From 2D to 3D illustration: Introduction to 3D Animation in Blender 2024

1. About this class: Are you interested in learning how to create your own 3D character and bring it to life for animation. Then you've come to the right place in this class and I'll guide you step-by-step through the process of creating a 3D character and animating in Blender and powerful and three 3D software. Whether you're a complete beginner or are looking to expand your skills, this class is perfect for anyone interested in 3D animation, illustration, or design. Be the end of the class, you will have created two different types of animations and gain valuable skill that you can apply it to your own 3D projects. Throughout the class, we will cover everything from Blender interface and tools to modelling, colliding, shading, animation, and rendering. You will learn how to use simple modelling tools to create our character in environment, setup, lighting, tunicates are seeing great colorful as toddlers materials and bring your character to life using keyframes and cycles. The best part, you don't need any prior knowledge of Blender or 3D modelling to take this class. This course is designed with beginners in mind. I'll provide all the necessary resources including character reference images and project files. So all you need is a computer to run blender, which you can download for free from Blender dot or G. Stopped dreaming about creating 3D animations and start turning your ideas into reality. Join me in this Skillshare class now and discover the power of Blender for yourself. 2. Duck body: Hello everyone, welcome to this course and what you see here, first of all, before we start in the left corner, you can see completely everything that I press. So in case if you have any question, just take a look at the left corner. The second one for users who have some good experience and feel very comfortable with Blender. Please be patient because today I'm going to explain the most simple things where people can make their first steps, which mean for beginners. Before we start, let's save our file because blender lot sometime to surprise us with a crush. So Control S, choose it. Let's name this one. Duck, very simple. Safe, blind, lender file. Rachel, a fortress, everything and delete it. Good. Under this course you can find the zip file with some references and texture. Downloaded this one, please. Then open the folder and you're going to see a duck referenced that we're going to use for today. Click on the image and just drag into our blender. And good. There are three main buttons that you're going to use most of the time. This is S for scale, R for rotation, then G to move grid. This is our center of our 3D world. So what I'm gonna do right now, click on your image alt G to move it to the center Altair to make it fluid. And let all good. Then you can see we have a red, green and one more blue axis. This is x axis, e Greek axis. And the blue one, is it? What I'm gonna do right now? Again, click on your image. X and 90. Good. What I've done, I make a rotation or 90-degree on x axis, which is the red one. Then S for scale. And just make this one a little bit more a bigger, good G, big rig and move it behind like that. If you wanted to move yourself around the 3D world, just press on the mouse wheel and move yourself like that. But there are some hotkeys that you're going to help you a little bit more, or numpad, you have one from the front view, three, whether save you and seven. Just take a look above. So most of the time you're going to use all of the 31 and I'm in the front view. Good job. Let's go for it. If you want to add any object which we should to do right now, shift a, mesh and Qp, good, as j Omega, this one a little bit bigger. And actually what I want, press on your image g and move it a little bit above g, x n, something like that will be perfect. Good job. Press again on our cube and go here and double-click to rename this one. Let's call that duck. Buddy. Good job. Go here. You can see this icon of the setting. Press it. Let me make this one like this. Quickly take a look and then you're going to repeat. So this settings usually is for modifiers. Let me show you an example of a modifier to the TBI going to use pretty a lot through this course. So I press Control two and I subdivided my object, which you can see right now. Long story short. Every object has an NMR of polygons. And when do you use subdivision surface modifier? You just increase the number of polygons, which will allow you to add to make your work more detailed. So you have two options. You can e.g. to add modifier from here to sear subdivision and said, But the hotkey control two is more fester, great. Now we can try L sequential Chu and now we transform our cube into a sphere. Good, in this lesson we're going to do only this body. Our next step is the edit mode. Right now we are in the object mode. Click here and choose Edit or the hotkey tab, tab, tab, tap, tap. Good job. I'm going to add a few more loops. Take a look. I press control air. And if I'm going to drag my mouse around, you can see some yellow lines. Vertical one and the horizontal one. I'm going to use my mouse wheel. One more forward to it, one more loop, and then left-click to press enter edit. Great. Now I can see that our object change a little bit. He shape, I'm back to the object mode, which is Deb, or here, I choose my object, you can repeat it l, so S for scale. And let's make this one, let's feed this one under our reference. Just use your reference and don't try to copy everything. Good. Something like this is okay. Then I'm going to press S. And I'll make it a little bit bigger only on the z axis. G, a little bit above G. A little bit more, something like this. Good. Can you see what we have right now behind the far object? Of course no material you choose your reference. What you're gonna do, there is an amazing display mode in the blender. So these two squares, if I'm going to press, I can see whether it'd be kind of my object. And return. They call it k is Alt Z. So I'll set this one, even have a name transparent scene display. So I click on this. And then I use step to back to the edit mode. Actually let me show you one more thing. Again. If you're a complete beginner, let me explain just simple things. So we have 12.3. What did this take? A look here. One is vertices every object contain, let's call this 13 main aspects is verticals, which is this one, these points and one on keyboard edges, which is Chuan keyboard, and this is these loans. And also we can basis which are three on the keyboard and this third icon, and these are our faces. Good. One on EmpID do the front view. I choose vertices, which is one of the keyboard. And then I go to the transparent mode. Great job. Use your mouse and choose only this one above. And then we're going to use our reference to make our object in the same way as for scale. And just move your mouse inside. And then you can see that our shape start to look more like our, like our duck. Good lecture, the transparent mode. I chose this one below. And S juice that we've a bit inside g and move a little bit above. Great. Then I'm going to use this one also S. And I'm going to use only on x axis. So juiced like this, good chap. And also I have implants to choose these two and make z. X is a little bit like that. Then I'm going to press on tip to back to the object mode. I'm going to move myself out of the transparent mode, which is outset and just g, x like this. I'll make it one more step before we're going to finish our lesson. Perez, Right, The co-req and shade smooth because we have some squares before, but definitely the chase move is much better. Control S to save our file and we don't, with our first lesson, I don't want to make them very long just to keep it simple and entertaining. Thank you so much for your attention and I see you the next one. 3. Duck wings: Lesson number two, where we're going to create our wings and probably want to add some highest at the end of this lesson to. So let's start. First of all, I like to make this one a little bit thicker, which mean our body S peaks. And like the juice Toledo, the g x, and it's right here. Good. We can go to Edit Mode, Transparent. Choose all of the vertices as inside, like this. Again, no, at least for me, it's a little bit more and better. Great job. Let's start with our right-wing because how you can see they are a little bit different because here in the left one he called some knife. Before we're going to move forward. First of all, we should to apply our subdivision surface. You can see the difference. So right now, the amount of polygons that we have right now. And when we gonna do this one in the object mode, you can apply any modifier in the edit mode, only the object mode. So be sure that you are here. Then we go here and apply. Nothing changed. You think we're winning breast up and go to the Edit mode. You can see that we have way more polygons. Good job. Three or number, which will allow you to move on this side view. And I will show you how we'll choose these phases, which is this icon or three on keyboards. So three, and then I choose this, I hold Shift and left-click, left-click, left-click. Great job. There is a function like Extrude, which is, which we're going to use also very often in future. Also, let me first of all show you. So this is extrude region and the hotkey is, first of all, let me just show you what it is. So I press E and I can move on. Actually, I don't need z. I can move wherever I want. And let allow me to extrude some polygons from my mesh, controls it. And then we're going to choose, we're going to press E x-axis and extrude a bit like this. Good G movie though it'll be down air without any xy Griggs edges and rotate like this. X. Good. D z, d x, k. Remember the function that we used in the previous lesson, which is control error, let alone to add you additional loop. So I press Control error. I use my mouse. And we should add this loop right here on the right week. So left-click, good S for scale and make this one a little bit bigger for rotation. Good job. Then again, choose faces. In that lesson, we just shoot to play a little bit around. There is no thing like do this, do that, just use your reference. Use the function that we learned before. Again, choose these hold Shift, hold Shift, right-click. And good, make it like this. G, x. If you want to choose the entire loop, instead of holding Shift left-click, left-click, just use Alt and left-click and voila. You use the entire loop to make this one a little bit shorter. Then I'm going to choose the only these two edges, 12. And I'm going to move a little bit above. And the last one that I want to use these to one, to one and m, But from the front view and move it like that, okay, back to the object mode. And you probably think that, that look bad and you know what? I'm angry, but we will subdivide this 11 more time control too. You can see that now the shape is way more smooth. And one more thing that they want to say, never judge your work, be the way how it look at the first steps when we're going to add texture winning, going to add camera and background and things. Even these simple shapes look way, way, way more betters. Back to the edit mode. Let me just alt. Attribute this loop again. As for a scale, make this one just a little bit bigger, is not completely like reference, but something close. And Elsa, let me choose this one if you want to move yourself around the world. So when you hold mouse, mouse wheel, you can rotate, but if you want to move, you hold Shift and mouse wheel. So like that. Yeah, okay. Two on the keyboard. Up here we should to use Alt plus shift plus left quakes are like here, like here, and here. S for scale. And something like that is good. D, G, and we are here. Okay, so we finished with our right wing. Again, you probably can think that, Oh, but this slide is a little bit more thicker. Y, in our case is more thinner. Again, we don't need to make it completely like that. It will be something close, but not completely. Great. Let's move share our left-wing. Which have a little bit different shape. And I'm going to show you one more additional step, additional function that is very useful in future. So back to the edit mode, which is step before, before we're going to, we're going to choose our polygons. Just take a look. So there is another function like a knife, which is K on the keyboard. So this function, so you can see here, let me show you again now you can see the letter c0. Good. And you can see that the, even the icon of our models changed. This function is very useful if you want to add some additional edges. So I personally want an edge between these two. If I'm going to use e.g. quantum error, yes, we can add, but you do will be for our entire, our entire mesh, but I don't want it. I want only here and here. And then K on the keyboard, J on the keyboard. Then I click here, here and enter. Now we have one more edge. You can repeat. And then three on the keyboard for phases. And we're going to choose this face, this face, this, this, this, and then six phases in summary, one of the numbers, and let's extrude and play around E, x momentum, it will be here. Then right here, air are dated like this. S for scale. And again, and again extrude, again G, something like that. Air scale, g, x nothing card. I just do the same thing that I showed you before. Just scale, rotate, move, scale, rotate and move. Now, I want to choose this edge loop which is joined the keyboard for the edge mode, then Alt and press Alt left-click. And we choose, yes, we choose it. Good for rotation and just rotate it a little bit, like from down to the right. Good. G, x, move it a little bit here. Use your reference. One, I'm on the base mode, which is 300. Gabriel, I chose this, this, this, this is S for scale, great job. Error right here, g, x, k. Probably one thing I'm going to choose again, this loop g, and we'll move somewhere here as for scale their edges, but you can see them right now. You have another function which is L of Z, which is actually the same function only there. Another way how you can use it in the edit mode. So you will see completely everything, but you should just be careful because you can e.g. drug here, but you're going to choose something behind. So be careful just with this function and be sure that you choose what you want it. I want to choose this edge, this edge, and this one. Let me check. Yes, I am back which is outset G. And move it a little bit. Okay, let me check. Yes, this is definitely what I needed. Let's take a look. I would like here to take this point. So which is one and the keyboard G. And just let me move it right there. Also this one, G, and it's right here. This one's a little bit above g, x. This K, Great job. So I think we don't without rubbings, probably want to do something through the course, but for now, it's okay. So we've finished with our second lesson. And I guess some of you probably can think that that doesn't look really promising, but let me show you just how a texture can change completely everything. So they could take a look at the shape and take a look at our final animation. Actually done this animation before. And then I decided to create a course about, so, don't worry, everything gonna be amazing. And I'll see you in the next lesson. 4. Eyes, Beak and Legs : Hello everyone. Guess what? This is my second time recording this lesson. Why? Because my blender crush. Thank you so much blender. So let's do this one again. I hope you're in a good disposition. I keep my disposition good. So what I said, screenshot. Okay. Now you can see everything that they take, everything that I press good sharp. So we can reference in this lesson, we're quickly like under 10 min, we're going to create ice, we're going to create big N, we're going to create legs. Let's start the first one. You probably noticed that the objects usually appear where these 3D cursor is placed. So instead of grid you can no, but you can then two more here here and things like that. There is something more better with Shift and right-click. I can play this 3D cursor wherever I want. So I'm going to place it here, shift a UV sphere for the I. And now we save ourselves, we save ourselves a little bit of time, S to scale and make this one a little bit more smaller. More. G is g x button, which is right there, Control S in case if my blender look Rush again to save our file. Right-click Shade Smooth though. It was before, Shade Smooth, it is now great job. Seven are numbered. And then I go for S agaric, NL make a little bit flat right there, good air. And during it from there, right, left. Good. And you'll probably notice right now that the part of the eye, it will be team site. So you can think, okay, we have x axis and we can move it like this. I'm going to show you another thing, also very useful and also very simple. So the function is x, x, and now you have an order, another exits. And it will be way more simple for in that case, I can do the same with the Greek agaric. So these two options can save you some time, some time. So I can go X6 and actually angled one are numbered X6. And now I am going to do this in my eye and in the buddy Sam seven for both. I like it. Good. Control S, We have one more I but my recommendation is to duplicate this part OR, and let's rename that not a sphere by double-click i underlying left, great. With hotkey Shift D, you can duplicate any objects. So Shift G, x, and now we have another I Altair to fit the rotation part. I'm going to the seven x and move from the center to the right, G, agriculture Greek. And I move this one a little bit inside like that. Great. One are numbered X6 and move this one and both Control S. Let me check the reference. Pardon, I should remove this one. G, set up g x right there. And now let's take a look straight, like in the reference current trial S, If you want to return the 3D cursor in the center of the world, the hotkeys Shift. Shift S. Yes, and you have coarser to world origin. Now we place it again. Shift right-click. And here. Okay, let's move forward and let's recall this one. I underline, right? Great. We have three steps. Step one is done and the second step will be joke, or, I'm sorry, big. So again, I look for my reference shift, right-click to place my 3D cursor here, Shift a, and we're going to choose cube. You probably think that it doesn't look very well. I'm hungry right now. It doesn't look very well as a Greek. Good reference. As S, scale G, right there. Great. Then controlled chew for a subdivision surface and then just check with a reference and make it a little bit bigger. Just try to fit under this reference as x. And then I'm going to rotate like that too much in my opinion. It's like in the reference, but I personally like something like that. Let me check. As Z Shade Smooth. We're gonna do one thing that you probably will not see the necessity right now, but we're going to apply texture or materials, colors, and things. We should do this one in our animation, you can see that his big head, the black line in-between. You can see this one even in our reference. And we're going to add this one right now. So we're going to apply our subdivision surface, then destroyed a little bit more polygons. And then we go to the Edit mode, which is step with a hotkey that we used before, construal error, I'm going to add one yellow loop here, more left-click, and then move it down here, and one more here. Left-click and move it like this. So it should be illegal distance between them to choose edge mode. Alt, left-click on this line x. If you wanted to delete something, is the X on the keyboard. So x, and I'm going to dissolve edges. Great. Then we're going to transform this line into this one black. I'm good. Control S to save. We've finished. You probably have the desire to click one more time and shade smooth shapes more about genomic control Chu to make this one out a little bit more smooth. But I wanted to recommend this one, at least for now, probably wouldn't want to add some texture. We're going to play around with this, but for now we don't need it, so leave it like that. Great job. And we have, the last step for that lesson is our legs. I'm going to leave the 3D cursor where it is. So shift a mesh and it gets what correctly, another cube. Then we go to the s, z and make it feel like this, okay? Three or none. But for the sake of u, g, e, Greek, and move this one a little bit in the front. If you have any desire to work in the solo mode with any object, what you can do, you have a slash on numpad, so slash, solo mode and back slash. Great, nothing character, just one simple keyboard. Let's rename this one like Lake, e.g. again, left. We start today with the left side of their body. Why are numbered as a little bit smaller than m? Go to the Edit mode. I'm going to choose the face behind which is three on the keyboard for the face mode, choose. And we go to the x, S, x, omega, this one more with illegal get the insights we shoot you have a little bit different. This one is should to be a little bit more larger than that. I'd say probably a lot of words, especially if you're a beginner, you're probably thinking that there's so much information, but believe me, there is nothing current one, week two, and you're going to do this one for easy without any help. Then control air. Loop. Use your mouse wheel to double that. Just want to move forward and then press Left quick one more time, left-click. Remember we extrude in the previous lesson, we're going to extrude them is less than L, So, so yes, you can see like e letter 0, pardon? First of all, choose this face and then you go to E and move it a little bit in front. Then S z omega is one like this, G, and move it on the left. This is a finger from the left side. Then we're going to choose this face E and move it in. Front is a little bit like that. And the list1 extrude the right finger and good, g, x, move it under Rajit, you have a little bit of space between the fingers as one are numbered. And because this is someday above stylized duck, we can move e.g. the right finger a little bit above this one, a little bit down, e.g. this one to make it a little bit more smaller. Okay, We'll come back into object mode. And a very, very simple function control done, right-click shades. And you can, if you'd like a little bit more, but no one will see that. But wherever if you want Edge mode, and we can take this one Shift left-click, and you can dissolve edges. So for this type of shape, so you can maintain leg bit or you can do something like this. I personally will leave it like that. Out of the solo mode, which means slash g z. Go down. To orient here, g x on the left air without any cigarette, just air and rotate. Three for this side view, if d, e Greek, move it under the wing in the same way, line-like wink, then g, z. And move it up. Take a look at the reference d, z is x, and just play around. Let me check. Why do we can do is e.g. to move the finger and the middle a little bit in front. These two we can make as x error set e.g. and this one is zed, zed. And then I'm going to move this length is g x. The right finger is a little bit out, but I personally don't see this one like like a problem because we have a stylized duck. And yeah, it'll be it'll be a little bit different. So these are the same legs. Probably don't want them. One thing that they want to do is to rotate. I don't like the way how it does. So g, x. Okay, and now is a good, you have here two options. Option number one, you can mirror the leg. So I choose leg, I choose the body. And then I press Alt modifier, a mirror modifier appear and I mirror or this one on the x-axis. But I personally will like, but in this case you don't have the ability, e.g. to move them apart. So in that case, I will duplicate their people from my previous courses who said that the mirror are like all things doesn't work. So in case, if, in your case it doesn't work, also, go to the Edit, go to the preferences for I came up here, check Mirror. Geez more. So we can see mirror gizmo and take a look. First of all, if you have the chicken and the second one, take a look at the hotkey. Probably have another hotkey in my case, is Alt X. Done? Great. I hope I explained this one and you will not have any questions. So I press on my leg, shift g x, I'm over it out air. And then I'm just going to play, I'm going to use the same function that you use all the time. Like these aches. Though. We've finished with our third lesson, and it starts to look a little bit better, more fulfilled. I personally like it. We can remove the grid. In the next lesson, we're going to add the knife. These things. What are the things? Is if you look at the cartons and I'm sure most of that equals c cartons, this type of questionable emotion or when you collect questions and you have three things, they did appear, so I just decided to add them. We're going to create this 10th. And the background, I don't know, probably will create an immigrant also because it's like 1 min of doing this stuff. Thank you so much for your attention again, I hope everything is good. I hope I keep my corrosion Jordanian can if you have any review, leave a review for under the scores and the rest. Let's move to our next lesson. And don't forget to save in case if you don't want lender to surprise you with a crush. So I saved grid. See you in the next lesson. 5. New Add on, Background, Stand and Props 4: Lesson number four. Welcome, welcome. In this lesson we're going to create the rest of the things. And then we're going to play with our animation texture and we're going to render. So you are very close to finish your work and especially if you do this one for the first time, hope you are still here. So let's start with our background. Let's start actually true. Let's hide our reference. So click on your image, harsh and you hide it. Good. Then I'll choose everything with a, everything in our scene, g, z. And let's move this one above L. So I wanted to play the cursor in the middle, which is Shift S, crucial, Google search, world origin. Good job control is nice. I think. Let's rename this one leg, right? Good. Let's start with our background, which is very, very simple. Shift a mesh plane. You want to see plain S for scale, make this one big like that, and control each reverse. If you want to reverse something is Control E, G and move it up, then back to our plane. Let's call this one back. Ground control, S, edit mode, edge mode. Click on that one e to extrude that we did before. Is it actually tweaks through this one and the zip line. Then you choose this one, control B. Control B, either modifier of bevel. Let me show you, just take a look and then you're going to repeat. So Control V and I drag my mouse and then using my mouse wheel and make a few more. If you rotations forward, and I can add additional, additional edges. Left Greek, done, then I'm back to the object mode. Right-click Shade, Smooth, that how you created our background, nothing card. Then I'll lecture and move this one here. So yes, Control S. Let's make it s x. And a little bit like that. S is going to be playing this good chap. So right now you have a background. Then the next step is stent shift a mesh and we're going to create a cylinder action. Not great, but chooses cylinder S for scale, make it be gleich vet than S. And move it here. This is our standard we're going to do right now in case if you asked like whether this tent, this is our standard. Okay? So S everywhere with smaller peaks right there, air rotated, g, x right there. You will see this one better from the side view as zed, zed. This function will return in the previous lesson. Error like this, G, Zip. Move it down. I think like if this will be okay, he levitated or it will be, but don't forget that this is dark, that can fly. So there is nothing there, nothing wild. And our work history would have been in the air because he that that can that can fly. Okay, one of the non-point controllers, then what I'm gonna do edit mode, face mode, which is three, I'm going to choose this face e, but not x true there is one thing else, like Insert, I'm going to show you, I press E and I move this one inside though. This one, I will create a polygon inside of your polygon, in our case, space inside of your face. So one more time, e, move it a little bit inside like that. Then we're going to extrude, which is also eat. But only in the letter. The letter is different but sounds in the same way. And on the Z line and move it like that. Oh, okay. Right-click Shade Smooth. Do you like it? Of course now we go here. We compute normals and be sure that you've checked on the auto smooth. Now let's look a little bit more about that. We have here two options. You can leave it like that. Three options actually, you can leave it like that in case you feel like it. Option number two, you can go to the Modifiers, add modifier, and you have here babble, which you use before like in a few minutes ago. And navigate to see like before and after, you can play with the settings with these settings to make this one a little bit more smooth. And if you'd like, you can leave it like that. But I personally would like to choose to do something else. For a beginner, especially with it'll be, it'll be pretty useful. So think Neo4j is it. Okay? So right now I have an add-on. Take a look. If you like it, you're gonna do, if you don't know, one-click damage, you don't have this one right now. I'm going to explain why and I'm going to show you how to install. Make damage. I think my work, this then start to look a little bit more interesting. I have two parameters here to settings, and you can play with these, I can play with that. So I wanted to slice something like this. I just think that if you liked it and if you want to add the same them into your stent, you go to the blender market. Create an account. This is very easy, very like one-minute male, male passwords receive a mail on your link, on your mail and adult. Then you search for OCD, which is one-click damage. It's completely free. You click on the purchase then because it's free, but you can base on, I think if you're, if you're a wealthy like non-problem but different nodes. So free version, click it, download it, and you're going to have a zip file. Don't extract anything from that zip file. You go to your Edit Preferences. Take a look now understand this is 1 min, very simple. Install. You search for your add-on. So e.g. this is OCD light zip file, which you're going to have this same. You just click on it in cell A1 and like 5 s and it's done. Then we're just going to check here OECD, which is you're going to have a check-off, be sure that you make a check in. I know it sounds probably very complicated when you do this one for the first time, but there is nothing hard. Just choose 3 min, create an account, download the zip file instead of Adam in the way how I showed you, be sure that there is a check-in. And then you're going to find that in the menu on the right side. How to open this menu is N on the keyboard. And then you see which for the OCD, one-click damage may damage. Easy, I think, yes, even if you're a beginner, just reward this 11 more time. I tell you again, nothing card. I personally like it. If you don't like it, you have all the righteous say that you don't like it. It's another problem. If you'd like to move this one, you can see that something weird. So for that, if you'd like the damage that rigid, I think I like it. Let me check. I like it. I like this one amount amount like this. For me, it's good. Okay, Then you go here in the object more, don't forget and Control S. In some cases it will crush a player one, player two. And now right-click. Oh, we have a background, we have stent, and now it's time for knife or this one. Let's start with this one. It will be way more faster in the knife will be the last one. So let me move our cursor here, Q, G, S to make it small like this, as I said, to make this one bigger. Here, side view, G, e Greek. Put this one in the center, like wherever beings and where her legs even more it can move this one a little bit behind like that. Rotated like this. We go to this other mode, which is the slash or numbered in case if you forget nothing wrong, if you forget something, S, zed, zed, to make this one bigger, I'm going to choose this phase is tremendous. One electrode is smaller, and voila, I'm gonna make this one a bit smaller. I'm going to move this one here, okay? Again, you have another option you can make, make the, make the image. I like it. I really like it. Or you have another option. You can remove that one, pick the image, and you can add a bevel modifier, which will make your work stylized a little bit. Also. I forgot. You should tell them first the boot being given name cube. Props. Let's call this one like probes, underlying one. If you like it, I personally like it. I'm going to apply, I'm going to apply then Shift D to duplicate of this one here as to make this one a little bit smaller, air for rotation and play this one somewhere here, a little bit longer. The same thing right there. Fence or a notation. The domain like that as zed like that, G. Great job. Anytime bit blank, please. I hope to that moment I explained everything very clear because with much details how I can, because I know it's very important that I know how it feels when you, when some teacher do something, can you have no idea what he did? One thing that I don't like it, they all three are similar. So I'm gonna check error z and make 108 T or a day. And now they're potato might get errors at 90 or no, I like it, e.g. this one or X. Is it ok? Oh, ok. I just rotate it. Again. You don't need to make this one completely the same way. You can just play around and make it how you personally like it. I give you the tools. You work with these tools wherever in the way how you want. Let's go here, here. Three lecture this face and make this one a little bit bigger. But no, no. As unfortunately, that will look weird because we applied our one-click dementia wherever I like it. I like it Okay. Control S to save. And now it's time for the last, for the best. It's knife. 6. Knife: Shift right-click mesh cube. Again. S to make it smaller, S e Greek. To extrude this one. I'm not really good sharp one are numbered burden G here as it is inside of the hand. S, like that. Okay, like that, there's good. One, d x, z. And I want to move this one over Britain. Front leg fit in the hall. One are numbered as x g. This time instead of one quick damage. Let me take this one off. I'm going to go to the Edit mode. So the mode, then I'm going to choose the edge mode, a lot of modes. I'm going to choose this shift late last week, this shoot locally this and shift left-click this, then Control V, which is the same bevel modifier only when you're blind modifier from here, you will apply bevel on every age, but I want all of them this fall. So that's why we go to the Edit mode. We chew them, then Control V and something well, is using your mouse wheel, you can increase the amount of edges in-between or to decrease. So I'm going to leave like one in-between or cheer or oh, okay, I like it. Then Edge Mode, choose without left-click this and lead to the same only, with only decrease all of the edges in-between. Drag the mouse. You can see that we have a bridge in-between this part and this part. So what I'm gonna do, I'm going to duplicate, which is Shift D e Greek to move it forward S domain, this one a bit smaller actually, no, excuse me. As S e Greek on. Then I'm gonna go here. I'm going to make smaller. Just place this one in the center. G agaric. Move this one inside S, Z or something like that. G, x. Now it's good. Let me check. Yeah, the breach is done. Now it's time for the last part. It blade, and we want to finish with this lesson also. So we go here, shift right-click place in the middle for each app, shift a mesh, and choose Blaine than air In Greek, 90 degree. Good job. Let's go right there. S e Greek. Make this one a little bit longer. Move this one a little bit in front. Ji, move this one down as make this one smaller. And now I go to the edges, it just move this one above. Let's go to the solo mode. It will be a little bit more comfortable. So slash on the numpad. Then I go to the Edit Mode. Then I'm going to extrude this phase to make this one a bit more thicker like that. Oh, okay. From the side view, which is three unhampered edit mode again, control air and add three loops. Left-click, left-click, great job. Then we go to the transparent mode or are vertices which has one on the keyboard and choose only these to be sure. I mean, when you are under the respire mode, you choose all of them for g, e, Greek, and move them in front like that, okay? Then you choose this one or both. And G, agaric and more of this warning for arc length this, and then these three d e Greek, move them in foreign and then air and rotate them like that. This one again D, and move them up. Okay. Now we're going to apply a subdivision surface control to, and you probably want to make this one a little bit more sharp. We go back to the edit mode. Edge Mode, choose on this one, x dissolve edge, then Face Mode, choose this face and press eight. Good. No, I can't now with more sharper here. And if you want to make this part a little bit more sharper, control air, add another loop and more weight up like that. I would like also these two g gripped them somewhere here. And this one. Let me check. Here. I like it. Now there's a back seven above are here, g, x and move it. Whereas our bridge g, z, like that. And I would like to make this one a little bit more thinner, S X a little bit like this. And again, g x like that. Alright, ***. You probably think that I don't like this artifacts Shade Smooth. And then you probably think we can go to the normals, normal subjective, it will change something normals auto smooth years has changed. You probably can think that I don't like that. I want to apply another subdivision surface. No, there is no necessity in that even if you have a strong BC, first of all, if your PCM strong, it will be too heavy. And again, when you're going to add texture, remember this is glaze style, which doesn't mean that we should do everything like very sharp, like that. It's more than enough. Good, G, e, Greek, and good Control S to save. And let me check the one-on-one. If you will check our reference. Let me check slash mode. You can see that these long this party lake in the front. So I'm going to get out, I'm gonna choose this, this and this and that. And like that g, x and move it here. And something like that. What do you think it will add? One quick damage. Let me just try. I don't say that. I'm not sure. Scale, amount. Not really. Most green but what if our clouds? No, we taught delete and delete. Okay. I like the way how it look right now. Yeah, I like it probably this one. I would like to turn this one errors at something like this, or is it just a little bit inside? Good G somewhere here? Eric said that G in Greek root chap. We've finished. I hope everything is good. I hope you don't have any question. In the next lesson, we're going to set the camera for the animation. And only then we're going to add texture, colors and things. You probably think that no, I want texture and then camera, but I don't recommend because when you want to add texture or materials, it will make your file more heavy and animation will start to lag. So that way, it will be much better to say the camera right now to make sure that you like the way how it looks, and then to add texture. So from the point of the productivity, or it depends on your PC, but much better their color and texture in rest. Thank you so much. I see you in the next lesson. No, I don't see you because I want to rename this one, blade burden late. This one. Knife older. And the part in the middle is rich, rich. K. This one is stand. This one is where we are props number one, let's call this one number two. And we have probes. Number three, background, whereas our background or half empty. No, I like everything. Let me check. Good. It looks pretty similar to our reference. Where is our reference? Here? Your g is g, x. Let me check. Here. They look pretty similar. Or even hour is better, you know what? Our is better than this. Thank you. This lesson probably was 4.15 min, but the rest, I hope everything is good. I hope you're in a good disposition and I see you in the next lesson and good bye. See you soon. 7. Set lights: In this lesson, we're going to establish the lights and said the camera for our future animation. And then very soon we're going to finish with our first render. So the third thing first, please close this collection and double-click. Let's rename this one. Dark, dark, dark. We're going to create another one with a right-click, new collection, but it used to be outside. So new collection, just be sure that you don't have to tap on that double-click. And let's call this one. Background crops. Good. Here will be Lights, Camera, and other things. Let's start first of all with our lights. No, I'm sorry. First of all, let's start with our default setting for our animation. So I'm going here. And instead of rendering engine first and we will be with cycles. And then we're going to do another render with either, we're going to have two renders, I promise it, we're going to have cycles first. Then we're gonna go here and we're going to change this size, which will be a square, square root type of resolution. So for this one, we should have the same number. I personally choose 1,500, 1500s. Another thing, the entire, the entire loop, 100 of frames. So here instead of $250, switch on 100 Control S to save for each app. Back here to the render properties in the color management, which is the last one. Filmic choose medium, high contrast. Great. Another thing is here are the denoise. Apply on denoise. Be sure that the Euro have a chicken and denoise or should choose an open image, denoise. The same thing right there. We have openly mentioned in this great, One more thing, Mack symbols should to be 64 here and 2000s, 256 for the render. These properties can be different. If your PC is very weak, this one is a good, my Vc is pretty, pretty good, but I just found that like something like 256 is also very good if you have a desire to increase this number, No problem, do that. It's not very important is this choice depends where you. Great job. Now let's go with our lights. We're going to have three sources of lights. Let's start with a default one, festival Shift S, causal role, the region, great. The next step, shift a light point. This will be our general light G. Move it up. Move this one on the right. Let me check. Yeah, it should be somewhere on one level with our dark even a little bit behind, just a little bit like the one on the numpad. Then we go here on this source like a lamp click. And instead of ten, one-thousandths. Great job. Let's check. Good. Here. I think. Gee, agaric. Oh, okay. We have one. Let's go to the next one. Instead of shifts a Adelaide, we just can duplicate this one, Shift D x right there. This will be source in front, so we're going to move this one in front of a group G. But instead of simple buoyant, it will be sun. But sun is something very powerful. 1000s, let me just show you 1,000 is too much. So we're gonna go with to do as good a Greek and just move it up. And move this one somewhere towards the peak of our dark air down. Somewhere Here. It is. Good. Jay, angry. Let me check one. And the next one will be one behind. So Shift D Z, move it down. Gi enteric, more this one behind. And it will be another son with another, I think 1.6, we'll be good. And then it should the light should be in-between the wing and the body, so somewhere or above the shoulder. Let's hide our background like that. Okay, now it's a little bit more comfortable. So air e Greek and move it up. Errors that, and go somewhere here. Let's check this. I'm gonna go here, check for the background. We actually can move background in our collection, in the background collection also. So for this one, just press M on the keyboard and move it in the background. Prompts. Great job. So now with our background, we go here and I think we should try to increase the power of our two g z. Okay? We tout with I don't like it, just takes a little bit more toward the body behind. So now we can see the difference or something like that. Some were here. Yes. So I don't need this one to be to emphasize very much that we have a light in behind, but just a little bit so you see just a simple booleq controls it. Harsh, controls that harsh. Okay, there is a difference and I think it's enough with our light. Probably. When are you going to move forward? We're going to play a little bit around, but for now, I personally say that this is enough or geographic. Think like that. Air under. Oh, okay. Let's start with our camera settings. So my recommendation, just take a look onetime to understand the movement. It's pretty easy. But when you do this one for that, when you do this for the first time, a probably it will look complicated. So please take a look and then you're going to do the same thing. 8. Camera animation: Now it's time to set our camera. So first thing first, be sure that the cursor is placed it in the middle of our three-year-old. For this one shift is of course social world, the region great. Shift a and empty plain x's. Then shift a hidden camera, grade seven on the numbered g, e Greek, and move your camera in front. Then we're going to parent our camera to our empty. How? Just hold down control and left-click on the MTO will be set parent to object. Now when I'm going to move our empty e.g. rotation and the z axis. You can see the camera and move around and it will make the workflow a little bit more easy and more comfortable. The next step, let's set our camera. If you want to see through the camera, is zero or non but but do you like what you see right now? I think no. I personally also. So open your empty here is our camera and the icon of a camera up you're here. Good type right now is type of perspective. I personally don't like it and I want to switch this one on the orthographic. Orthographic is the same if you're e.g. a. Quick one on the cable, on the numpad or 31. And the same thing orthographic give you the same type of view. Then we're going to increase her for graphic scale for around 12. Okay, shift e Greek more this one and both. Okay, we should make this one for on 15, I suppose. No, this 113.9, 0.9 is good. Let me check. Little bit down here. At 03. Oh, okay, For me, it's perfect. Great. Right now let's set our animation. I would like to ask you to not do anything. Please take a look One time to understand what I do because it will look very complicated and they start, especially if you do for the first time. But you understand that this is very easy to understand their movements. So let me just show you. I drag the timeline. How you can see we have here on the 100 frames in the same way how we set this one before. So right there. Good. Now I'm gonna go in this yellow square, which is our object property. Let me just show you this is location, this is rotation and scale of our camera, but we need our empty, which is 000. Why? Because if the center of our three-year-old, you've got, I'm going to move e.g. a. Rotation on the z axis. You can see our camera is moving also zero. What I want, first of all, I want to our animation to start from the left side of you. Something like that will be, will be good. Then it's very simple movement. I press E on the keyboard. And this is insert keyframe in your, he asked me, what do you want? Where do you want to play to place your keyframe? I say I want to place on rotation yellow point appear here and also everything to only yellow. Let me just show you. Let me move forward. I'm on the frame 30 e.g. and I'm going to place here minus two. I press E, keyframe appear, I'm going 40, I e.g. switch this one on to E, can frame my pure. Take a look. So you have two choices. The steps are pretty simple. You said the rotation in our cases rotation, but you also can play with location scale. You said the rotation. Then you can press E, rotation here for the uterus. Uterus can press E here and everything will return in yellow. If everything is yellow, vitamin that you establish the keyframe. Also, the keyframe will appear right there. Is it easy? I hope I explained clear. Nothing card said this hitting set the transform property and then just e for the keyframe that let me remove this and let's do this one again together. So go to our camera. Worries are empty and suddenly I removed my empty. I don't know how I'm going to check this one. What I want to add dates. So let me add this 11 more time playing excess camera M2, Control P, object. Let me check right now. Oh, I honestly don't know, but I don't want to remove that part because the part of the process, and it's very important to show that sometime you commit errors and how to overcome that. So it was a mistake. Don't know why, but it's not a big problem. Just create another empty set, this one and everything will be okay. Now we can do this one together. So z -17 will be good. And I press E, E here, rotation rage up. Let's move to the frame, keyframe. And let's do this one with minus two e for the keyframe grade. Let's go here under 40 admin. Those things like these hopes. I think like they're like 6.6 E They came frame Let's go 65 e.g. no, I think on 77. And let's move on the right side. Something like this, e for the keyframe. And then choose the first one, shift T, and more of this one on the list on 100. Okay? Now let's take a look at our animation. So okay, this is how you create your infinity loop. This lesson probably was a little bit more complicated than the previous one because we did a lot of things, especially if you do this one for the first time. But you can see there was nothing hard. Just say the camera, then E for the keyframe. And at all, I think I would like this one to move a little bit more. I mean, I want to maintain the camera, the focus a little bit at the center and then on the right and then back to the left. So let me check right there. Oh, okay. Now as good, probably even under $50. I like it how it was before, which is 45. Okay. Let me check here. We don't have colors on the next lesson. Finally, we're going to add our texts are all probably will not. I will show you a trick with how we can add the camera shaking and then we're going to add the texture. So let me show you one more time. Well, you work with 3D. You can expect anything else. Thank you so much and I'll see you in the next lesson. 9. Camera Shaking + props: I promised you that in the next lesson, we're going to do that texture, but I'm sorry. But don't skip it. Very cool thing that they're going to add right now, and it will be under 5 min here, I promise you. So take a look and then they went to repeat, I'm going to add the camera shaking. How are we gonna do? First of all, if you want to add additional window to your, to your workspace, you go here and when your icon, your mouse turn into something like that. Just press right-click, vertical split, left-click. Know we have two windows which will be more comfortable. Then here, choose the graph editor. You're like, whoa, What are the same, the beginner in this too hard for me. Don't worry. This one on the right, you don't need it for now. So this is our keyframes of our camera. Take a look. I choose all of them with a on keyboard, which will be like all the time. And then I press V and choose vector. It will make it a little bit more smooth. My next movement gonna be next, my next one, we're going to be an expert. You're smart. And for the side menu, and here we have modifiers and modify it. But before, before, you have your object transformation, which is this yellow square. So this is the same. I opened and I choose x rotation. And then I'm going to add a modifier noise. Let me just show you one is how it look. You say like Alexander, you promise as something good and it doesn't look good. I know, but we're going to switch our settings on 89. Right now, strength will be 05. And here Check-in influence reduce to 0.2. Take like that. There aren't some big change. Just because, I mean, you can see that everything you see the world or more a little bit around. So it just a little shaking, which I didn't have in place to do this. One very emphasized this a lot, but a little thing like that. Going to make our final work a little bit more interesting. So you can play with this settings. You have scaled strength and influence. I think. What about the 03, whether the same time 88. Let me check. Okay. So I personally like it so you can see how everything move around. And when we went to render, it will look a little bit more interesting. Thank you so much. This is all for our camera. Let's do the same thing with our props right here. It will be an additional thing that is similar with everything else, will make your work much better than just one simple animation like this, where the camera shaking Alice, a little shaking lake. Here. Let me just show you. So you can see they move themselves up and down, up and down. So let's do the same thing right now. I promise it will help you to remember much better what we did before. Again, take a look. We go here, e.g. when you go to the object transformation, you can see that the numbers here are pretty weird. I mean, what are these numbers? We should to apply all of our transformation that we did before. So for this, I press Control a and apply all transforms. Now everything is 00001 for the scale, the same thing here, Control a or transforms. Same thing here, Control a or transfers. Great job. I'm gonna go here. We are on our timeline. So I'm going to move this thing on the location. Let me go with the z one on them, but let's check it. So we are here to insert call the keyframes. Great. Let's go on the 30 more. This one a little bit up, e.g. like zero to don't make it too big. And just play around like 01, okay? E, tracer, the gain frame. I go here, somewhere like, I don't know, 50. Let's say, let's go a little bit down e for the keyframe and greater than 70. Let's move a little bit up again, E on the keyframe. Don't try to copy the same settings just like something like 001 or zero to just play around and the way you like then to the first one she VD and go to the last one. Great. So no chemo for himself up and down. But you think it's all, know, we go here and let's do the same thing that we make with our camera shaking a to choose everything, just choose all of these keyframes and v vector grid. And to open the same menu, that first of all, we'll go here Open and choose x, z location. We work right now with a z. So we need to choose the location. And now we're going to have a modifier, window. Modifier. Nice. Our settings, let me just show you. Right now is go crazy, but we go with 29. Good strength will be 03, phase will be to an inflamed is going to be zero. Third, here, there are three. And now a very smooth movement up and down. Do like it. I hope you guys, because I personally like it. It's not something very important. Whether they ended will be much better. Let's do the same thing right here with this one. And let's move this time not only on the z, but also e.g. on the x. So came frame of one, choose wherever it came from you want. And here will be something like on the right, a little bit up, good, E for the keyframe. Then we go here. Let's go a little bit on the left. Let's go a little bit up again before they came frame somewhere here, e.g. 70. Okay, let's make it 75. We go down a little bit on the left for the gain frame to the first keyframe Shift D and move this one on the list frame. Great. Touches everything from V for the vector open right there. And this time I can add modifier because we work, Enrique ends it. So we'll go ahead and money for noise, good. And 2905 phase to influence 03 location. Let me try one thing. Control L. Now unfortunately doesn't work. I'll like can you control C, control V? No. Unfortunately, copy or copy of modifier based noise. So now we have the right. If you want to copy, I just didn't know before how to copy. I find this one the right node. So although here, you have here a thing like copy f modifier. You go to the z location and based their modifier. Let's check while we're here right now. So we have these things up and down. I personally think that this one and go too crazy, like to move it like 01 and here like 20 to copy x location based that check, let's remove this one, apply, this one. Apply. Okay, great. Let's copy that. Let's first of all, instead they came frames right there. So one of the game for him, ie, insert the same steps. I hope you do this one even without me right now, I believe that you understand this one pretty well. Let's play with the Greek e.g. why not agaric? It can be done that for the keyframe. And go here, go here for the keyframe. Go here, go here, e.g. E. For the keyframe to the first one, shoe di and tri there, S to save. Then e.g. choose here. Let's copy our modifier to be sure that your modifier is on just this thing should be white, fulfill white. We go here and object transformation. We work with a Greek one and apply, based and Apply. And now let's take a look from our camera. So go here. Let's remove this. Again. This one look way more better than what? Than just a simple animation. I'm going to show you a few more tweaks, but for now, now, we're going to texture. I know you waited because it's the most pleasant one. Don't worry. This time for real that we're going to texture in the next lesson. Thank you for steel here, a C on the next one. 10. Clay texture and Displace modifier: So it's time finally, materials. And on the next one we're going to render, we're going to have, first of all, this one, this animation. And then we're going to create these type of style, more like a toon shader. Great. Let's start with the first one. So let me drag this one down. Here. Let me drug open and here choose a shader editor. Good job. We go to our camera and just to see our final image, drag this one on the right. And let's create our first material. Where are the materials? So this sphere usually remind me a planet, but they don't think that this looked like planets. So just click here new material and let's call this one. Sorry, yellow, buddy. Oh, okay. The next step is, where is our empty reference that it was before we'll choose these colors. So moving herself out of the camera mode and back here. So with Shift a, you can add different things like always show the shift a Perez Image, Image Texture at click on this Cohen's d. And you're going to have this type of properties in case if you didn't work. And go to the Edit and go to the Preferences and go to the K-map here, search for textures setup and this shore so you can see, be sure that the chicken is. So Control T, texture setup. Great job. Then we're going to add that color ramp. Very useful thing to sit. And then we're going to add the bump modifier, bump node. Okay, it's all that we need for our texture. In the same folder you're going to follow and a few textures. So let's go with this one. Fingerprints. Click it. Then here on the color space, choose instead of sRGB color. And then connect this one with a color ramp. So right there, and they're called the rump choose with a roughness goods. But our reduction to have a color. So here where the base color, we could choose the speaker and click on that. So now let's take a look. Okay, we have something. Then we're gonna go here from the color and drag to the height. Bump, connect with the normal invert and strength should to be something like 0251 more thing. Go to the Edit Mode, choose a, which mean everything and make smart to be projection. You will have here 303266. Oh, okay. Let's take a look what we have. So you can see we applied our, our clay thing I think is too strong. And the way how you can set this whole strong it will look at depend be sitting here on the bump, on the strength. I think like 0150 will be much better. The distance, the a in something very important. So just play with it. It's right here on the color ramp. You see this Blake's wide Blake's. So we can reduce this one with dragging this part. And here let's make this one a little bit more brighter and move its think like that 0 of k. Now it's not so shiny. You can just play around with the settings. And one more thing is here on the scale. So mapping gonna influence on the way how your texts are gonna be applied on the entire mesh. So if you're going to make something like, I don't know, 20 2020, you're going to see that everything look way more, smaller because you increase the scale of this texture. So the best setting will be something like 1.11, 0.1, and Y 1.1. So you see right now we have, we have something more interesting. Let's go forward with everything else. So the next thing, click Share. Let's take our big why do we can do, instead of doing the same steps all of the time, go here to the yellow buddy, but it's not yellow. We can duplicate this one with this new material, but actually just duplicate. And now you can call this one big. Choose the color and this thing the same like here. So you can choose from here to the picker and take the orange. One. Good job. Now. Remember we have a black line in the middle. So what do we can do is go to the edit mode. On the face mode. Then we choose holding Alt left-click. And sometimes it's gonna be like this, but you should, should be more close to the edge and it will choose this thing in the middle. We create a new material, mu and assign. Now we have two materials on the same object. Good job. This thing, you can don't only in the edit mode, I hope everything is clear till now. You can do, you can go to the orange material, copy everything. I mean, drag copy and go to the material and delete this one and add that. And now, instead of orange juice, make it black, something like this. Okay. But do you think it's too thick? So what we can do, we go here, Edge Mode, choose this one G, and move it a little bit down. Choose this one, G zed, zed and more with a little bit. If it's too fast for you. I mean, when you move, hold Shift and it will be a little bit more, a little bit, it'll be more slower. So something like that. Let's go here. Now. I like it more. Okay, we can play around with the scale. I think 1.1 is too much. I mean, it's not enough. 10,511.51, 0.5. Let's check. Okay, we're going to check this one out a bit after. Let's reduce this white boutiques or K, This one more close to each other. Great job. Let's go forward with other things. So what we have, we have ice there, same thing here, or we actually can choose the black material because our eyes are black and they are similar. Actually. Here instead of 1.5, it will be 0.30, 0.30, 0.3. And on this, let me show you another thing. Instead of doing this, you can do something else. So can we go on the left? I can weaken the right eye, which have the material. Great. I forgot hold shift. Sometimes you have other simple things like that. So then you go to the Control L, L and press the link materials. I know they both share the same material. So this one and this one only the one problem that if you'd like to make any change here because this line and the eyes share the same material. So let's duplicate that. And this one will be for our eyes. Then this shift Control L link materials. Now our eyes have the ice material and these have the big middle part. Okay? They are the same only if you'd like to do some changes. There will be different. So we have material for that, we have material for that. Good job. Let's go forward. I think legs can share. They they are the same orange. Yes. So we click on them. Then we go here, Control L link materials. Then we're going to duplicate, because we don't need this one, we're going to duplicate this one. Remove, don't worry. And let's call this one legs. I'm not sure if it's likes or wherever. It's like sequential L link materials. Great job. We have our Allix and now we can play with e.g. a. Skill. Again, we can make something like, let's say 1.3, 13.1, 0.3. Good job. What do we have more? We have this thing that should be brown, yellow, body copy or duplicate. Then we call this one a stent. Then go here. And instead of that, we can choose something, just make it darker. Orange one. This aim brown, but honestly I like it, but didn't go into the Camera mode. And one more thing, go to the Edit mode h, which is everything, oh, smart to be projection. Okay, now we will look much better. I like this color honestly. Didn't play around. Darker, brighter, and darker mingle here, here. You know what? I like? I like this color. Yeah, I don't have any problem with that. And it's been really, really well. Go to the background. Now I do the knife. So again, choose e.g. actually for the background, we're gonna do gradients. So let's hide our reference. Go to the background. We are on the background. Good. New material called this one, back ground, whatever the next shift a and here the thing like gradient texture, click here. Then we're going to have a color ramp. Key. Move them up, a base color color here. But I like this one to be from here. So we go to the Gradient textural Control T and we should to switch. Yes. So this one on 180 or 90? 90 degree? Yes, it's 90-degree. Then using the occasion, you will move this one a little bit up, something like that. Don't worry about color. We're going to switch this color pretty soon. We're going to switch this one pretty. So let me play around like that or like this. I want you to have something other diagonal, linear. Actually the same results. So I'm going to leave the linear. And the thing is that I want this one to be read, something like that. Only more brighter. So I think like this. Okay, let them move this one a little bit. Don't know, I sit down. And instead of linear, Let's check around it. The best plain, easy. Original know it'd be supplying is more smooth out this transition between colors. What do we can do? We can take this one duplicate and we'll do something in the middle, so something like that. So now we have a pretty decent gradient. I'm going to remove this one here. Okay, and let's add also clay material to our backgrounds. So what do we wanna do? We go here, you can repeat the same steps. I don't see any necessity. We can just copy this part, go to the background and Control V. Good job. Now we add this color to the roughness, this normal to the normal. Then we go to the Edit mode too. Don't forget a smart TV projection of k. Now, we have our clay material here also. Using the few clicks. I don't know how much time was spent, but they think for around 10 min and everything starts to look completely, completely different. We have our knife and we hear this thing right there. So materials call this one props. Props. Yes. All of them are going to share this one. So it shows this shift, shift, this one should have been more brighter than this to control L link materials. Then here, instead of on the surface you have principle be as df. We're going to choose a mission and they visited like a glow effect of glowing oleic, the light, so you can see it right now. I wanted to have something like one point that's called the 31.3 or two. No, 1.3 is good OR gate. You can utilize that. In our animation, we have a line, the black line, line art, which make it look more, more better. So how to achieve it? I'm going to show you if you are in the version of Blender under the three, under the Russian three, you will not have this function. Only everything that is above our version three will have. So e.g. choose this one, shift a grease pencil, and here we have object line art. And now you edit this part, but it's too thick. So take a look. There, you should check him where it is or you are. We have an art, a stroke icon appear here. You go to the strokes open and here, here we have a thickness. Cale, I'll like to make this one is something like 0.4, which means a little bit more thinner and increase the resolution with 64. So now it's a little bit more thinner. We can do the same thing here. Go to the strokes, zero-point, Let's say 35 here, m and Omega like 64. And the same thing right there, object line art. I think the standard can play with 0564 and go to your camera. And let's check our animation for now. So let me do this. Let me do this and check with colors. We forget about life. Kids, little bit laggy. Of course, but everything look pretty decent. So let's go to our knife. This is blade part. We can add some. I don't remember. Yes, we have a black line art here, choose so we can open, control a Grease Pencil object line art. Sometimes they look very weird like in our case right now. Unfortunately, you can't control the behavior of this part. It is what it is. Let me try to add one more loop. Either going to add one more loop, you're going to remove this thing in the middle. So it depends on your topology. I'm not sure that I like this part. Let me try to add one more loop right there. And he is. Now, it doesn't look very sharp. But this is the point of this stylized work. So I just added one loop right there, one loop right there. And now I personally like how it look. Then we can go Here. We go through the materials, the material we're going to call this one blade. We're going to do the same thing that we did before, e.g. go to your body? Yes. Choose everything here, Control S here, control V, color to the roughness, normal to the normal. Let's check. Then you go to the Edit mode, a smart TV projection. Oh, okay. Great. We have these things. So let's go to our camera. Where is our reference? It's violet. So let's go here. Let's choose e.g. stem, because standards pretty similar actually much we can hear beaker and choose this one to make it, sorry, duplicate it first, then call this one knife holder, and then choose this one and here. Oh, okay. I hope you don't have any question. And I mean, everything is good because I tried to I know ties that they speak a little bit faster, but at the same time, I do the same thing that I explained in the first minutes. So nothing, nothing hard. I like this part. Let's go here. Knife holder, duplicate, bridge. Okay, and I want to make this one more darker. E.g. something. Like I suddenly choose another color. Let me go. E.g. here. Oh, here. I don't like the scale. 030-03-0550, 550-55-0555. I get more. Let me check the animation. Like you. But it's good. Okay, one more thing. Actually add one more thing. We have a triple, a little bit more to make it a little bit more, much better than it is right now because how can see that texture switch themselves here. So I'm going to show you how I did it. But first of all, here on the beak, I don't like that these two is too strong, so let me go to the beak and make this one a little bit more like that. Something like this writer that I just made this one a little bit more brighter. A few more things. We go to the Camera series for the camera. If you if you hear any noise right now, just know that at both of my apartment there is a redbud and he probably right now go crazy in the apartment. So this is why you hear some strange noise, but I hope you don't hear anything. And it's only on my site. So go to the camera, where empty. Here, camera on the icon. Here you have depth of file. Click on that. Now everything. We have some bluer around this scene. Let me show you here on the focus object. Choose our, I didn't even give it a name. So our big which is this part. And let's recall this one. Yes. Big. Back to the camera settings, camera here. And what did this, you're going to create a bluer around your object. This thing you're usually going to see in the movie. So it will be way more easy to explain this one with a good example. So this is what you usually use. In the film industry. You have any object in the scene where the main focus should she be in the background is more with some type of pleura. So here you can see it's sharp and here is bluer. Let me show you another example. E.g. right there. So more sharp, more blur. Why? This is an industry standard to use this thing. And it will allow you to focus more on the main object of the scene and to make it much better the final, the final compositing. So that's why we added the same thing where he's our blender right there. The background is a little bit more. You will not see, but the line here is little bit more blue or let me make this one like one. And now we can see the debugger on things or sharp, even the body of our dark and sharp. But if you're going to increase, I lost my camera, a knife on my camera like 3.2, it will be more sharper on the background. I went to see a little bit of our background. And then when the ratio to make 088, which means 883.13, 0.1 is good. We can make our entire world a little bit more brighter. How now you have this planet icon go here, background and a little bit more brighter. So e.g. like, this will be too much, but somewhere here, it's okay. Else. So let's play right now with our lights. Let's make this slide a little bit more like a sun, which means these a little bit more yellow. Why did it right now, it's a and streak pattern hydrous. Take a look. I just play with the settings and try to TV image that I would like it then. So 1050. Oh, okay, let me go here to the sun and let me, this one will be too much about this. Okay? Something like very, very, very empty yellow. Let me check three. No, 2.3. Okay. 2.3. Good. Let me check this one. How about for no? First of all, like this color to be a little bit more like a blue. You can see how the color on this side part of the body start to switch. So the red, violet. I'm going to use something like like that to 0.2. Now I like that final image a little bit more. I'm go here, g is up. Go here, G, excel little bit on the left. Oh, let me check. It's not very clear. But let me just wait. Let me drag this one right here. Drag this one right here. Remove everything can let me take a look. Okay, the rendering, the viewport is done. I like everything except one thing. It's background. I would like to increase the scales so I can go to the background. Beggar on material. I'm in the background material. E is, I'm gonna go here and on this scale I'm going to make it like 2.52 point 5.2, 0.5 actually have some additional texture in our folder so you can check and play around with them like chicken is something like this, e.g. but other backgrounds will not say a big difference. What about our main duck? I would like to try it just for fun to see. It's interesting. I don't say that they want to give is right now we should to play around with it. But let me make this one like 333. What is cool? What wherever it led me back to this and let me go back to our fingerprints. Fingerprints before we're going to finish our lesson right now, let's go through the material. Let's go to the modifiers. We're going to add one more modifier. So take a look at our shape. It's pretty, it's pretty smooth. I would like to switch electric change that syringe for the displaced modifier. Strength decreased for something like 0.5, sorry, buoyant 05 or k, then this is the texture. It will be too hard if you want a copy. So take a look like 2 min to understand and then you're going to try like always knew when you press knew we had Dexter and then you're gonna go here. Type of texture, clouds. You see the difference before and after, before and after. Here, instead of the blender original, choose improved purlin. So here you can see how this texture look like. And if I'm going to increase, decrease, you can see how his body start to change them shapes so it's not so smooth. I think something like Three in depth? No. Actually there for like three. It's okay. Nabla. Honestly, I don't use it. You probably have a desire to do a trip like this when you fire and everyone else. But you should be careful because some of them have a subdivision surface. And if you're going to apply the same modifier that the body have, the final image can look a little bit different. So I don't recommend this one. And the second one I want to say either have found a big necessity to apply the misplaced modifier on little things, e.g. like eyes or something very small. We can do this. I don't say that this will be very bad, but Let's try it actually, you know what? Troy, no one, no one prevents us to twice. So we go to our eyes and Modifier displace mu for the texture strength should be 005. Okay, you go here, image clouds. Then we go to the improved Berlin and 03. And at all, Let's go here. Here, Control L, copy modifiers and great. But there aren't big change. So let me check before and after. So this is where you should choose. Zoom in very much to see the difference. Probably if you want to do something like that, we will see a difference. Okay, let me do something like 150. And just for fun, let's do this one. Control L, copy modifiers. We can try the same thing right now. Add modifier displays. Neil for the texture is 005, okay, texture clouds, where quotes here are Clouds. Improved your 0.3. And how it looked before, how it looks right now. There aren't changes. So we can play with this strength. But I really don't because I turned off the 012 or three wherever, let's say 015. So before and after. Remember I said that we can try one more modifier. If you like. You can apply a one more subdivision. Know, under, under the displays to make it more smooth. I personally don't want to say it. You see it's very smooth. So I like this type of style on the legs. Honestly, I will not apply the displacement Enquirer and our legs because I didn't have any necessity. But again, if you like if you want keep going. I supported with all of my hands. Let's take a look one more time. Good. We're very close to render. In the next lesson, I'll divide. I will show you how we can achieve this type of switching moment. But for now, thank you so much and I'll see you in the next lesson. 11. Animate texture and modifier: Welcome back. This is how our work look right now. One thing that I changed in between these tutorials, I just, for our, for our roughness. Move this one, the white one a little bit more close to the black. So just take a look and it will decrease the shiny part of our duck. Also one thing that I want you changes to move our stent a little bit more upward like that. Oh, okay. Probably with a bit more in front. Good one. Jake's. Okay. So at least it's probably the thing. What more I want to render, we're very close. I I say a lot of time that I promise. I promise. But at the same time you have a lot of information, especially if you're a beginner thing that is, this is amazing when you have a lot of information and I hope that they explain everything clear. So take a look at the material. Material, switch themselves, themselves. So this is what we want to do right now. It will be a short tutorial or a short lesson. And the technique will be very helpful. I mean, it will make more interesting. So we're going to animate our material and we're going to make our displays modifier. Please take a look one time like it's, it's, it's for 5 min. You'll understand. And then you'll do this one alone because if you're going to copy it, will you know how I said before? You don't bring any awareness, so you'll just copy and we'll forget after, after one day. So take a look. It's very easy. Let's start with our duck body. So we go to the mapping. And what we're going to animate is z rotation, which means we have our map. And we're going to do completely the same thing. Like if you remember in the camera shaking, I can go to the frame number one. And every five frames, we're going to increase our rotation on the z-axis with 90 degree. Let me show you how to insert a keyframe or I forgot to 1 s screenshot. Now you see, again, now you see everything that they tip on the left coordinate right here. So how to insert a keyframe, correct. Great job. Go to the 1234. I'm gonna go here 90. I didn't understood why when I insert my keyframe, I don't see the gain frame here. And the thing is that you should, should tap on the mapping. And now we can see clearly your keyframes that was created. Great job. I go to 12345 and then every five frames hold here, I'm going to 90-degree. Eat. Great job. Let's go forward. We go here one angry AT wait, don't practice. Just take a look very quick. Let's go one more time. And 368. Great job. It's enough. You don't need to animate all of one Hungary's because I'm going to show we're going to create right now a loop. How? I'm going here to the graph editor, where if you remember, we, we animate our camera shaking. So we have our duck body, which is the name of this mesh, yellow body, which is the name of our material. And we work with our only with our Z rotation. What I'm gonna do colleague, I mean, to be sure that nothing is selected. And then double-click on the x1. So you can see we select it on the set and then d constant. What are these? This is a thing that will create this dope motion style in-between of your key frames. So if before your keyframes was smooth, now it's more like a stop motion and the last step. And for the side menu, we go to the Modifiers, add modifier and cycle. And how you can see we have loops for this 2020 frames. So which mean we don't need to go forward to grade for each one. This is more than enough. And you even don't need to make anything in this cycle modifier. Just let me show you one more time. Add modifier cycles. Voila. Now let me show you. I will show you in EV because you will not see any big difference with EB it, we'll do it a bit. I mean, not like you will not see a difference. You will see difference, I'm sorry, but just cycles or require a little bit more power. So take a look. So you can see how the materials right now is switching around. You see that this, I mean, you definitely. And that all that we have the same thing to do for our modifier. Let me take, let me show you. Then we're gonna do the same stuff for everything else. So in this case we're going to, we're going to animate our strength setting and only what is translating in case if you forgot. So that's why I tried to work between value like 003 e.g. and zero to hundreds. So this is what I'm gonna do right now and I'll go here. Let me close this one. I'm going to choose my strength. I press here, great job. My first key frame at pure, they then go to 12345. And here I'm going to do something like, let's go one hungry too much. Why? I like it? Let's go forward. Sure. Frame number ten, and here will be something like zeros, zeros, seven e. One more here will be, let's go 100, e and the list one. Let's go 123. Okay? So take a look, so take a look at the shape. But now let's make this one. Let's try. Let's transform this one into something like a stop motion styles. So again, click here, be sure that nothing is selected. You can see strength. Display a beer. Let me just show you so open, dark auction strand is placed. This is why they're double-click. You can see there they are T constant and for the side menu and Modifier cycles that all. Now let's take a look there at all. So nothing card. If you understand, now we can jump forward, just play around with the settings. You don't need to repeat the same numbers if you have any desire to know to invest your imagination, that no problem, I'm looking forward to see your works. My purpose like a teacher, just show you the technique and you use these techniques and the way how you want. So let me take a look. Hokey, Let's check with EV. Oh, okay. The material is on, uh, my recommendation, e.g. we have eyes and because, because IS are very small, you will not see, you not see big change. I mean, Let's do this one. Let's do that. But when we have a very small object, there is no necessity to play around e.g. with my legs. I didn't switch here. I didn't change anything but in the rest, we can do this one. Let's go with our eyes. Now we understand the technique. Just do the same thing for each one. So I'm going to my eyes which share the same material. I'm going to go to EB because it's a little bit more faster render in June, I'm gonna go here, I'm going to choose my map is z and agaric. Oh, I'm sorry. 1234590 degree 1234518081, 234-53-0608. Leave me a review. If you if everything was clear, if nothing, if I miss something, please tell me about that because I really look forward to make my course very beginner friendly and to make everything which isn't a very complicated but wherever to make it, to keep it simple. So this is my purpose. Then we go to the Graph Editor right there. Take this ice shader, another Z double-click. Hopes know my mistake. Double-click on the one x1, t constant, n modifier, add modifier, cycle. Great job. Now we add. Good shop. We can, one thing that I personally like to change is to make the scale something like 06606, sorry, zero, yes. Um, let's do the same thing for the modifier. Let's go to the game frame number one. Eat with a gain frame. Let's go forward. And here will be something like two. He said they came frame, something like eight e for the gain frame. Let's go here. We can go with a belly, little bit more bigger because I started small, we will not see a big change. So let something like these can be good. Also. Three. Okay. Three. I was looking for the left eye, but I make my changes and on this one, oh, this look bad. I'm not going to remove this part from the video because I just want to be transparent with this type of mistakes. Yeah, Sometimes you've got to meet mistake and it's nothing pathetic or. Ashamed in this one, let's just come back and make like 13. Okay, it was too much. Great. Let's go. I actually like this one. The value 108 is good. We can be here with the r9 and enough grade jump. Back to the Graph Editor. Graph Editor. Whereas our ice strength double-click D constant N L modifier cycles. That all I will go. Here. We go. We're going to select our left eye. We're going to select our right right eye and hold the Shift and Alt Control L, L and copy modifiers. And now he will share the same modifier I like the right way, right? I'm sorry, right. I which means you will not have the necessity to animate them. Both. You and I made this one and now we can animate this one in the same way. Let me take a look. You can see big changes because how I say I is very small. But in summary, with everything else, it make your final composite in a little bit more better. Let's go forward with our beak. One problem, I think the black the black line share the same material. Yes, the book wine share also this one. So let's go first to go to the big Uno. Yes, we are in the big we're on the first. Now let's do the same thing again and again. So e123, 4590, good. 12345100, 881-23-4517 here, 345. Okay. Now we go to the Graph Editor. Choose shader, Double-click, quick t, constant n, and magnifier cycle. Let me check. Yes, we have. Let's play around with a reduced place where we can stay in the graph editor. Go here, displays gain frame number one, E kit. But let's go five frames. Let's play around with like two. Alright, Kay? Probably they'll put some low-fi music in the background because true here on Lemmy. I didn't know for other sounds annoying for someone a few, but Lo-Fi is a good type of beats. We will see probably not, I don't promise. In the comments also can leave a comment about your experience. If this is your first time working in Blender or have some experience or what if you're advanced, who know? Probably you want to have some fun cycles or what do we have more? Let's go with this part. I don't know. Do I need to animate this? Let me check. I didn't animate it right there. But who said that they can do this one for here. So let's do this a lot that look bad. I forgot about this. Tab a. Introduce everything. Oh, smart to be projection 66 OR gate now is better. But then the same thing right there, dead for the edit mode, which mean edit mode. A smart TV projection, again, now is better, no better. Definitely shader editor. They have legs. This big middle part is because we copy the modifier, the material from the beak. And he could be also the big middle part, but you don't have it on your leg, so don't worry about it. I'll show you. Just ignore it. So let's go with this leg a little bit lower. Gs. G is the same thing. The same thing. Deb. Okay, Let's go five frames. Actually, you can animate the x or e. Greek I, I didn't restrict you, but I just like the Z rotation. I personally like this one if you want to play around with others. No problem. Shaded editor or, I'm sorry, in Graph Editor, legs, nodes is z, t constant n modifier. Sake, we created loop. Nice. Let's check. Yes, You can see, great job. I don't want here. I don't want to play around with the displays. Are even don't need displays because we don't need it. Or it's so long. Let's play around with this one. Shader editor. Oops. Good to see the keyframe, 590. Let's move forward. Not so much. 185 keyframes forward, 278.1 more time two, this is 363 is 6.8. Graph Editor, Graph Editor, knife shader is the T constant n and magnifier cycles UC is very simple. If you're going to look one time Just trying to understand the movement. You understand that this is way more simple that they look at the first glance. But the problem white people, e.g. forget that this one can be more easily is because they copy, they see something and they tried to copy, don't copy. Look, understand. Bring awareness and it will be much better. What I want to do, I personally don't like the amount of light, but we are in the EV. And then this one, let me do this one. You know what, I want you to do this one right now. I want you to increase the light. Let me make something like eight here. And let me do here something quick. To congruence. Again, let me make the world a little bit more or brighter. Okay? Do you remember that if you want you in case if you forget, so if you want to make the world Colorado bit more brighter, you have here icon of the planet, surface color. And these respond for the color of our background. And this one behind. Let me go with Chris, I think like, Oh, okay. Two more things to more things. So we're going to finish with this tutorial. Probably it will be four on 50 min. But how we can see there is nothing card that we do right there. So after we gonna render, in the next lesson, we want to render our first animation, which is amazing. I suppose it's amazing. Um, so right there and go with it, E for the scale. Okay, let me tap to see. We're going to, right now I'm the material for this ten. So we go with the 90, good. 180, 273, 60. Graph editor. Standard shader is z, Z, z constant and magnifier cycles. Let me check. So yes, you can see the difference. Do we have a displaced modifier? Know? And I don't need it because we add this one if you use I mean, I'm I'm not sure if you use, but remember this one-click damage, so it was enough for us. And the big rounds here I want to play around probably with this scale l. So, so not only rotation, we're going to play with the scale. So Insert, go right there and the one, click E and E. Good. So let's go. No, We actually because we, because we check in, the devil file, will not see a big details on our background. But wherever you can see right there, there are some changes, changes. And this little detail, again with a similar, with everything else, we'll make our work a little bit more better so it can go one more time here. I've got 12345. I'm going to go out of the camera. I want you to see what I do. I'm gonna go here 98 and here I'm going to do something like 1.31, 0.3, 0.3, a little bit bigger. Great job. Let's go forward. And here we're going to do something like 1.71, 0.71, 0.7 E. And here will be 188. Great job. Five. Let's go 03. Yes, no, sorry. 0303e and here 278 and the last one. Go here. Don't worry about that. Again, we will not see these details and go like 2.42 point 4.2, 0.4 E. And here 360. We go to the Graph Editor. Again. Graph Editor, bare ground shader. So choose everything, actually choose everything to choose everything gets a on keyboard T constant. Then I would place n. Should they. Okay. Click on e.g. I. Click on them wherever you want, then a on keyboard to choose everything. And then you can be able to trade the modifier of the cycles. So now we have a loop cycle for everything. Let's check. Yes, we have, we have so or no. I think no, you know what? We added the modifier all the way on the rotation. But if we want to try this one on the scale, choose so what we can do to save our time, just copy here. First, here, faced here. Based. These are rotation. We didn't use x and the group rotations, so don't care, but so I don't know if you want, you can paste it, but actually there is no necessity, but they're basically just in some case. Let's check our background. Yeah. So you can see that our backgrounds read the materials also the one-to-one thing I want us, they don't like this one. I suppose is that or yes, this one. So I'm going to back to the shader, to the shader editor. Too much, too much from a 0808208. And now let's take a look. Okay. Now is better. Let's go to check from our camera. We are in the EV or we're in the cycles were in the EVM. Let's try recycles. But it's a little bit to be loser FPS. So I'm going to try with EVA. Calm down. Calm down, please. One more thing that I did a little bit because I did a test render for our duck. Go here, duck see. And I don't like this lines. They are a little bit true, too thin, so I want to make them a little bit thicker. We're going to search for them. Here they are. 123. This one are Okay, We go here, stroke 09. Yes. But let me just copy. I'm going here is 0.9 and then we're gonna go here and zero and i 0. Okay, Now personally I like this type or this one a little bit more here. I don't want to change anything. We can jump to the next in our next lesson to set the render settings and to put it on their own there, I'm gonna give you just a few advice to make in case if your PC is weak, how we can resolve for how we're going to solve some issues or to avoid some crush. Ladies and gentlemen, we are officially done. Thank you so much that he was still here. I hope you went to here and I hope I was pretty good with all of my explanations. And let's move forward because we are in one step in between finishing our animation, especially if this is your first animation, it will be amazing. I'm in the cycles. Yes, I'm in that cycles. Let him play around with one thing. If you're still here, I hope you didn't close. I'm going to go to the camera. Camera. I don't like the profile disorder bit too much. I don't want to see my legs, honestly. Let me try to choose Object, budget or the beak. Now I think because much better. Okay? And here to make it like 2.8. Okay? And one thing that diverse know like day, this prompts. And also it's very important to choose the animation also. So whereas our props, props, props to let me go a little bit like like that. Okay. I'm going to watch my camera. Let me check the distance of the stent. Probably move it a little bit like this and g, z would be the down. See you in the next lesson. 12. Render Clay style: Render lesson. Okay, so I don't want to close this one completely. So just drawing this one on the right side, we go to the Render Settings and in case if you want to do is stop motion style of animation that you probably think, OK. I shoot you switch this one from 24 to the 12th FPS because e.g. anemia from '90s and what are their cartoons from? From years ago, which means 2030 years ago it was, I can frame rate of 12, but I'll recommend you to not do that because let's render this wine at a frame rate of 25 beers. And then if you like, if it will be choose move for you, we can jump. I will show you this one. No problem. We'll go like Premier Pro or After Effects. I personally working in After Effects. And then I will show you how we can add a few effect there. And you're going to create it like a stop-motion way. It's much better. Because you're going to have options. What if you like the smooth one a little bit more than you expected worldwide, if not, at least to have option. Because the render time we'll go there. Renderable took some time and will be more easy for you. And advice number two, if you have a weak BC. Bravo, which is okay. I don't judge the thing that I tried to shame you, it's okay to have a weak BC At some point of your life. So probably in YouTube you saw like a recommendation or advice to render this one in the PNG sequence where it is being gene like PNG because you're going to render like Render Animation and everything from one on hunger will be like P&G, P&G, P&G. And then you're going to connect them like again in the After Effects or Premiere Pro or something like that. Just put them together. I don't recommend this one because the final speed, if you're going to render this one link a video, and it will render this one like a PNG sequence will be completely different. I don't this one before I was disappointed in the resort and I just will not recommend this one if you want to try, okay, no problem, it's your choice. You can try just for fun. But in this case, take a look, e.g. not all of the hungry, all of 100s frames, but take e.g. 1-10 render. Then in the PNG sequence, sequence, put them together and take a look if you like it. Okay. I personally don't like it and you can ask me like, what if my PC with a crush. So my recommendation in that case, because we want to render this one in the f, f and beg video. Choose it here to the folder so or same lecture, the folder, I'm gonna go to the duck, see, I'm going to create here that can new folder, I'll call this one. I can render, move up, exit, control S to save color management, Do I need a new color management? We said a medium high contrast, which is, which was there the color management menu, high contrast. We can play around with this one also if you want to try something goals, but I'm good with this one. So file extension encoding, encoding. Open them encoding part here, leaving harsh 264 is like industry standard bar button. The output quality I personally one day high-quality. In coining speed, good. Amman, keyframe interval. Now our interest terror fingers, good, just check, okay, it's good. And my solution is next. Instead of trying to render this one from one-to-one hungry, just go with one toward 20 e.g. then 21-40, then 41-60, then 6-1, where if you want e.g. from frame one to frame ten from frame like every ten frames or every 20th frames. So in this one, you will render in the video, then you can put them together without lack of anything. It will look in the same way how a fuel random from for render one to render one hungry. And it will be much better quality, much better speed. Then if you're going to render this one in a PNG sequence. So actually this is what I wanted to say before. Even if you have a strong BC, this is very important l, so blender love to surprise you with a crash. So if you have a trust in yourself, in your PC, okay, render the full one and rest. E.g. I. Personally would like to do buy it 1-50, 51-100. But first of all, I'm gonna do some test render five frames. Let me take a look when I what l done. Let me check one more time the final image, if I'm okay with it. Yes. If you're a beginner, there is very, very important moment. So we have our reference before. Be sure that you close not only this, but this camera icon. Let's say that you don't have this camera icon. There is no way, but let's say that you don't have it. Go to the filter and be sure that this one is blue. Because if you're going to turn it off, it's off. If you want to turn it on its own. Now I can see the background. Be sure that everything that is here have they have the same setting because otherwise, you're going to see something that you don't see in your viewport, in your render. And use shoe to make the render again. So I make sure that everything is good. In my case, everything is good. Okay? Now when everything gets done, make a test render from I'm going to make 1-10. And then I'm going to show you what I've done. One to ten Control S to then go to the Render. Render Animation. In our remaining is like for around 4 min for every image. So in our previous lessons, I show you to keep the denoising. This is why I didn't spend our time right now because it showed before but sampling, denoising, these are the settings I personally max samples will be 246. You can put a time limit for each sample for around 3 s, which is good. Also, opening wedge to noise. I'll better here I leave like in the way how they are. So in the rest, I don't change anything. So only this part of the aesthetic. Again, if you want to increase, increase, if you want to decrease, decrease, all of that depends on your PC specs. So let me take a look. You probably think I asked herself, where are my lines? Don't worry. They're going to appear when they're render, we'll done. So I'm going to come back when my ten frames will, my ten frames will render. So ladies and gentlemen, this, I actually render it all of them. Let me show you. So from frame one to frame ten, the next 40 and last 15. It look good. I'm really I'm really completely okay with it. One thing before you go into render that I'll recommend, I know that it's one after I finished. B. The way if anyone is interesting, it might be C took it in four or 5 h. So yes, you should just be patient. Dig your dark body tab to go to the Edit mode you and choose one more time squar to be projection and 66 degree of k. And then check one more time. The settings if everything is good, if you like it. I suppose we spent a lot of time on that, so I'm sure everything's should have been done. Be sure here that you hide the camera if you don't want to see any additional object in your final render. And then when you choose them, they came frames, frame start with the first one. And toward, if you want to render all of the animation, no problem, if you want to run there, they can pretend, again, it's your choice and go to the Render, Render Animation. We finish with this lesson. We have one more where you're gonna do the post production in After Effects. It will be for around 25, 10 min. Our final animation will look a little bit more better than it is at the moment is right now. So then we have two more lessons with another texture, with another type of render like that. One. More toon style. In EV, this one was in a cycle. This one will be navy and the render will be way, way more fester, I suppose in around 20 to 30 min or probably even more. And we're done. And we don't want either Coors and look forward to see all of your works. But it now we have a little bit more to do. So. Thank you so much after your render, Let's move ourselves into After Effects. 13. After Effects post production: Last lesson. We the so-called type of render with a clay style, but yes, it will be the last one for this part. So I personally work with After Effects. I know that some people love to eat I doing they Premier Pro, no problem. You probably should. You have the same effects in the same functions. Only a little bit different, but this should be the same. But I prefer, I personally love to work with After Effects. So what I'm gonna do, I'm gonna take all of my three renders, then bring them here in the project window. Wait for a second. Great job. Then, without usually people like create firstly the composite composition, you don't need this right now. Just bring it, bring it them right there. He will ask you to create the composition without fuel, with the same settings you'll see OK. And now we have our animation. Okay, First thing first, go here, fit up to 100 process, so to see everything. Then we go to the Layer, new Adjustment Layer. This, when this, where are you going to bring our FX? Right-click, rename them. Affects, Grinch app, go to the Effects and Presets incase, even on habit for some reasons, go to the window and be sure that you have a check in here on the Effects and Presets. Then take a look right there for the Posterize Time. Posterize time. Bring it right there. And it's the end of 24, 12. And here we are with our stop-motion style of animation. Great job, but we didn't finish. We only start, let me make this one bigger ones related to save, where we're, let's see, horse post production one. Okay, great. Then choose these three renders. I don't know, probably a little bit more, but you still have your renders. Right-click, pre-compose and call this one dark. What I'm gonna do right now is to add a little bit more of the shaking. Be the more of the shaking. Let me show you pay for the position and hold Alt. Left-click, everything go turn red. Don't worry about that. Everything is good. And right there we shoot, you. Write an expression, wiggle, wiggle. And our settings calligraphers will show you an example of what it this you'll understand a little bit better. 2020, don't set the same value. So it's too much. Of course, I just wanted to just show what it is. What are we going to use? Something like the first value respond be the speed and the second one be the amplitude. So let me show e.g. with this one. Oh, okay. I want you to do something like 1.4. I think to let me take a look. Yes. And again, if you want to further expression again, just open this arrow and here and the position open this arrow and you can, you can change the value. One mistake with usually cook people come into the start and when they do video editing photo diode in Core 3D, they exaggerate with the effects. Don't do this one like they try their best to show that I know this soft, I know how to work. And the final image look a little bit cheap. So that way always bring just a little approach. But in summary, will give you much better final result. So that's why I don't go too far with this value, something like chew and four is very good. Great. Let's go with the S for scale, alt, left, left quick. The same thing we go. And let me show you again with the big value is just how it will look. So you understand it just make it bigger, smaller on the horizontal and the vertical. So what are we going to do right now? I think something like 2.1 and 22.2. Let me take a look. Yes, I like it. You see the difference. You perfectly see the difference. And again, it was just a lethal approach when one thing that I want to switch right there to make something like 103 because we see black lives. Do you want to receive likewise? In that case, no. Okay. I like it. Great. We have a few more effects that they want to show you. But if you have sub fear plug-in, It's amazing. Series for S glow. So this one. But if you don't have it, which I highly recommend you to download the tree and still is such an amazing thing. If you don't have it, you have an MA, you have a simple glow that you can apply on your ethics. And where we are. Sorry, one more time. Unfortunately, on that work as simple, glow. I'm from the After Effects doesn't look very good. And what is glow? It creates this type of emulation effect. But again, in our case, it doesn't work very well. I think something like 92, it will be more than enough. So without, with, without anyway. But if you have a subfield plug-in, take the S glow. I like it more. And here instead of to switch on a coma for okay, I think comma 3350. So before, after, before, after. I like as globally little bit more because it gives you some type of old camera, vintage camera emulation effect of 32 are fixed in millimeters. So again before, pardon, before, after, before and after. But again, if you don't have it, you use the simple globe Control. S. One more thing, sRGB, it's from sad fear plug-in. It will create this chromatic color, red and blue line. So here, make minus is 0.02. And here instead of 36, Let's say 99. And take a, take a look at his eyes. So it was before and it's after, before and after you see a red line. Now, if you don't have it, there is a there is a free plugin and the internet that you can search for her alma abbreviation. Let me show you the full name. So with this one quick chromatic aberration too, and it will give you something similar. But I personally love to work with this storage RGB. I work on these two settings and it's a little change. But again, little changes in Sumer and give you a great image. And then one more thing that weekend everyone have is radial bluer. So we go here, Blur and Sharpen as estradiol bluer light. And let me show you first of all quality of 100. And here e.g. if I make five too much, but we can go with something like 0.6. And it creates a little bit of motion bluer on the site, like right there. And let me take a look at the final animation. So this is how it look right now. I really like the final results and I hope you're satisfied to. I know I know that someone of you will say, excuse me, Sasha, but we don't use that. We don't have After Effects or we don't have all of this stuff they're plugin. Well, this course is about 3D and this is just a post-production stuff that you can do again in the Premier Pro. And then one of the one thing that you can remove as, as Glow and distortion, but you have radial blurry here Posterize Time for the stop motion effect. You can work with the Beagle expression in the position and scale, and you will have something similar and also you have chromatic abbreviation. Let me show you one more time. Yes. Quick chromatic aberration too for this type of LGBT alliance around. And one more thing that I want to say, I hope I really tried this course to make much better than it was before. So in case if you have some constructive critique and you say that you don't like something, point me believes in the review of like, I don't like this woman right there or I didn't understood. I'll try my best to make it much better in future. But at the end of the day, I hope that it was really useful, especially for beginners. I try my best to explain everything simpler, clear, and I hope it was interesting for you just to spend a little bit of time to achieve this type of stylized animation. The one-on-one thing, one little legal thing that probably they all like to change, but it's not the point. But then his left leg, It's a little bit too up. So one thing that I would like to do is to move it a little bit more down. But in the rest, everything is really good. You everything is a really good and I hope you've shared the same opinion. Look forward to look for your projects. I'm really interesting because usually people do something way more better than me, so I'm looking forward for that. And now let's render because we have a render step. Thank you Again if your deal that moment. So we go to the file, we go to the export, and we have here at J doc Media Encoder in case if you installed Adobe Media Encoder, summer of you will not have this one and you are like Sasha. I didn't have this one too. Well, I'd like to say that this is not my brothers, but I am the teacher, so I don't have the rights to say something like that. So you can add to Render Queue. But there is no solution in YouTube when you're going to check the tutorial and they're going to say, they're going to tell you that go to the output model here, choose the QuickTime, and then go to the Format Options and search here for video codec, harsh, too hungry 64. Then let's take a look together. Harsh too hungry 64. Did you saw this one? I know most of you, me and most of you will not have that because I'd up After Effects remove this science. I don't know After Effects 2020 to 2019, but if you remove this one, so that's why yes, you can e.g. to choose the format AVI to render in this type, then you should change style, something like a hand brake. And then to bring her video here, to switch. But there's a lot of steps. There is a lot of complicated, not complicated, but I can tell you a little bit annoying and something waste of time. So that way, I recommend you to spend like 20, 30 min download the media encoder and everything will be very easy and very, very comfortable. So one more thing that we should to do Control S to save. And now let's go to the File export add to Media Encoder Queue. Let's wait, wait until this one and will there be a right there? Okay, it is here, go here, and switch to 1,000, the same setting that you're done in Blender, 1500s, 1005. So the solution that they found just click here and we'll lose four or 16 pixels. But in rest, everything will be good because in that case, we have some troubles. And there's some, you know, some weird behavior from Adobe After Effects. So quick here, chicken and everything is good. Then interest everything the same. You can target bit rate to increase. I like this one for 24 e.g. you use maximum render quality. Choose the final output file. And when I go here or render, I'll call this one dark after post production, grade safe and click, Okay. And right there on the green one, go to 222. Good. Let's take a look. We don't. Let me check one more time. One more time. So we have an infinity loop with our stylized, dark, aggressive dark. Thank you. Thank you so much. I hope you enjoy it. I hope it was the first one this course with for beginners who make their first steps in Blender. And we have one more or less sand where we're gonna have done this type of tune shading, it will be very quick for around another 20 min. I know you probably will say Sasha, you said before 5 min and it usually took 15. Well, I'm sorry. But at the end of the day I tried to feed this one too with information. So if looking forward for this type of stylized duck, we're going to render in EV, not in cycles, which means a little bit more faster. Let's jump into our next lesson. Thank you. Thank you, and I see you very soon. 14. Toon shading Eevee: So I'm going to divide this part of the course into lessons in lesson number one, I'm going to show you how to create a shading material and other next lesson, we're going to apply this material on every object in our scene. And the last one going to be render, which means three more lessons. And we've finished, you finish with this course. So first of all, let's save this one like another file because it will be more easy to switch in between them in future. Control Shift S and call this one dark. Ev. Great, save us. Amazing. Then open this window in case if you didn't have just right-click and choose vertical split, that is rug this one on the left. And let's start. First of all, let's move ourselves with switch ourselves from the cycles to EV. Good. I personally want to take, you probably know this one that the blade is. We have a lot of blue is because we should to check off on the camera and therefore filed where it is. Here we are, and now everything is good. I personally want to hide my background. I don't say that you should shoot at this one. It just my personal choice. Let's start with our dark buddy. I'm going through the material here, delete this. But you will notice that when you do it here, you still have the material right there. And it will disappear only if you will not use this material anywhere in this scene. And when you're going to reopen blender again, then you're going to have all of the materials that are used in this scene. Next step is new, and let's call this one dark skin tone. So first of all, please take a look, five-minutes, and then you'll understand how it works. So the first thing first in-between these two, I need three more notes. The first one, shift a shader to RGB. Put it here. Do you see any difference? No, but this is like the foundation of every donor shading in EV or render. So this is non-photorealistic rendering and without Him, trust me, your results gonna be. The next one is called a ramp. We put it here, and let's bring our colors. Choose here B-spline, and I need five colors. Let's go here, here, here, and here. The first one on the left will be black, and this one will be orange, more brighter, Something like that. The next one will be yellow. More here, more brighter place. I'm going to move it on there, right, on the right. Alright. One more, something like a yellow but more close to here. Oh, okay. I need more powerful orange. Great. For more nodes that we need. The first one I'm gonna be Voronoi texture. Put it here. One more noise texture here, geometry right there, and mix RGB right here and click on the nice texture or Control T for the settings in case if it didn't work, go to the Edit preference here and they came up, look for texture is set up and be sure that you have a check-in. Great job. Next thing, let's connect our veterinary checks for the position with normal. Good. Here Let's set something of value in between, let's say 2.3. Then we're going to connect our noise texture with color too. And we're going to connect our normal with a color one here from mixed choose linear light and connect this one with the vector that you probably will ask me, what is this? And I remember when I started with a 3D path, I didn't understood and I couldn't find any good explanation, at least for me. So it's very easy. This, this setting right there show WHO going to dominate over whom. We have a nice texture that we set to the color too. We have this node that we set on the color one. When you drag this one on the right, you say that the noise texture going to dominate over geometry, which mean colored shoe. I'm going to dominate over color one. Whichever one you're going to move this one on the left. That means that the color one going to dominate over color too. So very simple and just find your balance. I will say this 1.7. Then we're gonna go here. You can me ask, you probably will ask me like, why did the geometry not do see a difference? I think yes. Again, it's something that don't influence on the outlook, but without him, like in the case with shader to RGB, the final result is going to be definitely not how you expect. We go to the noise texture, we are very close for G. And here let's play with our settings. First of all, let me show you this scale, this one, you don't need it. Scale one, skill 11, e.g. so you see the difference? I personally want to keep it for around eight details. Take a look at this h. I'm going to move it forward. And here and forward. So that's why I wanted to give it a 6.2. Roughness is something similar, but I don't want something like 0.6 is good for me. Distortion. I personally don't like it right there. I don't say that this is useless, but at least not for our purpose. So that while keeping this one I get zero. Then I'm gonna go here. And you can play e.g. 2.4 or let's say 2.2. I like it. One more thing. Why we need this one. You can play with a texture. Just set the location to see the rotation. But the best one that I found, at least here, the scale. So we can make it like that or we can make it more smaller like that. I personally want to keep it like 0.7, 0.7 and 0.7. Great job. And now we've finished. I show you how to create this simple material. And let's take a look at our color ramp. Let me do a little bit more orange, a little bit more black like this. You can play around with this one. Also constant is what usually people use when they want to create effect of the animal in the blender. But it's interesting, but I'm not sure that this is what they wanted and we can play with easy cardinal. Or the best one I found is B-spline. The gradient in between these colors is more pleasant, at least for our purpose. One more knowing that we can add in case if you want to add a little bit of glow effect around our object is emission. Because if they start to say that we need three nodes, but I had only two. So we put emission right there and make 1.5. You don't see any difference because we should activate our balloon and now take a look. I want you to keep it around 1.7. So chicken ambient occlusion and Check-in screen space reflections. Viewport is good, but at the final render, I would like to keep it like 128 Control S and L so we can play with the color of our background. So I'll go here and the planet, you have color, and let's try to make it more brighter. To stay a little bit more. Either snow like it. How about outline? So there is a different ways how you can create using solidify playing with the color ramp. But I like the best one. You might be only the grease pencil. We go to the Shift a Grease Pencil object line art. Look into weird. But when you move yourself into the camera isn't good. So without camera, in the camera, and then we can choose, first of all, let's create a collection apart for our line art is because it's a little bit too messy. What is our line art? I suppose it's here. Yes. M, new collection line art. And let's choose all of them three. And move into line art. Great job. Now we have this one. Go here, Choose click on the stroke icon, increase the resolution towards 64 or even more if you want. And I would like to have something like 1.3, it a little bit more thicker. Now, I'm completely good. So that is, this is how to create a shader. In the next lesson, we're going to set the shader to every material, every object in our scene. So if you want to do this one alone, No problem. I'm sure that you're gonna have done an amazing crystal. But if you want, if you don't feel very confident that they want to play around, okay, Let jump into our next lesson. One more thing, one more thing. I'm gonna be honest with you. This is my second time when I create this tutorial, because on the first time, the result was that they didn't like. And because I want to provide good-quality, I decided to make it again. So the mistake that it's not like mistake, I just wanted to experiment a little bit and I held it will be cool. So I animated the Voronoi texture, but the final outlook, let me show you how it was. So it's a little bit weird. It's I didn't know this word it should describe, so I didn't like it that way. If you know what, let me do this one again. And if you want to try to animate something from here, remember, just go for a gain frame, then go to the Graph Editor D for the constant modifier cycle. And we don't this one in the previous. And it was very easy and I'm sure that you remember it, but I personally don't want it. We still have on our duck displays modifier. Let me show you. So you're going to switch his body shape. And it's more than enough interest. I personally don't want to switch here to change anything. But again, if you want it, I believe in you and the patient and work in your own pleasure. Thank you so much. Let's move to our next lesson and then the render, and we finished. 15. Toon shading Part 2: In this lesson, we're going to apply or material that you every object in our scene. So first of all, let me go here. Frame start. One can question the frame one Control S to save living in the wrong at this one on the right. And let's start with our big e.g. I. Activated camera default, default file again. So took off. And let's start with our beak. I'm gonna go here to materials. So what we're gonna do, hold Shift and left-click on our body, then Control L. Link materials now are big, share the same material. The next step is you click on your big N here, duplicate the material and call this one. Big underlying tone. Great job. Now, open this one and let's go to our color around and play with our colors. I like to have more orange right there. So something like this, even probably a little bit of red will be good. Let me try to scale this mountain, which means you mean this one out with a bit more bigger one. I say bigger than ME them smaller. 050504. Okay. But I feel like I can do something here to let me know 1.91, 0.9 is good. And let me know you'll get more red and a little bit more black. Okay. Yes, I like it. Let's go next. Actually, the gray material on the eyes look pretty interesting with this one. But we did this one before. So that's why we go to e.g. our right eye, then again in our dog Buddy Control L link materials, then duplicate the material, I'll call this one. I don't, and then choose the left one, right one Control L link material. Now and go here, let's remove the yellow e.g. let's remove this one. More black. I think I think it's an awfully true colors on them more in black and a little, what if I do easier? I'm going to move to the B-spline is good. We can make this one a little bit more darker, something like like this. Okay, Great job. We have our legs. I tried to add a line art to see how it looks. So let me do it for you. Okay, Let's go char licks our body control L link materials. Then we're going to choose our right leg duplicate and call this one leg. Then choose left one, right down, Control L of ink materials. And then let's do this one or something similar to our beak probably should you choose this one, but our ever, let me do something like that. Yellow, a little bit more orange. And I need a little bit more bull know, here you are. Okay. I think that red one is shou, should be a little bit more towards the orange. Now is good. Go Control S to save stent, body control, L, link Materials, choose 100. It looked pretty cute. Then we're going to duplicate stent underlying tone. This one should be more brownish. So we go here. Next color is this one. We go here and a little bit more towards orange color. You can see it right now I didn't do anything special. I just play around, choose the color that I personally like. And if you give it the desire to try other colors, known problem, what about blue? I think the blue one looks interesting, but more toward white. Little bit, more, little bit more here. And give our, give such a shiny ethics Control S, What do we get more of these props? Let's use these prompts, these probes, actually. Okay, our body control L link materials. Why you didn't work. Thank materials and I'm gonna go here. Because we have outline, duplicate, perhaps underlying tone. Then I choose this one again, this one I can this one again Control L link Materials. And then actually look, bridge it interesting, but it's too much yellow issue to remove this one. We should remove this one and live on. No, no, no, no. We can go here. This one I can drag it with with more toward black and yellow. It's enough with white. Oh, okay. We can increase the mission something like 2.2 going from S. But we lose. No, actually we have this. Why did the name of this thing something like a grunge effects. So I don't completely opposite. Why do we have more our knife holder. Shift Control L link materials. So then you go to the holder, then you duplicate, then you hold is called this one holder underlying tune. Is it hard? Tell me please. Is it hard? Especially if you're a beginner? Of course, Though Jews the same things look once, understood. And then it will be way more easy to do this one without any help. So I'm going to bring this one to violet, but I need to make it more darker. And in this one to share this same violet on the more variety. And you, my friend should, should be also violet on the more towards red. Now let's talk a bit more alike toward white. Oh, okay. Let me play around with this. Let me play around with that. A little bit more in Bullock. It's good. Now we have the bridge here, but actually, I don't have any necessity to change because we will not see any changes is too small. So that why I personally believe how it is. So then I'm going to go to our blade Control L link material, then choose blade, duplicate, blade, underlying. Doing great job. Remove this one, remove this one. And something like that. I'm going to play with scale. Let me do something like 1.41, 0.41, 0.48. Good. Let me play here with a Ralph Nunez, something like 0.7. And then one more thing that I'd like to do is scale to make 2.4. Oh, okay, a little bit more of our emission, 1.9. Oh, great job. We have our background. Where is our background in case if you don't remember where it is, but actually it is here, but you always have this search step when you can click like background. Then open, good. Here, Control L, link materials. It's interesting. We go here to the background, duplicate background, Rachel. And I think I want something more towards the red. Lead me to y with this. Let me remove this one. A little bit more black. Let me play around. Let me try a more darker. No. What about yellow, orange, or red one done a very good. There is a solution. Always when you don't feel confident in the color that is used, you can move yourself to the color.com, and here it will be. It's very useful tool. You're going to help you to choose a right colors are right palate of the colors. So let me choose the yellow one. And what if I'll try it and know these but e.g. this one triangular and he had these blue, let me copy this blue and let me try to bring it right there. So Hicks and not really What if you're going to activate the dip of filed of k, But bag and one other color. Let me try with something like here. Recommend blue one, I will don't want blue, I wanted something else. Let me try with, let me to write with blue. So we go here, here, hex, copy control V. Let me try to make this one a little bit more towards white. So go here and drag as toward left. Good. And let me activate the deaf are filed. Okay. Okay. You know what? I like it? What do we have to done more? We actually did everything. Let's try to bring the outline for our legs. Shift a grease pencil just to take a look if we like it or no. I personally like it. Whereas our line art is here, here, where you are. You are. Let make this stroke resolution 64 and this 11.1 a little bit more thicker. Unfortunately, when you try to copy the gradients pencil, I don't know why it doesn't work. So I'm go here and go here, Control L and you have here coping response or ethics. But no, so that's why you should to create a bar degree spans. So we'll go here, object line art, go down 1.1 and a resolution of 64. And to not forget my settings for the camera there for filed. So I activated where you are deaf are filed. And I said the f-stop, which means the bluer effect around on 4.5, 0.7. Rachel, you probably will have something like 800. This one on 0.7, you're going to have a 0.800. So during this one on 0.7 hundreds and this is the final outlook that I like. In the rest, you can increase the sampling of the render for around 128 is good, it's a good quality. You can go down and instead of filmic, standard, work more better with the EV medium, high contrast now and just a medium contrast. And lets the gentlemen, we've finished with another type of render. So let me see what we have. We lose a little bit of F beers, but you can see it's more easy than the cycles. Great job control S to save. I hope this lesson was useful to you. It was very easy. I show you two types of renderers for cyclists and even different materials, especially if you're a beginner, you probably are like a lot of knowledge, but these knowledge is more than enough to create cute 3D illustrations in future. So now let's bring herself to the render, but let's bring this one in. Our actually, we don't have and they're in they're going to be very easy. So that's why I don't need to create a lesson apart. So just be sure that you have taken here, here and here. Then play around with the color management, then increase this render samplings. And the final resolution gonna be, in my case, 2005 hungry, it's a little bit more. And then frame, Start Frame, and let me try with one towards 50. Choose the final outlook. So let's call this one. Don't duck. First part. My recommendation. My recommendation is to try if you are unsure in the way, if you like or not. So do this one from frame one to frame ten. Take a look, make this test render. You're going to be very quick and if you like it, then go forward. If you don't like it, make your change and come back to the Render Settings and one more thing, open them according. Then be sure that here in the video codec you have harsh 264, you have high-quality, and here you have FFmpeg video. Remember, don't render this one. They can PNG sequence because the result gonna be awful. I'm going to come back when I'm going to finish both of my, when I'm going to finish to render this loop animation. See you very soon. 16. Toon Precompose After effects: So I've done it was for around 20 min. So let's back into After Effects and weight. Hide this one. And actually we should to create another composition because we render this one with a resolution of 1500s. This, the EV-1 is 2,500. So let me go here and change like that. And like that. Good one. Rename this one and dark. And let's bring our files right there. Oh, wait a second. Move it. If you want to move this one inside of your timeline, just hold Alt and move forward, or move forward with your mouse wheel. And instead of trying to set this one, right, what do we finished? It will be much better. You can click on the first one, then hold shift and click on the second one, right-click. And here we have keyframe assistant and sequence layers. And then you say, okay, and now the second video, we'll start straight where the first one was finished. And you don't need to waste your time trying to fit this one under the right second. So let's take a look what we have right now. Fit up where we finished. We're finished here, copy this seconds, then go char and duck compositing settings here and the duration Control V and Control S. Back to our first compositing where we did our clay. And here the Effects Control S or control V, put it above how we can do this one and hold Control and this arrow, square arrow. You can see this weird part right here is because the resolution of the layer is smaller than the videos. So what we can do is Control Alt F. And now it's so good. But do you think is true? Right? We can go here into our settings. We have posterize time on 12th, which allow us to create effect of the motion. Stop motion. Then let me check off the distortion as Glow. How about a simple glow from the default of the After Effects? Go here. Here. I can say that I don't like it. Let me try 88. How about 92? Checkoff, check in. Again, 95, checkoff, chicken. How about S glow from the software plug-in? 0.4. I think it's too bright. What about 015? Without with without know, I honestly I don't like it right there. But this glow, I'll say 97, which will create just a small difference in between, but I still am not sure that they didn't want it and I will not activate them. Let's go to the distort their GB. If it wasn't in the lesson before I saw that this is from the software plugins. So you don't have this one on default into After Effects. And if you want some, there is a free plugin and internet. You can download chromatic. This one, quick chromatic aberration to it. It will create this effects of LGBT alliance around. Let me take a look. I think it's pretty interesting. How about to make this one like three? Too much? How about shoemaking this 115? What if not minus plus the red one? I like a little bit more. So without, with, without. Great job and we have to do two more things, true? So both of these files, right-click, pre-compose, dark, tone. Good. We go to the p for the position hold Alt, left-click. Then we're gonna write the wiggle expression and we're going to make this one like two comma two. Oh hey, it requires a little bit of time S for scale out wiggle expression. And then they write two comma two. And let's see what we have right now. I like it. They want the one thing that I forgot to do is to increase here with a value of three. So hungry. Three, no matter you will have like 98 or 99 just increase with just add three more numbers. So let's take a look one more time. Okay. Let me check off the effects because it's a little bit too heavy. And this is what we'd done. Great job. Lumetri color change a little bit of saturation. So we go here at belie, move it above of everyone, then open the basic correction temperature minus ten and x plus or 0.3 and the saturation, more hungry to five. Drinking. Oh, okay. Without with, without and with a vilest one that I want you to try. I didn't say that we will use this one, but why not? There's definitely a color Rama. You have this one on default for sure. You can put it here. And you have here L lot of settings. Open the output cycle. So we have here use braces, pilot and look how much of them you have. Let's try fire. Let's dry clay around. Blue. No fire and smoke. Horizontally. Stevia. That is where I fire. Gordon littlest one, fire and smoke. And here we have cycle repetition, which you can, which also will don't go too far with the numbers. So 1.2 or its interesting, 1.1. What about 1.04? Okay, and you have few more settings under the modified here, modify all and you can choose again for examples, iteration. So all of these settings, they play around with the colors. How about the green? Help? How much red? How about in blue? I like it the green, honestly, but what if I'm going to keep this one on one? And no, how about the blue budget? Keep this one on one. Now, why did not fire a small bud, e.g. solarized green. How about so there is red. How about solarized blue? No big difference. Deep ocean, I remember like just weren't else. So no fire and smoke is pretty interesting. And you can move this one L, so somewhere right there. Okay. I didn't think that they have a big desire to play with all of these colors right now. But at least I showed you another tool that you can use. And I want to say that I don't like it. Let me take a look how it, how it look completely the entire animation. It's actually the Louver interesting, and we can render this one and we can render to the previous version we talked with color. I'm also so this is what we're gonna do right now. Control S File Export. We go to the head Media Encoder, way to Media Encoder to open, open here and the preset, it will try to increase this one here when I came here with €1. So what do you shoot should do is go here and match source. And then you have 2,000.500, thousand 500s. Put a tick in here and they use maximum render quality. And let's increase this one on 20 and the lower one, door 25. Then here output name, gotcha the duck, see render, dark tone. After postproduction, save, OK, and click right there. Four render. Wait a second. Great. Let's move to the After Effects. Check off of the collar Rama, gone through S file. Again, export it to Media Encoder. The same thing, much source use maximum render quality. Let's go here. 2025, dark tone. Go there to the folder. Dark tone. Let's call this one or regional or region now, safe. Okay. Let's check. This is why we have it then. One more time. Array. The second one, oops, this one, this one. Open. Look into every single. So for their more realistic one. We done the last lesson in the next one, I just want you to say if you go towards the word you and if you want to listen them, go forward to the next lesson and we've finished with this course. Bravo. 17. Congratulation: Congratulation, we finally finished, and it was really a fun project. I hope you found this one and don't do any good news. There's also, but my main purpose was to help especially beginners to make their first and confidence steps. In this amazing world of Blender, we're module, we create materials, we create animation, we create animation in cycles. We create animation and navy, even a little bit of post-production in After Effects. So at the end of the day, we did a lot of thing. And your final project, you have three options. How you can dawn, you can make a clay style animation. You can make a dark tone shading animation, or are you just can make an image rendered. So choose wherever you want, if you want all of the three. Well, I'm looking forward for everything that you've done. And leave me a review, please, because I really try my best to be much better teachers than there was before. So if you give some constructive critique, e.g. I. Didn't like this or if you like everything and it will be just amazing. Thank you so much. I wish you the best. And we're going to see each other very soon. Thank you and goodbye.