Create your first Stylized character in 3D Blender

1. About that class: Are you ready to take your 3D illustrations to the next level we stylize this ended with standard out. Then you've come to the right place. In this Skillshare class, you will learn how to create stunning stylized illustrations in 3D blender to impress your audience and help you to achieve your creative goals. Throughout this course, we will cover everything you need to know to create your own stylized designs from the basic of 3D modeling technique for lighting and texturing with easy to follow step-by-step instructions, you'll be amazed at how quickly you can create stylized illustration that captures your unique vision. And the best part. You don't need any prior knowledge of Blender or 3D modelling to take this class. This course is designed with beginners in mind. I'll provide all the necessary resources including character reference images and project files. So all you need is a computer to run blender, which you can download for free from Blender dot or G. Stopped dreaming about creating 3D animations and start turning your ideas into reality. Join me in this Skillshare class now and discover the power of Blender for yourself. 2. Lesson 1: Body and legs: Hello everyone, My name is Alexander and welcome to this course. First of all, before we start, I want to say that's completely everything that I press. You can see in the left corner. So in case if you have any question, just take a look right there. The second one, This course is beginner friendly, which means sometimes I'm going to explain the most simple things for beginners. If you're ready, let's start. First of all, I want you to leave completely every frame that we have in our 3D world. So for that, I press a to choose everything and delete. Under this course, you can find a zip file with some reference. Please download it. And then this is, these are some pictures that they found in the Pinterest. We're going to use this and that one. Choose the closer front and just drag this into the blender, then closer side, the same thing. Drag it into the blender. Good. There are three main button that you're going to use most of the time in your blender workflow. This is S for scale, G to move and air for rotation. This is center of our 3D world. Let's start breasts on the first reference. And then you go with the algae to move it in the center, out air to make it flat. Because we work in a three-dimensional world. That means that we have three x's, x e Greek, and the blue one is good. Quickly take a look. I press X 90, Which mean I turn our image on the 90 degree on the red x's, then I press G e Greek to move it on the grill, green one, and move this one a little bit behind the step S for scale and make this one a little bit more and bigger. Let's repeat the same steps with our second reference. Press on the reference algae Altair x 909041, more rotation. Then we'll go with a g x and move it behind S for scale. If you want to move yourself around the world, press on the mouse wheel and hold it. But there are some hotkeys. It's going to make this workflow a little bit more easier. This is one for the front view of three numbers for this side view and seven. To take a look above, I'm gonna go with the 100 EmpID. I want to press on this reference and I want you to have the spirit in the center of the page antibodies. So I'm going to put the g, g, x somewhere here is pretty good. Let's add our first object for that. You press on the Shift a mesh and choose cube. I want you to rest form this cube into a sphere. For that, I'm going to press Control to go here, this window respond for the modifiers. And this is how it was before. And when I press Control to I activated subdivision surface modifier, which is this one long story short, every object has an n amount of polygons. And when you use this modifier, you just increase the amount of polygons to make it more detailed. So the shortcut for this modifier is controlled to go, I hope I explained it clear. Then let me go with the S for scale to make it bigger. And it's good. Let's go for the side view, which is three on the numpad. And let's set our reference under the, under the objects. I'm going with a, G. Here, G agaric. Good. S for scale. G is G, e Greek. Something like this is pretty good. I forgot to tell you to save our file. So let's do this one right now. Control S, choose whatever folder do you want. Let's call this one like PG on safe blender file. Now we can move forward. How we can see we have this part of his body. Why does you to do? First of all, let's rename this cube into the budget. Go here, double-click, but grade to a date or object, we should to go to the Edit mode. So flourescent that. Then you go here edit mode. But you can see we don't have enough polygons because we shoot, you apply our subdivision surface modifier. You can apply wherever modifier you want, only in the object mode. So we go here, object mode, right there, apply. Now when you're going to come back, the shortcut is stop. To come back to the edit mode, we have way more polygons, which will be more comfortable for our workflow. Good, quickly take a look, especially if you're a beginner. I want you to hide this reference. I'm going here and press on these great job. Every object in Blender and not only contain three main aspects, this is vertices, which is one on the keyboard, to on the keyboard, this is edges. And three on the keyboard is faces. I want you to work with vertices at the moment right now. So Empress, one on the keyboard or this, this icon, these four edges and these four faces, good. Vertices mode. I'm going to be our object and choose this one that stay in the center of our object, three on, three on the name. But for a side view. And your idea probably is G, e Greek and move it like that. But you can see it's not really what we want, what we looking for, so controls it. There is an amazing function like proportional indicting or the shortcut is all on the keyboard. So I don't see it right now, but you can see right now, when it's blue, that means that you turn it on. And now take a look. I go with a g and I have a circle. And this circle show the area of influence over your objects. So if I'm going to make it smaller, which I just drag forward my mouse wheel. I can work on that with my vertices. But if I'm going to go with much bigger, I can use, I can influence on way more. Veritas is that there could be four. So I hope it's clear and let's do the same thing together. So be sure that this one is blue. Choose the vertices behind that stay in the center, three on the numpad for the side view. And then you go with a g, e Greek, make a Greek, make this one a little bit more smaller and drag it on there, right? I think it's an old, then they would go with a G. Make this circle a little bit more bigger, more bigger. Let's go somewhere here. Okay, Now, it's much, much better than it was before. Let's go forward. But before we go forward, Let's turn it off our proportional editing. And let's open again our reference. And take a look one more time quickly because right now we're going to do his neck. So I'm going to use my mouse wheel to move myself up. I don't need seven or numpad. I'm gonna go to the face mode, which is the three on the keyboard. And I'm going to choose this one. Hold Shift, left-click, left-click, left-click. Great. If you want to delete whatever object, whatever part of the object that you want is X on the keyboard here or delete window. We're going to choose faces. Now we have a gap right here. You can repeat the steps. When you're finished, take a look. Again. I'm going to the edge mode, which is G on the keyboard. And I can hold Shift left-click, left-click, but is way more easy. You can press, you can hold Alt and left-click, and now you choose the entire loop. Then right-click, look tools and circle. If you're going to try it right now, you're going to find that you don't have the loop tools, but it's all good to go to the Edit Preferences. And here we have the add-on, the add-on tab in this search tab, look for loop and be sure that here we have a check-in long story short add-ons is like a plugin, which means additional tools. It can contribute to much easier workflow. So checking, close it and now right-click, Loop toes and circle. Great. 100 numbered for an a front view, if you're a beginner, there is another function that we're going to use it for the first time. It's extrude. Let me show you, is this part exerts region or shortcut E. So I'm going to press E and move it up one more time e. Move it up two more times. E. Right here. S for scale, make it a little bit more bigger. E up S for scale. Move it a little bit in sight like that. It's all good. There's one thing that probably you don't see it from this point of view. But if we're going to drag ourselves up, there is a gap to fill this gap. Edge mood or left Gleick, choose the entire loop and press F. No, you close it. Okay, I'm back to the object mode. We just step on the keyboard and let's make it more smooth. For this one, I'm going to press Control 21 more time. And now I liked the final output a little bit more. So let's make this one a little bit more bigger. And I wanted to keep his neck to stay, to lay a little bit on the left side. Back to the edit mode. Take a look. We haven't transparent mode, which this one or Alt Z using alphabet. You can see everything in the transparent mode. Again, everything came from the name. One for the vertices. I'm going to choose all of them. Are there, G? And a little bit on the side like this. Let's choose all of these up that are upward, S for scale and make them a little bit more smaller. G x on this side. Torn off transparent mode. And this is how I look right now. One thing that I would like to, I would like to make this array a little bit more bigger. So comeback, transparent mood, mood, which is G on the keyboard. And let's choose outlet. No, no, alt, left-click here, Shift Alt, left-click here. Sometimes using Alt you can choose the more harder your topology is more harder to show that the entire loop. So hold Alt and Shift at the same time left-click and one more time left-click. Back. I'll set S for scale, something like this is pretty good. And one, choose these vertices. Tool on the Proportional Grid dating, sorry, proportional editing G, make it smaller and a little bit on the side like that. Okay. No, I'm completely OK. Let me take a look from the side. You probably think, Oh, his neck is a little bit more forward. Actually, I don't have a purpose to make them completely because these are in the same reference. It just some images from Pinterest to make our workflow a little bit more easy. But again, I didn't have a purpose to make it completely like him, So don't care about this too much. Good. I hope everything is clear to this moment. And let's finish our lesson where we're going to do this part of his legs. Like always. Take a look back to the edit mode. I'm going below our pigeon, and probably I'm going to choose these phases. So three on the keyboard, I choose this for another function, insert. So it's I suppose insert phases. Yes, which is one on the keyboard and I press one and I can move them inside. But if you're going to press E two times, you're going to insert face inside of every phase. So it depends on your purpose. In our case, we need to press only one time the EE button, make it smaller, something like this, going to be good. X and delete the phases. Let's go with the same thing right there. Choose this, this, this E, naked smaller x and phases do for the edge mode, alt, left-click Shift, Alt, left-click, right-click, Loop tool and circle. Great job. Take a look. If you want to align yourself under the axis and you can rotate yourself with the mouse wheel and press out. So this is how you can fall into more sharp angle. I'm going below, I press Alt and now it's a little bit more comfortable S for scale ups. Turn off, make them a bit more and bigger. 100 EmpID. Take a look e to the x truth is it actually and go down and how you can see they go into the diagonal. I want to make them completely straight. So I press S, z, zero. You probably didn't see because the buttons was here. So let me do this 11 more time for U, S is zero. And with this combination of buttons you can align that, align that, that all. Let's close our Gibbs using F. And let's hide our reference Control S to save. Great. We finished with our first lesson where we created his body and his legs. And if you are a beginner, I hope it was clear introduction from my site with all of the blender tools. The more far we go, the more easy it will be. In the next lesson we're going to create his eyes and big. Then feed them background. We're going to render. Thank you so much and see you in the next lesson. One thing, don't apply subdivision surface, keep it on that level. We don't need it right now. Good. Control is goodbye. 3. Lesson 2: Eyes and beak: Lesson number two where I think you're going to be a little bit more faster than it was in the previous one. We're going to create his eyes and his big, Let's start with his eyes. You probably noticed that the objects usually beer where this pivot point is placed. So I want you to, our eyes to appear straight from here. So I press Shift right-click, and this is how we can set your pivot point. Now, let me move a little bit more forward. I press Shift a mesh and I'm going with a UV sphere, correct? 90. And then S for scale, and make that a little bit more smaller. Let's go with our first reference transparent mood. I want to make them not like that, a little bit more spherical, but okay, empty g, x a little bit on this side. Let me go above. Let me tour x like this. Agaric somewhere here. Actually, remember, this is stylized vision, which means you don't need to make completely everything like me, just doing your style. I want to make pigeons are fun. So to copy and I'd like to copy to duplicate any object. You press shift D X and go on the left side. This is how we create our second on the left G. And this is how he's gonna look. This is my render that we're going to do after we went to finish it. And how we can see one eye is above, one, I is lower. So this is the exactly same thing that I want to achieve in our course to, I probably will make them a little bit more smaller for S, no token, see when I go with the S, they go inside but I want to scale them. Kevin Can the same position but just make them smaller. So we go here and choose individual origins, and now they stay in the same place, but they're a little bit more smaller. Good. Place your eyes wherever you want, like your eyes. And I saw the vision. Good. Let's go with big. But first of all, let's rename this one, double-click right on the line I, and then go with the left under line I. Create Control S Shift right-click just to set our pivot point, shift a mesh cube. Good. S. S Actually, let me make S to make smaller as x. And if you want to work in the solo mode, you can press on this slash on the numbered keyboard. So that's how you can work with the object apart. Good. Go to the agaric, make it more longer. Go to the Edit mode, which is stopped. Choose the face behind with a three on the keyboard and make it bigger with S. This one right here as it is. I think it's enough come back slash to come back. And now take a look. I'm going to press control to further subdivision surface d. Is it somewhere here? Do I like it? Yes, but I want to make it a little bit more smaller, g x right here. You can see that we have a lot of grid everywhere access. So if you want to take her rid of that, which just to hide them know today curried, just press right here. And now you can see with a clean background, if you want to come back, back here, g. G is. And let me turn this one egoic a little bit on this side like that. Ok, we've finished with our second lesson. In the next lesson we're going to create his feet, winks, stop sign, background, texture, and render it sound like too much. But I think this course is going to be for around 90 min, so it's more than enough to create this peace. Thank you so much for your attention and let's move forward. Don't forget to stay creative. Don't repeat everything. Do in your own way. I'm sure you're gonna do it cool. 4. Lesson 3: Feet: Hello. In this lesson, we're going to create his feet. So these things right there, Let's start shift a. Actually, let me move our pivot point. If you want to move your pivot point back to the center of your three-year-old to press Shift S cursor to world or region. And good. Shift a mesh cube like always. G, move it here, make it smaller, like this is S, x In Greek. And let's go in this solo mode. So as a Greek for something like this edit mode. And let me add a few more loops how we did this before, control error. You can see if you want to drag your mouse, you can see a yellow loop. One move forward with the mouse wheel to increase. And I want to have two of them left-click once, left-click, too good. Right now we're going to extrude this part of our feet. This is gonna be like fingers. Face mode to this one. Move it forward a little bit on this side, this one, move it forward. This one. Move it forward. G, x on this side. Let's go behind, choose this phase shift, right-click shift that week as eggs, and make it more smaller. Like always come back to the object mode. Current row two, I think gets enough. One thing I would like to make his fingers a little bit more. Yes. A little bit more to move them a little bit more forward. So what do we actually can do? Chu for the edge mode, alt, left-click. It doesn't work. Okay, in that case, go to the face mode, prejudice shift, left shift, left click, Shift, left-click. And then you just go with a G, e Greek and move them forward. Correct. Then we can choose this one behind CCI, agaric, summer here, S for scale Control, S G. Here we can see I use this, how I saved from the start. You're going to use S for scale, rotation and do form of, this is the most basic thing that no matter who you are beginner or advanced, you're going to use it most of the time. G, z, move it up g, x somewhere here, x and make a rotation. I think is good. Error is a little bit on the left side. Now let's add a cylinder or let me take a look from this side. It's so good. So let's add a cylinder, shift a mesh and cylinder S for scale. S. Just move it down. A little bit more smaller, more thinner. So like this, as g x g, e Greek G is, it has a little bit more smaller, has gone through S. And now we can mirror this part right here. So Shift and left-click, Shift, Left click one more time and Shift left-click on our BGN body. Then I'm going with the peaks and mirror on the x-axis. Sometimes when they're loved to surprise you with a crush. And I even will not delete this part from the video just to make sure that it's Blender. It's amazing software, but sometimes I'm back. One more time. Left-click Shift, Left click, shift, click out x on this side. And now we have the same. We don't need to repeat the same steps. We just have this same leg on the right side. I hear sometimes people have problems out there. Shortcut for that. In that case, go to the aged, go to the Preferences, go to the came up. And here, I suppose in the cave bending, binding, look for mirror. Know in that case, in the name, you go and look for mirror and its mirror G asthma, how we can see like alt X. Be sure first of all, that became a check in. And then be sure that take a look what type of shortcut you have. What if this is not Arctic's? So you can leave it like this or you can change the way how is comfortable for you in my case is out x, this is that function. Okay? Let me make them a little bit more smaller as this one too. My topic, like from this side down. So good. We finished with another lesson. I know it can look a little bit odd at the moment right now, but trust me, we're not going to add a little bit of texture when you're going to render it gonna look cool. At the end of the day, it's PGY1 and pigeon always are cool. So Control S to save. And let's move forward to our next lesson. 5. Lesson 4: Wings: Lesson where we're going to create our links. Okay, 300 numbered for the side view. One more time shift, right-click. You think that we did the same thing, but actually we set our pivot on this side of his body. And good. Take a look. You're gonna be another five-minutes shift, a mesh, Blaine, agaric, 90. And let's move a little bit. Actually, it's all good. Let me keep where it is. So I'm going to the Edit mode edges and I'm going to choose this edge and I'm going to extrude on the agaric x's in Greek like here. Then I'm gonna go with the S for scale G. Is it good vertices? I'm going to choose this vertice and the like that going through air to add another loop, searches and horizontal loop left-click once. Let's click for the second one. Choose these vertices, g, e, Greek, and this is our final shape. I mean it's close to be our final shape. 74. They're both go to the transparent mode to emphasize all of them behind. And just move them a little bit inside. Choose all of them. Move a little bit outside on the x-axis and choose all of them to move a little bit insight right here, out, turn off the transparent mode, go to the phases a to choose everything. I'm sorry, I forgot. Okay. Now you can see everything that they press. I'm sorry. We go, we're going to extrude, you choose every phases, and then we go to the e x extruded on the side, something like that, I suppose is gonna be cool. And then our favorite control to, to make it more smooth. Now, we created our wing. We can play around e.g. I. Can choose these vertices on this one, g x to move it like here. Then I can go with this one and g, x a little bit outside. How about this one to be a little bit more annoying. I think it's too thick. So like that. It's good. Just play around. Just play around. Left-click here, Shift, left-click on the buddy. Let's mirror, which is out eggs, which we did in the previous lesson. What we're going to move them a little bit inside, like that rotation smaller notation, g is g, x. It's all good. Let me check. Yes, I suppose he's good. I forgot to say about one thing. So if you're a beginner, right-click, Shade Smooth, right-click Shade Smooth tool. Make it how you could understand. Shade Smooth, more smoother. Shades. Move right here, Shade smooth right here, and shade smooth right here. Great. In the next lesson we're going to create a stop sign than the background texture. And we're going to render, I hope it's all good. We did this under the 40 min, I suppose you in 30 min when you're going to add some texture, it's going to look very, very cool. 6. Lesson 5: Stop sign: In this lesson, we're going to create this sign. So let's start. First of all, let me go a little bit outside with our pivot point shift right-click. You want to understand it right now, take a look quickly, shift a mesh cylinder. And you can see right here, we have a menu that if you want to click at least once, one, wherever you want, you're going to disappear, but we need it. So that's why you should to be very careful with this moment. Shift a mesh cylinder. Now let's open it just a thing to like a setting for our object. So you probably will have 32 right here. This is how you're going to have it, but decreased to 20 for that. All right. Then we are going with the X 91.3 as agaric, make it more thin than g, put it under our BGN and make it be like that a little bit more bigger than our region G. Zip. Put it under his feet. Leave it like that. It's not a problem. We go and make some changes at the end of this lesson. Good. There is a thing that if, probably you think, What if I'm going to apply a subdivision surface right here and it's looking a little bit, not really. We can go to the edit mode, e.g. to choose this face and press E, this phase press E, but it will be a little bit more smooth on this area. So I don't really think of that. Do we need it too much? At least leave it how it is at the moment right now. Which means that if you have the necessity, we're going to apply our subdivision surface. But your fire, whether the moment we don't need it, Let's create this part of our sign. So go here under shift, right-click to set our gizmo point, shift a mesh and other cylinder. Make it more thinner. Like that is good. And then S. So think like that. G, put it under again with a bit more. No, it's too much energy. Is it? It's all good. Now, let's take Shift left-click to choose this one, also, three under numbered. And let's go with the eggs. Hello can see everything is moving around. So this time we should choose switch for the medium point x. And now they have the same Gizmo point. So let's rotate it like that. G. G is g. Said. No, it's good. Now it looked like it looked like he stay on our stop sign. I would like to move it a little bit more on the agaric x's to make him stay on the edge. I suppose I should make this part a little bit more thinner. One quick thing that they're gonna be very useful for your future workflow. If I'm going to press S e Greek, we can make it smaller but only on that straight x's. But we need these diagonal because we rotated. So press S. And now we have this diagonal axis which is more comfortable for our workflow. Make it thinner. The same thing right here, just as Jesus, that move it up. Jesus, zed, zed, zed, I'm sorry. And like here, it's so good, but they still want right here, and g, and g, g, because it, okay. Now I like it because this lesson is very short. Let's make the background. So because in the next lesson we're going to create the lights, then the texture, and then our render. So shift a, actually shift, so shift S corps search for all the region, then shift a mesh, blame and make it bigger like that. Good. Let's go down with our plane. Geez, got it down a little bit as agaric, here, G, right there, go to the Edit mode, Edge Mode, choose this one, E, and extruded on the x-axis. And if you're a beginner, let me show you one function, so how you can see it's too sharp. Let's make it more smooth. I choose this one and I press the combination of control B. I drag the mouse. I move forward with my mouse wheel to add some additional loops. And that how you can transform something sharp into something more smooth. Left-click back to the object mode. And wallah, right-click, Right-click, Shade smooth because we can see the edges before. What do we don't need it. So right-click, Shade Smooth. Now we have our back ground for our pigeon. Good. The next lesson, lights texture, render, and we are done very quickly. We create this guy, human goods. But when you're going to add some texture, you're going to look much, much better. Thank you and see you soon. 7. Lesson 6: Lights: There's one thing that we should, should do before we're going to create lights in that lesson is to give a name. So let's go with that stop sign here. Let's call this one s, s underlying holder. Then where we don't have name here on the wings. Let's call them winks. Good. I think we're just no cubic feet. This cube is big. Cylinder. Okay. What is suing their number two. Okay, SS holder, eyes background back around. S. S holder. Holder. And we have one more cylinder is a little legs, I suppose, like that. Control S. Let's start with our lights, three sources of slides. We're going to have one above, one on this side and one behind. Let's start with the first one. Shift a mesh. Blake. I know probably some of you will think about this, but no plane S for scale, G, S for scale. I actually like this one a lot. So I'm going to show you what it is. G, e Greek, move it right here, are torn it like that. I think is good. G zeta, we got to get up. Move yourself in the render mode. You go right here, or you can press, as you can press Z on the keyboard, and this is how we can choose. So right now we are in the rendered mode. Then we go right here. And instead of rendering gene, we're going to choose node AV, but cycles, our next step is we're gonna go to the plane, which is the light. Let's call this one plane underlying light. Good. Go here. This is, this icon is where you could read the materials for your objects, you create, you press Neil, let's call this one light. Take a look quickly. Here instead of surface, instead of principle VSD, if we're going to choose emission and how we can create our light. Instead of one, I press 1.9 and to make it a little bit more stronger. And we finally start to have something Cohen's trial as to say, let's add another source of light is gonna be a sudden shift, a light and sun. So we should to move it a little bit forward in front of RPGN and then eggs and move it on our pigeon g a little bit on the side. On our vision like this. I would like to make it a little bit stronger. Let me just check. What about two or too much? I think 0.8 going to be more than enough. And let's create one more source of light, is shifted a light and it's going to be zero point g, x on this side, g is up. And let's move him a little bit behind or begin to have some light here, some light right there, and one main light above. So it's gonna be red. I want to make this one toward read, but you don't see any difference because we shoot, you increase the power of our point. Let's make it like 666. Okay, now we can see the shade of their right light on our vision. Let's hide everything pressing here, and this is what we have at the moment right now, you can play around with the colors. I probed, going to make it a little bit more stronger. And I probably, we leave it like that because I like this small outline of the light on our objects. How about our sun? I would like to make it more loose to have a warm color and more cold color and something neutral above. So we're going to have blue or red and white keys and things like these. Okay, let me keep it like 09. It's okay. Control S. And the last thing before we went to a finished to make this workflow little bit more comfortable, Let's create another collection for our lights. So right-click, new collection, double-click, call this lights. Or actually it's called this one, background underlying that are lying stuff. And let's go with our back to the normal mood. And left-click on the Sun shift, right-click shift, left-click Shift, left-click on the background. Then you press M on the keyboard. Move to beg around stuff collection. Now it will be more easy, which mean we have these things in one collection and the PGRN, let's call this one PGRN in another collection. So that all for our lesson. Very quick. The resources of light, one lane going to be the cold one and other warm 1.1 neutral play around. I like in the way how it looked at the moment right now. And the next lesson, the most interesting lesson, we're going to create the texture for everything. So I'm gonna see you in the next one, and then we're going to finish with our Render. See you soon. Thank you. 8. Lesson 7: Clay Texture Part 1: Probably the most interesting part for most of you. So I decided to make it more easy. In that lesson, we're going to create the texture. I'm going to show you how to create it. And then the next one we're going to apply on everything else. So please quickly take a look for on five-minutes to bring awareness. And then you're going to do the same thing for a more, better, more easy workflow. Again, in your reference, you're going to fall on the texture of the fingerprints. So let me create another window right here. I'm go here, press or right-click and choose vertical split. Drag it on the left. Greek. Good. Then, to see what we have at the moment, I'm going to switch right here on the rendering mode, but here from go here on that icon and choose shader editor. Rugged this one on the right. And let's start with our buddy. So let me see. Okay, I choose my buddy. How I say in the previous one here, where you create the texture, the materials for everything. So we have our body objects selected. I press New, and let's call this one buddy. Very, very simple. Let's start with color again. Please take a look and then you're going to repeat. So let's choose something e.g. like blue. Let me play around with Ms. See something like that. Okay. Let's say something like this at the moment right now. In my own personal work, we have two different colors. I'm going to show you how to do that, but a little bit later. So let's start with our Think shift, a search and search here for the image texture, put it right here. Then we're gonna go with a color ramp. So if you do this for the first time, caller armpits, such a very useful tool to set. You got to understand this a little bit later, shift a and search for the bump and go in the image and the image texture and press Control T for coordinate and mapping in case if it doesn't work, you should you go to the Edit Preferences. You go to the game up and hearing the name search for the texture setup. So write this, be sure that you have a check-in. Take a look at the shortcut is usually Control T and that it is. Then we go here to the new app's not new, open and sealed for the folder with the references and choose this one. Then in the color space instead of as RGB, choose non-color. Take a look. Just take a look. I'm going to connect this one with color ramp and then I'm going to drag the color with the roughness. This is Thing number one and the thing number two. Again, from the color, I'm go to the height, from the normal, I'm going to the normal. So right here, you can see our first changes. It's not really what we expected, but we're gonna do it. Give me a few seconds. So firstly, we want to invert it, invert or texture, then strength, I'm going to be the strength in our case respond. And how emphasized gonna be your texture. This is how it looked right now. But if you're going to drop it to the zero, you don't see anything. So that's why I would like to keep it for around 03 isobars is going to be good. And there's the thing, let me hide our background so we can just hide it. So you can see that here is a little bit messy. What we should do, we should unwrap our topology. I can go to the Edit mode ups and it should show torn on this part. So I'm going, I'm choose our buddy, go to the Edit mode, a todos everything, and then choose Smart TV production. You'll probably going to have on the angle Lehman 33, choose six to 60 k. Now take a look how the problem that we have before disappeared. Now everything look much better. Now, what should you do? E.g. this color ramp we attach to their office and is depend I mean, if you want to make it more shiny or less shiny, I would like to have it less shiny. So I'm going to drop this part more close to the black and leg, more close to the white here and delete instead of linear, I'm going to choose B's plan to have this type of gradient l. So I'm not really liking the color. So I think I'm going to keep it like that and a little bit more darker, e.g. like this. There's one more interesting thing. So you have this mapping that you attach to the image texture of this K, which mean you're going to read this one with this set, you can make your texture bigger or smaller. Take a look, e.g. if I'm gonna do like 1,010.10, you can see the difference in comparison to what we had before in if I'm going to make zero choose zero, choose zero, chew that dexter are going to be okay is too big because, okay, 11.1. So now it's a little bit different. This is also the thing that you can play around with. So let me go with 1.41 point 4.1, 0.4. Let me increase the strength for 03350. And I suppose to make our work even more detailed, we can do is to apply our subdivision surface that we have at the moment is right now. The problem is that our blender file is going to be able to be more heavy. So in case if you don't trust your PC specs, I will not recommend it. But if you think that everything is good, it's going to be good. Well, let's go here, apply. Now one more time edit mode. You can, here, you can see that we have way more polygons. Choose everything with a U, smart to be projection or gay. Now the texture is going to fit much better than it was before. One more thing, one more thing, two more things actually deforming before we're going to move forward. Please. First of all, leave me a review under this course if you like, everything is explained clear because I really try my best to do it clear and simple for everyone and keep a good quality. So we have our body emphasized. We go to the modifiers, take a look at modifier and displays modifier. Do like it. I suppose no strength left decrease the strength on 01. Our next step, we should to create a texture for this modifier. Take a look and you're going to understand, I press New. Then you can see this icon right here and this icon right here. So this is texture or this is l. So texture, I'm going right there. Here in the type instead of immature movie, I choose Clouds. And you can see how he start to have more type of the real clay style shape. So this is how it was before, more sharpen, and this is how it is right now. This is our clouds map. And if you're going to decrease or increase, it's gonna influence on the way how he looked. So I want to Islam completely or no, I probably I'm gonna do. Just take a look what you personally like. I said, I think there are 30 there. Oh, no. 0036 is something that we're good Fermi Control S to save. We can come back char modifier. You can play with a strength or if I'm going to make more stronger, this is how it looked, but I don't let them die, don't need it. So I suppose 007, we're going to be more than enough so that how we can create first of all, our clay type of material and then clay type of shape. I hope it was clear. I promise each explaining about this thing and I'm going to keep my promises. Choose your body. First of all, do everything that we did till the moment right now, if you did, Let's move forward. First of all, let's drag on the right, which make it more comfortable. Go to the Choose your body and go to the edit mode and be sure that you have the transparent mode on which means it should, should be blue. Then we go through the phases. And then let's emphasize e.g. this one is going to be our neck. We go through the material window and to add another material we should to press on the plus. Neil, call this one e.g. neck, and press on the sign. And now we have two materials on the same object. Easy, I suppose, yes. But how we can see we don't have these clay and this gray texture. So very simple movement. We go to our buddy. We emphasize this one, control C to save, neck, control V to paste. Then just connect the color ramp to the roughness, color, to the roughness and normal. The normal. And that's all. This is how we could, um, I did in a previous one more darker, but honestly, I really like how it look with more brighter colors. So if you have the desire to do something else, no problem. But I probably going to keep it like that or probably a little bit more towards blue. Now, I'm going to keep it on the white, something in between white and very, very warm blue. Thank you so much. I hope it was a clear lesson. I hope you understand everything. Again, texture. Then we played with displace modifier to create this shape. And then I showed you how you can create another, another color and other material inside of your object. If you've ever the desire to do this one alone, like to apply all of these things on other objects. No problem if you want to do this one with me. So let's move forward in the next lesson and then render part. 9. Lesson 7: Clay Texture Part 2: Okay, it's time for us to move forward. Let me start with e.g. with our eyes because it's gonna be more interesting. So let's get out from here. And we shoot you create again one material to materials inside of one objects. So let me quickly show you so like pupil and the rest of the I go right here. First of all, new materials. And what we can do is to go to the buddy. And instead of doing the same steps all of the time, we can just duplicate this material and call this one eye. Now we're going to have the same things only on the material, on the material layer apart, e.g. let me prove you, let me make it more darker. You can see it's dark and this is blue. So one thing that I didn't like is it's messy and it's too small. So we should should go here with something like 070707. Then don't forget to go to the Edit Mode. Choose everything with a smartphone projection or K. Now, it's a little bit much better. What you can do with this, I have two choices. You can go here, search for I and I, and you can copy or another thing just for future. Present this one, then shift, Let's click on this one. So this should be orange and these have a more yellow outline, Control L and link materials. So that's how you can copy one material from another object. Let's go to the same thing, edit mode, you smart TV projection. Go right here. Let me get out of our render mode where you are. Here, you are rugged, this one on the right. Be sure that issue that faces mood. I want to choose all of them. What you can do, you probably think let me draw it like that. It's a little bit uncomfortable. So take a look. I choose every one of them inside, and then I press the hotkey of the control and plus on the numpad. So control plus, Control Plus, I don't know why you see everything right here, but I'm going to show you one more time. So Control and plus on the numpad that how you can go forward with the topology and it will be more easy for our purpose to emphasize these polygons. So the same thing that I showed you in the previous one, plus mu S sign. Take a look. Now we have our pupil. Good. It's one eye right here, and let's go with another one. So let me let me back right here. Where are these eyes? So let me show you this one, Control plus Control Plus, Plus. And this time, instead of new, we can choose the same, I suppose it's material. Let's call this one like, oops, pupil. People. Good. No, I was assigned. Now it's good. Now as good. He looked a little bit weird, but don't forget that we talk about pigeons. So what if we want to make this ice every little bit more bigger and a little bit more on this side. How about shooter in this one more in the middle? No. I suppose one thing that I want to do is to move them a little bit inside lane light. So g, e Greek and a little bit more inside of his head like that. No. G, x, I just play around. I do what I like. You do what you like to see. Oh, no aches. And again, G agaric a little bit in front. Okay. No, I'm good. No. I didn't know why. I don't like it. I can't leave a bit inside. Ok. Now I'm OK. Why do we have more? We have a lot of things actually. We have our big and go here. Let's go with e.g. I. Duplicate, call this one big, choose another color. What type of color did I have? The orange one. So open this window. Open and have a bit more brighter. And let's go with the orange, something like that. Good. Edit mode, a smart TV projection. If you haven't the desire, I didn't have any desire because I like how the texture feet under the object. But if you have the desire, you can go and apply a subdivision surface. But again, I don't see a big necessity Wherever it's your own choice. I think I need a little bit more orange and more darker. Great. Let's go forward without Rubin's because our neck is white. I would like to keep it wide. Our wings too, but here it was more towards black so they share the same color. So that's why I just go here and I'm going to choose the neck. It's weird because we should to go a few smart TV projection. Probably I'm going to duplicate, call this one winks and then I'm going to make them, yes, like 0.80 point 8.0, 0.81. More time, I'm going to apply our subdivision surface modifier. Ok. And now one more time. Oh, smart to be projection, OK. Now I like it more. There's some mistake. We can fix it. Very simple. Just go like that. Shift a I didn't know that I have that. So here, neck as sign of a good Now it's all good. You see nothing hard. Boom, boom. We have our legs. So these tube cube cylinder, they, I'm going to keep them white to e.g. neck, duplicate, legs. You smart to be projection. Green shop. Let me make this 1090909. The end of the day because this image is going to be like that, we will not see a big difference. You can see that one leg is more thinner than the other one is because I play around, I play around with this scale. You can do the same thing. Also. We can apply the displacement in Florida that we have right now on our wings to make it more stylized. So let's play around, but Control L will not work. So we should do, let's make this 11 more time. It's gonna be good for our muscle memory. So add modifier, the place when you fire. Then we go with one new texture. Go here, choose Clouds, steed of movie. And here you can play around with the noise type, e.g. you can have a lot of them sometime and we used improved Berlin. It just, it changed the way how the texture of the noise look like. So you can keep blender original L. So let's make it like 035. And let's go here and make it 07. Oh, okay. It's a small change, but in summer with everything else, it's going to make our work much better than it was before. Great. Our feet, materials big, I suppose, is gonna be looked for them to share the same color. So duplicate feet. But honestly I'm going to make it a little bit more brighter like that. K then a edit mode h, which is everything you, smart TV projection. I hope it's not too fast for you because I explain all of these steps before. That's why I'm a little bit more faster pace right now because I suppose it's clear and I don't want you to waste your own time. Whereas our background, Here's our background. Let me take a look. Okay, we have this stop sign, I think should make this less and more comfortable. I'm going to show in the next one how to create the stop sign. And that'll that'll everything is pretty quick and a lot of useful information. One thing that I personally don't like, I would like to make these legs a little bit more thinner, so I'm gonna go like that as I'm good. Now I'm more butter with a final image. Like always. I'm going to see you in the next lesson. Thank you so much for your attention. 10. Lesson 8: Stop Sign material and UV: Are you still here? I hope, yes. So we have this stop sign. One more thing. I want to make his legs a little bit more longer. So let me go here, here, choose this one. And I'm going with a G like that. G is it like that? Okay, this is how it was before. This is how it Control Shift S doesn't work. Man, one more time. Gs. So somewhere here. Is that okay? I'm good. Let's go to our stop sign. So choose this one and go to the material and create a new material. Let's call this one stop underlying sign and good, where is our principal? Because DF, okay, shift a image, texture right here, Control T, connected this time color to the base color. All burn. And in the references, you're going to find a stop sign. And good, but we're a little bit messy with this part. So we should, should go from here to the UV editor. This is where you can play with your topology. Go to the edit mode. And now you can see this is completely all of the polygons that we have inside of our object. So let me quickly take a look me show you face mode. I'm going to choose this face. And then I'm going here to choose him g, x. So you can this same control and the same buttons that you have right here. So you choose your face, you found it right here in the UV window. And then just S for scale G, move it up to keep it like that. G x little bit on the right is a little bit down. Nothing hard. I want you to have this border L sold with a red color. So let's go into edit mode. And right now we have our faces. And to choose the opposite of our polygons to invert this control E. And now we have emphasized everything else and not the phase that we have before. So I think it's a useful function and you're going to save you a little bit of time. Great job. Plus mu S side. Good. Then we go here, choose their color picker and choose this red color. Good. This one was white. So I'm gonna keep it wide like the way how it is. And what do you like probably to add the clay style right here, l. So let's, let's make it go to the stop sign, back to the shader editor and quickly take a look. So just emphasize them, move them up. You're gonna be shocked how easy it is and go e.g. to their buddy, choose everything Control-C, go here, control V, or we don't. Color to the roughness, normal to the normal. And now, ladies and gentlemen, is how you can see we have this same gray texture on our stop sign l. So remember how I said that we can apply we can try to apply our subdivision surface on our stop sign to let me try it. Why not? What if we want to try to The Shade smooth? Then we go here, normals opened the normal top and auto smooth. And this is how it was before. This is how it is right now. But what if I still don't like this edges? So that means y over the control to poke, choose this phase E to extrude, just don't extruded, just press on the E. And the same thing right here, this breast one time on the E. And let's take a look. Now. This part of the stop sign is smooth or not really? Not really. Okay. I don't want to cut this part from the video because we play around and it's okay to commit some mistakes or it's okay to not know how the result is gonna be. So it's all good. I show you no one have a perfect workflow. Allergists come back to the previous one. So I'm gonna keep it like that. So this is what we have at the moment right now. Probably one of the things that they want is to make a little bit more bigger that texture on the stop sign. And another one, probably to make the environmental little bit more brighter or our background. Let's add our texture on the background too. So duplicate, call this one BG, usually like abbreviation of the background, white. Excuse me, as if you have whatever color here, anyone to make it completely white, just drag the saturation on the left side. Good. A, everything in the edit mode. You smart TV projection. Now we still good. Yes, we have the clay material on our background right now, l. So in the next lesson, in the final lesson, we're going to set the camera and make our render. Thank you so much for your attention. Leave me a review if you feel like how I explain and I see you in our last lesson. 11. Lesson 9: Render: Welcome. In this lesson, we're going to render our pigeon to something like that. Great. Let's start. So first of all, I don't need that anymore. This window, I just go here, right-click join areas and drag this one on the right side. Good. Shift a bit. Sure. First of all that we emphasized our background stuff collection, shift a camera. Now we have our camera right here. There is no necessity to waste your time trying to move to rotate. Just e.g. movie herself a little bit at back. Then you go to the view, then Align View. And the second one, airline active camera to, you know, you sit your camera straight. Four, more pleasant place then if you'll waste your time and all of these moments here, and let's switch the resolution. So go right here on the third icon. And here I want to have this type of square render. So I'm going to switch on 1500s, 1500s movie herself upward on this one and go down. You have the thing like Color Manager open. And instead of Luke, choose the medium high contrast so you can see the difference how it was before and how are these right now, very simple. You just increase the contrast of the final outlook. Good. If you like any other, wherever it's your choice, play around. There is there is enough for the moment right now. Then let's go to our camera settings. If you don't have this icon is because you didn't click on, on your camera. You should choose to click and you will have this icon. We have three type of lens of our camera. So the default one is perspective, and this is what you see at the moment right now. If you want to have the same outlook, e.g. when you press one. So like that without any perspective, you should to go instead of perspective on the orthographic and it's gonna be completely the same if e.g. you will press one of them, but one of them but I'll put a subtitle because I forgot. But if you want to bring yourself into the camera, is zero or non zero number out of the camera. Zero numbered in the camera. Great, but let's move forward to our fish type of Outlook. I'm going here and instead of orthographic, I'm choosing the list one panoramic. You will not see any changes if you're in this type of mode, so in the viewport. So that's why you should you go in there render and now you can see the difference. Let's open the camera here and the sensor feature that horizontal one and switch on the 18. Good. Quickly, let me show you these settings Strauss me are very simple. It's not about being a professional 3D. It just about to play around and to achieve the outlet with it you personally like. So I'm going to choose that file, the view instead of 180 to 90. And then to zoom in a little bit, I'm going to choose lens inquiries, the number. And voila, one thing that you probably have it inside of your head right now is that this one is too far. No problem, just get to herself out of the camera. Whereas our camera, you don't see your camera because I turn it off. Turn it on G, agaric animal of this. A little bit more closer g is that, move it up. Let me take a look. So to make the workflow a little bit more easy, okay, let's create another window. So vertical split, go right here and keep this one for the final outlook. And here play around with cameras. So g e Greek, a little bit more closer. G is a little bit up. We can go e.g. g. X a little bit on the right side. It's all good. G agaric, a little bit like that. What if what if? I'm going to emphasize all of them? No. So to make it more easy, just go in the pigeon collection and choose everything with holding Shift. Left-click to the last one. And let's move this one a little bit more close to our camera like that. And then G is, what about air x? Smaller rotation like that. Move it up. So let me take a look what we have at the moment right now. I think no. I didn't do anything, especially right now. And you even don't need to copy my steps. I just play around, you know, all of the tools I show it so you can play around and L, So you can have induced on the beggar onto here in case if I will say something, I think important, but at the moment is right now, I like this outlook. Okay, we have our background and light. They look a little bit messy. So two options. We can, what if I will hide our background now with the ground is much better. So Essex make it larger. But I'm not sure that there wasn't this type of play that I personally, when I created this render, I imagined it like this pigeon is in the studio and understood it for the session. So usually the studios are completely white, you know, like the white wall. So I thought it's going to look cool. Just move it a little bit up. And let's make a little bit more thinner to fit with our lights. K. The moment that they don't like is that you can see right here the stop sign is inside. So I'm going to turn our background. I'm going to choose this edge. G is, let me go down. I think it's going to ruin that everything goes so much better. You're going to be the g z. Move it down like here, and then go to the Edit Mode. Choose the edge above, extrude, actually don't extrude G and just move it and go with G and move it up. Oh, okay. This shade is because of the lighting. We can move our life a little bit upward or much better. It's going to be to go down and leave a little bit this edge. Anyway, how I said before, you know, more than enough to play around. If you'd like to make these big round a little bit more darker, you go here on this type of planet icon, you have the color and make it a bit more darker, e.g. the black one or if you want white. But I personally would like something toward the black. A little bit more adjustment that they want you to do is choose everything. And I'm going to move him again a little bit more closer. G is x. Ok? Okay, so because I don't want to waste your time, you are more free when you work on your own personal project. But anyway, it look good. And then most importantly, they shared the most important knowledge that you have that will help you to create this type of stylized animals or wherever you want just to acute 3D illustration. So very important moment in case if you're a beginner, if you're going to render in the way how it is right now, you're going to see the references behind. You can think like why are we hide them? We hide in the viewport, but we didn't hide them from the Render. If you want to hide some object from the render to you, should you be sure that the camera is turned off and now you will not have them in your final render. If you don't have this icon, which is weird but cohere and be sure that you have the blue one right there. So just turn it on. Great. We should, let's take a look. Now. And the final render, we're going to have everything that they behave in our scene. The next thing up is too high. So go right there and the camera icon, and let's viewport render samples in the Render. This samples influence on your final quality. The more sample, the more quality work in B. But it's important if you're BC specs are very low, it's going to consume a lot of time. So that way it might be C is pretty good. But anyway, I don't have a purpose to keep the very high-quality, so that's why I'm going to keep it like e.g. 444. Trust me, it's not so bad. You can play around. You have your own time to experiment, but I'm going to keep it like that. Denoise. If you deactivate it, you can turn it on. And usually I use I keep the same setting that they have right now, but I'll bet they're normal and accurate. The last thing is here to play with the contrast, e.g. a, high contrast, I don't like it. I like to keep in medium, high contrast. And if you are sure that everything is done like you take a look here, take a look here. You said the samples to set the color management. You can increase the resolution if you want again, for much better quality. Now, if you're good, you go to the Render and press Render Image or the shortcut F 12th. So my render is done. It took me four on 3 min. So first of all, let's save. Go to the Image, Save As choose the folder that you want. Color depth should be 16, and save as image grid. If you're very friendly with Photoshop, you can play around with adding some effects, noise texture. I can show you the next lesson how we can use the compositing window in our blender, but we actually finish it, leave me a review because I tried to keep it to keep it small, but at the same time, informative, I suppose it was, I hope it was very good for beginners. So anyway, I'll leave me your comments and drop your project and really looking forward to see what you've done through that course. Thank you so much and see you soon. 12. Lesson 10: Noise effect in Blender: In that small less than I'm going to show you how to add noise over your image inside the verb lender. So after your render is done with this, you can close this window and the way you want. So you go here and choose compositor chicken on they use nodes. Then you go the Shift a search for image, and then shift a viewer. Great, press it like here. Image connect to the image. Open and siege for your render where it's placed. So CoAP Xian, great. Now let's put this image on our background. So you have this gray button backdrop check-in. And this is our result. If you want to zoom in, you press if you want, actually, I'm sorry. If you want to zoom out V on the keyboard, or if you want to zoom in Alt V on the keyboard, we should to add two more nodes, shift a huge fur texture right there, and mix, bring it right here. And the color through the image number two. Then they'll go here or wherever we usually create our textures, mu. And instead of image or movie, search for noise. Then right here, we're going to choose, Let's rename this one, noise. Noise. This is where you bring your name for your texture. So you actually can say wherever you want, but in our case, it's just a nice good. Then here, search for the noise. Instead of mix, choose, darken, and play around with these settings. So let me quickly show you in case if you don't know what it is, this to show you who going to dominate over whom. We have our clay pigeon here connected with the image one, and we have our texture connected with the immature. I'm going to drag on the right. The texture is going to dominate completely overcrowded vision. And if I'm going to drag this onto zero, like on the left, which is zero. It means that we're going to see on the declared PGY1. Good. So I want to keep it on the level of 03. I suppose. I'm good with that. Let me take a look. Yes. I don't want to read. This is too much noise, so I'm going to keep it on 03. And the last step if we want to try to render right now we're going to see this thing. So in our Render Output known in the scene, so we should choose shift a search for composite, bring it here, connect this to this, and go to the Render Render Image. And voila, we have watches her wrong with you. So we have our render only with the noise texture over. Thank you so much. I hope it was useful and I hope it was clear and simple. Image Save As, Let's call this one clay Piagetian noise. Keep it color depth on 16 sailors image. 13. Congratulation: So thank you so much for your attention. I hope it was very clear and simple, especially for beginners. Keep the comments, keep the review and the most important. Leave their projects under this course, I'm really looking forward to take a look at all of them. Also, these were the curious about 3D illustration. But if you want to jump into the animation, I have a course on Skillshare, also about the topic. So keep it up. Move forward. Thank you so much and I see you very soon.