Create a Cute Cartoon Animal Character in Blender

1. Introduction: Head here, my name is Amed and I'm thrilled to invite you in this creative adventure in Blender. In this codes, we'll be crafting acute cartoony animal character in Blender using some of the easiest and most effective techniques out there. By the time were done, you will not only have a cool character to show off, but also the skill to create your own ready magic. We will start with a simple default cue. You will learn to model your character using powerful modifiers and box modeling techniques. We'll then bring it to life with vibrant colors and realistic hair partners. Next, you will craft a detailed background, perfect the lighting and bring everything together in a stanning final render. Note that we would not be covering Blenders basic navigation and s. So a basic knowledge of Blender is necessary. But don't worry. I'll guide you through each step to ensure you can follow along smoothly. By the end, you will have a fully realized thready scene that you created from scratch. Are you ready to bring your thread creations to life? Enroll now and start transforming a simple cube into a standing fully realized character and scene. See you in the course. 2. Modeling The Body Lession 1: Hi, everyone, and welcome to the first lesson of our course on creating cartoony animal character in Bender. I'm Amit, and I'm excited to guide you through the journey as we learn how to model a fan and styles character from scratch. In this lesson, we will focus on modeling the body and phase of our character using the skin modifier. By the end of this session, you'll have a basic shape that will form the foundation of our character design. Let's get added. We have a DFL cube in our scene. I would like to start with this Df cube. Press Numped one for the front view. Press step to go to Edit mode, press M to merge and choose collapse. Now we have only one tex in our scene. Expand the properties panel. Go to the modifier step. Click on ED modifier and Sarch skin modifier. Such subdivision modifier. We need one more modifier called the mirror modifier. Now take the mirror modifier and drag it all the way to the top. Just like this. In the xs, choose y and disable x and enable the clipping. Now we have this vertex. Go to the wire frame mode so you can see through Choose the move tool, move it a little weight. All right? Now, e two extrude. E again. Here is where the real creativity begins. Start extruding vertices by pressing E on your keyboard. As we extrude, imagine the general shape of your cors body. We are aiming for a basic structure here, so don't worry about perfection just yet. We'll keep refining as we go. As you extrude, you can use control plus A to scale the thickness of different sections. Adjust the proportion to measure character design. Select this vertex, move it back. Select this Control at the scale. T. Now, select this vertex, e to extrude E again one more time, just like this. Keep checking your model from different angle to ensure it looks right. Remember, we are not looking for detailed muscle anatomy here. We're focusing on acute cero. While extruding vertices with the skin modifier applied, make sure to be in wireframe mode. This allow you to easily see and check the topology. Ensuring it stays clean as you shape your model. She like this. Move it just a little. It salto less salt a bit. Like this. S this scale just like that. A. We are making a cartooning character. That means the body should be smaller than the head. And the head is bigger, so it looks appealing and childish. Once you have build out the rap body shape, take a moment to re your work. Does it look like the character you have in mind? If not, make some adjustments. The skin modifier makes it easy to refine the shape until you are satisfied. We are trying to get the overall shape. Once you have extruded the vertices, switch to solid view mode and take your time to carefully adjust the shape until you get it just right. Don't rush. This is the main foundation of your caracter, and getting it right now will make everything else much smoother later on. Here is the key. Don't be afraid to tweak, adjust or experiment as you go. Extrude more vertices wherever there is a need. All right, we got the overall shape. In the next lesson, we will be modeling the limbs. See you. 3. Modeling Limbs The Left Leg Lesson 2: Hello, everyone. Welcome to this session. In this lesson, we will apply all the modifiers to examine the actual shape and topology of the mess. We will also be creating the limbs for our character. He tap to go to the object mode. Go to the wireframe mode, and however, the modifier s panel, control to apply. Now, tap to go to the edit mode. Go to the solid mode. Press seven to go to the top, enable the togo x ray. Choose select box style. Select the half of it, press x and delete the vertices. Add to select everything. Add a mirror modifier. In the xs, select y and disable x. Enable the clip. Now we have this mesh, and now we will be working on limbs. Now for the limbs, select these phases, select these phases. F I B and scale it. Let me enable the skin so you can see what I'm typing. Now, Go to the artex selection mode, select the twig tool and tweak some of the vertices. Try to make it a circular look. Use the twig tool to add some of the vertices and create a rounder region. This will prepare the area for extruding the leg from their point. Just like this. Now, select this vertex X, and delete this vertex. All right. Now, select this loop with alt, pressing the all key right leg and choose smooth tics. R, smooth vitics. Now we have this loop here, and we are going to expand it, to make the lis. Select this tool and go to the normal orientation mode. Now enable this proportional editing and make it 0.5 meter proportional size. Now, disable the clipping for now. P three to go to the side view. Take it and rotate it, just like this. Is the proportional editing scale late. Naval again. Keep tweaking vertices or edges as needed, and don't hesitate to use control plag to undo any changes. Remember, mistakes are part of the process, so keep adjusting until we achieve the overall shape you are aiming for. It's all about refining an tate tweak section tool, and tweak some of the vertice just like this. Right? Now, select this low, enable proportional editing. At a modifier, add a subdivision subdivision surface modifier. And select this rot rotate. Sal this loop. State. Make it 0.3, state a little. Move it. With proportional editing, rotate the edge loop and move it into position to prepare for ex the leg. Take your time to ensure everything lines up smoothly before proceeding. Now, position it correctly and double check everything before extruding. Once you are satisfied with the alignment, hit E to extrude. Make sure the proportions and placements are just right to ensure a claim and professional result. G. Go to the front view. Once you've ext, scale it and position it correctly. Continue adjusting the vertices until it feels just str. Take your time to ensure the shape and proportions are perfect. Just like this. Scale. Global mode again. All right? Now, press one to go to the front view. Extrude then area and then scale and move it as needed. Feel free to switch to different views to check the shape from various angles and ensure accuracy. To exte Period S zero to flat ag the z axis. Al right? At the look at here with controller, disable the subdivision modifier for that time mean. See this low, go to the front view, as to scale, dissable the proportional editing, take it and scale it just like this. Test a little bit. Control ad as to scale, like this. Now for this part, select this and this vertex, F to fill. Go to the S selection mode right and subdivide. Go to the vertex selection mode again. Choose the four, fill the bottom area of the leg by pressing F and ensure that the phases are, meaning each phase is comprised of four vertices. In modeling, maintaining Qs is essential for clean and efficient geometry. F F to fill. All right. Is looking nice. Now Enable the togo x ray. Select the select box type. Select it and move it a little bit. Now scale the leg and position it accurately. Continue refining and adjusting to ensure it integrates seamlessly with the rest of the model. Togo. Nab it again. Move it back. Once the legs overall shave is defined, we will move on to the feet, enable the knife tool and cut the faces to create space for the hope. Just like this, right? Enter it again. Enter. Now, select this, K and do just like this. K again, enter. Now here, control, Rt b s Tress one. After modeling the leg, adjust the body accordingly, refine its proportion to align with the leg and smooth out any inconsistencies to achieve a cohesive and polished look. Move it. Just like this, right? Make sure everything looks nice and the topology looks green. All right. Slight it a little bit. All right. Now, now we will work on the hoof. Sheep have cloven hoofs. Meaning, each hoof is split into two parts. We have achieved this by cutting these faces. To do this, activate the knife tool by pressing K and make the necessary cuts as demonstrated. K again. E. K to activate and join this for this part also K. Now, select this ta tool and tweak this part. Now, select the phases. HE to insert S to scale, move it back. Enable the subdivision surface. Try to make it a little scale. Scale little. Try to add this stat again just like this. A one again. Go to the verte. P one, n this proportional editing, select this select box type, enable that gal, select this, and move it. Move it subsist. 0.1 maybe Disable the proportional editing again. A All right. Now select this twig tool and disable it for the time being. All right. Now go select this and move it back. All right. Okay. Now, go to the front review again, select the select box, select this part. Move it est le. All right. Check out the proportion of the leg with the body. See whether it matches or not, and feel free to add extra adjustment if needed. Now we have modeled the back leg. In the next lesson, we will move on to working on the front leg of our character. See you there. 4. Modeling Limbs Front Leg Lesson 3: Hey, everyone, welcome back. I hope you are following along with the core so far and enjoying the process. I'm really excited to see how your projects are coming along. In this lesson, we are going to focus on modeling the front leg of our character. For the front leg, add a cut here controller. Go to the phase selection mode. Select these four phases. Hit twins. Select the vertex and press x to delete it. Next, use the twig tool to adjust the surrounding vertices. Shaping them into a clean circular form. Take your time refining the shape, so it's ready for extruding the front leg. Select the loop, right click and choose smooth vertice. Apply the smoothing for multiple times for cleaner result. Next, enable proportional editing and set the proportional size to 0.3 meter. Use the move tool to adjust the position. And the rooted tool to align it where the front leg will be. Continue refining the proportions until everything looks just right. We need to continue adjusting the area where the front leg will be extruded. Ensure the positioning is correct and check it from different views to make sure it looks good from all angles. Keep refining until the alignment is just right for a smooth transition where the leg is ex. Now go to the front view by pressing one on the numpad. Press control three, and now you can see how it looks. Press E to extrude, rotated S to scale, G to move. Just like this. Now, select this whole lobe. Try to limitae the size, add just a bit. Now select this slope, a zero to flat along the z xs. It one to go to the front view, G, Disable the proportional editing. G and move it just like that. E again to extrude a to scale, select this lobe, p, smooth the vitass. Like this loop, just like the G G double g to move along the normal. Press one, A cut here with controller, scale it, rotate it, just like this. Now go to the front view. Now enable this x ray and go to the select box selection tile. Select this x dit, select this. Shape the move it Just like this. Now, select this lobe. C. Take the rotate. Rotate it a little way. Scaly. H period k to zoom in. We will now merge the two parts of the leg, but fast make sure they're aligned. Ensure both openings have same number of vertices. Select the loop and press S z zero to flatten it along the z axis. Then align it properly. Next, hold alt and shift to select the other loop and press F three and search for bridge loops, and use it to bridge the gap between the two parts. Disable the togal. Switch to the front view and take a good look at your model. Once both legs are extruded, focus on refining the barle shape. Carefully adjust the proportions, and smooth out any rag areas and ensure the legs flow naturally from the body. Check from different angles to maintain a consistent and balanced look. Add here, control r, just like these. Disable the bal tray. Enable the editing cage. Now, go to the phase selection mode. Select these food phases. Hit e to extrude S to scale, move it at. Take the rotate, rotate it just like this. Scale telling the yx. Just like this. For the knee. Take this it to ext to scale. Take the rotated SG and scale along S Y and scale the scale along the y axis. All right? Take a moment to examine your model from different angles. Making sure the al proportion are balanced and look right. If you have achieved this with me, great job so far. Now that we have completed the body and legs, the next lesson, we will focus on creating the tail and the phase. See you there. 5. Modeling The Tail Lesson 4: Hello, and welcome back. In this lesson, we will be focusing on creating the tail for our collector. To get started, I will cut out the back faces to extrude the tail. Refine its shape and make it look awesome. First, let's disable the subdivision modifier for now, so we can have more control over the geometry. After disableling the subdivision, go to vertex selection mode by pressing one or using the vertex selection icon. Now press to activate the knife tool with the knife to tap, make a circular cut where you want the tail to be. After making the cut, switch to phase selection mode by pressing three or manually go to phase selection mode. Select the phase inside the cut area and deleted by pressing x and choosing phases. This will open up the areas for extruding the tail. Now switch back to arte selection mode. Use the twig tool to adjust the vertices. And round up the shape, check from different views to ensure its looks smooth and circular. Next, go to a selection move. Select the edges rightly and choose subdivide. This will give us five vertices to work with, allowing us to refine the circular shape. If you want to make it more circular, you can add more vertices by subdividing the edges further. Once the shape looks correct, select the edge. Then press e to extrude and a to scale it down slightly. Fming the base of the tail. Go to front view by pressing one and continue extruding the tail by pressing e. Keep the tail s to give it ash and appealing lo. Adjust the shape as you go to maintain the acute style. For a smoother transition at a cut near the root of the tail by pressing control plus r. This helps blend the tail into the body more naturally. There you go. It's looking great now. The next part, we will be focusing on refining the phase details. See you there. 6. Modeling The Ear Lesson 5: In this lesson, we will be modeling the ear for our character. But before we dive into that, I noticed that the tail looks a bit too long for this cute character. So let's first adjust it to a more fitting size. First, enable X ray mood to easily see the mash. Select the box select tool and use it to select the tip of the tail. Rest x and choose vertices to delete the extra section of the tail. Now, add a loop cut at the new tip of the tail to help it blend smoothly. Check the tail from different views to ensure it looks right and matches the correctors proportion. Now, let's focus on modeling the hear. We will start by extruding it out from the head. First, disable the subdivision surface modifier for now to make things easier. Zoom in towards the head area. A loop cut around where the R will be by pressing control plus r. Switch to phase select mode and select the phase where the R will be. Press I to inset the phase, giving us better geometry for ex. Set the orientation to normal and then scale the phase along the x axis by pressing S X and moving it upwards using the move tool. Rotate the phase slightly, so it align with the hair shape. Next, we will start extruding to form the ear. Press E to extrude the phase, and scaled by pressing a to shape it the base. Continue extruding using E and adjusting with a to refine the ear shape. Switch to tex select mode and select the loops. And keep tweaking the proportion until it looks right. Use S y to scale along the y axis. Keep refining the shape, smoothing out the R as you go. Now, let's refine the shape of the ear farther. Select the four vertices at the root of the ear and scale them down to reduce the width at the was. Switch back to global transform orientation mode, dress S, and scale down to adjust the size. Continue refining the shape by checking it from different angles to ensure it matches the proportion of the head. Next, we will clean up the geometry for a smoother extruion. Switch to select mode, select the edges inside the ear, and press x to choose dissolve edges. This will clean up the phase for ex. Go back to phase select mode, select the phase inside the ear, and press I to inst it, then press E to and move it inward. Rotate and align the extrusion to fit well with the air structure. Switch back to normal orientation mode and fine tune the alignment. Check the shape from different views to ensure everything looks good. Now, let's add some more details and adjust the position. Enable proportional. Slightly rotate the ar to give it a more natural lob. Select the upper portion of the r and rotate it while adjusting the proportional size as needed. Dissable and add a loop cut on the front face of the to give it vertices for smoother adjustment. Select the tape of the r and rotate it with proportional editing in the word to refine the shave further. Enable the subdivision surface modifier and take a look at the result. The air shod now look smooth and well proportioned. Great job, the air looks awesome and fit perfectly with our characters of design. Keep tweaking if necessary and make sure everything looks right from every angle. 7. Modeling The Eye Lesson 6: Hello, and welcome to the six lesson. In this lesson, we will be working on the phases. For the phase, select this six phase, it I, B for the border. Go to the Parte selection mode, select the vertices, it X, and deleted vertices. Select this tack tool, and tweak it. Try to make it a round, disable the proportional reading for the time being. Now, select this loop crackly, smooth the vertices. Now hit E to scale and take it back just a little. Now, for this nose, select the phases, H, go to the normal taskfor orientation, t e to extrude, I to inset, and inset it, just like this, all right. Go to the at heir control r, move. Now for this part, for the mouth, select these three btices, it V to repeat, just like this. Take it back, just like this. Now, select this whole area homo, e as to scale. E again as and ag go to the global SG and take it back. Go to the normal again, it back. Scale it, it down. Now, select this three pate. These three also, and go to the global task vent, e to one. Just like this. Select it GG, Control again, take this trig tool, and teak it just a just like this. It is very widely open right, so s like this, G, move it. This G and move it. All right. Now, go to the object mode. Shift A and add a UV sphere, and in the lane section, choose the view. Scale take it. Test to scale just like these. Scale it a little. B pair. Shade smoke, for this also, and shade smoke. Now select it. Add a modifier, called the mirror modifier, and choose this option, the mirror object. In the axis, choose y. Now we've got our character. It looks right. Alright, guys, in the next part, we will tweaking some of the parts and next, we'll be working on the particle system and coloring. See. 8. Refining The Body Lesson 7: Welcome back. In this lesson, we will be refining our character by adjusting some details, and then we will dive into creating bar text group specially for hair particles. This is where our character really starts to take on personality and life. All right, select the caracter, Namp period to zoom in, tap to go to it mode, disable the subdivision modifier. Select the bar tax, press Namp period key to zoom in, at a look cut here control r, scale it, take this move, enable the togo x ray, move it just like this. At a loot here control r, and scale. Now enable the subdivision modifer, and see how it looks. Select, select this loop. Scale it. Rotate it little g to grab and add the stata. Just like this. Disable the subdivision again. For this part also control r. S to scale, take the move tool, G to move, enable that togo x ray. Control R again and scale. Like, scale Enable the subdivision surface and see how it looks. Now, this loop, take the move to G and rotate it a little bit. Just like this. Go to the front view again to see how it looks. Now, take this twig tool and take some of the vitices and try to make it smoother. Take it a little bit, adds some of the points. Now, for this part, hit K to enable the knife tool and take a cut just like this, all right? And t to see how it looks. All right. It looks pretty nice. Now, I think it looks nice. Go to the front bew again and see how it looks. I think it looks awesome. Now go to the total x ray. Go to the total x ray and choose the select box type, select it and scale it ale bit. All right. GG, able subdivision surface again, you see, er. Now, see the tag tool and add some of the vertex. Like this. Just like this. I cut here control r. S to scale, t the move tool, smooth the vertices. Slide. But this part also control r, cut here, S to scale, smooth vertices. All right. Then we are ready. Now in the next lesson, we will be continue working on this model and we will create the Paris group. C. 9. Creating Vertex Groups Lesson 8: In this lesson, we will be creating the vertex group for the air particles. But before we get into that, we need to adjust the faces around the nose area to prepare the model. First of all, add a look at here with Control R. Like this. M. Scale it a little bit. All right. Add a look at here to Control R. Just like this. Scaly. Select this slope. Take the move tool and select transform normal orientation and move it a bit. And the control, like this. And g to move. All. Now we'll be creating tase group for the heir particles, for that slc these and omen. Disable the subdivision surface, add a lot here, controlled r g to move. Enable the Turgo x ray. Choose this s box type selection. And we are going to subdivide it multiple times, and subdivide. Subdivide ten times, go to tase group, create a tase group, and it. And assign it. Now, Go to the phase selection mode, select this phase, it I, a period k to zoom in, at I to inside phase. All right. Right and subdivided, like this. Go to the bats group, creative bats group called head and SI. Now for this part, go to the bats selection mode again. Enable the tool by pressing K Continue those, sir. Like these, enter to register. All right. Now, go to the phase selection mode. Select these phases. While subdividing the phases for the partes group, we might encounter some mistakes like accidentally creating too many tices just like I am doing now. But don't worry if you are run into similar issues. Mistakes are a natural part of the learning process, and I'll show you how to fix them if they happen. We have successfully created the tag group for the hair party. In the next lesson, we will cover how to clean up any issues that might arise and how to refine the artes group further. Nub the subdivision modifier again. Increase the level to two, see how it looks. Great work so far. See you in the next lesson. 10. Coloring The Character Lesson 9: Hey, everyone. Welcome back. We're getting close to finishing our cartoon animal character. In this lesson, we'll dive into coloring using Bate paint. Batex painting is a great way to add color directly to our model, especially for styleg or cartoon characters like ours. So let's jump right in. Before coloring our character, let's add just some part of it and make our character ready for painting. Select our character. Go clop mode and Zoom in. Select the inflate brush, gently inflate the nausea to make it rounder and blend it with the phase. Do the same for the ears, focusing on inflating the base of the ear on both sides. Now, that our character is shaped well for coloring. Switch back to object mode and press one for the front view. I'll enable the screen cussed key, so you can see the keys I'm pressing. Next, choose the select box tool, select the caracter, and use the move tool to position it so it touches the ground. Press n to bring up the hidden panel where you can check the dimensions of the caracter. It's currently too large, so let's reduce the size to approximately 1.7 meters. Use the numpad period key to zoom in. Notice that the back leg is shorter, we need to extend it slightly. Select the corrector and switch back to the club mode. Press G for the grab brush, then press F to adjust the brush size. Gently pull the back leg down to match the other leg. Press F again to reduce the brash i and drag down the to make it. Continue refining the all shape using the grab dole. Checking from different angles to ensure everything looks balanced. Use the inflate brush to add volume to the knee area. Now that the shape is complete, we are ready for coloring. Go back to the object mode. Press ship plus a to import the color reference image. And position it in the scene. Adjust the scale and placement as needed. Now, for coloring, select our corrector and switch to the UV editing workspace. Enable vertex selection mode, then press to select the entire caracter. Press U to unwrap the model. This tape is crucial because it tells blender how to map the UVs for applying colors. Without it, blender wouldn't know where to place the colors. Once the model is unwrapped, go back to the layout workspace and switch to vertex paint mode, so we can start painting directly onto our model. First, go to the color panel and switch the color picker tool to select the gray color from our reference image. Zoom in and start gently painting the caracter. Take your time and ensure each part is fully colored. Since our model is mirrored, it's easier and faster to apply the colors symmetrically. Check the model from different views. Rotating as needed to paint any mixed part. You can adjust the brass size, if necessary for better control, especially when painting finer details. Next, pick the white color and paint the nose and mouth area. Reduce the brash size for more precision and carefully paint award those sections. Double set from different angles to ensure you have covered everything. Now, reduce the brash size and paint the bottom of the neck. The underside of the stomach and onto the thighs and upper legs. This helps create a smooth transition between colors. Switch back to gray if needed to touch up any areas that don't look quite right. Keep reviewing the character from different perspective to catch any spot that need adjustment. Once the base colors are in place, select the pinkish color and paint the inside of the ears. You can increase the brush strength here for more impact and such uration. Oh. Change the brash stripe to mix and gently blend the colors on the chest area to create a more natural gradient. This part of the lesson is all about creativity and fun. Feel free to experiment with brush size and strengths as you go. The more you enjoy the process, the better result will be. Now let's move on to coloring the feet or hoofs. Start by selecting an orange color. Switch to edit mode and select one bartex on the hoof. Use the nam pet period key to zoom in on the area. Then switch back to bartex pin mode to begin coloring the hoof. Adjust the brass size as needed to get the coverage right. Make sure you rotate the view to paint from all angles. Take your time here and go slow and ensure that each part is colored. For the front hoofs, follow the same process. Switch between different views to reach all areas, especially around the hoof and leg transition. Smooth out the blending, so it looks natural. Accuracy is key. Keep checking from different sits to make sure everything is colored properly. Once the hoofs are done, press numped one for the front view. Now, pick a dark red color, and we will paint in between the cloven areas of the hoofs. Carefully apply the color, including the bottom area for a smoother transition. Repeat these for the other leg as well. Heck everything thoroughly to ensure it looks just right from all angles. Once the hooves are complete, let's move on to coloring the eyes. Once we have finished coloring the body, we will move on to coloring the eyes. First, switch to object mode, select the eye, and press the numpad period key to zoom in. Head over to the material step and create a new material for the eye. We will create one white material and one black material. Name the first material to white, and the second one black. Choose the black color for the second material. Next, create another material and use the color picker tool to choose a brown color from our reference image. Now, select the eye, switch to it mode, zoom in again, and select a vertex in the middle of the eye. Press control plus to extend the selection. Then assign the brown color to the selected area. Similarly, select the middle vertex, press control plus to extend the selection, and assign the black material to that area. Switch back to object mode and you will see the color applied to the eye. Now, let's assign the artes group color to the body of our caracter. Select the caracter, go to the shedding work space. Press shaft plus A to search for the color attribute node. Plug it into the base color, and in the attribute node box, choose the appropriate attribute. For the nose, switch to vertex paint mode, choose a black color and carefully paint inside the nose area. For the lives. Select a red color and paint both the upper and lower lives area. Take your time to ensure precision. Now, let's check out our colorful creation. Tap naped one for the front view. And there it is. Our character is now fully colored and looking super fun. In the next lesson, we'll dive into creating V. Can't wait to see you there. 11. Vertex Group Problem Solving Lesson 10: Hello, there. In this lesson, we will learn how to fix some mistakes made while assigning is groups and how to clean up areas before creating new tis groups for near particles. First, switch to edit mode, expand the property sanel, go to the object at a property step. Here, you will check the assigned vertex group by selecting the head vertex group and clicking the select option. Notice that there are too many vertices, which is unnecessary for the ha particles. We need to clean up this area and create a new vertex group. To clean it up, first, select a single vertex on the face, go to the select menu at the top. Under select similar, choose vertex group. Once those vertices are selected, merge them by distance. Press and in the pop up menu, choose by distance. Dj the merge distance threshold to clean up the unnecessary vertices. Next, switch to S selection mode, select all unwanted edges. Press x and choose diss veges. Now, the area is clean. Go to the modifier tab and temporarily disable the subdivision modifier. Enable vertex selection mode. Press k to activate the knife tool, and make a cut along the region where you want the hair to be on the forehead. Reactivate the subdivision modifier and view it from different angles. If needed, disable the subdivision modifier again. Use the twig tool to smooth out the vertices and adjust the region as required. Now, reenable the subdivision modifier and this area will be assigned for hair particles. Select the area. Right click and subdivided two times. Now, delete the existing head artes group, create a new one and assign the vertices to it. Now, we will fix the neck area, but we don't need to clean it up as it would not be noticeable. First, check the neck area. If you click the select option in the neck verte group that we created earlier, you will notice it was not assigned correctly. To fix that, we need to assign vertices to the group. Use the circle selection tool, set the radius to one and gently select the neck area with precision. Holding shift to add more vertices as needed. Once the selection is done, go to the vertex group panel. Delete the existing ne te, create a new one and call it. Assign the selected vertices to it. Now, when you click the select option, the correct area should be selected. Next, we'll delete the tail vertex group. Switch to the front view by pressing one. Enable x moot and use the box selection tool to select the tail vertices. Press x to delete them. Then select the loop at the tail's end, press e to trod. And rotate and scale it as needed. Check it from different angles and press the num ped period key to zoom in. Use the move tool to round up the shape. Scale it with S and and refine it in front view by pressing one. Hit e to again, S to scale, and in to see how it aligns. Continue scaling and press F to fill the gap. Now, go to the modifier panel, disable the subdivision for now, add a loop cart at the tape of the tail to ensure it plans smoothly. Use the box selection tool to select the upper part of the tail and subdivide it four times. Then delete the old tail vertex group, create a new one and assign the selected area to the new group. Now, let's reject the artes group to ensure everything is assigned correctly. For each group, select the group and use the select option to highlight the vertices. Make sure that each group includes all the vertices you intended. No stray ones left out or accidentally included. As we inspect, you might notice something like here on the chest. The faces are too wide. This can happen if we use the grab to to widen the area. While it might look okay with the modifier on, we really need to fix it for the breast results. To do that, first, disable the subdivision modifier. Then switch to edit mode and manually tweak the problematic area. A good way to refine it is by adding a loop cut to help with proper blending and then scaling it to feed the surrounding geometry better. Renabl the subdivision modifier and take a look. The issue should be resolved, and new characters now just right. This is a good example of why it's important to pay attention to these details. Now we are ready to add particles to our character. In the next lesson, we'll add hair particles to our character. 12. Modeling And Styling Hair Lesson 11: Hi, everyone. Welcome back to the lesson. In this lesson, we will be adding hair particles to our character. First, select our character and open the property panel. Navigate to the particle property step, create a new particle system and set it to here. Enable the advanced ation. Set the number of particles to 300, and the hair length 20.2. Der chin, choose interpret it. For the vitae group, select head. Name this particle system head. Next, we will create another particle system for the neck. Name this one neck. Again, enable the hair of s and the advanced settings. Set the number to four and and the hair length to 0.05. Under n, select interpolate it, and for the artes group density, choose neg. Finally, we need to add a particle system for the tail. Name tail, eval hair and advanion. Set the number 2300, and the hair length to 0.2. Under n, select interpolated, and choose for the apatic group density. Now, let's create a material for the here. Add a new material and set it to here SDF. Who is a yellow color for now? As we can always address this letter? Next, head back to the particle property to refine some setting for each particle system. Under render, assign the material we just created enable beast plane and increase the stap to four. The clamping curves control how the hair stands clusters as they extend from the root. By adjusting this c, you can fine tune the clamping effect to see character. Whether you want the hair to remain slightly lose near the roots or to clam tightly towards the t. The diameter root option dictates the hair thickness at the base. While the tap controls the thickness at the end. You can modify this value to make the hair taper naturally or keep it uniform throughout its length. Now, let's check how it looks. Once you are done, switch to particle Eric mode for groming. Take the comm tool and gently comb the hair to achieve the desired lope. Once you are done, return to object move to p view the result. For further refinement, go back to the clamping setting and experiment with the c til you a a that fits your vision. Switch to article, Eric Mode again. Style the recording. A Now for the neck, navigate to the neck particle system in the particle property step. Set the material in the render section enable beat and tweak the clamping curve similarly to the head. Adjust the hair shape with a root diameter of 0.2 and a tip diameter of 0.005. Calm the hair to your liking. And use the grow length brush to fel the lengths slightly if needed. Finally, for the tail, go to the tail particle setting, and enable we fly with the stair sat to fold. Adjust the clamping and set the hair shape root diameter to 0.2, and the tip diameter 0.05. Ascend the material and comb the tail hair as needed. Ensuring it looks naturally from all angles. If you see any hair mistakenly assigned to an area, use a particle cartol to remove it. Return to object mode to see the final result. All right. The sit for the step. Our character hair is looking great. Keep experimenting with this setting to achieve the exact style you want. In the next lesson, we are going to dive into s. We will set the stage for our character to talive and shine it in its own little world. 13. Designing The Scene Lesson 12: All right. Now let's import a ground plane where we are going to place our character. Shift A and add a plane, press S four to scale it four times. Now, select a press tab to go to edit mode, right click and subdivide it. Make it 60. All right. Now, press C. To activate the circle selection, and select. So part of it, where you want grass on the ground, right? Don't worry, it is not going to select the character because it is not selected. If a part is not selected, make sure to include it. If you whole shaped while selecting, you can select unwanted areas. To add some randomization, make the necessary adjustment. And then press enter. Go to the object data properties and create a part group. We can call it grass grass area. All right and assign it. Now go back to object move. Open the material se. Create a temporary material. Switch to front view by selecting numped one. Press ship p A to d Q, and te dic mode by pressing te. Press to marge artices, and collapse the Q. Next, we'll create the grass, press E to extrude upward, t like these. Select this and press F to fill it. Now press A to select everything and F to fill it. Now it t to go to object mode, create a material and cool it grass. Assign a green color to it for now. Now Position the three Dcursor appropriately. In the transform Pb point menu, choose three Dcursor. Go back to edit mode by pressing tab. Press air to select all, then press ship plus d to duplicate, and rotate the grass slightly. Scale it down a bit. If necessary, select a few instances, create new variations. Adjust them slightly and assign them to the appropriate areas. Scale them as needed and move them into position. To change the color of individual grass, select one grass blade, go to the material step, and create a new material. Name it grass one and assign it to the selected grass. Just like this, have to go to edit mode. S told, to rotate it. Scale. All right. Now select both of these, press and create a new collection, call it grass collection, and create. Now, select this and move it. We don't need it right now. Now select it and go to the particle property step. Create a new particle system and enable he and advanced suction. In the tic group selection, select the grass area collection that we have created. Set the number to 400 and add the hair length to be relatively short. And the render, choose collection and select the grass collection. Enable rotation and in the velocity selection set global y as the orientation. Adjust the scale as necessary. You can reduce the scale ndomization to create a natural loop. Now in the ch, you can choose the interp to multiply the grass number. Now, let's work on the camera placement. Position the camera by going to view view, native camera to view. Select it and grave it. Go to the camera property step and adjust the focal length. You can place your camera view anytime by selecting the camera, going to the view menu, and in the lag of s, choose n camera to view. What the lighting? Go to the sding. In the wall shedding, Shift si texture. Choose am instead of Nisha sky and set the strength to 2.5. Then go to the layout tab and switch to render mode and preview the scam. I needed, delete unnecessary elements. Press ship ad the sunlight source, Rotate it slightly to achieve the desired lighting effects. In the sun strength, make it four and colored like something like this. Shift area light. Place it somewhere strategic in the scene. Setting the power to 50. Now, the scene is looking quite nice. Rotate the sun, show it cast a shadow of our character. To do this, select the sun, switch to the rotate toll. Add its angle until the shadow falls in the desert direction. Experiment with different rotations to see how the shadow interacts with the character and the environment. Shadows can add death and realism to your scene. Take your time to get it just right. Switch to materials PV mode and choose cycle as the render engine. Set the ePod display to 32 samples. And render move to Tir two. All right. Under device, select GPU compute. Now, render and see how it looks. We are going to add some more land. Let's add some more terrain. Duplicate the ground plane by passing ship and move it to the bed. Switch to, the necessary powers and adjust them as needed. Press C to activate the selection tool and make some random adjustment. If you want to make the terrain smoother, add a subdivision surface modifier and set it to level two. We can create more terrain. Select the terrain we have created, press Shift plus D to duplicate it, and move it to your desert location. You can create as many terrains as you want by duplicating them. Position each one correctly to add depth to your scene. We will create more by selecting and duplicating with ship plus D. Move the new terrain far away. And position it correctly in the camera view. Once done, render the scene to check for any mistakes. And see how it looks? We noticed that the terrain is not positioned properly, so we need to fix it. First, disable the properties temporarily. Select the terrain, rotate it, and align it correctly. Keep adjusting until it fits well within the scene. Once position, enable the particles again and check for any issue. To blend the edge area of the ground with the terrain, we will need to make some adjustments. Select the ground plane, switch to edit mode, press C for circle selection to select the border area. Press enter to confront this selection, then use the move tool to lift the selected area and rotate it so that it transitions smoothly within the terran. Next, switch back to object mode, add a subdivision modifier to smooth the transition. Check how it blends smoothly within the terra and Edges as needed. Go back to edit mode to fine tune the alignment and ensure a seamless blend. Once you are satisfied with the adjustments, go to camera view. Switch to object mode, and render the scene. The results should look great. Well Dane. In the next lesson, we'll add more element to enhance the visual appeal of the scene. CU. 14. Final Touch Creating The Wooden Barrier Final Lesson: HA, welcome to the final lesson. In this lesson, we will add a wooden barrier to our scene, enhancing its overall look. Let's dive in. First, add a Q by pressing ship plus A. Scale it by pressing S, followed by z to scale along the z axis. Make it thinner. Something like this. Move it up and position it. Next, we will assign a wood material to our plank. Go ahead and add a material. Name it wood and give it a suitable wooden color for now. Now, let's create the barrier. Start by duplicating the plank using shape plus d. Switch to the global transform orientation. Move the duplicated plank, scale it, and add some randomness to its position, and scale to make it look natural. Once you are satisfied, select both planks and duplicate them using shape plus d. Repeat the tab as needed to create more planks. For the horizontal plank in the varier, start by duplicating one plant using ship plus d. Then grab the rooted tool and rooted the planks horizontally. Scale it to add further variation to the design. For additional horizontal planks. Simply duplicate the first horizontal plank, move it up using the move tool and adjust its position. Rotate it slightly to ensure it looks natural. Adding a tug of randomness to the arrangement. Make sure to view the scene from different angles. This will help you a a more realistic and bu. Continue refining the placement until everything fits perfectly within the scene. I. When all planks are positioned, select them all by pressing shift key. And then press control plag to join them into a single object. Press zero on the numb pad to switch to camera view. Now you can duplicate these barriers as many times as you need. Position the barriers within your scene. Once done, exit camera view and place the barriers at a distance to add depth and realism. To refine the loop, zoom in by pressing the period key. Rotate the barrier, make any final adjustments. Next, switch to materials preview mode, and select the barrier. Go to the shading tape, change the shading type to object, and press Shift plus a to add a mix shaded node. Zoom in to get a closer view of the materials. We'll now adjust the colors. Connect the color output to the mi shaded and tweak this color in the upper and lower color boxes. I'll experiment with the different colors until I get the desired result. You can also add a noise structure by pressing ship plus A and connecting its factor output to the factor input of the mix shader. S two for d adjust the W and scale allow to add some ttexture variation. If necessary, adjust the brightness to a moon lope. Remember, it's all about finding the right balance for your s. After finalizing the material, return to the layout tab and hit Render to see how it looks. If needed, make adjustments to the color or placement until you are happy with the result. Oh. If you are not satisfied with the initial placement of the wooden barrier, feel free to reposition them until they suit the scene waste. Use the move and rooted tool to find the ideal spot where they enhance the overall composition. Take your time to carefully arrange each barrier, ensuring they fit naturally within the sein. Ew the placement from different angles to make sure everything looks cohesive and well arranged. Proper placement and arrangements are key to creating a polished and realistic barrier. Finally, let's work on the grass. Select the grass, go to the shading tail, and use the period key too. Add a mi shaded and noise texture, and collect them as we did before. Adjust the noise texture to 40, tweak the scale and details, and refine the color to blend seamlessly with your sein. Now, for the other grass material, we will follow a similar process. First, select the grass material and go to the shading panel. Add a mixed color node and adj the colors to your liking. Connect the output of the mixed color node to the base color input and experiment with different shades. Until you find the perfect color for the grass. To introduce some variation, add oy structure node by pressing sheet plus d and plug its output into the input socket of the mixed color node. Change the oy structure to four d and tweak the settings like scale and details to create settle and natural variations in the grass color. This will give your grass a more dynamic and realistic appearance blending seamlessly with the rest of the seal. If the grass appears too dark or too bright, go back to the shading tab and make the necessary corrections. When you are satisfied with the overall result, is time for the final render? Ah. Go to the scene setting and enable Dino ase data. Then in the compositing ta, use nodes to add the dinos effect. Connecting normal to normal and to L. For the final render setting, adjust the resolution to 12 AD into 720. Once everything is set, it trended. It might take some time, but the result will be worth it. There you have it, the final render of our scene. How does it look? Amazing. Don't forget to save your work. Thank you so much for following along. I hope you enjoy creating this scene as as I did. 15. Skillshare project: Congratulations on completing the course. You have learned a lot, and now it is time to put your skills to the test. Remember, knowledge without practice is just potential. For this project, you will model a character and place it in a background of your choice. Here is what to do. Create your cartoon uL aracter. Choose or design a background that compliments your character. And finally, render your scene as a PNG file. Then submit your final render in the project gallery. I will personally review your projects and provide feedback. Thank you for joining me on this creative journey.