Creating Characters with Blender - Part 1

1. Skill Share Trailer: Hello everybody. My name is Gustavo Oza and I will teach you how to create treaty charts for animation. For this learning, Johnny, we will use Blender, an amazing free treaty modeling software. This is an intermediate level course where I need you to have the knowledge of the blenders basic features. But if you still don't know anything about blender, don't worry. In my profile here on the platform, you can find blender, start an immersive blender crash course. After completing this fresh course where I cover the basics of blender, you will be ready to take this character creation course. The course Creating Characters a Bit. Blender is a series of three courses. In this first part of the course, we will see how to model a complete character using blenders, Coligal modeling tools. You will learn how to set up your three dimensional scene with references for modeling. And you will see how to use techniques and tools to model a complete character. Additionally, we will create clothing and materials for the characters objects. At the end of the project, you will create a rendered image showcasing your finished project. After completing this course, you stay tuned. The second part of the course focuses on creating the character's body rigging. This means creating the animation skeleton that will allow us to move an animated the character's body. And the third part of the course is dedicated to create a facial rigging. In this part, you will learn how to create custom controls that will enable you to create personalized facial expressions for your models face. Finally, you will create a simple animation demonstrating everything you have learned in this amazing series of courses. If you are interested in creating expressive models, sign up and start creating your own iconicic characters with blinder right now. 2. Preparing the References: In this lesson, we will prepare the blender file with the necessary references to model our character. However, it's important to mention that using references like this is not mandatory when modeling a character or any other treaty model. If you prefer, you can follow this course without using references and create character with different proportions without any issues. The advantage of using references while learning is that you can focus a bit less on the characters proportions. Consequently, more attention to using the tools and understanding the character creation process. One suggestion is to watch the lessons and create the character with the references the first time to become familiar with the process. Later when you are more comfortable, you can rewatch the lessons and try to recreate the character without the aid of the references. This type of reference we are going to use is called model sheet. In our field, this type of image is used to standardize the appearance and proportions of the character. For creating modeling, it's common to use a front and side image of the character in the professional world, if you are working on a company or a studio, you will likely receive these images from another professional specialized in this type of illustration. But if you don't have access to a model sheet, you can model the character using only observation. Now let's effectively begin preparing our blender scene for character modeling. But before setting up the scene, I will create an organized folder for the project. You can create the folder whatever it's most convenient on our computer. In my case, I will create a folder on the desktop called mitridiccharacter. Inside this folder, I will create another folder called references. Inside the references folder, I will place these reference images we will use, you can find this image available for download with the course. Download the images and save them in an organized folder structure like this for your project. After creating the project folder, I will open Blender. Since I won't need these initial objects during character modeling, I will select the initial scene objects and delete them. Now to place a reference image in Blender through the view, all we need to do is open the operating system folder where the images is located and drag the image into the Viewport. When we do this, blender creates an image reference object in the scene using the image we drag as a reference. At the moment we drag the image into the scene, this image plane is created perpendicular to the viewports observer used. This means that if you drag the image into the viewport while it's in the perspective mode, the image will be misaligned with the scenes ortogonal axis. We could correct the orientation of the object by going to the object tab in the properties editor and manually adjusting the objects rotation values. But another thing we can do is deleted this object and prepare the viewport so that the image is imported into the scene with the corrected orientation. Since the first image I will import is the front view image, I will set up the viewport with the front ortographicy view. To do this, I can click on the minus y circle in the Tredview's navigation icon. This will set the viewport to the front view, but it's still in perspective. To import the image and ensure that the reference plane is created facing exactly forward, it's important that the viewport is orthographic mode. To do this, I can click on this button in the upper right corner of the viewport. If we look in the upper left corner, we will see that the viewport is set to front orthographic. Another way to set up the viewport with the front view is to go to the view menu, Open Viewpoint submenu, click on front. After that, just make sure the viewport is indeed in orthographicy mode. If it's not, we can switch it to the front view by clicking the switch Perspective orthography button. Finally, we could also set the viewport to the front view using the one shortcut key on the numeric keypad. And tuggle between front and orthography views using the five short cuts on the numeric keypad once you made sure the viewport is set to front orthographic. Open the operating system folder where the reference image are located and drag the reference front file into the Viewport. When you do this, the reference plane will be created with the correct orientation in the scene. Now I can double click on the name of this object in the Outliner and rename this object with an easily identifiable name such as reference front. Now let's adjust some settings for this object. If we have this reference plane selected and click on the Object Data tab in the Properties editor, we will find some settings related to this object. I personally like it to enable the opacity option. I like to decrease the opacity of the object to around 0.5 Now let's set the position of this reference plane When using a reference image for modeling, it's ideal that the drawing in question is perfectly centered in the image as it is in this case. Furthermore, it's also ideal for the image to be perfectly positioned in the center of the blender scene. To precisely position this object in the center of the scene, you can click on the object step of the property, Zgtor. You can adjust the value of the x axis. Since I want the object to be exactly in the center of the x axis of the scene, I will type zero in the axis field. This is the most important axis. It's crucial that the image is centered on the x axis of the scene. The z axis defines the height of the object in the scene. You could place the object at any height on the axis, but personally, I like to set the height of the reference image so that the solus of the feet aligned with the base of the scene on the z axis. To this, I will adjust the z axis value until the soles of the feet of the drawing are more or less aligned with this ready grid line. With that, the reference image for the front view is perfectly configured. Now let's create the reference plane for the side view. To import the image with the correct orientation, I can click on the circle with the x in the navigation icon. Or I could go to the View menu, click on Viewpoint and select right. Or I could press the three key on the numerical keyboard. Next, just make sure the view is in orthographic key mode. When the viewport is set to right orthograph key mode, you can open the operating system folder and drag the reference side file into the viewport. This way the image will be imported with the correct orientation. Now for us to use both images simultaneously as references, it's crucial that both are perfectly aligned in the height. To do this, you can select the front view image which already has the heights configured. Go to the object tab of the properties actor. Copy the z axis value from the location parameter using the control C shortcut. Then select the reference object for the side image. And paste the value we copied from the other object into the z axis of the location parameter using the control V shortcut. Now let me take a quick note. In the case of these references, the image drawing came in the correct orientation. But if you are using a difference reference and the drawing has been imported facing the wrong way, you can invert the rotation of the object. To do this, simply invert the value of the z axis rotation of the object. In this case, the original value is 90 degrees. If I set the value to -90 degrees, the object will be reversed and the drawing will face the other way. If your drawing is faced the wrong way, you can do this since in my case the drawing was already facing the right way. I will leave the original value of the object. Now all we need to do is leave a central space for the actual character modeling. For this, I can move the front reference backward on the y axis. I can move the side reference to the on the x axis. Now I will select the side reference. Go to the object tab of the properties editor. I will activate the opacity option. I will set this parameter through the value 0.5 just like I did in the front view. I will also rename this object in the outliner to the. I will double click on the object's name. I will rename it to reference site. Another thing I can do is to start organizing the scene collections. I will rename this collection where the references are as references. To finish, I will go to the Outliners Filters menu. I will enable the selectable option by clicking on this cursor icon. This will display a column with selection icons in the Outliner. If we disable this cursor icon for the references collection, it won't be possible to accidentally select these objects during the modeling process. With that, we conclude the configuration of the file with the reference images for the modeling. Now we can save our initial file by going to the File menu. Choosing the folder we created for the project as the location, giving a name to the file. You can name your file as you see fit. I will call my file micridiccharacter 01. I will click say this. With that, we finish preparing the file for modeling. That's it for this lesson. Thank you for watching and until next time. 3. Modeling the Head: In this lesson, we will effectively begin modeling our character. We'll start the modeling with the character's head. But before creating the first object will you use to model the head? Let's create a separate collection for the character. Here in the Outliner, I will make sure I have the same collection active. I will click on the new Collection button. This will create a new collection which I will re character. Now I will use the Shift C shortcut to ensure that the predcursor is at the center of the scene. I will use the Shift A shortcut to open the object creation menu. To create the head, I will start by creating a cylinder immediately after creating the cylinder. If we don't perform any other command, we can open the property spanal for the last action here in the lower left corner. To simplify the modeling process, I will reduce the initial number of cylinder segments. I will set the verses parameter to 16. This will make the object simpler and easier to manipulate. After that, I can minimize the property spanul for the last action again, now I will make a personal adjustment. I will go to the Viewport Shading menu in the upper right corner of the three view. I will set the color perimeter to random. This way each object in the scene will have a different color assigned randomly. The setting is not mandatory, but I personally prefer objects to have these different colors rather than being all gray as they are with the full setting. Now I will set the viewport to the front view. Put it in orthography mode by clicking this button. After that, I will move the cingular to roughly the height of the head according to the reference drawing. I can also switch the viewport to the side view and perform the initial alignment of the object according to the side view drawing. To visualize the reference drawing through the object, I will activate the x ray viewing mode by clicking this button. Now I can enter Edit mode and start making more adjustments. I will select all components in editing mode using the a shortcut key. And I will scale the geometry so that it roughly matches the references initial size. For that I can use the shortcut for the scale command. I can also select the bottom verses and align them with the base of the head using the move to and do the same thing with the top of the head. I will also adjust the alignment and scale while looking at the side view. Note that the alignment between the side view and front view drawings will hardly ever be perfect. In this case, we need to make an approximation, aligning the object somewhere in between the two references. Now I will activate edge selection mode. I will select the top loop of the cylinder by click on one of the edges while holding down the out key. While holding out and shift, I will click on one of the edges in the bottom loop to edit the selection. Now to round these edges, I will use the bevel command. I can use the control B shortcut for the bevel command, or I can activate the bevel two in the two bar, and click and drag on the yellow icon that appears over the geometry. I will drag it until the beveled Regan is roughly the size of the rounded area in the reference drawing. Now I will open the property spanle. For the last action in the lower left corner, I will increase the number of bevel segments to three. Now I can turn off x ray mode. Now I will activate phase selection mode. I will enable the selection tool. I will select the top phase and deleted by pressing Delete and selecting phases. Now I will activate edge selection mode. I will select this edge loop by click on one of the edges. While holding out, I will go to the phase and click on the grid command. This command will fill the open hole with organized four sided polygons. This structure is more suitable for modeling in many ways. But this command will only work if the hole in question has an even number of edges on the border. If the border has another number of edges, the command won't work. When you use this command, make sure the central segment of the grid is crossing the object center axis on the X axis. If this structure is rotated differently, you can open the last action panel and adjust the offset value until the grid central axis is aligned with the object central axis. Now let's repeat this procedure for the bottom polygon. We will select and delete it. We will select the edge loop. We will use the grid fill command if you prefer. Instead of going to the phase menu, you can use the control shortcut to open this menu in a floating mode in the viewport. After that, just make sure the grid orientation is correct. Now I will activate x ray mode. I will enable vertex selection mode. I will create a selection box to select the verts at the bottom of the model. I will reduce the height of this part a bit by pressing to activate the scale command Z. To restrict the command to the z axis of the scene, I will reduce the height a bit. Now I will activate the side view and press R to rotate this part of the structure G to adjust the position of the verts. I can also select each loop individually using the out key. And adjust the position of these loops according to the reference. With this, we complete the main volume of the head. In the next lesson, we will continue from where we left off here and model the mouth cavity of this head. Thank you for watching, and I see you next time. 4. Modeling the Mouth: In this lesson, we will model the oral cavity of our character's head. I will begin by setting up the geometry to create the character's mouth. The character's oral cavity needs to have a structure of polygons that surround the mouth. To start creating this structure, I will insert some new edge loops. To do this, I will begin by using the loop cut tool, which can be activated in these two bar button. With the two active, I can click on one of the vertical edges of the model to create a loop perpendicular to that edge. Then I can drag the new loop to the area where I want it. In this case, I want this loop to be roughly at the base of the nose. Another way to use the loop cut is through the shortcut for this two. If I don't have the two active, I can position the cursor over the area where I want to create the loop. I can use the control R shortcut. This time I will create a loop at the mouth's level. I will create another loop in the middle of this other region. Now I will activate the front view and I will deactivate the x ray mode. Now to start creating this elliptical structure in the shape of the mouth, I will select these eight polygons in this region. I will then press the key, which will activate the inset phases command. To actually create the oral cavity, I will press the delete key to delete these pass. From now on, we will make some slightly more laborious manual adjustments to avoid having to make the same adjustments on both sides of the geometry. I will activate x ray mode. I will select all the polygons on one side of the object. I will delete these faces. Now I will go to the modifier stab in the properties Ajitor, I will add the mirror modifier through the Add modifier menu. Now, any adjustment we make on one side will be mirrored to the other side of the model to prevent the central verses from separating. When we move them, we can enable the clipping option in the modifier. Now, I will manually move these verses around the oral cave to align them with the reference mouth. But in this case, I won't worry about creating a mile. When we model a character, we usually create it with a neutral expression. And other facial expressions are configured in another stage called reading. Now I will adjust these verses so that the mouth verses are neither sticking out nor too far inside the expected volume for the head. This way we avoid surface irregularities on the model. We can also adjust the virtues of this outer loop so that they contour the mouth verses more harmoniously. Try to look at your model from various angles while making these adjustments. And adjust the position of the verses whenever they are too far, inside or outside the desired volume for the head. After these initial vertes are well positioned, I will use the control R shortcuts to insert another loop in this region that surrounds the oral cavity. Having another loop in this region will allow us to have more control when creating facial expressions in the future. After inserting this loop, I will once again adjust the position of any virtues that may be outside the intended volume for the head. I will try to adjust these loops as organically and smoothly as possible. This way we are avoid imperfections on the surface. With this, we finish modeling this first part of the head. I can go back to object mode. I can save the file by going to the File menu, Clicking on SavS here. If I click on this plus icon next to the name field blender will automatically create a file with the same name, but add a number to the object's name. This way I can save incremental files for each stage of the process if I want to. That's it for this lesson. Thank you for watching and until next time. 5. Modeling Face Features: In this lesson, we will model the character's nose, eyes and eyebrows. To do this, we will start with the file saved in the previous lesson. The first object I will model will be a nose. As you can see in the reference, the character's nose consists mainly of a small sphere. I could use a sphere to create the nose, but to keep the structure simpler, I will use a subdivided cube. I will start by using the shift key shortcuts to ensure that the predcursor is at the center of the scene. And I will use the shortcut shift TA to open the object creation menu. Here I will create a cube. Since I want this cube to be rounded, I will go to the modifier tab. In the properties editor, I will add a subdivision surface modifier. I will leave the view port levels parameter with only one subdivision level. With this, the object will already be slightly rounded as I wanted this to be the basic structure of the model. I will click on the arrow in the modifier interface. I will click on the apply command. This way the modifier will be applied to the object and this will become its basic shape. Now I will set the view port to the side view and I will position the object according to the nose position in the reference. To facilitate the process, I can activate the x ray mode. Now I will enter Editing mode and I will scale and position the structure according to the drawing. If the reference drawing is not perfectly aligned between the two views, we can position the geometry midway between them. With that, we completed the Nod structure. Now I can return to object mode and turn off the x ray mode to better visualize how the model looks. If necessary, I can make further adjustments to the object position. Now to create the character's eye, I will use the same structure. I can use the shifted shortcuts to duplicate the object. To adjust the position and side of the eye, I can activate the x ray mode and enter edited mode. With this, we can use the orthography views to move and scale the geometry according to the reference drawing. I will scale the object slightly on the y axis to make it narrower in depth. I can also rotate the object slightly on the Z axis to align its rotation with the surface. Once I am satisfied with the eye object, I can return to object mode. To create the eyebrow, I will use a cube to adjust the geometry in relation to the reference. I will once again enter the objects edited mode. I will activate the x ray mode. Now I will simply adjust the size and position of the cube according to the reference, both in the front of view and in the side of view. I will also rotate the cube to match the head surface. After that, I can return to the object mode. What I will do now is combining all these geometries into a single head object. But since the head object is cut in half and has a mirror mode fire, I will also delete half of the nose object so that the nose is mirrored as well. I will select the nose enter edited mode, activate the x ray mode to select the back faces, I will delete the faces on one side of the nose. Then I can return to object mode and turn off the x ray mode. Now I will use the joint command to combine all these geometries into a single object. When we use the joint command, the name and pivot that prevail are those of the active object. When we use the command, the active object is the last object we added to the selection. I will select the facial elements with the shift key pressed. I will select the head object last with the, the active object is the head object. We can see this because the active object is highlighted in a lighter yellow tone in both the Viewport and in the Outliner. When the selection is like this, we can go to the Object menu and click on the Joint command. Now to make the structure more rounded, we can add a subdivision surface modifier in the modifier step of the property ejector. This time I won't apply the modifier as I want to be able to enable and disable it during the modeling process. As we can see, the eyebrow became more rounded than the reference. I will enter the object added to mode. I will use the control R shortcut for the loop cut two to add three more loops in the central region of the eyebrow. This way the object will have a slightly more rectangular shape after subdivision. Now I can return to object to mode and save the file so that we can continue in the next lesson. Thank you for watching. I see you next time. 6. Modeling the Ear: In this lesson, we are going to model the character's ear. But before creating the ear object, I will name the head object in the outliner which I forgot to name in the previous lesson. I will name the object head. Now I'm going to create the object that I will use to create the. To do this, I will open the creation menu with the Shifty shortcut. I will create a cube to make it easier to align the object with the drawing. I will set the viewport to the front view. I will enable the x ray mode to facilitate the alignment if you prefer. Instead of using the sort viewport display mode with the x ray active, you can enable the wire frame display mode. This mode already includes x ray with it. We can also view the edges of the model. Both modes will work for this type of situation. Feel free to choose whichever you prefer. Now I will adjust the size of this initial box according to the proportions of the year in the drawing, both in the front and side views. Now I will start shaping this object to be more rounded and organic. To this, I will add some segments using the loop cuts with the control R shortcut. I will add one segment vertically and another horizontally. Now I will rearrange the verses of the model to make the structure more rounded. To do this, I can select the central verts and scale them on the Z Xs by pressing the key, followed by the Z key. I can also scale the verts on the horizontal center by pressing the key followed by the X key. I can also manually move the verts at the edges to make the shape more rounded. Now I can switch back to solid display mode. I will activate face selection mode. I will select the forefront faces of the object. I will press the inset shortcut key to activate the inset command. I will move the mouse until the new faces generated by the inset have the size I want for the ear cavity. After that, I will press the extrude shortcut key to extrude these faces slightly backward. I will press the scale shortcut key to scale these faces a bit. I also think I will move the inner part of the ear slightly further into the head. To do this, I will activate x ray mode. I will activate the vertex selection mode, and I will select the innermost virtues of the ear. I will move them further into the head. The next thing I will do is select all the virtues of the model with the A shortcut key. I will rotate this structure slightly on the z axis to define the ear tilt. With that, we finish the modeling of the ear. Now I can return to object mode. And to join the ear object to the head object, I will make sure the ear is already selected. Then with the Shift key pressed, I will select the head. I will go to the Object menu. I will click on the joint command. This way the year will become part of the head object. Since the head already has the mirror modifier and subdivision mode fire, you can see that the year is now also subdivided and mirrored. If you want, you can still select each part of the model in edit mode and make separate adjustments if needed. After that, simply save the file so that we can continue in the next lesson. Thank you for watching and I see you next time. 7. Modeling the Mouth Interior: In this lesson, we will model the inside of the character's mouth. Modeling the inside of the mouth is not necessary if your character is only used to generate an image with a closed mouth. But if you want to create facial expressions where the character has an open mouth, you will need to model the inside of the mouth, which will be visible when the character has this type of expression. Since the inside of the mouth will be literally inside of the head, I will disable the mirror modifiers viewport visibility by clicking on this button in the modifiers interface. This way, the half of the head generated by the modifier won't appear. And we can see inside of the model. Another thing that can hinder modeling in this case is the reference images themselves. But since we have organized them into a separate collection in the Outliner, I can simply deactivate the collection by clicking on this checking box next to the references collection. This way the objects within this collection become temporarily invisible. The inside of the mouth for characters like this consist of a curved structure inside the mouth. This structure can be created so that it is connected to the lips inside the model or separately from the lips. I personally think that creating this structure separately makes some steps of the facial rigging process a bit simpler. I'm going to use this method to create this structure. I will use the Shift a menu creation shortcut. I will create a cube to make the cube more rounded in shape. I will add a subdivision surface modifier in the Properties Editors modifier step. And I will apply the modifier so that the object incorporated this modification. Now I will move this object upward until it's at the height of the head. I will set the viewport to a side view. I will activate either the x ray mode or the wire frame visualization mode. I will position the center of this object slightly behind the characters lips. Now I can enter edited mode. I will scale this volume to fit inside the head. Now I will activate the front view. I will enable x ray mode. This way I can select one of the models haves and delete it with the delete key. Now I will activate the side view. I will select and delete the front faces of the volume. I will position this volume is slightly behind the mouth area, leaving some space. I will select the edges at the front of this volume, and I will extrude these edges by pressing the E shortcut key. Then I will press the Y key to only move this part along the y axis of the sin to make the front part of the mouth more rounded, To match the head shape, I will select the two central virtues at the front, and I will move them forward a bit. To do this, I can press the key to start the movement, and the Y key to restrict the movement to the axis. You can also make any adjustments you find necessary. After that, we can return to the object in mode for the object, we can join this object with the head object. I can make sure that this object of the inner mouth part is selected. I will add the head to the selection while holding down the shift key. I will join the two objects within the joint command. This way, the inner mouth part will also be affected by the heads modifier and will be mirrored when the mirror modifier is active. But before I finish the lesson, I will disable the mirror modifier to show how we can give the lips edge a bit of thickness. To this, I will add a modifier called solidify. What this modifier does is create a thickness for the entire model. Since in this case the solidify modifier works placed after the subdivision modifier. The lips edge is not being smoothed by the subdivision surface, but by clicking on this dotted area in the modifier interface and dragging it throughout the panel, I can change the order of the modifiers. I will place the solid defined modifier before the subdivision surface modifier. With this, the polygons generated by the solid defined modifier will also be affected by the subdivision surface. And this part of the leap will become smoother. If the modifiers are taking too much space in your interface, you can minimize or expand them by clicking on the areas next to each one. If you want, you can leave only the solidified modifier open. The main parameter of this modifier is the thickness parameter, which defines the thickness generated by the modifier. I will adjust this parameter until I am satisfied with the result in the leap area. Additionally, I will activate the only ring option. This option makes the modifier only affect the open edges of the model. It won't add thickness to areas that are not an open edge, which is better for this model. Adjust the modifier until you're satisfied with this part of the model. Then you can re enable the mirror modifiers visibility. With that, we conclude the mouth modeling. Notice how this part of the mouth becomes more interesting with the solid fined modifier on the model. After this, we can re enable the visibility of the reference collection and save the file. Thank you for watching and until next time. 8. Modeling the Teeth: In this lesson, we will model characters teeth. Actually, we will model objects that will be simplified dental arches for the upper and lower parts. To do this, I will start by creating a new object, which in this case will be a cylinder to keep the scene organized. I will make sure that I have the character collection enabled in the Outliner and to ensure that the new object is created in the center of the Tredview. I will use the Shift C shortcut to reset the pred cursors position. Now I can use the Shift A shortcut to open the creation menu. In the mesh menu, I will create a cylinder for the teeth of the character. I will use a cylinder with few segments. Immediately after creating the cylinder, I will open the added panel of the last action in the lower left corner. As I want start modeling the teeth with a relatively lightweight cylinder, I will set the diverts parameter to 16. After that I can enter the edited mode of the object. Now I can press the A shortcut key to make sure all the polygons are selected. Then I will press the shortcut key to initiate the scaling process. I will press the Z key to restrict the scale to the Z axis of the scene. I will scale the object until it roughly matches this position. Since I want to create an arch shaped object, I will delete some polygons leaving only the front arch of the cylinder. I will start by selecting the top polygon and the bottom polygon. I will delete these faces. Now I will select all the polygons from the back of the cylinder. I can click on one polygon while holding down the control key. I can click on another polygon further ahead to select all the polygons in between. If needed, I can select the remaining polygons while holding down the shift key. I will also delete these polygons. Now I will make the remaining arc slightly flatter. For that, I will select all the polygons with the A shortcut key. I will activate the scale too. And I will scale the object slightly on the y axis. Now I will create the volume of the dental arch by extruding the polygons. In this case, I will use the out to open the menu with extrude options. I will choose the extrude faces along normal option. This way I can extrude the polygons in the direction of their own normals. To finish, I will delete all the polygons that will now be visible in the arch. In this case, I will delete the polygons from the back and the top of the arch. To finish this arch, I will return to the object mode of the object. I will add the subdivision surface modifier by going to the modifier stab in the properties editor, and adding the subdivision surface modifier using the Ed modifier menu. With this, the appearance of the tooth is almost as I wanted to finish, I want to make the bottom part is slightly less rounded. To do this I will enter the editor mode of the object again, If I add another horizontal segment, the smoothing generated by the subdivision surface will be more restricted. In this area, the teeth will be slightly less rounded in that direction. I will place the cursor over one of these front vertical edges of the object. I will use the control R to activate the loop cut. I will click to create the loop, and I will drag it down a bit. With this, we can see that the rounded part becomes a bit more concentrated at the edge of the arch. Now that I am satisfied with the shape of this dental arch, I will return it to object mode by pressing the tab shortcut key. The next step will be to adjust the size of the dental arch and position it inside the character's mouth. For this, I will temporarily disable the visibility of the collection of references in the outliner With the head object selected. I will temporarily disable the visibility of the mirror modifier by clicking on this button with the monitor icon. With this, we will only see half of the head in the viewport, which will allow us to position the dental arch inside the mouth more easily. I can start by moving the dental arch objects up to the height of the head. Now I can set the tree view to the left side view and activate the orthographic mode to view things more precisely. To adjust the size of the arch, I will press the key for scale. I will scale the arch until it roughly matches this proportion. I will also move the object until the bottom is roughly aligned with the mouth sight. Now, I will activate the front view. As we can see, the arch is still too wide for the head. I will scale the object only on the X axis by pressing the key to start the scale transformation and the X key to restrict the scale to this transformation axis. I think I can scale the object in all Xis once more to make the dental arch even smaller. Once again, I will position the object so that the bottom of the arch is roughly aligned with the mouth opening. I will adjust the scale of the object, x axis a bit more so that it matches the width of the mouth. I will move the object a bit backward, leaving a small gap between the arch and the lips. Now since I scale the objects in object mode, I will go to the Object menu. I will click on Apply on Scale to reset the object scale. Now to create the bottom part of the teeth, I will enter the edited mode. I will select all pass with the A shortcut key. I will use the Shift D shortcut to copy the selected pass. Then I will press the Z key to restrict the movement to the axis. I will place the copy of the arch is slightly below the original arch. To rotate the arch to the correct side, I will activate the transformation to I will start rotating the selection on the Y axis. I will keep the control key pressed to rotate the selection in precise five degree intervals. I will rotate until it completes 180 degrees. Since the bottom arch is slightly smaller than the top one, I can scale the selection slightly with the shortcut key. I can move the selection up a bit. Now I can it edit mode. Using the tab shortcut key, I can rename the object in the outliner. I will also select the heads and re enable the visibility of the mirror modifier in the viewport. I can also enable the visibility of the collection of the references. To finish now, just save the file so we can continue in the next lesson. Thank you for watching and I see you next time. 9. Modeling the Base of the Hair: In this lesson, we will model the lower part of the character's hair. Since this part of the hair has practically the same shape as the head, where it is, we can use some existing polygons from the head to start modeling. With the head selected, I will enter added to mode with the face selection mode active. I will select the faces of the head that correspond to the area where I want hair. In this case, I will select these polygons here. Now I will create a new object with a copy of these polygons. To start, I will use the shifted shortcut to copy these polygons since I don't want the copied polygons to be moved elsewhere. After using the shifted shortcut, I will right click this way, I cancel the movement of the polygons after copying then. Meaning the polygons are copied but remain in the same place as the original polygons. Now I want to make the copied polygons separate from the head object and became another separate object. To do this, while keeping the selection as it is, I will go to the Mesh menu. I will click on the separate menu. I will click on Selection. This will make the selected polygons no longer part of the head object and become a separate object. Now I can return to the object mode of the head. I can select the new object that was created. I will rename this object as hair base in the outliner. With this new objects selected, I will enter editing mode. If we look in the modifier stab of the properties editor, we will see that when create a new object using the separate command, the new object is created while retaining the modifiers from the original object. I will temporarily deactivate the solidified modifier and the subdivision modifier. Now I will make some changes to the hair shape. First, I will activate vertex selection mode. I will select all these verses from the bottom of the object. I will make this loop completely straight horizontally. To do this, I will press the key to activate the scale command. I will press the key to restrict the transformation to this axis. I will press the zero key to scale weight to zero on this axis, making the selection completely flat. Now I can create another loop by pressing the shortcut to instru the selection. Immediately after pressing the key, I can press the Z key to move the selection only vertically. I will move this loop until it's slightly above the ear's height. Now I will select only this group of verts from the back of the ear. I will once again extrude downward by pressing the key to start this trout and the Z key to restrict the movement to the vertical axis. Now I will select only this edge at the front of the ear. I will also extrude it downward. Now using the move too, I will make some adjustments to the position of the verses. So that the gap between the polygonmes is exactly where the ear is to finish the hair shape. I can select these verses at the back and move them slightly downward to make the corner a bit more rounded. Don't worry if some parts overlap with the head. Now we will once again enable the visibility of the solidify modifier, the subdivision modifier in the modifier. Now I will expand the solidify modifier panel. I will adjust the thickness parameter until the hair is the size I want. You may also need to adjust the offset parameter. This parameter shifts the entire volume of the model further in or out, relative to the original position of the polygons. Once the sickness is defined, you can make adjustments to the vertex position if necessary. With that, we conclude the modeling of this part of the hair. Now we can save the file to continue in the next lesson. Thank you for watching, and I see you next time, P. 10. Modeling Hair Strands: In this lesson, we are going to model the strands of the hair on the character's upper head before creating the object. To form this trend, I will make sure I have the character collection active in the outliner. I will ensure that the predcursor is at the center of the scene using the Shift C shortcut. Now I will use the Shift A shortcut to open the creation menu, I will create a UV Sphere to make the modeling process easier. I will reduce the number of segments on this sphere right after creating the object, I will open the property spanele. For the last action, I will set the number of segments to 12 and the number of rings to eight. These will make this sphere lighter and easier to manipulate. Now I will switch the treaty view to the side view. I will move this object to the hairs position. I will also use the scale two with the shortcut key to start adjusting the size of this first strand. I will scale the object along the y axis to make this sphere a bit narrower along the Z axis to make it a bit longer. I can also activate the wire frame visualization mode in the treaty view to see the reference through the object. This way I can make position and scale adjustments to try to match the objects shape to the drawing. Now that I have roughly measured the size and position of the object to the reference, I can enter edited mode to start modeling. But since I used the scale tool with the object in object mode, I will go to the object menu. I will use the applied scale command. This way the modeling tools will work correctly. Now I can enter the objects edit mode with the object. In edit mode, I will try to make the objects shape even closer to the reference. I can keep the viewport in wireframe mode whenever I want to look at the drawing behind the object. Now I will adjust the position and rotation of the geometry in relation to the drawing. Now to create this curving the trends, I will activate the proportional editing function by clicking this button at the top of the interface. With this function active, I will select only the top virtues of the object. With wireframe mode enabled with this selection made, I will press the G key to move the selected components. However, you will notice that when this function is active, the move command will affect the verts that are not selected. When the proportional edit function is active, unselected components around the selected elements will also be affected by the transformation. The farther away the unselected components are, the less they will be influenced. After pressing the G key to start the transformation, I can rotate the mouse scroll to set the influence radius of the proportional editing. The larger the radius, the more components will be influenced. The smaller the radius, the fewer unselected components will be affected. I will adjust the radius with a relatively small value, and I will move and rotate the selected part until the tip of the object roughly matches the drawing. If you don't like this function, you can leave it, turn it off, and manually adjust the position of each loop of the object. Simply select each loop with the out shortcut key and move and rotate the verses according to the drawing. You can also make a movement rotation or scale adjustments to each vertex or group of vertex to mature the objects shape. When the first strand is done, I can set it back to object mode using the tab shortcut key. Now to create the next strand, we can copy this first strand using the shift D shortcut. Then we can adjust the position, rotation, and scale of this copied object according to the reference. If you use the scaling object mode, remember to use the applied scale command before entering editing mode. Now, I will enter the objects editing mode. I will select the verts at the tip. I will activate the proportional editing function. I will try to adjust the shape of the strand according to the drawing. I will also need to scale and rotate the selection a bit. Now I will switch back to object mode. I will copy the object once more Using the shifted shortcuts, I will position the new object in the position of the next strand, I will enter edit mode. I will adjust the position, rotation, and scale to match the objects to the reference. Now, I will repeat this procedure to create the two final strands. I will copy the object, adjust the initial position according to the reference. I will repeat the same steps once more for this last strend. Now, so that we don't have to manually create the strengths on the other side, I will mirror the strends that have already been made to the other side. But to do that I will combine all this geometry into a single object. I will select all the strands with the shift shortcut. I will select the central front strend last. This way this object will be the active object and it will remain after the union. Now I will go to the object menu and I will use the joint command. Since I want to mirror this object to the other side, I will delete the half of the object that is crossing the center line. To do that, I will enter editor mode. I will activate x ray mode or wire framing mode. I will select the faces that are crossing the symmetry center line. I will delete those faces. Now I can return to object mode in the modifier tab of the properties editor. I will add the mirror modifier to the object to make it look smoother and more rounded. I will also add the subdivision surface modifier. I will also rename the object to hair strands in the out liner to keep the scene well organized. With that, we can now save the file. That's it for this lesson. Thank you for watching, and I see you next time. 11. Modeling the Torso: In this lesson, we are going to model the characters dorsal. To do this, I will create a new object, which will be a cube. To ensure that the cube is created in the character collection, I will make sure that this collection is active here in the outliner. Additionally, I will also make sure that the cursor is in the center of the tree using the Shift shortcut. Now I will open the creation menu. With the shift a shortcut, I will create a cube in the mesh sub menu. Next, I will use the front view to move the object up and align the cube with the drawing of the torso. I will also align the object with the drawing using the side view. To do this, I can use either the x ray mode or the wire framing mode in the viewport. Once the object center is roughly aligned with the drawing, I will enter the edited mode of the object. Now with all verts selected, I can use the scale to adjust the size of the box to match the drawings proportion if necessary. I can also move a specific sets of verts to adjust the objects to the drawing. I will also make the same adjustments in the front view. I will use scale to adjust the overall width of the object. I will align the bottom vertes with the bottom of the toursl in the drawing and the top verts with the top of the tours. Now I will insert new edges into the model so that I can work on the objects shape. To do this, I will use the loop cut two, but in this case I will use the short cut. For the loop cut two is the control R keys with the cursor over one of these horizontal edges, I will press the control R shortcuts. When the command starts creating edges, I will scroll the mouse wheel up to create three segments. If you accidentally create a different number of segments, remember that immediately after using the command, you can change the value in the property spanele of the last action. Now I will place the cursor over one of these vertical edges and use the control R shortcuts. This time, I will scroll the mouse wheel until the command creates five loops. To finalize the creation of segments, I will place the cursor over one of these lateral edges. I will use control war to insert one more loop. This time I will want only one loop in this part of the model. Now I will select all the vertical edges at the corners. To do this, I will click on one of the vertical edges at the first corner with the out key pressed. Then to add the other edges to the selection, I will click on the edges of the other corners with the shift and out key pressed. Now I will activate the scale two. I will scale the selection slightly on the x axis and a bit on the y axis. This way the box begins to have a slightly more rounded organic shape. Now I will activate the selection two again. I will set the viewport to the side view. I will activate framing mode for viewing. I will adjust the position of the corner verses of the model in relation to the side view. I will make these adjustments on the top verses and on the bottom verses. With this, the initial shape of the torso is almost defined. Now I will model the character's neck, but to prevent the other objects from interfering with the view, I will hide them by disabling the eye icon for each one in the outliner. Now I will activate the face selection mode. I will select the top four faces of the torso. Next, I will press the shortcut key, which is the shortcut for the inset two. I will use the inset command until the phases are roughly this size. Now I want to make these new phases generated by the inset command a bit more rounded. To do this, I will activate vertex selection mode. I will select the four verts at the end of the polygons and I will use scale to bring these verts closer together. Note that for the scale to work this way, the transformed pivot point menu must be set to the median point option. Now I can select these four faces again and use this scale on the x axis to make the faces more narrower. Also use the scale on the Z axis to make the faces flatter. In this case, I will press the key to start the scale. Then I will press the Z key to restrict the scale to this axis. I will press the zero key to set the scale of the selection to 0% In other words, the selection will be completely flattened on this axis. Now I can activate the side view and move and rotate this selection until these polygons are aligned with the base of the neck. After that I can press the E shortcut key to start the strut. Strut the neck until it extends slightly beyond the beginning of the head. To give the neck some segments, I can use the controller shortcut end. Insert three loops in this part of the neck. Now I will just check if I need to make any more adjustments, I can move this verses up a bit and do the same with these verses at the back, just to make the model more in line with the reference drawing. With this, we finish this part of the body modeling. We can return to object mode. We can rename this object as Body in the outliner. We can enable the visibility of the other character objects. Again, now you can save your file so we can continue in the next lesson. Thank you for watching. Can I see you in the next lesson? 12. Modeling the Legs: In this lesson, we are going to model the characters legs. In this case, the leg will be modeled from the torso which we already modeled in the previous lesson. I will start by selecting the torso and I will activate the edited mode of the object. Now to work on the torso object without the interference from the other object, I will hide the other objects in the character collection. In the outliner that I don't have to model both legs, I will use the Miramode fire. Then I can activate the x ray mode and delete one half of the object. I will save adding the Miramode fire to the end of the process. This way it's easier to visualize the inside of the leg. While we are modeling, I will use these polygons from the bottom of the body to start modeling the leg. But for now, these two polygons together have six edges. After experimenting with different settings, I've come to the conclusion that modeling limbs with eight sides is quite practical. And the result is very satisfactory. In order to extrude the leg with eight sides from this region, I will insert another loop in the trunk. To do this, just place the cursor over one of these edges in this region and use the contro ar shortcut which correspond to the loop cut command. Now I will put the tree view in the bottom view and I will re, arrange these verses in this part so that the shape, it becomes more circular. I can select these four verses and bring them closer together a bit using the scale two on the y axis. This way, this group of polygons from which the leg will be extruded will become more circular. I can also move these verses a bit further down. Now I will select these four polygons. I will press the key to start extruding the leg. To make these polygons perfectly planar, I will press the shortcut key to start scaling. I will press the Z key to restrict the scale to these Xs. I will press the zero key to zero out the scale, make the selection completely planar. Now I can use the scale and move tools to adjust the selection according to the reference. I will also adjust these versus a bit to make the construction more harmonious. Now I will once again select the polygon at the base of the leg and extrude them up to the ankle high. Once again, I will adjust the selection to the drawing using the move and scale tools. Now I will use the control R shortcut to insert horizontal loops along the leg. These loops will be important to keep the subdivision modifier under control to ensure that the leg can be deformed correctly when bent in the case the character is animated at some point. Now I will once again select all the polygons at the bottom of the leg. Extrude them until they align with the base of the foot. After that, I will use the control R shortcut. Insert three loops in this region. Now I can activate the wire framing mode or x ray mode. To make some adjustments, I will move the verses from the front of this top loop forward to align them with the drawing. I will also move the front verses from the bottom part forward a bit. In fact, I will also align these other verses here with the drawing. Now I can select these four front polygons. I can scale them a bit on the X axis to make this part of the foot wider. I can also widen these two top versus a bit. Now I will once again select the front faces. I will extrude with the key. I will align the faces with the front part of the foot. In the drawing, I will insert two more loops along the foot using the control R shortcut. Now to adjust these vertes to the drawing, I will activate the wireframe mode. I will move the vertes at the top of the foot according to the drawing. To make the shape more rounded, I will select these verts on each side of the foot. I will move them down a bit. Now I will select these two loops of vertes at the base of the foot. I will scale the selection a bit on the x axis to make the base of the foot wider. I will also move this vertex pair separately on the X axis to make the base of the foot more rounded. We can also use the wider framing mode and switch the view port to the top or bottom view to adjust the verses. The idea is to make the shape of the tip of the foot rounded and a bit wider than the back. I will continue making positional adjustments until the foot matches the reference. I will also try to keep the hell part a bit narrower than the front. Then I can select all the polygons on the sole of the foot and make them a bit narrower than the top part. When the adjustments are done, I can go back to object modes and add the mirror modifier in the modifiers step of the properties editor. And with that, the legs are ready. Now we can go back to displaying the other objects of the character in the outliner and save the file. Thank you for watching and until next lesson. 13. Modeling the Fingers: In the next lessons, we will model the character's hands. We will start with the modeling of the fingers to create each of the fingers. We will begin by creating a cylinder. As I'm going to start by creating a new object, I will make sure I have the character collection active. Now I will activate the front view of the viewport. As we can see, I have prepared the front reference of the character with the hand drawing. We can create the hand aligned with this part of the drawing. When the hand is finished, we will move it to the correct position as we are going to create the hand here. After making sure I have the front portographicy view active, I will press the shift key and the right mouse button to position the predecursor here. Now I can open the creation menu with the Shifty A shortcut. I will create a cylinder, but that the cylinder is easy to work with and fitted to the hander structure. Later on, I will change the initial vertex count to eight. Remember that you can only edit the properties in the spanele immediately after creating the object. After setting the initial properties of the object, I can activate the wire framing mode for visualization. I can enter the editing mode of the object. Now I can adjust the scale, position and rotation of this initial cylinder. It matches one of the fingers in the drawing. I usually start with the middle finger. After adjusting the initial proportions, I can select the verts at the tip of the cylinder. I can move them so that they align with the tip of the finger in the drawing. Now I will insert some segments along the length of the cylinder using the control R shortcut. This way the finger can be deformed correctly if the character is to be animated in the future. Another thing we can do is create some connections at the tip of the finger so that all polygons have four sites. These will make the subdivision smoother when we add the subdivision modifier to the object. Additionally, these extra segments will help make the shape more organic. To create these segments, I will select these two opposite verses of this phase. I will press the J shortcut key. The J key is the shortcut for the connect vertex path command, which creates an edge between the selected verses. Now I will also select these other two verses. I will press the J key to create another connection in this direction. Now I can select the vertex that was created at the intersection of these segments. I will move it slightly forward to start rounding the tip of the finger. I can also select all the virtues of this loop around the edge of the finger. I can scale them a bit to around this part of the finger. I will also adjust the scale and position of this other loop to match the shape of the drawing. When I am satisfied with the finger shape, I can position the cursor over some part of the geometry and press the L shortcut key. When we do this, blender selects all the verts connected to the part of the model where the cursor is now to create the other fingers, copy the geometry I have already created. I can use the shifted shortcut to copy and move the finger. I will rotate and position this other finger to match the index finger in the drawing. Now I can once again select the geometry with the L shortcut key. I will copy another finger with the shifted shortcut. This time I will use the copied geometry to make the pinky finger. But since the pinky finger is a bit smaller, I will rotate it slightly to make it more or less horizontally. Align it with the screen. I will use the scale two to make the object is smaller on the X axis. When I think the geometry matches the size of the pinky finger, I can position and rotate it according to the drawing. If the size is not right, it may be necessary to make the geometry horizontal again and try to adjust the scale once more on the X axis. Then I will position the finger according to the drawing. Again, when this finger is already good, I will copy it with the shift D shortcut. I will position it according to the thumb in the reference. I will need to scale this finger a bit since it's a bit thicker than the others. When I finish adjusting the thumb, I can return it to the object mode by pressing the tabby shortcut key. And I can rename this object in the outliners fingers. Now we can save the file. Thank you for watching and until next lesson. 14. Modeling the Hand - Part 1: In this lesson, we will begin to model the palm of the character's hand. For that, we will create an object separate from the fingers with the viewport set to the orthography. From the view, I will press the shift and the right mouse button to position the precursor roughly in the center of the palm of the drawing. Next, making sure I have the character collection active in the outliner, I will create a cube. Now I will activate the wire framing mode for visualization. I will enter the edited mode of the object. I will scale the geometry so that it roughly matches the size of the hand in the drawing. Now I will select the vertes at each of the corners of the cube and align the right vertes with the finger tips and the left vertes with the wrist of the drawing. Afterwards, I can switch the viewport to the top view and scale the entire geometry so that it roughly matches the width of the fingers. Now we can start giving a bit more shape to the geometry. For this, I will use control war. For the loop cut, I will create two segments in this direction of the object. Each of these segments will align with a gap between the fingers. I can move these created verses to the position of these gaps between the fingers and the drawing. I can also move the base virtues a bit to start making this shape a bit more organic. Once these virtues are positioned, I will use the loop cut once again to create a loop aligned with the side of the thumb. Another loop cut to create another segment aligned with the other side of the thumb. Furthermore, I will use the loop cut with the control shortcut once again to create a segment cutting across the entire side of the object. Now to make the sides of the hand more rounded, I will select the corner verts, both in the front and back parts. I will move them inward. I will do the same with the bottom corners. I will select the vertes at front corner and back corner. I will move them inward. A bids. Now that the initial volume of the palm is established, I will create a cylinder to establish the initial volume of the wrist. In the front view, I can press the shift key and the right mouse button to position the predcursor in the wrist region, I can return to the object mode of the Palm object. I can create a cylinder through the creation menu with the shift, a shortcut, just like with the leg. I like to create the arm with eight sides. Immediately after creating the cylinder, I will ensure that the number of verts is set to eight in the property spanule of the last action. Then I can enter the added mode of the cylinder and adjust the size, position, and rotation according to the reference for rotation. I can hold the control key while rotating to make it rotate in five degree increments. I will also escape the geometra beating depth so that the wrist width harmonizes with the hands proportion. As both sides of the cylinder will connect to the other parts of the model, I can select the two polygons at the tips and delete them as I will eventually merge this cylinder into the hands geometry, I will combine these two geometries into a single object. To do this, I will return it to object mode. I will select both objects, the wrist and the hand, With both objects selected. I will go to the objects menu, and I will use the joint command. Now I will enter the editor mode again, to merge the bottom part of the hand with the wrist. I will select these basic polygons of the hand. I will delete them. Now I will start adjusting the shape of this hand base hole so that it visually matches the wrist. I will select these verts. I will move them forward so that they align with the wrist end. I will do the same thing with the back verts. Now to make the shape smoother, I will move the central vertes of the hand a bit. The goal is to create a smoother transition from the wider part of the hand to the narrower part. When the adjustments to the main shape are ready, I will start planning the feet of the palm with the fingers. In the case of the thumb, I will select these two polygons near the finger. I will extrude them, then I can move, rotate, and scale them a bit to align this polygon with the base of the thumb. Now I will repeat the same procedures for each finger. I will select each two polygons pointing toward each finger. I will extrude them and align them with the base of the finger using the transformation tools. Additionally, I can delete the polygons at the tip of the extruded part. I will repeat the same procedures for the other two fingers. I will also delete the polygons from the thumb that I had forgotten to delete earlier. To finish this part of the modeling, I will simply activate the wire frame visualization mode in the view part and adjust the verses a bit more according to the reference drawing. With this, we conclude this first stage of the hand modeling. Thank you for watching and until next lesson. 15. Modeling the Hand - Part 2: In this lesson, we will continue modeling the character's hand. Since s at some point in the modeling process, we will merge the hand geometry with the finger geometries into a single object. We can do that now. I will make sure I am in object mode. I will select both objects, the hand and the fingers. Now I will go to the object and click on the joint command with the the two geometries become a single object. And I can enter edit mode again. As at some point I will need to connect the hands structure to the finger structure. I need the hands borders that will fit each finger to have the same number of sites as each finger border. For that, I needed to create more segments in the palm of the hand, I will start by using the control R shortcut to create a segment in this region. This segment will be connected to the thumbs central segment. If we want we can activate the wire framing mode for visualization and adjust the position of the virtues of this edge so that they are closer to the virtues of the thumb's edge. Now I will repeat this procedure for the other fingers. I will use the control R shortcuts and create a segment aligned with the central segment of each finger. I will do this for each of these fingers. The problem is that when we do this, these segments are created end to end. Although these segments are necessary to connect the hand to the fingers, the same segments end up hindering the connection of the hand to the wrist. This happens because the hands border ended up with more segments than the wrists border. What we are going to do is remove some segments that are reached in the wrist, but we will keep the segments near the fingers. I will select the six segments on the hands part closest to the wrist. Notice that I am selecting the edges of the loops that started at the vertes where the fingers meet. Now I will press the delete key and choose the dissolve edges optum from the floating menu that appears. This optum will remove the edges and verses but will preserve the faces around them. With this, we ended up with some pentagons in this region. This is not recommended for most models that will be subdivided, but we'll address this issue at a later time. Now I will repeat the same procedures. On the other side of the hand, I will use the control R shortcut to create a loop aligned with the finger central segment. I will select the six edges from the loops that come out of the verses where the fingers intersect. I will press the delete key and use the dissolve edges command. If you have the edge selection mode active, you can use the control delete shortcut instead of using the command from the delete menu if you prefer. This shortcut will also remove the selected edges and verses while preserving the faces. But for this, it is important that the edge selection mode is active. Now we can start joining these volumes. To begin closing the hands, we can start by merging some verses with the wrist versus I will first select the central hand vertex, then add this wrist vertex to the selection while holding down the shift key. Now I will open the menu with the options for the merge command, which is used to merge verses. To open this menu, we will press the M shortcut. As we can see, this menu has several options. But basically these options determine at which point of the selection the selected verses will be merged. In this case, I will click on the at least option. This Optum will merge the verses at the position of the last vertex that was selected, which was the rest vertex. Now I will select these two other verses, selecting the wrist vertex. Last I will use the same command, pressing the M shortcut key and clicking on at last. I will once again repeat this procedure for these other two verses. Now I will repeat these procedures to merge the corresponding verses on the back of the model. Now we will use a different command to close the edges on the sides of the wrist. Each of these edges can be closed with 24 sided polygons. I will start by selecting these four verses and press the shortcut key. If I want, I can move this vertex a bit to make the edge flow more organic. Then I will do the same thing with the other verses. I will select these four bottom verses and press the shortcut and smooth the position of this vertex a bit. Now I will repeat the same procedure in this other hole of the model. I will select four verses. Press the key and adjust the flow One last time, I will select four verts. Press and adjust the vertex position. Now we can address these polygons that have five edges. It's not necessarily a huge problem to leave these polygons with five sides. But when a polygon of a model consists of four sides, the subdivision generated by the subdivision surface modifier tends to be smoother. To make all these polygons in this area have four sides, we can do the following. We will activate the knife two on the two bar. The two allows us to create edges with three clicks on the model. I will click on this vertex to start the cut. I will click on the middle of this face. I will click on this central edge. I will click in the middle of the other face. I will click on the other remaining vertex. To finish, I will press the Enter key on the keyboard. Now for the structure to be composed only of four sided polygons, I will click on this vertex in the middle of the polygon, I will connect it to the vertex on the opposite corner. I will finish by pressing the Enter key on the keyboard. I will repeat the procedure on the other side, clicking on this vertex, clicking on the opposite vertex, and pressing Enter. Now I will repeat exactly the same procedures on the other side of the hand. Notice that with the all the polygos in the reder in question have four sides. This is more suitable when the model is subdivided and when the model is animated in a future moment. Now you can save your file so that we can continue in the next lesson. Thank you for watching, and I see you next time. 16. Modeling the Hand - Part 3: In this lesson, we will finish modeling the hand. The first thing we are going to do is connect the finger geometries to the palm geometry. To do this, I will start by activating face selection mode. I will delete the inner faces of the cylinder of each finger that I hadn't deleted yet. To make it easier to visualize and select these faces, you can activate the x ray mode if you want. Now, I will select these inner faces of each of these fingers. I will delete them. After that, I can deactivate the x ray mode now. Before making the connections, I will slightly adjust the position of the verts of the palm. I will mainly adjust the verts that will connect to the fingers. Notice that I will move them to make them more aligned with the virtues of each of the fingers. These will make the borders that will fit into each of the fingers more organic and rounded. I will also start aligning each palm vertex with the equivalent vertex of each finger. But note that although I am moving the hands vertices closest to the finger vertices, I am still living in a small space between the hand and each of the fingers. Now to make the connection, we will do the following. I will start by selecting two verts from the hands border and the two equivalent verts of the nearest finger, ensuring that only these verts are selected. I will press the F shortcut key. This will create a new polygon connecting the four selected verses. Now to create the remaining polygons of this connection, we can use an interesting trick. If we select these two vertes from this edge and press the key, it will also close the next segment of the border with a new phase. If we keep pressing the key, it will create a new polygons until the entire border is closed. But with this procedure, the model ended up with two segments very close in this region. What we can do to simplify this area is to remove one of the edge loops from this region. To do this, I will select this loop by clicking on one of the edges. With the out key pressed, I will press the delete key. I will click on the solve edges. As we had seen before, this command removes the selected edges and verses while preserving the polygons in the region. Now I will repeat this procedure for the other fingers. I will select the four verts from a specific area. I will press the key to create a new face between them. Then I will select the two verses on one side of the polygon I just created. I will press the key several times until the entire border is filled with new polygons. Then I will select one of the loops in this region with the out key and delete the loop using the dissolve edges command. I will repeat the procedure for the other two fingers. Select the verses, fill with the key, select the side, versus continual filling once more and delete the Xs loop. Finally, I will repeat the same procedures for the last finger, create the first polygon, close the rest of the border, and delete the axis loop. With these, all the fingers are properly connected to the palm of the hand. Now I can make some adjustments to the position of the verses to match the reference drawing. Additionally, I will also use the controller shortcuts of the loop cuts to to insert two more loops in this region of the hand. This way the polygon distribution becomes more uniform, which will make the hand more suitable for the formation and animation. Now I will make some more adjustments to the position of the verts to align them with the drawing. I will also rotate the view parts to see if I can find any verts that can be adjusted. This way I can adjust the position of any vertices that I think that can be smoother or more organic. With that, we finish the modeling of the hand. We can save the file now. Thank you for watching and until next time. 17. Modeling the Arm: In this lesson, we are going to connect the hand to the model's body and create the character's arm with the viewport aligned to the front view. The hand object is still in the object mode. We can move the hand we created to the height where the character's hand is in the reference drawing, in the side of view. We can move the character's hand until it is roughly aligned with the model's body is still in the side of view. We can rotate the hand so that it becomes horizontal. To do this, I will use the rotate tool while holding down the control key. Pressed this way, the rotation will be done in five degree intervals. Just keep an eye on this part of the interface until the rotation value reach 90 degrees. Now that I am comparing my model to the reference, I can see that the shape of the hand is a bit concave. To correct the, I will enter the edit mode of the object. I will select a central vertex of the hand. I will activate the proportional editing function by clicking on this button as we have seen before. When this function is activated, the verses around the selected vertex are also affected by the transformation tools. While using a transformation, you can screw the mouse to increase or decrease the influx area of this function. I will leave the view port in the front view with a relatively small influence. In the proportional editing, I will move the top vertex slightly upward. Then I will select some verses from the bottom of the hand, and I will move them downward using the proportional editing influence. Additionally, I can make some more small adjustments using this function. Now that the hand shape is closer to the reference, I will activate the wire framing mode in the viewport. I will select these verses at the border of the wrist, I will move them closer to the shoulder region. Now I will join this object with the body object to the that. I will go back to object mode. I will select both objects. Then with the arm selected, I will press the Shift key. I will click on the body object to make it the active object in the selection. With both objects selected, I will go to the Object menu and I will click on the joint command. Now that both geometries are part of a single object, I will enter the edit mode once again. Now I intend to connect the arm's body to this lateral part of the torso, but since the arms border has eight edge segments, I will need to add one more loop to the torso so that the connecting part also has eight sites. I will use the controller shortcut to activate the loop two and insert another loop at this part of the model. Now I will activate phase selection mode. I will select these four phases that are facing the arm. I will delete them using the delete phases commands. Now I will activate the edge selection mode. I will select an edge from the trunks border and the corresponding edge from the arm's border. With these two edges selected, I will press the shortcut key to create a connecting phase between them. Now I will select this edge connected to two open edges from the border. I will press the key with the blender will create a new phase in this space. I can continue pressing the key to fill these spaces in this border, since in this case both sides of the borders had the same number of segments. This procedure closed the open space perfectly. To adjust the shape of this part of the model, I will activate the orthography front view. I will enable the wire framing mode in the view part. I will adjust the position of the verts according to the reference. I note that the proportional editing option was active. I will deactivate it to avoid unwanted results. I will also adjust the verses in the back part to make the shape more organic. Now to have a more evenly distributed number of verts in the arm, I will use the control R shortcut to add segments along its length. This way the subdivision will be more controlled when we add the subdivision modifier. Moreover, the arm will deform correctly if the model is used in an animation. For this case, I will use ten segments. What I try to do to determine this quantity is to keep the ratio between the width and heights of the polygons roughly the same. With that, we finish the body modeling. I can go back to object mode in the modifier stab, I can add the subdivision surface modifier. Now I can save the file. Thank you for watching until next time. 18. Modeling the Pants: In the next lessons, we will model the character's clothing. We could perfectly use the polygonal modeling tools and techniques we have seen so far to create the clothes from scratch. But instead, I will show you a technique that you allow us to create the clothes from the character's own polygons. In this lesson, we will use this technique to model the pants as we will use the character's polygons. To start modeling, I will select the model's body. I will enter the edit mode for the object. Now I will activate the front view of the viewport and I will enable the wire frame display mode. Now I will select all the polygons that correspond to the piece of clothing I want to create. If your character's polygons don't exactly match the clothing you want to create, it's okay. You can create an approximate selection and make adjustments. After the clothing object is separated with the selection made, I will activate the solid display mode in the Viewport again. Now as I want to create a new object by copying these polygons, I will start by copying the selected polygons in edit mode. To do this, I will use the shifted this shortcut. These shortcuts will copy the selected components and start moving them in the Viewport. Since I want these copied polygons to stay in the same place, I will write clip to stop the movement. Now being very careful to not undo the selection, I will go to the mesh menu. Up here, I will go to the separate sub menu and I will click on the selection option. This command will separate the selected polygons into a new object. To access this object, I will go back to object mode of the character's object. I will identify the object created in the outliner and selected. I can also rename this object as Pens. Note that when we use the separate selection command to create a new object, the created object retains the modifiers of the original object. Now with the pent object selected, I will enter the edit mode. As we can see, the polygons of this object are perfectly overlaid on the character's leg polygons. But usually we will want the clothes to have a small distance from the character's body. We will now use a command to slightly expand the polygons of this model. To do this, I will press the shortcut to make sure all the models polygons are selected. I will press the Out shortcut. This is the shortcut for the shrink fatten command. What this command does is move the selected components in the direction of the normals. This way if we move the cursor up after using the shortcut, the object inflates. If we move the cursor down, the object shrinks. I will use the outs shortcut and move the cursors slightly up to make the pens a bit wider than the model. If necessary, you can adjust the value in the property spanel after using the command with the the base of the pens are ready. If you want, you can make small shape adjustments. Now in my case, I will activate the wire frame display mode in the viewport, I will select the verses at the bottom of the pens. I will move this border down so that it aligns with the reference drawing. I will also lower the waist verses a bit. Now to create some thickness for the pants ham, I will activate face selection mode. I will select the entire loop with the out shortcut. I will use the out shortcut to open the Extrude Options menu. I will click on the Extrude Faces along Normals option. With the I will create a very small extrusion. To make this part more pronounced, I will temporarily disable the subdivision modifier by clicking on the monitor icon. Now I will activate the loop cut two in the two bar. I will click on this area of the model to create an additional loop in this part. With this additional loop we will see that when we re enable the subdivision modifiers display, this part of the model will be more pronounced. With that, we finished the model of the characters pants. I can return to object mode and save the file. Thank you for watching. I see you next time. 19. Modeling the Shoes: Okay. In this lesson, we are going to model the character's shoes. And for that, we are going to use the same technique we used to model the pens in the previous lesson. So I can start by selecting the character's body, and I will enter the dit mode. Now, I will temporarily disable the subdivision modifiers visibility. I will enable the wire framing mode for the view port, and I will select the polygons on the character that correspond to the area where the shoe will be. Now, I can switch back to the solid de view port modes, and I can duplicate the selected polygons using the Shift D shortcuts. Since I don't want the copied polygons to be displaced, after using the shifted d shortcut, I will right clip. Now I can go to the mesh menu. Click on separate selection. Now that the copied polons have been separated into a new object, I can go back to object mode. I can identify and select the copied object in the outliner, and I can rename it to shoes. Now I can enter the dit mode of the object. Just like we did with the pants, I will press the a shortcut to select all the faces, and I will use the out shortcut to inflate the geometry slightly. After that, I will make some adjustments to make the geometry match with the reference. So I can activate the wire framing mode and I can start moving the vertes of the object to align them with the drawing. At the bottom, I will adjust the vertices so that the bottom of the shoe is not thinner than the central part. I also noticed that the sole virtues are not completely straight. I can select all of them. Press the S shortcut key to start scaling. Press the z key to restrict the scale to this axis, and press zero to flatten the selection completely on that axis. With this, the selected polygons are completely flat. Now, I will create a new loop with the control R shortcut to start creating the lateral thickness of the sole. Now I can activate phase selection mode. Select the entire solar loop with the out key. Use the out shortcut to open the extrude menu and click on the extrude pass along normal option. I will create a very small exti just enough for this part of the solar to have a thickness. If necessary, make adjustments to vertex positions to ensure that the so shape is appropriate. Now, I can activate the subdivision modifier to see how it's looking. Looking at it with a modifier, I think that the shot could have a bit more space relative to the character's foot. So I will once again use the out as shortcut to inflate the geometry a bit more. Now that the volume is how I wanted, I will return to object mode. To finish the shoe, I will go to the modifier stab in the properties editor, and I will add the solidify modifier. This creates a consistent thickness across the entire object surface, and we can adjust the thickness in the thickness parameter of the modifier. Additionally, we can configure the offset parameter. This parameter shifts the total volume of the object inward or outward based on the volume. So after finding a value that suits you, you can save your file. Thank you for watching and until next time. 20. Modeling the Shirt: In this lesson, we will model the character's shirt. For that, we will also use the technique of copying the initial polygons of the character itself. I will start by selecting the character's body object. I will enter the edit mode to make it easier to select the polygons. I will set the viewport to the front portographicy view. We have already seen that if the characters loops are not perfectly aligned with the clothing reference, we can make an approximate selection and change the clothing shape later. But if we want, we can also insert extra loops into the character so that the initial selection already matches the clothing. To illustrate how will create another loop on the character's wrist using the control R shortcut. This way my character will have a loop exactly where I need to finish the selection of polygons that I will use to make the shirt. Before selecting the polygons I will use to make the shirt, I will hide the pent object in the outliner. Now I will activate the wire framing visualization mode. I will select the character's polygons in the area corresponding to the shirts design. I will return the tredviw to solid mode. I will check if the selection is the way I want it. In this case, I will remove these verses from the selection by clicking on them while holding the shift key. Now I will copy the selected polygons using the shifted shortcut. I will stop the movement with the right mouse button. Now I will go to the Mesh menu and I will click on Separate and then selection. After that I can switch back to object mode for the object. Now I will select the copt object in the outliner. I will rename it to shirt. After that I can enter the edited mode. Press the a shortcut key to select all the polygons and use the out shortcut to inflate the selected polygons. When the shirts proportions are more or less adjusted, I can reactivate the pen object in the outer liner. Now I will move this front color vertex a little further inside to make this part more rounded. I can also move the entire loop below it. To this, I can click on the first vertex with the control key pressed. Click on the last vertex down there. With this, I select all the edges between these two verts. I can move them a bit further inside to adjust the shape. I can also make the same shape adjustments in the back. When the initial color edge shape is more organic, I will activate the edge selection mode. I will select these two side edges and the back edge of the color. With the edges selected, I will press the short cuts to start extruding the selection. I will extrude a bit upward. After that, I can move this side edge a bit outward to start giving the color a more organic shape. Looking at the back of the model, I see that the central color vertex has detached from the vertex on the other side. I will move it back to the center, but for the central vertes on each side to be properly attached to the verts on the opposite side, the mirror modifier needs to have the clipping option enabled. I will enable this option. Now if I move the vertes to the center, there will snap to the mirroring center. Now I will once again select the upper color loop with the out key. I will extrude it again using the E key. Then I will adjust the position of the vertes according to the reference. Now that the color is ready, I will create the shirt sleeve fold. To do this, I will select the polygons of this part of the shirt sleeve with the wire frame visualization mode active using the out shortcuts. To open the menu with the extrude options, I will use the extrude faces along normal command. Additionally, I will use the controller shortcut to create a loop in this part of the model. As we have seen before, this extra loop will make this part more defined when the subdivision modifier is activated. To finish the model, I will select and delete these polygons at the end of the shirt sleeve. After that, I can return to object mode. I can add the solidified modifier to the object as we have seen before. We can adjust the thickness of set parameters until the objects shape look the way we want it to. When we are satisfied with the thickness, we can re, enable the subdivision modifier. Note that when the subdivision modifier is added after the subdivision modifier, the edge it generates is not smoothed by the subdivision surface modifier. But if we click on this dotted region in the modifier interface, we can drag them up and down. This way we can change the order in which they affect the object. If we leave the subdivision modifier below the solidify modifier, this edge will also be rounded. You can decide which configuration you prefer, but in my case, I will leave it this way. As we can see now, the bottom of the shirt is overlapping with the palms. To fix this, I will enter the edit mode. Once again, I will select the verses. In this region, I will enable the proportional editing function. I will use the out a shortcut to inflate the selection. Additionally, I will scroll the mouse wheel to adjust the influence area for the proportional editing function. I will scale this region until it's slightly wider than the pens. I can also inflate the entire shirt with the out as shortcut if I want to. With that, I finish the modeling of the shirt. I can return to object mote and save the file. Thank you for watching and I see you next time. 21. Fixing Symmetry Problems: In this lesson, we will learn how to correct problems that may arise in geometry when using the Mirormud fire. Throughout the modeling process, we have used the Mirormd fire so that we could model only half of the object. However, when using this procedure, it can happen that central virtues of the object become misaligned. If this happens, the model may end up with some imperfections in the central part, like this here, if any of your objects have this issue in the central part of the model, you can use the procedures I'm going to show you now to correct the problem. I will start by demonstrating how to correct the problem on this shirt. If the object in question has other modifiers besides the mirror modifier, we can start by disabling the visibility of those modifiers. Afterward, we can enter the additive mode of the object. As we can see, this model has some verts that are not aligned with the models center of symmetry. If the clipping parameter is active in the modifier, we could move each vertex that is out of place towards the center. We could do this for both the vertes that are before the center and those that have crossed over to the other side of the center. This method works well when the model has only one or two vertes out of place. But if the model has many misaligned central vertes, we can use a more efficient procedure. I will use control Z to undo this correction. Now I will show you how we can correct the alignment of multiple verses at once. To start, I will select all the vertes in the central line of the model. To do this, I can activate the front view, the wire framing mode of visulization. With this, I can create a selection window, making sure to select only the central vertes. If you want to hide the other objects in the scene, you can go to the View menu, Local View, and click on the togal local view option. Note that you can also use this slash key on the numeric keypad. This command isolates the selected object in the viewport. After making sure that only the central vertes are active, I can return to the solid mode of visualization. The next thing I will do is move the median point of all selected vertex exactly to the center of the scene. To do this, I will open the side bar by clicking on this arrow or by pressing the shortcut key in the item tab, I will adjust the x value of the median parameter. This value defines the average position of the x axis of the selected verses. Since I want the verts to be exactly at the center of the model where the objects pivot is located, I will type zero in this value and press the Enter key. Now making sure that the median point option is active in the transform Pv point menu, I will flatten the selection of verts along the x axis. To do this I will press the key to start scaling the selection. I will press the x key to restrict the scaling to this axis, and I will press the zero key. With this, the scale of the selection will be zeroed and the verts will be perfectly aligned along these axis. After that, I can return to the object mode of the object and activate the visibility of the other modifiers on the object to display the other objects. Again, I will go to the View menu once more, local view and click on Togo Local View. Now I will repeat these procedures on the character's head, which also has some misaligned central verses. So I can isolate the selection. With the Togo local view command, I will disable the solidified modifier and the subdivision modifier. I will activate the front view and enable the wire framing mode of visualization. I will enter the edited mode, select all the central virtues of the model. I will type zero in the x axis position of the vertices using the numeric in value in the side bar. I will flatten the selection by pressing the key, the x key, and the zero key. With that all the central verts are perfectly aligned. Now I can return to object mode, Enable the visibility of the other modifiers and exit the local view mode through the view menu. These are the procedures you can use whenever you notice that the central verts of an object are out of place. Thank you for watching, and I see you next time. 22. Fixing Modeling Problems: In this lesson, I will talk about some procedures that we should follow to correct some problems that may arise during the modeling process. The first issue we may encounter in geometry is edges and verts that are not connected to any phases. These components are called loose geometry, and edges not connected to any phases can arise in different ways. A common way to unintentionally create one of these components is simply by extruding a vertex. If we select a vertex, we can extrude it by press the E key. We can do this intentionally for various reasons, but it can happen unintentionally. And we may end up with a small edge like this somewhere in the geometry. Another way to create verts or edges not connected to any phase is by copying these components. We have seen that we can copy any selected component using the shifty shortcut. If we select a vertex or an edge and use the shifty shortcut, we will copy these components. If this happens without us realizing it, we will end up with these loose forgotten components in the model. This type of edge can cause different types of problems during production. If the edge is connected to the model, it can, for example, change the way subdivision works. If we add a subdivision modifier like the subdivision surface and set a few levels of subdivision, we will see that the area around that loose edge undergoes a slide deformation. Edges and vertices that are not connected to the model will not affect subdivision, but they can still negatively affect other production stages. To delete these loose components, all we have to do is press the key to select all the virtues of the model. Go to the mesh menu, click on the clean up sub menu, and select the delete loose option. This option deletes all verses and edges not connected to any pace. Since this type of component is generally unwanted, it's always good to use this procedure to clean up the model. Another type of structure that we may end up with in the model that is harmful is overlapping vertes. Overlapping vertes are verts that are literally in the same position. A common way to end up with this type of problem is by canceling an extrusion with the right mouse button. We have seen that we can select verts, edges and faces, and extrude them using the E shortcut key. We also see that we can cancel blender commands that are in progress by right clicking before completing the command in question. If we start extruding a component right click before finishing the extrusion, we cancel the extrusion. But what happens is that the shortcut key executes two commands in sucsection. The first command creates the new faces, edges, and virtues of the extrusion that connect the extruded components to the original structure. The second command is Move, which moves the extruded component to a new position. We have two distinct commands creating new components and moving them. When we use the right mouse button to cancel the ongoing command, we only cancel the movement of the structure. The components created in the process still exist. If we try to move these components with the key, for example, we will see that we still have these overlapping components in the model. These overlapping components can also be detrimental to the model in various ways. What we can do to get rid of all overlapping verts is the following. We will select all the verts in the model using the a shortcut key. We will use the merge by distance command. This command can be found in the Mesh menu. Clean up Mesh by distance in the Mesh menu by distance. Or with the M shortcut, which also opens the Merge menu and click on By Distance. This command will merge all verses that are in exactly the same place and solve this problem. Finally, we have one more type of problem that, although a bit more rare, we may end up with in a geometry without realizing it. These are the phases that Blender calls interior phases, but we will see that this name is not quite appropriate in many software programs. An edge of a geometry can be connected to a maximum of two phases. However, in blender, an edge can be connected to more than two phases. If we select an edge that is connected to two phases and extrude it, we will see that blender will create another phase. Another way to create such a phase would be to select two internal edges of a model and press the key to have blender create a filling phase between them. Although this type of phase can be used in some rare situations. Generally, we do not use them in organic models like characters, since we can eventually create these phases using these commands without realizing it. Let's see how we can select and delete them. What we are going to do is clear the selection to make sure nothing is selected. To do this, simply click on an empty area of the screen or use the out a shortcut. Then we will use a command that will identify and select all these faces. For this, we will go to the Select menu, Select All by Trait, and click on Interior Faces. As we can see, Blender will select all these extra faces that are connected to these edges, which connected more than two faces. These phases are not necessarily internal. This name is not quite suitable, but the command will identify and select these phases. Then all we have to do is press the delete key and click on Delete Phases. Although it's possible to finish modeling without any of these problems, you may have some of them without realizing it. If you think that an object that you have modeled has any of these problems, it's recommended to perform these three procedures. Select all and go to the Mesh menu. Clean up the let loose, select all and go to the merge command. By distance. With the selection cleared, the select command, select all by trade, interior phases and deleted the extra phases. With these, your geometry will likely be perfectly clean and ready for the next stage of production. Thank you for watching and until next time. 23. EN Creating Clothing Materials: In this lesson and the next one, we will create the characters materials. We will start by creating the materials for the characters clothing in this lesson. But before we begin creating the materials, I will make an adjustment to the model surface visualization. As you can see, all the objects in the scene still have this faceted appearance on the surface. To achieve a more organic and rounded appearance, I will ensure that I don't have any object. In added mode, I will select all the objects using the A shortcut key. I will right click somewhere in the Viewport. To open the object context menu, I will click on the Shade Smooth option. This will make the surface of the object appear smoother and more organic. Now I will start creating the materials for the object. I can start with any object. In this case, I will start with the pent. After selecting the pent in the Viewport, I will click on the Material Stab in the properties editor to create a new material for the object. I will click on this new button if you'd like. You can rename each material you create by clicking on this field. This makes it easier to identify each material and keeps the scene organized. You can rename each material as you like. In this case, I will rename this material as blue. To define the material color, I will click on the color field in the basic color parameter. Here, you can choose your preferred color on this color wheel. But as we can see, even if we set a color and apply the material to the object, we can't see the material in the viewport. This happens because we have the solid viewing mode active in the viewport. To view the materials in the viewport, we can activate the Material preview mode by clicking on this button. With this, we can now see the materials correctly applied to the object. Additionally, if we change the material color in the basic color field, we can see the color change on the object in real time. In my case, I will choose a slightly lighter shade of blue. Remember, you can choose any colors you like for your character. Another property we can adjust is the roughness parameter. The lower this value, the more reflective the surface becomes. The higher this value, the more made the material becomes. In my case, I will leave the value around 0.7 to give the material a slightly less reflective appearance. Once I am satisfied with the Pens material, I will select the shirt object. I will click on the new button in the Materials tab to create a new material. I will rename this material as Red. I will choose a shade of red that I prefer on this color wheel and in the brightness slider. Additionally, I will slightly increase the roughness parameter to make the material appear a bit more made. After configuring the first material, I will create a second material for this object to give the shirt two different colors. To do that, I will click on this button with the addition icon next to the material lots. This will create a second empty slot in this lot field. To create a new material, this lot just needs to be active. Then I will click on New. I will rename this next material White. With this, the object now has two materials associated with it. But to specify which polygons of the object will have each material, we will need to enter the models edited mode. Now I will select the polygons of the object where I want to apply the white material. Then I will activate the X ray Viewport display mode and I will select these polygons on the Fold region. Actually, I want to select only the polygons on the fold. I can go to the Select Menu. Click on the Select More, Less. Click on Less. Notice that I can also use the control and the minus key on the numeric keypad as a shortcut with this command, the selection will be reduced. I will use Control minus again, to further reduce the selection. After selecting the polygons where I want to apply the white material, I will make sure it's active in the Properties Editors lots. I will click on the assigned button. Note that for this assigned button to be visible, the object must be in edit mode. Now I also want to apply this material to a horizontal stripe in the middle of the shirt. But to ensure that the stripe is the size I want, I think it's better to create another segment in the middle of the object. For the I will use the control R shortcut to insert another segment in this direction of the shirt. And with the move to active, I will select the horizontal loops by clicking on them. With the out key pressed, I will adjust their position. I see that I have the proportional editing function active. I will turn it off at the top here. Now I will adjust the position of these loops to have a stripe of the size I want to apply the white material. Now I will activate the X ray Viewport display mode. I will select all the polygons of this horizontal stripe. With this polygon selected, I will click the Assigned button once again. Now that the materials are correctly applied to the object, I will return to object mode. I will select the characters shoes. For this object, I will use the same materials I created for the shirt. When you want to use an existing material on an object, you can click on this menu next to the new button. Here, I can choose to use one of the materials that already exist in the scene. If I click on the blue material, for example, the shoe will have this material. But in this case, I want these sneakers to be red. I will switch the material in the main slot to the red material to have two materials on the object. I will click on the addition button to create a new material lot for the object. With this new slot active, I will open the Material Selection menu. I will choose the white Material. Now to specify which polygons this material will be applied to, I will enter the edit mode for the object. I will activate the X ray Viewport display mode. I will select the entire sole of the shoe using the front portography view. I will use the control minus shortcut to reduce the selection. I will apply the material to the selected polygons by clicking the assigned button. Actually, I think I prefer to expand the selection a bit using the control and the plus key on the numeric keypad. And click the assigned button again, so that the white material is applied to a slightly larger area. Now using the X ray Viewport display mode, I will select all the polygons on the front part of the object and I will apply the white material to them as well. To finish, I think I will create a white border on the top of the shoe. For this, I will insert a new edge loop in this region. Using the control R shortcut, I will select these polygons. I will apply the material with the assigned button. With that, we finish creating the clothing materials. You can return to object mode and save your file. Thank you for watching and I see you in the next lesson. 24. Creating Character Materials: In this lesson, we are going to create the materials that are missing for our character. Which are the materials for the skin, eyes, and hair. I can start by selecting the head object. The first material I am going to create will be the characters skin Material. With the head selected. I will click on the new button. I will rename this material as Skin. In the basic color parameter, I will choose a shade between yellow and red with low saturation. But for this material to have a more natural skin appearance, I will also define a color for the subsurface color parameter. For this parameter, I will choose a more saturated shade of orange. Human skin in real life is partially translucent, and this causes lights to enter the skin and spread beneath the surface differently than it does with other materials. Since different layers of the skin have different colors, the colors we see on the surface is a result of a combination of these different layers. The color we see in each part of the model will blend the surface color and the subsurface color differently depending on the lighting at that point. But to make the material combining the color of the base color parameter with the subsurface color effectively, we need to increase the value of the subsurface parameter. The higher this value, the more visible the effect becomes. But as you can see, there is no need to exaggerate this value. I will leave it around 0.23 With this, you can see that the materials appearance has become more organic. Furthermore, I will also slightly increase the value of the roughness parameter to around 0.7 With that, I can consider the skin material. Ready. Now I'm going to create the material for the characters Ice. I will click on the button with the addition icon to create a new slot. I will create on the new button, I will rename this material Is But to define the polygons to which I will apply this material, I will need to enter the edit mode of the object. To select the polygons, I will place the cursor over some part of the E. I will press the L shortcut key for the material. I will simply choose a color with a very dark gray shade. And to apply the material to the selected polygons, I will click the Assigned button. Now I will create another materials lot. I will create another material, clicking New. I will rename this material Hair. To select the eyebrows, I will place the cursor over one of the verts. I will press L. I will click the assigned button to apply the active material to the polygons. For this material, I will choose a very saturated and dark brown shade. I will also slightly increase the values of the roughness parameter to make the material slightly less shiny. With that, I can exit the objects editing mode. In fact, now that I'm looking more closely at the head, I see that the inside of the character's mouth cavity is slightly smaller than the mouth opening. To correct this, I will disable the object modifiers I will enter at the mode. I will select these faces on the side of the mouth cavity. I will move them slightly outward and a bit backward. After that, I can return to object mode and enable the modifiers. Now I will select the character's body object in the Material tab. I will select the key material I just created with this material is applied to this object. Now I can select the characters hair base and choose the hair material. I will do the same thing for the other hair object. With that, we conclude the creation of the character's objects. Thank you for watching and until next time. 25. Final Skillshare Video: Hello and congratulations on reaching the end of the course. If you haven't taken all the classes in the course, you have probably created your own character by this point. If that's the case, it's time to publish it to the gallery to share your creation with the community. To do so, you will create an image using the steps I'm going to show you right now. If you have your scene like this, you can start by hiding your references collection here in the outliner so that we can see only the character in the scene. You can use the material Pre view Viewport shading option by clicking at this little sphere here in the top right corner of the preview. Right, so that we can see the materials of the character. To give a special touch, we can enable the ambient occlusion option. To do that, we are going to click on the rendered tab in the Properties editor up here. We are going to enable the ambient occlusion option by clicking in this option right here. Okay, what the ambient occlusion option does is create these contact shadows in the points where surfaces touch each other. When we enable this, we can see the more pronounced shadows in these areas. What you can do also is open this spanel and increase the distance value. We can exaggerate a bit, so we can see more shadows in the surface areas. I believe this gives a better touch to the final image. Okay, now you can choose an angle that you like. We are not going to create a final render for now. That's going to be created in the third part of the course. But to create a presentation for this point of the character, we can go to the view of the Treaty view and we can click on Viewport Render Image. Okay, don't confuse that with the render command, render image. We can't click this because we don't have a camera in the scene yet. Okay, so that we can create an image of this pretty view scene that we have for now. Okay, we go to the View menu and click on Viewport Render Image. If you render your image and you see that your character is not fully framed, you can close the window. We adjust the zoom and try again. We can do that until we are satisfied with the framing. I think I'm going to move the character a bit to the left and try again. Okay, now I have a final image of my character that I can showcase in the gallery of the course. I can click on Image, the Image Menu up here, and click Save. And I'm going to save it on the desktop or the Documents folder or whatever I want. I'm going to give it a name, my final character image. Okay, so when you do this and you open your image, you will have a final image that you can showcase in the gallery with us. Okay, so once again, congratulations for reaching the end of the course and thank you for being my students. Don't miss the second part of the course. That will probably be in my profile in a few days. Okay, bye bye.