bottom of the leg like this. After that, press F3 for Face Selection. Select this front face on the bottom here. Then press E ANY to extrude it. Click to accept the extrusion. After that, press one for vertices selection and select these front vertices, crash G and Z to move them down. Next, let's extrude the arms, press numpad one for front view, then press Control R and add a loop around the shoulder area here. Now press F3 for Face Selection. Select this face on the side of the torso. Press I to insert the face. Inserting it, unlike this gives us good flow of the loops around the shoulder. So once we rig and animate the mesh that we will allow us to have good deformations in the shoulder area when the model is bending with the new inserted face selected, press S and Y to scale the face in the y-axis. You want this face to be squared as well. Press G and X to move to phase out a bit. After that, press S, x and zero to flatten the face in the x-axis. After that, press E and extrude the face all the way to the end of the arm. Click to accept the extrusion. Nice work. Now we're done with extruding all the parts. Next, we're going to shape the box model we just created to match the proportions on the reference better. We're going to push and pull the existing vertices, edges and faces around to match the proportions as closely as we can only once we're happy with the shape, can we move our mesh. Okay, Let's start reshaping our mesh. First, let's turn on x-ray from up here. Whilst doing edit mode, press one for vertices selection. Select these vertices at the bottom of the foot and press S to scale them down a bit. That will make the foot shaped nice and tapered like in the reference. Select these vertices on the floor as well and bring them down with G and Z. After that, grab these vertices on the hips here and bring it in with g and x. Next, let's add some loops around the areas where the mesh will be bending. Once we smooth blender will then add more resolution around the areas where we are currently adding loops. So you'll just have more edges and faces to work with around those areas. Press Control R and add some loops. Add one to where the knee will bend, add one here at the elbow, and finally add one around the wrist. Here, scale the loop around the wrist bit with S to make the wrist thinner. Nice, That's good for now. Remember we're just blocking everything out so there's no need for details here. Next, let's fix the silhouette from the side. Press numpad free for a side view, select the vertices at the front and then shift select the vertices at the back of the hips. Press S and Y to bring those in like these vertices as well. And press S and Y to bring those out a bit. We're just trying to match the proportions here as close as we can with the load topology that we have. It doesn't have to be perfect. So don't worry, select these vertices are on the front of the chest here, and then shift, select this one at the back. Press S and Y to scale those in. Do the same on the bottom. Right now we're modelling the body that is underneath the clothes so we don't have to match the shape of the sweater. We will do the sweater separately. So we're just trying to get a good torso shape for underneath. After you're done, press Tab and go into object mode. Turn off x-ray mode from up here and hide the reference planes from here. Now I can more clearly see the model we did. It's very basic by matches the proportions on the reference. Now we are ready to smooth our model for the first time. First let's move the normals and then we'll add a subdivision surface modifier to smooth the actual mesh, to smooth the normals, right-click and choose Shade Smooth. That makes the normals of the existing faces smooth so all the individual faces don't look sharp anymore. Now, let's add a modifier to smooth our mesh, going to modify our proper 0s here and add a subdivision surface modifier. As you can see now the mesh looks much smoother like I mentioned in the first part of this tutorial. This modifier is currently only a preview in the viewport. So it hasn't actually been applied to the mesh yet. If you press Tab and go into edit mode, you can see that we still have the original model here. So the smoothing is just a preview until we actually apply the modifier. This is actually really handy as you can make additional changes in preview, how these changes will look on the mesh before you've applied the modifier. If we go back into object mode, go here and click Apply. You can see that now the modifier has actually been applied. So now you have more faces to work with and the meshes move. However, before we apply this modifier, we want to make some adjustments and hardened some areas. So just undo that. To undo, you can press Control Z. Now again, we have the modifier added, but it hasn't been applied. Now, let's hardened some areas before we apply it. How we do that is by adding extra edge loops, the areas we want to be sharper. Let me show you what I mean. Press Tab and go into edit mode. Go to the neck area. Here. We don't want to transition from the head to the neck to be so smooth. And instead we want it to be sharper. How we make that sharp part is by adding a loop close to the base of the neck to add a loop, press Control R, put it up here, and click to insert it. Now, you can see that the transition is much sharper. Let's do this for a couple of more areas where we want to have a harder transition, e.g. at the bottom of the neck here, press Control R and add another loop close to the base. Then press Control R again and add a loop to the hand here. Press Control R again and add one near the shoulder. And finally press Control R one last time and add a loop around the foot like this. Now that makes all those areas nice and sharp. Next, let's adjust the shape of the mesh a bit more before we apply the modifier, press one for vertices selection, select these TO vertices and scale them in S and X. Adjust the shape of the head as well to match the front end side reference better. The beauty of the blender modifiers is that you can preview them in the viewport before applying them. This allows you to make adjustments like these before committing. This saves a lot of time tweaking later down the line. Let me just turn off x-ray and the references so you can see what we've done. That looks really nice. Now, let's apply the modifier, press Tab and go into object mode. Next to the modifier from this little tick mark, choose Apply. Now your meshes moved when you go into edit mode, you can see that we now have more polygons to work with. Well, we're going to do now is we're going to make the foundations for our face topology and we would just silhouette of the character further. First, let me explain what topology is. Topology is the flow and organization of vertices, edges, and faces on a model. Good topology flow is very important when it comes to animated characters. This is because when the character moves, the model is going to be deformed. Good topology ensures that deformations look realistic. Otherwise the mesh will pinch, stretch, or just deforming correctly when enemy in truth be told, there isn't one correct way to do topology. Different artists do things slightly differently. There isn't an exact spot. You should place each loop. However, no matter what your topology flow is, you're aiming for good deformations. General rules you want to remember is to not place triangles in areas that will be deforming a lot. And to not place poles in areas that will be deforming a lot as well. So you want to avoid placing these in the corners of the mouth really close to the eyes, at the elbows or the knees and other areas that will be bending. In terms of face topology and easy way to get good deformations is to make your topology or edge flow follow the structure of the muscles in the face. This way, when the face moves and the muscles contract, the deformation we will look believable. We're going to do now is make a base for good facial topology on our model. Let's start press Tab and go into edit mode. Then press F3 for face selection. Shift, select these two faces after that, press E to extrude them in S to scale down the extrusion. We do this so we can have a nice rounded continuous loop around the eyes. This will later be very helpful when you rig and animate your character. Let's do the same for the mouth area. Select this face, then press E to extrude the face. Click to accept the extrusion, then press S to scale in. Now we have a nice rounded continuous loop around the mouth as well. Move to newly extruded faces are a bit with g and y. You're just trying to make the curvature of the face nice. You don't want these new faces to be to indent. Now we're going to shape the body to match the reference even better. Now that we have more polygons to work with, making more complex shapes will be possible. Let's start with the hip area, press Tab and go into edit mode. Press one for vertices selection. Select these vertices around the leg in position them to match the reference closer by pressing G and Z. Next, I'm just moving the hand in the x-axis with G and X. This here will be the palm of the hand, will extrude the fingers from that later on. After this press Tab and go into object mode. From the Modifiers tab, add a subdivision surface modifier. Don't apply the modifier yet. We're just adding it for now. Now, here you can see that the legs are an odd shape. Let's fix those now, press Tab and go into edit mode. The reason it looks odd is because the legs on my model or a bit too wide on the y-axis to fix that, press two to go into edge selection, Double-click on the edges and then scale them in by pressing S in y. Here, remove this edge loop by double-clicking it, then right-clicking and choosing dissolve edge. This was an age we didn't really need as it was too close to this edge here. Next, I continue to adjust the leg shape. After I'm happy with the legs, I press one for vertices selection. I choose the vertices at the front and the back of the pelvis, and they moved apart with S NY. Now that area has a nicer shape. Next, let's adjust the shape of the head where x-ray turned on, grabbed the individual vertices in position them to match the reference with G. A lot of books modelling is just grabbing in tweaking individual vertices. Personally, I find that super fun and therapeutic even once you get used to modelling, it's almost like meditation, trying to match your model to your reference by tweaking everything. Nice. Now everything matches the reference pretty good. Anyway, now, ready to apply the subdivision surface modifier, press Tab and go into object mode. Next to the modifier, click on the check mark and choose Apply. Now our meshes moved further. This is the stage where we will be adding the most detail to our model will make the eye area, the mouth, the nose, and the hands. Let's start with the eyes first, press Tab and go into edit mode. Press one for vertices selection, shift, select these two vertices here, then press X and choose vertices to delete the selected vertices. This opens up a whole for the eye, as you can see here, we have the nice continuous loop we made for the eyes earlier. Now we just want to shape the opening here to match the eye shape of the reference. Press numpad one for a front view, turn on the reference from here. If you've hidden it. After that, grabbed individual vertices on the opening and move them to match the shape of the eye. With GI. You want to move the neighboring vertices a bit as well. So everything is spaced out nicely. Make the opening slightly bigger than it is on the reference. These variances in the corner of the eye, you want to move in the y-axis as well. Shift select those and press D and Y to move them into y-axis. The whole time you're working on your model, you want to be working from multiple angles. This is because something might look really nice from the front, but then it can look really Genki from a side angle, which is never good surprise. So rotate around your model a lot while you're doing the eyes. Shift the vertices too close to each other. So I'm just pasting them out with G. Any. Next we want to move the whole eye area inwards to do that, press two to enter edge selection mode. On the eye-opening loop. Then while holding down Shift, select these three loops around the nose area as well. Press G and Y to move those edges into the head a bit. This helps me make the facial bone structure. Here. I'm just further adjusting the vertices and making sure they're nicely spaced out. Next, what we want to do is extrude the eye-opening inwards that will make nice circular edge loops around the eyes, which will mimic the circular muscle that exists around the eye in real life, this will help everyone to rig and animate your character. Press two for edge selection. Double-click to select the eye-opening loop, then press E to extrude it, click to accept the extrusion. Then press S to scale the new edge inwards. Now you can see that when we press Control R, we can add circular loops around the eyes. This is good as it matches the shape of the eye muscle, like I said before. Next, I'm just scaling up the circular loops around the eyes a bit. I double-click to select the edge and then press S to scale it. Then I adjust the vertices around the eye manually, making sure that they're nicely spaced out. Here. Continue adjusting the vertices by pressing G. I'm trying to space them out so there's no pinching. And I also tried to keep the edges straight. Spacing these vertices are also ensures that there are no hard edges or lines in the silhouette of your character. Nice, That's looking good. Now next let's block out the mouth. Press F3 for Face Selection. Shift, select these male faces here, press X and choose faces to delete the selected faces. Then press two for edge selection, Double-click here to select the opening of the mouth. Press E to extrude it. Click to accept the extrusion, then press S to scale it in. We want to shape the opening of the mouth. Now, press one for vertices selection. Then select the individual vertices and move them around with G and Z and G and why? Here you're aiming to make a nice curve for the mouth. So keep adjusting these vertices and dessert and y-axis until you get a nice curve. Okay, Nice. Let's move on from the mouth. Now. As you can see here in the head, there are some pinching around this circular loop we added where the eyes are. This is because the vertices here are too close to each other. So even if we add a subdivision surface modifier, this pinching won't get fixed. How we fix it is by going into edit mode in spacing those vertices out. So that's exactly what I'm doing here. I'm just spacing these vertices out. I press G twice to slide the vertices along the surface of the model. That allows you to move the vertices around while also retaining the shape of the face. Nice, that looks much better now, we can leave the protruding area above the eyes because that will be the brown line. Now that we have the base of the face, Let's continue shaping it. Press Tab and go into edit mode. Press one for vertices selection. Select the vertices at the front of the mouth. Then you want to turn on proportional editing from up here. Proportional editing allows you to move the selected vertices together with the surrounding area around them with a smooth fall off. So if I press G and move the vertices now, you can see that the area next to them is affected as well. You can scroll up or down on your mouse to increase or decrease the area that proportional editing effects. Here I'm just decreasing the area proportional editing effects by scrolling down on my mouse. And then I press G and Y to move the whole lower face area forward. After that, I select the middle of the nose here and bring that area in words. Here, my side view doesn't exactly match the reference, especially in the eye area. Sometimes that happens when you draw your own reference like I did. And you don't exactly nailed down the side view, but don't worry, as long as your model looks good from all angles, it doesn't need to match this side reference exactly. Next, let's match the mouth position to the reference. Press one and select all the vertices around the mouth. When proportional editing still turned on, press G and Z to move the mouth up a bit. Now press numpad free to go into side view. Here you want to match the shape of the front to the reference a bit better. Here I'm just adjusting the individual vertices to try to match the proportions better. I also strengthened these horizontal head loops by double-clicking on them to select them, and then pressing Z and zero to string them. I do this so things aren't wonky and they're a bit tight ear. Okay, next, let's quickly block out the nose. After that, we'll make everything look nice and tidy the messy areas while in edit mode, press F3 for Face Selection shifts select these three phases. After that. Press Num pad free for side view and press E to extrude the selected faces. Click to accept the extrusion. Press R to rotate the fetus slightly after day or press one for vertices selection, select the individual rows of vertices and start moving them with G so they match the shape of the nose in the reference. If you press Num pad one for front view, now you'll see that the nose is too boxy and wide. Let's fix that now. Shifts select the vertices on the side of the nose and move them in with g and x, that makes the nose narrower. Next year also want to move the same vertices in the y-axis a bit. Press G. And why to do that? Now, let's connect the nose bridge to the forehead. Press F3 for face selection. Shift, select these two faces. Then press X and choose faces to delete them. Now we want to close off this open area. As you can see on the bottom, we have two faces and on the top we only have one phase to close the area of properly without creating bad topology, we need to have two faces on the top in two phases on the bottom. So this way we can connect them without creating triangles. You should avoid putting triangles in the face. This is because it creates pinching. Once you rig and animate your model, if you want to put triangles, you want to put them in areas that wouldn't be deforming. So e.g. we can put some at the top of the head or the bottom of the chin where things won't be deforming too much. The press Control R to add a loop. Now, it adds a loop around the whole model. That's not ideal as it creates a lot of unnecessary faces in places where we don't need them. So what we will do instead is we'll manually cut in the new edge loop. This way we won't have any unnecessary loops and we can place a triangle where we want it. Press K to activate the knife tool, click your mouse to start cutting from this point here. This creates a triangle. Up here. A triangle there is, okay, because the area one be deforming once we rig and animate the character. Once you've reached the end here, press enter to accept that newly cut edges. Awesome. Now we have two phases on the top, in two phases on the bottom. So we can connect these edges while the flow of the edges remains good. Press two for edge selection. Select this edge here, and then shift select the bottom one, press if to create a phase between the selected edges. Do the same for the other to select the top edge and then shift select the bottom edge, press F to create a phase between the edges. Nice. Now we have the base of the face or laid-out only need to do is shape everything a bit more. Here I'm just adjusting the shape of the nose further. I press one to go into vertices selection mode and then moved individual vertices with g to match the shape of the reference better. While I'm moving the vertices, I tried to keep each phase square. Here. I'm enabling the subdivision surface modifier in the viewport. Then I continued to make some more adjustments. Now that we have a good foundation for the face, we can start paying more attention to the details. So we're just trying to match the reference more closely now. Here you can also use coped mode to quickly fix the shape of some areas. Press Tab to go into sculpt mode. Here you can use the grabbed brush. What the grabbed brush does is it moves the vertices in the selection area around the brush. Here and Sculpt Mode, you can press F to increase or decrease the area that the brush effects. I'm just using the grab brush to give the face and nicer shape and then moving the sides of the mouth a bit further in. Another brush that comes in super handy here is the smooth brush. It does what the name says. It smoothes your mesh. You can increase or decrease the strength of the brush from up here. I just used the smooth brush to smooth out some of the bumpy areas. Now let's shape the lips properly press Tab and go into Edit mount. Press one for vertices selection, Let's pull the vertices around the mouth to make the protruding shape of the lips turned on x-ray from up here. After that, select the vertices around the opening of the mouth and move them forward with G. And why? Move the bottom ones forward and slightly up as well. Here you're just trying to match the silhouette of the lips from the reference. After this shift, select the two vertices in the corner of the mouth and move them back with G. And why this creates a little dimple like shape which makes the area look a bit more fleshy and organic. After this, I continued to adjust the spacing of the vertices while making sure they're not too wonky. Here, I'm trying to keep the edges straight in the face is a square as possible. Again, I've pressed G twice to slide the vertices along the surface of the model. So yeah, I'm just continuing to make lots of small adjustments to individual vertices. These small tweaks will help the overall shape and make everything come together. So just keep adjusting everything in, make sure it looks good from every angle. In the process of adjusting everything, I use edit mode for final adjustments and sculpt mode for adjusting and moving bigger areas. Here, I'm using the grabbed brush to bring the bottom of the mouth a bit further in, so it doesn't look like the character has an under bite. I continue to adjust and tweak until I'm happy with the shape, I make the cheek area chubby and the bottom of the face a bit narrower. Nice, are done with shaping. Now let's make the inside cavity of the mouth. We do this so we can have something inside the mouth to hold the teeth and tongue. I won't be showing you how to make the teeth and tongue in this tutorial, but you can easily do them using the same techniques we've learned so far. You can use a cube to block them out and then add detail as you go along. I might even provide teeth and tongue models in the course resources if that will be easier for you guys. Okay, Let's make the inside of the mouth now press Tab and go into edit mode. You can temporarily turn off the subdivision surface modifier from here to see what you're selecting more clearly, press two for edge selection. Double-click to select the opening of the mouth. Rotate the camera inside the head so you can clearly see what you're doing. Now press E and y to extrude the selected edge. Press E ANY a second time to extrude again. After that, grabbed individual edges and space the top from the bottom by pressing G and Z. Once you have the edges spaced out, Double-click to select this edge loop, press E, and why again to extrude it in no y-axis. After that, press S and Z to scale up the loop and the z-axis. Press one for vertices selection, or just the shape of this loop here, so it's not too sharp. Then press two for edge selection and double-click to select this end loop. Once again, press E and the y to extrude it, press S and X to scale the new loop in them press E and the y to extrude. Again, scale this loop down as well. And one last time, press E and y to extrude and then S to scale the new loop down. Now let's close off this area selected top and bottom edge here and press F to make a face between them. Do the same for the rest of the edges as well. After this, press one for vertices selection. Here you want to space the vertices out a bit and make the shape of the inner mouth cavity a bit more rounded. So you just want it to be a bit smoother. Here, I'm just pressing G to space the vertices out, or trying to make the face is a bit more square. It's good practice to keep all the phases on your model a square as possible. You should avoid leaving really long rectangular faces. So again, I'm just tweaking the individual vertices to make the overall shapes smoother. Here I'm just getting the loops and the z axis to make the cavity wider. This is where you can fit teeth and the tongue without clipping through anything. Nice. Now you can see that we have an inside part of the mouth, so it's not just an empty hollow space. Next, let's extrude the eye loops inward so we can make the eye waterline press Tab and go into edit mode or S2 for edge selection, Double-click on the I loop to select it, then press E NY to extrude it inward. Let's hardened this area a bit. Press Control R, and add an edge loop on the inside here. Next I'm just going in enclosing the opening of the mouth to close it grabbed individual vertices and move them down with G and Z. While doing this, you can turn off the subdivision surface modifier so you can see what you're doing more clearly. Nice, That's the face all done now, let's add the eyeballs next. Press Shift a and add a round cube. If you don't have a round cube as an option here, make sure you have added mesh, extra objects enabled from add-ons. Right-click the Round Cube and choose Shade Smooth after that ad and apply a subdivision surface modifier from here. Then press Tab and go into edit mode. Press a to select all the faces of the object and then move it up with G and Z. Scale it down with S in position inside the eye cavity with G. Here makes sure the eye isn't clipping with the lid and it isn't sticking out too much. Now let's mirror this I object, press tab and go back into object mode from the modifiers list at the mirror modifier. Nice, now she has two eyeballs. Next we're going to make the eyelashes press Tab and go into edit mode. For speed's sake, we're just going to duplicate the faces around the eye and make that into the lashes by adjusting it afterwards. Press F3 for face selection. Shift, select the faces around the eye. Then press Shift D to duplicate the faces. After that, press P and choose selection to separate the phases. Now when we go into object mode, you can see that the lashes are a separate object from the head. If you want to see things without the subdivision modifier on it, you can turn it off from here. Next, we just want to separate the bottom lashes from the top ones. Select the lashes object, press Tab and go into edit mode, shift select these bottom faces, then press P again to separate the selection into its own object. Now we have two objects, one for the top lashes and one for the button. Makes let's go into edit mode and adjust the shape of the top lash. Use G to move the vertices around and make sure that they're not clipping with the eyelid. Here these n vertices are clipping, so I'm just moving them forward with G and Y. On the inner corner here, make the end thinner by moving this front vertices in words. Now let's do the bottom lash press Tab and go into object mode. Select the bottom lash press Tab and go into edit mode. As you can see on the reference, the bottom lashes much shorter than the top. So what we can do is we can delete this face here, press F3 for face selection, and select this inner corner face. Then press X and choose faces to delete it. After that, press one for vertices selection, start adjusting the shape of the lash to match the reference. Now let's extrude the lash hairs on the button. Press Control R, and add some more edges where the latch here need to be extruded from. After that, press two for edge selection. Shifts select these two edges and press E to extrude them. Press G and Y to move the extruded edges a bit forward. After that, press Control R and add some edges to the ends here. And at the base of the lashes to harden those areas. Next, I'm just going in and manually adjusting the position of the vertices so there's no gaps between the face and the lashes. It's really good to keep rotating around your model at this stage to make sure that the adjustments you're making look good from every angle. That way you can spot mistakes and gaps too. Nice. Once you fix the gaps, you're all done with the lashes. Let's add the eyebrows now. In object mode, press Control a and add a round cube. Right-click the Round Cube and choose Shade Smooth. Add in applying subdivision surface modifier to the object. After that, scale the cube down with S and move it up with G. Next, you'll want to flatten the cube by pressing S and Y. Then press S and Z to make it elongated. After you're happy with the shape, plays the cube on the face with g. Here you rotate it by pressing R. Make sure that the cube isn't clipping the face at this stage. To fix the clipping, adjust the rotation and position of the eyebrow. Next, we want to mirror this object, as you can see, because we moved it in object mode and not in edit mode, we have some values here. The pivot point is also in the center of the object instead of the center of the scene. This will cause some issues when we try to mirror our object. So if we tried to mirror the eyebrow now it doesn't work properly. This is because the mirror modifier works based on the pivot point. To reset the pivot point in the center of the scene, 4. Part 3: Modeling The Hat And Hair: Hi guys. In this part of the course, we'll be modeling the hair in the Hat. I'll show you a really easy way to do Harris transform curves that you can adjust as you go along. Okay, Let's get started. Press Shift a and add a path curve from here. After the press Shift a again and add a circle curve. Shift, select both of the curves and move them out of the way we g, You can also scale them down with S. After this, select the circle curve and rotate it by pressing R in, typing in 90. Now what we're going to do is we're going to make this path curve follow the shape of the circle, select the path curve, and go into object data properties. Then in Geometry, going to bevel and then click on object. After that with the eyedropper tool, select the circle curve. You can see now that the path curve has been extruded in the shape of the circle curve. The shape of the path curve is now controlled by the circle. If you select the circle curve, press Tab and go into edit mode, you can now move these points here, as you can see, once he moved them, that changes the shape of the path curve. You can also select the path curve and move its points independently. That makes the setup ideal for making hair strands. Now, let's grab this bottom point on the circle here and move it up with G. After that, grabbed the side point and rotate the handles like this with our then move down the point G. You can see that it makes the strand flat on the bottom. Now let's adjust the shape of the path curve, press tab and go back into object mode, then select the path curve in press Tab to go into edit mode. Here you can select individual points in press Alt S to scale them up or down. Alt S is how you adjust the thickness on the points on the hair strands. For this hair strand, let's just make the ends really small. Select the endpoint and press Alt S to scale it down. Do the same on the other side. Nice. Now the strand is nice and tapered on both ends. Here. While in edit mode, you can press Control T to twist points. This is great for wavy or curly hair. Shape, this trend, you can press G to move the points around. If you find that you don't have enough points to work with. In some areas, you can sub-divide to add more points. To sub-divide, select two points between which you want to put a new point. Then right-click and choose sub-divide. This adds a new point in the middle here that gives you more control over the shape of the curve. And that is pretty much everything you need to know about this setup. It's really straightforward in great to use for hair as it's so adjustable here, I'm just pressing Control Z to undo all of the twisting I did until the hair lays flat. Nice. Now let's start placing some strands on the character. You can grab this original strand or you can duplicate it by pressing Shift D. Then you want to move it in place with GI after this press Tab and go into edit mode, then select all the points on the curve and press R to rotate it. From this menu here you want to be sure that your transform pivot point is sent to bounding box center and not individual origins. So you can freely rotate your curve. So yeah, just make sure it's set to bounding box center. Rotate this trend in place. We are. Then start moving individual points with G. We're just trying to match the shape of the French trend on a reference. While you're doing this, make sure you're rotating around your models so you know that it looks okay from all angles. I'm just rotating the horse trend with R and then moving individual points when G, I'm not being too precious with matching everything 100 per cent at this stage. I'm just trying to get a nice curve. Here moving the horse trend back with G. Once it starts clipping the head, I fix it by bringing some points a bit further out. There's a lot of back and forth at this stage. So be patient with yourself. Keep tweaking the shape and you'll get there. Here I'm selecting the middle points on the strand in pressing Alt S to scale them up a bit. That makes the hair strand a bit chunkier. Then I continue to adjust the shape. After this, we want to add another strand to the front here to fill out this front section. Press Tab and go into object mode. Select the strand with just shaped in press Shift D to duplicate it. Then press Tab and go into Edit Mode. Start shaping this trend by adjusting the individual points. Scale the second strand down a bit by pressing Alt S. Then press Tab and go into object mode. Shift select both strands, then press tab and go back into edit mode again. By doing this, you can adjust both strands at the same time, which is really handy. After I got my strands in place, I decided that they're a bit too thick to change the thickness, press Tab and go into object mode. Select the circle curve, controlling the shape of the strands, press Tab and go into edit mode. Select this top point and move it down with G and Z. This makes the strands less bulky and more manageable. After this, continue adjusting the shape of the strand. You can press Control T to tilt them and moved individual points with g. To be honest, there is no big secret on how to get these looking nice. Mainly you're aiming for a nice even curved shape on the points and you want it to look good from every angle. So lots of little tweaks is how you get there. After you're happy with this front section, press Tab and go into object mode, select the second strand and press Shift D to duplicate it. This will be this trend in front of the ear. Select the new strand and press Tab to go into Edit Mode. Start shaping it by moving the individual points with g. Here you want to twist the bottom points by selecting them and then pressing Control T. Keep adjusting it until the shape looks good from all angles. Once you're happy with this trend, press Tab and go into object mode. Now I'll make the hair strand going over the ear. In object mode, select the last hairs trend in press Shift D to duplicate it, then press Tab and go into Edit Mode. Start moving the point when g, you want this trend to be above the ear. Continue tweaking and adjusting the shape with g. Match the side and front reference as close as you can. Select this point and scale it up by pressing Alt S, that makes this trend a bit thicker like in the reference. Here, I decided I don't like how short the front strands are, although I've drawn them short in the reference and it looks good there. I don't think that works in 3D. So what I'm going to do is I'll just make them longer to do that. While an object mode shift, select both strands, press Tab and go into edit mode, select the bottom points and move them down with G. Nice. Now this side looks all good. Press Tab and go into object mode. Now we want to copy in flip these trends over to the other side. Let's just join them into one object first, so it's easier to flip them in object mode, shift select all of the strands. Then press Control J to join them into one object. Now when you press Tab and go into edit mode, you can edit all the strands at the same time. You can also still edit the individual strands on down to do that, select one point on the strand that you want to edit, then press L to select all of the linked points. Now you can press G or are to edit just this one strand. If you're all done, we can now flip the object over, press Tab and go into object mode. Before we duplicate and flip it, we want to apply or transforms. To do that, select the object, press Control a and choose 0, transforms the zeros out all the transformations, sets the scale back to one and move the pivot point to the center of the scene. Now I can flip these strands to the other side, select the strands object and press Shift D to duplicate it. Then press S x and then type in minus one. This flips the object to the other side. After this, you can press Tab and go into edit mode. You want to adjust the shape of the strands on this side so it's not completely identical to the other side. Adding a bit of asymmetry to your character makes them feel a bit more natural. Next, we'll do some trickery for the hair and they're the hat you could model or the strands under the hat if you wanted to, but that would take a lot of time. So if you do each and every strand in bed at the hairline, that would be a very long process. So what we'll do instead is we'll make a hair cap which will have the same color as the rest of the hair. This hair calf will be hidden under the hat so it won't be noticeable and it will save us a lot of time. This type of hair cap is often used in video game characters and under short hair. Okay, let's get started. In object mode, select the body, press Shift D to duplicate it will grab the hairline geometry from this duplicated model. Press slash on your keyboard to view only the duplicated object. Then press Tab and go into edit mode risk-free for Face Selection. Shift select all these faces for the hair line. After that, go here into select intake on invert the inverse your selection. Then press X and choose faces to delete the selected faces. Now, all we have left is the hair cap. You can adjust the shape of the corners by pressing one for vertices selection and moving the vertices with g. When you're done, press Slash again, unhide the rest of the objects. As you can see, the hair cap is clipping a bit while in edit mode, still press a to select all the vertices. After that, press Alt S to scale them along the normals, you can fix any remaining clipping by hand. And with the hair cap is done. Next, let's apply some materials to the hair so you can see what it will look like. Press Tab and go into object mode. Select the hair cap, go into material properties here. Click on the minus here to remove the currently applied material. Then press on the plus sign to add a new material slot. After that, press on New to create a new material. This will be the hair material. Name it by double-clicking on the material name after this, click on the box next to base color and change the color to black. Then click on this button up here to enable material preview. Now you can see the actual color of the materials in the Viewport. Next, let's just quickly apply the same material to all the hair strands. Select one side and then from material properties, click on this icon here, choose the hair material we created. Do the same for the other hair strands in the eyebrows. Now, this one material controls the color of all the hair on our model. Nice. Now let's move on to the hat. Here. I'm just going back into solid view from this button. Now let's add a round cube to start the hat press Shift. A and add a round cube. From this ad ran Q menu, set the radius to one. Right-click the cube into Shade Smooth. After that from modifier properties, add a subdivision surface modifier. This moves the object in the viewport. After this, press G and Z to move the object up, scale down the object with S. Now let's delete the bottom half of the object. Turned on x-ray from here, press Tab and go into edit mode. Press F3 for Face Selection. Drag, select the bottom faces. Press X in, choose faces to delete them. Now we have a half sphere. This is going to be the base of the hat, moving down with G and zed and scale it to match the reference with S and Z. After that, scale it up in the y-axis a bit, but pressing S and Y in, rotate it so it matches the angle of the hat in the reference. You want to make sure that there's no clipping here with the hair cap in the skull. The clipping on the strands we can fix by moving this trans out of the way after this press Tab and go into object mode, we will now add a solidify modifier to the cap to add some thickness, go into modifier properties. And from add modifier at the solidify modifier, thickness, put in a value of -0.05 that add some thickness to the outside of the hat. Now I just want to adjust the shape of the hat a bit more. Select it and press Tab to go into edit mode. You can't see the individual vertices because of the solidify modifier. To get around that, you can turn on x-ray from up here. Now you can see the vertices behind. Press one for vertices selection. Move these back vertices inward a bit so there is no gap between the head and the hat. Nice, That's looking better. Next, let's adjust this hairline, press tab and go back into object mode. Select the hair cap object and press Tab to go into edit mode. Moved these front hair line vertices up with G, so they line up with the edge. Now let's shape the hat a bit further, press tab and go back into object mode. Now we can apply to solidify modifier, go into modify properties here and from the tick mark next to solidify, choose apply because we have a subdivision surface modifier still on this part on the bottom of the hat got flattened to fix that press Tab and go into edit mode. Press Control R and add a loop close to the front here and one close to the back. That hardens the area backup. Now let's make the hat brim. Press Control R and add a loop to the middle here. After that, press F3 for face selection. Shift, select these faces. Press numpad free for assigned view. Then press E to extrude the selected faces, move them down with g. In this extruded area will be the hat brim, press Num pad free again for a side view and then move the faces down slightly with G. After that, press Control R again and add a loop around the end and at the base of the brim that hardens those areas a little bit. Now, turned on X-ray and press one for vertices selection, select the brim and vertices here. Scale those in with S and X. Now I can make the front opening of the hat, select the hat and press Tab to go into edit mode will have to remove some faces in the front here to make a whole. Press F3 for Face Selection and shift select these two faces, press X and choose faces to delete them. Now you have to delete these back faces too. The back faces are there because we applied the solidify modifier earlier to delete the back faces, shift, select them, press X and choose faces. Now we want to bridge these gaps so there's no holes to easily see what you're selecting. In bridging, you can temporarily turn off the subdivision surface modifier from this button here. Now you want to press two for edge selection. Shift, select these two edges. Press F to make a face between them. Now do the same for the rest of the edges, shift select them, and press F to make a phase between each set of edges. Now there's no more holes. Next, Let's shape this opening a bit better. Turn on the reference. Grabbed these two corner edges here and scale them in with S and X. After that, select all these bottom edges and scale those in as well. S and X. We're just trying to match the shape of the hole in the reference. Make sure you're working from multiple angles so there's no weird bumps in your model. Now you can enable the subdivision surface modifier again from here. Okay, so that's looking good apart from we just want to harden this area at the front. To do that, press Control R, scroll on your mouse and add a few edge loops, this inside area. After that, press Control R and add some loops to the two corners like this. Last thing we want to do on the hat is to soften it as a whole and then harden some specific edges. While in object mode, select the hat, right-click it and choose shades. Move that smooths the normals on the whole object. After that, you want to come here in object data properties and under normals, you want to enable auto smooth, sent the angle here to 60. Now let's manually hardened some specific areas, press Tab and go into edit mode. Shift select all of the edges running along the outer and inner rim of the hat. So you want these edges selected. After that shifts, select the edges around the opening on the front as well. Then right-click and choose mark sharp. That makes all the selected edges sharp. As you can see when we go into object mode, or the edges we selected are nice and sharp. Nice. Good job so far. Next, I'm just going in and fixing where the hair clips the hat. I do that by adjusting the individual hair strands in edit mode. Try to make sure that there's no gaps and no clipping. I also go in and adjust the vertices or the front of the hair line further. Here you can turn on material preview to help you see things more clearly. The contrast between the black hair and the white on the other models will show you where there's clipping and problem areas. So yeah, you just want to continue adjusting until you see no more issues or gaps. Finally, let's model the pigtails. We'll do them the exact same way we did the strands, but instead of using the same circle we created before, we'll add a new source circle for the pigtails to add a new curve, press shift a curve and a new circle curve rotated. We are in positioning next to the other one with g. Now we're just going to replace the old circle curve with this new one. Here I'm using a duplicate of the original path curve we started with. If you don't have a path curve from before, you can add a new one to your scene by pressing Shift a going into curve and then choosing path. After this, we want to go into object data properties, then go into geometry. Bevel, click on Object in from the eyedropper tool, select the new circle curve. Now the path follows the shape of the new circle curve. Here by Ns are scaled down because I'm using a duplicate of the original path curve we made. If you remember, we scale down the ends with Alt S in case you've added a new curve to your scene, the ends will be wide and open like this to make them tapered, select the path curve, and go into edit mode. Here you can select the end point and press Alt S to scale them down. Okay, now let's use this as a strand for the pigtails. While in edit mode, still select all the points and press S to scale down the whole curve. Press G and position it on the head. After this, select these points here and press Alt S to make the curve thinner in that area. Now you want to start matching the position of this trend to the reference. Remember to rotate around your model while you're working, your model looks good from every angle here you want to continue adjusting the position and rotation of the strand until it matches the front inside angles a bit better. It doesn't have to be 100% precise in this case, but try to match it as close as he can. After you're happy with the position of this trend, you can duplicate it. To do that press Tab and go into object mode, select the strand in press Shift D to duplicate it. After that press Tab and go into edit mode. Select all the points, press R to rotate them, an S to scale them match the position and size of this trend to the reference. Moved individual points as well to get a nice shape. After you're happy with the second strand, press tab and go back into object mode, select this object and press Shift D to duplicate it. This is going to be the third strand. Place it under here and try to match the reference as close as he can. Once you're happy with that one, just duplicate it one more time, rotate it with R and scale it down with S and Alt S. Nice. After we're done with the general shape of these trends, we can position them better in 3D space. At the moment, I have them laid out a bit too flat. That might work in 2D, but it doesn't look very good. And Friday, to fix that, you can grab the individual strands and press Tab to go into edit mode. Then you want to rotate each trend by pressing R, rotate them around so they fill out the pigtail shape a bit more. You just want them to be a bit fluffier in less flat. While you're working on these, make sure that you're rotating from multiple angles. You want to make sure that the strands will look good no matter where the camera's position. Here, I decided to add one extra strand that's not in the reference to just fill out the shape a bit more. I do that by going into object mode, grabbing one of the strands and pressing Shift D to duplicate it. Then I press tab and go into edit mode. I grab all the points and press R to rotate them. Keep adjusting until you're happy with the shape. Nice, That's looking better. It works from all angles. Next, we just want to apply the hair material to all these trends as well. Select each strand and for material properties from this icon, choose an apply to hear material. Here I'm just doing some more minor tweaks. I just rotate the strands a bit more. Once you're 100% happy with these, you can merge them into one object and then flip them to the other side to do that press Tab and go into object mode. After that shift, select all the pigtail curves. Then press Control J to join them into one object. Now you want to apply all transforms to this object before duplicating it and flipping it to the other side to apply transforms, press Control a and choose 0 transforms. Now I can duplicate this pigtail object, select the object and press Shift D to duplicate it. After that, you can type in S x and then minus one to flip it. Or you can just type in minus one in the x field here. Beautiful. Now you have the second pig tail. You can rotate it and I just individual points a bit, so it's not exactly identical to the other side. It's always good to add some asymmetry. And with that, we have finished the hat and the hair of the character, amazing work so far. In the next part of the course, we'll be finishing off the modelling stage by making all of the clothes in the accessories. Okay, bye for now. I'll see you in the next one. 5. Part 4: Modeling The Clothes: Hi guys. In this part of the course will be modelling all the clothes in the accessories. Let's get started. First, we'll make the sweater. To get the geometry for the sweater, it will use a copy of the body mesh. Wow, on object mode, select the body and press Shift D to duplicate it. Now we have a copy of the body selected and then press slash on your keyboard. This isolates the selected object in the viewport. Now press Tab and go into edit mode. Press F3 for Face Selection and turn on x-ray from up here. Shift select all these phases, then add these phases to the selection as well. Nice. Now at all of those faces selected go up here and from select, choose inverse, this inverse, your selection. Then press inks and choose faces to delete the selected faces. Nice, that leaves us with the base of the sweater. Press a to select all the faces, and then press Alt S to scale them up along the normals. We do this so the sweater doesn't clip the body. Now Chris slash on your keyboard to make all the other objects visible again, if I turn off X-ray now, you can see that the base of the sweater is all good and it doesn't clear up anywhere. Now what we want to do is adjust the shape of the sweater by moving the vertices. Press numpad one for front view and then press one for vertices selection. Turned on x-ray from up here. Now let's just straighten the loops on the torso. Select these bottom vertices and press S in zero to straighten them. Straightening loops like this is good practice. So your models and nice and tidy do the same for the other torso vertices. Select each row and then press S in zero to straighten them. Now we're going to start shaping the sweater. Select these vertices on the side here. Then from this button, turned on proportional editing. Now when you move the selected vertices, the area around them will move as well. You can scroll up or down on your mouse to increase or decrease the area. Proportional editing effects. Now press G and X to move the vertices out a bit. Select the top vertices, and then press G and X again to move them out. We're just trying to get a nice curve shape to match the reference. Here on the bottom. You can bring these in a bit with G and X as well. Nice, That's looking good. Now let's move on to the slave were proportional editing still turn on, select these vertices. Press S to scale the vertices and the surrounding area. Up. Here you can press two for edge selection and then scale each loop up to get a nice smooth shape. Scale these loops so the angle between them isn't sharp and they have a nice smooth transition between them. You also want to move them apart with G So there as evenly spaced as possible. Nice, That's looking better. After this, press one to go into vertices selection, select these vertices and move them with G and X to match the length of the sleeve on the reference. Here I'm just selecting the end loop and making sure it's nice and tight around the wrist. I do this by scaling it down with S. After this, I go in and scared the loops around the shoulders. I select each loop and press Alt S to scale it down. I do this so I can more closely match the reference because we have so many lives close together here this area will need a bit more adjusting, press two for edge selection. Scale. Each loop down a bit with this until we have a nice smooth transition. Here, we can actually remove one of these edges because they are a bit too dense in this area. To remove the edge, double-click it, then right-click and choose dissolve edges. Typically what your models, you should aim to have similar polygon density in each area. So what that means is your polygon should be a similar size or across your model in some areas where you have a lot of deformation though, it does help to have some more edge loops. So it's okay to have more edge loops around knees, shoulders as long as you don't already do it. This will later on make deformation much smoother once your model is rigged. After this, press one and continue adjusting the silhouette of the sweater. Match it as closely as it can to the reference. Now let's adjust the side view. Press Num pad free for a side view. Select the sweater and press Tab to go into edit mode. X-ray turned on, select this row vertices, press S and Y to scale them up in the y-axis, match the width of these to the reference. Then select this next row. Press S and Y again to scale it. Select the bottom row of vertices here, and then press S and Y to scale it up as well. Do the same for these top vertices and the torso as well. Keep adjusting the vertices with g So you can more closely match the reference. Here on the bottom. Add one more loop to achieve the nice curve that we have in the reference. To do that, press Control R and add a loop here. After that, select all the vertices on the new loop and scale it up with S. Continue adjusting the shape until it looks smooth. Here the shoulders turn down a bit to bumpy. This happened because we scaled the loops individually. Let me show you how you can easily fix that. If you ever find that your loops have gotten a bit bumpy when you scale them up. So instead of going in and manually trying to fix each loop, what you can do instead is delete some of the loops in-between here and then reinsert them where needed. Let's do that now. Press two for edge selection and double-click this loop. Then right-click and choose dissolve edges. There already removed some of the bumpiness. After day. You can double-click on this neighboring loop, move it in with G and X when you go into object mode. Now, you can see that some of the bumpiness has been fixed. Now let's fix the remaining bumpiness. Press Tab again and go into edit mode. Double-click to select this edge. Here is the one causing more bumpiness. Right-click it and choose dissolve edges to remove it. After that, press Control R and add an edge where the old one was. This new edge won't be bumpy anymore and we'll add some extra resolution to the shoulder area. Nice. Now when we go into object mode, you can see that there is no more bumpiness on our model. So what I wanted to show you is that if you have areas that are a bit uneven, you can delete the edge is in-between and then reinsert them. We control our next, we'll make the color and bottom elastic on the sweater. Select the sweater and press Tab to go into edit mode. Press F3 for Face Selection. Select these two rows of faces. Press X and choose faces to delete them. This opens up a bigger area for the color. Now press two for edge selection. Double-click on the neck opening to select it. Press E to extrude the edge loop and then S to scale up the extrusion. After that, press E and Z to extrude upwards, click to accept the extrusion. Then press E again to extrude an S to scale the new extrusion inwards, click to accept the extrusion. And one last time, press E and Z to extrude downwards, click to accept the extrusion. Scale this loop down so it's a bit closer to the base of the neck. Nice. Now we have the base of the color and we just need to shape it a bit nicer. Press Control R and add a new loop to the middle here. Press S to scale the new look up. Here I'm just pressing one and adjusting these friend vertices because they've become too wonky. I moved him in with G and X. After this press two for edge selection, shift select all of these color edge loops. After that, moved them in with G and scale them down with S. We're just aiming to make the color a bit smaller here. Awesome. We'll finish that up in a bit, but so far it's looking better. Now, let's block out the elastic bands on the sleeve and the torso. Double-click on the sleeve and loop to selected press E to extrude the edge loop and then S to scale up the extrusion. Click to accept the extrusion. After that, press E and X again to extrude in the x-axis. Click to accept the extrusion. Then press E again to extrude, and then scale this new extrusion in words. Now let's do the bottom inelastic. Double-click on the end loop to select it, press E to extrude it, and then S to scale up the extrusion. Click to accept the extrusion. After that, press E and Z to extrude downwards. Then press E again to extrude an S to scale the extrusion inwards. Click again to accept the extrusion. As a side note, what you can do here to finish these edges off is to extrude them inwards one more time. So you can have them going in like this. This way the edge will be nice and finished on mine. I just left them open, but it's good practice to finish the open-end zone close. Nice. Now that we have the base for the sweater down, we can finish it off by fixing some problem areas. E.g. this here on the back curves inwards because we made the base of the sweater from the body to fix it, press one for vertices selection. Select the problem vertices on the back and pull them out with G NY. Nice, that's looking okay so far, but it's still need some shaping. What I want to do next is hardened the transition between the sweater in the elastic aided parts to do the press Tab and go into edit mode, add some more loops close to the base of each elastic band. Do that by pressing Control R. And one here on the bottom, one around the sleeve, and one around the neck as well. That hardens the transition here a bit more. Now, let's fix the neck band shape a bit more. Select these vertices and scale them up with S. Then select these top vertices and scale them down. We again move them towards the neck with g. Next, press two for edge selection mode, this middle edge I made too big, so I'm just kidding it back down with S. The last thing we want to fix is the sort of square shape on the neck Climb. Let's do that now. Shifts select these edges, then move them out with g and x. Move these middle ones out a bit more with G and X again. Let's do the same on the back, select these edges and move them out with G. Any nice that looks a bit less query. Now, the finishing touches for the sweater will save for later, and now we'll move on to modelling the shorts and the socks. Once again, we'll use the original body GO as a starting point, press Tab and go into object mode. Select the body GO and press Shift D to duplicate it with the duplicated body selected press Shift and click on the reference to select it as well. Now press Slash to isolate the selected objects. Then press numpad one for a front view press Tab and go into edit mode. Here we want to make a new loop where the shorts and to do that, press Control R and add a loop here. Now let's select all the faces that we need for the short and the socks. Turn on x-ray from up here and then press F3 for face election. Shift. Select all of these faces. After you have all the faces selected, go into the Select menu and choose inverse. This inverts the selection. Then press X and choose faces to delete the selected faces. That leaves me with only the geometry for the shorts and the socks. Press Slash again to unhide all the objects in the scene. Turn-off x-ray, press a to select all the faces and the shorts and the socks, and then press Alt S to scale the selected faces along the normals. That fixes any clipping with the body. Nice. Now let's add some thickness to these close press Tab and go into object mode with the objects selected, go into modify properties and add the solidify modifier in here, set the value to -0.0 to add some thickness to the outside of the clothes. To fix the normals go into object data properties here and from normals turn on auto smooth that fixes the shading on the models. Next, we're going to make the shoes. To do that, we'll use yet another copy of the body geometry. Press Tab and go into object mode. Select the body in, press Shift D to duplicate it. Then shifts select the reference plane, press Slash to isolate the selected objects. Now we'll select the faces we need for the boots and delete the rest. Press Tab and go into edit mode. Turned on x-ray. Drag select these faces here. After that, go into the select menu here and choose invert, then press X and choose faces to delete the selected faces. Now, all we have left is some geometry for the boot. Press Slash to exit isolation mode. Select all the faces for the boot by pressing a. After that, press Alt S to scale them along the normals. Now let's shape the boot. Press numpad one for front view. Press one for vertices selection, select this top row vertices, flatten them by pressing S zed in zero, then move them up with G and Z. Scale these bottom rows of vertices up a little bit as well. Now let shape the front of the boot. Press numpad free for a side view. Select these vertices on the front here, scale them down into zeta access by pressing S and move them a bit forward with G and Y. After this, press two for edge selection, Double-click to select this loop and scale it down by pressing S and Z, move it down with G and Z. Scale down the one behind it as well. Now you just want to move these all down so they line up on the bottom. Continue adjusting until the shape is nice and smooth. Now we're going to scale down the foot and sock down the same way. So they fit into the shoe, press Tab and go into object mode. While in object mode, shift select the body and SOC geometry, then press Tab and go into edit mode, select the friend vertices on both models and scale them down in the z-axis by pressing S and Z, move the vertices forward with G NY adjusted rows of vertices and the back as well. You just want to scale these down in the z-axis as well. Ultimately, you just want the sock and foot to be able to fit inside of the shoe without clipping anything. Nice. All done with that. Now let's further just the shape of the shoes press Tab and go into object mode. Select the shoes, press Tab and go into edit mode. After that, turn on X-ray and select all the vertices on the bottom. Press S and zero to flatten these. Now makes the shoe nice and flat on the bottom. Next, let's make the front of the foot, sock, and boots sharper while in object mode, shift select the body, socks and shoes, then press Tab and go into edit mode. Turned on x-ray. Press one for vertices selection. Select these front vertices turned on proportional editing from this button here. Finally, press S and X to scale the vertices in the x-axis. Here you can scroll down on your mouse if you want to decrease the area that proportional editing effects. After this grabbed the very front vertices on the shoe. Scale, those in with S and X as well. That makes the front of the shoot nice and pointy. After the press Tab and go into object mode. That's looking good so far. Next, let's add a solidify modifier to the shoes. Select the shoes object and go into modify properties here from add modifier and the solidify modifier in thickness put in a value of 0.04. Awesome, the shoes I not done. Next, we'll make some accessories and then add some finishing touches to all our models. After that will be done with modelling. Next, let's add a little circular shape on top of the hat. To do that, press Shift a and add a round cube to you seen, right-click it and choose Shade, Smooth. Move it up with G and Z, scale it down with S. After the press Tab and go into edit mode. Turned on x-ray, press F3 for Face Selection, and then select the bottom half of the cube. Then press X and choose faces to delete the bottom faces. After that position the cube on the hat here with G and Z and Z and Y. You just want it to be somewhere in the middle. Now let's add the hair ties, press Tab and go into object mode. Press Shift a and add a torus. Decrease the major segments here, 48-24. That makes the object a bit more low poly. Then right-click the torus and choose Shade Smooth after they're scared it down with S and position it at the base of the ponytail with GI. In a little bit, we're going to adjust the strands so they actually go inside of the hair tie. Before we do that though, let's mirror the hair tie. While in object mode, select the hair tie, press Control a, and then choose all transforms. This zeros out all the transforms on the object. Now we can mirror it, select the hair tie and go into modify properties. Add a mirror modifier after that press Tab and go into edit mode again, please, the hair tie flush against the head with GI. Here you want to rotate the camera around to make sure there isn't any gaps between the hair tie and the head. After you happy with it, press Tab and go into object mode. Now we will adjust the hair strands a little bit so that it can fit inside of the hair tie because the hair is still curves, it can easily be adjusted. Select the strands and press Tab to go into edit mode. Select this first trend and rotate it with R. You just want it to fit inside of the hair tie. After that, select the end point here and move it in with G scale this second point down with an S So it doesn't clip the hair tie. Continue adjusting this trends on both sides so they are inside of the hair tie and they don't flip it. So use G to move individual points and rotate the strands around if you need to. Nice, That's looking better. Once I'm done with that, I'm just moving on to some final tweaks. Here. I'm just further adjusting the sweater areas that we tweaked before and make sure that there's no indent on the back on the middle here. I didn't also round off the color a bit more. Next, we're going to adjust the shape of the color with the scope tools. Press Tab and go into object mode, then press Tab and go into sculpt mode. Press T and select the grabbed brush from the side menu. After that, grabbed the front of the color and drag it down like this. The back, drag the color upwards. That just gives it a nice curve. Awesome. Now we're all done with the final shaping of the existing models. The last thing we have left is tomatoes, a little plaster on her leg. Let's do that now. Press Shift a and add a cube, press Tab and go into edit mode. Scale the cubed down with S and Z and X and Y. Scale the whole object down by pressing S. Then move it up with GI. Rotate it a bit with R. Now you want to leave only this front face and delete the rest. Press F3 for Face Selection. Select this front face. After that, go into select here and choose invert. This inverts the selection, press X and choose faces to delete the selected faces. Now we want to add some more edge loops to the remaining phase, and then we'll place it onto the leg so it curves. To add more edge loops. Press Control R. Scroll on your mouse and add a few loops to the face. Then press Control R again and add 1 " down the middle here as well. Press a to select the whole object and move it back with G, ANY rotate it with our uterus trying to place it as close to the leg as possible. Now we're going to wrap this object around the leg, press Tab and go into object mode with the plaster selected. Go into modify properties from add modifiers. At the shrink-wrap modifier. Click on the Eye dropper tool next to target. After that click on the body that makes the plaster wrap around the body. Here from rap method, choose project. Then click on the x and y-axis in the menu below. That makes the method of wrapping a projection and it projects on the x and y-axis, move the plaster with G so it snaps all the vertices to the leg. You can also scale it down if it's a bit too big. Now the plaster is wrapped around the leg nicely and we can apply the shrink-wrapped modifier, press Tab and go into object mode in modifier properties from the tick mark next to shrink-wrap, choose Apply. Now when we go into edit mode, you can see that the shrink-wrap is applied and the object is permanently curved. We now just want to move it out a bit and add some thickness. Press G and X and G and Y to move the plaster out so it's not clipping the leg. After that. Press Tab and go into object mode. Right-click the plaster and choose Shade Smooth. Now, let's add some thickness. Going to modify our properties and add a solidify modifier to the plaster in thickness, put in a value of -0.02. Then from the tick mark next to solidify, choose apply to apply the modifier. Go to Object Data Properties and in normals, turn on auto smooth. After that press Tab and go into edit mode. Press free for face selection. Double-click on the edge between these two faces. This selects the whole row of faces. Then while still holding down Shift, double-click on the edge between these two phases to select the second row after the press E to extrude and OAT. S to scale the extrusion up. This makes the cushion part of the plaster. Next, press Control R and add a loop on each side of the newly extruded area. After that press Tab and go into object mode. Select the plaster and for modify properties, add a subdivision surface modifier. Then from the tick mark next to the name of the Modifier, choose Apply. Now I plaster is nice and smooth. Here I'm pressing Tab and go into sculpt mode to further adjust the shape of the plaster. I used a grab brush to just move it around slightly. And with that, we're all done with modelling, amazing work so far. Next, we'll just apply all our modifiers and then we can start UVs and texturing in the next part. Once you completely happy with your model is you can apply all the modifiers to each object to do their press Tab and go into object mode. Select each object and in modifier properties from the tick mark next to the modifier name, choose Apply. Here I've applied the mirror modifier and the sweater. So when you go into edit mode now the left side is now independent from the right. Applied a mirror subdivision surface and solidify modifiers to each one of your meshes. You want to make sure that all your modifiers are applied so you don't have any issues when we make the UVs. At this stage. If you're happy with the hair, you can also convert it to geometry. To do that, shift select all the hair strand objects, then right-click and choose Convert to mesh. Now if you press Tab and go into edit mode, you can see that the hair is a mesh and it is not made up of curves anymore. I only recommend doing this after you're 100% happy with the shape of the hair because the mesh is much harder to adjust in the curves. One thing I want to note here is that the converted mesh for the hair is a bit too high Pauline comparison to the other models to reduce the polygon count of the hair objects, select them and press Tab to go into edit mode. Press a to select all the edges. Then go into this edge menu here and choose and sub-divide. That reduces the number of edges on your model. Then you can just do that one more time. Go into the edge menu and choose an sub-divide. Nice, That's looking good. Now, another important thing I want to mention here is polygon density. This is what we just fixed on the hair. Generally, you want all the parts of your model to have faces that are similar in size. E.g. the eyebrows on my model here have too many faces in comparison with the rest of the model. Ideally, you want them to have a similar polygon density as the rest of the mesh. When it comes to the eyebrows that can be easily fixed. Just select them and press Tab to go into edit mode. We'll do the same that we did with the hair. Press a to select all the edges, then go into the Edit menu. Choose on sub-divide. With other areas, however, you have to take a slightly different approach, e.g. the neck here on the model is too dense in comparison to the rest of it. To fix that, we would have to remove some edge loops. We can't do that fruity edge menu, so we will have to do that manually. The reason is more high Pauline that area is because we've put in extra edges there. And when we applied the subdivision surface modifier, it just kept multiplying the edges. It's easily fixable though. Press two for edge selection. After this shift, select. Every other edge on the neck like this. Then right-click and choose dissolve edges. Then you can do that one more time. Shift, select every other edge. Then right-click and choose dissolve edges. Now you can see that the density in the neck area is a bit better. You can do that in any area of your model where there's too many polygons, it's not the end of the world if some areas are denser than others on your model, but it's just good practice to keep in mind while you're making your models. Another thing I want to note is that you should remove edges that are squished too close together. E.g. these edges on the SOC here are not spaced very evenly. To fix that, select the socks and go into edit mode. Select this extra edge in the middle here, then right-click it and choose dissolve edges. This makes the spacing of the edges much better. Generally, you just want them to be evenly spaced. You could do the same thing on the boats here. You can remove the extra edges so the spacing of everything becomes much nicer. You can also add extra edges to areas where the edges are too far apart. This helps keep the face is uniform and a square as possible, which is good practice, e.g. here on the hat, the edges on the brim are too far apart. So they make rectangles instead of squares. In order to fix that one edit mode, you can press Control R and add two more edges between the existing ones. That makes the faces they're more square, which is always good. So yeah, I just wanted to mention these so you can keep them in mind while you're finishing off your model. You can do these at the very end. It's easier to tidy everything once you're happy with the shapes. In the next section, I will show you how I tidied up the topology on my model from start to finish. So you can see the whole process. I'm using the exact same principles I mentioned previously. My aim is to make the mesh density similar all across my model and to remove any unnecessary edges, I also tried to make sure that the face is on my models are as quiet as possible. This step of tidying everything isn't mandatory and you can skip it if you just want to jump straight into texturing, I still do this step at the end because it's good practice to make sure that your models have good topology. Your model will still work okay when rigged if you skip this step, but the topology just won't be as tidy. How I'm going to do this is the section one have an overly detailed voice-over because I'm essentially doing everything I previously explained. If you have any questions, please leave me a comment below and I'll do my best to help. And now let's start tightening everything up to start off with like I showed you before here I'm just on subdividing the hair. Then I go in and select every other edge on the neck. I right-click and choose dissolve edges to remove the selected edges. And then repeat the same steps one more time. Here under socks, I remove these edges that are bunched up too close together. Then I select the shoes and remove some edges off of them as well. What I'm aiming to do here is to have the polygons be a similar size all across the model. I select every other edge and then remove them by right-clicking and choosing dissolve. I remove every other edge on these loops going across as well. I then select the SOC and the foot and go into edit mode. I select these vertices and then scale them in the x-axis by pressing S and X so they don't poke through the shoe. After this, I go in and select ADI edge loops going up the shoe or shortly reinsert days so they're evenly spaced on both sides. To remove the edges. All the edges selected, I right-click and choose dissolve edges. Then while still in edit mode, I press Control R and scroll my mouse to add new edges, which will be evenly spaced. Alright, that's much more even on the top. Now. Now I'm going to use a brush in sculpt mode to space the existing edges out a bit more evenly. I press Tab and go into sculpt mode. Here I select the slide Relax brush. I use this brush while holding down shift. What that does is it slides the edges along the surface of the model without changing its shape. So it just helps make the existing faces more square in a bit more evenly spaced. I just use it all over the bottom of the boots. After that, I go in and insert some more edge loops on the socks. I do that in edit mode by pressing Control R. I do the exact same on the legs. The aim here is to make the faces less rectangular. I use Control R to add some more loops on the shorts as well. Then I press tab and go into sculpt mode again. I select this light relaxed brush and hold down Shift to relax the edges a bit and make them more evenly spaced. After this, I go in and remove some edges off of the plaster. I'm just removing the ones that are bunched up too close together. I then go in and remove some edge loops off of the shirt as well. The ones you want removed are the ones that are too close to each other. What your aim is with this is to have all the faces on your models be a similar size all across. So you don't want any stretched rectangular faces. I then go in and use the slide Relax brush while holding down Shift to fix the front end back here in the sweater here. I continue using the slide Relax brush while holding down shift on the rest of the shirt as well. This space is the edge is more evenly. After that, I go in and remove some edges from the shoulder area because the topology is a bit too dense, they're in edit mode. I should select every other edge on both sides like this. Then I right-click and choose dissolve edges. After that, in sculpt mode, I use the slide brush while holding down shift to relax the edges around the shoulder areas. Well, nice the edges in that area and look much more evenly spaced. Now, after this, I also remove some edges around the hand and neck elastic as well. Next, I tidy the body topology a bit. In object mode, I select the body impressed slashed, isolate the model. Then in edit mode, I add some more edges to the legs to make the faces they're square. I do this by pressing Control R to add more edges. Then do the same thing that we did for the shoes to the feet. I select every other edge loop and then remove them. To remove the edge loops, I right-click and choose dissolve edges. After this, in sculpt mode, I use the slider Relax brush while holding down shift. This relaxes all the edges on the body. Here in the shoulder. You can do the same that we did for the sweater. Select and remove every other edge. Next up, I'm just subdividing the hair and the hat. I do this. So they have a similar polygon density as the other models. To sub-divide the objects, select them and press Tab to go into edit mode, then right-click and choose sub-divide. I know we subdivided the hair earlier, but this is how you would subdivide it if you need it a bit more high resolution. Finally, I go into edit mode and remove any unnecessary edge loops off of the hat, the unnecessary one, so the ones that are too dense and too close to each other. After that, I go in with the slide relaxed brush, and while holding down shift, I relaxed the edges on the hat. That is it for this tiding topology part. As I said earlier, your model will still work once rigged, even if you don't do this optimization pass. But it's just good practice to do this to your models, so your topology is good. And with that, we conclude the modelling section of this course. If you have any questions, please leave them below and I'll try my best to help. In the next part, I'll explain what UVs are and how to uv your model. I'll see you in the next one. Bye. 6. Part 5: UVs: Hi guys, welcome to the next part of the course. In this part, we'll make the UVs for character. Before we start on the UVs, let me give you a quick explanation of what UVA's actually are and what UV unwrapping is. So all we need to do in order to be able to paint on our model here is to make a UV map. A UV map is the flat representation of the surface of a freemium model, and it's used to easily apply 2D textures to a 3D object. The process of creating a UV map is called UV unwrapping. In order to unwrap our model here, we need to make UV seams seem tells Blender that when we unwrap, the face is on either side of the CME should not stick together in the UV map. So when unwrapping the mesh is unwrapped at the edges that are marked as seems, good UVs are crucial for texturing and later on. Because of that, we will manually create the seams for our UV map. Instead of using Blender smart UV project, we want to use the smart UV project because we have less control over where the seams go to help visualize where you need to put your UV seams. Try to imagine where you would cut the model to flatten it. Generally, you also want to put UV seams where there'll be hidden. A good UV map is one that has minimal distortion. How you can check for distortion is while you're doing UVs, you can apply a checkerboard texture to your model that helps you see any distortion and see where you need to adjust your UVs, any area where the checkerboard looks wonky you need to fix. Anyway. That was just a super quick summary of what UV unwrapping is. I'll show you everything in practice. So if you don't get it yet, don't worry, let's start making the UV seams on our model here. First, let's start with a sweater of the character. Select the sweater and press Tab to go into edit mode. Press two to go into Edge Selection. Now we want to select the edges we want to mark as UV seams. When we unwrap our mesh will be on wrapped around these edges that we're currently going to mark as scenes. I'll show you how that works in a little bit. First, let's select the edges. Double-click to select this edge running down the middle here. After that hold down shift and double-click to select this edge on the other side. Then press Shift again and double-click to select the edge on the shoulder here. After that shift, select the same one on the other side. After that hold down shift and double-click to select the edge and the beginning of the sleeve cuff here, select the same one on the other side as well. Next, we want to select this edge loop at the beginning of the torso elastic here. So hold down shift and double-click to select it at this bottom edge to the selection as well. And also select this one at the base of the color around the neck here. Now we're going to mark all of these edges is, seems like I mentioned before, once we unwrap, each part of the model will detach at the seams. So each part will turn into it's own UV island. So the body here will be one UV Island. The sleeves will be a separate UV Island. The cuffs will also be a separate one, etc. I'll show you how that looks in the UV editor shortly. First, let's mark the scenes with all of the edges selected. Right-click and choose mark seam. Now the selected edges or UV seams to see what that does, we have to open the UV editor and unwrap our model. Let's open the UV editor now. Click and drag your mouse from this corner up here to open a new window. From this button, choose UV editor in Blender. In order to see your UVs, you have to have the faces selected to be able to see them in the UV editor. This is quite different from how Maya and Substance Painter and a lot of other softwares work. And it's a bit of an annoying feature to be honest, but to preview your UVs, press a to select all the faces on the model. Now you can see all of the sweater UVs. They look all messed up because we have an unwrapped yet. Let's unwrap Chris hue and chosen wrap. Now you can see the UV islands we separated out. We have one for the body to separate ones for this leaves, separate ones for the cuffs, etc. One thing we want to do here is separate the body UV islands to front and back at the moment is just one whole shell. Separating them will minimize any distortion to separate them while still in edit mode, shift select the edges on top of the shoulders here. Shift, select these on both sides. After that right-click and choose mark scheme, this will now separate the torso UV islands into front and back. To be able to see this, we need to unwrap the model, select everything by pressing a. Then press U and choose unwrap again. Now you can see that we have two separate islands for the front and the back of the torso. That's much better. Next one we're going to do is we're going to apply a checker map to our model so we can see if there's any unwanted distortion on our UVs. Drag the timeline here. Then from this button switch from timeline to shader editor. This is the material we have applied to our model currently is the default material that blender assigned to it. Now in the shader editor, press Shift a, and in the search field, search for image texture. Click on image texture to add it. After that, click on New here. Make the size of the texture for 96 by 4.96 pixels. When you're making textures, the larger your texture resolution is, the better quality the texture will be. For 96 by 496 is typically the biggest. I recommend you go. Okay, name your texture grid underscore texture here so you can recognize it. After that in January it type, change it from blank UV grid thing. Click Okay. Now you want to plug-in the color of your grid texture to the base color of the material. This assigns the grid texture to your model. To grieve you to texture, go here and press this button to activate material preview. As you can see, the UVs we made on the sweater and looking good, there is no major distortion that would be an issue. Next, let's do the body UVs, press tab and go back into object mode. Select the body object and press slash on your keyboard to isolate the object. Now press Tab and go into edit mode. Let's start selecting the edges to mark as UV seams while holding down Shift, double-click to select the shoulder edges here. Select these on both sides. Select this one on the bottom of the neck here. After that, select this one running down the middle of the body. Select these at the bottom of the feet as well. Here we just want to de-select the edges running down the middle on the bottom of the foot. We do this. So the bottom of the foot is one whole UVA Island and not split into two. To de-select the edges, hold down control and click on the edges you want to de-select. After that, shift, select the edge loops around the wrist. Here. Press Control D to de-select the edges running down the middle of the hand. We do this so the hand UVs aren't split down the middle. Instead, there'll be one whole UVA island. Next while holding down Shift still, double-click to select the loop running down the middle of the hand. Here. What this will do is it will split the top and bottom of the hand into two separate UV shells. Now let's de-select all the edges that aren't part of the hand. Press Control and deselect or DAGs running down the body. You just want to leave the ones around the middle of the hand selected. Now here under the arm, you can leave this running down the middle on the hand, however, you want to de-select the edges running down the middle of the palm, press Control and deselect the edges in the middle of the palm. This ensures that the UV island on the bottom of the hand will be one whole piece. These are the edges that you need to have selected so far. Let's also separate the feet into separate UVA islands. To do that, shift select these loops running around the ankle. So like before when we mark these edges that we have selected as UVs scenes that will now split the model into separate UV islands. We will have one island for the whole front of the body, one for the front of the feet, one island for the back of the body, another further back of the feet, and one for the feet on the bottom. Then the arms would also be separated into their own UV islands, which will be an wrapped around this bottom edge we have selected. The hands will be separated into a top and bottom UV shell. Before we mark all of these, uh, seems that Let's just do the head area as well while holding down Shift, double-click on the loop, running down the middle of the head. Then while holding down control, de-select all the edges running down the body. The only edges that you need to leave selected are the ones that are running down the middle of the head. In this case, how we've done the topology here works really well because the selection stops at the top of the head. After this while still holding down Shift, select the circular loops around the ears. Shift select the loop at the opening of the mouth as well. What that will do is once you unwrap that will separate the ears and the inside of the mouth into their own islands. Okay, Now all of those edges selected, Let's mark those as sings, to mark them as seems, right-click and choose mark scheme. Although selected, the edges should turn red, which indicates that they're now UV scenes. Now, let's unwrap like we did before. Press a to select all the faces on your model. Then press U and choose unwrap. Here on the right in the UV editor you can see what the unwrapped model looks like. You can see all the individual parts separated into their own UVA, Ireland. One thing we want to fix here is how we made the body one big UV island. Ideally we want to separate it into front and back and we also want to detach the legs. This will give you less distortion in the UVs. Let's do that now to separate the front and the back. Let's mark a seam down the middle of the shoulder here. To do that, shift select the edges running from the shoulder to the neck. Do that on both sides. Now right-click and choose mark seam. This will separate the front from the back. Press a to select all the faces on the model, and then press U and choose unwrap to unwrap again. Now you can see that the front end, the back of the body are two separate UV islands. Let's separate the legs out as well. While holding down Shift, double-click to select these loops on the legs here. After that right-click and choose mark scheme, this will now create four separate UV islands, will have one on the front for each leg. So that makes 2.1 at the back for each leg again, and that's another two. Now let's unwrap our model again. Press a to select all the faces on the model. Then press U and choose unwrap to unwrap again. You can now see on the right that the legs have been separated into the four islands I mentioned. Now let's have a look at what we've got. We have one whole UV Island for the head with the ear separated into their own UV islands. For the arms, we have one UV island each. These islands will be unwrapped around the bottom edge here. The body is separated into front and back. Then each leg has a front and back QV island as well. The feet have a front, back and bottom UVA islands. One last thing we need to fix here is the ear UVs. As you can see here on the checkerboard, there's some distortion. This is because we haven't put a seam down the middle of the ear. So blender can't exactly figure out how to curve the UVs around the model to help blender, we can separate the ear into front and back. So that will make the UV Ireland's flat and it will give you less distortion. Let's put that seam in the middle now. Hold down, shift and select these edges running down the middle of the ear here. Do the same on the other side. After that, right-click and choose mark seam. Now, let's unwrap again so you can see how that fixes the distortion on the ear. Press a to select all the faces. Then press U and choose unwrap. As you can see, that fixed and distortion that we had from the UVA Island being one whole piece. Nice. Now you're all done what unwrapping the body. Let's move on to the rest of the models. Press Slash to exit isolation mode and cod other objects. Now Chris, tab and go into object mode. Next we'll unwrap the shorts and the socks, select them and press Tab to go into edit mode. Here I want to quickly show you a way you can unwrap objects automatically. When you do this, blender automatically places the seams on your objects and unwraps them for you. One thing that I want to note here though, is that the automatic unwrap typically makes too many seams in just isn't great. Unwrapping more complex objects. In the case of the shorts and the socks, this automatic unwrapping won't be suitable because the objects are a bit more complex. But I want to show you how to use it in case you want to use it on more simple objects or other projects. So select all the faces of your model by pressing a. After that, press U and choose Smart UV project. As you can see, the unwrapped D objects in place the seams automatically, like I said earlier, because these objects are a bit more complex, the smart UV project breaks them up into a lot of UV Ireland. That's a bit too many pieces for what we want. So we'll just undo that and do the UVs by hand. But you can still use this smart UV project for very simple models and is still comes in handy in other cases. Okay, Let's just undo that. Press Control Z to undo. Now replace the seams on the shirts and socks by hand instead. Press lash to isolate the objects. Press two for edge selection. Select this edge loop on the outside here. While still holding down Shift, select these two circle loops at the bottom of the short. What that will do is it will separate the inside from the outside into separate islands while still holding down Shift, select the circle loops at the end of the socks as well. Next shift and double-click to select this edge loop running down the middle of the inseam on the shorts. After that shift, select these edges running down the middle on each side of the shorts here. A good rule for clothes on where you can put your UV seams is where you would naturally have scenes and close. So you know where they are sewn together, that's a good place to put UV seams. That works in most cases. For the socks while still holding down Shift, double-click to select the edge loops running down the middle here. After that shifts select these edges as well. Then while holding down Control, D select these edges on the bottom here. Nice. Here's a quick look at what edges you need to have selected. Once you have these, highlight it, right-click and choose mark seam. Now let's unwrap. Press a to select all the faces. They impress you and choose unwrap. Nice. Now our models are unwrapped. As you can see here, there's a little bit of distortion on the shorts. To fix that, let's put a sim running down the middle of the shorts in edit mode, select this edge running down the middle here. After that right-click and choose Mark scene, then press a to select all the faces. Press U. Chosen wrap again. Now this new seam down the middle, fix the distortion. Okay, so the shorts and the SOC Sarah done. Let's move on to the rest of the models. Now press Slash so you can see the rest of the models after that press Tab and go into object mode. Here I'm just going into material properties and making sure that the checkerboard material is applied to the hat and the other small accessories. I do that by assigning the material from this button. The objects want appeared checker boarded until we unwrap them. So if they're playing for now, don't worry. Now let's unwrap the books, select the object and press lashed to isolate it after that press Tab and go into edit mode. Press two for edge selection and then shift select the circle loops at the top here. After that, shift select these edges as well. Here on the bottom D these edges by holding down control. Okay, We're all of these selected, right-click and choose mark seam. Now let's unwrap the boots. Press a to select all the faces. They impress you and choose unwrap. Nice. There's no major distortion. So we're all done with the boats. Press slash. So you can see the other objects here. I want to explain when you need to unwrap an object and when you can just apply a material without unwrapping. So to quickly sum it up when you're doing materials and textures, you have these two options. Option one is if you want to be able to paint textures on your model. So to use a brush and paint on the model, you need to UV unwrap it. In the case of our model here, we want to be able to paint on the sweater, skin, socks, and accessories. So we definitely wanted to unwrap those objects. Option two is if you want your model to be one solid color and you don't want to paint anything on it, you can skip making the UVs for your object. In that case, you can just apply a material to it with the color that you want. And that's enough. In the case of our character here, will unwrap all the objects apart from the hair. For the hair will just leave the black material that we created earlier. If you want to paint on the hair, you would have to unwrap it. So I just wanted to mention this here so you know the difference. Okay, Now let's move on to unwrapping the rest of the objects. While in object mode, select the plaster, press Tab and go into edit mode. Double-click to select this edge running down the middle here. After that right-click and choose Mark seem that will separate the plaster into a front and back UV island. Now press a to select all the faces. They impress you and chosen rep. Nice, That's the plaster all done. Let's move on to the eyes next. Press Tab and go into object mode. Select the eyes and press Tab to go into edit mode. Press slashed, isolate the objects. Here they are separate objects, even though they look like they're stuck together. Let's mark them seems on the eyes. Double-click to select this edge running down the middle here, hold down, shift and select the same edge on the other side as well. Then right-click and choose mark seam. After that, press a to select everything. Then press U and choose unwrap. This now separated each eyeball into a front and back UV Ireland. Press Slash again to exit isolation mode. Now press Tab and go into object mode. Here the hair and eyebrows, like I mentioned before, we don't need to unwrap because we just want them a flat color that's already taken care of by the material that we have applied. Next, let's unwrap the hat, select it and press Tab to go into edit mode. Press Slash to isolate the hat. After that Double-click to select this edge loop on the end here, shift and double-click to select the inside edges here as well. After that shifts select these edges on the front and the back of the opening here. Then Shift select all these edges on the hat brim as well. This will separate the brim UVs from the main hat UVs and then the semen, the middle, we'll separate the brim into a top and bottom UV island. That will flatten things nicely. So there will be less distortion with all of those edges selected, right-click and choose mark seam. After that, select everything by pressing a. Now press U and choose and rap. As you can see, there is no major distortion, so the UVs on the hat are all good. Now press Tab and go into object mode, press Slash so you can see the rest of your models. Nice, it's looking good so far, the last bits left are the button on the top of the hat, the lashes, and the hair ties. Let's do those now. First select the button and press Tab to go into edit mode. Select all the faces by pressing a. Now press U and chosen wrap. We can directly unwrap this model without any seams because this is a half sphere that's open on the bottom. So that means they can easily be flattened into a UV Ireland after that press Tab and go into object mode. Next, let's unwrap the lashes, shift, select the top and bottom lashes on both sides. Then press Tab and go into edit mode. Select all the faces by pressing a. After that, press U and choose unwrap. We can directly unwrap these because they are a single-sided object that doesn't need any seams. After you're done with that press Tab and go into object mode. Finally, let's unwrap the hair ties, select them and press Tab to go into edit mode. Double-click this edge here, ni inside. After that right leg, choose mark seam. Do that on both sides. Select this loop on both sides. After that right-click in market as the same. After that. So everything with a and then press U to unwrap. Nice. Now press tab and go back into object mode. Now, all of our models are in raft. All we have left to do is to make sure that all our UV islands are a similar resolution. So that means the squares on each UV island have to be more or less the same size as a disclaimer here you can have some of the UV islands be a bit bigger than others. Typically you want these to be the areas with the most detail, e.g. you can make the head UV Ireland bigger than the feet. That is because you would want more detail on the face then you would on the feet. Let's adjust the scale on these UV islands now to get a similar resolution. To do that, while an object mode shift select all of the objects that we UV and we have all of the objects selected, press Tab and go into edit mode, press a to select everything. After that, go into this UV menu here and choose average Ireland scale. That makes all the UV Islands a relative size to each other. Now we need to lay everything out so the islands are not laying on top of each other. To do that, go into the UV menu here again, and then choose pack islands. Here. However, I want to increase the size of the UV islands for the eyes and the head. So I want it needs to be a bit higher resolution than the rest of the models. If you're islands are too small, the detail on your texture will be blurry. And we don't want the eyes and face to be blurry. So let's increase their size. To do that, one, object mode, select the eyes, then press Tab and go into edit mode. Press a to select everything. After that, press S to scale up the islands. After that press Tab and go into object mode. Next, let's adjust the head selected impressed have to go into edit mode. In the UV editor, click on one of the vertices on the head UV Ireland. After that, press L to select the whole UV Ireland. L selects the link two vertices. Now press S to scale up the island. You can also do this to any area on your model where the checkerboard is too big or too small. Now press Tab and go into object mode. Let's pack everything again, so all the islands fit nicely inside the UV coordinates in object mode, shift select all of the UV objects. Then press Tab and go into edit mode. Press a to select everything, then go into UV here and choose Peck islands. Now, everything is laid out nicely. Upon looking at this, one final thing I'm not happy with here is how dense the UVs are on the neck in comparison to everything else. To fix that, we need to separate the neck from the head so we can scale it down. Let's do that now. Select the body and press Tab to go into edit mode, Double-click to select this engine, the neck here. After that right-click and choose Mark seem. Select everything by pressing a. Now press U in Tucson rack. Now you can see that the neck is a separate UV island from the head. The scale on the UVs here is now also improved. You can photos scale down the whole show If you want to as well. Now let's do another final packing of the UVs. Press Tab and go into object mode. Shift select all of the UV, the objects. Press Tab and go into edit mode, press a to select everything, and then go into UV pack islands. Amazing. Now we're all done with the UV's. If you need to adjust anything, you can always go back and add additional seems or change anything and then repack your islands. Just make sure you do this before you start texturing. As you can see in our UV map, everything is laid out nicely and there's no major distortion anywhere on the model. That means you did a good job on the UVs. Well done if you've made it this far, I know UVs are very intimidating when you first start out, but I promised the more you do them, the easier it will get. I hope that my explanations you've understood why we do UVs and how to make them good. If you have any questions, just post me a comment and I'll do my best to help. In the next part of the course, we'll paint the texture is on our model. I'll see you in the next part. Bye. 7. Part 6: Texturing: Hi guys, welcome to the next part of the course. In this part will be texturing or model texturing is how we add the colors and patterns to the models. Let's get started. The first thing we want to do is to disconnect the grid texture we added in the previous part from the material. To do that, pull up the shader editor from down here. Drag this yellow line away from the principled shader that disconnects the grid texture. Now let's add a new image texture. Press Shift a in the shader editor and in the search field, type in image texture, click on image texture to add it. After that, click on New here, make the height for 96 by 4.96 pixels. Then click on the color box, change it from black To White, named the texture in the top field here. After that, change the type from UV grid tem blank. Now click Okay. Now connect the color of the new image texture to the base color of the principled shader. Then click on this icon here in the UV editor. Select the new image texture we just created. That way you can preview what's happening in the UV editor while you texturing. Now we can start drag down the shader editor as we don't need it for now. Let's start texturing the sweater first. In object mode, select the sweater, then press Tab and go into texture paint mode. Press N to bring out the side menu here and the total tab we can find all of your tools settings. So the birth settings, the fill tool settings, depending on which tool you have selected, you can do adjustments on the right here. After that click on this icon or press T to bring up the menu on the left here. Here you can select the active tool. In this tutorial, we will be using the brush and the fill tool. Click on New Brush. And then from this we'll underwrite. You can select the active color. After that, when you press on your model, you can start painting. Now you can see here on the right, your 2D texture is updating as we're painting on our 3D model. What we're making on the right is called a texture map. Okay, let's undo that for now. Press Control Z to undo the painting. Now we want to select the fill tool. Click on here to make it active. After that unhide, your reference plane will use the reference plane so we can get colors from it. Press Tab and go into object mode. After that, select the reference plane and go into Object Data Properties here increase the opacity of the image backup to one. Move the image to the side. We g and x. After that in depth, click on back to Moody image behind the model. Nice. Now we can easily swatch color from this reference for model. Next, select the sweater and press Tab to go into texture paint mode. Now press S and click on the blue color on the reference. The S shortcut swatches the color that you click on and saves it in this color palette menu down here, click on the blue color to make it active. After that, with the fill tool active on the sweater, that colors your whole object blue. Now, as you can see here, there's some white lines where the UV seams are. To fix that, go into the shader editor. Then in the image texture, change it from linear to closest. That removes the white pixels where the UV seams are. What we're going to do next is we're going to lay down the base colors for all of the objects the same way we did for the sweater. After that, we'll paint in some detail manually. Press Tab and go into object mode. Select the body, press Tab and go into texture paint mode. Now press S and click on the skin colour under reference plane. That saves the color of the skin to the color palette. Select the skin color in the color palette to make it active. Way of the fill tool selected, click on the body to fill it with the color. As you can see on our texture map on the right here, all of the body parts got filled in with the skin color. Next, let's do the shorts, press Tab and go into object mode. Select the shirts and socks. Object, press Tab. Go into texture paint mode, press S, and click on the dark blue color on the reference. After that, select the dark blue color from the color palette. Click on the shorts to fill them in with the dark blue. Here the socks got filled as well. However, we want those to be white instead. So to fix that, select the paintbrush tool from here. Change the active color to white from the color wheel on the right here. Then using the brush paint, the socks white again. Next, let's do the base color for the glutes. Press Tab and go into object mode, select the boots, press Tab and go into texture paint mode. Press S and click on the yellow and the reference. Just watch it. From color palette. Choose this new yellow color. After that, click on the fill tool, then click on the boots to fill them. Now let's do the hat press Tab and go into object mode. Select the hat press Tab and go into texture paint mode. With the yellow color still selected, click on the hat that fills in the same yellow color on the hat. Continue doing the exact same for all the other objects on your character until you have all the base colors down. So you just watch the colors with S and you fill each individual object. Here. I'm just adding the hair material to the eyelashes. That way the color on all of the hair on our model will be controlled by the same material. If you wanted to make her hair red or green, that will be controlled through the same material. This is what your model should look like once you have all the main colors filled in. Now, let's start adding some detail. First, we'll add the yellow color on the elastic on the sweater. Let me show you how to do that quickly without having to manually paint it in while in object mode, select the sweater, then press Tab and go into edit mode. Press F3 for Face Selection. Turn on x-ray from up here. Shift select all of the faces on the elastic on the bottom. With all other faces selected, press Tab and go into texture paint mode. After that, press this button here. This is the paint mask. The paint mask, as the name suggests, makes a mask out of the faces that you have selected in edit mode. So only those faces will get colored once you paint on them. Select the yellow color from the color palette with the fill tool selected, click on the bottom. Elastic, as you can see that fills only the faces we had selected earlier. Nice now do the same for the sleeve and neck bands. Press Tab and go into edit mode. Press F3 for Face Selection and shift select all the faces for the elastic around the neck and the slave. We've all of them selected press Tab and go into texture paint mode with the paint mask button still turned on, filling the selection with yellow. Nice, all done with the elastic. Next, let's do the plaster press Tab and go into object mode. Select the plaster press Tab and go into texture paint mode. Press S and swatch the color of the plaster from the reference. Select the new brown color that we have in the color palette with the fill tool active, click on the plaster. Now let's make the middle part of this plaster white press Tab and go into edit mode. Select the rows of faces for the middle part. You can do that by clicking on the horizontal edges between the Rosa faces while holding down shift. After that press Tab and go into texture paint mode, choose a white color from the color wheel. Turn on paint mask from this button here. After that click on the object. Nice. Now the middle is a different color. Amazing. Now that we have the main colors blocked in, we can start painting in our detail with the paintbrush. Before we do that, though, let's quickly save our image texture, go into the UV editor and from image, choose Save As. That saves everything we've painted so far into a file is very important to save intermittent stages so you don't lose your progress if for some reason you close your scene without saving or if blender crashes, you lose all your progress, which is never fun. Yeah, just remember to save your image textures before closing Blender. Next, let's start painting in some detail by hand. While in object mode, select the body and press Tab to go into texture paint mode will now paint some skin detail on our model, like the redness on the nose, the cheeks and the mouth. Press S to swatch the lighter pink color from the nose and the reference. After that, choose the brush tool from here. Choose this new color from color palette. Here you can press F to increase or decrease the size of your painting brush and just reduce the size of mine. So it's a small brush. After that, start painting the red on the nose here. I just paint it in all over the bridge of the nose and on the bottom. Rotate around your object while you're painting to make sure that it looks okay from every angle. Now, let's watch the darker pink color. Press S and click on the dark pink on the bottom of the nose on the reference. Then from color palette, select this new dark pink color. After that, go up here. And from string for reduced the strength of the brush to 0.2. That makes the brush a lot more subtle. Paint, the darker pink color on the bottom of the nose here, that gives the nose a bit more dimension. After that, from color palette, I select the skin color we used for the body. We've got color and the brush tool set to 0.2. I blend the pink on the sides and on the top of the nose bridge. That helps the transition between those colors be a bit softer. Next, I select the light pink color. I increase the brush strength back to one from here. Then I paint the area under the neck like this. This gives the illusion of a shadow under the head. What you can do here to make your painting easier is to turn on symmetry. That way you can paint on both sides of your mesh at the same time to turn it on, go into the tool settings on the right here, then scroll down and from symmetry, press on x does turn on symmetry in the x-axis. This saves a lot of time because it can paint on both sides. Next I'm going in with the pink and painting the inside of the ear like this. Here I think the brush is a bit too soft for the ear detail. To change the hardness of the brush, you can go into fall off here. And from this drop-down menu, choose constant. That gives you a hard painting brush. I just paint the ear canal while making sure it looks good from the front and from the side. Nice, That's looking good. Next, let's paint the blush on the cheeks. For that, we'll use a softer brush. Go into fall off again. And from this menu, change it from constant, just mover. That gives you smooth edges on your brush. After that change the strength of the brush to 0.4. Then paint in the cheek blushes like this. Paint a bit of redness on the top of the eyes here as well. That gives a nice shadow and creates the illusion of eyelids in that area. Next, we're going to paint the mouth in color palette. Click on the darker pink color. After that change the brush fall off back to constant. From here. Change the brush string back to one as well. We do this because we want the line under mouth to be hard instead of soft. Reduce the size of the brush by pressing F and then start painting in a line on the top like this. Here in the corner. Make a small dot to create the illusion of the mouth skin folding over that area. Nice, That's looking good so far. Next, let's paint a bit of pink on the knees as well. Select a light pink color and reduce the brush string to 0.4. Again. Paint a little bit of pink down the nice. Adding skin variation with this pink color helps the skin look a bit more alive and less plastic key. After this, let's add a lighter color to the skin. This will create a bit more variation. Press S and click between the eyebrows and the reference here, that swatch it. The lighter skin color from the reference. Choose this new lighter skin color from color palette and paint with it between the eyebrows and above the mouth. Paint a bit of this lighter color on the legs and on top of the hands as well. Next, I select the light pink color and paint on the ends of the fingers. Again, that just gives the skin some more life and makes it look less doll. After that, a paint in the area under the hat with the same skin color that helps create an effect that kind of looks like a contact shadow. Okay, the skin is all good. Now. Now let's move on to painting the sweater. Select the sweater and press Tab to go into texture paint mode. Turn off the paint mask from this button here. Now, let's paint the star on the sweater. Change the brush, fall off back to constant. We do this because we want the edges of this part to be sharp from color palette, choose a yellow color if you paint now, you see that symmetry is turned off. We want to turn down so we can paint faster, go into symmetry here, and then press on x to enable the symmetry in the x-axis. Now we will be able to paint everything faster. One last thing we can turn on here is stabilization. This will help make your lines less wonky when you're painting. It's especially handy if you're painting using a mouse to turn on stabilization, go into stroke here. Scroll down and enables stabilized stroke that makes your lines much smoother. Now, if you want to have more or less stabilization, click on the arrow next to stabilize stroke. That opens up a little menu here. From radius, you can change how much stabilization your brush has. I set my radius to 40. After that, a paint in the star at the front of the chest. I switch between the yellow and blue color to make the edges of the star sharper. Next, I go in with an orange color and a small brush, and I paint on the lines on the elastic here. I paint with symmetry in x turned on. So that makes everything come together much faster. I paint the inside of the collar here, oranges, well, here I'm painting the lines on the sleeves the exact same way. Nice, That's the sweater all done now, next let's paint the hat press Tab and go into object mode. Select the hat press Tab and go into texture paint mode. Select the orange color. After that. Turn on symmetry in the x-axis. Then paint the lines on the front of the hat like this. Paint in some lines going down the side here as well. After that, paint two lines on the back as well. Now, let's make the brim of the hat oranges well, press Tab and go into edit mode. Shift select all of the phases on the brim of the hat. After that press Tab and go into texture paint mode, turned on paint mask from up here. After that, choose the orange color and with the fill tool, click on the brim. Nice, That's the hat. All done now, next let's paint the eyes, press Tab and go into object mode. Select the eyes, press Tab and go into texture paint mode. Press S and swatch the color of the eyes from the reference. After that, choose a new color from color palette. Make sure that symmetry in x is turned on and the brush fall off is set to constant after that with the brush tool paint the iris of the eye like this. Nice, That's looking good. Rotate around your object to make sure it looks okay from all angles. Next, we're going to add some geometry for the eye highlights. You could also paint these into the texture if you wanted to, but I prefer to add them in as actual geometry. That way, once you animate your model, they can easily be animated separately to add the highlights, press Shift a and add a round cube. In the round cube menu here, set the radius to one. After that right-click and choose Shade Smooth. Scale the cube down by pressing S and Y and S and scale it down overall with S. Then placed a cube on the eye with G. Rotate it in place with R. Let's add a new material to these highlights, go into material properties here, and then click on new name, this new material by double-clicking on the name. Here I'm making sure to highlight isn't floating off and is flush against the eye. After you're happy with the placement, press Tab and go into object mode, select the highlight object and press Shift D to duplicate it, place it on the other side and rotate it into place. Make sure that this one is in floating off either. Nice. Now the highlights are all done. Finally, let's paint the stripes on the socks and the plaster. And we're all done with the textures. Let's do the socks first. While in object mode, select the socks object kras tab and go into texture paint mode, press numpad one for front view. Select the dark blue color from the color palette. Make sure that symmetry in x is turned on and then also turn on stabilized stroke that will help you make the line straight. Here. You can press F to adjust the size of your brush. After that paint in the top line on the SOC like this. Press numpad free for a side view. Continue painting this line going around the SOP. Finish it off by connecting the lines. Nice. Now let's do that one more time. For the bottom line, this line has to be thinner, so I use f to decrease the brush size, painting the line the same way we did before. Now press Tab and go into object mode. Select the plaster press Tab and go into texture paint mode. Select the dark brown color from color palette. After that turn off stabilized stroke from the tool settings. Then paint in four dots like this. After you're done, press Tab and go into object mode. And that is everything textured. Now, you can now save your image texture. To save the texture, open up the UV editor from this top corner. Then go into Image, Save As, and save your image to a file. Please remember to do this step because otherwise you will lose all your texturing progress. And that is everything free to texturing part of this course. I hope you enjoyed it and learned something new. In the next part, I'll show you how to set up lights for your character and how to render a still image. I'll see you in the next part. Bye. 8. Part 7: Lighting & Rendering: Hi guys, welcome to the last part of this course. In this part I will show you how to light your character nicely and how to render a still image of it. This way you can share your results with me and others online. Before we proceed with that, though, I really wanted to take the time here to pause and congratulate you on making it this far into the course. Making your first 3D character is a really scary task, especially when you're a beginner. And I know from experience that doesn't always turn out perfect. On the first few tries, I just wanted to reassure you that that is completely normal and it's to be expected. If you're not 100% happy with the results, note that it will get easier each time you model something, you'll get the hang of things, the more experience you have and you understand the anatomy better and better each time you make a character, the fact that you've even made it this far DO is enough to give yourself a big pat on the back. I want you to be proud of yourself because it's no small task to make a character from scratch. Anyway. I just wanted to mention that because I remember how hard I was on myself when I was first starting out. So if I can I really wanted to spare you those feelings. That was a bit off topic, but I thought it was worth mentioning here. Anyway, let's get into lighting now. First thing we want to change here is the color mode in the view port. The colors at the moment and are displayed more dull than they are in reality. To fix that, go into render properties here, after that, go into color management, then change the view transform from filmic to standard that fixes the washed out colors in the view port. Now click on this button here to enable render preview. This is the mode where you can see what your final render will look like. You can see all of your lighting and all the material properties properly displayed here. At the moment, we only have this one light in our scene that's there by default, you can see that that light is lighting the back of our model. Let's grab that light and move it to the front with G. Move it towards the right side here. So the models left and move it far enough so the light isn't too harsh. Once you're happy with the position, press F2 to rename the light. Name it key light. So let me explain quickly what a key light is and what type of lighting we're making today. What we're making here is a free point lighting setup. Three-point lighting is the standard form of professional lighting for video production and photography. We're just borrowing that technique from photography. Really, three-point lighting involves using free light sources placed in three different positions. The key light in this three-point lighting setup is the brightest light and it's usually placed at a 45-degree angle to the camera. We won't be following the degree is exactly, but I just want you to remember here that the key light is the brightest light in the scene. You can change the brightness of a light by selecting it and then going into object data properties here. Then from power here, you can change the brightness for this key light. Let's keep the power at 1,000 watts from color. You can change the color of your light. I'll make mine a slightly pinkish orange. So it's just going to be a warm light. So that's all we need to adjust for the key light. Now let's make our second line in our three-point lighting setup. This will be our fill light. The fill light fills in the shadows that the key light creates. Typically, it's placed on the other side of the key light. Select the key light and press Shift D to duplicate it. Placed this new light on the opposite side. Press F2 and name your light. In Object Data Properties reduce the power of the fill light to 500 watts. That's half of the value of the key light. I changed the color of this new light to a purplish blue. I like the contrast that this cold color creates with the warmth of the key light. After this, I use g and position the lights a bit better. Please. The key light a bit higher in the fill light, lower. If I hide each light now you can see the effect each one has on the mesh. Finally, let's add our final light to our three-point lighting setup. The rim light, select the fill light and press Shift D to duplicate it. Plays this new light at the back of the character with g. Typically the rim light is positioned opposite the key light. The rim light is used to separate the subject from the background and to create a nice slight silhouette. Press F2 and name this new light, rim light. You can make this light stronger or leave it as it is. This three-point lighting setup works great for most scenarios. It's really good to use for lighting characters, and that is all for lighting. Next, let me show you how to set up a camera and render an image of your character. Press numpad one for front view. After that, press Control Alt and numpad zero to create a new camera from view. Then go into output properties here. In resolution is where you put the size that you want your render image to be. Next, let's adjust the camera. Find it in the outliner on the right here to select it and go into Object Data Properties change the type of camera from perspective to offer graphic that gives you a flat view of the front. After that reduced the orthographic scale to about five. That makes your character fit nicely into the frame. Now you're ready to render your image. Press F2 to render an image of your character. It will take a bit of time here, but once it's done, you can save it from image. Save As if you want to make a transparent background. Let me just quickly show you how to do that. Go into render properties here, then go into film, and then click on transparent. Now when you press F2, your image will be rendered with no background. So it will just be a PNG with no background. To save your image, go into Image, Save As, and that's it. You're all done with everything. Now, that concludes the final part of this course. I'll see you in the outro. 9. Outro: Hi guys. Welcome to the outro. If you've made it this far, well done. I hope you've learned a lot throughout this course and you enjoyed the process of making your first character in Blender. I really can't wait to see what you've made. If you have any questions about any stage of the process, please leave a comment and I'll do my best to help. Also, please make sure to give a good review for this course and share with a friend as that really helps me a lot. If you want to see more from me, you can find more of my videos on YouTube and patriot, I make freely tutorials and share the making of my animation project, the magical adventures of gizmo knows. Anyway, thank you so much for watching and for being here by Until next time.