Bring Your Midjourney Concept to Life with Blender 3D

1. Introduction: How do you ready to bring Garrity imaginations for life? Hello, my name is Jackie, I'll count, and I am a 3D artist. In this class, you will learn how to create your very own cow or a character using Blender, a free open source software. Whether you are a beginner or have some experience with 3D modeling. This class, we will guide you through the basics of Blender. Provide you with the tools you need to create a cute and logo character to start. And you use the journey I powerful AI tool to help us find inspiration for our character design. From there, we'll dive into Blender and covert essential modelling techniques, as well as some texture and geometry know. You will learn how to use lighting and rendering to bring your character to life in a vibrancy. No prior knowledge of 3D software is required for this course, making it the perfect starting point for aspiring 3D art. All you need is a PC and the free software blender. Join me on this creative journey and discovered the world of 3D art. 2. Using Midjourney for Inspiration: Welcome to this lesson where you're going to create our new journey as account. If d squared, it should be really fast. So join me journey. You may discard this in French. Have to prove that I am not a robot. Okay. Okay. It's open. Now I have to ask to answer some questions. Preference. Okay, wearing. So tip slash, imagine, click on prompt, then you can type your keywords. So we're going to look at carefully kept on an ice cream. So I'm going to type some keywords. I have something on this version of this first verse or I want something more cartoony. We are going to look something more 3D. And then on the second try. By the way, this is the free version of new journey. Once you can pay for the the full version on this one, you have to use carefully because you have only 25 images. So this is the final result I'm going to open on my browser so that you can save that image. So it's good, It's nice. It's a good starting point. By the way, it's really just a starting point. Are going to use my journey as a starting point for modelling our final work. So again, slash imagined prompts, you type your keywords. So on this one, I'm going to add some 3D render. Realistic. Okay, So this is more like the result we're going to have on blender with Cycles render. You can go for your own ideas and try to reproduce them on Blender later on. Okay, so it's rendering. Okay, I'm liking what I see. Should be a nice starting point. There are going to add our one, creativity later on, Blender. Ok, good concept. So let's start. Let's move to the next lesson. 3. Viewport Navigation: Hello and welcome to Blender. When learning as software like Blender did, first thing to know is how to move in the view port. So in Blender, the upper right corner, we have the tools to control the viewport is this one. We can rotate around our object. With this one, the magnifying glass, you can zoom in and zoom out with the hand. We can move the view. But better than using these tools is to know the shortcuts to work easier and faster. So shift middle mouse click is to move the view. Only middle mouse-click is to rotate the view. With the mouse wheel. You can zoom in and zoom out. Let's move to the next lesson. 4. Move Rotate Scale: Okay, Now that the two know how to move, zoom in and out and rotate on Blender, the view part. We're going to learn how to move, rotate, and scale objects. Let's get rid of the camera and the light that's on Blender. By default, we're going to keep this cube. So when we opened Blender, we have this selected to select it. We're going to use the Move tool. The shortcut is g. I click on it on the tool, we can move the object on all UN axis, like the z axis or the x-axis or the y-axis. If we select this square, we can move on two axes at the same time. The z axis is hidden by default on Blender interface. I'm going to activate it so you can see the rotate tool shortcut our words more or less the same way. So you have these circles. The blue circle rotates around the z axis, the red around x axis, and the green around the y-axis. You can rotate on several axis to the scale tool. The same thing we can do, or scale on only one axis onto wax is on the whole object. Is the same logic that it's always faster than select the tools. It's faster to use the shortcuts. Are going to learn the shortcuts here, G, R, and S. We can select the object and tap G to move the object. If we want to construct constrain it on only one axis, we can tap G and the letter of the axis, g, z, g, y, d, x. And we want to move on to wax is at the same time with that G Shift Z to move on x and y axis at the same time. The same shape, the same thing for the two other axis. For the rotate tool. The shortcut is our and it works the same way. Our Z to rotate around the z-axis. Why around y-axis and x around x axis. Scale to is S. I can scale it on only one axis. Or into waxes. We've shifted, Shift and the letter of the axis. I don't want to scale it. So as Shift Z to scale, scale the object on the x and y axis. 5. Create Objects: Okay, Now that you know how to move, rotate, zoom in and out of the viewport, and how to move rotate and scale objects. We're going to learn how to create new objects in Blender. To start, you get rid of this cube. So in Blender to add a new objects, we can go here, add a mesh, but we can add also cameras, lights, all sorts of objects. And if you want to work faster, the shortcut is shift a, shift a to create anything. So I will create a plane to be the ground of our scene. With S and Z. I will scale it on the x and y axes. Okay, that's nice. Then shift a to create another object that you move it up a bit so we can be to be above the ground. So I will go to an article, an orthographic view and g, z to move it up. I came back to the perspective. I have these two objects on my scene. Now. I press Shift a again and they create a light. The light will be at the center of the scene and it's hidden. It's below the box. In blender, you have several ways to see your objects. So you can go to wireframe mode. Now, we can see the light. We move it on the x and the z axis. You can go back to the shade, shade, shade, and bold. Then we have the GPU, The GPU engine to render, and the cycles engine is the last one. Here, we can have a better results for our render. I bumped the intensity of the light. So now you can see the light is lighting the scene and creating some shadows behind the box. I can tint the light as I want. You can do all sorts of creative things with these tools in Blender. So I can move the lights and the shadows move in real time. Now, going to play a little bit of materials, I select the box. I create a new material. It's always a good habit to name your objects in your materials. So in here I can give the box color. We will do the same thing to the plane. This you in the materials tab, I create a new material for the plane. They name it, and they change the column. Then we can keep working on the light, can change the color, change then density. For now, I think I'll just keep it white. Okay, Let's move to the next lesson. We are going to see how to edit objects. 6. Edit Objects: Okay, let's keep moving. Now we're going to learn how to edit the objects we create it. We're going to select this box. Let's move back to shaded, shaded mode. With the box selected, you can press Tab or go, go here and go to Edit Mode. In edit mode, you can edit the points, the vertex, or the edges, or the phases. We're going to play a little bit with the three of them. So I select this to vertex. And we can use the same tools we learned, like the Move Tool, G, Z. Select this other vertex. With S, x. I can scale the scale them down. I can select the faces and leave our x. I can rotate this face around the x axis. I can move back to Edge and select this edge. I can scale it on the x-axis, also can move it in the z axis. Then I can select these two edges and scale the scale on the y-axis. Creating this kind of a pyramid. I can select only these two vertex, can do whatever you want. In modelling in Blender. I can select this face and moving down. So once you're done, you can come back to the object mode. And you can see the changes we did updated here. And you can see the results on the lighting. 7. The Ice Cream Cone: Okay, Let's start our modelling that gets rid of all these objects. And we're creating simple, simple shape cylinder. We are going to go to a orthographic view, turn on the snap and raise the cylinder so e to be at the base of her or grid. Just a simple measure to show you the size of this cylinder to meters. Let's go to Edit mode. Select these two faces, and you will get a read of them. Kick week. Add a subdivision surface geometry modifiers, sorry. And let's turn on the Shade Smooth. So do you see our cylinder reuse moose? I raised the subdivision surface for the viewports also. Okay, let's select this edge, loop. Shift Alt, left-click. And we do an extrusion. So the shortcut is e. Then we s, we will scale all these edges. The center of the cylinder will do this. Sometimes. We could take, take care of this hole, but we'll just let as it is. We won't see it. So there's no problem. With Control R. I'll do a edge loop in the middle of the cylinder. So we can shape it a bit more. And now it's just a matter of trying to find the acute, acute shape for this ice cream cone. Alright, going to work a bit on these edge loops and trying to shape the best, the best we can. Select an edge loops if it's Shift Alt, left-click, add a bevel here. The shortcut is Control V or this burden. So this edge will be more around I scaled on two directions, x and y. So it's s and Shift Z to scale on the other two directions. Shift to z. Also here is to see through the shape transparent so we can select all the edges of the other vertex and the edge is starting to take some good shape. We are getting closer and scale it again. So as shifts z, scale it on x and y, and select this edge loop and take it down and beat. I'm just trying some stuff to see if I can find the best the best shape they can. Should z again, she scaled down this edge here. Mr. around your object to see if it's working. Now, if Shift D, I make a copy of this cone and we're going to model the upper part. So S z to scale it down Only on the z-axis. And now S Shift Z, so I can scale it up on the x and y-axis. It will be faster here. Z. To see through the object, I select this vertex and skeletal, skeleton app. Kelvin scale up all the, the shape. Again, S, to scale up on x and y. I will take only the middle vertex. And they raised in just a bit and scale them up upon X and Y. Have this round shape here. I think we're getting really close to the finished shape. Let's rename the objects. So we can have a lot of objects on these models, so it's better to keep organized. I M is to create a group, like create a group ice cream. And I put these two shapes in it. 8. Modeling the Ice Cream: Okay, Let's start modelling the most tasty part of this model, the ice cream. So we're going to do a copy, Shift D, this part of the cone. So we move it up with z. Then we scale on the x and the y-axis. It's bigger than the part below it. And now you're going to work on this vertex here on the border. So Shift Alt, click to select it and I'll select the loop. We move them up with G and Z. E to extrude, scale them down. Again to extrude them again. And g, z to move them down. We're just playing with the vertex to find a nicer shape on the border has moved shaped. I think we, we're done here. I will select to some vertex here and you activate the proportional editing editing tool. So we, for the Mao's view, this circle, it's affected. It affects the vertex around the vertex I selected. So I can do as moose transformation. So we're good here. I would turn around the object to move other vertex. You can place it, place your, your view on the autograph view, also with the number pad. The shortcuts are when 37. So I just keep doing this and to finish the ice cream vertex to G, z and move them up. Just move this part, the desert. Here, the map. So this circle is the area affected by my selection by the proportional editing. I forget this part. Let's finish here. G and Z. Just keep turning around the object and see if it's okay for you. In the next lesson, we are going to see Geometry notes. 9. Geometry Nodes with Chocolate: Okay, Welcome to your Geometry notes. So before starting, we're going to lift up just a tiny bit to this vertex. Here. They want the ice cream to be higher. Okay? I think that's enough. We are going also to apply all the transforms on the geometry. Otherwise you're going to have some issues, some issues on the geometry nodes. You can do Control a or you can go here to Object, Apply all transforms. Everything is on zero. And this k yoga isn't one. So that's nice too, is to begin. Let's open a new window and go to Geometry node editor. To see something, we have to add an amplifier. You have between nodes. And click on New. Now, the geometry is reflected on the geometry nodes. And if I tap control, right-click and I kept the disconnection, we don't see the geometry anymore. So we're going to search for our nodes. We're going to use the distributed points on phases, connects the geometry. Should it mesh, impute input. We searched for instance, on points. Second node we are going to use. You connect two points, two points. We have to have an Eastern instance. The instance is the objects that will be duplicated on the surface. So we're going to create the chocolate balls to be just as here. As here. Let's name it. Let's come back to the ice-cream. So we have to call this heater here with an object info node. Okay? And the geometry output of this node should be connected to the instance input, the instance and points. We select the geometry if the peaker. And now we can connect the output of the instance on points to the output of the group. If you click can ask instance here we can see that our geometry, our instance duplicated several times on the geometry. This cable is too big, we have to control it here. We can use a random value. So this could be from 0082009. That's better. We have a lot of balls. I want to have less than that. So I go to the density 1.5. And we need to also join geometry nodes to connect both of the geometry's at the same time. Joint geometry. I connect the chocolate balls and I connect the ice cream so we can see both of them. And that's it. It's a really simple setup. If you want to know more about geometry nodes, lets me know in the comments. And let's move to the next lesson. 10. Modeling the Cat Head: Okay, This is by far the easiest class of discourse. So you're going to do the head. It's really only a sphere. Nothing else. It's just a matter of placing it in scaling it. Let's put it in around here. Give it a name. With M. I can create a new layer here. Then the group, call it KitKat. Right-click Shade Smooth. You already did. We already know all that we're doing. We're doing all the time. So subdivision surface, let's kill it a bit. It must touch the, the ice cream. Let's just find tuning these a little bit. G and Z to move it down or up. I want to see a bit of the ice cream in the border between the ice cream in the head. And that's it. 11. Modeling the Eyes: Okay, Welcome to this class. Let's start modelling the eyes. So we're going to hide the rest of the geometry. It to be easier for the eyes. I'm just, I would just create this here. Shades moves at the subdivision surface modifier. You already know how to do this. So I am going to discretize it. I want to be like a capsule. So this is the domain, domain I. And we're going to model the reflection upon it. We could do the reflection there directly on the lighting, creating like area lights and try to place them to have a good reflection. But it's just easier to do in geometry and to have this reflection effect. So it's easier and faster to do so, let's do like that. I duplicate this the first capsule, and I reduce this size to create the reflection. So this will be the big reflection are going to do to have two of them, a big one and a smaller one. So it's just a matter of trying to place it, place them on the right spot. One will be smaller. On the top view, I will try to replace them. Whether they are now they are flying, you have to bring them closer to the day. I rotate it, rotate them a bit. G to move on the z-axis. Okay, that's nice. Just fine tuning a bit. So I selected both reflection and Leslie and I bet Control P to parents, their reflections to the ISO. Now the eye control the transform of the reflections. If I move the eye, the rest we follow. So place the eye in here. I will show the other objects be too high. Bring it back. It's way bigger. League also. So we're going to address this in a minute. I bring it in front of the character with G and X and rotate 90 degrees with air are. And why dated on the x-axis to the bigger reflections would be on top. And now I'm going to scale it down with S and place it or less at the place I want it to be smaller. Okay. Now we have to bring it close to the surface of the head. The top view I rotated the eye. If you tap twice x, z, or y, you can do the transformations on a local axis. So I will rotate the eye on the why local axis. Sometimes it's very convenient to do the trans form like that. So the first slide, it's well-placed. Now. We can duplicate it. Select the three objects. And I tap D De Shi Da, make a copy. I'm going to rename. This is the left eye. And those are the left reflections. So it's nice to stay organized. So I will rotate the left eye, but not on his X is. I'm going to use the 3D cursor as the pivot for the rotation. So it should be easier to place the, the I on the other side. So I'll tap on r and z. And I rotate the eyes and wallah, we have our left eye well placed on the head. Okay, I think it's nice. Yeah. Let's move to the next lesson. 12. Mouth and Mustache: Okay, this lesson are going to change the tools that we were doing, polygonal modeling. Now are you going to do with some curve modeling or creating a busier curve, curve here. So we go to Edit Mode. If I can delete these points, it's created by default. And with this tool selected row, we are going to draw our mouth. Can draw it very approximately Tivoli. It's created on the center of the object. They're going to move it in front of our head. Let's come back to your auto graphical view. Now I going to shape the mouth. Can select the I have the proportional editing selected. I'm going to deselect this. It should be easier. So you can select the tangent and I'm going to delete, and I don't, I only need two to vertex this vertex here. To find this one, I put it in the center of the face. So that's why zero 0 m. The tangents try to find the best shape possible to the mouth. In the curve parameters. I'm going to give it some depth. So we get E to be, to have some volume. We use a mirror modifier and use the head as the center of the symmetry and select the y axis. So now we'd have the mouth, the eyes. The eyes are just entering B2B. I select the Local pivots so they stay scalar individually. That's fine. Tune this a bit more beautiful curves. I'm going to rename some objects in here. Let me get ahead. Yeah, it's better. All the objects have the same beginning teaser to find them in a list. Let's create the mustache. The same process and create the desert curve. We can delete this first vertex. And let's, let's draw the moustache. Let's place it. Moving to the front of the face so you can see it better. It's a flat line, but we can move the points individually so it can have more of a 3D, 3D shape when it's just trying to place it correctly. This vertex here. Next axis. I'll delete this vertex. We don't need it. We can do the curve is tangent to here. Moving in. The last vertex we have the easier is to model to find the Deputy good shape, good habit to have. Let's hope this vertex app. And also the x axis. Let's give it some depth. Also here in the curve that are meters. Using services to you. Right-click and click shades moves on both objects. Let's do a mirror would hire, I'm here to the head as the center and the y-axis. Now it's just a matter of doing some copies of this new stash and placing it correctly. They have to differentiate the the other two. So it's more natural. This one and I moved the x, y-axis. And I move this is very thick cell. So you can have fun with this bar to try to, to have different shapes than mine. You can do more. Marbles dashed if you want. It's really up to you. So I didn't send to eat something different. I create a third one. This vertex down. Crying in a nice curve here. Where almost okay, here. We're going to do it one less thing, eventual close the caps in the mustache and in the mouth too. So here you can find this option, feel caps. Just click on it. And if you close the caps, have to close the, close the shape for these two geometries. Let's move on. 13. Modeling the Nose: Let's come back to the polygonal modeling here. So we're going to do the nose and we're going to start with a mesh called the round cube. So it's a cube with the ads rounded, already rounded. So we're going to tweak, tweak a bit the initial shape of this round cube to have more rounded edge. Question on this axis. I think where I could just start here. Let's move it up. When we change the tools, the, the initial box for the creation of the object disappears. So we can use it on the beginning and after you can not access it anymore. We're going to place the box More or less. Next, we're going to have our loops. Just move into beaten egg x. Move it up also. Okay. Let's go to Edit Mode. Artery going to do what are we going to get? This, this shaping the needle and we are going to apply the mirror modifier so we can model just one side of the object. It's easier like that. Pie, a mirror modifier. We use the head as the center of the symmetry. As usual. Replay a subdivision surface, you go right-click Shade Smooth. Now we have just this vertex to work on and they order the other side the vertex are going to follow. In the auto graphical view. I Shift Z to see through the object. So you can select only this vertex. You can rotate it. Let's try to bring them together to the middle of the nose. The app. Let's rotate. This is vertex also starts creating the upper shape. To sit, sit through the geometry. It's fine tuning the shape. Control R to treat an edge loop. Here, I want you to give them more of a rounded shape to this side of the nose? Almost like a heart-shaped. Okay, Let's just place it better in here, the x-axis and rotate it on y-axis. Okay, Thank you. Actually, it should be fine now. Okay, let's move on. 14. Modeling the Ears: To finally finish, our model are going to do the years. We're starting also with the round cube here. So we're going to use the same same parameters we used for the, for the nose. Are going to put the Eurozone just round curve in here. And put more or less, where are you going to wear? Respect to C, the years? For an hour, we place it roughly in here. I'm going to edit mode to move tiny beat the vertex. So again, you can do different than the mean. Then you can do different ears. If you want. Use your creativity and just showing the techniques and how I go through my process. I going to do Control R to create an edge loop in here to do more of a round shape. It is Kelly character, so around shapes are always welcome. I do the same thing here. It should be, should be cubed years. Right-click Shade Smooth. And are you going to do our modifier that we use all the time? The mirror in y, X is using the head as the symmetry center and a subdivision surface modifier, which is moves the ears. Just fine tuning here the g, z to be down. And I scale them down on the x axis. So S, x. That's it. Our model is finished. Let's move to the Render. 15. Camera and Background: Okay, Now that our model is finished, we're going to start setting up things for the render. I will create a plane. This is, this will be our background for the scene. Like to do background. So we leave, I'm just scaling it up. But you need to write here, I will select this edge and I can extrude it and z, I can constrain, constrain it to the z axis. Then we've come through B. I can bevel this edge so we can have a rounded corner in here. Right-click Shade Smooth. I click here to create a second viewport. In the left, we're going to keep working. And the right one will be for the 4D render. I create the camera and move it here. And we're going to place it to turn it. And so it could be right in front of the model. I tried to find the right, the right angle here. Turn it on the z axis. On the z-axis. So we directions 90 on the z. Okay? So in here I click, it will push the zero button to show the camera N and T to hide the windows on the retina, right and left side. The tools and the menus. Our image we will have, it will be a square image, so 1,000 peaks as biofouling pieces. Move the camera a bit. I will change the focal length, 8 mm. The subject, it's more like a toy. It gives the impression that the subject is smaller. And let's move on to the materials and lighting. 16. Lighting the Character: Let's do the lighting. The lighting, It's really a very important part of the work. In this window. I'm going to deactivate all the help we have to see to work with the model. So we don't need it anymore. You use it this window just to see the final result. You also, everything is empty and the left window keeps started to keep working on our scene. So I create an area light with their relate to can have soft shadows. So they go for illustration. So let's play a bit with the values here. The power, the shape. Start changing the shape of the light. I use it at this area light. So the bigger the light, the software, the shadows. So this is maybe too much. Let's try 15 m. Here. We can have the EV GPU based the render and cycles. So let's use cycles. It's the best option. By bursts, the intensity of my light. Foreign always T1, the EV soloing it render in angina, we have to change the cycles. And if you can change it to device, to GPGPU compute. And then we have this, the settings for the viewport and the render. The Render are okay or just to change the settings for the viewport so you can have best quality. Let's use the deniers also. Let's set a time limit for the final render, one minutes. It depends on your machine that you immediately think you should be nice for mine. Here. Let's rename this one would be the top light. Let's keep it to duplicate, duplicate this area light. That's great. The main, the main light. So this is the main one where the light should be stronger than the others. That's like the character. More or less 45 degrees from the angle, the camera angle. It's nice to avoid to be two frontal on the lighting. Otherwise the subject, it is flat. The goal is to try to accentuate the volume on the subject. This one will be stronger. We'll keep working on this slide. So when we are going to do the materials, so for now it's just a first test. Light. Light it down. Take it up. Okay. So you can see where the main light lighting is coming from. So these ones we build a fee will be the fill light. In this kind of illustration, I tried to avoid having too much dark shadows. The shadows will be soft, softer, and not too strong. So I can see the different lights acting on our own. Our characters without character is initialized. She'll let alone main light alone. And the top lights. We keep reworking later when we're going to do the materials. But for now I think we're good. 17. Materials Part One: Okay, Let's do the materials. You can see that this bar to be very, very easy, it's very straightforward. I'm not going to create a complex materials. So let's start with the account base. To do this kind of work, always try to keep images side of your work to look at reference and try to approach. To match this the reference. I use a software called pure reference. It's a free software. If you want me to make a class to explain how I use it. You can see the comments in here tied to find orange, this saturated, desaturated color. And not look too dark. Right, going to apply a texture on this one on the next lesson. So it's all the texture we're going to use. This one. We can use the same material. You can go here in this drop-down menu and select the material just created. Let's do the cream materials. So same thing, we create a new material, we name it correctly. It's good to fight the, fight them, find the materials later. An empty object to, I forgot to do this. On the first lesson. Here, we're going to create a cream color that the challenge is to have something that's a bit different from the cold color. So we can contrast the two objects. We need to look at the render and see that right away that there are two different objects. The color can be too close when foreigners from another. So a bright yellow creamy color like that. So we can play with the specular roughness and metallic parameters are the most, these three are the most important ones. So we can have specular is the reflection, the quantity of reflection metallic. It's self explained. If an object is metallic or not, the roughness lower the value, more sharp will be the reflection. So for the cone, I don't want too much sharp reflections. Well, let's, let's keep, keep it like this. For the shadow color, we start to correct the spelling. Chocolate instance. I create a chocolate material is one. We are going to use some reflection. So almost the only one that we will do that, right, right. Try to find the right color for this one. Darker, dark brown. And further reflection. I'm going to use sharper reflection here. Too bright more than the harassed of the model. The rest, I'll try to keep them almost without reflection. So it'd be keeping more of these 2D look. Even if it's a 3D render. We want to keep the volumes, but I don't want to a lot of reflection on the on the objects. For the head, it should eat to be white, but not completely white. I give it lightly as light tint of pink, right? Right. Being very desaturated, almost white. For now, I take down the specular. Let's start. Let's do the material for the nose. So this one, so it will be easier to just black. We could left some summary reflection. Let's see. Not too much. Yeah, we can always come back later and this one. So I will use the same material for the mustache and the mouth. Okay. Yeah, I think I take down the reflection. Should be really to the 2D look. Are these facial features, the eye, the same material, black. And we are going to create a white material, further reflection on the eyes. As I said before, we could have done this in with light reflection or an image reflected on the eyes. That's a bit harder to do. So I prefer to do like that. It keeps more of these 2D look. We ended. We can control exactly where the reflection, the sphere are placed on the eyes. I think it's nice for a cowboy character. So, yeah, we applied this white material on the reflections and let's move to the next material section. 18. Materials Part Two: For the middle part. This part do you have I think I have given some some reflection. I will select this part and assign a different material. Is a blue material. Reflection on this one. Material here. And create them a lot of material. I would call these one VG, pink reflection, specular in here. Neither forgot to assign, assign. So now we have three different colors. As always, we can come back later and work on these, on these materials. Why you want it more orange than violet? So I bring it more on the red side. You can, of course, try to find your own color, color scheme. In my anyways, you don't, you don't need to do exactly the same thing I'm doing here. If it's even better if you do something different. So you can have your own personal project to present at the end of this course. So I will try to give more reflection on the ground. I think this is nice. The, the model reflect, reflected on the ground in front of him. Let's work again on our lights. But then on their own group. So n I create a new group and put the lights inside. The fuel light. I give us light as light. Pink tint to it. The shadows, the shadows are tinted with this color. This right? Let's work on the intensity of the main light. Should be, I want it to be as bright as I can without blowing up the whites on the image. Telling the the shaded side of the, of the CNA. I think you can see the shadows are light, lightly tinted, pink. I did the same with the top lights. So you have this warm and color it look on the characters or the character. 19. Texturing the Cone: Welcome to this lesson. We are going to do some texturing so you can download the same texture I used on this side, textures.com. So I will put the reference from the file or in the resource page. Here. You have normal tissues, occlusion, height. So once you have downloaded them the maps, you can come back to Blender. I speak this view in the upper view or you show the UV editor. And this one are going to work on the shader, shader editor. Select that, select our code. So I use a function that's not available by default on blender. You have to activate it. You go to Edit Preferences, and you go to the add-ons section. You can search for node. You activate the Node Wrangler. These will activate some extra functions on the shader editor. You will tap Control Shift T on the keyboard. You select you all your maps. And those are for Angular, you automatically organize the shader editor for you. So for this model, I think we are going to need only the displays, the displacement map control, right-click to get disconnection. Now I have only the displays. I would turn them up for 45 degrees and then we scale it up. So you repeat more. Have a good size. Looking at good starting point. You reduce the height of the displacement. And I will work a bit on the color. Now it's too pale. I'm going to reduce the value and increase the saturation. And this two yellow, something a bit more red. We've shift the Became can move the you very slowly. So yeah, this, this isn't a nice color. And now we will come back to the UV editor to move the points and have a good, a good wrap of our our model. Select all the muzzle if a, and go to the UV editor. So in here I can scale the vertex of the V's. I can scale on the y-axis. It's the same shortcuts as the 3D view port as y. The title sizes are going to find journey just a little bit more. And I will select only this vertex to move them up and try to reduce the deformations at the bottom of the curl it up a bit more. Okay, Let's do the upper part. I will select, go to Edit Mode, select all phases. Go to the UV editor and do the same thing here, S, Y. So we can have square tiles. And now we're going to scalar all the UVs to have more or less the same size as the bottom part of the cone. K. Just fine tune it a little more. And I think we're good to go. Let's move to the next lesson and the final render. 20. Final Render: Okay, This is the best part, the final render. So we're going to use, as always, this window to see the results. And we're going to apply filmic filter to our re-image. Go to the Render Settings. In filmic you have several datasets. Very high contrast, the image is very contrasted. Can use something in the middle, like a museum, high-quality dress, or high-contrast. That when do we use these filters, we have to adapt our lights. Otherwise, the EQ, we can burn our characters. I'll just correct the details here. I think I can do better than that. They could be more square. It's just a more fine tuning for the texturing. Okay, let's keep high contrast and I'm going to bring down the power of the main light. Otherwise the right side of our cats a bit, a bit. We're already okay. You don't want to overexpose are kept. So over here in the output tool, we can set the file name, the file formats, all these functions. In the camera. We can use depth of field. For instance. I'm going to activate it. And the focal point to be the nose of the cat. And the f-stop is to set the quantity of blurry we are going to have. So the lower this value, more blur we have on the background. So I try to up this valuable a little bit to maybe 03. Yes, there I don't want to blur the cat. They get rendered by here, the shortcut is F2 L. I said the limits of the render for 1 min. So e to stop at one minutes into equity noise or 4,096 samples. So if he goes to 4,096 samples before when they're randomly stop. And if he goes to 1 min to the rendering stops also. So let's just wait. You can see this in real time. The time you take to render to get to have a good quality. Quality with no no noise or almost no noise. It depends on your PC power on your GPU, TPU. So it depends for mine. 1 min is nice, It's okay then even less, but I keep it 1 min. And that's it. Our final image is red and it can save it and post on your social media. Don't forget to tag me. 21. Conclusion: Thank you for finishing this blender class. You now have the skills to create your own cute and lovable 3D characters. Don't hesitate to share your projects even if they are not perfect yet. I'm excited to see where to pH. Keep learning and having fun with Blender. I wish you best of luck in your adventures.