Everything about Blender: learn Modeling, Particle System and Texturing

1. About that class: If you have the inner desire to jump from beginner level to advanced, welcome. This available class is divided into three blocks. Modeling, texturing, and particle system explanation. Now allow me to tell you why this class is worth your time. Firstly, we're going to delve into the world of modeling, where beginner friendly techniques will help us to turn the blender default cube into a delve tug. Section number two is all about simplicity. Here we are going to brief life into our project via text. Of course, you can expect more than adding simple flat colors. You'll learn some no chains for deeper materials. After section number three, you'll feel like you've taken on a new level. Because here we'll figure it out. The particle system settings, if their complexity scared you before, not after that class. Be sure of that with examples. I'll explain them in details and you understand it better. We'll create realistic four and an Afro hair style for him. The most pleasant party that will apply your knowledge in practice, be creating that cool doc that you can come up with a name for. I encourage you to share your work after finishing that class, to inspire others and remove their hesitations about trying three D, for whom this class requires minimum knowledge and experience and blender. But if you never touch it, don't worry. A stubborn attitude a little more time and you'll get it to at the end of the day. What if not solving difficult tasks will help us to grow? That is the type of result you can expect to have at the end. In conclusion, let's have fun through learning and improving our skills. Get your great mood. Coffee, your tea, and let's start. 2. 1.1 Head, Eyes and Cheeks: Hello everyone and welcome. This class is going to be divided on three blocks, Modeling Materials and Particle System. Right now, we are in the block number one, lesson number one. Under this class, you can found a Z file with some references and please download it. Also, everything that they press, you can see in the left corner. In case if you have any questions, just take a look right here. One more thing before I want to say that I really try my best to make this class very useful. And especially if you're a beginner, I'm looking forward to see what you've done at the end. But right now let's start. Choose everything and deleted. Then we go to the one in pat and shift a image reference. Choose the folder with where you downloaded the references under this quest. Okay, let's go with the F body number one. Don't change the scale of the everything else, just go to the data properties. And here, switch on front, front, check in only x is aligned. What is that? If you're going to be check off, we can see our image at the different angles. But if I'm going to keep this one with check in, I'm going to see only when I bring myself from the front. You then let's go to the opacity. Let's go with 0.4, Let's go the shift A image. Let's choose the second one. We're going to do the same thing only before we go with the 90 front front check in check 0.4 Great. Now we can see we have both references. Let's save our file before we're going to move on, which means control choose the folder. I'm going to call this one, do I already have this one? I'm going to keep this one of dope to save blender file. Great, let's start with our modeling shift. A mesh and choose round cube. You probably try the same thing and you found that you don't have a round cube. You think that I lied to you, but don't worry. Let's go to the Edit Preferences ads. Be sure that you don't have any check in. Right here. Press in the search tab extra and bring a check in on the mesh extra object. Now let's go one more time together. Shift a mesh and round cube, Go here in, the properties increase the radius toward one. Good out, let's call this one D. Underline head, great, right click, shade, smooth, co control to bring the subdivision surface modifier. And let's go up with a G T. Let's go to the edit mode now. Let's bring the check in right here. Take a look at the object, at the difference check in check of the difference is when you turn on this function, it will show you the result. If the modifier will be applied, we can apply the modifier, or we can just turn on this function and we will see the result if the modifier is going to be applied. I hope I explain this one clear H, choose everything, and we go with the x and make it thicker on the X side. Let me move a little bit above X like that. Then we go 300 P. Let's go with the I a little bit inside like that. What are we going to do next? We're going to apply the symmetry on the X one, Which means if I'm going to move, for example the vertices, this one will move also. I am right here. What we have as our purpose right now. We're going to choose these vertices that are on the border and we're going to feed them under our reference. Probably will put some music on the background but there is nothing card. Just choose the vertices, move this one toward the line. Let's go with this one right here. Let's go here because of the chicks we can see, but don't worry, just somewhere right now will be great. Then you go to the transparent mode, which is at who are you choose these vertices, we go with the Z and a little bit higher like that. Okay, let me go with this one a little bit up 300 and P for the side view. And let's do the same thing right here, G, Good. I hope you're doing well. Let's choose this one and move a little bit higher what we have here. I'm going to choose both of them and go a little bit behind the same, right here, probably right here. Let me check, everything is on point. Despite this one right here, a little bit lower. Now they are good. One appd one more time here. Everything is good there. Everything. No, it's non good. Let's choose this one just a little bit lower. Don't worry, we don't have to make it like perfect. Perfect. But right now we are under our reference. Let me check. Yes, great. We finish with our head quick and easy, then out of the transparent mode, which means if you don't know if this one is gray, that means that you are out. If this one is blue, that means that you are in gray for the out, out of the edit mode with the object mode and let's go toward our eyes need not ties, especially if you're a beginner, Completely completely beginner that objects usually appear where the three decursor is placed. Let's save a little bit of our time. Let's go to our D shift right click, Set the three decursor right here. Shift a guess what? Of course, round cube, but let's go in the settings and decrease this one toward. Then you go to the control E for the subdivision. Surface modifier. Turn on this thing, right click, shade smooth. As for a scale, here we are a little bit smaller. Three, Empt graded is in the perfect position. Probably GE just no, everything just is perfect. Then then we go to the modifier. Search for mirror move this one above of our subdivision. Surface modifier, choose mirror object, head of our duck. Now we have two eyes instead of one. Let's call this one ice. Great. The last thing is the cheeks of our duck. I got my tea. Wait a second. I hope you also have your tea or coffee. Let's bring this one a back, which is shift cursor to world origin. Shift a mesh where you are round cube. This time again we increase toward 1.4 Great control. Right click, shade, smooth. Turn on this function. Let's go, first of all for a scale, make this one a little bit smaller. Then we go in the solo mode, which is slash and ped seven. To take a look above, make this one thinner. I can say the exact number, choose something like that. 300 ped edit mode. And then transparent mood, which is out vertices which are this one or one of the keyboard. And choose this one behind X to delete vertices. Great. Then out of the transparent moot, two to choose edges, hold Alt, left click to choose the entire loop. What you're going to do, zero, we make it straight. Now I want to connect this phase. You probably think to press, but how you can see our topology. Very good. It's out, we're going to extrude. But inside, if you don't know, you can extrude like that, or you wait a second, you can extrude inside, which is S1s2. Let's go with one more, then at the end, let's connect it. We press at center. Now our topology is much better in comparison to what we have before out of the solo mode. Let's call this one chicks, guess what? We have to fit our cheek under the reference for scale here. You have to play around alone, Don't look at me. Just use for scale and air for rotation. But I'm going to do this one with you also, a little bit for scale, what we can do. Let's open the second window here. When we have two arrows, right click, vertical split, like that, three P. This one we're going to use for the front view. This one for the side view Greek. I think that I'm very close here for small scale. I think it looked like. Oops, what I did, It's all good. What if X? What are we going to hide? Our reference? It seems like I did it. I hope you did it also. Everything is on point, my cheek. What if that in case if you didn't know, you think that we have three Xs, but actually there are six because if you're going to press one time as that, we're going to choose the default one. But if you're going to go with one more, you can have an additional Xs. Usually this X appear independency of the rotation of your object. Don't repeat, just take a look. For example, I'm going to rotate like that and press Set. How you can see the Xs now is different. Just remember this thing away. Make it a little bit bigger. A little bit like that. Okay, I got it. I hope you got it too. Let me hide our reference. Let me go with this chick. Then we go to the modifier, Mirror modifier. Move this one above mirror object, our head control to save, and right click join areas on the right. Ladies and gentlemen, I hope you enjoy the first lesson from our first block. Let's call this collection Duck. I decided to make big in another one to keep these lessons short and comprehensive. But in rest, I hope you already learn something. If you're a complete beginner and you struggle, don't worry, it's okay. We all move through these steps. But yeah, thank you so much and I'm going to see you in our next lesson. 3. 1.2 Duck Beak: Hello everyone. Lesson number two. We're going to create big for our duck. Let's turn on our reference. Let's start for this one. We need shift a mesh and where you are playing. Then we go for scale. Let's open again the second window, vertical split, go in the middle. Here we go, three on empt. Then Erik, move this one toward our reference. Let's call the S to make it a little bit smaller, G. Again, in that lesson we're going to have a little bit of tedious work where we have to model that y, z down. Don't expect to repeat everything straight after me just to have the reference and however I'm going to be here to help you. Then we go in the edit mode, transparent mode one for the vertices. Choose this one and go with the E, Greek. Move them a little bit more closer to choose everything. And then we go with the E and move it up like that. Great, this is what we have at the moment right now. Then let's go out of the edit mode. Let's go with the x a little bit smaller. Back to the edit mode control error to add an additional loop here in the middle. One time left click, second time transparent moot. Choose these vertices, actually choose this one in the middle, we go with the T up. Let's go with this one down, then choose this one X and delete vertices. Then out of the object mode, out of the transparent moot, go to the Ed modifier mirror and clipping, check in. Great. Then we go to the control U for the subdivision surface modifier and turn on this function for the editing mode. Then we back to the added mode, this one in the middle with the transparent mood on t. Let's go here that, let's go on the side view and let's add to loops. One on the right, one on the left, control one time left click, drag this one on the right like that. One more time control, left click on the left, second left click. Let's start. Sometimes we're going to have our transparent mode on or off in some case. Remember blue gray mean of let's start, get out on the object mode, bring this empty. Let's go to the properties. I want to make it like zero, even a little bit more like 0025 back to the plane. Let's call this one big under line up, edit mode. Let's start, first of all, choose this one behind and move it up like that. Let's go with this one. Actually, we need that. We go because we can have here two borders. Or this one above or this one inside. Let's go toward, on that exterior line. Then we choose all of them. Bring them here for scale. This one right there, a little bit more in front. This one right here that we're going to move up a little bit. Good, This one is too far, I think more closer. And let's choose this point. Let's keep it up to have this diagonal line, then this one again. Let's check what we have out object mode reference of right click, shade smooth. Okay, we have to play a little bit on the front side. Turn on our reference back to the edit mode. How you can see the shape here is pretty around. We're going to add one more additional loop control, err, left click, bring this one toward the right side. Then we are in the bring the transparent mode on. Choose all of them, and then G. Move up. Okay, we have to play. Let's choose this one and bring them here. Yeah, a little bit messy with all these vertices in transparent mood, but I'm sure you're going to get it then. Let's choose this one. Let's bring them more close to the border. This one a little bit more higher, I think where you are. And this 11 empt, let's go a little bit higher like that. Choose this one behind only from the right corner. And move it on the right side like that. This one you can move it lower toward that line, exterior line. And the same thing right here. No, keep it up where it was, down a little bit on the right. I think we have to choose this one also like that. What about this vertices below? Right here? This one I think is on the right position here. A little bit aback. It looks like we did it. No, we have to move this one a little bit above this one, a little bit lower. Yeah, when I model something like that, very tedious. I bring some podcast on the background or some type of music, but usually are podcasts a little bit inside. Great, let me check reference of out object mode. I think we did it. One more thing that we can do at additional iteration on the subdivision. Service modifier on here and one here, but I think that we mess with something on the borders here have to be a little bit lower. Let's back choose this one and move them more lower. This one a little bit more higher. Good. Now let me check reference where you are. Okay. Okay, 1300. And let me check off this one. We did it, we did it look great. Let's go with the second one. Big lower. The same thing my friends shift control to say, don't forget. And then shift a plane. Let's call this one below. I think below one, but I'm a scale. This one going to be a little bit more easy. As for scale, again, where you are, I don't see you, Erik, move this one in front like that. Let's go to the edit mode. Let's drag transparent mode in my case is on, choose this one. Move them Greek, a little bit lower. This one, I think they're good. Out in the object mode. Edit mode A, you choose everything and extrude up out the same thing right here. Added mode control loop, left click, left click. Then we go to the object mode control for the subdivision surface modifier. Turn on this function. Let's go forward, which means we have to add additional loop on the right, additional loop on the left control. Bring one here, bring one here. Now let's play around this one. I think going to be more easier. Let me increase the opacity out in the object mode. Choose our empty, go to the data properties, let me increase toward, okay, toward that one. You can see line here, back to our big below. Which means this edge, they have to be right there. First of all, transparent, moved lower. Let me choose this two. Let me direct this one right here. Great about you two. We go up like that. I think we have to choose this one aback and move them a little bit more, more higher. Well. Yes, my friends, we have to play. We have to play. But I hope it's enjoyable for you. Because if you don't have fun when you do something, there is no point sometimes to do that one. Sometimes you have to do that because adult life mean that. But at the moment right now, please have fun. Let's choose all of them. Move it up like that. What about front view? Again, these two, they have to be more insights. For scale, I'm going to make them little bit smaller. What we have object mode, check off transparent mode, right click, shade smooth. I don't like it, this one have to be higher. What we have to do is let's go in the edit mode. Let's choose this one. Let's just move it up like that. It feels like they aren't mirrored my friends, I'm so sorry, but there is no problem. Sometimes you commit mistakes like that. Well, we all are humans. Okay, go to the edit mode. Out choose all of them x and delete vertices. Then let's go two for the H mode. Out left click to choose that loop S x zero To make it like that. Then we go out in the object mode modifier mirror modifier clipping. Move this one above and move this, Merge that. Now let's get out. Okay, now I see now is better. It is what it is, my friends, it is what it is. Let's go back to our empty on added. Let me choose these two vertices. And this one for a small scale. Let's go, oops, I say this one go lower. This one as lower, this one a little bit above. What about this two? I think we can drag them hoops on that side, on that side, choose all of them. I'm going to make for scale just a little bit bigger. Let me get out empty, shade, smooth. One more iteration on the subdivision. Surface modifier. This is what we have at the moment right now from the side. It look good. Yes, but not like, I'm not a perfectionist, honestly. But I like to make my work looking good. Three, it a little bit lower, a little bit behind you in front, and that's what we have. Okay, now I'm good. Control, safe. Great. Our duck is done in case. If you ask what it is line, this is our reference. But this is how our duck. Look at the moment right now. And probably I'm going to make it is for me out a little bit higher. Yes, we have it. I think this lesson was a little bit more tedious. Not probably so fun, but at the end of the day, this is the part of our routine. Thank you so much, my friends, and let's go forward where we're going to create the glasses of our Top Duck. See you there. 4. 1.3 His Glasses: Welcome back my friends. In that lesson, we're going to create glasses for our duck. Hide this collection. Right click New Collection. Let's call this one glass, then shift A. Let's actually hide our duck references, both of them. Let's come back to the glass collection. Shift A, where is our image reference? Choose the glasses. Okay, let's make them a little bit more smaller, free on the Mp one. Let's start in order to create the glasses first we're going to divide it on the inner side and exterior side. For that one we need plane shift a mesh plane. Then we go the S to make it smaller, x 90. Move it up three empt move this one in front, let me hide this one. Join area on the right side, make it smaller, then a little bit thicker. Go to the edit mode control. Let's add three loops. Left click, second left click. Come back to the object mode, bring this one right here, make a rotation like that. What we're going to do, we're going to extrude word this one. Let's go to, again, it's some type of solo work, but I'm going to do this one with you also. Edit mode, Transparent mode. Let me go with this and this right here. Now, this one right, this one right here. Bring them to the exterior border and word each of these lines. Let's go for the next one. Hoops here, This one have to be. Let's go to this one right here. This one right there here. Let's go to the mode, choose this one to extrude here for rotation. As for scale one for the vertices, choose that, choose this one, choose both of them and extrude a frotation. Before we're going to go forward, let's apply the subdivision surface modifier back to the object mode control two here, check in, back to the edit mode and let's do it properly. Right now we bring the general shape and now it's going to be more easier for us to fit under our reference above, above. We'll go this one extrude and let's go with one more extrude and one more extrude rotation. Now let's bring them on the proper place. Right here, Right there, here. I think it's because of this. To K A for 300 and P, everything is flat, great for scale. One more time. Don't worry like that. Good, right, Jack? This one and this one. When we are here, what we're going to do, we're going to choose these vertices and this one we go to the at center, and then choose this one and this one at C. Now let's fit this right here, right there. I think we have to add an additional loop, antral air like that. Bring this one here, this one, keep it here to that point, and this one to that point, my glasses are. Right, they are straight where they have to be. This one a little bit lower. This one, This one a little bit. Everything is great on my side. Control. To save our next step, let me just show you. We go to the modifier mirror. But how we can see something didn't work really well. White in the shape when it have to mirror. Right here, the thing is we make some changes in our scale location, rotation always when you make something bigger or smaller in order to get a proper result, like for example with mirror modifier or materials and many more. We have to apply our transformations for that one control a and apply all transforms. And then go to the modifier, search for a mirror and how you can see. Right now, everything work properly. Move this one above, check in on clipping and merge like that, create a go to the mode. Let me drag this one lower. And this one, let me drag right here, hide our reference. And this is what we got. Then we're going to apply our mirror modifier here. Apply right click, Set origin origin to geometry. As for a scale, I think like that going to be top 300 met. Let's move this one a little bit more close to our eyes. One, even a little bit more like that. A little bit above, good control safe. I don't really like this one. I think I'm going to make them just a little bit more thicker. Edit mode A chases everything 300 M to extrude on the right side like that. Then we go to the right click, shade smooth, back to the edit mode. One loop we're going to add on the right one loop we're going to add on the left like that out a little bit more thinner. Let me check, everything is great in order to create our glasses which are inside. First of, let's call this one glass outside. Now we go to the edit mode. Bring one loop right here we go with the control, left click, left click. Then we go with the shift D to duplicate. Left click for the selection. Now we divided that loop from our main glasses. Let's call this one glass inside. Now select glass inside. Go to the edit mode, choose everything and press F. One thing we can do, let's go to the solo mode. H, choose everything and make them just a little bit more thicker like that. One more loop on the right. One more loop on the left. Out here we are, just a little bit. Oops. Right click, Set a regional region geometry as for a scale, make it a little bit more bigger. Right click, shade, smooth, everything is on point. What if we don't need additional iteration and add modifier? Search for mirror modifier. But again, the same thing that I told you before. Go to the control A, apply all transforms and now one more time modifier mirror, now it is on the proper place. We even don't need to select a mirror object. Move this one above of our subdivision modifier. Are they good? They're good. Do you like it? I hope you like it. Thank you so much. I hope you enjoy this lesson. Also, I'm going to see the next one where we're going to create the earphones. And we're going to finish with the block number one of modeling. Then we're going to bring some materials and lighting. Thank you. I'm going to see the next one. 5. 1.4 Earphones and Ring modeling: Lesson number four and the last one from the block number one where we're going to create the earphones for our duck. Let's go with another collection. Let's call this one earphones. Let's get out shift a image where we are reference and to the last one. I found this one interest. I think they're simple and cool and we'll not do the same. But we're going to be inspired with these earphones. Let me go first of all with that part. Shift a mesh and this time we go with the cylinder. Right click, shade smooth, coach the properties data. Go to the normals, auto smooth, check in 90, and then we go with the scale. Move up, smooth is one on the side. Let's go with our reference. A little bit aback. Great. Then again, we're going to play around. Don't do completely like me, Just take a look. Time to time x, make this one a little bit more thinner on the side. Probably more thicker. A little bit more smaller. That great. What if we're going to bring a little bit of pebble around this edge? Go to the edit mode. Choose this loop, holding out left click. And we go with the control and drag this one a little bit on the right side like that. The shape n now is more proper auto, smooth, and everything is good. Let's go with that inner side. What we can do, just shift left click, make it smaller x and a little bit on the right. Let's go with that part. We can call them but I don't know how. Let's go with the phone basic. Let's go with the phone under line, small. Let's go with this shift a mesh and go toward the torus. But I need to make some changes. If I'm going to move myself up, we can see this one because of our duck hide the duck. Go to the torus here, make this one in the major radius a little bit more thicker to 075. And then left click, shade smooth one, ped x 90, 90, make it smaller. And bring it right here. Let's check control two for the subdivision. Surface modifier check in. Let's bring this one more toward our earphone. Basic. A little bit smaller. Keep a small distance right here, Y because we're going to have particle system and it's going to be on that long, that's why we need a small space here. Let me check from the site GE, good. Let me show you how we can make this one even more per, than it is, because at the moment right now it's too smooth. But let's go go to that modifier and search here for displaced modifier. Then we go here with 0.1 Then let's add texture. Let's call this one earphone. Let's go right here in the texture properties. Instead of image and movie choose clouds. Now I think you can see the difference and move the display above of subdivision surface modifier. Then back to the texture properties. Let's play here instead of Blender Regional. Let's go with the improved per line. Now it's not so perfect. I think it's cool because usually the earphone pillows are soft. Why? Here we go. With 0.35 hoops, we can back to the display modifier, try to increase but not too much. Why? If I'm going to keep like 1.2 if I'm going to move this one under subdivision, how you can see too much, but if you're going to keep this one above, this is a small change that make our work better in comparison to what it was before and what we have at the moment right now. Great control S too safe. Now let's go to that part. I don't know how to call this one, but before our Taus is going to be ear phone under line below, okay? Okay, Shift a mesh and plane, make it smaller. G X on the right side. Move this, 190. Let's install this one right here. We don't need a reference anymore. Hide it back to our plane. Let's call this one phone R, Okay, then 300 pat, make it thinner. Also, move this one inside a little bit inside. What are we going to do? We're going to actually bring this one a little bit more inside, like that. Small rotation, small movement inside. Go to the edit mode. Choose this H extrude 1234, Let's keep this one close to our line like that. Unfortunately, at the moment, right now we can see nothing because it's very thin. First thing first we go with the control a and apply all transforms. Then we go to the modifier and search for solidify modifier. Let's go in the negative one. In the negative value toward 006. Then we go with the control two, apply subdivision surface modifier. The last one that we have to add is of course mirror modifier. Go to the mirror and move the mirror above of our subdivision, but below where you are below our solidify, then clipping, check in and drag the merge more close. I think like 03 going to be enough. Great here. Here, turn the function on the mirror, we don't need it. Then let's go toward edit mode. Let's add additional loop on the right, additional loop on the left, like that. One more, I'm sorry, let's go to the transparent mode. Let's go one more here. Drag this one down. The shape now is much better than it was. What if we're going to make it toward 05, like a little bit more thicker? I don't know how big the space is because probably we're going to align this one when we're going to add the fuer. Okay. My friends and the last one, we're going to mirror that part. Let's start with our pillow. We go to the Ed modifier. Search for mirror modifier. Move above of our subdivision, here in the mirror object, choose the head of our duck. The same thing right here. Mirror, the same thing right here. Mirror and duck vola. Control safe. I think we can move this one just a little bit inside like that. There is one more thing. There is one more thing, that I forgot a ring. They're going to be very easy and fast to do, shift a search for mesh. Thus let's go to the Tus. Bring this one back toward the one right click shade, smooth conchal Cho for the subdivision. Surface modifier X 90. Make this one smaller, 300 Pt Greek. Let's go let's go on the site, Let's make this one small. I don't know here. Or what if I'm going to bring this one more, Maybe a little bit more. Let's call this one ring. Let me bring this one lower control. As you say. Now we are done. Our duck already. Look very dope. The block number one is finished. I hope you did enjoy. I hope you'll learn a lot of new things, especially if you're a beginner. Let's go forward to where the next block. Guess what? We're going to bring the material, Sun Lighting. See you there. 6. 2.1 Lights and materials: Hello my friends and welcome block number two, lesson number one, where we're going to establish the lighting and also bring some materials on our duck. Let's open the second window. Right click, vertical split. Bring it here, Create. Then let's start with our duck. Go to third one, viewboard shading, press on our duck. Go to the material step, which is this one. Press new, let's call this one duck underlying base here in the base color in the X at 777 which is the same color as white. Then we go toward chicks, press chicks in the base color. We go with 88192, great. Then we go toward our beak. Let's call this one beak in the base color. We're going to add B for 60, A the same. We go with this one below, just here, search for beak, and that's what we have. Then one more thing that we have to do is our ice, even if you don't see them, that's not a problem. Ice roughness towards 02, base color going to be toward black. Great. Now we can establish our lighting. Let's go to the render viewport, which is the last one. Let's go to the render engine and switch on cycles. Let's bring ourselves here in the world. Let's decrease the strength toward 01 to make it black. Even here, the color decrease toward black. Okay, then let's start with our first sources of light. Right click, New collection. Let's call this one studio here. Shift a light area, then 300 Pet. Move it up, move it back a rotate toward our duck, I think a little bit lower. Let's go toward our lighting properties, which is this one. Let's turn off our overlay to make it more toward what we're going to see in the final render. First of all, the power going to be 200 because this light which is behind going to create this outline for our dock. We're going to establish a little bit of location, but let's go toward the color. And here press B D five to make it more like that. Then we're going to change the shape from squared to rectangle size. X going to be 4.1 size Greg going to be 4.3 You can clearly see that it's much bigger than it was before. Now let's move this one a little bit lower, a little bit aback that even a little bit lower. Great. The outline is here. Let's move this one a little bit more a back like that. Control to save. Now we have an outline. Then before we're going to go forward, we have to switch here the transform pivot point from the individual original to the three cursor because we're going to duplicate our area shift left click. And then we go with the turn, this one on the left side like that, 300 ped. Then let's go to the settings here where the color press 55, it's going to be more white. The power going to be 300, then size x is going to be 3.6 Meanwhile size going to be seven. That's what we have. I think we can like that a little bit on the X, great. Then one more time, shifty as move this one on the right like that. The settings are completely the same. Quantrals save, let's recall this one. Which area behind left, right. One more thing, let's go to the render properties. Here, go down, and the color management. Let's increase the look toward medium. High contrast actually can play around high contrast, but I usually love to keep myself on something medium. I hope this lesson was useful for you. How you can see. This lesson was pretty quick and easy. In the next one, we're going to create the material for our earphones because there we have to play around more. But I promise you there will be some useful information for you also. Thank you so much, my friends, and I'm going to see you in our next lesson. 7. 2.2 Earphones and Ring materials: I hope you have fun. Let's go forward with our materials lesson. I'm going to switch here on the render mood here. I'm going to go toward the shader editor. I'm going to close the folder folder, move yourself closer toward our earphone. Then turn off our overlay part. Drag this one a little bit on the left. This one height, my recommendation. Watch one time, it will be easier for you to comprehend. Then we're going to do this one together. Let's start with our earphone base. Go to the material step, ear phone base. Move yourself closer here in the base color. We're going to introduce 1679. Great. The next part, I'm going to increase the metallic toward 0.2 for a small, smaller reflection. Then let's make it a little bit more interesting because one flat color ain't for what we're looking for. Shift a noise texture, then control to control for texture, corroginate and mapping. If you don't have it, go to the edged references ads and here search for a node Wrangler, check in, come back control and you're going to have the same thing. Then we're going to go toward the rump, then we go toward the bump. Let's connect everything. Color with a factor here, color with roughness. Then we go color toward height, normal, okay? Okay, not what we actually want. Check in on invert, decrease to toward 0.4 then we go toward the scale and here increase toward 45 distortion 4.5 Great. Now we have the small dots which make our material a little bit more closer to the realistic one. Then let's direct the color, the black one more toward the middle. This is going to influence on the shiny part, great. But there is one thing that you probably notice, that we have the lines. It isn't so smooth and I personally don't like it. We need quality or we need to do something. I think quality, even if this was unexpected. Let's work a little bit on our earphone base. Get out on the solid mode. Turn the overlay part. Let's go in the solo mode. If I'm going to apply the control tube for the subdivision surface modifier, how you can see that apology, the entire shape is bed. You know what, I'm happy that we have this one because it's important to show not the perfect process of creating something in blender, but actually because we all commit mistakes and you have to know how to solve these problems. My friends, let's leer watch and then we're going to do this one together. Then I'll go toward the edit mode. I'm going to choose this phase, delete this one. Also delete for the faces, probably because when we work in the previous lesson with lighting, you will have here a pivot point around the three cursor change toward the individual origins. Great. Then Cho for the edge, Alt, left click to choose the entire loop. We go with the inside inside one more time. Inside at the center. The same thing right here. Oops, inside, inside at the center. Now if I'm going to press the quantrol to the shape is better than it was, the topology is better. Right click, shade smooth. Then we go toward the modifier here, series four, bevel, move the bevel above of our subdivision. The settings here are going to be one additional zero there. Vla, our shape is done and now it's way more smooth. We don't have the rough lines, rough rectangles that we have before get out from the solo mode back toward the render part to worn overlay. Here we are. Here we are. Great. Let's come back toward our materials. I think we've done everything for our earphone base. This is how it was before. Just one flat color. And this is what we have at the moment right now. One thing that if you want to do is to increase the strength. What if 05? I think 05 is enough because at the end of the day, we don't need something very emphasized. That is good. Let's go toward this small part. Materials earphone Small. There is only two things. Metallic 06 and roughness 03. Then the color problem going to decrease just a little bit. Toward just a little bit control, save one. Let's go toward the pillow part below earphone underline pillow here. Take a look. The metallic going to be 03. Then I want to make two colors here. Like a small gradient. How shift a gradient one color rump to connect color toward the base color and then color toward the factor, great linear switch on the spherical linear switch toward the spline. Move the black one more toward white. Here, take a look. This, that color going to be 11679. That color C two. What we have to do next is just to play around with the gradient. I think more of that. I want that blue to have more influence and just a small part to be emphasized with this lighter blue play around. Okay, I'm going to keep it on that level, but again, it's still very boring. Don't worry my friend, I have a solution. Shift a text, one control here. Switch from the general hold control, left click and switch on the object. Then we go with another color ramp, bring it here. Let's connect color toward the roughness here. Color toward the factor, okay? Okay, something interesting, but not what we are looking for. Let's change, first of all, F one toward smooth F one. Now we have, I can call this one a dirty, but you can see the small areas which make it, again, more close to what we see in real life. And not just a small flat color. Let's increase the scale toward 9.2 The only one thing that I did for the Voronoi texture, then here we have to play that part. If it's black, it's shiny. If it's white, it's not shiny when it's black, it reflects more light when it's white. It don't reflect lighting at all. How you can see that, why I'm going to keep it not completely on the black one but more toward gray. I'm going to bring this one here and this one here, the white one. Answer for this dirty parts. I honestly don't like it. I don't want to be so emphasized. I want to make this one more toward white. I don't want to have it very reflective. This one, this one, we can decrease. Or actually I'm going to keep it on the same here. We have to play around, do something that we're going to satisfy your own eye. I'm going to keep it right under this arrow. That's what I personally have. But still we can do better. How? I'm going to show you this one on the right s for glossy texture SDF. Then we go with a mixed shader to connect both of them, connected the SDF connect toward this one end. The roughness is going to be 00.45 In case if you don't know how this mixed shader work, I'm going to tell you when we're going to drag this one on the left, the shader above going to influence more than the shader below. The vice versa, when you drag this one on the right, the shader below have more influence than the shader above. Our factor value going to be 0.12 so we'll have just a small glossy influence which going to be more than enough. Again, this is what we have at the end in case if you want to see all of my notes. I hope it was useful. I hope you found a lot of useful information. Because there are things that you can apply, this knowledge you can apply for your personal work in future. Let me review if you found this one useful. But we didn't finish because we have that metallic part not like metallic. What I'm going to do, I'm going to choose the earphone pillow duplicate and let's call this one earphone here. I'm going to increase the metallic toward 08. I want to switch the color, this strong blue to 637179. Then we go toward the mix shader. And here 0.25 we have here the dots, the color, the metallic. I think it's correct, my friends. Okay. The ring, let's go toward your phone. Arc duplicate, call this one ring. Let's increase the factor toward 35 and then here the metallic to 95. Then let me decrease the color more toward black to make it more reflective control to save. I think it's looked up. Let's turn our duck on. I hope you're satisfied with your result. I hope this class meet your expectations and probably even more because I try my best to share the best one thing, the big I like the roughness to be 0.25 to make it more reflective. Now I like it, thank you so much, my friends, glasses going to be in the next lesson to make it more comprehensive. Again, remember we got the mistake here. Not like the mistake, just a small thing. It's okay. There is no necessity to think that you need a perfect workflow. No, it's okay to commit mistakes, but more important to know how to solve them. I hope you enjoy it, and I'm going to see you in our next lesson. 8. 2.3 Glasses Materials: Our body is already done. But there is one thing is glasses. Even despite that he looked dope like that, I think he look cute. But if you're going to add glasses, he look dope. This is the name of our class. We're going to create a dope duck, not a cute duck. Direct this one on the left. Let's start with a glass border. What I'm going to do, I'm going to choose the earphone pillow duplicate. And I'm going to cut this one glass underlying border. Then on the color where the color Ump. Yes, I'm going to switch, I'm going to switch the dark blue on 916 for one, Then right here I'm going to choose something toward pink also here I'm going to switch on diagonal. Then it's time to play with the colors. I think I'm going to drag more here. This one more on the same position. Not a big change but a small thing. Then I go toward the metallic. I'm going to increase this 106 to 035 enough then let's go toward our orinar texture here. Let's make it a little bit more reflective which means to decrease this one more toward black in rest here. I'm going to switch on 12 quantal to save, to add the small dirty things. I don't think it's dirty, just this small. I'm not very much with the colors. Wait a second. More metallic. I think I'm going to decrease the metallic toward 02 because it's too much in real life there. They are not metallic for sure. The inner part. Let's go with the, let's call this one glass inner and here take a look gradient first. Then we call the control, let's base color. We're going to do them completely black. There then is going to be 0.09 to make it more reflective but it's too dark. Yes. Color rump here. We connect color with the factor and color with alpha, okay? Okay, then we go to the rotation. Switch this one on 90 degree. Let's switch here on the spline and drag white more toward the black. Black, a little bit closer. White, a little bit closer. In that case, we don't have a flat black color. How we can see the small reflection is around our border. This is exactly what I was looking for. I think I'm going to drag white a little bit more black, more toward the left corner. To make it even more better, we're going to add an additional color. Drag this one on the right, and increase this one to wide. Now we even can see a little bit of our eye and there is the reflection, which means it work much better with the lighting. We can see it right here. What if I'm going to make it that one from the right? I'm going to make it a little bit more great control safe. We can see our border smooth perfectly. Go to the subdivision surface modifier and increase the value toward three on the Viewpoard and render. Let me interreg this one on the right here. Control safe. Here we are, my friends. Here we are. What is the rendering gene going to be here in the color management film? Medium high contrast control. S. You I still don't like very much the color of my glasses. I don't know why. I don't know why. Okay. Now I'm better now. I hope you all are better. We finished with the block number two materials. Do lighting done, new information, do you can see the outline from the area behind? I personally like it. I like our duck. It's actually already ready to be rendered, but when you're going to add the fuel, it's going to be even more doper. So thank you so much for your attention. I'm looking forward to see your final result. I encourage you to be brave, to share, to inspire others, And let's go to the block number three. 9. 3.1 Particle System: from beginner to Pro: Welcome block number three where we're going to delve under that hair topic. I really recommend you to have a notebook or some notion where you can roll down some type of conclusions. Because there are going to be a lot of things. I really prepare myself in order to provide something available, something very important that's going to really elevate your three D skills. Trust me, we're going to cover a lot of things today. That was the thing number one. The thing number two, um, here going to be more theory and explanation. That's why you can play around with me. But simultaneously, I'd like to ask you more to watch, to analyze. And then we're going to practice on our duck. I prepare a collection, you don't have to do this one with plane where we're going to analyze most of the settings from the particle system. Let me draw this one on the right. Okay, I hope you're ready. Let's start. Let's start to watch. I'm going to explain. You watch physics. Plus, let's call me this one hair test, underline explanation. In order to create hair F, we have to switch the tap. That was the thing number one, emission. Let's start emission. Or in other words we can call this one as the parents parents hair. The number going to show you the total amount of hair that you're going to have. In our case, just for the purpose of explanation, I'm going to keep this one on ten. This is some sort of randomizer. It's just going to random all of these ten hairs that we have. But at the moment right now, there is no necessity to focus too much on the set. I'm going to keep this one on zero. The length, I think you understand that means the length of our hair, the lower, the bigger, I'm going to keep this one on 1 meter, which is more than enough. The segments, each of the hair have some frames, some segments. The more segments you have, the more smooth going to be your final form. And of course the vice versa, the lower, the more sharp, unrealistic it's going to be. But we're going to keep this one on five. Let me switch myself on the viewport shading here. We have to watch. Okay, the golden rule. This is very important because that's what I didn't saw in many tutorials. We create usually materials. Yes, let's create material for our plane. Great. Usually what they go, they go to the particle system here in the material, got the same material, but for each fu, for each hair, you have to create a material apart. Take a look, we go here. Plus N plane explanation. The default one is principle BSDF, what we usually have. But take a look. There is one more like principle hair BDF. It was created here for the reason, that reason I've already told you principle BDF. In that case we have more settings related to how our final fewer hair going to look like in comparison to. If I'm going to keep this one on principle BDF, it will look less, again, realistic, more boring, and that definitely not the result that we are looking for. Golden rule for each particle system, create a material apart, go to the surface, and choose principled hair SDF. Now let's analyze some settings here. The color going to show you the color of the fuel that we're going to have you ask why. If here is some brown here, we see white because we have to go to the particle system and switch plane to the plan hair explanation. Now we can see that we can change the color, roughness, the roughness everywhere mean the same. The less is value, the more shiny it is, the more lighting reflection we're going to see on them. And the more restored one, then it will not reflect the light completely. The radial roughness going to show the length of the shiny bleak. The code if we're going to increase. We can see right now because we don't have a lot of particle, let me increase a little bit the number. But again the code will make them more brilliantly meanwhile, or in other words more shiny. And when we decrease this one towards zero, less shiny. But it's not about being shiny, it's more about being brilliantly like the diamond one. When you're going to apply all of that on practice, you're going to see how each one of them actually influence the. Or setting my explanation from my own experience or in other words, to make it more easier to comprehend it. Show the saturation of your hair, for example, if I'm going to keep this one on ten, how you can see our color. Let me make it very red. For some reason it have to be red. But it isn't because the OR have a higher value, which means it makes the hair less saturated. The vice versa, if I'm going to keep this one on one, it's even more than just red. That's why. Or show the common saturation or let me increase the amount of hair. In that case it will be easier. See the difference high is more white, is less saturated and, OR more toward, like one, more toward 1.5 In that case, the hair going to be saturated with our color. Great Randomized roughness is going to influence on the first two settings, which means it's going to make the shiny part randomized around the hair. Okay, let's go forward. I going to be 1.45 And the color, I'm going to keep this one on. White saturation on zero. Let's go to the settings of our particle system. The number, I'm going to decrease back toward ten. Let's go down the hair dynamic. Will not use this one because these settings are used for the animation. We don't have any animation, so we don't need it spline when you have here a check off. In that case you are looking for straight and smooth hair, but if you want to make some ful, something more chaotic, something more randomized, in that case, bring the check in on your spline steps. Again, the amount of segments that it's going to be in between of each hair. The more steps you have, the more smooth going to be your final transition. The less steps, the more sharp and ugly they're going to be. Also we can go to the viewpot display and here we have the same thing with our steps. It's represent the amount of frames that we're going to see in our viewpoard. Let me increase right now toward four, you don't see any difference. But a little bit later when we're going to go to other settings, I'm going to come back to the steps and you'll see the difference on practice. Let's go forward to the children. This is a very important tap, but I want to skip it for purpose. Don't worry, I'm going to explain it a little bit later because first of all I want to explain the hair shape. It's very important. Fair thing. First, the changes that you're going to do here. If we're going to do in a simple Viewpoart in the solid mode, do you see any difference? No. You drag value on the right, on the left and there is no difference. But you can see the changes only in the render viewpoort if I'm going to make it thicker, thinner. Now you can see, let me explain, please. Diameter root, that value. Show you how thick or thin going to be the root of our hair. If I'm going to drag this one on the right, you can see the root is more thicker, the vice versa. If I'm going to dig this one more toward zero, it's going to be more thinner. Back to, let's go for example with two or actually even more thicker. The tip is the same only for the end of our hair. If I'm going to make it bigger, it's going to be very thick. If I'm going to make it towards zero, it's going to be very thin. You noticed that even if I'm going to make the end of our hair thick, the end is still sharp. The corners here, If you want to avoid that or you want some other form of shape, check off. And now they are flat. Check in. The final angle is sharp strength shape. It shows the transition in between thickness from the root toward the end of our hair. Which means if I drag more toward minus, it's going to be more thinner. If I'm going to drag, let me decrease here the settings and in that case it's going to be more better to see the difference one more time. If I'm going to drag here toward the minus one, we can see that from the root till the end everything is thick. And the same thing vice versa, if I want to make the common, the general shape more thinner from the end till the root, I'm going to bring that from the positive value. I'm going to keep this one on zero diameter scale. If root influence on the thickness of the root tip on the end diameter scale, influence on the entire hair. In general, it keep the same form, only it can make it bigger or less bigger. We already have here a lot of things that we did. I'm going to keep this 1.3 this one on 09 great or actually in diameter scale. A little bit bigger like that. Again, these settings are only in purpose to explain, to show you the difference. Now let's go forward toward the children Tap. Remember when we went here on the mission and I told you that the number represent the number of parents. These are the parents here. But children have two types of Taps, simple and interpolated. First of all, they show you the amount of children hairs that going to be around for each parent hair. If I'm going to keep this one on three, that means one from that value going to be for the parent and two going to be for the kids if we're going to count them. I don't want to count because it's a little bit a lot of time. But there are 30 here, not 40 because there are ten. For each one, we have two children. Great. Now let me explain the difference in between of simple and interpolated. Let's go with simple. Let's say this is our mesh, our plane here is the parent hair. When we choose the simple, the children is going to be created around the parent. Here, here, here. They're going to be plus, minus on the same distance, same location. Their purpose is to be more toward the parent. Meanwhile, when we chose interpolated, let's say this is our plan. Our parent hair and I choose interpolated, in that case, as they are created around the parent. But simultaneously they try to cover the entire mesh. Simple kids are more around the parent, interpolated are, and around the parent, but simultaneously they try to cover around the shape like that. I hope it does make sense. I hope now you start to understand all of these scary settings. I hope these settings aren't scary anymore. Let me delete it. Let me delete it, and let's go forward toward the explanation here. Let me, for example, choose the interpolated. Here we have the length. How we can see the value is already on one. The final length is that one that we set here in the hair length. For example, if I'm going to decrease and if I'm going to increase the final length is this one. If I'm going to make it like 3 meters, the value here going to be the final one, going to be 3 meters. Just remember that hair length is the final value right here. I don't want to have three, I need to have one then. I hate this word, Don't judge me for my pronunciation. The threshold show you the amount of hair that will be not influenced be the length. For example, I decrease this one toward 02, but I don't. I want like 20% from the entire amount of hairs to not be influenced. In that case I said 02, which mean 80 percents are influenced and 20 percents aren't. Or let me for example, increase toward 06. I hope you see the difference and I hope you understood. If I'm going to bring this one toward one, that means that 100% or in other words all the hairs will be not influenced be the length value changes. Just remember that. Let's go toward one, let's go here toward zero control to save clumping a little bit later. And then we go toward roughness here. The things are getting a little bit more interesting. Let's start with the explanation. Also, you can not tie that in between of them. There is a small gap like here and here. The size influence over uniform shape, influence over the end point settings and size and threehold going to influence over the random right here. Let's start with each one in particular. Uniform will bring some distortion of our hair in general. For example, I'm going to keep this one on 05, You see? Yes, you see the size, The lower value, the more chaotic the more distortion is going to bring. The higher value, the less influence the uniform going to have. Let me show you toward zero, you see the type of shape the distortion is very big. If for example, I'm going to increase this one toward five smooth. Even despite that I increase the value here, it doesn't matter because I can control the influence of uniform with the size and the vice versa. I can go toward one and the final shape is very chaotic. Now, let me on zero, for example six. Remember I told you that I want to explain about the steps. Take a look. If I'm going to decrease the steps toward one, they are smooth, they're sharp, not so cool. If I'm going to increase this one toward the maximum we have. Frames in between of each hair. Which mean the final shape can look more detailed, more cooler, more realistic, more doper. Call it in the way how you want. I'm going to keep this one on four because it was more than enough that about uniform. Let me increase this one toward zero. Let me decrease toward two because there is a lot of hairs endpoint represent influence on the direction of the widen again of each final shape of the hair. Let me little, take a look. If I'm going to increase the value, the roots stay in the same place, but the end of the hair is moving on the right or on the left. If you talk about shape, if I'm going to increase the value that the more value you bring here, that means on the end points will change their direction. Meanwhile if I'm going to decrease toward the number lower than one, it will go straight from the roots. The entire hair is going toward different directions. Again, if I'm going to increase how you can see, a big part from our hair is staying the same place. On the end of our hair is moving on the right. On the left. Let me delete. Great, let's go forward. 0.1 The random part of the random settings that value influence over each hair. In particular, if with uniform, we change the shape of our hair style random change the shape of each hair. In particular, let me delete the size, have the same meaning as the size of uniform. The lower is value, the more chaotic the more randomized it's going to be. The bigger is value, the more smooth it's going to be. Threshold, going to show the amount of hairs that will not be influenced be the random. For example, if I want health of these hairs to be straight, I keep this one on the value of 05, which you can see some of them are completely straight and some of them are completely randomized. If I'm going to increase this one toward 09, that means that only ten percents are going to be randomized. Where they are somewhere, they are 90 percents going to be straight. And it doesn't matter what type of value I put here, they aren't influenced who we went very far. And I hope you did enjoy. I actually didn't finish because I want to explain the clumping also, but I hope my explanation, I don't know how good it is. I try to explain everything simple in the type of humble words without any hard terminology. So I hope you understand everything. If you have some sort of questions, you can open the discussion or you can message me. There is no problem with a big pleasure. I'm going to answer on everything but till the moment right now, I hope you feel the difference in between your knowledge before that lesson and your knowledge after that lesson. Let's go toward the clumping, Let me just show you bigger lower when you're going to clump on the positive value, you're going to connect the end of the shapes of parent hair and children's hair, the vice versa, When you keep the clump on the minus one, the end of each hair is in the same direction, is in the same position, but the roots are connected. It's very cool because this is exactly what we need for our fuel that we're going to create for our duck. We're going to keep it clumping. Going to be an important setting. But how you can see that setting in heard, it just create groups of hair and the connection or, or steam from the roots or steam from the endpoint. Do I have something else to explain? I think I explain more than enough though. The golden rules, the roughness, the hair shape. Of course, there are some other settings, but we don't need them at the moment right now and we actually not need them in our future producte the main important things already explained for you. Thank you so much, my friends. In order to not make it very complicated, very long, I decided that lesson just to explain the particle system with all of this knowledge we're going to apply in our next lesson, where we're going to create the fuel for our duck. My friends, thank you so much. Leave me review. I'm wondering, what do you think about that? Let's go toward the next one. 10. 3.2 Duck Fur settings: Hello. Considering everything that we learned from our previous lesson, we finally can apply our knowledge on practice. Because here we're going to create the duck. I hope you're excited. I hope again, you'll learn a lot. I already prepared the value for our setting, so I don't think that this lesson going to be more than eight or 10 minutes. Let me hide our plane. Let me open the duck folder. We don't, we don't need anything else. Click on Duck. Do you remember what was the golden rule, of course, to create a new material? So let's go first of all, base color, copy this one and then plus new call this one underline for principal BDF, change to principal hair, BDF color control V for the white one. We're going to change here some settings, but not right now. Let's go to the particle system. Where you are, here you are, plus, let's start. The number going to be 5,000 I have to say to mention one thing in case, let me hide it. In case if you scale your duck or you did any changes because I personally didn't. But if you did, remember control A and apply all transforms because otherwise our results may be very different. And I don't want to see you being disappointed. If you make some changes, apply the transformation, great. The length going to be 0.07 Then we go lower and the material choose duck for check in on the spline because we don't need a perfect hair, we need cool hair. Viewpoint displaced strength steps going to be for children. We're going to choose interpolated the display amount and render amount going to be 40.40 go lower. We're going to work with our clumping, we're going to work with our hair shape. But let's start, actually, let's go to the render and let's see what we have at the moment. Right now. Of course, I have to mention that when you work with particle system, strong PC going to be a very great benefit for you. In my case, it's good, but my PC is a little bit sick, so that's why I can see best. But I can see plus minus that we have to work a little bit more. Let's go back to our particle system settings. Let's start with the hair shape. Do you remember Demeter root? It means to make the roots of our hair thick or thin. I want to make them thicker toward 3 meters. Our tip going to be 03 tip, which mean the end of our hair. Then we go toward the roughness here. Our setting is going to be 0.01 for the uniform. Then we go to the end point and we're going to have 0.007 We go toward the random here, we're going to play with 0.04 There are already some changes controlled as to save. The last thing that I'd like to t is clamping. We're going to increase toward 0.1 in order to create small groups in between of them. Let's go now toward our render and let's see what we have. First of all, I think we have to move our ice a little bit more forward because they delve under the under that four. I don't say that they look bad, but I'd like to bring them a little bit more forward. Rest our four look very cute. We don't need some big changes again, because this is a creative class. If you want to experiment doing something on your own choice, no problem. I did want just small changes that are going to fulfill our duck, but nothing splashy or something that's going to be very emphasized. That all for our lesson, but before our eyes, let's choose this one. E a little bit forward like that. Thank you. It was easy, I think. In comparison, she was believed in the previous one. Yes, probably. I'm going to do the same with our cheeks. A little bit forward. Create control, safe. In the next lesson, we're going to create fuel for our cheeks. See you there. Ah my friends. Let's go toward our hair material. And here the roughness. We're going to decrease toward 03 IOA. We're going to increase toward 1.55 Control safe. And now we are done with our work. Thank you so much and I'm going to see you in our next lesson. 11. 3.3 Cheeks fur: In that short lesson, we're going to create four for our chicks, how you see everything comes easier and easier. We go to the chicks, what is the golden rule, Of course, to create new material. I already did it, but let's do this one with you together. Again, base color control C copy, and then we go to the plus, let's call this one Chicks for surface change on principle hair, SDF, color control V. Let's go to the particle system here. There's one thing that we have to do, back to our duck hair. Let's call this one duck and then we go to the chicks bring plus and then choose the duck fur. But we're going to duplicate it like that, we're going to call this one chicks. For some reasons our results ain't something that's going to satisfy us because we have to apply our mirror modifier. Let's hide our particle system. Be sure that this is the particle is below subdivision. In the middle mirror above we go toward the mirror. Apply. Now open the particle system and vola, everything is great. Then come back. Let's decrease the number toward 2000 because we don't need so many of them. In the rest we keep the same settings, only 30.30, for our children. Then we can go toward the uniform and increase here toward three. Back to the random increase here toward seven deep. We're going to increase toward four clumping, we're going to increase toward 0.1 30. Control save, and let's check what we have in order to get a little bit better result. We can go toward our materials. Let's increase the roughness toward 0808. I keep on 1.45 which means if we're going to decrease the value, going to be more shiny. We're going to increase less shiny. Because what we are looking for, you can see the difference. I personally like a lot, especially that part. It look very interesting and I hope you're satisfied with your results. Also, how I say there's nothing had, everything is pretty easy when you understand the meaning of many of them. It's okay if you don't remember all of them from once because of course, all of this knowledge you have to impregnate them via your practice. But I hope you feel much better, much comfortable with all those particle system settings. But we didn't finish because we have to create the Afro hair style. And also I'm going to explain about weight painting, my friends, the value of that class. And I'm going to see you in our next lesson. 12. 3.4 Weight Paint Explanation: And that useful lesson I'm going to explain you about weight painting that can look like something very complicated, but actually it is in that all but before let's enjoy a little bit. The result that we got, our duck, is already looking very good. But a few more lessons and you're going to make it dope. Let's go my friends, the lesson I'm going to explain. In the next lesson, we're going to apply our knowledge. Again, take a notebook or notion to roll down the conclusions. And let's start. I'm going to create a created already a collection weight paint and I'm going to add a sphere mesh. Give sphere, right click, shade, smooth control to for the subdivision surface modifier. What at the point of weight paint to emphasize a specific zone. For example, our hair is growing not around entire head, Yes. But only upward on that upward part of our head. Before every weight paint, you have to create a vertex group. We go right here. Vertex groups. Let's call this one weight paint. Under line X planation or explanation, I don't remember. Then we go toward the particle system. You don't have to repeat again, it's all. But if you want, you can repeat. Of course, plus weight, weight paint like that. Then I want to change on hair, let me decrease toward 500, toward is 0.5 Then we go to, let's go interpolated 30. It doesn't matter at the moment right now. Great control as you say, just for myself. And then we go toward weight paint right here, how you can see everything is blue. There are two colors, blue and red. Let me hide our particle system. We have here brush. If you want to make that brush bigger, press F and bring your mouse, wheel your mouse or on the right or on the left. If you want to make the strength or your brush stronger or less stronger, you hold shift and make it bigger or not. Then also we can apply the symmetry like on the x one, for example. If I'm going to turn on, I can paint on both sides. I will not apply that because I don't need it. Then let me draw something like that. Another thing that we have to understand, how you can see that border ain't very smooth. Why? Because our give sphere don't have a lot of polygons. The more subdivided it is more smoother going to be the border. But from the point of experiment, we don't need to bother about this one right now. Now take a look. I'm going to turn on my particle system and you think like there is no changes of course because we have to move ourselves down. There are vertex groups where we can establish for what purpose we need to bring our vertex group. For example, for the density, I'm going to choose our weight pain explanation, how you can see right now our hair appear only where that red color was painted. That how you can bring your own hair style. Let me go back, let me turn off our particle system on symmetry and let's draw above where usually our hair grow. Also you know about 100 empt, 300 empt and 700 empt, if you want to get the vice versa angle, you hold control one for the view of a back control seven for the view under control, three for the view from the left side because 300 empt is on the right side. Control one, let me draw a little bit right here. Also back to the particle system. Let's turn on and then let me choose density to be, that's how my friends, you can bring your hair in the specific zone that you can draw. If I'm going to add here, here we have the same thing with length, the same thing with many more of them. But usually there is no necessity. There is a necessity because there was created for purpose. But density and length are probably two of the most important and most used. That is for the weight pain. There is a thing like you can invert, for example, like that, but we don't need it and that is for our lesson. I hope it was clear. I hope, I don't know. Probably you thought it is very complicated. But how you can see it isn't. One more conclusion. We go to the vertex group, create groups which will show the area that we want to emphasize. Then you bring yourself to the weight paint, then you color the zone that you want. And then you go to the particle system. Go down and in the vertex groups, density, choose our vertex group that we created already. That all. Thank you so much, my friends and let's go to the next lesson where we're going to create the Afro hair style for our dope duck. 13. 3.5 Afro Hairstyle : Hello and welcome our Less, less and where we're going to create the Afro hair style for our duck in order to finish him. Finally, first of all, let's hide our particle system here and here. Then we go toward our duck and we go toward our particle system. Bring, plus let's call this one Afro underline hash, which means hairstyle. Then we go toward the hair. I'm going to keep it 1,000 but the length going to be 0.5 Control S to save, it's time for us to apply the knowledge from our previous lesson. We go to the vertex group plus, let's call this one Afra underline then. I forgot about our golden rule. I'm sorry. Let's create also a new material plus new, Let's call this one a hush. Then you go to the surface principle hairs, DF, the color is 120903. Great, Let's go toward our weight paint. But there is one thing that I would like to emphasize, let me hide this particle system from the Afro hair style, how you can see. Because we have a small amount of polygons, the painting will be not so smooth. My recommendation. Let's come back. Let me hide it. Let me duplicate with shift our head just for our own insurance. Let's hide it. Then we go toward the duck. I'm going to increase the subdivision toward three and I'm going to apply them. Then come back to the weight paint. Now our drawing going to be more smooth in comparison to what we have with our previous amount of polygons controls. Let's go toward the solo mode via slash on an empt turn on the symmetry. Here, let me show you. I'm looking forward to create something here like that. That is our common area where we're going to draw our hair. There are some type of brushes. Let's go here and choose Draw. Let's start to draw our hair style. Let's go like that. In case if you miss with your color somewhere here, just hold control and redo your action control for a positional color. Okay, let me draw seven pat, let me go like that. Great. Good. I think I'm going to keep it a little bit more like that. Let me look from the side control one on the Nepa. Let me add a little bit here. Very far. Let me keep it closer. One P. Okay, I think I'm done with my own vertex group. Let's go to the particle system. Let's turn on the second one, which is for the Afro. Go down in the vertex group for the density, choose a hair back to the object mode. That's what we have at the moment right now. Then we go up and let's start with our settings material from the dark base, Choose. We also can get out from our solo mode, then go for the display and check in and steps, we're going to increase toward six in the viewpoint display, we're going to increase them toward our maximum of seven. Then from the children we're going to choose simple is less chaotic. It will be very helpful, especially if you're looking forward to create more type of human hair. Simple is a better choice. Let's go down for the display amount. We're going to keep it on. I have my settings, wait a second. Where they are 15.15 then we go toward the radius. Radius mean how far the children hair is going to be from our parents. So they can be very far or they can be very close. In our case, the value is 0.02 Good control, save then let's go lower and clump, we're going to increase toward one. Meanwhile the shape, we're going to increase toward 0.5 then we go toward another. Tap that for purpose is some settings that will contribute for our You can choose a hair style because our hair is different. Someone have more smooth, someone have more curly. How you can see curl in our radial wave, bad and spiral. Let me go with the curl because I want to explain you something. Take a look once and then we're going to do this one together. Let me quickly show you and explain you the setting we go. For example, for the curl that we're going to use amplitude show the common distortion. Let me show you on the left or on the right. Let me also to increase our viewpoint steps towards seven to make it more smooth. Spline toward four, great, Then I'm going lower. Clumping is related to the clump. Honestly I don't have the necessity to use this one right here. Let's go with the amplitude. For example, 04, The flatness meaning provided our name flatness on flatness frequency is something very interesting. Frequency will increase the amount of turns of our hair. Take a look if I'm going to increase toward 20 because of the amplitude is too much. But you see if for example, with we got a smooth small form example with 35, we have a lot of these small turns that what we're going to use for our Afro hair style. The shape mean would you like to see more of the spirals toward the tip or toward the root? For example, if I'm going to increase higher, our hair mostly is smooth and only at the end we got all of the spiral forms, vice versa, you can make the end more smooth, more of the spirals at the start from the root. I hope my explanation was clear. Let me hide this one. Let's come back to our duck. Let's come back to our duck. Choose it. We are in the Afro, yes, Afro hair style and then we go toward the Carl. Our setting is going to be amplitude. We're going to keep it on 0.02 our frequency we're going to increase toward 20 grade. Let's check what we have. It's already looked very interesting, but simple and boring that I don't want you to have this type of results. I want you to see better results. Let's come back. What will help us to make it better is of course hair shape. Let's go toward the diameter root. Keep it on 0.7 meanwhile going to be 0.07 control safe. Then we move ourselves up to the roughness where the main magic going to be uniform. We're going to keep it on 0.08 Then we go toward the size, which remember the lower is value, the more distortion we will bring. Then we go toward the random, here we go to the 0.03 the size going to be 0.1 Control to save. Let's check what we have. I think now it's more realistic. It's not so smooth, it's not so perfect. Sometimes perfection look better than the perfection great. But if you think that we are done, no, my friends, we can make it even more better. You ask me how? I'm going to tell you that we go to the materials and we're going to increase the roughness toward 0.8 and 0.8 Then we're, remember the coat which will make our hair more brilliantly. We increase this one. Let me show you for example, we're going to have one how it going to look like, but we will keep this one on 0.5 Then we go toward the random roughness which is lower, which will help us to make the bliks that they reflect more randomized. And we're going to keep this one on one, Just take a look how our hair get more diverse, more interesting in comparison to what we got before. Let me come back. Great. But my friends, we still didn't finish back to the solid mode because there is another thing we can control our hair. Let me go here and we have a particle added. There is one very important thing to say, that how you can see emission turn into some sort of gray. Which means if you're going to edit your hair, you'll not have a chance after to change the number of parents and the hair length. Be sure that you've got the right settings and then only play with your particle editing because otherwise you or to delete your editing or to get your numbers correct from the start. There is a few functions like comp, I think you already understand what it is. Smooth. To make them smooth or legs smooth, add to add more hairs or vice. Avery such a decrease, then we have the length. Like to make them longer or not. Puff is something that can make it more fluffy. Cut. Of course to cut. I honestly don't use that weight, so we don't need it at the moment right now. Let's go with the comp. Let me make it a little bit more bigger. Let's start just small things like on the left. On the right here is your creative part where you can play around 300 Mpa. Let me bring it more toward the center like that control 100 pat. Then where this length, we can make them grow or we can make them lower. In our case, we're going to switch on the shrink. Let's make some small things here, just random touches on the left and on the right. And then I go with a grow. I'm going to choose this one in the center to grow a little bit more, 300 pet. Then back to the comp. I want to increase this one like that, that one at an empty. What I would like to do is also to cut a little bit of our hair here. I'm going to that because there is too much. Then I got the puff to make them a little bit more fluffy like bring it just some small touches on the upward part. Great. Let's go toward our solid object mode. Render control safe. I personally don't Three D M Pet control 11. Now let's turn everything on. Let's bring our glass earphones. Super. And then we go toward our duck. Let's turn on our first particle system and then we go toward our cheeks. And let's turn the second one. Let me check what we have. Well, this is our result. I hope you're very satisfied your result and I hope you learn a lot. I really try my best to provide something available. There is a lot of things, but we did a great job. Our duck is more than I expected. The one thing that I personally don't like is the color of our glass. Probably I'm going to play around and choose another one, but rest. Take a look at this Afra style and digitize. There is nothing hard. I mean, sometimes just you have to figure it out some settings and then to play with them. So I hope I was able to explain everything clear and in case if you have any question of course you can ask me. And with a blet pleasure, I'm going to answer one more lesson where we're going to render the beautiful guy and then we are done. Thank you so much. 14. Final Render: Are you ready for our final lesson where we're going to render our duck? Now we can say everything is done, and the only one thing, I changed the color. I make this a little bit more toward the red of our classes, but in Rest, take a look. I like him. I like him a lot, and I hope you're satisfied with your result. Also, my render settings are very easy, very simple. Gingerly, right side, solid mode. Let's establish our camera, which we didn't before. You can of course, shift a go toward the camera and bring it there or you can bring the combination of control out zero. That's how you can establish your camera from wherever point. Do you want an point? Let me go a little bit behind like that, great. Then you go toward the end of the side menu, go toward the camera view. You can see the border right now get red, and that allow us to control the camera inside of our camera. Let me move him like here, a little bit lower. Good. Then we go over the camera here, focal length, I'm going to change on 85. Then once again, camera to view, I'm going to move him behind like that. But I would like, however, to decrease that distance here. Vertical split three P. I'm going to choose my camera, let me and move it like that. Then a little bit higher you can hold shift in case. If you want to move it more slowly then let me check. Yes, this is what I need. Then make sure you see that we have here and I and the camera I answer for what we see in the viewport camera, for what we have in the render, Make sure that they both are or on, or off. Like for example, our plane. We don't see the test plane that I did for you in our viewport, but we'll see that in the final render, because the camera is on off, let's go of of here, glass, turn of the reference ear phones here. Studio, great weight paint, like that, control save. Then we go to the render properties. Here is the important thing, render samples, the more samples you have, the more better quality going to be. But of course, it would take more time, the less quality. For example, even 256, which you can think is a low number, it's okay. It's a decent quality that what I'll call, don't forget that we have here a lot of particle systems. That's why it can be very heavy and took some time. My recommendation, you know what, for the test, keep it ten, We'll just render just to see if everything is on point. If we have everything and there is nothing that we missed from here. And then when you're like, okay, it's good, you can come back and to increase, I personally would like to keep it on 1024. Then we go toward the color management. Here. I have filming and medium high contrast. What if, let's try to bring the high contrast but okay, I'm good with the high contrast that all render Noise, open image Noise, all be a normal accurate like the default settings. Then how I say, let's do some small test with ten. Let's control to save, let's render this one. We go to the render render image and let's see what we have. My render is done, The quality is terrible, of course, but that wasn't our purpose. I did want to see that, yes, we got everything, we hide everything on. One thing that I want to add is to increase the subdivision surface modifier with one value here and here. Let me go to the slot number two. Hide this one, then go toward the earphone basic. Go to the subdivision and increase toward three. Let's go the same with our arc toward three. Control save back to the render, increase this one toward the whatever value you want. I'm going to keep this one on 1024 render image and I'm going to see my friend after my final render going to be done. My render is done. My recommendation right now is to bring it somewhere in the Photoshop or some other Photo Ting to bring a little bit of color correction, noise and everything else. But for now it's done. I hope you're satisfied with your final result. I hope you're satisfied with the knowledge that you receive through that class. And I hope you are satisfied with the way how I explain things. I'll be ha see your review, I'll be see your questions. Thank you. Thank you and goodbye, but I'm going to see you in my other classes. 15. Final Project and goodbye: My friends, thank you so much for joining me on that class. I hope and I believe that you'll receive a lot of useful information here that make you feel as a pro, don't hesitate to share your project here under that class. At the end of the day, we build here not only our skill, but the community. Also, it will inspire others to try it. A few more words. I'll be very thankful to receive your review because I really try my best to explain it in an entertaining way and hope that you'll get not only value, but also you'll have some great time. Follow my page where you also can found other useful classes that definitely will contribute to your professional growth. Thank you so much and I'm going to see you soon.