Introduction to Character Modeling in Blender for Beginners: Let's Model a Cute Panda Bear

1. Introduction: Have you ever wanted to create three characters, but didn't really know where to start? Well, then, this course is for you. Welcome to this introduction to character modeling in Blender for beginners. In the following lessons, I'll guide you step by step to model your first three D character using Blender. My name is Monica, and I'll be your instructor. I'm a professional three D artist with more than ten years of experience working with Blender. During my career, I've worked on TV productions and commercials in the VFX and animation industry, and I'm currently working for animated feature films as a CG modeler for one of the biggest animation studios in the US. This course is aimed for beginners who are starting to explore the world of three D. We will be using blender as the main tool, which is a great program that is free and open source, so it's easily accessible for anyone wanting to learn thread. In this case, we will be creating a cute panda bear. Here, I will guide you through the whole process of making each part of the body using simple shapes. I'll teach you different modeling methods, and I'll give you some of my personal tips that can help you model more efficiently. You will also learn how to use certain modifiers, how to pose your character without the need of a rig, how to create textures and materials, and how to render a final image so that at the end, you can share your work under the project section, and we can all appreciate your beautiful work. If you are a complete beginner with blender, and this is your first time using the program, I recommend you see two of my previous courses where I teach everything you need to learn in order to be prepared to start creating your first three D characters. There, I show you all the intricacies of the software, like how to move around the interface with all the different shortcuts and tools, as well as the most important concepts of three D modeling. So feel free to check them out as well. I hope you follow me along on this project, and I really look forward to seeing your final panda bears. Without further ado, let's get started. 2. Reference Images: Before we start modeling our Panda, it's important to have a visual guide that can give us a guideline of the proportions and shapes of our character, and that way we know what our goal is. In this lesson, we'll set up a reference image inside Blender to make the modeling process a little bit easier. Usually for box modeling, it's helpful to have front and side views of our character, and you can either find reference images online, or you can create a simple sketch of your own characters. But for this course, specifically, I'll be using this reference image, which you can find in the course resources and that will be provided to you. Okay, so now in Blender, we are going to add a reference images. First, we're going to clear our scene with the objects that we have currently. So to do that, I'm going to select everything by pressing A and then delete it by pressing X and then just deleting the selected objects. You can also delete them by just pressing the delete key. Okay, so now that we have a clear scene, we can import our reference images. It is important that you do them on your orthographic views because we have a front and side view that are orthographic, it's important that our reference images are like that in our scene. If we import them in just a perspective view, we're probably not going to get it right, and we wanted to have it perfectly aligned with the front and side view. So to do that first, we're going to go into our front view by pressing one on our numpad. Remember that to check what view you have currently, you can also check the top left part of your screen, and you will see that it says front orthographic, so you know that that's the view that you have in this very moment. So from here, we are going to add our first reference image. So we're going to press Shift A to bring in the ad menu and go under image and select reference. Here we're going to select the image that I gave you wherever you saved it. So I'm going to go here and just select it and say Add empty image. And now we have it here on our viewport. So it is important that especially the front view of our Panda is perfectly aligned in the middle of our scene. And as you can see, it is not currently, it's a little way to the left. Side. So we want it fully centered. To do that, there are different ways. You can just select the move gizmo here on the left and move it to the right. That's perfectly okay. You can also do it with shortcuts by pressing G for moving, X for locking the X axis, and then just simply dragging your mouse to do that. But there's a third option and it is going under the image properties on your right on your properties menu. And down here, there's the image properties, and we can do an offset on the X axis. Whichever method you choose is completely fine. But what it's important that is that it's completely aligned in the middle and it's kind of hard to tell without seeing the grid. So for us to be able to see the grid underneath the image, we have to select the opacity button right here. We're going to check that. And as you can see, as soon as I do that, I'm able to see the grid on top of my image. That is very important because then we're going to align it perfectly in the middle. I'm using the nose as the reference to have it perfectly centered. You can also bring the opacity down. Sometimes you have better visibility like that with your actual model. You can do that up to you. I like to have a little bit of opacity in there. So great. Now we have our front image settled. It's always good to rename your references. So I'm going to call this front reference. And just in general, all your objects in your scene, they should be renamed so you have your scene very organized. So now we have our front reference, and we got to put our side reference. But as you can see, it is the same image. I can use the same image because it has the side view in it. So what we're going to do is that we're going to go into our right view by pressing three on our numpad, and this is our side view. And what we're going to do is that we're going to duplicate our image right now. I'm going to press Shift D to duplicate. Now I can drag it. If I drag my mouse, I see that I have a new object, but I want it in the same spot as it was originally. So to do that, I'm just going to press right click and that's going to keep it right where it was originally located. And so now we're going to rotate it, so we need to rotate it by pressing R. Then we're going to log the axis, which in this case, is the Z axis. I press, and now we're going to rotate it 90 degrees because I only need to rotate it to the side. But you will see that now my panda bear, you can see here is facing to the back. This side of the screen is the front, and this is the back, and we don't want that. So I'm actually going to rotate it again. By 180 degrees. That way, my Panda is looking forward. And now from here again, I'm going to do an offset so that I have it somewhere in the middle. It doesn't have to be perfect since this side view is not symmetrical, but somewhere that's kind of centered for us. Great. So now that we have that, we're going to rename it as well. I reference. And when I go back into perspective view, you will see that I have kind of like this X from the top view. You can either keep it like that if you like working like this. I know a lot of people prefer it, where we're going to have our model in the center, and you have kind of like the reference right there. I personally don't have to have it don't like to have it just in the middle because I feel like it can get very crowded. So what I like to do is that I actually push the images back. So this one I'm going to push to the side, and then this one I'm going to push to the back just a little bit. So that I can actually have more space in the center, which I prefer. So now that we have that, we're basically ready to start modeling our Panda, but one thing that we need to do is to lock the reference images because here, I have the possibility of selecting them when I'm modeling, and we don't want that. We want it to be locked so that we don't have any risk of moving our reference. So to do that, we're going to first rename the collection as references. Reference images, maybe. Sorry about that. And now we don't want to be able to select them. So to do that, we're going to go under this filter on your top right, and we're going to select the restriction toggle with this arrow so that this means that we are going to be able to toggle the selection on and off. And now we have that option here. We're simply going to toggle it off, and that means that now we won't be able to select it by error. Now with the reference images in place, we are ready to start modeling our Panda. I'll see you in the next video. 3. Saving: All right, so now that we have a reference images in place, we could start modeling our panda bear, but before we do so, we're actually going to save our file first. It is important that we save our progress so that we don't lose any work, and this is a perfect moment to do so because we really haven't started doing any of our modeling work. So we're going to go under file and we're going to hit that save option or saves. You can also press Control S or Command S, and we're going to select the location that works for you, and we're going to rename it. So in this case, I'm just going to call this Panda underscore 01. And the reason why I have underscore 01, it's because with this, it can create increment savings automatically without me having to go and rename it manually. So this is a great way to do it. I'm just going to save that blender file. And you will see it here. Now, I can show you where the increment button is. If you go under file, and you save incremental, that's actually going to increase that number to 02, 03, and so on and so on. That way you have versions of your work and you're not saving under the same file all the time. I highly recommend you do this because if for whatever reason, your file gets corrupted or something happens to it, it will always have the previous version as backup, and it is important to do that to always have versions of your work so that you don't lose your work for any reason that might happen. So yeah, now you save your file and we can continue with our modeling lessons. 4. Head part 1: All right, so now we are ready to start modeling our Byer, but before we do so, let's create a new collection so that we keep all of our new elements into that collection instead of the reference images one. So we're going to go under our outliner, right click and then select New collection, and we're going to rename it mesh. This is where we're going to keep all of our meshes. You can rename it. You can organize it however you want. But for now, let's just keep it as simple as possible. So now under this collection, I'm going to start adding all of my objects. And first, we're going to start with the head of the Panda. So first, I'm going to go to the front view. And as you can see, the head is pretty round, so I could easily start with a sphere, and let's see what would happen with that. If I add Shift A and select the mesh, and I select an UV sphere, which is just a normal sphere shape. You will see that it is what we would possibly need. But I want you to see how the topology is and why this could be an issue for us. As you can see, there's these verdicts at the top and at the bottom that's connecting a lot of phases, and this is not ideal for This is not good topology. This is not ideal for our character. Usually for characters, we have very specific needs of our topology, and this is not a good way to start just because of those points that might give us some errors, give us some issues. It's not terrible to use sphere, but I do have another method that I actually prefer, and it's not starting with a sphere. I'm going to get rid of this actually. I'm going to add a cube instead. Now you might be wondering how are we going to go from a cube that's very sharp and has all these angles into a more spherical shape? Well, there is a very easy way to do so, and it's by going under the properties window. On your right, you're going to go under the modifiers. And we're going to select and search for a modifier that's called subdivision surface. We're going to select that. And as you can see, now my cube has become more it will have a more spherical shape, and this is exactly what we need. We needed to become rounder and rounder by just adding the subdivision surface. Now, this is still very sharp and it has many angles still. So I want to actually increase the amount of subdivisions 1-2, and now we'll have a rounder shape with more faces to work with. Now, if we compare it to the sphere that we had previously, it's not perfect. It's not as smooth as the one that we had seen before. This is exactly what we need because we have less geometry to work with, less faces, less vertices, which will allow us to shape everything better, and then we can increase adding more resolution to it, adding more subdivisions to it so that it becomes smoother and looks more of a sphere. So now from here, I'm actually going to apply that modifier and so that the subdivisions become part of the actual mesh. But as you can see, this is still kind of squared, it's not perfectly round, and we want to have that perfectly round sphere. So under Edit mode, make sure to hit that tap key to go into Edit mode. There is an option that I really like that is at the top, there is this mesh menu. And if you go under transform, there is an option that says two sphere. And what this will do is that it will convert all of my vertices and bring them into position so that they become a perfect sphere. So I'm going to select that and just going to drag my mouse. And as you can see, it's very subtle. But if I drag my mouse, you can see how it's becoming a perfect rounded sphere. I'm going to just click on it, and now I have that very perfect sphere that we need to start with working that we need to start working with. Alright, so we are ready to actually start shaping the head, but we're going to do that in the next lesson. So I'll see you there. 5. Head part 2: Okay, so now we can actually start shaping the head. First, we're going to rename it so make sure that everything is super organized. So this will be our head object. And now from here, we can start shaping our forms. So we're going to go under Edit mode by pressing Tab. Make sure to always do your topology modifications on Edit mode. And here we're going to scale it down and just kind of move it into position by pressing G and moving it up and just scaling it up a little more. You know, we're just trying to get that initial alignment with the design, with the reference. And I'm going to go into the side and check that it's actually kind of in a similar position. We're still not shaping, just aligning it to our reference. And from here, we can actually start moving the vertices so that we can create the shape that we need. Now, my best friend for shaping general forms is our wonderful tool that's proportional editing. It is this button up here, or you can also just press O and you will be activating proportional editing. The cool thing about it is that even if we just select a single vertex, it is going to affect a range around it. So that range is defined by that radius that you see that you can increase or decrease the size by scrolling up or down on your mouse. And that way, you can manipulate, like, a big bunch of space and, like, the vertices that are around your selection and create more organic shapes. This will make us avoid having very sharp angles that are not too pretty. Actually, as you can see, I'm only moving one side, and since this character is symmetrical, I want to have symmetry activated. So I'm going to right click to just kind of reset the position. And on your top right, you will see kind of like a butterfly icon and then X YC next to it. We're going to select the X option, which means that it will mirror whatever we do on one side, is going to do the same on the other side. And since our sphere right now is symmetrical, it will not be a problem. So now with that in mind, I can actually start shaping it. As you can see, and it's going to affect both sides. So let's start very simple shaping the border on the front side and kind of make it match with the reference design and just kind of, like, move it. Now, it might be too much for certain positions, so we're just going to decrease the range and move it to wherever we need. I'm going to decrease it again and just to move it. We're not only needing to shape it on our front view, but we also need to shape it on our side view. We're going to also do that. I'm going to select these vertice and just move it up and this will move to the back. And just like that, we are shaping our head, something like that. It doesn't have to be completely accurate because we still have very low topology, which is great for creating general shapes. But when you want more detail, you definitely want more topology. Right now, we're keeping it simple for now, keeping the shape very basic. Now I also want to move the front. Maybe I also want to move. I'm going to shift select the vertex that's next to it and also move that down. Same for this front. Just going to move it maybe increase the proportional editing and then decrease it and move it forward. Same for these guys. Going to try to get it as close as possible for now. And let's do this again here and here, shaping. But as you can see, we still would need more polygons than this to have a more accurate shape. So what we're going to do is that we're going to actually create the modifier again, the subdivision modifier. But this time we won't be applying it. So I'm just going to search for it and select it. And again, I want two levels of subdivision. And as you can see, it reduced volume, and that's because it's creating more subdivisions, smoothing it out, so we need to reshape it again a little bit with more accuracy. The good thing about it, though is that we still have the same amount of polygons to manipulate, but it's giving us a smoother shape, and that's actually exactly what we need, with a few vertices to get the perfect shape. We just moving some of them. I'm just manipulating that. Now, you also want to make sure that we're keeping it round because we don't want any sharp angles anywhere. So I'm just going to bring this down and let me bring this down as well. You know, just kind of getting into position. Great. So now I'm actually going to see it from the top, and I want to keep it very, very, like, round in the back. So I will start shaping it again. But this time, I actually want to see what's underneath. So to do that, we're also going to toggle the X ray by pressing Alt C, or you can go up here and it's like the double squares. It's a suggle X ray. And if I select that or just say Alt Z, we are going to be able to see what's underneath. And I will be able to select all the vertices that are maybe not visible from the front because now I'm watching them from the X ray view. So now I can also start shaping that a little better so that it's very round. Now let's go to the side view and make sure that also the volume looks right. So I'm going to select those two and just start shaping shaping is key in these early processes. With very few vertices, is the idea that you can get the ideal shape with very few moving very few vertices. So I'm just going to maybe move this a little too. You want to keep the volume very precise. So I'm just going to keep on shaping that select these two shape those and just, you know, get a better better closer to the volume that we want in our reference. So I'm just going to keep moving some vertices here and there until we have a very close shape of what we want. I'm actually going to bring this down a little like that. As you can see, though, if I try moving these vertices to the front, I won't get the sharpness of the nose that it's showing here, that angled nose. It's looking pretty good overall, but I still want to have that sharpness there. So what we need is to add more topology. And to do so, we can press Control R to insert edge loops in different face loops. So as you can see wherever I place my mouse, it's going to add that yellow line, which means this is where you would be creating that new edge loop. In this case, I want it on this face loop. So I'm going to just click there, and once you click, you can drag it up or down depending on where you need it. If you want it fully in the middle, fully centered, you can just right click and it will immediately snap to the center of all of the faces. That's actually what we need right now. So I just snapped it to the center, and I'm going to select these vertices, and I'm going to start sharpening that nose a little bit more. Now, it's not super sharp either, but I might select this too and just bring them down to create a more sharper nose over there. So it just takes some patience to shape it in a nice way. I'm actually going to move this as well so that the volumes are pretty good overall. I'm going to bring this down, maybe move that vertex down to the back a little. And these two, I'm going to move them to the front a little. You know, just start shaping. Now, it's also good to not only view everything from the side and front view, but also we want to see how it's looking in the perspective view. Maybe I'm noticing that it's very, like it's not as round, so I might want to shape that a little better by selecting these vertices and just kind of like creating a rounder shape around the back. So it's good to always check both, yes, the orthographic views, but also our perspective views to make sure that everything is looking pretty smooth and not too sharp or anything. And that's only possible by checking your object from different views, kind of, like, going around and seeing what's working, whatnot. So we can also see it let's see from here. Now, something that I'm noticing is that maybe these faces, this one right here is very big, and these ones are not, and it's because we added that edge loop. I like keeping everything very, like, proportional. So maybe we can start moving these vertices up a little and kind of like doing an average of the position so that it's not super sharp in that middle. In that middle section, and we can have more evenly spaced faces. That makes sense. So we can just drag it, keep shaping until we have something that looks good for us. I'm just going to keep shaping this a little, making sure to get those cheeks. Okay, let's see. That looks pretty good. And let's check it from the front. I'm going to toggle X ray to compare. Can be a little hard with the opacity. But you can kind of see that we're pretty close. Maybe this might be a little too much for the cheek, so I'm just going to bring it in and do the same here and just, you know, you get an idea of what you should be moving and whatnot. Now, I can get pretty detailed here, but I don't want to make this video too long. So just keep in mind and always checking the volume, making sure and you can keep, shaping it on your own, kind of getting an idea of how it looks at the bottom as well. You just make sure that everything looks very round and nice. And then you can go out of Edit mode back to object mode by pressing Tab again, and to make it look smoother, we can just right click and say, shade smooth so that we don't have our faces showing, and it's ready. We have our head perfectly shaped. You can obviously move more vertices to make it perfectly round and soft, but I think it looks pretty good for now. So now that we have our head ready, we can start working on other parts of the body. I'll see you in the next lesson. 6. Torso: All right, now that we have the head ready, we're going to continue with the torso of the bear. To do that, we're going to do exactly the same process as we did with the head. We're going to start with a cube and convert it into a sphere. It's the same exact process since it's a very round shape, it's going to be pretty similar. So we're going to start by adding a new cube, and I'm going to scale this down in edit mode and bring it down, put it in position, and then I'm going to rename it. Well, actually, first, yeah, let's rename this to torso. And something that I like to do when having multiple objects in my scene is that I don't like to keep the same material. Both of them currently have the gray color, and I like knowing all the different objects that I have, which ones are separated and whatnot. And there's a very fun way to see or visualize the different objects. And it's like up here where you see the four spheres. The one that's selected right now is basically just saying that we have our solid mode on. The first one is iframe. Third one is the material, which we don't have any at the moment. And then the last one is the render, which it can get pretty slow. We're going to stick to the solid mode. But then there's an arrow next to the spheres, and here we can change how we're viewing our objects in the viewport, there's one really cool option that's under color. You can change it to random. And what this would do is that it will assign a random color for each different object in your scene. I'm going to click on that. As you can see, mine have converted into purple and pink. Now it might be different for you. Maybe not, maybe it has different colors. But basically, now I know that I have two different objects, two different measures on my scene, and I like working, that's why I can differentiate them better. Now with this in mind, we're going to continue with the process. So just like we did with the head, we're going to add a subdivision modifier, which is right at the top. We're going to increase the subdivisions to two. And then from here, we are going to shape it a little further. Just make sure that it's the right size, we're going to go into the right view. Maybe we can scale it in the Y position a little. Just a little bit and then move it to the back. We need to shape this a little better, but we have an idea of where things are. We're going to apply that subdivision, that initial subdivision, and now we have more vertices to work with. Now we can actually start shaping our things. I'm going to start on the side view this time. And I'm going to make sure that our symmetry is selected. Right now it's not because it's a new object. So going to make sure that that one is selected because we're still working in the front view symmetrically. So just make sure you have that activated. And then from here, we can start shaping the body. It's actually going to start on the side view, just selecting and moving our vertices around. So just make sure that you need to have a higher range for your proportional editing, can do so. Now it's hard to see with the head. So you can either just toggle the X ray mode, which I really like doing to bring it up. It doesn't matter if it crosses with the head. That's completely fine. Because they are two separate objects, so it doesn't really matter much. Now we're going to move these up here, you know, keep shaping them accordingly. Let's see if we can move the belly in position. Actually going to select these three now and just move them up. Let's do the same for this and the back as well. Again, just shaping general forms until we get what we like. Just shaping shaping and remember that we are also going to add the subdivision surface again to have a smoother shape. So we might need to increase the volume of this, but first let's just add that modifier again. This time we won't be applying it. Let's just do it twice. That is very smooth. And then we have an idea of how much we need to move. Move our vertices. I'm just going to move this down. Again, I really like toggling on and off the X ray view to know where I'm doing my things. So let's just keep shaping it until we get it pretty accurate to our design, something like that. Seems good. Now let's go into the side view, and let's keep shaping that. So, let's just do that to the front. This one's over here. Let's see a little more, a little more shaping. This might look a little weird. It is because of how low it is on the front. If you see at the right, it is actually being covered by the leg. I do feel though, it might be a little way too low. So we can just strick it and not follow exactly our design. Sometimes you got to do that. If it's looking weird in three D, then you just make your own decisions, and maybe you're not following super strictly the the design. So it's really, you have to be kind of mindful of what looks good and what doesn't to make sure that our design looks pretty good. So let's just keep shaping that. And then, again, as I mentioned, it's always good to look at your thing on a on the perspective view, just because you cannot just follow your orthographics, and then you have very weird angles and you don't want that. So now what I'm going to do is I'm actually going to hide the total the visibility of the head. So you can do it either by clicking that I on the outliner, or you can just press H to hide. Um, and then I'm going to look at it from the top view. It looks pretty good. Now, I didn't do the convert to sphere for this object. You can do it or not. It's really not as important here because as you can see the design, the corners would be covered by the head and the legs anyways. So it's not super relevant, but you can always do it anyways, up to you. Let's just make sure that it is round. It looks like a sphere, it looks great. Yeah, I like how this is looking. Now let's just look from the sides, just turn around. Maybe this is looking a little weird. So I'm just going to make sure that the back side is a little rounder and that we get a nice. Again, we can always trick and change the design a little bit so that it looks nicer in three D. I'm going to push these two to the back a little with smaller proportional editing, something like that. Same with this. Let's see this one too. You want a nice belly in there. Nice. Once we are ready with the shaping, we can bring the head back and again, go back to object mode and just say shade smooth so that it's perfectly smooth. That's it. That's the torso, very simple torso for our bayer. I'll see you in the next lesson. 7. Legs: In this lesson, we will be working with the legs. So to do them, we are going to start very similarly as we did with the body and the head. But this is going to be a little bit different just because we have two of them. So instead of having a single object in the middle, we're going to have two different objects side to side. So to do so, first, we're going to add a new cube as always. I'm going to rename it. Just as legs. Usually, when you rename mesh, you can change colors when you have the random option activated. So don't worry about that. But then here, it's very important that we keep the pivot of our object in the center of the grid. What I mean by that is when you see this object, you will see there's this orange.in the center of the object. That is our pivot. So if I move it around, if I move my object around in object mode, you will see that the pivot changes. It's going to come with it. It's going to stay in the middle of our object. But we don't want that. We want to keep it in the center. So in order to keep it there, we are going to move and grab and just align our object in edit mode. It is very important that you do so. You can scale it here and then just move it and drag it where you need it. Now, another thing I will say is that you can drag it in object mode as long as you keep the orange.in the center of the grid looking it side to side. So what I mean by that is that if I drag this down, I'm in object mode. I press C, I'm going to only drag it in the Z axis so I can bring it down, and that's also going to be okay because my pivot is remaining in the center of the grid. Doesn't have to be the center of the world, it has to be the center of the grid from the front view. So then from here, we can go into edit mode, scale it down, and just move it, and you can see that the pivot remains in the center of the grid, which is exactly what we need to be able to duplicate this object and mirror it to the other side. So first, we're going to scale this down and just kind of very quickly do a little bit of shaping. So I'm just going to move this here, maybe move it up. Remember that we're going to be also adding subdivisions to this, so we might need it to be a little thicker than the actual leg. You're just going to keep it like that for now. And now we're going to apply both modifiers. So first, we're going to start with the subdivision modifier as always. We're just going to have that for now and increase the levels for two as usual. But we're also going to add the modifier called mirror and that's going to duplicate my object and flip it to the other side. As long as the pivot remains in the center, it's going to work perfect for us. If I were to have the pivot somewhere else, the mirror is going to happen wherever that pivot point is. So that's very important to always keep it centered when you're doing the mirror the mirror axis, the mirror modifier. It's not important to keep the symmetry on because as long as we have the mirror modifier activated, we won't really need to have symmetry on. Then here, we're going to just shape it a little extra. Just do some of that shaping work. I'm just going to move it. Then as you can see here, it's hard to reach that leg up to where it connects with the body. So we could just apply the subdivision and move the vertices, but I always prefer working with less vertices when creating the basic overall shape. So to be able to fill that gap, we can actually create and add a new edge loop and we're going to just click on it, and then we're going to bring it up. So when I create more topology and more geometry, that's going to sharpen our objects, especially when we have the subdivision on. So I'm just going to drag it up, and as you can see, that's filling in the gap and making it sharper. So then I can go back and just shape it a little more with that in mind now. So I can just make sure that it looks pretty good. Now I'm going to go into the side view. Going to shape it a little more. Making sure that everything looks good from the side as well. So let's just make sure that it all looks good. I always stuggle back and forth with the X ray mode. Okay, this is pretty good for now. Let's see from the front, make sure that maybe that's too much. So we're just going to change that. But now I feel like we do need to apply that subdivision modifier to shape it a little better. So let's go ahead and do that. With object mode, let's just apply the subdivision, and now we can modify those vertices again, shape them a little more to make them look closer to the reference. Let's see from the side. Now I can move this back. But before I keep on working with this, I'm actually going to apply the subdivision or not apply at the subdivision modifier again. Again, twice with with two subdivision levels. And the idea is that now we might have a reduced volume, so now we can more accurately work on the shape. But as you can see, I can only manipulate the vertices on one side. What if I also want to manipulate it on the other side? Well, there is an option on a mirror modifier. Which is a triangle that's facing down. If we click on it, then we will be able to modify from both sides. No matter where I click, if I click on the left or I click on the right, I will be able to modify it on either side, which is very helpful to have it activated. And then from here, we're just going to keep shaping it a little more. Making sure that it all looks very good. And then from the sides. I actually want this to be more of an arch, so we can move some of those vertices, just a little more to have them to have more of an arch shape. So let's just select some of these and, you know, start adding more of that arch shape on the leg and then just keep shaping the rest of it. Maybe this part I will bring down a little extra you know, just kind of shape it until it looks very nice. And then, as always, you remember to not only make sure that it looks good on the front and the side, but also on our three review. If I spin around and you see something looking kind of weird, this is the time to modify it. So we can always actually going to disable proportional editing and just move that verdict to make it more round, you know, just different things here and there to make it look more accurate to our design. Cool. So there's something here that I actually don't like too much, so let's make it more round. Just like that. Great. Now, one last thing that I want to mention is that as you can see, the legs are kind of like facing upwards a little bit, and that's going to become very important when we create our feet so that we can have a smoother transition from the leg to the feet. So what we are going to do now is that we're going to select all of our vertices in edit mode. This is very important. It has to be in edit mode. And then from there in edit mode, we are going to rotate it in the Z axis so that it faces outward, just a little bit, something like that. And then with that in mind, now we're going to shape a little more to make it match our reference. So let's just work on that. Now this is going to become a little harder to select to know which vertices to select. But since we're using proportional editing, the bigger you use it, the better because you're moving all vertices proportionally. And when we worked on it facing to the front, we knew that the shape was very good. So now it's just selecting a few vertices and making sure that it follows the reference pretty good. So let's just do that for a little longer. Until we have a nice shape. So I think this is looking pretty good. Now, as you can see the arch changed a little bit. So let's just work on that a little more to make sure that everything looks accurate. We're going to do this move it so that the arch is good. Maybe this is a little extreme. As you can see the vertex is like all the way up there. That's not good. So we're going to make our best to make sure that it stays pretty average to the other faces as well. So it's just a lot of going back and forth, seeing what works and what doesn't. And let's see it again until we reach that arch shape nicely again, something like that. I think that's pretty good. And let's just move it here. Just some more shaping. That looks great. So now let's it from the front and that looks pretty good. So then we just go back to object mode, shade smooth to make it look very nice, and that's it. That's our legs. I'll see you in the next lesson. 8. Arms: Okay, so now we will continue by working with the arms. To do the arms is going to be similar to how we did the legs, but we're going to need to add a few extra steps. First, as always, we're going to start with a cube, so I'm going to add that. And instead of working everything in edit mode, I'm actually going to work this time in object mode, and I'm going to do all my transformations there. So first, I'm going to scale it down. I'm actually going to move it to position in object mode. I know I said that this could affect our mirror, which we will be king in the end because our pivot is moved as well. But I'm going to show you different ways that we can make it work so that we can do the mirroring normally. So now that we've moved it, I'm actually going to scale it down more. But now here I'm actually going to rotate it. I'm going to just press R and rotate it so that it aligns with the angle of the arm. Now here I'm actually going to scale it down a little more, place it kind of in the middle. And now here, now you might be wondering, Okay, I need to scale it so that it's longer, right? Now, if I try to do it now, I'm going to scale it in the X axis, which is what I would need. You will see that it's going to scale very weird and we don't want it. We only want it to be longer, but we don't want it to be bigger. So what we need to know what we need to do now, is that we need to scale it, aligning the transformation to the object. As you can see now, we don't have gizmus in the scene. We can bring them up. So we're needing to scale it. So I'm going to go into my left side of the viewpoard and I'm going to select the scale tool so that I can actually see what's happening. And you can see here that the axes are aligning with the world, with my viewpoint. And now we don't want it. We don't want to scale it like that. We want it to be scaled aligned with the object. Since we rotated it, we can change the Gizmo to be aligned with that object. And to do so, we can go up here to where says Global. And there's a drop down menu that we're going to click on and you will see that it says local. That's the option that we need. There are others. I'm not going to go to dip into those. The option that we need to select now local, and that's going to change how the Gizmo is aligned to that object, particular object. Now here, we can actually scale it in the X axis, and it's going to elongate how we want it in the object X axis, not the world X axis. That's very important to know. I'm going to scale it somehow like that, I can go back and select the move tool, and I can drag it. So there we go. And now, as always, we're going to add our subdivision surface model fire so we can see how this will look. Now here, I'm going to go now into Edit mode, and I want to add a loop cut right in the middle because that's more or less where my elbow will be. And I also want to add another loop cut that's kind of close to the shoulder because we want it to be less round. So those are the two things we're going to be adding, and now we can shape it here before we apply the subdivision for two different reasons. So let's go into Xray mode and we can select those and just kind of try shaping them can be a little hard, but let's just try our best to make it closer to our reference. So let's just do that. And then with the elbow, it's going to be important. Bring it down. And then somewhere here. Let's do that. Okay, that seems good enough. It's now that we have that we can look at the side and see how that's aligning. As you can see, it's not really aligning much, and that's because the reference is having the arm to the back. We can align it to that reference. And I think the easiest way to do it is by going on our top view. And here I want to rotate it. So I'm actually going to bring my rotation Gizmo by selecting it on the left, and I'm going to rotate it so that the int is farther to the back. And now let's see it from the side, and I'm going to move it, rotate it a little more so that it aligns better. But as you can see, it's not very close to where the arm actually is. The ankle is pretty close, but the location is not. So now I'm going to select my moving Gizmo. I'm not going to use this because that would be bringing it more inside. Remember that this is rotated, so that's not exactly what we need. We actually want to move it back in the global axis, how we had it before, so that it's aligned to the viewpoard. Now here I can actually drag it to the back. Cool. Now that we have that, let's go back. That's better. And now here we can apply our subdivision. So I'm going to apply that, and now we can shape it a little better. So I'm going to select those vertices, make sure that I have proportional editing on, and I'm going to try to align it better loops to our reference. So this loop code is more or less going to be our elbow. I'm going to try to shape it. And let's go back, see how that's looking. That's looking pretty good. Let's see, like that. And now this we can move them like that. Actually slit all these and just that's pretty close. Let's see these over here. We can make them closer to the wrist. Cool. That's good enough. And now on the side view, let's see. That's not aligning too well, so let's align it a little better. Again, I'm going to do proportional editing, so it's closer to our reference. So let's do that. Shaping as much as we can. There we go. That's pretty good. Let's just try moving this in. Okay, that seems to be good. Now, let's see it. That's good enough for the amount of topology that we have now. Now let's add another subdivision surface modifier. See now we need to do some more shaping that always happens. I'm going to increase it to two this time. And from here, let's do some more shaping. It's all about the shaping. Maybe we should have had that before shaping it as much, but, you know, you can always go back and shape. Whoops. I don't want to hide it. I just want to grab it. Okay. So let's move it down. Do something like that. More aligned to a reference. Okay, our wrist is going to be a little funny. Okay, there we go. And then these ones I'm going to actually bring in. And then I'm going to select all of them and bring them closer. Alright, that seems pretty good. Now, on the side, I actually want to make it a little nicer here on like the curve that's happening there. It's kind of weird. So I'm actually gonna help shape that a little better. It's a little hard to know, but you just move it like that. That seems pretty good. Okay. So one last thing that we can do is we're actually going to select going to change the mode from vertex to edges up here on the left top corner. I'm going to click Alt click to select the whole loop. And actually, even though in a reference, we don't see it as much, I want to bend it a little. So what I'm going to do is I'm going to move it with proportional editing, bend it a little to the back. That's where our elbow is. And then at the front, I'm actually going to move it up a little. So it's bending a little better. And then we can just shape a little extra. There we go. I think that's pretty good. Pretty good overall. Great. So now that we have our arm, we need to duplicate it and mirror. So the way that I taught you before was just adding the mirror modifier. But as you can see now, it's actually not working. It did create a new version, but it's on top of the same one, and that's because we moved our mirror. Now, sorry, we moved our pivot and that's not going to work for our mirror our pivot needs to stay in the center. So what we can do now, as you can see, in the middle of our world, the middle of the grid, we have this icon that's like, you know, the circle with some lines. That's called the cursor. And the cursor is a very useful tool. We're not going to get too much deep in it, but basically we want to align our pivot to that cursor. If you don't have the cursor in the middle, there's a way to change it. If you want to move it, if you just do Shift click Shift, right click on your world, you are going to be able to move it wherever you want to. And maybe you did that by mistake and your cursor is not in the middle of your world. So to align it first, we are going to hit shifts, and that's going to bring this menu. The option that I want you to select is cursor to world origin. That's going to snap your cursor into the center of the world. So I'm going to select that and that's going to bring it back. And now with our objects selected, we are going to go at the top, there's this option called Object. We're going to select that, and now we are going to select set origin, and we're going to bring the origin to the three D cursor. That means that it's going to snap our pivot to that center of the world, which is what we need to now at the mirror modifier. Oh, and what happened? Now it is mirror to the other side, but it's way up. That's not what we need. The reason why it's because our object is also rotated, and it's accounting for that rotation because it's mirroring locally. We don't want that, so I'm going to get rid of that mirror. And now what we need to do is apply our transformations. This is very important. To do so, we're going to go under object, apply. You can also do so by saying option A. And now we're going to hit rotation. That's the transformation that we need to basically apply and freeze so that it has no rotation at all. So once we click that and now I add modifier again, now it's where it's supposed to be. I know it's a few more extra steps. If you don't want to do that and just do everything in edit mode, that's completely fine. But this is another way that you can mirror your objects even if your pivot is not fully centered. Now from here, I'm just going to go Object mode, right click Shade Smooth, and we have our arms. Remember to rename it. That's very important. Oops, arms. And there we have them. So we have our arms ready. Make sure to keep saving your work. Don't forget to do that, and I'll see you in the next lesson. 9. Ears: So now that we have the arms and legs ready, we're actually not going to continue with the hens or feet just yet. Instead, we are going to be working on the ears. So to work on the ears, we as always, are going to start with a cube. So let's add that to our scene. We're going to bring it up and scale it down some. Oh. Now, we're actually going to go into edit mode, and from here, we are going to move it so that we keep the pivot in the center. And now from here, we're going to scale it a little more, and now we are going to rotate it so that one of the faces is actually attaching to the head. So we are going to rotate it, something like that, going to make it a little bigger. Then I'm going to go into the side view, and I'm going to make sure that it's more center, and I'm going to also scale it in the Y axis. Now, I'm not going to go entirely down to where the reference is just because we are going to be adding a subdivision modifier. So let's actually do that now. I'm going to add a modifier subdivision surface, and now you see that we have more of a spherical shape. So one thing that you might notice with the reference, and I'm actually going to move over here is that the front is fairly flat compared to the back. And so if you check our object currently, and I'm actually going to increase the subdivisions just for you to see. It's very round in both sides. We don't want that. We only wanted rounder on the back in the front, we want it flat. So there's a cool method that we can use to make this sharper. But first, let's actually shape this a little more. I'm just going to go and move some vertices. It doesn't have to be perfect yet, but you get an idea of the shape of the ear. I'm just going to do something like that. And then on the sides, I think it's pretty good on the side, and I'm going to show you how we can make the front sharper. So to do that, we are actually going to select. Instead of using vertices, we're going to select edges. So make sure to select the edge option. And now from here, we're going to select the edges that are at the front. Just the edges that are at the front, and you will see the face getting highlighted. And that's why we need. So now, there is this tool that is actually super useful and it's a great thing to use when you need sharper edges, which is called the Kris tool. You will find it up here in this menu when you're in edge mode. That's very important that you have selected the edges, and you're in edit mode. And so you're going to go under Edge and then there's this option called Edge Cris. You can also access it by pressing Shift E. So let's just select that. And now nothing happens, but you need to start dragging your mouse. So I'm going to start dragging my mouse. I'm dragging it up so that it starts getting some influence. And as you can see, it is getting sharper at the top, at the front, sorry. Now I click once I'm happy with it, but if for whatever reason you clicked before and you're not too happy with the result, you will see immediately after you click, there is this menu at the bottom called Edge res and we're just going to open it. And here you can change that factor. So if you want to make it completely one or you don't want it as much, this is where you're going to be able to change it. So I'm going to bring it to where I had it somewhere around here. And now we have that front that's way sharper and the back still remains soft and very round. So now that we're here, I will actually apply my modefier with just one level of subdivision. So I'm going to apply it, and now you will see that I have all the topology. I have these phases selected now. I'm actually going to go under the select mode face. And now, even though we might be kind of ready for the shape of the ear, the reference doesn't have much more. I do want to have kind of like a hole in the middle to make it look like it has some depth, like a normal ear would. So what we're going to do is that with these four phases selected, we're going to press I to make an inset. So with eye and dragging, I can make an inset. I'm going to do it somewhere. Maybe there. I don't want to make it too thick. So let's just keep it there. Once I'm happy with it, I just click. And now I'm still with those faces selected, I'm going to extrude back so that I create the whole. And here I'm actually going to scale it down without proportional editing because I just want to scale those faces that I have selected. Cool. So now we have this base shape of what the ear would look like, but it's still very blocky, so now we're going to add another subdivision surface modifier and this time with two levels of subdivision. Now here we can actually go back and shape with the vertices shape that ear a little better. So I'm just going to move it like that. Move this to the side, and just try to get it as close as possible to the reference. Here we go. A few more, and something like that, that would be very close to our reference. Yeah, that looks pretty cool. Now, one thing that I do not like currently, is that this edge came with the same creas that I had on the border. And you can notice that because the line in Eme looks like thicker, looks more dark. So you can tell that it has some creas in it. And actually, we can't see it currently, but if I activate this option on the subdivision modifier, the triangle facing down. You will see that now that kind of makes the topology attached to the actual subdivision that we're looking at, so that we can see all of the edges. And now you can see that those edges are also very black, meaning that they have a crease on. So I want to modify the factor of those crises. So I'm going to go back to selecting edges. I'm going to select by clicking with ATClick. I'm going to be able to select the whole order. I'm going to press Shift E for decreases, and I'm going to reduce it. So I'm going to move it down to the left. I think you just have to move it some. Now, if you're not too sure how much influence it has, you will always get that menu when you click. And here actually, since we're removing some crease, it's actually going to go in the negative side. Negative, with a negative value. And here you can see how much you want it to be influencing. So I want it a little but not as much. So something like that. And then for the ones that are inside, I'm going to select all of them, and I actually want none, no res whatsoever here. So I'm just going to press Shift E again and completely reduce it so that it's no longer there. Cool. Now I have the ear. Now we can shape it a little more. I feel like maybe the side, now we can compare it to the reference. And there are some things that we can work on for sure. So let's actually select some of those vertices and move them back. So I'm going to select everything, move it back. As you can see, this crease might be too strong. But first, I'm going to make sure to select this, maybe move it back a little to have more of that shape at the end. And let's see what we can do about it. So I'm going to maybe remove Let's see. Yeah, let's do again some Shift E and reduce that amount of the crease. Let's see it from the side. Yeah, I think that works a little better. Let's see. Something like that, and I'm just going to grab everything and move it back. It's not going to be perfect, but something that's close to the reference. Okay, let's see how this is looking. I think it looks pretty nice. The reference is not perfect either, but you can get an idea of how everything is looking by just going around the object and seeing it in three D. I really like how this looks. One last thing I would like to do is just maybe push these vertex to the back, like the single one that's in the middle. I'm going to push it a little just to make it even rounder. But I think overall, this looks pretty neat. So now we're just going to go into object mode, shade smooth, and we can now apply a mirror modifier, and we should have our ear on the other side. Cool. We've got the ears. Now, maybe I want to increase the thickness actually. Let's just select this loop and I'm going to scale it down, and that would allow me to have a smaller. You can always shape it as well if you want it a little rounder. I think that might be a good idea. Something like that. Okay, great. I like that a lot. So let's keep it like that. We have the ears. Don't forget to rename it. Ears. There we go. So ears are done. So I'll see you in the next lesson. 10. Feet: In this video, we are going to start working with the feet. So to do the feet, we are going to start with a cube, and we're going to drag it down close to where the feet are. You're going to scale it down. And now in edit mode, I'm going to move it to the side. Great. So now here, let's actually locate it a little better. I'm going to go into the side view. And yeah, I think this is a good spot. I maybe I'm going to move it to the back a little bit because with this cube, I'm not really accounting for the toes just yet. We will be adding those later. So I think this is just going to be the base of our food for now. And so now we need to add some loop cuts. Let's start by adding it looked at where the toes are going to stick out, kind of like where the base of them are. Now, this reference is not too good because it has a little bit of perspective with the toes. The toes should be relatively very aligned. So that's where I'm just going to bring them out from a single line. And this is going to be where my toes are. This is a good size. And now I'm going to add a new loop cut close to the top just to give it some sharpness there. We can also change that and just add some Cris weights. But remember that another way of sharpening an object is by adding more geometry to it. So the closer it is, the sharper the edge is going to be. So now that we have that, let's go and add new loop cuts in the front view. I'm going to actually get rid of this, and I'm going to add not just one loop code, but I'm actually going to add two because we need to split it in three parts because we're going to have three toes. So with Control R, instead of clicking right away, you're going to scroll up once so that you add one loop code. Now you're going to click, and then you're going to right click so that we center it and it's completely even for the three squares. It's evenly spaced. Great. So now from here, let's select the three phases that are where my toes are going to come out. So instead of just pressing E and extruding, we actually need to do it a little differently because if I just do that, they're going to extrude together as a block, and we don't want that. We want to separate them. So to do that, we are going to go under phase in our menu phase. And then instead of selecting extrude phases, we're going to go with extrude individual phases. And that will allow us to separate them. So I'm going to go somewhere somewhere there. This is very blocky, but that's enough. That's what we're going to be needing. So as you can see now, it looks as if they're together, but they actually are not. If we go and add a subdivision surface modifier to see how this is looking, you will notice that they're actually separated and they're not just a complete block. So this is basically what we want to do. Now on the front view, I'm going to separate them a little extra. So I'm just going to grab this one and move it to the left, grab the other one and move it to the right. And now I do want to scale them in the X axis because I want them to touch each other at the base. So let's just select this one and scale in X. And also, I want to make them like rounder. So let's just do that for all of them. And as you can see, now they're touching a little more at the base, and that's what we're looking for. Great. Now we are going to rotate those ones so that they're looking sideways a little more. So let's just select that rotate in the C axis, and I'm going to rotate them a little bit. I do the same with the other one, rotate in the C axis to the other side. And now for this one, I actually want to bring it forward, a little more. G, and Y, bring it forward, and maybe skill it up a little because that toe tends to be bigger and I'm going to bring it up. Cool. That looks pretty good to me. And another thing we need to do now is that we need to shape the heel a little better because it's not as flat at the bottom. So let's se like these vertices that are right at the heel, and now I'm going to move them to get it more similar to a reference, something like that. Cool. So this is a very basic basic food, but it's going to help us to make it better with adding more subdivision. For now, we can just apply the subdivision at a single level. So let's just apply it, and now we have the topology with us. Cool. So now I actually want to make the toes a little more pointy, so I'm going to bring them forward just a tiny bit. And I'm going to add a modifier. With two subdivision levels, and that's looking pretty nice way smoother than what we had. And yeah, it's looking pretty good. Now maybe for the toes, we might want to make them wider at the middle. So what we can do is add more loop cuts. I'm going to show with this one, I'm going to add a new loop cut like that. Let's see it again. That way I'm sharpening the base, and I'm going to bring it kind of close to it. And now with this one, I'm actually going to select the edges with alt. So I select the whole loop and I'm going to scale it so that they're a little chubbier, and I'm actually going to bring it. Oops. In the C axis, I'm going to bring it up. I should be doing this in the orthographic view. Yeah, that's looking pretty good. And we're going to repeat the process for the other two. So let's add a loop cut to the one in the middle. Select the other loop cut, and we're just going to make it bigger, and we're going to bring it now the other toe at the loop cut somewhere at the base, select the other one, scale it and bring it up. Yeah, now they're a little more round. Now you can always make them touch a little more within each other like selecting this edge right here. We can actually move it and the other one so they're overlapping and we should do the same Oops, I can. It's kind of hard to select it. So let's actually add our on cage option so that I'm able to select it better. I'm gonna move it, and I'm going to select the other one and move it as well. So they're touching, and that seems better to me. Great. So one last thing we need to do is that remember how we tilted our legs so they were looking out a little bit. We want to do the same thing with our toes and the feet overall. So we're going to in edit mode, with A, we're going to select the whole thing and we're going to rotate it in the C axis so that they're facing outwards, and now we're going to just move it so that it's more accurate with the leg. And now we need to shape it a little so that the connection with the leg feels more natural. So let's actually select the vertices and just start shaping that with proportional editing on. So I'm going to just move this in, actually. Let's see. Maybe I'm going to select that vertex in the middle and with some proportional editing, just bring it back. And then these ones I'm actually going to bring in something like that. Yeah, I think that's pretty good. And then we're going to do the same process for the sides. Just kind of shape it more naturally with the leg. And then here at the front, let's see what we want to do. Yeah, we probably want to also select the middle point and just bring it forward so that it's coming more natural from the leg. And then we can always make it seem a little more natural. A lot of detail. We can just select all of these and scale them kind of like that. And yeah, we might want to do the same with all of these. I want to scale them a little. So it's a little more rounds at the bottom. Yeah. I think that looks pretty good. Let's see from the sides. Maybe I do want to make this a little less sharp. As you can see here, it is pretty squared. So we can actually, there's a pretty good method that you just select the edges. So let's say we select these edges and we can slide them so that they don't change the shape, the overall shape of the object, but we're just sliding them. So we're just going to press Control E to get our edge menu. And then we're just going to say edge slide, and then we're going to move it forward. And we're going to repeat that process. Select all of these. Control E, edge slide. So that they're not super squared. Let's do the same thing here. Oops, not that Control E. Edge slide, and the same for this. So let's like those edge slide, and that makes it a little rounder. Yeah, I like that much better. Cool. So the food is basically done. We can just shade smooth and let's add our mirror modifier so that we have the other food as well. Now, here you can always go and maybe rotate it a little bit extra. Make that and then move it a little more. There we go. We've got some toes. Now, I also would like to shape the legs a little just because if you look at the reference, they would come much lower. So we can do that, maybe select these edges and bring them forward with a little bit more proportional editing, something like that, and then yeah. So that we get more of that curve. And let's actually see here how we can also for the food. I'm selecting those, and I'm going to bring them in a little. Cool. Actually. Yeah, now let's leave it like that. Okay. That seems better. We can always change these vertices, bring them down without proportional editing this time, and just shape it more. This one as well. So they're not as high up. And instead, they're a little closer and flattened to what they are supposed to be. We can just shape a little more. Okay, I think we're done. So always remember to rename. They're going to be the feet. And there you have it. All right. In the next video, we will be working on the hands. See you then. 11. Hands: In this lesson, we are going to work with the hens. So to do the hens, we are going to do similarly to how we did the arms, where we're going to add a cube. So let's do that. And I'm going to scale it down and I'm actually going to move it to the side on optic mode, not on edit mode. And here, actually we could place it down here. I actually want to just keep it to the side, and I'm going to not follow the reference too well just because making hands, it's a more tedious process and we want to make sure that everything aligns pretty good and then we're going to do the rotation so that the hind aligns with that reference. So we're just going to work on the side for now. And the first thing is that we're going to make this more flat on the axis. We're going to start with the base of the hind, so we can kind of see compared to the reference, if this is a good size, I think something like that could work. Maybe something like this. Cool. So we've got a flat cube. And now we are going to add some loop cuts. So let's go into Edit mode, and we are going to make. First, let's go to the side, and we're going to create two loop cuts. Remember to do Control R and scroll up to create two. These are going to be our three fingers. So if I just right click, it's going to stick right to the middle. Let's go to the front view, and we're actually going to do a similar process of dividing in three. But this time I'm not going to be using the double loop cut because I want to change the position of each one. I start with one, and I'm going to bring it kind of close to the to the base. So somewhere there. And then let's do the same one over here. And the reason why I want that is because I want to do this for the thumb. I actually think that might be too much. So let's try again somewhere there. This is going to be the base for my thumb. Cool. So now we have some divisions. It's looking pretty good. And now we can add our thumb and fingers. So to do so, we are going to go into Edit mode, select the face mode. And now here we can do our extrusion. So for the thumb, I'm just going to select that pace, press E, and extrude out. We can always change that because we don't know exactly the size of it. And before we extrude our other fingers, I actually want to select the middle face, and I want to push it a little to I'm actually going to go into the top view. I want to bring it forward. So I'm going to press GX, and I want to do a tiny curve, not too much. It's just a slide push forward so that I get this kind of nice curve. And from there, we can select the three faces. Go to phase, extrude individual faces. You can also bring this menu by pressing Control F, and you will have it closer to you. Say, extrude individual faces, and we're going to extrude them forward. Something like that. Now, let's add a subdivision surface modifier to see how this is looking. And this is the start of our hand. It looks very funny right now, but we need to make sure to change the proportions of everything. So we can actually push them a little more. Since they are not all facing forward, we can change our Gizmo to be instead of local, we're going to use the normal option, and that would allow us to push it. However, that face is kind of facing towards. So now if I move it, it's not going to move it on the like this would not move directly with the grid, but it would move individually, and we can do the same for each one of them. So let's do that, something like that. Cool. Move them forward. A little more. This would be the biggest finger. Cool. So now let's focus on the thumb a little bit. The thumb, it's not sticking fully to the side. So I actually would like to rotate this. So I'm going to press R and because we want to Woops sorry, R and Y because we have the normal gizmo, and we're just going to push it like that, and we want to make kind of facing to the side a little bit. Something like that could work. And now let's focus on shaping it a little more round. And for this one, I actually want to create a loop cut that sticks close to the base of the thumb. Okay, that works for now. We could actually select that and also select the shifts, we're going to select these edges. Oops, and I actually want to make them smaller. 'cause the thumb was kind of thick and we don't want that. So this would allow us to make it a little better. And now I actually want to bring them down. Cool. That seems good enough for our thumb. It might be too long because we have the panda has, like, chubby hints, so you might want to shorten that a little bit. Right. Now let's focus on the fingers. So we want to scale them. I'm going to go back to the global position, so the axes are more aligned to what we've been working with. So I'm going to scale them down in the Z axis to make them rounder. A little more. And actually for fingers, I feel like the base is too long. So I'm going to select the loop cuts that are like the loops that are around the base of the fingers. So let's do that. And we're going to push them to the back a little. Yeah, that seems good to me. And we might want to push the fingers as well. So let's do one by one with local, the normal Gizmo. Let's see W one. I'm going to push them in. So that they are a little chubbier. There we go. And now we are going to increase the amount of flip cuts on each finger. I'm going to increase that to two so that it is a little more sharp and I'm just going to keep them in the middle. Let's do the same thing for each one of them. Oops. I'm going to add two and keep them in the middle. Yeah, that's looking pretty good. So now, one thing that I would like to do is to make them a little chubbier. So it's actually do that. It's kind of hard to know exactly. Which one would make it better. But let's just wry the ones at the base closer to the base and make them just a little bit thicker. Not too much. Co, this is looking like the base of our hand. Now, what I want to do is I want to make the base of the hand a little smaller. So I'm just going to move with the global orientation. I'm going to bring this inside. I might use proportional editing this time a little bit like that, and I'm going to do the same for the other side. Okay. Now I will select the phase that's up here and I'm going to move it up with some proportional editing. There we go. And I'm going to do the same for the bottom one. I'm going to bring it up. Cool. This is a good base. So now let's just apply this subdivision at one level. I'm just going to hit Apply and I'm going to add a new subdivision surface modifier with double subdivision so that we see how smooth everything's looking. And I think it's looking pretty good. So one thing that we can do now is that we can kind of do some of the if I select one of these loops, I can kind of create a knuckle by just moving it up. And I'm getting kind of like that arch in each one of them. So let's do the same. For these ones, just move them up a little. Move them up again. One thing, I think I have it on currently. But if you feel like when you're using proportional editing and your range is too big and it's moving, let's say, in this moment, you see that it's also moving the topology of the middle finger. So there's an option if you go under proportional editing. There's this curve next to it. Or you're going to select that arrow, and then there's this option called connected Only. What that would do is that it would only affect whatever's connected to your selection. So as you can see, the middle finger is no longer moving. That can be useful sometimes. So good to know that that is there. So now I'm going to just bring this up a little more, just a little. Same for the bottom ones, these two. I'm going to bring them up. And something that I want to do now is select the whole loop, and I want to make it. Actually, let's do the next one. I'm going to make it thinner. And the same for the one that's next to it. Just to give it a little more shape. I think that's a good thing to do. So let's try doing this again for the other fingers. I'm just going to move this up, check the bottom and move it up as well. And let's do the same process for the other two. So I'm going to select the one loop next to it and scale it down. Actually, if I do it without proportional editing, it could be a good idea to make it thinner, just like that one, that one loop, and then we're going to do the same for the other loop. Cool. It's very subtle, but you can see now we have kind of that knuckle shape. Lastly, the next finger, so let's bring these two up. Same for the bottom ones. Let's bring those two up. And now let's select what's next to it and just kill it down a little bit. And same for the other one. Just scale it down. And there we have some knuckles. Cool. Now one thing I'd like to do is to select now back to the normal orientation. I want to select the verdict that's in the middle and just push it forward a little bit to make it a little more pointy. I'm just going to do that. There we go. Then for the thumb, we might do the same. Oh, it's actually already like that. It's a little pushed forward. So the thumb looks pretty good. We can do the same idea with the knuckle by just selecting that and bringing it up. Back to the global orientation, bring it up, and I'm just going to thin the base one, the base loop. Going to make it thinner. Let's see if we make this one thinner. Yeah, we can make this one a little thinner as well. Great. We got a hint. Now the reason why I'm not following the reference too much is because the hint reference is not the best. It seems to be a little chubbier. We can try and play with that as well. So if we move, let's say, we move these edges with proportional editing on, if we move them to the side, and increase that proportional editing, that's not good. Let's try making it bigger. There we go. Yeah, that seems pretty nice. I'm going to do the same for these. Just push it to the side lit a little more. And we're not going to focus too much on getting a super accurate int. Hens are actually one of the hardest things to model if you didn't know. But yeah, now I'm going to grab the tips, the faces that are at the tip of the fingers. I might do the same for the thumb. Oops. And I want to push them down with like a little proportional editing. Now, if I just select these guys and I can rotate it a little bit and push them down. So kind of like they're facing down more, and I'm going to do the same for the thumb. So just let's select the tip, and let's rotate it like that. Cool. So we can try making them chober or just keep them like this. Sometimes it doesn't look too good, so, oops, I don't want that. Let's see if I'm trying to select all of the actually, let's just start, sorry, finger by finger. If I try making this jobber so that they're touching each other, that might look too weird. So let's try maybe making the base jobber only. And since we have connected only, I think it might work. Et's do the same here. Yeah, we've got some chubbier hands there. Hob fingers. And we can do the same for the thumb. Just make it. Actually, this one here, make it a little chubbier. Cool. We've got a nice hand. So now that's done. I actually want to push one of these higher up you can see that in the reference. Yeah, that's good. And let's do same for the bottom one. Kind of having a palm of the hand over there. So now that that's done, let's actually place this where it needs to be. But I rotate it. And now let's go to the side view and bring it close to it. Let's see. So maybe the hand is too thin, compared to the size of the arm. So we can now go to Local and maybe make it a little thicker. Maybe a little just a little longer. I'm going to rotate it a little extra, just like that. Now let's focus on the connection. So it is aligning pretty well overall, as you can see here, but this is looking kind of weird. So let's just try to match it as close as possible. Let's see, I'm going to select a face and make it maybe a little a little closer to the base. And now I can also change our arm by selecting maybe if we just like the middle vertex and we bring it close to the hint. Let's see. Yeah, something like that. I think that's good enough. Let's see, maybe bring it down a little forward. Yeah, I like how that connection looks pretty good. So now, remember to do the mirroring, but because we um move the hands to be kind of on the side on object mode and not in edit mode. Remember that the pivot is next to the right where the object is and we need to change that. Let's remember the steps to do that. We are first going to apply our rotation. So let's do object. Oh, well, first origin to three decursor we can do that. Just move that. Then we're going to go under object, apply the rotation so that it's facing normal. And now we can add the mirror modifier and we have the hand on the other side. Great. Now you can shape this a little more if you want to to make it a little closer to the reference, if you want the nds to be chobber. I do like how they look though. The reference is not the best, and I do like how these nds turned out, so I'm just going to leave it like that for now. And remember to always rename your object. Hence there we go. So that's it for the ints. 12. Eyes: Alright, so now we are going to move on and start working with the eyes. But before we do so, I wanted to show you that in the last video, I forgot to do our shade smooth for the hands as we usually do for all of our objects. So make sure to do that. And I also wanted to show you that I ended up moving the face that's right in the middle. Right here, I ended up moving it a little closer to the reference with proportional editing to make it look chubbier as it is in the reference. So if you want to do that, go ahead and push that a little up just to make it look a little more round. But if you don't just keep it like we had it in the last video, completely up to you. So let's move on now into the eyes. So for the eyes, as always, we're going to start with a cube, and we're going to turn this cube into a ball. Let's just scale it down, move it forward and move it up to place it near the spot where the eyes are, can scale it down a little more, and let's add that subdivision surface modifier so that we can convert it into a sphere. And now from here, let's actually start shaping it. So instead of going back and forth with X ray mode, I'm actually going to hide the head first. So just select the head and press H so that we can see a little better what we're doing with our e. I'm going to go into Edit mode, and oops, I'm going to move it into position. I'm going to keep the size of it closer to the height of the eye. Let's see. Yeah, that seems pretty good. I can see down here, it's a little hard to see, but you can tell that's close to the height that we want. Now here, let's actually shape it more so it's closer to how we have it. Let's do some skiing in the X axis to make it thinner. And let's go now into the side view, and we're also going to scale it here in the Y axis. I'm going to move this into position, but we might need to change this later depending on how it is sticking to the head, which we might need to change. So let's just keep it like that. It seems pretty good overall size wise. But now I actually want to add a loop cut to make the back a little flatter. So it doesn't look as front. And even though that's going to be sticking in the head and we won't be able to see it, you can tell that it changes how the front is as well. So that's why I want it to be closer, kind of, like, reading that loop cut closer to the back so that we get that sharpness in the back. Alright, so now from here, we can just apply that subdivision. Add a new subdivision surface modifier with double levels, and now let's bring that head back to see how it is attaching. As you can see, it is clearly sticking in too much. So we're going to go into Edit mode, select everything with A, and we're going to bring it forward somewhere we can see it. All right. So let's do, that seems like it's good. Now, we probably need to rotate it because as you can see, the sides are sticking out, like the outer side is sticking out too much compared to the inner side. So we might need to rotate it. So let's do that by rotating in the Y axis. Now if you compare it to the reference, it's actually also we're going to need to rotate it in the X axis a little bit. Like that. And then from here, actually, let's do that one more time so that it aligns a little better. Again, in the Y axis, make sure that you're using the normal gizmo so that it's rotating pretty aligned to our e because otherwise you would be aligning it to the viewpoard and we don't want that. And now let's see how it is looking. Yeah, it's very close to what we wanted. We might want to move it down a little more. And then one last thing that I want to do is I want to rotate it in the C axis so that it's tilted a little bit, like our reference. Now, we might want to stick it in a little more. And that looks pretty good to me. Yeah, we can keep the eye like that. Cool. So now again, make sure to shade smooth. And now let's add that mirror modifier so that we have the other eye as well. Cool. I feel like it's sticking out too much. I'm going to actually move it in a little more. Yeah, that's a little better. Cool. So make sure to rename it. I'm going to name it eyes. And one thing that I do want to add right now, as you can see, there's kind of like this highlight on his eyes. I want to make that a physical object to make it really noticeable. If we try doing that with lighting later, it's probably going to not look exactly the same. And I do think that looks very nice in our reference. So let's go ahead and add another cube that's pretty small. Let's push it forward. Make it smaller, make it a sphere with subdivision surface. Let's do it twice. This time. We can actually apply this and we can go under mesh, transform to sphere, to make it a complete sphere, and drag that mouse. Now let's keep it very small, and now let's move it into position. So let's just move it somewhere there. Oops, I moved it in object mode. Make sure to move it in edit mode. I'm going to move back into global orientation, and I'm going to scale it in the X axis, and I'm going to make it more flat, something like that. Now let's just push it back and let's try to align it. To our e. So we're going to need tops right here. Let's do so, push it forward. Yeah, that seems pretty good. It's going to stick out a little bit, and that's fine. This just rotate it. Now let's add another subdivision surface. That's doubled and this just smooth it out. We might want to make it a little bigger. I'm going to push it in compare it to the reference, that seems okay. And now, it's actually rotate it like that a little bit. So now let's add that mirror modifier again. And this I'm going to call highlights, and there we have it. So those are the eyes. They look pretty nice. I'm actually going to move them out so they're more centered. That works pretty good. Cool. So we've got the eyes done. Now in the next video, we are going to continue with the rest of the features of the face. I'll see you then. 13. Nose: Okay, so now in this video, we are going to work with the nose. And to do so, we're actually not starting from a cube, but instead we're going to be adding a plane. So let's just do that. Open the menu and search for a plane. Now, I do want to move to the side view, and I want to bring it forward. I'm going to scale it down, and I actually want to rotate it in the X axis because I want it to face to the front. So let's do that by pressing R X, and then 90, because I want it facing forward. Alright, so now from here, I'm going to scale it down, bring it up. And actually, I'm going to hide the face so we can see better what we're doing with the nose instead of just going back and forth with the Xray mode. So I'm just going to hide it by pressing H. And this looks kind of funny, but let's just focus on the nose. I'm actually going to go into Xray mode, and you will see that it's shaped as a heart. So let's actually scale it down I'm going to go back into Xray mode. Then I'm going to kind of locate it in the middle. Somewhere there, we can scale it in the C axis so that the height is close to what we need, and let's just keep it like that for now. So now what I want you to do is to apply the rotation. This is going to become very important. So let's just go under object, apply rotation in that way where our axes are aligned with the world. All right, so now we can go and create in edit mode, our first loop cut that is going to be right in the middle. So with Control R, we are just going to place it right in the middle by pressing clicking with the right click so that it stays right at the center. And now I'm actually going to go into the phase mode. I'm going to select the face on the left of our screen and I'm going to delete it. I'm going to select faces, and I will only be working with half of the nose. Now, before we do anything else, I want you to add a mirror modifier, we're going to do that. That way, we're going to have both sides. But it's very important that you do at this stage is to select clipping. What clipping does is I'm going to show you if I go back into Edit mode, and I'm going to select the vertice in the center. If I try, you don't have to do this. I'm just going to show you if you move it to the side, they can separate. And we don't want. We don't want that. We want it to stay right in the middle and that they're always connected. So by activating clipping, if I try moving it, it's never going to move the vertices in the middle. They're always going to stick together, and that's what we want for this case. All right, so now that we have that, I'm going to select these verdicts. I'm actually going to disable proportional editing for a moment. I'm just going to follow the shape of the heart. So we definitely need more loop cuts. I'm going to create a few. Let's say, actually, let's go back. Let's create Yeah, I think, let's do five. Let's do five. Loop cuts I think they should be enough, and we're just going to place them in the middle. So now we're going to select one by one, I forgot to activate this. Okay. So let's move it up. By the way, if your menu was hidden like mine was, you just have to press T to bring it on and off. So that's important to know. Okay, let's just shape this following the shape of the heart. So I'm just going to go vertex by vertex. I'm not really worrying about adding more topology. Just with the vertices that we have, we can create the shape. So I'm just following the reference right now. Let's do that almost there. Then these are the weirdest ones. We're just going to do something like that. I'm actually going to bring them a little in something like that. Now, I do want to add a new loop cut that's close to here, and then another one close to the other edge. And with these two in the middle, I'm sorry, I'm going to scale them in the C axis, and I'm going to push them forward a little bit so that shape is a little more rounded. Cool. We've got our heart shaped, as you can see there. It is a little funny on the edges, but you don't have to worry because we're going to be adding a subdivision surface later on. Now that we have this, I actually want to apply that mirror modifier. I'm just going to apply it. Make sure that you're in object mode. And now we are going to try to project this heart shape onto the volume of the head. So let's bring back the head by pressing TH. We can bring everything that was hitting back. And I'm going to select on the nose. And as you can see, this is really far away. And what I'm going to do now is I'm going to add a modifier that's called a shrink wrap modifier. You can find it like that. Shrink wrap modifier. And what this modifier will do is that it will project the nose into the volume of the head. So the first thing I want you to do is to select the target where we want to project this nose. So under the menu of the shrink wrap modifier, there's a target option and then there's this speaker that we can select, and we're just going to select the object of the head. So we're just going to click on there. And as you can see, something happened, and it's not working very good because we need to change the Snap mode. Sorry, the wrap method. So right now it is at the nearest surface point. We don't want that. We want to change it as project. So by doing so, we're back to where it was. But what we're going to do is that we can move it back and try to bring it close to the face. As long as soon as I that, you will see the magic where it kind of, like, starts wrapping around the head. Do you see that? It's super convenient. I really love the streak. So now that we have that, as you can see, it is kind of like sticking inside the head. Now, there are a couple of things that we can do. We can do an offset and just bring it forward a little bit, which could work, but I actually want to keep it in place. And what I'm going to do is that I'm going to apply this modifier, the shrink wrap modifier. So I'm just going to apply it, and I'm going to go into Edit mode. And I'm going to select all of my faces. By pressing A and I'm going to extrude them forward. I'm creating volume into the nose. Something like that would be nice and there we have our nose. Now we can add the subdivision surface modifier at this point. So that it's a little softer. We're going to create more levels of subdivision, see how everything is looking, and I actually wanted to be a little sharper on the back. So let's go under Edit mode, create a new loop code and bring it to the back. Kind of like that. I think that looks pretty good. Now, we can always modify it a little further. So I'm going to select these faces right here and I'm going to do the same for these two because remember that actually, we could just do our symmetry up here next to the butterfly. So we do the same thing on both ends. So let's see if that's going to work. I'm going to select these two, and I'm going to move them out to make them a little round that did not work. I wonder why. Okay, let's just select both on both sides, and now I'm going to just do a scale in the X axis so that I'm pushing them, and I'm creating a softer end. Then we could also add more subdivisions at the middle because we're losing that sharpness over here. So we could either create more loop codes or we could try creating a crease. Let's try that and see if it works. So if I just select that edge, and then I'm going to go under edge edge crease and bring it up. Did something. It's not let's see, the percentages at one and it's not doing too much. Oh, I forgot we had another loop cut. So let's just select this triangle to see the topology on the subdivision surface. And now let's try it again by selecting both. So let's go under edge, edge, crease, just push it. Yeah, I think that could do it. It's a little pinchy, but that works good. And now we can just go on object mode, shades mode, and we have a nose that's perfectly projected onto the head. So let's remember to rename this as nose, and there we have it. We have the nose of panda. Perfect. So in the next video, we are going to work around the mouth, which are just these lines that are underneath the nose, and we're going to do a pretty similar process. I'll see you then. 14. Smile: All right, so now we're going to focus on the mouth and the smile. So let's just do the same process as we did for the nose. We're going to start with a plane. Oop, not a cube. Let's start with a plane. There we go. And now we're going to move it forward, scale it down, rotate it in the X axis, just like we did with the nose. I'm going to bring it up. And now let's scale it down. Now again, remember to apply the rotation. And now we're going to hide the face so we can see better what we're doing. Now for the stick going down the nose to the smile, it should be fairly easy. We're just going to scale it in the X axis. Now I do want to scale it in the C axis so that it's overlapping with the nose a little bit and so that it's also touching the bottom of the smile. And now what we need to do here, it's that we actually need, I'm going to explain something. I'm going to add let's bring back the face, and let's add the shringwrap modifier. I want to show you something. If I select the target as the head and I select project. Now let's just select the object, and if I push it, yes, it's going to actually project on the head, but as you can see, it's not really following the curve of the head. Now we can leave it like that, but it's not really following that curve. The reason why is because we don't have enough geometry. Let me get rid of that modifier. I'm going to bring it forward, and we actually need to add some loop cuts. Let's just add maybe five loop cuts would be fine. So let's just keep those in the middle. So we need more geometry that allows the object to bend along the curve. Now, if I add that string wrap modifier again, selecting the head, doing a project as the rap method, and I'm going to project it back to the head. Now, that's much better, as you can see, it's actually following the curve, and it works much better. Now we can apply that modifier. Now I'm going to select all of the faces. You can also just select A, and we're going to go into the side and we can extrude it. So let's just press E and extrude it forward. I'm going to go a little further than the nose just because we don't want it to look that squared. We actually want to add a subdivision surface modifier. Now, that will make it look very, very thin and it's not really what we're looking for. So let's just add some loop cuts. Maybe we can add one close to the border, one close to the border, and then we can add two over here, and that looks a little better. Now we can actually add a few more subdivisions, and we can select these edges right here. So let's do this one, this one, and this one, and we can try making it overlap a little better with the nose. Something like that should work fine. Yeah, I like how that looks. Great. Don't forget to shade smooth and now we can continue with the smile. For the smile, let's repeat the process. Let's just add a new plane. I'm going to go into the side view. Going to push it forward, scale it down, rotate it in the X axis 90 degrees, press Enter. I'm going to move it up. I'm going to scale it down and let's apply the rotation. Now let's hide the face, the head, I'm sorry. Going to hide it, and now we can focus on the smile. So to do that, I'm actually going to scale it kind of like for the width of the whole smile. So let's just scale it in the X axis until it's touching the ends of the smile, and now we can scale it in the C axis so that it aligns with the thickness of the smile. Something like that might work. I'm actually going to place it right where that smile is. And, no, actually, let's do something different. Let's move it up to where the corners of the smile are, and we can try something very cool. So let's just go into edit mode. I'm going to add a bunch of loop cuts. Now, make sure to have a loop cut in the middle. So, if I add one more, you will see that there's no loop cut in the middle. You want a loop cut there, so I'm going to actually add a couple more. I think that's pretty good. And I'm just going to it's actually 11 cuts. Going to just press Enter so that they're completely centered. I'm only going to select the edge in the middle and I'm going to activate proportional editing, but I'm going to change the mode from smooth to sphere. And let's see how this works. Now, if I try moving this down and I can change the radius of tolerance, you will see that it's actually creating an arc and that saves us a lot of time. So this is pretty good. Now we can always go and disabling proportional editing. I'm actually going to enable symmetry by pressing the next to the butterfly. And we can just make it a little more detailed. But this gave us really a heads up, a head start, sorry. We can just push the vertex a little bit to make it more aligned with the shape. But overall, we already have a nice looking arch. Let's just move that like that. Perfect. So now we can repeat the process. I'm going to bring the head back. I'm going to select that smile. Let's add a shrink wrap modifier. Let's select the target. Let's change the wrap method to project. And now we can push it back. And it's projected. Now, we don't have to push it too much over there. It looks good. That looks great. Now, let's apply that Shrinkwrap modifier. Let's select all of our faces and extrude them forward. Let's do something like that. Now from here, actually, let's extrude it again. I'm going to make sure that it's a little past the line in the middle because now we want to add a subdivision surface modifier. And again, we can add more subdivisions and add more topology to make it. Not as a tube. So we can just do a few cuts here and there, to the side, and then I think that looks much better. Now, we can always push it to the back so that it aligns a little better with the stick in the middle. But I think that looks pretty good. Don't forget to shade smooth. Now, if you want this as a single object, there's a way to do so. Up to you if you want to do it or not, but I just want to teach you that there's an option. If we select both the stick and the smile and press Control J, that will be joining the objects into a single mesh. So as you can see now, this is a single object. Now, if I go into Edit mode and you want to, for whatever reason, bring them apart, separate them. You can just select an element of one of the shapes. Let's say I select an edge of here, if I press L, I will be selecting, actually, it's where my mouse is located. I will be selecting that part of the mesh, can do the same process here. I will be selecting with L by pressing L, I can select the mesh, and I could, for example, if I want to separate them again, you can press B and then you can separate by selection. That way you will be separating again into two objects. Now, I won't do that because I actually want them together and just keep them as one. So now we are going to rename it. This is going to be our smile, and there we have it. We have our beautiful smile. Now, there's a single object that is missing, a single element, and that's going to be the little round tail of our bear. So that will be the last thing that we need to do to finish our model. I'll see you then. 15. Tail: Okay, so in this video, we are going to finish our model by working and doing the tail. So to do the tail is going to be very simple. It's actually going to be simpler than anything else we've done because it's just almost like a ball. So remember how we've worked so far by creating spheres with our cubes. We're going to do the same thing. We're just going to add a cube and scale it down. Now we're going to put it in place. Something like that, we will need to shape it a little, but it's not going to be too much. Now let's add a subdivision surface modifier with two levels of subdivision. See that looks pretty good. I'm actually going to make it closer to our reference. That looks pretty good. Maybe I'm going to scale it a little. Now I can apply this subdivision. And remember that we can go under Edit mode, select all of our vertices and go under mesh transform, and we want to convert it into a perfect sphere by dragging out. There we go. We've converted the shape into a perfect sphere, and now we can just go ahead and with proportional editing on, we can just grab each vertex and shape it a little closer to a reference. There's not really much we need to do. Let's see if I can just select this. Let's. Let's just select this and bring the proportional editing down. Something like that. Let's see from the with the X ray mode activated, I can move this in. Let's actually increase that proportional editing. And just bring it in. To select these vertices right here and kind of follow the shape over there. Let's see. Now this is maybe too much, so let's make it a little smaller. Actually select all of these and make it closer to the reference. There we go. I think that looks pretty good. So let's see not from the sides. I like how it looks. Just nice and round. So now from here, actually, if I go back into the reference, I feel like this should be in a little more. That looks better. Cool. So now let's add a subdivision surface modifier, again, it double subdivisions and just shade smooth and we've got our little tail. That looks pretty nice, actually. We might just need one level of subdivision to make it look good. Now, I might want you bring these vertex out just a little bit. Make it a little more pointy. Yeah, that seems a little better. So there we go. We have our tail. Remember to rename it. This is going to be our tail, and we're done. So we have our model ready and finished. But this course is not over yet because we are going to apply materials and texture this guy so that it actually looks like a panda bear. So now that our model is ready, we can continue with our look def and just adding materials and textures. I'll see you in the next videos. 16. Materials: All right. So now that our model is finished, we can continue and we can do some materials to give some color to the panda bear. So to do so, we are going to start. I'm actually going to start with the legs. I can start with any part that's completely black. So either the legs or the arms or the hinds, it doesn't really matter. And I'm going to create a material. So to do so, let's go to our menu on the right, and the material tap is going to be the one with a red circle. It says material, we're just going to click on it, and as you can see, it doesn't have a material currently. So we're going to change that and we're going to create a new material. Now, we're going to rename this. I'd like to say, have a prefix to know that this is a material. I'm just going to name it mat underscore, and this is going to be the main black color of the body. So let's just call it maybe body. It's just very normal for everything else. We know that's just the main color of the whole body. And now, we want to change this color to somewhere more on the darker side. As you can see, it's not really changing on my scene. Now you might be wondering, maybe it's because of the mode that we had where we had random materials, random colors, actually. If I change it to material, it's still not showing up. And the reason why it's because to be able to see materials, we have to go under the look deaf or Vuporshading, um method. Basically, we're going to go here and we're going to select that you will see that now I am able to see the color. I do want to change the color a little bit. I'm going to go back into the base color. I'm going to click on the bar that has the color, and I actually want to bring it up a little lighter. Somewhere 0.085 could be something good. I actually want to change the hue a little bit. Because I don't want it to be completely gray. I do want to add a tint of blue, so I'm just going to move my color picker on the wheel and just select a blue color. Something like that would be nice, maybe a little there, something like that. Now that we have created that material, we can select all of the other parts that are completely black and assign that material that we just created. Let's do that very quickly. I'm going to select the feet, and I'm going to just click on this like this dropdown menu next to the new button, and then you will see the list of all the materials that you have created. So I'm just going to select the MT body and assign it to it, and I'm going to do the same for the arms. For the hands and for the ears. Now, I'm not going to do anything for the head or the belly just yet because we are going to add some textures to that, we cannot use the same material since we want to add some that has textures. So we're going to hold on for a second, and then for the eyes and the nose, we're going to do something different. But for now, let's actually change how this material is looking. Right now, we just a change the color of it, the base color of it. But we can also change if we want it to be metallic. In this case, we don't really want it to be metallic, so we can just keep it at zero. There are different properties that you can change to change how the material looks with different lighting. So I don't want it to be metallic. I do want to change the roughness, though. Roughness is basically how shiny an object is. So if it's zero rough, that means it's completely shiny, and you can see it there. I almost looks like plastic. And if I bring it up to one, it means it's completely mat. So there's no reflections whatsoever. It's very, very mad. Now, we want somewhere in the middle. I'm actually not going to keep it at 0.5. I'm going to keep it a little more mat than shiny. So something like 0.6, I think would be good for what we want. Because we want some reflection on it, and then we don't have to worry about anything else for this material. We're just going to keep it simple. Now, let's add the material for the eyes. I'm going to select the eyes and I'm going to create a new material. This time, I'm going to call it eyes. And this time, I actually want to select I don't like using complete black colors, but something very close to black could be okay. Something like a value of 0.0 15 would be good. I actually want to make them very rough. Sorry, not rough at all. So I'm going to bring the roughness down to make them a little shinier. And that looks pretty good, maybe a little less, maybe 0.35. Yeah, I think that looks a little better. And we can do the same for the little highlights. So for the highlights, we actually need to add a new material. So we're going to name it matt highlights, and we can keep it up at just a white color. Now the reason why I didn't leave it as it was because it's good to have materials on every single object. So even though we're not changing the color, it's important to add the material to it, and we can also bring that roughness down a little bit. Cool. We've got the eyes. Now, let's focus on the nose. Let's create a new material. The reason why even though the color might be the same, the reason why I create a new material is because the roughness properties are going to be different and so we also want to make the nose a little shinier than the body, and that's why it's important to do a new material. Let's rename this one, mate and then this is going to be let's say nose and we want to also make it a little dark, maybe a little more gray, maybe we can change the hue as well to be closer to blue. Something like that, and then we want it to be shinier. Something like that would be nice. Maybe the eye should be even shinier. Let's see. Now, there's something that we can do with the eyes and it's that we can change the IOR, which is the index of refraction. Now, I won't get into details of what this does, but basically, if we lower it down, something like that, the reflection won't be as hard. I think that looks a little better. And the nose, we can keep it at maybe 0.35 as we had the eyes. Yeah, I think that looks pretty good. Now for the smile, we're going to select the same material as the nose. Let's just go into that drop down list and select MD nose we're missing one object, the little tail. We're going to select the body material as well. Actually going to change the hue of the base color. I think it's blue, so maybe something closer to the white middle would be nice. I think that's a little better. Cool. So we're still needing to do the head and the body, but for those, we are going to be creating textures, and we are going to do that in the next video. So I'll see you then. 17. UVs: Alright, so now we are ready to start working with creating some textures for our panda bear, for the belly and the head. There are some steps that we need to follow in order to be able to start painting the textures, and one of the most important steps is that we need to add UVs to our mesh. Now you might be wondering what UVs are, and I'm not going to get too deep into this topic because it's very major and important and way too much for me to try to explain it in a single video. But I'm going to try my best to explain what they are and why we need them. So basically UVs. I'm actually going to go into a different setup right here, and I'm going to go into the UV editing window. So you can see more clearly what we are doing here. So as you can see, I have a three D model on my right, which is the panda bear. And then I have a grid on my left side. So basically, when we add UVs to an object, what we're doing is that we're having our three D object, and we're unwrapping it into a two D flat surface so that we're able to add images or textures and project them into our three D model in three D dimensions. So basically what we're doing is just we're splitting our three D object and making it flat. So it's just a TD image. Um and that's what basically the U Vs are. Now, we call them UVs because it's the U and the V axis. We don't call them the X and the Z axis as we would do here on a three D viewport just because we want to make the difference that UVs are not in three D at all. So basically, UVs are just because it's the U versus the V axis, and yeah, we're just projecting a flat surface onto our three D model. Now, to do so, we are going to go under Edit mode. And we are going to select all of our pass by pressing A. Now, as you can see this model, because we started from a cube, I already has some UVs, and we could probably work with this. But maybe there's a case where you don't have any UVs on your model, and that can happen a lot of time. So there's a method that you can do to create some UVs and we're actually going to do that for this case. So now that we've selected everything, we're going to press U. And we're going to get a UV mapping menu. Here we're going to go under wrap. There are different methods that we can unwrap a model. But here we're just going to use the most simple and automatic one that you can use, which is called the Smart UV Project. I'm not going to go into details how this works, but basically this will do the work for us in a very simple manner. So we're just going to hit Smart UV project. Something that I do want you to do is to change the island margin to be something like 0.05 maybe. This is not completely necessary, but this is going to allow us to have some space between RUVs and I will show you once I click wrap. So now that we have that, we're just going to hit and wrap, and you will see that now I have six different pieces that have been unwrapped into our UV space, right? So the spacing that I was talking about is just between each of these kind of UV islands. There is a 0.05 space in between them, and so they're not that close together. This can be very relevant with more complex objects. But for now, we don't really care much about it. This is good. This is all we need to do. Now, for the head, we're going to do the same process. We're going to select all of our pass by pressing A, and now I'm going to head U and I'm going to select Smart UV project. We're going to do the same island margin and just hit wrap. Now I have all these different islands spread out on the UV side. So that's all that we're going to do in this video. Just explain how UVs work, why they're needed. We basically wouldn't be able to create a texture or to a, just simply put a texture on a mesh that doesn't have UVs because we need a way to tell blender. Like, Hey, this is the two D map of my three D object, and this is what you're going to project onto our three D mesh. So that's all. Now in the next video, we're actually going to start painting some textures, so I'll see you then. 18. Textures: Torso: Alright. So now that we have our UVs ready, we can start painting some textures. For this video in particular, if you happen to have a graphics tablet on hand, that'd be really nice for this part of our lessons. If you don't have one, don't worry. We can work with a mouse with no issue at all. But if you happen to have a graphics tablet, please feel free to use it now because when we're painting textures, is a more artistic process and you might get more accurate results with a graphics tablet. But if you just have a mouse, don't worry. We can just use that, and you will have similar results. Do not worry about that. But now that we have our UVs, we can actually start doing our textures. Now, the first step for that is that we need a material where that texture is going to exist. So we need to add a new material just like we did with the other parts, and I'm going to name it Mt. This is going to be our torso, and we just need to keep it as is. We're not going to change anything just yet. But basically, this is we're creating a space where that texture is going to be attached. So now what I want you to do is select any other body part that has the material body, and we're going to copy that color just because we want it to match. Like, the base color of our torso is going to be the same and we want it to be exactly the same. So we're going to go and click on base Color, and we're going to copy that hex code. So let's just copy that and keep it on our clipboard so that we can use it as our base color as well. So now that we have a material, we can create and start painting textures. To do so we're going to change from our UV editing view to our texture paint option. You will see we have our UVs on the left, and then on the right, the object that I have selected is the torso and it looks pink. So the reason why it looks pink is not because it's the base color. We haven't really added any base colors. It's white. But this represents that we have no textures currently in this element. There's no texture, and that's what the pink represents. So we need to create that space where we can start painting the texture. To do so, we are going to go up here where it says texture slots, and here we are going to see that it has no textures. So we need to add one by pressing this plus button, and here we're going to select a base color, um, texture. There are other options that we are not going to get into. We just need to change the color of our panda. So let's just choose a base color texture, and then we can leave the name as it is. We're going to change the size of our image to 2048 by 2048, just to make it a little bigger. Now, this might change if you're working for games, you might need smaller textures to make it more optimized. If you're working in VFX, you might want higher textures because you really want that detail in there. But I think two k for now works for us. We're going to disable the Alpha option. Now, this is just if you had transparency on your texture, which we really don't at this moment. So we don't need it. If you leave it on, it shouldn't matter, but I just want you to understand what it does and why we don't need it because we're just going to have solid colors. And now we're going to leave it blank. And here under color is where you're going to paste that hex code that you saved from the other body parts. And let's just select that, so that's going to be our base color. When that's ready, we're going to click on Add. And as you can see, we will have the color on our viewport. On the left side, it's a little zoomed in, and that's just because we created a bigger texture. But as you zoom out, you will see that those UVs with the texture placed on. And now you will see if I go under my L dev view that they all match. The color is pretty much the same. So now we are ready to actually start doing the painting of that like white circle in the middle. So because we need some reference to know where it goes, we're going to go on our front view. Now we are going to select the color. I don't want to go full white here, but I'm going to go somewhere a little below that full white, somewhere there. Now, you can change the brush if you want to. One by default is paint hard and that works perfect for what we need. We can just keep that one, and this is when you're going to start painting. As you can see, you can start painting on the model. Now you can also paint on the UV side. But since we didn't do our UVs personalized or customized, these are simply automatic with a Smart UV project, we don't really know where all the parts belong in our model. So I don't recommend you painting on top of the UV map this time. You're going to paint on the three D model surface. Now, it's really hard to see, so I'm going to press Old C to go under the X ray mode, and I can actually have a guide. I'm going to show you what happens when I start doing that, you will see that it is not the smoothest. Now, there is a reason for that, and that even though I have a tablet, if you were doing it with your mouse, it's really hard to get it, like, super accurate. And there's a trick that we can use to make it a little better. And if you go under your right menu, there's this option called stroke. And here you can change the stroke to a stabilized stroke, which basically means that you're going to have a delay on your brush, so that way it's going to be a little more accurate and you will see what I mean. Now I have this factor in radio, you can change that. But basically, now if I try, I'm going to show you without the X ray mode. But as you can see, it's like a much smoother line. Let me just go back and you can see how there's like a line coming from the brush. That basically means you have a stabilized stroke. So let's go back to that reference and start painting sort of close to what we would like to have. Let's see how that's looking. Yeah, that's looking kind of good. Let's continue to the bottom. Something like that. You have an idea of where you want things. Now let's go and start filling in the gaps of the things. Now this is where it becomes troublesome as you can see, this is not the most accurate. Before I start being more detail on the edges, let's go ahead and just finish painting. I'm going to disable the stabilize stroke from it just so that I can paint everything that's inside. I'm just going to paint. Now there's a bucket option, but I do enjoy the process of painting just artistically. We go. So we have a full belly that's white. Now we have these issues over here and over here that I would like to address. Now, I don't want to make the circle bigger. So instead, what I'm going to do is that I'm going to choose I'm going to change the color back to the original base. So to do so, you can just press Shift X and just kind of drag or place your courser on the color that you want and just release Shift X. And with that, you should be able to have the color that you've just picked. I'm going to go back to the stabilized stroke thing and I'm going to try my best to keep it a little more detailed in certain areas. Let's go here and start doing that. Now let's go here and do a similar thing. Et's go back, something like that. And then something that you might not notice here, I'm actually going to reduce the size on the sides by a little bit, something like that. Cool. Now, what you might see is that we're not being able to see where the legs are. So I'm going to go back from texture paint up here. I'm going to change it into object mode for a second, and I'm going to hide the legs. Just so that I can see how we're not fully doing it right. So let's go back to that paint option, texture paint, and we are going to continue so that it is looking a little more accurate. So let's do that. Now, as you can see, by default, we have symmetry on, and that's exactly what we need right now. So we're going to leave it as is. But here you can go ahead and just kind of like, make it a little a little more detailed. Let's go on the bottom, something like that. Cool. That's the belly. That's all that we needed. We can bring the legs back. And, yeah, that's it. Now, if you go under the Look Dev menu or Viewport, you will see that it's matching and it's looking pretty nice. Now, before we finish this, it's very important that you save your image. Because right now we're just working locally on this file, but this information that we just painted is not anywhere. So what we need to do is that as you can see, it says image, and it has an asterix. So what we need to do is that we need to save it. So let's save our image. Doing so, you might get just, like, your folder where you might want to save it. So I'm going to go under. Let's see. Going to save it pretty quickly. Textures. Let's name this Toro I'm going to keep it as a PNG. I really like PNG is working for this and we're just going to save as image. Make sure that it's a path that you recognize that you know where you're saving it, so you don't get lost in it later. We're just going to save the image, and that's it. We are ready to continue. So in the next video, we are going to do the texture for the head. I'll see you then. 19. Textures: Head: All right. Now that we've created the texture for the tor, we are going to do a very similar process for the head. To do so, first, we again need to save some important information because the head has to be the same color as the circle that we did on the belly. So to do that, again, we are going with the color picker. You can select the color that we just assigned. Make sure that it's not any line or anything of the color that you're choosing, it has to be the white one. And now we would have it here. On our color picker, so we can select the color and just copy the hex code. So let's just copy that. And now that we're there, we need to paint the head. Now you might be wondering how do I go back to selecting the head? Because currently you're just you cannot click except for just paint. So to do that, we're just going to go up here under texture paint, and we're going to change it to object mode. Once you do that, you can just select the head and go back into texture paint. And as you can see, we're having a very similar process of the head being pink because it doesn't currently have a texture. So before we do that, we actually need to create a material for the head. So let's create new material for the head. And now that we have the material, I'm going to go back under the properties like the first step, the properties of the brush. We don't lose that now under texture slot, we are going to create a new slot. Let's do that. We're going to create a base color. Same process is going to be 2048 by 2048. We're going to disable the Alpha, and then here under color, we are going to paste that hex code, and we're just going to say. So there we go. We have the base color of the head. So let's go now under the let's go on our front view and we can start painting. So now we need to choose the inverse color, right? So to do that again, shift. X, you can just select your color. Now, as you can see, this is not the best because it's changing depending on where I place it on the three review. The most accurate way to do it is to do it on your UV map. As you can see right now, we have the MD head base color. Let's change it for a second to the torso base color so we can do our color picking. We shift X just here and now we can go back to that head base color. That way we can see what we're painting. So now here, let's just try. I'm going to see if I have the stabilized stroke I two. So let's see how that's looking. It's looking pretty good. Overall, yeah. See, I was a little worried that it was a different color, but that's just simply the lighting that we have on the three D view. So don't worry about that. And now with this in mind, let's go ahead and say old C to be able to see our X ray mode. Now, you might want a smaller brush for this to change the size of our brush, you just press F, and you can make it bigger or make it smaller. So we're going to make it a little smaller, just a little bit. And then we are going to try and follow that line. As much as you can, try to do it as best as possible. Let's just do that. Something like that. Let's see how that's looking. Yeah, that's looking pretty good. So now I'm going to change the stab stroke. I'm going to increase my brush size, and I'm just going to paint the insides of the shape. So let's do that. And now let's go back to that stabilized stroke, reduce the size. And then we can go in and just start making it a little better. Let's see. So let's just do our best to keep it very straight. Let's see here. Let's just move around, right here. Let's see how to make it better. It's a little tricky. That's looking good. Let's just finish a little more here. Okay, that looks better. There we go. Now, let's compare it to a reference. That's looking pretty similar. Maybe here, it's a little more square, so we can always go back and choose the other color and go back and just remove some of that extra extra hoops. Let's see. I'm going to go back and just do it a little closer so it's more defined. There we go. Great. So now, if we look into our look deaf, it's looking pretty nice. Now it looks more like a reference. Now, I might want to change the shape a little more just because it's very squared and I'm not loving it. Without reference, it's kind of hard to really know. So here we can just spend a little more time reducing the size, making it look more appealing in three D because with that references not always so easy. I'm just going to do that. Let's see here a little more rounded. Then on the sides, we're going to do a similar thing. Just a little less big. There we go. Okay, that's good enough for this. Again, remember to save your image, super important. So I'm going to save it as head. I already had a head image, but I'm just going to save over it, and there we go. We've saved our image. And now we have the That's pretty cool. It looks very nice. We have the eyes of our Panda. There's something that I still feel kind of weird about and it's like he's looking kind of weird up here. So I might want to round that a little more, but I don't want to make this video super long, so just go ahead and start refining the shape so that we are ready for the next video. I'll see you then. 20. Parenting: Alright, so our textures are done. I currently move into the layout view just because I don't need to texture anymore. I need the UES or anything like that. But there's something that we still need to do before we move on. And that we got to make sure that the materials align with the other properties. Now, the color is not the same because the head and the body have textures. But the finish of the material should be exactly the same. Meaning that the other property that we had changed was the roughness for the arms and the ears and all of that. So we're going to copy that value of the roughness that we chose, and we're going to apply the same value for the head and the torso. Let's go under the roughness of the head, and we're just going to copy that value, and we're going to do the same for the torso. So now we know that the roughness of everything is exactly the same, and we don't have anything like any discrepancies there. So now we are going to move on into our basic like base shading, solid shading. Just because we don't need to see color right now, it's not relevant to what we're going to do next, which is posing. So in order to pose, we need to understand a very important topic that is parenting. So usually, when you're posing a character, you would need a rig to be able to move it. Now, a rig is basically like a skeleton inside your models that have bones in it, and those bones allow you to move your object. Now, that's a very complex topic that we won't be covering in this course. But the basic foundation for rigging is something called parenting, and that's something that we will be using today. So for parenting, what it means is the following. So if I grab the head and I try moving it, you will see that the head moves without the ears or without the eyes or the nose, it's separated. It's completely individual, and that's how all of our objects are currently, and that's not what we want, because if we move the head, we would like the ears to come with it, just as it would do in real life. So how do we do that? Basically, there's this option where we can parent an object to another object. So if I want the ears to move with the head, I would need to pair in the ears to that head so that the ears would become the children, just like the name suggests. Ears will become the children, the head would become the parent. Let's try that. To do that, we're just going to select the ears. We're going to select the head, and we're going to press Control P or Command P to parent. Then we have this menu that comes up and there are plenty of options. We're just going to keep it simple with the first one. We're just going to pair into objects. I'm going to select that. Now if I select my head and I try moving it, you will see that the ears are coming with it, and that's exactly what we needed. We needed to select the head, and if we move it, that the ears come with it. Now we're going to repeat that exact same process for the rest of the face. So before we jump into that, we are also going to parent the highlights of the eyes, but we're not going to parent them to the head. We're going to parent them to the eyes first. And the reason why is because if I move my eye for whatever reason or I scale it or do any transformation on them, I do want the highlight to be affected as well. So basically, the highlights would become children of the eye, which would make them grandchildren of the parent. That makes sense. So we're going to do that. Let's repeat the process. We're going to select the highlights, select the eyes. I'm going to press Command P or Control P, and I'm going to set to parent. Great. So something that you might be noticing already is that if you go under the list, you will see that the eye highlights and the ears are no longer on my list. Now, why is that? Basically because since they are now children of another object, you will find them under that object. So if I open like I expand the eyes with the arrow, you will see that the eye highlights there are underneath the eyes. And if I do the same for the head, you will see the head now contains the ears object. So basically, that's just to keep everything organized and there's a hierarchy that we can understand to know what's parented to what. So let's do now the same process. We're going to select the Is. We're going to select the head. And now instead of pressing Control P, I'm actually going to press Shift R. So what Shift R does is basically a really cool command that allows you to repeat the last, thing that you did. So right now, we've been parenting, and instead of going every time Control P and selecting objects, and that's, like, a more extense, um kind of like process you do the thing. I can just press Shift R because that's just going to repeat the last action. So now let's do the same for the nose. I'm going to select the nose, select the head, Shift R, select the smile, select the head, shift R. And now if I move the head, you will notice that everything is coming with it, and that's exactly what we needed to do. So we are going to continue parenting in the next video, but that's going to be a little different because as you can see, these arms are a single object and we want to separate them. So we're going to learn that in the next lesson. 21. Pivots: Alright, so now that we've parented everything on the head, we're going to continue doing so for the arms and the legs. But as I said in the last lesson, you will see that now they are a single mesh. Like the arms are a single one and the hands are a single object. And just like that, the legs and the feet are just single objects, and we don't want that. So what we want to do instead is separate them. To do so, first, we need to apply our mirror modifiers. I'm going to go with the arms, and I'm going to apply the mirror modifier. Now, we know we can do this because we're not going to modify the topology anymore. That's going to stay as it is. So now we can do that safely. And what I want to do now is I'm going to go under Edit Mode. I'm going to select one verdex and just kind of keep my mouse hovering over one of the arms. And I'm going to press L. Now, L is for selecting just like whatever's attached to that area to that verdix. As you can see, the other vertices are not attached to the ones on the right, like, by anything. So that selects whatever is connected. We're going to press P. P is going to allow us to separate the selection. So now if I press B, as you will see, and I go out of Edit mode, you will see that now I have two different arms. Now, I'm going to want to rename them because I want to make sure that they that I know which one is which. So the initial arms, I'm going to rename as arms underscored RT, meaning it's the right arm. Now, it's the left side of our screen, but it's his right arm, if that makes sense. So that's why we're going to call it that, and then we're going to call this. Arm, F for left, we can actually just do. Actually, let's just keep it short. L and R for left and right. I think that's simpler. So we're going to do the same process for everything else. For the hands, let's just apply the mirror modifier, go under Edit mode, select one of the vertices, hover the mouse, press L. It's important to press L. Now P two separate by selection. And we're going to go out of Edit mode with tab, and now we have two different objects. So now I'm going to select one of them, hands, and this is going to be just hind R, and the other one is going to be and L C, almost theirs, and now we're going to do the same for the legs. We're going to apply the mirror modifier. Going to go on edit mode, select the aisle of polygons, press B, separate by selection, go out of Edit mode, and we're going to rename them as well. So these are going to be our right left. And this one's going to be our left leg. Cool. Lastly, we're going to do the feet. Let's apply that mirror modifier, go on Edit mode, select one of them, separate by selection, go out of Edit mode and then renamed. This is going to be the foot on the right, and this one's going to be the foot on the left. Cool. So now that we've separated all of those objects, now I could have done the same thing for the ears, technically, but I'm not planning on changing how each one moves individually. So that's why it didn't really matter. Everything else, it will be very relevant. Now that we've had that, we can start parenting. I'm going to select the left hand with the left arm, and I'm going to hit Control P, parent to object. Now if I rotate this, you will see that arm the hand comes with the arm. We're going to repeat the process. Remember that by doing shift R, we should be doing exactly the same, and it's always good to test. So now I'm going to select the right foot with the right leg, shift R, same idea for the other. So now let's just check that's, that's doing a good job. And now we want to parent everything to the body. That's super important. So I'm going to select the face, the head, and I'm going to parent it to the body. I'm going to select the leg and parented to the body, parent this to the body, last one. Now, technically, if I move the body, it didn't do it. Let's go back and see what's going on. Control P, said parent the object, and let's do that again. Maybe I had changed the command so it wasn't doing the parenting. Let's go again, head to torso. There we go, and we're missing the tail. That's super important. As you can see now on my list, I should only have the torso there. Now if I open that, you will see all of our other objects in there, and if I open the arm, you will see the head and so on and so on. It's just keeping a hierarchy. So now if I move the body, now it's bringing everything with it. That's exactly what we needed to do. Now there's another thing that we need to change, and that is the pivots where things are moving. So right now, if I try rotating the leg, which is a very natural movement, it's doing it in a very weird way that we don't like. We would like to change that pivot, same for the head, same for the eyes, for everything else. We want to change that pivot. So what we're going to do is we're going to start with the head, actually. We would like the pivot to be somewhere closer to I mean, he doesn't really have an neg, but if you have an egg, I would put it more close to that base. So to change the pivot, first, we can change the origin of the cursor where everything is. And then from there, we can snap the pivot to the cursor. So to change the cursor, I'm going to press N to bring this menu here on the right of my Viewboard I'm going to go under actually under two. Wait, no. Under view is where I want to see the thing. Under view, there's an option to change the three D cursor. Remember that to change the three D cursor, you can just like, press shift right and you would move somewhere. But you can also do it more precisely. So I'm going to bring it back to the center of the world. That's where it was. And I actually want to bring it up on the axis. So let's try doing that. That's maybe too much. So let's try 0.1. Let's do a little more, maybe 0.15. Oh, maybe that's not too much. Let's do something like that. 0.12 seems like a good spot. And now I'm going to select see how my pivot still in the center of the world. So what I'm going to do is I'm going to select the object. I'm going to go under object, set origin, and then I'm going to set the origin to three d cursor. So now it snaps to that three d cursor. And now, if I rotate the head, it would do it from that middle point. Now, we are going to do something similar with legs and the arms. Let's start with the arms. I'm going to move my cursor down just a little bit, Let's do maybe like maybe something that's not enough. Let's do, something like that, -0.01 seems like a good Well, actually, we can just keep it at zero this time for the arms because that's kind of like a good middle point. But now I'm going to move it to the side because that's where I want the rotation happening for the arm. So let's move that location on the x axis this time, maybe somewhere around 0.3. Maybe I would like that a little higher. So let's try 0.03, maybe 05, maybe would be better. And let's move this something like that. Yeah, I think that's good. Now that the pivot is there, we want to select the arm and again, set the origin to three recursor. Great. So now we want to repeat the process for the other arm, so we're going to keep it right where it is. And the only thing that we're going to change is that we're going to add a minus before the location since this is symmetrical, it should stay under the same, it should be the same location, but on the other side. And now we're going to repeat the process of setting the origin to three D cursor. We're almost there. Let's Let's do, let's do the legs first. So we're going to center our three D cursor first. So just keep it at zero. And I'm going to bring it down. Let's say, Somewhere there is actually pretty good. Do it a little less. Yeah, zero -0.55 seems good. Now I'm going to move it on the X axis, maybe 0.25. Let's see how that looks, maybe a little more. Now, this is a lot of, like, testing values and seeing what works and what doesn't. I think that's a good point where a hip joint would be. So let's just select that, and we're going to set origin to 380 cursor. There we go. Now we're going to repeat the process, change the X location with a minus and now we're going to snap. I forgot to watch on the side view. That's important, but I think that's a good spot anyways. Now let's do object set origin, 23 dcursor. Cool. Now let's do the hands. Let's move the location in the X axis. Now let's bring it up, maybe a little more. A little extra 25. There we go. I think that's a good spot. And now let's see on the side. We would need to move it back. So let's move it. Oh, other side. Okay, so it needs to be positive and a little more. That's too much. Maybe 0.2. Yeah, 0.2 is a good spot for the hint. And now we can select the hint and set origin to three D cursor. Now we're going to do the same for the other hint. Our pivot should sorry, our cursor should be just in the positive location in X, and the rest should remain the same. So now let's just apply the origin to three D cursor. There we go. And then lastly, we have the feet. So let's actually bring in it's really hard. Let's see. Maybe 0.2 would be maybe a little a little farther, 0.25. Maybe a little more. 0.3. Yeah, I like 0.3. Now I'm going to actually center this. Sorry, not on the C. The Y one, I want to center it, and I want to bring it down. See it from the side. 1.2 -1.2. That's maybe too much. 0.05. Yeah, -1.05, and then we might want to bring it to the back a little bit. Let's do it for 0.05. Yeah, that's good. That is great. So now we just select the right, sorry, the left foot and we set origin 23 recursor. Lastly, we're going to change the location in the negative space in X, and we're going to do the same origin to three dcursor. Now, I could do the same for the tail. Let's actually do that. I'm not planning on moving the tail, but just to be safe, I'm going to place this in the center in the X axis. Now I'm going to go into the side view. Actually, now that I'm here since I'm in the side view, I'm just going to place it and it should remain. No, I did not. Let's just bring it to the center of the world in the X axis, and that did a good job. You could have done that with the other ones, but it works. I worked. Let's just keep it that way and now let's select that object and set origin 23d cursor. Great. Lastly, we are going to test that everything is working as we want it. So if I rotate it, that's working good. If I rotate the leg, that's working good as well. That seems good. This seems good. This seems good. Let's do the hands. Yeah, that seems to be moving fine and same for the food. Okay. Great. One last thing though, is we should change the pivot of the body. It should be somewhere close in the hips. So now that we have it around the tail, we can just move it to the center of the world and see. Not in C. That was that was not what I wanted. Okay, let's just move it back because I don't think there's a way. Let's just keep it somewhere there. Just do something there, and it's Y. It needs to be centered in Y. So that seems good. Maybe I'll move it back a little bit. 0.1. Okay, let's keep it there. I'm going to select the body and just set origin to three dcursor and that way. Now, this will look funny with the legs, especially if I rotate it. So if you want to do some posing like that, we might need to rotate this as well just so that he has some support. But we're not doing any complex rigging here. So there we go. We have our parenting ready. So now we can move on and pose our character. So I'll see you in the next lesson. 22. Posing: All right, so now that we have all our parenting done and all the pivots are in the right place, we can continue and post these characters. The first thing I want to do is I actually want to hide the reference images because we don't really need them right now. We don't want the reference to distract us from just creating a different pose. So now that we have him here, let's go on the front view and then see, I'm just going to do a very subtle pose to make it different. You can go a little more extreme. But since we don't really have a rig, we kind of have a constraint of how much we can do with our pose. But what I want to do is something very simple and cute. I'm going to just rotate the head to the side a little bit. I'm going to rotate this arm down. Maybe I'm going to rotate the hint as well. Now I'm going to change this, and I'm going to change it actually to local, and I'm going to just move the head hind like that. And now let's grab this arm and let's rotate it so that it's maybe not too much. Just lift it a little bit. We can rotate the hint as well. So, that's too much. Got to be kind of subtle with it. Just like that. And then let's see how it's looking from the side. That's important to always check how things are looking from the side. So I'm just going to just rotate that a little more. Cool. Now I can rotate. Actually, I'm going to rotate the whole body like that. But since it looks like he's losing balance, I can let's see, just something like that. I'm going to move the leg back here so that there's a little bit more balance on his weight. We can maybe move this a little bit to the other side and then just lift the leg a little. And that's just a very simple pose, but as you can see, this allows us to have something different. Now, something that I want to do with this arm, it's because this is not attached to the body. It looks like it's coming from a weird spot. So I'm actually going to change where it is located so that it comes more from that place instead. Okay, I think that's it. Like, it's very simple, a very simple pose. You can do something different if you want to. I think that this is good enough for this project. You can do something different pose, be creative. But yeah, this is just how you pose your character without a rig. It's very simple, very useful. So yeah, now that we have an actual pose, we can go ahead and render it out. So for rendering, we might need to do some lighting, some camera work, maybe a background, and we can finally have a final image. So that's it for this video. I'll see you in the next one. 23. Camera: Okay, so basically we are done with our character, but we would like to be able to show our work. And to do that, we need to render an image. So to do so, the first thing we need to do is to add a camera. So let's go ahead and do that with Shift A and just add a camera. Now, you're probably going to have this menu on the bottom left, and I want to just keep everything very centered. So let's just do that. Actually, I would need to rotate that to maybe zero. Yeah. So basically we just want it facing the pair. So let's just move it to the pack. And now to be able to know what we're seeing, we are going to press zero on a NAT numPaD and then you are going to see whatever your camera is seeing currently. So one thing that before we start moving this around that I want to do is I want to change the focal length of the camera. For characters, I usually like to go more like a almost with a tell lens. So what I want to do is change that focal length a little higher. I'm going to go with maybe 85 millimeters. That's going to make it look like it's closer, even though the camera is in the same position, and it's going to flatten our object a little bit. Now, I want you to look what if I change it to 25, and I come closer to the camera. Like if I want it to be in the same position, it's going to look like very distorted, and that's why I don't love it as much. I'm going to keep it at 85 and I'm going to just move it to the back. And just go into the camera. So something that we can do now, it's kind of like position the camera from the camera view with a very cool option. You can select that option by going under view and then go under navigation, and you're going to see at the end there are two options, fly navigation or walk navigation. I honestly don't really know much of what's the difference. I think one is faster than the other, maybe. I might be wrong, but I usually just select walk navigation. And then if you move your mouse, you're going to see that I'm rotating around. And if you've ever played video games, to move this more accurately, you're going to use different keys. So I'm going to explain that to you. If you press S, you're going to go farther. If you press W, you're going to go closer. If you press Q, you're going to go down. If you press E, you're going to go up, and if you press A, you're going to go left, and if you press D, you're going to go right. This is a very cool thing because you can help with moving your mouse around, you're going to be able to locate it. But then also, you're going to be able to change the position with your keys. So basically the tilt is managed by your mouse, and then the location of it is managed by your keys. So I'm going to move it somewhere that it's fully centered. And I think that's pretty good. So basically, now that I have that camera ready, I want to add a floor to the floor and background to the player. So to do that, I'm going to just add a plane. So let's do that. I'm going to go on my front view, and I'm going to place it right where the right foot is kind of like touching. So I'm going to place it right there, and then I'm going to scale it up. That might be a bit too much, but just scale it up enough so that the camera is fully covered. Whatever the camera seeing is fully covered. And then what I like doing is going on Edit mode, select the edge on the back, and I'm going to extrude it in the C axis way up. Now, I'm going to select that edge that's right on the corner, and I'm going to bevel it by pressing Control B and just raging my mouth my mouse, and then just with scrolling up, you can add more subdivisions to the bevel. And I don't like to go too exaggerated, but something like that would be good. And I'm going to make sure that it's shade smooth. Now let's go under our camera, and that's perfect. We don't really need any more than that. Now, we are going to add a material for the background. So let's show that New and we're going to emit material background. Perfect. I'm going to keep it white for now because we haven't really done any lighting. But as you can see, this lighting that you see now is just like what blender has by default. But as you can see now, we have, like, a floor. You could change this to whatever color you want. Now we can see this better when we have our real lights, but I would like to go with like a fun color or something. So we can play with that around. But basically, that's what we need to set it up now. We do need to add some lights, and I'm going to add a few things to be able to render these out so that it looks really nice. I'll see you in the next video. 24. Lighting: A Alright, so now that we have this, we are going to add some lighting into this so that we have more control over it. So what we're going to do now is that we actually want to select scene world and scene lights under our viewport shading. Now, what this is going to do, currently, we don't have any lights. We don't have any environment texture or anything. So it just shows up really weird. But we're going to change that. So the first thing I want to do is I want to add an texture environment image so that we get some lighting from the environment. Now, the way to do that is that we're going to go underworld and we are going to select what we said color, we're going to click on that yellow dot, and we're going to go and select Environment texture. Once we do that, everything's going to turn pink because we need a texture to be able to have some lighting of it. So here we're going to open. There's a texture that you should have an HDRI that I gave you on the resources. So you should open that. I have it on my downloads here is the Brown Photo Studio. These are free HDRIs you can find online. And yeah, basically what it does is that it brings the lighting for us. As you can see, we have a shadow, we have everything. But I would maybe like seeing different angles of the lighting. So to do that, we can go. I'm going to open this window down here and I'm going to change I don't want to see the timeline. I want to see the Shader editors. I'm going to click on the Shader Editor. And here, right now you have just a color for the object that we have selected. But I actually want to change here where it says object, I'm going to change that into world because I want to change the world settings. Now, here you will see that we have a world arc output, we have the background node, and then we have our image. But to be able to rotate this image, which I actually want to show you something. Let me see if I disable the world. You will see the picture right there. Basically, that's what's lighting our world. So now from here, we can add two nodes. So let's add a texture coordinate node, and let's add a mapping node. So we're going to need these two nodes to be able to rotate the world around us. And here we're going to connect the generated output into the first vector input, and then we're going to change and not change. We're just going to connect the vector output into the vector input of our HDRI. Now with that, we are going to be able to rotate in the C axis, the world around, and we will be able to see how the character is being lit. As you can see, the shadows are changing. Now, if I bring back that plane so that we don't get distracted by the image, you'll see if I rotate this, we're going to have different lighting for different things. So we can choose something that we like. I honestly feel like the beginning, let's just maybe move it a little bit. Something like that, I think that's pretty good. I will like to change the color of the background, I feel like it's too bright. Let's try and change it to something softer. Maybe in the purple and then bring it down. Yeah, something more like that or maybe we can try an orange. I don't know. You can be playful with this, choose the color that you feel like works better and you like the most. Give me some pink. I like the pink. Okay. You can keep it like that. One thing that we can do here is I actually want to go on Edit mode, select this edge, and I want to bring it more higher because I feel like it was doing something weird. I might actually bring it forward a little bit, just a little bit. Okay, now, that seems okay. I might need to change the roughness instead because I feel like it's being very like I want it to be more mad. Let's do something like that instead. Okay. Great. So now that we have that, we can add a few more lights. We won't be doing too much, but something that I want you to take a look right now it if you have a decent machine that can render uh, without killing your computer, I know not all of us can have access to great computers and whatnot, but right now we are using IV as our render engine, which is a real time renderer, which means it's going to be cheaper, it's going to be easier and faster to render, but also the quality of our renders might not be the best compared to our second render engine, which is cycles. I'm not going to talk about workbench, but cycles. Now, cycles is a tracing um, renderer, which creates much more accurate renders. If I go under the render tab, you would see now that it takes much longer. It's much noisier, and there's more that you need to work with cycles. Now, I do suggest that if you feel like you have a strong enough computer to support this that you make the most of it because it's really cool. I feel like cycles has a lot of power that you can work with. But if you don't and you don't want your computer to explode, that's fine. You can always just change it back to EV. You might be thinking like, Oh, cycles doesn't look as good. And the reason is that I haven't brought my samples to the highest that it can be on the Viewboard. You can make them a little higher so that it's not as noisy and then you can play with that. But for now, let's just work with IV since it's faster. And the reason why I mentioned that is because the lighting is going to look different. So if you have the power to work with cycles, make sure to add lights and start comparing them in cycles so that you know exactly what you're doing. But for now let's just focus on IV. Let's add a few more lights. I I feel like the lighting overall looks very good. There's just one light that I would like to add and it's a spotlight that I'm actually going to move to the back and I want to rotate it in the X axis. Let's see. Here we go. There we go. The reason why I want to add this light is because I want to have a little bit of a rim light which is the light that we get on the silhouette and make things look a lot better. Let's do something like that. Let's rotate it in let's do the world Oops. I don't want to go under modeling. Global orientation. I'm going to move it into C axis, something like that. And let's see how that's reacting. Et's go under the light. We might want to bring the power up to something close to 5,000. See how we start seeing that light on the edge and giving me that silhouette that looks very good. We can change the radius or just make it more small, change the size of the cone. There are plenty of things that we can do, but honestly, I just wanted to be close enough so that it's close to our panda. Going to rotate it in the C axis a little bit more. See how that looks. Maybe I'm going to move it to let's see. This is a lot of placing and seeing what's working, whatnot. See something like that would be nice. Having that rim light on our side and kind of the side of the face as well. And then we can change the color of the light. I don't want it to be completely white, so maybe something more warm would be nice. Or maybe even something cooler. Yeah, I also like in the blue tones. All right, that's it. That's basically it. We have our lights. Because our HDRI has a lot of lighting in it, I don't want to saturate it and just kind of make it explode and look very white. I feel like this is decent. If you want to add a few more lights, you can you can also change the strength of the environment. So if I want it less, it affects less, but it's still there and then just add a few other lights. That's also doable. So just see what works for you, what you like. This is complete personal preference. I think I might want to add. Few more lights maybe to play with it, but it's completely up to you. You get the idea, add some lights here and there to make it look appealing. And yeah, that's basically it for the lighting. In the next video, I'm going to show you how to render and how to export the image. I'll see you then. 25. Render: Alright, so we have our lighting setup ready. I ended up adding just another light, which is this one right there. Kind of like to give it a little more brightness to it. But yeah, you can add as many lights as you want, completely up to you. But we're going to keep it like that for now. And I'm going to show you how to render something out. So first, we're going to need to know if you're rendering with IV or if you're rendering with cycles. That's super important because it's going to be a little bit different for each. If you're rendering with IV, there is a cool option. Right now we are on the render view, but this is not the actual final render. As you can see, we have different samples for each. So right now our viewport has 16 samples. If we render it out, it's going to be 64. So it's quite a bit of a difference. The samples are basically saying how much the computer is calculating the light, basically. So the higher the number, the more it's going to calculate each ray and each light and all of that. So you don't worry if this is not going to be the final quality, but it's good that you test it out. One thing that I think it's fun for IV is that IV has a ray tracing option, which might consume a little bit more of time, but I'm going to show you if I activate. Oh, it actually looks a little better than it did, it's the lights are not as bright and it seems more natural. So if you are rendering with IV, just select tracing and I feel like that's going to be great for you. Now, if you are rendering in cycles, you can see it takes much more time. Again, the viewpoard sampling is different than the render. So right now we're having as you can see, right on the top left, we see the samples. Right now it's 36 out of 1024, which is what we said that's going to be the Mc samples in the viewpoard and you see how much it's taking to fully Oh, wait, it completed the render. Okay, so that didn't take too much. But for the renderer, you have a 40 96 maximum samples, and the noise tresshold is much lower. So that means that the quality of the image is going to be much, much better, but also it can take much longer. So be mindful of that. I wouldn't mess too much with these numbers because it might be too much. You might kill your computer or you might never end. So just be mindful of that, but those are basically the differences of each. Now with that in mind, we now need to set a output. So underneath where there's a printer. We're going to see how much we want the resolution to be. Right now, it's just a ten eDyP resolution. So basically it's 20 1920 by 1080. Change. When we're testing renders, it's usually nice to just bring this percentage down, so it's going to keep the same ratio, but it's just going to be 50% less big so that we can test things like that. I sometimes even do 10% or 20% to see faster results, but also see how the quality of it is going to look. Right now I feel very confident I'm just going to keep it at a 100% of that resolution. We don't care about frame rate because we're not doing animation. And then we need to set an output. Here it says output. We're going to select a folder where you want those let me see here where you want the image to be exported. I'm just going to do here. I'm going to just do a Panda. Let's see. Yeah, I'm just going to call it Panda. Wait actually. Let's just create a new folder, I'm going to call it output. I'm going to select that and I'm just going to call it Panda except. Cool. And then I'm going to change the file format. Oh, actually, it's PNG that works great. I want a PNG for now, and I'm going to keep everything as is. So yeah, that's basically all you need to do. Once you have your setup done, I will suggest you go back to your solid mode to start your render so that you don't kill your computer and have two renders at once, the viewboard and the real one. You definitely don't want that. But now that we're here, you just going to go up here on the render tab, and then you have the option of render image. You can also access that with F 12 on your keyboard. Yeah, it's going to start rendering. It's going to probably take a little bit, might not take that much, but we'll see. I'm going to keep rendering this, and I'll show you the result in the next video. 26. Final Image: Great. After rendering, this is our final result. Now, it is important to save the image somewhere in your file. So let's do that by going under image, and then we're going to hit Save. And here you can change the location where you're doing it, but I'm just going to keep it here and we can name it panda render or whatever you want to name this. It's going to be a PNG since that's the format that we had chosen. And we can just simply say save as image. So you have it saved. Um, great. So now that we have our image done, I always try to keep my scenes organized and that's something that we haven't done for the past videos. So we're going to make sure that all of our objects in the scene are in the right spot. So one thing is that I'm going to rename the plane to be background so we know what it is. So this is going to be our background. And now we want to move the things that are not a mesh in a different collection. So let's create a new collection called Extras. And now we can move the camera and the two lights into that collection. So now we have reference images in a collection, the meshes in a different collection, and then all the other objects in a different collection. You have everything organized. So, yeah, that's basically it. We have our final render of the Panda. I'm very proud of you for getting up to this point and finishing your project. This is super cool. This is just a great way to creating simple characters. Hopefully, maybe now you can start creating characters of your own. But, yeah, I would also love to see all your work, everything that you've done during these lessons. So please feel free to share your images of your Pandas under the project section so we can all see it with the community. Maybe we can get some feedback and whatnot. So, yeah, I really hope you learned a lot during these lessons, and thank you for watching.