Master Character Design in Blender for Unity & Unreal Engine

1. Welcome to the Course: Welcome to this exciting word of T D character design in plunder. In this course, I will take you on a journey from two D Pro prints to print in your character sal life, textured, animated, and use it to build your own game and play it on both PC and your Android mobile phone. In Section one, will dive into character creation as we carefully modeled ahead from the eyes, nose, and mouth to the refined phase structure. You'll learn all the techniques to create unique and captivating characters. You will also cover the body, including the upper body, the arms, hands, and legs. You'll develop the skills to shape your character physique with high precision in detail. In section two, we'll explore character clothing design where you will learn to create styles, t shirts, pants, and shoes, that's going to seamlessly complete your character's individual style. Moving on to Section three, we'll dive into the art of texturing. We'll learn to paint the skin of our character, refine the mouth, lips, and add texture to the eyes, the hair, and the eyebrows. Section four will introduce you to the word of rigging and animation. You will master the process of rigging your characters and creating dynamic walk one, jump, giving your character a vibrant and expressive presence. In Section five we'll focus on building a captivating game environment from scratch. You will learn to construct a visually stunning word, complete with essential elements, such as trees, wood bridges, vans, racks, and so much other stuff. Section six will take our character into the world of game engines. You will explore the character you've created to both unity and real and make it playable in both game engines. So with intuitive game controllers and seamless animations, you will see your character come alive and interacting with the immersive gaming environment you've created. So if you want to take your character design skills to the next level, join me on this exciting journey where you will refine your abilities, craft captivating environments, and bring your characters to life in a remarkable gaming experience. 2. Aligning Reference Images of Character: We can start modeling our character. I'd like to align our reference images. For that, I have these two reference images, we got the front and the side. Basically, that's all we need to create this character. I'd like to go back to my blender scene and I'd like to delete everything, so we can press A, x, delete everything. To jump to the front autographic. We can press one. Here we are in the front autographic view. What I'd like to do right now is to simply track and drop our front character reference image. After that, let's select it. We can press to go to this transform. I want you to reset, we can select left collect to select all these locations and press zero, press ner. Just so that we can have it right at the center of our scene. After that, we can go to the move tool and simply take it up. But we aren't going to be able to see through this reference image. What we can do is to go to the abject data properties. Let me just scroll or expand this window a little bit to the left side, and we can check this opacity so that we can see through our reference image. I'd like you set this opacity something like 0.85, just so that we can see through our reference image. Let's press one. Next, I want to make sure that it's right at the center. Let's simply take it a little bit hoops, move it back, something like this, I have it at the center and also on here. Let's take it a little bit up, so the feets must be sitting on this red x axis. G, z, the shortcuts for moving up or down. Let's take it a little bit up. There we go. It's at the right location. After that, I would like to simply drag this reference image backward because we need to model right here. If you press one, you can be able to have the front. Next, I want you to press three so that we can jump to the right tographic. And I want you to simply drag and drop our reference image, which is the side reference. Let's repeat the same steps. I'm going to press n. Let's go to the transform location. We can select all these values, press zero, to have them aligned here. Let's check it up. But also let's go to the objects of properties. Let's check the passage here two. Let's set it two ero 0.85 and we can take it a little bit up like this. You can have it centered ops, not the scale. I don't want to scale it. I just want to move it to the center like this, center for our body. As a last move, all you have to do is just move it a little bit back, something like this. To just this out, we can add cube. Shift A, let's go to mesh, we can add the cube. Let me press one, to go to the side, we can jump to the s mode. We can try to scale it on the x. Try to move it up like this. I shot y frame, and let's take the top all the way to the top of our character. This is for the front, we can jump to the side by pressing three, and we can select everything and try to scale it on the y. As you can see, we're ready to go, our reference images are well placed in the right location. Let's get started in starch more in our character. 3. Modeling Character Eyes with Socket: Steps to model our character is to work on the eyes. I'd like to delete this cube. X just. We don't need it anymore. I'd like to press one to go to the front, and we can zoom into the eyes. I'd like to right colic right here. Shift A, go to mesh, and we can bring a plane. I'd like to spin this plane on the x axis, so our x, we can spin it by 90 degree. Let's press one, let's go to the front like this. I'd like to drag this plane and put it right at the center here. On the mode, I want you to sketch real down, sketch way down, so like this. Right now, I like to use the mirror modifier. Let me explain. As you know, faces are symmetrical. All you have to do is just work on the right side and let's blender take care of the left side. To do that, I'd like to split this plane into two parts, so we can press control r, right at the middle to ins ge group, we can press ser. I'd like to delete these two edge lines, these two versus, we can press x and delete them. Now we only have the right left part, the right part of our plane. We can go to the modifier properties and let's click on it, and we can add and search for the mirror this modifier right here. By default, we're having the x mirror set to the x axis, which is the right axis. Now if we try, for example, to model the right side, the same thing is going to be happening on the left side. Let's select our plane by pressing A and we can scale it real down. But you can see this problem. Also, let's try to reduce a passage of our image, so we can reduce this passage something like 0.5, reduces real down, just so that we can see our plane. Let's select our plane and we can scale it down. But we're going to see this problem. Our plane it's not connected at the center at this location. We want to stop right at the center here. To do that, I want you to check the Clapp in the mirror modifier, so we can click on C pin here. Right now, if we take it for example here, we want going to be able to transpass this point. So it's going to be locked right here at the center. So let's go ahead and scale this plane real down, something like this, and we can take it to the left side over here. Scale again. Basically you follow this nose line that we got. Let's do that, we can take to the left side like this, scale this down, and we can start extruding up, so we can press E to extrude. It's extrude, for example, something like this all the way to the top. Samthing here, extrude double times, something like that. The next step is going to be to grab these three s, and we can extrude them this way. E x, let's extrude them outside. Perfect. Now we need to keep an eye on our right orto graphic. If we press three to go to the side, as you can see it's going to be just a flat plane. But also I'd like to flip my reference image. I want my character to be facing the other side. We can select this reference and type S y, and let's type minus one. Now it's flip to the other side. Also, I'd like to split my sto two parts. From here from this corner, you're going to see this plus icon, I want you to click and drag it. Now we're having two windows. The first one is going to be for the front, we can press one. Let's have it dedicated for the front, this parts right here, and this part is going to be for the side. On the edge mode, let's select everything, try to move it forward. Let's try to align these vertices with our face. We can try to move the forward, something like this. Can tack this one up. There we go. That's fine. Sitting here on the top, let's select these vertices, try to align them forward. Perfect. Also, I prefer to add a third window. For example, I'm going to go to this right menu. We can click and drag up, and we can switch this to the three D viewport. Basically, this one is going to be for our three D viewport. Let me just zoom on it. This is our progress so far. For the eyes, I'd like to select these three versus s and let's simply drag them, little bit down, and let's better align them, so we should push them like this. This one a little bit maybe forward. Good. From this front autographic, I want you to extrude this vertex to fill this i loop. We can extrude like this and keep extruding and aligning with the i loop. So let's continue all the way to the top. A little bit more. Finally here we can select these two sits and press F to fail them. The next step, we need to align these verss on the right autographic. Let's select them. We can try, for example, to select each one over here. Such align it. Then, continue our alignment. Pretty much good, but also here we should move it a little bit back. It doesn't need to be 100% perfect. We are having some differences in our reference image. The next move is going to be to grab these vers and we need to extrude them up. Let's extrude them up, for example, here. We can scale them up a little bit, check them down. We can push this part a little bit back, but let's just do it first. Let's select also the bottom, can extrude it down, scale it a little bit up. Like that. For example, this right area. Can select these four verts and press F to fill that scap. Here, let's try to move this one to the right side. Sthing on the other side here, we can insert an e group, Let's side control r. Can slide it to the right side. Let's select these four vers. Press F, L sthing on the bottom side. Select press F to fill Perfect. The next sep is going to be to take these sites all the way to the top until we reach the eyebrows. Let's select, for example, these five verts, and we can exude them up. Can scale them a little bit up and also here we can push them outside. Let me try to bring these inside just a bit like that. Perfect. For the nose verses, I don't think we're going to need this extra edge mage, sketch it of the two edge loops, and we can check this one up. This vertex, we can slide it a little bit up, it reaches that point. For this one, you can take it a little bit to the middle. This you can put it right here. Also keep an eye this right autographic. Let's align these even better. Right here, we can select these four verts and let's press F to fill them. Here on the top, we can insert another edge loop. Control R here and let's select this vertex, shifts like this vertex, we can press, merge at the center. We can take this one to the left side, and we can do the same thing to these two verts. Let's press and merge at the center. Basically, the less vert is the better, just that is going to be having too much to deal with. So here I'd like to check this right to graphic. We can try to push these backward just a bit. They should not be completely flat for the nose. There we go. Looks perfect. For the bottom of our eyes, we can grab again the same four vertices. We can extrude them down, scale them a little bit up, and let's push them a little bit forward in the right autographic. Here I would like to grab these four vers, and we can press F to fail them, and here we need to. Let's take this one. We can push it a little bit down, and touches the nose, and we can add an additional loop. Let's these three edges, we can extrude them down. Scale them again a little bit up, push them outside, and we can grab these three edges and press F to fail them. Perfect here, let's do some better alignment. Pretty much good. Let's work on the right area right here, we can grab these, push them a little bit to the right side, and we can start filling these gaps. Let's select these two. We can press F to fill them, and we can also add an additional edge line right at the top. Let's them up. We can take these two edges, push them to the right side. Also let's check the front. We can take this one a little bit back like this. Here let's push them to the right side. Show us a little bits, and we can grab these four versus Cs press F to fill them. This can push it to the right side. Take it up, maybe. There we go. Here we are having that. We finish working on our eyes. It's pretty much ready to go. We can right click and shade smooth that part. I fix this bad geometry. All we have to do is to just flip the normals. On the Es mode. I want you to select everything by pressing A and type shift and control space right here and let's try to work on our mask a little bit. I'd like to switch the edge mode. We can press all right here. We can extrude this area on the inside. Let's press E Y. We can exude inside, just a little bit like that, to give it some depth. So we got our eye socket. I call it the Zo mask because it looks like it. We can continue our work in the next coming lecture. 4. Modeling Character Nose: Having the ice sockets modeled, the next step is going to be to add the nose, this particular parts right here. Let's work on it. I'm going to press three, and I'd like to grab these vertices. I'd like to maximize this window by pressing control space, and we can switch to the wi frame. Let's try to take this up a little bit, for example here, and we can start exuding. I want you to exclude here exude a to this location. Down. Can try to spin this one just a little bit. Send the let's try to spin it. We can press R to spin it, and let's extrude down double times. Perfect. We got that edge loop of our nose. We can press control space, and let's check the front. This is the front side. We can take these last vertices, push them down to fill or to match that same curvature of our nose. Here we can try to make it go with the flow, something like that, looks fine. So the next step, it's going to be to jump to the three D view port right here. I want you to select this vertex. We can press one to go to the front. You can take it a little bit up right here and extrude it. For example, three times. Let's select these last two vertices, and we can press F. Let me just check. I think that's right. It's not right. Obviously, we have to slide this vertex, we can double g to slide it like that, we can take it up. Perfect. So like that, we can also slide these vertex, a little bit to the middle. L that. Let's select vertices, try Sy press zero, to have them completely flat on the z axis. You can push them a little bit forward, spin them on the x. Something like that looks reasonable. Next, what we can do is to press shifts and select these vertices, and we can press F to fill that gap. Perfect. Control space, and let's continue working on our nose. We can insert an extra edge loop by pressing control R. Let's try to push it a little bit outside, you can press one. Check that size. Try to push this one back. This one. Yeah, let's just leave it like that. Here on the top, you can select these four tics, press F to fill them. Same thing here, let's select these four press F. Here on the bottom. I'm going to select these four, press F. Here we don't want to fill this one with the triangle. We always need to have at least four vertices to fill a phase. To fix this problem, we can insert an edge loop right so control r. We can slide it a little bit down. This way, we're going to be having a four phase versus. We can press F to fill that gap. Perfect. Let's press three, and let's check the size of our nose. I we can try to take these a little bit up like this, spress one. It looks reasonable. Basically, that's it for our nose. I'm going to just keep it like this as a simple nose. We can work on it later and add more details to it. See you in the next came of lecture. Hack. 5. Modeling Character Mouth : The next step is going to be to work on the mouth of our character. But as you can see in our reference image, we don't have too much details to work with. This is just a simple line. Instead of relying on this, I'd like to rely on different reference image, this mouth reference. I've put this one as a test. I want to use it in our character. I'm going to simply drag and drop our reference right here so we can press one. Also, I'd like to hide my current reference image, we can select it and press H. Hide it, and let's go ahead and drag and drop our new reference image of our mouth. I'd like to scale it down until the reference fits the shape of our mouth, something like that, and we can take it a little bit up. Also, I'd like to make it a little bit transparent so that you can see beyond our reference. We can scroll right to the object that are properties and we can check the opacity. Same thing we did with these reference images. We can take it just a bit to the right side to the left side, to have it centered, and now we're ready to model our mouth. First, what I'd like to do is to select our objects, switch the edit mode, and I want you to select one single verse, Shift D, and we can put it, for example here. Let's go ahead and start extruding, so we can extrude like this, go down to this location. It's not perfect here, but don't mind that, so we're going to work on it even better. Extrude down like this, continue that lip. Actually, this slip, we should follow it downside, down here a little bit, something like this. Here on the top, you can extrude down. This is the basic shape of our mouth. You can try to trim, or take this one, push it inside the little bit. I'd like to go to the side and start working on it. This part can push it outside. We can also try this. I'm going to hide the right reference image and simply duplicate the mouth. Shift, to duplicate this, escape, to cancel that movement, and we can try R z, and let's spin it by 90 degree. And we can push it a little bit back until it touches our mouth. Here, those are the lips. We can try to push them like this outside. Perfect. For the second vertices, let's push them like that, this one should be backward. We can continue like this. This one like that. This one, I think it's at the right place. Continue aligning all those vertices. That is perfect. This is the first step of modeling our mouth. The next step, we need to add an extra edge loop. Let me just select these four vertices, and we can extrude them up, slide them a little bit sideways. Here we can take all these vertices and move them backward. That's nice. We can also do the same thing here, Let's extrude this one, for example here to the middle. Select these four ts, press F. Let's slide this one backward. Nice. Also, I'd like to drag my reference image a little bit to the back. Same thing for this one. Let's just move it to the right. This is going to interfere with our modeling. Here, I'd like to do repeat the same step for these s on the front, so let's extrude them down like this. Select these two. Extrude them a little bit like that. Take this one to the middle. C select these four press F to fill them. We can select this vertex, extrude it up. Here, take it to the pack. Can select these four pres F to fill them and right to be able to fill this loop. One's going to be able to do this because this is just a triangle. What we can do is this. I'm going to just insert an op, control r, right here let's take it, for example, here, and we can delete this phase, x, delete this phase. And we can drag this one a little bit down, select these two edges and press F to fill them. That's for the second edge group. We can try to investigate the shape. For example, this vertex, we might want to move the top a little bit forward. A seems right. Let's work on the inside. Here for the inside. I'm going to let's press one. We'd like to grab these vertices and we can extrude them. For example here to this area. As we can drag these down. Like this, we can check this one down a little bit. Perfect. Check that out. It looks perfect. And also here you can do the same thing. Let's extrude the parts upward. Stretch to align these vertices. Let me press one to go to the front. Can select this vertex extruded to this location, select these four vertices, press F to fill that gap. At this location, I'd like to insert an extra edge loop so control R, like this we can be able to connect both of these phases. One, two, 34, it's going to go for the bottom. Here I'm going one, two, three, four, it's going to go for the lip for the top lip. Yeah. You can take that to that side. Let's check we seem to be on the right track. Let's work on the final edge loop on the inside here. Let's can check this one up. Slides to the right side. Let's select these four vers, and we can extrude them here on the inside. Push them up. There we go. Looks nice. We can push this one back. And Let's do the same thing for the top. You can select these four s and extrude them down until the touches with the bottom lips. There we go. Nice. Try to push it even back. Basically this is where it's going to get a little bit frustrating. Just take your time. You can repeat the same steps again if you got the wrong results. Basically I'm going to select these verts and let's go ahead and extrude it. Let's select these four press F to fill them. Can go to the inside to see what's going on. I'm going to insert an additional edge loop right here. Check this one, double G, slide it a little bit down, this one, this vertex, we can try to push it here to the middle. Let's like these four, press F to fill that gap for the top. It's a little bit messy. I admit that. We're having one, two, three. We should be having four. We can also do the same thing on the top. Let's add an extra edge loop, right at the top, and let's try to make this one a little bit close. We have one, two, three, and what is the fourth? Yeah, fourth reference, the fourth verte is this one. You can press F to fill that gap. Double g to slide it. You can apply some optimization here. L et me just go to the front and check this out. It looks reasonable. We can try to add the solidify or the subdivision surface modifier, so control space. Let's go to the modifier properties and we can add the subdivision surface modifier. It's applied. We can also increase it to two for the level pers, right shade smooth. Our mouth looks a little bit fluffy, so what we can do is to add some edge loops to define the lips. Control R right at the top, you can take this a little bit down like this. I also want you to add an extra edge loop right here. Control R, something like that, looks reasonable. Here at the bottom, I don't want to have this defined edge for the lip. I don't want you to be this strong. We can select the first vertex and go for example, to this vertex. Let me just hide this subdivision surface modifier, can press control right here so that you can be able to select all these vertices in between and we can press double G. We're going to be able to slide it up. We can try to do the same thing for this one, two, that vertex. Let's prem pack the subdivision surface modifier. As you can see that edge is not strong anymore. And basically that there we go, we got our mouth modeled. In the next time election, we're going to go ahead and fill our face. 6. Finish Modeling Character Face: In this new lecture, we're going to be connecting the mouth to the top section, the nose and the eyes, and we're going to fill the face. We can continue that face loop. To do that, first, let's just delete these references that we got from the previous lecture. Basically, I'd like to apply some optimization to our character to our mesh. On the edit mode, as you can see we're having too much geometry here, especially at this area. We're having some dense vertices order. You can also hide subdivision surface for just now. We got to optimize this. For example, check this out. If I press ols right here and press x and dissolve that vertex. Going to have too much of a difference. I'm going to just go ahead x also here, dissolve those edge lines. Sything here, let's x dissolve this one on the bottom, and we can also get rid of this edge lines, x dissolve edges. We having one, two, three, four, which is perfect. As long as we're having this loop connecting from here all the way to the end, we're good. Symeth here on the top. If we go with this amount of tics like this, it's going to be a little bit too much. I prefer to combine this part. Show you. I'm going to select these two vertices, press M and merge at the center. Same thing here, press M merge and continue like this. Basically, the less vertices we got, the more control we're going to have over our mesh. That is pretty much good. I'm going to press three. Let's see. I'd like to select our face, our mouth, and let's push it a little bit outside. Can also press old He to bring back the other references. And let's align our mouth, just like our reference image. L to take it a little bit up, spin it. We can press R, to spin it on the x axis, spin it like this, and now it seems to be a right. Let's go ahead and start connecting these verts. We can press F to fill that gap. Let's take this a little bit to the right side. I'm going to select this vertex, and we can extrude it, for example, all the way to this location. Let's select these four verts, press F to fill them. Here we can add an extra edge loop, so we can press control r. This and let me slide double G, slide these a little bits up, give it some room. To connect this part, I'd like to take this vertex, shift, select this vertex, press, and we can merge at the last selected vertices at the last. Let's do the same thing here, select the last one, press M, merge at last. Basically as you can see at this location, we're having four verts, I'm going to press F to fill them, and let's do the same thing here, one, two, three, four, press F to fill that gap. Perfect. You can take this one little bit up. Let's investigate our geometry. Whether we have to push these outside, or we can take these inside. I think that is the right way. Let's work a little bit on the chin. I'm going to press three to go to the side and can switch the y frame and let's select these three vertices. Let me check. We can go here to the front to make sure that we are selecting everything. Can also include this fourth reference. Can extude it down and exude like this. Let's check that. Seems to be reasonable. Here on the front, we can simply align this vertex with the rest, let's take this one a little bit down. You have that circular face. For example, these, we can push them a little bit inside, tack them down a little bit. Nice. Next, I'd like to go to the forehead, Let's select the top tics and we can exclude them up. For example, here, let's slide double g, slide this one to the right side. Let's exit the front and let's check what we got. We can try to push. Let me show you. I'm going to select these four tics and try S Y, and we can flatten them a little bit and push them outside. It looks fine. I can take also this one. We'll just leave it as it is.'s press stach go to the side. I think should not belong there. There we go. For this vertex, you can take it like that, and we can select it and extrude it all the way here. Let's select these four verts, press F to fill that gap. We're having this sloop. This loop must be continuous until the end. Til it reaches the end of our face, must be connected with this one. We can do something like this, let's select these two vertices, extruder to push to the left side, extrude again, a line on the front. Something like that, and we can connect it, for example, to this part. Let me try I can select the four press F to fill them. I can try to expand these. Take this one a little bit up, this one to the left side. Nice. You can see we're having this entire loop, which is awesome, so it's ticking from the chain all the way to the top of the forehead. Awesome. A Let's fill this space that we got here. We can start from here. Let's select these four verses. Press F, can select also these press F to fill them. Here we can insert another edge loop, Control R, like this. Can select this vertex, extruded here to the middle. Let's check the position. That vertex can push it outside. Select these four s, press F, continue to the top perfect. Now we're left with this area. How can we handle it? These four verse is going to go together. Pretty much good, and we can insert an extra edge loop right here. Let's select these four, press F. And the four press F. Perfect. There we go. The important thing, let me just show you. We're having one loop for the mouth, this loop right here. We're having a loop for our entire phase. There we go. And we're having this loop for the eye, and the final loop that we got for this ye socket. These are the essential loops that we must have in your face. Now I'd you work a little bit on the cheek. I'd like to make it a little bit fluffy so we can select grab it from here. We can press O to activate this proportion energy. This is the shortcut for activated eng and we can push this part a little bit outside. We can take it to the right. This way, we're going to be having acute character. Let me just activate the subdivision surface modifier and let's see. I'd like to reduce the size of the mouth, so we can press one, and Let's take the mouth a little bit inside. You can take it a little bit down. There we go. Seems fine. Can try to push it outside, or actually we can take these inside too. Let me just check it from the side now I think we're on the right track. We can lift that section up. There we go, control space to maximize this window, and let's work on it even more. I'd like to pop up this part so can bring it up to have a big cheek. For this area, I'd like to take this part, push it inside, but one's going to be able to do it this way. I'd like to click here on this connected only, and let's push that area inside our mouth. I think I'm going to reverse back and leave it like that. Here for the nose, I'd like to work on it a little bit. Let me just deactivate this proportion gen, and also we can hide or disable the subdivision surface modifier. Let's see here, so we can work on it better. I'd like to drag these backward, these. Basically, I would like to insert check its g, can slide them back like this. This way, we're going to be forming the shape of our nose even better. Let me just check these back. I'm just trying to have the right space between these vertices. So I'm just using the double G to slide them over. All right so let's print pack the subdivision surface multi fair, let's see. As you can see, our face looks cute and fluffy. It's ready for the next step. Also we let me just the forehead a bit up. You can select these, extrude them up. So they reach the forehead. We need to finish that pas loop. Here, for example, we can select all these vertices, extrude them on the y axis. We can fill this gap that we got on the bottom. Here for the top, we can make these a little bit close, and let's select them. Press press F to fill. Now we're having the second edge loop, the first, this is the second edge loop. Let's press one. Obviously, we have to slide those Like this, we need to make our face a little bit circular and that's nice. Let's press three, to go to the side. We can tweak this area. Let me just show you. We can finish the cheek section. Also here for the top, just make a room for this part. Slide it a little bit down. Then let's check the solid. I'd like to show you some final tweaks that we can apply to our mouth, to make it look more interesting. First, I'd like to add an extra edge loop right here, so Control R. Let's add this edge loop to define the ps even better. Can you see that? Now it looks much more better. As we can add an extra edge loop to define this edge the top lip. Ps lip. You can also try to slide it a little bit to this side. Activate the proportion editing, but also make sure that you are checking disconnected only, so that you are going to be affecting the entire mouth. We want to affect the top. Let's check this connected only. We can slide this a little bit rough the left side, perfect. We can make our character a little bit smiling, so G, can take it a little bit up. I want you to select one of these vertices that we got in the corner of our mouth, or even we can take this one, and I want you to push it inside. Let's call the mouse and take this part inside. There we go. We're going to be having this fluffy smiling cute face. 7. Modeling Character Head: We got our face to the next step is going to be to extrude and build our entire head. We're going to follow this line that we got on the top. To do that, let me just select my face. I don't want to have this proportion edit and enabled. Let's select these top s, the top four s, can press sreech, go to the side, and let's extrude it up like this. Etude a here, and I want you to spin it, can press R, to spin it sideways like this. Also, I'd like to introduce you a bunch of tools. It's going to be really helpful in the process of modeling. Let's go to Edit preferences, and I want you to search for loop loop tools. I want you to check this box so that we can have access to these tools. On the EDS mode, if you press N, If you go to dit, you're going to have access to these loop tools. Check this out. We can go to the top, as you can see, it's a little bit messed up, so we can select, for example, these verses, and we can try to relax them. Nice. Let's also do the same thing here on the top. We can try to relax these vertices. Check them up. I'm going to press here and try to spin this like that. Let's see, we need to investigate before we can move on and render and extrude even more. We need to check our geometry. Obviously here in the forehead, we have to slide these vertices bit down. Double G. Let's select this vertex, double g, and we can slide it down to make it go in flow with the other vertices. Let's continue our turn. I'm going to press all to select this entire edge group. Let's press three, and we can spin it a bit, make it a bit vertical, extrude it again here, can start to spin it. Continue until the finish. We can stop here to check the head turn on the top. Seems to be reasonable. Let me just press one. We might want to take this part down a little bit. This part also, let's try move it down, and let's check again. I think that's a little bit too much. So we have to check it down, but not that much. Let's carry on. I'm going to press here. But also I want you to from this position here. If you extrude, I want you to make once you spin it like this, I want you to make it a little bit smaller. We can try to scale it on the x, S x, str to scale it and push it to the right side. Also here, I'm going to scale it on the y. Let's press three, and let's scarry on. Obviously, we have to push it ale bit back. Can press old here. You can try to spin it on the x, our x, let's spin it a little bit like that. Press again extrude down and scale down, scale and push to the right side. This part can right, let's check. I know this area here looks weird, but once it's going to be connected, it's going to make sense. Let's carry on, press old here, extrude, and we can spin it, we can press R and spin it a little bit like this. Then, now let's start filling these gaps. We can select these four verses. Press F to fill them. We can select the extruded down. For example here, let's also make sure that it's on the right location. Let's put it outside. You can select again these four, press F, same here, select these, press F to fill them. Let's check. Can push this one outside just a bit to have a smooth head turn. Let's carry on. I'm going to select this vertex, extrude it. Down here, let's select these four s press F. Same thing here, can press F, and let's take this one. Push it back. Nice. Let's press three again, can press old and try to extrude this part down. Can spin it. There we go. S Y, Something like that. Here we might want to push it to the right side to the left side. Here we can extrude down, extrude this vertex, and we can select these four verts, press F to fill them. Let's do the same thing again, can extrude the, select these four, press F. Str push this vertex outside, select the last vertex, extrude it down, select the four vert. Also we can hide subdivision surface motif, so we can see what we got. Let's press F double G, slide this one down, a push it back. Seems reasonable. I'm going to take these two, extrude them. Let push them on the x axis, just a little bit inside and after that, we can connect them with the rest. Let's do the same thing here. I'm going to exude the port, select these four because I'm trying to create this edge line that we got here. Finally, I'm going to grab these press F to fill them. That's nice. Let's check control space, let's go pack and activate the subdivision surface modifier. Let's see what we got. This section here looks a little bit weird. So let me check how can we make it better? I'm going to try to push these inside, same thing for these. Looks a little bit better. I'm going to push them backward, I think that looks reasonable. The bottom of the cheek must be continuous. Let's find a way to do so. I'm going to try to push this one back, push it outside, let's select the four vertices, press F to fill that gap. Now it seems to be continuous like this. Awesome. Now we're left with this hole. What I tally do to it, let me just check it from I'm going to press tree, to go to the side. We're going to press and shift to select these, and let's push these here. Without this one. I don't need this one. Let's push this one to the extreme right. You can better line this part. We can also press old here, and let's try to smooth this section. You can press n, go to the loop tools and we can try to relax it. By relaxing it's going to look like a circle. Now extruding it down, it's going to be much more easier. Let me just scale it a little bit down. We can go to the front. Let's check it from here. Obviously, we have to scale it. Can scale it on the x, S x and push it to the right side to the left side, extrude. And we can do something like that. Let's check it from all the sides. It looks right. All we have to do right now is to add the ears. That is the subject of the next coming lecture. 8. Modeling Character Ears: To work on the ears, I'd like to grab this edge line. I'm going to try to extrude it. But actually before doing that, we need to align our ear with our reference image. Let's press, can press and stretch to push it. This is the starting position for our ear and this is the end. Need to end here. You can just push this like this. I also like to add L et me try to push this back. I'm going to insert another extra edge loop. You can insert it here, and I'd like to delete this phase. These two phases, we can just delete them. Double g, slide it up, double g, push it inside. I can check this one like that, and I'd like to start with this single edge line. What I'd like to do is to extrude it. Spin it and ext and continue that loop. Till we finish We can select these two final edges, and we can press F to fill them. With the next step, we need to spin our ear, so we can grab this last vertex and activate the proportion edition to the connected only, and we can try R Z and let's spin it. Select both of those. Spin it push it back. Let me also go to the side. Let's check that. Obviously, we have to push it way back. Same thing here, let's push those backward, we can push them back. Let's deactivate the proportions in. We can slide these like this. Then with that part done. Let's move on to the next stage. I would like to select these external. Without the last one, and we can extrude them inside. I can scale as part. Let me just hide the subdivision surface modifier again. I'm going to just get rid of this edge in. Let's press here, x dissolve edges. One, two, this one is on the inside, let's push it outside, one, two, three ops, three, and four. Let's press F to fill it. Same thing here, let's select these four s, press F That's nice. You can press again on the inside, and let's extrude this area and scale it down. We can try to relax it, let's press n, go to edit, and we can relax these vers. Try to scale them a little bit up. That's nice. After that, we can fill these gaps. Select this vertex, extrude it, one, two, three, press F, fill this gap, one, two, three, fill that gap again. Can extrude this section again. Let's select these two. Three, let's fill them. And we can do some better alignment here. G. Seems to be right, but let's continue. I'm going to select these four press F. One, two, three, four, press F again. You can slide this one up, so double g, slide it up, and finally we got the final phase to fill. Press F to fill that. Let's activate the subdivision surface motif. Let's switch the edge mode. I'm going to press here, and we need to extrude it. Let's exude it inside, scale it way down, hide this subdivision again. Scale it real down, let's push it outside, and we can select these four or three edges, press F, one, two, three, press F, and same thing here, press F. As a last step, I would like to add this particular section here. I don't know what to call it, but I'm going to just show you. Let's select, for example, these two phases, you can extrude them outside, and we can scale this section down, and let's push it inside our ear. Can select the middle. Take it outside. Oops, not like that. Let's see it with the subdivision surface modifier. Can slide these letters back, make it just a small objects inside our ear. Basically, that's it. This is our ear. 9. Creating Stylized Character Hair: Now it's time to start modeling for our character. First, what I'd actually do is start by adding a curve. Shift and right click right at the position of our hair. I'd actually start by creating this hair particle, can do right click right here. Shift A go to curve and we can use a path. After that, I'd like to spin it on the z axis. Let's not on the z, let me press one. We can spin it on the y axis, so our y. Can spin it to something like this. Also let's skill it real down, until it fits the shape of the sir. We can put it for example here. Select the bottom, can press to activate the proportion tigen. Make sure it's stri connected only, and I'd like to switch it to the sharp. You can check it like this. Push it sideways, or actually can do it the opposite way. We can select everything, put it at the start. Here and select the top and drag it down here. This is the first hair particle. Also for this location, we can try to push it a little bit backward, and we can switch back to the is mode so that we can see the location of this hair particle. Perfect. The next step it's going to be to add some depth to this hair, align right now, we need to go with some depth. To do that, I want you to go to this object that's properties. If we scroll down, you're going to have this geometry tab. Click on it, and In the Bevel setings, I want you to increase this death. Increase it up like this. But you're going to see the problem, so you can see our hair looks like a pipe. We don't want that. We want to create our custom shape. What I'd like to do, shift A, can go again to curve, and let's bring a circle. I'd like to take this circle to the right side, for example, here, can press seven to go to the top and let's tweak this shape. First, what I'd like to do is to switch these and make them a little bit sharper. L et me just deactivate the proportion addition. We need to make it them sharp like this. There is two ways to do this. You can even scale this one down, or you can press V and switch it to vector. Now it's set to sharp end. Also, I'd like to do the sameth on the opposite side. Press V, set it to vector. For example, on here, we can just scale it down, so scale on the x. Actually, let's scale it. On its own, something like this. Can you take this one a little bit backward here. Next one, I'd like to do is to add some warp effect to these edges. Let's select these two vertices, go to segments and subdivide, select this middle one. T to spin it by pressing r, spin it a little bit, push it here to the middle. As again we're having this nice warp effect, that's going to make it really good when adding it to the shape for our hair. Let's sing to all these locations. You can spin this one around like that. These two segments subdivide, spin around, and do the same thing here. Something like this. Also we can try to make it aligned. So we can press V again and to align. I want to have it sharp sing for this V lined. Now the next step it's going to be to use this object as a shape for our hair. Let's select our hair, and I want you to go to this object. In the object, we have this eye dropper, we can click on it and pick this shape that we created. It's really huge because the shape is big. On this mode, we can select this unit and try to scale it down. Like that. I'd like to show you two tricks that's going to allow us to handle hair particles in a professional way. First one, it's going to be how to scale these particles, how to scale these vertices of our hair. If you press S, you're going to be able to do anything. But if you press old S, S you're going to be able to tweak this end of our hair. Same thing here, for example, of the middle. You can press old S, try to scale it a little bit up, and here for the bottom, S, let's make it a little bit smaller. Here for the top old S. Let's get it real down. Perfect. I can try to make it a little bit interesting, give it that nice end nice. For the second trick, it's going to be how to rotate our hair particle without distorting its shape. Check this out. If you press R z, you're going to be moving it from its location. We don't want that. But inside if you press control, can be able to spin it on its own on its own axe. This trick is really useful in order to get that differentiation in our hair particles. So now, let's go ahead and scatter our hair particles across our head. First of all I do is to duplicate this hair particle. Let's first try to align it a little bit better. Al as to scal it a little bit up. Something like that, we can press to select this unit. Shift the duplicated, and let's push it sideways here. Can scat it a little bit down. Al to scat it on its own, and we can press control t to spin it a little bit around. Something like this looks excellent. Can Let's activate the proportion edition and we can take it a little bit down. Sounds like that, looks reasonable. Next, I'd like to add two additional particles on this side. Let's select this unit. Shift the two duplicate it and elect you spin it y. Let's spin it like this. Also as to scale it down, select the top, push it here. Tick this one up. We can remove the proportion edition tool just now. Tick this one up. Something like this. Let's check that out. Looks excellent. After that, we can press elses like this unit, Shift D, duplicate it, and move it here, spin it on the z axis a little bit. Als can make it a little bit smaller. Drag this down. We're doing fine so far. Next, we can add a particle here. Shift, duplicate this, Z, spin it down, and I'd like to scale it a little bit down. And push it inside. Next, let's select all these three air particles on the left side, and press d, to duplicate them, right click, S x and minus one, to invert them, and we can put them on the right side. Can spin them a little bit on the z axis to make them a little bit different. Also, we can try this, we can try control t, and let's spin them around. Something like that looks awesome. This is for the front of our head. Now let's add hair particles to the side of our hair. To do that, it's going to be really simple. On the mode, I want to press A to select everything, and you can select this particle, this hair unit, Shift D to duplicate it and press y, can tack it sideways. Also, I want you to press three or at control t to jump to the other side. Can just hide our reference image, select press H, and let's continue to taking this. We can drag this one down a little bit. Span it sideways. Shift D can. Do something like this. Check this one up, this part, shift, push it backward and continue like this. Also sometimes it's good to do this control g, to spin it around, make it look a little bit different. Same thing here, let's do the same thing again control g. All right, Seems. We can carry on like this. A A, this part, shift to duplicate, spin it around. Also we need to take a look at the top. Our hair should not be going straight like this. We have to select this part for example, try to push it inside. Same thing here, Let's push this one, make it a little bit around it. Perfect. Let's continue our turn. Let's those duplicate R z, spin it around, and continue this way. Shift again. Until you finish that loop. And sometimes it's good to check the progress. Shift the finally here. Next, I want you to select every other hair particle. Press L, keep selecting L, but jump, one is selected, the other one is not. Basically just keep selecting every other one till you finish, something like this. After that, we can press control T. Try to spin them around, make them a little bit different. Can scale them a little bit up or scale on the z axis. Old S scale them a little bit up. So like that. Now they don't look the same. For example, here, we can try to make it a little bit close. To the head. Something like this, that is perfect. After that, here for the back to select everything, you can select the back particles, shift the, to duplicate them, and we can push them downside a bit. O X push them inside. I don't like this clipping to be honest, Let's activate the proportion sin, and let's srt a check it out. We can select this unit, control t, can spin it around. We still have the clipping. We can take it keep playing with the location of these hair particles. Now it's time to work on the top. For the top, can select this main hair particle, A. Let's grab this one. Shift D, duplicated, and we can take it sideways or backward, can spin it on the z axis like this to make it look forward. Al S just sce it down a little bit because it looks a little bit and we can orient our hair forward. Like this. We can select this part, shift D, duplicated, push it sideways. Z, shift D and continue like this. Can try to improve the orientation of these ir particles. Shift D add extra forward, additional units. Let's see. As you can see our hair looks good. Such perfect, but it's going to do the job. If you have any questions, let me know and I'm going to see you in the next lecture. 10. Modeling the Upper Body of Character: Now I'd like to work on the body of our character. Let's press one. I'd like to add work on this mid section. Let's select our hit and I'd like to start from the side. I'm going to grab these 33 versus these, press one, go to the side, and we can extrude sideways to reach the shoulders. Right here, for example. After that, we can press one, or actually three, go to the side. Let's take this one a little bit up, can ski it up like this, and we can try to pin this circle. I'd like to let's move it a little bit backward here, to make it align with our reference image, and we can start extruding like this. Make sure you have fewer edge lines. Let's press F to fill that gap. Let's press one, and I'd like to select this part. You can switch the frame, and make sure that we are selecting everything, and we can try r y and spin it a little bit like this. We got this section ready. C try, for example, to align these a little bit better. Now let's work on the front. For the front, I'm going to select all these vertices. You can try to smooth them or actually lets go to vertex. Smooth vertices. Can try smoothing them. Yeah, something like that. Try to push them back forward, can press st, go to the side, and let's extrude this section, first, second and the third. Let's exit that mode and we can select them again, select the first one, control the last one, can press n and go here to the loopholes and we can try to relax those s. Let's do the same thing here. Try to relax them. Same then for the last edge line, contractual axis. Perfect. The next step, it's going to be to fill these gaps. Let's select this for this press F and continue filling these gaps like this. Let's do the same thing on the pack. I'm going to be selecting. We can hide the subdivision surface modifier just so we can see our geometry. Let's select this part, contract push backward, or actually let's select them, the entire line, contractual relaxes. Yeah, seems to be right. Push it back, press three. Kick the single versex back. Si frame, select this part, can extrude it here. Before extruding, we can push them a little bit backward. Let's select them all, relax them again. Let's take a look. Seems to be fine. Control first one, t the last one. Let's relax these two. Select these four s, press F, can tick this up. Select the first one control the last one, double g, slide them a little bit up. You can extu this part again down. Let's select these four, press F. But also, I don't want to keep it flat like this. I prefer to push these outside, this a little bit. Just a little move. Let's carry on. Select again this entire edge loop, extrude it down here. Press three to check if we were aligned, here, actually we are. Let's select these four, press F. We got that top part covered. Next, let's work on the arms for the arms. Also try to align them even better. We got to press old. Make sure you include these verses at the bottom, press, act one. Et like this. Can spin it, scale it down. Etude, scale down again here. Also, let's make sure that our geometry is fine, can select Ften. Try shift n, to flip the normals. Also here, we can try to make it circle. We can click on circle, to have it circled, like that, and Let's ext Here, spin, scale down. Extrude scale up. Extrude, keep it up, and here let's scale it real down. Let's check that out. It looks a little bit off our arm. Roly we have to scale this part. Let me just check it from this view port. Spin this section. Tre spin it a little bit up. Push it down. Let's see now. We can check it with the subdivision surface modifier applied. Right. That's fine. Let's carry on, can press old here to select that entire edge loop. Can try to smooth it, should not be flat here. Let's press n, can try to relax it. Push it to the right side, press one, and let's extrude this mid section like that, exude down. Let's press again, try to relax those vertices. Let's check this out. Here I'd like to select this part, try to push it a little bit back, so the p. It's not straight. Same here we can push it a little bit outside. There we go. I like this gap that we got here. For the front, I like to work a little bit on the chests. Looks completely flat here. I don't like that. We can select this line of vertices, dou G to slide them down, and we can push them forward just a bit to form the chest. I think that's a little bit too much. Here we can check this one back, and basically that's it we got our chest. Let me try to push this part also outside. The mid section looks fine. Also here on the back of our arm, I'd like to show you something. Let's press one. This area right here, I'd like to duplicate or subval it, control B. I show you a cool trick that you can apply. After that, we can insert an extra edge loop, sce it a little bit up. After that, I want you to grab these four faces and press to create an inset, and we can push it outside. Let's get it down. Push it like that. Let's try S. Ct make it a little bit. This, and it should not be cubicle. You can switch the vertex mode, select. These vers try to scale them down. We've got the upper body of our character. In the next coming lecture, we're going to be working on the hands. 11. How to Model a Human Hand: Welcome I've to this new steal. Now we're going to be working on the hands of our character. For the hands, let's get straight to it. I'm going to click and click here, Shift click, and shift A, we can go to mesh, and we can start with a circle. For the circle, I'd like to set it to just eight vertices, and we can switch this mode, try to scale it down. Let's put it right here at the center, and let's spin it down. After that, we can extrude this section. Strategic Car. Something like that. And here at the front, we can try to fill these gaps. Let's select these two verse press F to fill them, control R in switch one edge group. We can switch the edge mode. Let's select these two press F. Samething on the other side, let's press F over there. Select these two or three edges, and press F to fill them. Here I'd like to select this part and try to push it outside. Let's press one. I'd to tick it over there. Let's work a little bit on the top. We can also strike trick these, push them down. Something like that, we can select these and we can try to scale them down, push them backward. G, can check a little bit up, this part this vertex, can you can press double g to move it a little bit forward. This is the basic shape of our finger. For example, here, we can try to this parts a little bit back. Tack this one like that. Let's see that from the front. Also here, I'd like to scale this parts on the axis. Let's press S Y to widen that area, Sathing here on the top, S Y. That's nice. We can also double take this one a little bit backward. After that, I want to select my nail, so this is going to be the nail. Let's also check the wi frame. I think that's about it. I can try to check it a little bit back here. Teck these verses forward, just a bit. Let's select our nail. You can extrude it or first, we can press, create it as an inset, and I'd like to spin it so R Y, let's spin it inside. Let's add the subdivision surface modifier to see how it's going to look like. If we push it inside. What's going to happen if we tare insert control R? Insert an extra edge loop. The right click sheet smooth. There we go. Our finger looks acceptable. Let's press one and we can continue working on it. For example, at this area, I'd like to piv this, Control B, can piv and inser one, extra edge loop, press all here and try to pop it up. In our fingers, we're having these pumps. You can check your finger. That's the beauty of hands. You can always check your hand when working on this. The preference is your hand. That's a good trick. Let's carry on here, so we can extrude it one more time. Let me just It is to see. I think we have to push this parts a bit back here. For example, here we can take this parts a little bit up. It seems reasonable. The next step, I'd like to duplicate this finger four times on this axis. On this mode, select everything, shift d, to duplicate. You can take it but I think our finger looks a little bit short. We can try to expand it a bit up. Forward here. I'd like to do the same thing with it here. Control B. Let's pivle out, press old. We can take this part a little bit up. Here, let's expand this one a little bit up. This part, we have to ack it atle bit close to the nail. Then I'm going to just delete the second finger. Delete it, select the first finger, shift to duplicated, let's move it sideways, and we can scat it a little bit up, so S by 1.1. I think that's a little bit too much. Scat it down, move it forward, scat it on the y. Something like that looks reasonable. I don't like this part here. It looks a little bit ugly. Let me also select the one on the back and we can try to push it backward. Have it in the reverse way. Same thing here. L et's select all these vertices. Push them back, let's press one. I'm going to go with this. Let's duplicate this finger again. Shift you can duplicate it, or actually let's just use the second one. Shift, scal a little bit down. Shift can move it here and let's scala it way down. That is for the smaller finger in our hand. Finally, we can select this finger shift, duplicate it. We can spin it on the x. You can press one, and let's put it right there. This finger is usually a little bit smaller in height. But actually let just press, double g, slide it down. Perfect. That is for the first step. Next, what I want you to do to simply bridge between these edges. Control E, bridge edge loop, same thing here. Control bridge edge loop, and let's continue bridging between these edges, Control E, breach edge loop. That's good. After that, I'm going to press old here and try to extrude this part up. We can extrude it for example here. We got to do something between we can carry on. Let me just hide the subdivision surface modifier. Basically, I actually do. We can we can insert some edge here, control. We can take these vertices. We can take them up like that, and let me show you. Here we can also exclude these parts up. This is a way of the wind sum optimization, Let's press F. Instead of having this amount of vertices, we can only have three on each top of our finger. Press F. And let's continue this way. Select this part, G, or G, just move it up. Exclude this one up. Select the four press F, and we can continue this way. Let's check the statistics, we can go here and check actually at this location, we can check the statistics. We only have 16 universities, which is really reasonable. Let's press one, we can extrude. We actually let's just try to scale down these fingers. They are a little bit hue. You can scale them, spin them here, scale them on the x, and bring them back where they belong. 02, we can press old. Extrude this section. Sce it on the x. Spinach. We can also try to relax it. Let's press n, go to relax. That's nice. Press one. I'd like to grab only the top and extrude it. Actually, select this part, extrude it double times. Let's check this part. I'm going to select this vertex, press. Print it to the side, but also we must be on the sharp. It's also the same thing here. That's nice. Can take this down a little bit. After that, we can try to bridge between our hand and this last finger, the fifth finger, control. Without the proportion individual, we can tick it up. Can press F to fill that gap in between, select this vertex, exclude up, select these four, press F, and let's continue this way. We got that part connected. This finger still looks big, so's s from here. I can try to make it a little bit close. Also press old, I'd like to delete these edge lines. I can try to play a little bit with this part. The hand is a little bit tricky, so just give it some time. Here I want to do this. I'm going to select this edge, and I'm going to extrude it. Like this. So some kind of a bump. You can check that in your hand, so we have in some kind of a bump. After that, we can fill these gaps altogether. G. Let's select this four press F. Also let's do the same thing here. Select the four press F. Let's see. Let's also select these two s, extrude them up. Try to connect the top part of our hand. Then. Also here we can select this vertex, extrude it. Select these four press F to fill them. We can also add this entire edge loop. Extrude up, and let's fill the top part, press F to fill it. O hand it's going to be formed. We're on the right track here. Here I'd like to do this. I'm going to select this edge, extrude it down. And let's fill it with the rest. Here we can select these four vertices, exude them up. Exude the can. Let's try to connect those. You can select these two points, press M, merge at the center. Stritch to fill the space here. We can insert an extra edge loop. And let's try to fill this gap to press have to fill it. Let's check our hand. Probably here we have to push this area a little bit backward. Let's this middle part and you can push it inside. It's a little bit tricky, so just keep working on it. You can repeat the same steps again and again to re got it right. Press F. Look at the top part, press F again, and we can press F at the top. Let's try to bring these up. Let's figure out a way to handle this. What happened one, two, three, four. Let's go ahead with this. Press F. Right. Here at the top, we can press old. A old here. We can press n, try to relax this section. It has 16 vers. I think it's the same as what we got in our arm. Let me check here. We can press old. Now this is only 11. We got to tweak that a bit, more to make it fit our hand. Oh, let me just see it with the subdivision surface Mifier. It looks a bit bad here. We got to take the front. Can make it pop up. L et's activate this subdivision modifier to the smooth. Can push it outside. This finger needs some care. Let's select these, try to scale them down without a proportion into. Let's push them inside. That's the way. Probably that's a little bit too small. We just reverge back. It can go to this location, select entire top part. Without the top here, select the top. Can try S. S just a bit, can take it to the left side. Let's see. Los fine for the ch character. No big deal. Now we need to work on our arm. You can see the scale of our hand looks pretty much huge. So we got to scale it down. Something like that looks reasonable. Let's push it here. Now we need to find a way to connect it with our body. We can scale down, exude miss everything, figure out a way to we cant circle this area, stretch to circle it. Also without the subision surface Mifi let's do the same thing here, tr circle. This G can scale it up. As on the z as on the x. Let's activate a subdivision modifier. Our hand looks decent. This finger it still looks long. For example, try to push this area outside. Maybe. Let's see that again with the subdivision surface modifier applied. I'm going to go with this. Here we're having 16 s. But here we're having only 11. We need to find a way to do this. We can add, for example, some extra edge loops here. You can press here and try to baffle this area. There we go, we added 13. Let's see this. Side the subdivision modifier, and let's see. We can press also old here. Control B, Let's pivle that section again. Press old, we are 15. All we need is just another extra pivl. Let me do it, for example here, Control B, and we can reduce the mouse to only once. Let's press old. Now we having 16, which is perfect. Ska blend with our arm perfectly. Let's put hand for the arc. Sc it just ale bit up. After that, we can select our, shift selects our body, and press Control J, we can join, J join. And we can press old here, shift les, and we can press control E, and let's choose this bridge edge loop. Also that to press old and delete this extra edge line, dissolve edge, and basically that's it. Let's prim pack the subdivision surface motif. Let's sect our character with his. 12. Modeling Character Legs & Feet: The next step is going to be to work on the lower part of our body, which is the x, the pot and the leg. To do that, I'd like to press try S Z. We can flip this one to the other side and let's move it down. Something like that. After that, I want you to jump to the solid mode. We can select these four vertices or these two edges, press F to fail them. Also, we can insert double edge loops, Control R, insert double edge loop, and we can take it a little bit down like this. Also, we need to add, let me just try to add insert an edge loop, and take it down like this. Perfect. X, I want you to take this vertex to something like that, press all to select this entire edge line, and we can try to smooth it, or let's just relax it. We can relax it like this. Try to get it down. That seems to be fine. Let's check this area. I'm going to just disable the clippin we can be able to freely move this point, move it like that. Let's sing it back, press here. You can press one, to go to the front, and we can extrude this part. Let's ex, spin it a little bit. Etude one more time and we can scale it right here. Okay. Here on the back, we have to tweak this area. Let's stretch relax these vertices. Same thing here, let's structure relax those. You can try to move them a little bit to the center. Push them outside to form the butt. We're going to go back and work on the bat in details. For now, let's check the front. The front, you'd actually take these little bits up. It seems to be fine on the front. Let's work on the butt. Here for the pot. I'd like to reduce the number of verses that we got here. To do that, we can do this step. Let me just show you. G to take this part up and we can delete these three phases. After that, I want you to select this edge shifts like this edge, and we can press F to fill it. This way, we're going to be having only two versus easier. I'd like to delete these phases that we got on the bottom. And let's select these four. Versus press F to fail. Same thing here on the bottom. Let's press F to fail. Let's press one, press control here. Let's extrude again here. We can press three to go to the sign and let's take it down and can all the way to the bottom. We've got legs, here in the front, it looks a little bit funny. L et me bring back the subdivision surface. Let's see. This look that's good. Let me try to circle this part, press one. That's placed over there. Press all it again here. Try to circle that first x line, scat it a little bit up insert an extra edge loop. Try to scat it a little bit do to form the culves. But they should be pushed backward. Here for the front, we can grab. Let me try to relax this part two. We can try to select these four phases, can press and let's push them outside. Let's see how it goes. It looks fine, but it's a little bit long. What we can do, can take these double G and slide them up. Probably looks a little bit big, so we can try to scale down. This part insert an extra edge loop, pick it up. Let's just take it down a little bit. Cut it press one, press tree two, check it from the side. Press S Z and press zero, to have it completely flat. There we go. Here for the butt, we have to tweak it a little bit. Let's hide this subdivision surface modifier. Let's push this particular part down. We can also insert next edge loop, control r right here. You can try to scale it or push it forward. As bring back the subdivision surface modifier. Nos not yet. Strike to push these inside. G Z ale bit up. I'd like to organize this entire edge line. Express, can try to relax it. I select this edge treasury axes. No, ks only for vers. Probably we have to push it a bit down. It's looking good. I'd like to add the feet. I'd like to just create a basic feet for our character. I should not leave it like this. I don't like to leave it like this with the feet cut down. So to do that, I'm going to press reach, go to the side and let's select our leg. And we can select, for example, these versus. Let me just press A to make sure that we are not selecting anything on the top. Let's press, select that part. You can extrude it all the way to the bottom. Something like this, can try to push this section till it reaches this area. After that, we can select this front versus Cs, and we can spin them, for example, like this, extrude all the way to the top, all the way to the toe for our foot. Okay. Let's check this out from the front. Obviously, we have to scale this part on the x, Smetin, let's scale it. Press all again, let's press three, and we can extrude down like this. Let's spin this one sideways. We can press all here, Let's spin it. There we go. That's nice. I think I'm going to need to leave this part flat. S z and express zero, should be flat. Let's exit this mode and start filling these gaps. I'd like to select this vertex. We can extlude it here. We'd like to push it outside a little bit. And you can extrude down again. Double times. A next. Let's go ahead and start fill start filling the gaps. Select every four verts. And we can press F. Here on the side, can do this, can extrude like this. One, two, three, four. We can insert an extra edge loop right here to a little bit down. One, two, three, four, press F, press F to fill, and let's continue. Here on the front, I don't think let's just delete this front edge. We can press, x in dissolve it. Let's select these four vertices, press F. This is going to be just the basic foot. I'm going to pay too much attention to these details. You're going to press X, delete those phases. Let's also work on the inside. We can exude like this, select these four vertices. Press F, sameth here on the front. Select this vertex we can take it down. Let's make it close to the center, and let's select this four press F and continue this way. You can also exclude this section. G Z. Press F, select this edge, the town. Try S z and press zero. Can grab these edges, press F and sthing here on the front. There we go, looks acceptable. I'm going to press old to select that entire edge line. Zero. To have it is completely flat. Let's press and let's see if it's aligned with our reference image. Yes, it is. All you have to do right now is to fill the bottom. We can select these, t EY, extrude them all the way to this location. Can try to fail these two faces altogether. Let's select these try and pre zero to have it flat. A let's carry on. Let's select again, these three edges, E Y and we can go all the way to the end. Here we can try, for example, select, these two press F continue filling. One, two, three, press F to fill those gaps, one, two, three, press F. We can slide these vertex to the middle, so do g, slide them. Like that. Here, let's fill this entire phase. This is the biggest phase of our character. Here we need to find a way to connect us parts. Let's see. We can select these two vers to slide them up. Let's select this phase and press F. Now we're left with just one phase. Press F to fill it. There we go, looks fine. Go ahead and apply the subdivision surface motif to see our foot. Simple. Scale this one. L. Also, we can switch to the wire frame. Let me select A, d select everything. C switch the vertex mode, select this section here, and we can spin it on the z axis z, spin it this. There we go, we got our foot, our feet. In the next time lectur going to start making the clothing for our character. 13. Designing a T Shirt for Our 3D Character: Let's move on to the next step. Now we need to design the clothing for our character. In this video, I'd like to work on the T shirt. For the t shirts, it's pretty much simple, all we have to do is just duplicate the same body shape. Let me show you. I'm going to switch to the w frame. Let's select these verses or these faces, should not be selected anything. A. Let's try to select again. I can select this part. Here on the top, let's see how it goes. Can I just hide the subdivision surface modifier. Can select those s, shift and let D select these phases. We're going to press one. Let's check the y frame. It looks acceptable. That's about it for the size. Shift D to duplicate this object, right click, and I going to press old S to scale it up. Basically the old S, we're going to be scaling it, so check the difference. If we just press S, can scan up. If we press old S, It's going to be a better way to scale objects. There we go. Here I want you to do this. I'm going to press old and scale this section up. Can try to take it down. Let me just see, just a bit like that. For this location, let's scale it even up on the y, take it a little bit on the x, and we can do this. I'm going to try to delete these two phases, and let's give our t shirt that V shape right at the neck. We can keep pressing V. I think I'm going to just sketch rid of these two. G, slide this back. We can try something like this. There we go. OG shirt looks clean and tight. I can try, for example, scale this one on the y by zero, to have it completely flat. I also I'd like to separate this object. Let's press selected by pressing. We can press through separate selection, and I'd like to give it some solidify modifier. Let me show you. I'm going to add the modifier. It's going to be the solidify modifier. Basically, I'd like to give it some de fear. 0.01 seems to be reasonable. Next, I'd like to add, let me try to put it before the subdivision. Looks even better. I'm going to just go with this. We've got our t shirt, in the next lecture, we're going to be working on the pans. Also here for the shoulder, we can tweak the parts a little bit down. Something like that seems reasonable. Let's continue our work in the next lecture. 14. Designing Pants for Our 3D Character: L et's go ahead and model our pants. We got the T shirts, now let's model the pants. We're going to press one, switch the edge mode, and let's repeat the same the we did before. Press olds. Let me check olds right here. Select this entire section. Press one, switch wi frame. Actually just the top. Shift D right here. Can press separate selection. Let's select that part, can switch the solid. Switch mode, selects everything and press old S. And you can move the mouse, so it like that. It looks like a short. And we can select press old here, go to the front, get extrude here, Sket it up. Even like this, it looks acceptable. I really like it like this. We're having a church. We can duplicate this. Let's call it. We're going to press F two, let's call it church. Hide it. Let's continue the creation of our pants. I'd like to extrude the can, scale down, can press here, take it down, scale it up, press all again. And we can extrude down like this. Can spin it on the y, perfect. As we can insert an X edge loop to define this edge even better. Double G, take it up, press old, r x, and y. Can slide them sideways. After that, we can press E and scale down. Let's push it inside like that. We can also take care of it on the side. Let's press old here, move it back, shift old, press shift again, let's push it like that, we can try to take this part down a little bit here. We got our search, and it looks pretty much good. I'd like to add some couple details to our pants. First, I'd like to add the seams that we got in our pants right here. In that mode, we can, for example, press here and sing on the inside, shift select the inside, and we can press control B. To Pavel this section. And we can insert, for example, here control R, insert on horizontal edge line. Let's pray all S, and you can sketch it inside. That's for this side. You can do the same thing on the other side, to control r and shift and let's slide it forward. We got that same so next, I'd like to add some pockets. Let's do that. For the pockets, can simply tracks down. Slide it. We can add extra edge loop. Or we can simply take these two phases, we can press I, create an inset, and we can push it inside. On the top, we can try this, control r. Let's search that edge loop. We can try to bring this vertex outside to not have any calepN. Also here on the top, I would like to do this. I'm going to press old to select that entire edge loop, and we can press E to ex and old to scale it or actually let's move it up, can press and scale it. So that you can push it inside. We can lift this section a little bit up, so G Z, move it a little bit up. Basically, the shirt must come outside, so we can scale it like this. Probably move it a little bit down. Something like that looks awesome. We got the pockets and we got the seams. We can continue our work in the next lecture. 15. Using the Cloth Brush to Improve Character Cloting: In this lecture, we'll be improving the look of our character clothing. Specifically, we'll be using the cloth brush to make our character clothing look more realistic. So let's get down to it. I'd like to get started by our t shirt. Let's select my t shirt and we can apply first the mirror modifier. Also, I want you to apply the subdivisions of modifier like this. Let's go back, let's jump to the sculpted mode, and Here in the sculpting mode, I want you to scroll your mouse here all the way to the back find this cloth brush. Click on it and let's start brushing. I want you to press F to scale up a little bit this brush, the size of it. Like this and let's try this out. You can see this effect. Let me just control z or verge back. We can decrease the strength, and we can start taking like this. I want you to wobble a little bit your hand. For example, here in the shoulder, I want you to take it a little bit down. Sthing here on the back. You can take these parts up. We're going to fix the scalping problem, so you can just swab a little bit here, samthing here on the top. All you have to do is to keep dragging down like this. For example, here, we have to smooth this section a little bit, so we can go to the smooth. Let me just show you this one. The smooth brush. You can smooth this area a little bit. Should not be tense. Can reinforce that V shape for T shirt. Let's go back to the cloth brush, and I want to add some weakens here on this side. Let's see. I think we're all good. We're all set for the T surch. On the Edit mode, so we can select all these points. I'm going to just scroll up until I find the move tool. You can select, for example, these points, and we can activate the proportion individual, and we can try to bring them outside. Let me just increase the mouse, something like that, just to avoid any kind of clipping. We've got some clip in here, sick it outside, Sath for the shoulder, a little bit here on the front, and that's nice. That is the trick to get rid of the clipping. Now let's go back to the layout, and I want you to select the second piece, which is the short. We've got some clipping here but we're going to fix that in the next cm lecture. Don't worry about it. Let's select our short and I want you to apply the mirror modifier, as well as the subdivision modifier. For the Bible, I don't think we're going to need that. I'm going to just get rid of it. Let's select our short and we can jump again to the sculpting, and let's start sculpting it using the cloth brush. I want to take these pieces down. We can just swave a little bit here. Something like this, something on the back. You can do some wobbling. And we can start checking up and we can start checking up like this. Let here on the top on the left side, let's strate check it a bit up like this. You can do some wobble here. Let here on the side, on the back to. We got that, so let's go back to the layout and let's fix these calpan problems. We can take this piece up. Something like that, let's bring this part outside. The last step to do is to add some socks on the bottom here. Let's do that. I want you to select our character and on the S mode. We can switch to face mode here. I'm going to press z to switch the wi frame, and we can grab the bottom section here. Shift to duplicate this part, right click, and we can switch back to the solid. And I want you to press old S to scale it like this, but actually, we're still using the proportion dual, Let me just disable it, and we can press old S again, and we can scale those socks a little bit up. Like this. Nice. Let's switch again to the edge mode. We can press old here on the top, press E S, and let's scale it inside, like this. We can insert some edge loops. Control R, let's take this edge loop at the top, and we can insert a few edge loop because for that cloth brush to work properly, it needs some geometry to work with. We got that, so let's fix the clipping that we got here on the front, can activate the proportion in this into and let's drag it down. Drag this one inside. That is perfect. The next step it's going to be to separate the socks from the body. Let's press to select this unit and you can press P separate selection. Let's exit this mode, select this part only, the sx only, and we can jump to the sculpture mode and let's start working on it. But also I forget something, I forgot to apply the subdivision modifier. Let's apply it here. Let's go back to the sculpture, and let's start sculpting our socks. We can just take these pieces up like this. As you can see, immediately, we got that effect that cloth effect, which is really nice. Take the pieces up, can drag this down a little bit. Just feel free to adjust the shape of this cloth as you see fit. There we go, we use the cloth brush to improve the lock of our clothing. In the next com a lecture we're going to start texturing, see soon. 16. Preparing Model Make Your Character Game Ready: All right. Before we can dive into wrapping texturing. We need to optimize our character to make it game ready and also ready for animating it. The first step is going to be to get rid of any hidden parts of our character body. Our character is wearing a T shirt for the upper body and a shirt down below. There is no need to keep this section of his body. The first sep is going to be to delete those hidden parts. I'd like to press one, to go to the front, and we can select our character, and let's press tab to jump to the edit mode. I'm going to press z and switch a wireframe, and we can use the face mode, and I'm going to press C and let's start selecting those hidden parts of our body. Let's go all up till we reach the neck. Same thing here for the arms. And we can delete those parts. Now I think should keep that. Here for the arms, I don't want to make it reclose. We can keep this loop here. You can press all shifts to reverte or to keep that section. We got that selected. Let me just investigate the back. Obviously, we have to cover these those faces. Let me just also shift. To keep those phases. A x, and let's delete those phases. You can press z, switch a wireframe, can press A to see how much objects are selected. Obviously, this one should be deleted too. L et's press one. Here for the bottom we have in these socks. What I'd like to do is just delete the bottom part of our leg, this section. X, and let's delete it. Let's select everything, and this is what we got. We've got this small section of the leg, the knee, the arm, and the head. The head we need to weak it a little bit, we need to work on it. We can press to activate this proportion energy, and we can drag these points sideways. Let me press one, can press one. And let's tick this one sideways like this, check it up. This point, we can drag it sideways. We can go with this V shape of our t shirt, sing here. Let's go down. Perfect w is solid, and let's check that out. Go all good. This one. Let me back and basically that's it. All we have to do right now is to start connecting all these elements together. I'd like to start first by the T shirt and the short. Let's select them both and we can press Control A to reverse the selection, select everything else, and we can press H to hide them. For these objects, we can press tab and let's try to can press all here. To select this edge line. I'd like to know the number of verts that we got here. To do that, you can check the statistics. You can go to this icon here. Click, actually not this one. But actually this overlays, you can click and check the statistics. Over here, we're going to be having an idea on how much vertices we are selecting. The entire mesh entire short has 1,600 verts 19, and we're only selecting 120 out of that. What I'll actually do is to optimize this short, so we can select it by person A and we can go to face or actually edge, and let's click on n subdivide. We cut down that number of vertiti to only 433, which is very huge. We can press d here on the top and let's see how much vertity do we have. We're having 60 right now. 60 seems to be manageable. Let's exit and let's select the top short, and let's press all actually on the bottom. L' having 120. Let's select everything, go to edge and end subdivide. If we press, we can be having only 60, which is excellent. Next we'll actually do is to push the T shirt or the shirt underneath our t shirt. On this mode, we can try to take this one a little bit up, increase the mouse, can try to scale it on the X to push it inside. Sameth for the back. Tack this point forward, little bit down. Let's check the front. Let's take this one way back. Little bit down inside. That is perfect. The next step to do is to connect these two points together. Let's select them both, we can press Control J to join them. Now there are one piece. On the Edit mode, I want to press old here. Let's go inside, shift old to select the edge line. If you press Z, you can see that I'm selecting both, so the bottom edge line of the T shirt and the top section of the shirt. After that, I'm going to press Control E, let's bridge edge loop. Each line has 60 vertices. The total is going to be 108 20, which is perfect for matching it. Control E, and let's bridge a loop. As you can see we're having some clean, perfect geometry. This is exactly what I want. Let's press z and switch back to the solid, and let's investigate the scene. For example, this problem here, we can try to smooth this a little bit. Let's select this object, and we can jump to the sculpture, and here for the smooth, we can click on the smooth brush, and we can smooth this section. Just a bit like this. That's fine. Let's go back to the layout on the edit mode. We can press on this edge, and I want to pivle it just a bit. Control P. Let's pivle it. We can insert one single edge line by scrolling the mouse. That's all. The next step is going to be to bring the rest of our character. Old H to bring back any hidden parts, as you can see we brought this pants. I'm going to just delete, deleted. Weren't going to use it in this case. Now what we need to do, I'm going to just get rid of the solidify. We need to connect the legs with the t shirt with the clothing. Let's select the body, and I want to apply first the mirror modifier because here it's already applied. Here we should not leave it. Also for the subdivision, I'd like to reduce it down to just one for the level view parts. Let's apply that. Let's see if we can select this bar section, can press all here. To select those edge lines. We're having 28 vertices. Let me select my shirt. C press old. Let's side we're having 28 because this short is derived from our character. What we need to do right now is to select these two pieces together and let's press Control J to join them. On the ES mode, press old again, shift, Control E, and let's bridge edge loops. I'd like to do the same thing to the other side. Let's press old here. Shift old. The total 56 28 multiplied by two, Control E, and let's bridge edge loops. Now it's all connected, and we're having a perfect go. Want to check if you're having a good geometry or not, you can try to insert edge groups. You can see it's perfectly allowing us to do so. We're going to have any problems with the rigging later on. The last piece that I'd like to connect is the socks. We need to connect the socks with the leg. For the sock, I'd like to first apply the mirror modifier because here is already applied. Here, we're having some dense geometry. I'd like to select this part and we can go to edge and subdivide. Go to be sacrificing some details, but for the sake of keeping everything organized, go to do that. Here, I 122, let me just check. We can select this one, shift select the legs, Control J to join them. Now they are born piece. But they are not connected. To know that, we can press L. This unit is separated. Just get rid of the proportion it. Can see that. What we need to do is combine it from here. We can press shift to select these two lines, and we can press control E and bridge edge loops. Now it's connected, but we need to get rid of this bottom edge line. This one. Let me just show you. It's way hidden in the back, so we need to just let it. X, let's dissolve edge. Now it's clean, we're having some clean geometry here. Let's do the same step to the other side, can press old here, shift and old inside, control E, bridge edge loops, and we can press old again here, x and dissolve edge line. Now it's all connected, so we can jump to the age mode, and if we press L, so we're going to be selecting the entire section. We still need to do the same thing for the arms. I'd like to delete, get read, press old here, shift old, X dissolve those two phases. I'd like to perform the same step on the other side. Let's delete the last two rows of our arms, X delete those phases. After that, we can check the number of verses that we got. We can press here. We're having 30 s. Old on the inside, dirty, it's the same. Shift old, control E, and let's sch edge loops. Let's do the same thing on the left side, old shift old, control E, Pach edge loops. Perfect. I'll let you bevel these edges that we got here, just so that we want going to keep them sharp. Let's press old here shift old. Same thing here for for the shirt, Shift old and shift old again, and we can press control B to vl that and we can insert just one edge line. You can score the mouse to add it. I mean this one. All right then. Now our jump tree is clean. The last time to do is to connect the neck or the head to the shirt. Let's press old or actually let's hide our shirt vers, and we can press old here, shift old. Let's keep pressing shift old until we select that entire row. We can press, switched wif to make sure that everything is selected, perfect. The number of vertices is 40 vertices. Old H to bring back the rest and we can do the same thing. It's do some calculation to the shirt only. We can press to select it only, press control I, H to hide everything, just so that you can shift old Let's select the si Row. It's set to 40 vertices, which is perfect. Old age, let's bring back the rest and we can connect them to old like this. Same on the inside. A little bit hard to know that, but just proceed. The total must be 80 s, which is the case because 40 for the neck and 40 for the T shirt, or it's a control E, and let's bridge edge loop. Z, let's switch the wit frame, and let's see. It's not bad. We can try to vol it to control B, or let's select it only. Control B to bevel it, can reduce the number of counts to just one. All right. Our chatter right now is one piece. In the next coming lecture we're going to start texturing it. So see soon. 17. Let's Unwrap our Character: On its time to unwrap our character to make it ready for texturing. In order to unwrap it, we need to expand the bottom window, and let's switch it to the UV editor so that we can track the UVs of our character. M I prefer to put it here on the side. Let me just right click here. You can join this area, and let's split our scene vertically like this and we can switch this menu to UV editor. So in the EIS mode, I'd like to start. Let me select my character on the Edit mode. I would like to start by the head. Let's select the top section of the head. We can press old. This is the part that separate the T shirt from the head. You can keep pressing shifts old to select that entire part like this. Just take your time with it. It might be challenging. We've got that loop. Here, let's shift shift old again. Let's select these last two edges, and I think that's it. Let's p to switch to the frame to make sure that we are selecting everything. Perfect. The next step is to mark the seam. Think of it like if we're going to be cutting this part. Control E, and we can click on Mark seam. This line is going to be highlighted in red just like this. It's control space, let's go back, and the next step is going to be to add another seam on the back of our head. Switch switch the solid. We can start, for example, from here and go all the way to the top. I prefer to hide the hair. On the mode. Let's exit di mode, select the hair, can press H, to hide it. Let's select our character, and let's start. This is the first edge line. You can go all the way to the top here to the end of the neck. You can press control and click. This way, you're going to be selecting all the edge lines between the first edge and this last edge. You can include this one to. Control E, and let's mark Sm. We got the head. All we have to do right now is to unwrap the ears. For the ears, let's start with this. Can select this part. Continue that loop. There we go, this one. There we go. Control E and let's mark C. Let's do the same thing on the other side because we're not using the mirror modifier anymore. Let's select these parts, we can press all shifts to try if we can select the entire row A shift. Can go this way. All shifts. There we go. We got the entire line, press Z, switch y frame. See we got the entire loop. Control E, and let's mark SM. Press press Z, go back to solid and now we're ready for unwrapping it. We can switch to the phase mode. Let's press L to select this unit. It's only selecting the head because we did a cut here. We mark S. All right, so let's go back and also let's select the ears. Should include them in the unwrapping. Let's press U, and we can click on unwrap. As you can see it's perfectly unwrapped, so we got the mouth, the eyes, and here we have in the ears. I'm going to just select it all and g x to move it aside. Now let's select the t shirts. We need to unwrap the t shirts. For the T shirt, we need to highlight these edges again. Let's press old here to select this edge, and let's grab the other edge here. Old shifts, select that at another edge. Also we're having this bottom old shift. Now we're highlighting the territory of the t shirts. Control E, and let's mark C. Next, we need to cut our t shirt in this area. Let's select this edge, and we can continue, and keep pressing control to make that turn. Right all the way here to the bottom. Let's zoom in to C, so we still need to include this part. Control E, and let's mark C. I would like to do the same thing on the other side. I should not be perfectly aligned, but that's fine. Let me do it here. I'm going to grab this edge, keep prison control and keep going up. Okay There we go. Let's zoom in here a little bit to include that last piece. Control E, and let's mark C. The last cut that we need to do is going to be for the top. We need to select this part, select these edges, press control. Keep pressing control until you reach the bottom. Let's zoom in, let's select that last edge. Control E, and let's mark s. I would like to do the same thing on the other side. We can zoom in here. Let's select these press control. Actually I think we should go with this line. Not a big deal. Let's zoom in, shift and click left scalck. Control E, and let's mark them. Next, we need to switch to the face mode, and we can grab press L to select that part, to select the back of our T shirt. This is what we got as UV map it. It's really bad, so let's press U and wrap. We got the front and the back of our T shirt. I'd like to spin it, so we can press R, and let's spin it by nine degree. Let's place it up here. Scale it just a bit down. G x, and we can move it way back because here we have the head, and here we have in the T shirt. Nice. All right. Let's wrap the shirt of our character. For the shirt, let me start from the bar here, we can press old. A we need to be on the edge mode, we can press old here. I think we need to go inside. Yeah, Let's mark this as the scene. Shift old. Like this because this part should not be skin, should be parts of the T shirt. We can press Z switch wi frame to C to make sure that if you are selecting the entire edge, shift here. We got it covered here, control E, and let's mark s. Next, we need to cut these edges. In order to make this selection easier, I want you to do this. I want you to jump back to the face mode. Old A to make sure that everything is selected. We can select our short and let's press H to hide it. After that, we can do the same thing to the xs, let's press L, and we can press H to hide it. I need to add three seams. The first one need to be here, so we can press old. Here, shift old on the inside, shift old. We need to have a cut from the inside so that we can separate the front short from the pack. And lastly, we need to have another cut here. All shift, let's add that cut. So Control E and let's mark C. All right. Let's switch back to the pace mode and we can grab this port, and we can grab this short by pressing L, and we can press U and unwrap. We got it unwrap. This is the front and the pack. You can press A and add it spinach by -90 degree. And we can move it, so G x, let's move it way back. We're having here the head. We're having the t shirt, and we're having here the shirt. A let's sprint back the rest. What I'd like to do right now is to work on the legs. For the leg, we need to add two seams here. I'm going to press old like that. Shift old control E, and let's mark seam, can go back to the face mode. Let's select these two knees, can press U and unwrap. Let's see. The type of unwrapping is not perfect. You can see that edge loop. What we need to do to make it perfect is we need to cut it from these sides. Let's press control I, H to hide the rest, and we can press old, for example here. We press old here, control E, and let's mark seam. Now if we select them both by pressing L and if we press U and unwrap, they're going to be unwrapped in a better way. I think we didn't do this one here. Let's press old, Control E, let's mark Seam. Let's select everything, press U, and unwrap. Now the knees are better unwrapped. Perfect. It's old H, let's bring back the rest. Now for the sick. Let's switch back to the face mode. Let's press L highlight these two points, these two objects, control I, H to the rest, and let's unwrap them. I'm going to press old right here. Emptiner, let's press old, Control E, and let's mark sm. Also here for the bottom. Let's highlight these two areas, Control E, and let's mark sm. For the bottom, press one, you can switch y frame. I'd like to select the entire bottom. Actually what I'd like to do is to just delete this bottom part, so we can press old. Let me press C and shift to de select those extra phases. You can press delete as parts, select L by pressing L, select the rest, and x delete. Same thing for this one, x delete. Because we're going to be having the sneakers on the bottom. We don't need to have this long socks to select them both, press U and wrap. I'm going to press GY and let's sick them up. Old so bring pack everything. Here we're having the knees. L et's select them, G Y, let's move them sideways. All right. The last section to unwrap is the arms. Let's press H. To bring back H to bring back everything. Let's select the arms. We can jump Images press which is solid. We can press to select the arms. Control I, H to the rest, and let's work on the arms. I'm I'd like to press control space to maximize this window and let's work on it. Basically to have better unwrapping off the hands, we should go like this. We need to cut it into two parts. We can press here and let's see, as you can see it's cut into two parts from here, which is awesome. At this section, we can deviate go the other side so that we can include this finger two. You can press all shifts and include this finger two. After that, we can simply go here to the top. I'm going to stop right here. Now I'd like to press and let's press shift to de select this edge line. A let's pres to switch the wi frame here. Let's see what we got. It's touching from here, it's going all the way through the fingers, but it's going to stop here. Let me just try to connect or to take these parts all the way to the top. We can also press old shift to select this row. Let's add those. Control E, and let's mark C. For the fore arm. Let's select this edge, we can press old, and let's go all the way to the top. But I prefer to go from the middle. Let's start from the middle here. But before doing that, let's hide the hand, we can select the hand and press H to hide it. Yeah, actually it's already been selected from here. All we have to do is just continue. Can select these two, control E, mark. Perfect. Let's unwrap the left hand with its forearm. I'm going to repeat the same steps. Let's go ahead and repeat the same step with it before. All right. So as time to wrap them. Let's select both hands. Can select this hand and the arm. And we can press, and let's unwrap them. Now they are perfectly unwrapped, so we have the hands and we have the foe arms. Control space is go back, and we can try this. I'm going to select everything. All these pieces. I'm going to try to unwrap them all. Press, and let's unwrap them. Now they are all combined inside this UV space, which is perfect. Our character is perfectly unwrap and now it's ready to be textured. That's going to be the subject of the next of lecture. 18. Texture Painting Stylized Skin: It gets our character UV map, so now it's time to texture it. I'd like to start with the skin. I'd like to paint the skin texture to it. First, I'd like to select my character, and we can go to the material properties and we can add a new material. We actually we can collect here and we can choose this material here. I'd like to call it, let's call it character text. So here on the left side, I'd like to switch this UV menu to the shader editor. We can press n to hide this panel and let me just zoom in. Here we're having two notes. We're the principal SCF connected to the material output. What I'd like to do is to add a new image. We need to add an image texture. Shift A, let's for a new texture, and let's put it. Also, I want to show you something. Here I let you press z so that we can switch to the material preview, so that we can see that material in motion. Right now, if we play a little bit with the base color, you're going to be changing the color of the entire character. Here, let's go to this image texter. I want to click on new and let's create a new image tax. For the width, I'm going to go with four k because we're having a big map. Let's say it to four k. Same thing for the height, let's multiply it by four. We here for the name, let's call it character text. The color of this image actor is going to be black, so let's keep it like that, and we can press okay. Now let's go ahead and connect the color to the pase color. Our character is black because this image texture is black. We can take a look at it, so we can divide this menu from the bottom, tack it up, and we can switch it again to the UV editor. Here in this icon, we have the possibility to choose this character texture. As you can see it's black. If you press tap over here, so you're going to see all those UVs. Since our image texture is black, so black is going to be projected over our character. What we need to do is to start working on the scan only. Here on the top, we're having this objects mode. I want to switch from the object mode to the texture paint. We can switch for example to the texture paint here, but I prefer to do it all here. Here we're hing the shade editor to UV map, and our two DV port. Now we can start painting here, we can start painting the white. We don't want to paint white, but instead, we want to paint the skin. The X code, let me just show you. I'm going to click here and the color. I would like to switch to the X code. For the color, I want you to write this. This is the X color for the skin. It's going to be e8b, e A C. And we can press er. This is the color of the skin. We can start painting with it like this. Actually, we need to paint it only on these areas. What we can do is to jump to the edit mode. We can press all A to D select everything. Make sure that you are on the face mode and we can press L to select only those parts. We're having the head. Let's make sure that the entire head is selected. We're having the arms. And finally we having this portion of the legs, the knees. After that, we can exit at this mode, and I want you to click on this mask. The paint mask is going to allow us to only paint on in this area. Right now, we can start painting like this. But it's going to take some time. I have another way which is to use this bucket fill. We can click on it, and we need to reset, we need to write that code again, the hex code. E8be A C, this precenser, and we can simply click and that color is going to be applied to the entire character. Excellent. The next step is going to be to add some variations. I'd like to make, for example, the cheek, a little bit reddish. We can give it some red tint to them. Let's go back here to the draw to the brush, and we can start painting with For example, reddish color here. You can start painter like this. It's a little bit strong, and it's also not inverted it's not duplicated on the other side. What we can do, let me just control zero verte back. We can activate here this mirror. Let me just show you, can scroll all the way to the end, and you can check the x mirror. I'm using the x because this is the x mirror here, x axis. If your character is facing this way, you can set it to the y axis. Now if we brush on the right cheek, we're going to having the same effect to the left cheek. Control zer let's reverse back and let's touch first by reducing the strength to something like 0.15. We need to have some very subtle effects here, something like this. Also, I don't want to have some hard shadow here. What I'd like to do, let me just control verge back, and we can go to the fall off. Actually, what I'd like to do is to switch this custom. I'd like to make it way smoother. Let's choose this smoother here and we can start paint like this. I can make the center more red, something like this. Probably that's a little bit too much, let me just servers back. Just take your time with it. Try to make those cheeks, reddish. Saething here for the nose. Instead what I prefer to do is to go to our UVs, can press control space. Let's zoom in, and we can switch this menu to the image editor instead of the UV map. Here for the view, let's make it paint. Now we can paint here. We can zoom in to the nose. Also we can press F to increase the size of our brush, and we can start painting here like this. Something like this. Control space, go back, and let's say a look. I think that's a little bit too much. Our cache seems like if he's having the flu. Let me just control zero back a little bit. You can do it to the side b, something like that looks fine. We can also do the same thing, same effect, for example here for the eye prose. Les interesting. For the neck, let's make it a little bit darker. Also here for the ears. Let's try a darker color. I'm going to just revert back to the color and let's make it a little bit dark. Let's paint here with that dark color. Okay Let's make sure we got it on the other side. Perfect. Now let's work on the lips. For the lips, I prefer to use the mask again because I don't want it to be messy. On the edit mode, I want to grab only the lips. We can press old here actually down below. After that, you can press C and you can select the entire lips. After that, let me just control space to go back, we can exit the edit mode, and we can start painting here. It can be much more easier to get accurate painting. We can make it a little bit more dark here by brushing another layer of that brownish color. Now we need to work on the nails, the arm and the nails. On the tis mode, what I want you to do is to select only the nails, we can press, select that row. S, keep selecting all those rows like this. Same thing here on the top. Let's exit the dis mode, and we can jump to the fill bucket, and we can make it completely white, and Let's click here. Now the nails are white. Is you work a little bit on the knees. Let's select both of the knees and I want to make this area a little bit dark. Let's pick a darker color. And we can make the knees dark. Just a little bit like this, sthing on the other side. We've got the core of the skin, but there's something missing to make it truly realistic. When it comes to light and how it interacts with our skin. For example, this hand that we got over here. The light here doesn't just bounce off the skin serf. Instead, it actually penetrates and scatters beneath creasing that soft and natural load. Basically, that's where the subsurface scattering comes in. In blender we having this option to make the skin look realistic. If you go to this principle, STF, if you scroll a little bit down, we're going to have the subsurface value here. I'm going to try to increase it to something like 0.3, Also for this third, let me just expand this principle PSTF a little bit to the left side that you can see. We're having here the subsurface color. I'd like to click here and let's pick, for example, some kind of a reddish red red color. You can see immediately that our color. Our skin looks much more realistic right now. It looks natural. Especially if we try, let me just go back, we can switch our menu from the texture painting to the objects mode and we can try to add some light. Shift A, we can go to light and we can use some point. Let me just move it outside, can press Z, and let's switch the render Now you can see how this subsurface scattering makes our scan looks much more realistic. Basically, that subsurface scattering is applied to the entire texture. She is the clothe and everything. What we need to do is to apply only to the skin parts. Let me just go back here. To fix this problem, we're going to be creating a mask. The mask that's going to highlight only the skin parts. Let me show you, I'm going to do right click. Let me just maximize the shaded editor. We can do right click and let's search for an image texture. I'm going to click on you. Let's keep it to four K, and I'm going to call it scan. We can call it scan subsurface. Let's press and click here. Actually what I'd like to do right now, we can select the skin text, control space to go back and we can jump to the textur paint. Or actually the don't need to jump to the text or paint. We can just click here and choose that skin subsurface. It's going to be completely black. So we can switch the menu from the objects mode to the text pain back to the text paint. What we need to do is to paint only the skin parts. Anything that is not skin must remain black. This is is going to be excluded from this subsurface scattering effect. With this skin surface texture selected. I want you to click or first let's select the skin parts to make sure that you are on the face mode. I press edit. Old A two d select everything, and let's select only the skin parts. Having the head with ears, Sameth here for the arms, the hands, select all these parts. The center for the knees. Let's exit edge mode, and we can click on this paint mask, and we can paint with this red orange color. Let's use the filled bucket. We can click. Check this out. You can click here, and we're going to be filling these spaces. These are the skin UVs. The other objects must remain black. All we have to do right now is to use this skin surface and connect to this subsurface color. Let's connect it straight here. As you can see the clothing are excluded from this subsurface color. You can see the difference on either orange. Now it's back to black. One less important point to keep in mind is to save these textures. Once you've finished them, you can see this we're having this dot beside the image. All you have to do is just save it, so let's go ahead and save it. C charactere Textor, I'm going to save it. Also we need to save the second map, which is the skin surface. Let's go mag, save as skin surface. Because otherwise it's going to be lost once you close oplendy sin. Basically, that's it. So we got that subsurface scattering effect applied to our skin and it make it look much more realistic you can switch the rendering to see that effect. We can continue texturing data sections in the next communitorial. 19. Designing Shoes for Our 3D Character: This new strial, we're going to be designing some cartoonish shoes for our character. I'm going to be using this two reference image, so the side and the top of our sneakers. Let's go ahead and put them inside our blender scene. In my blender scene, I'd like to start by pressing tree. This we can jump to the right orthographic and after that, I'd like to bring the side image. After that, we can center it, put it at the center. Also we can go to the image that's a properties, this one, and we can check the opacity, so we can see through our image. Let's put it at the center like All right. After that, we need to go to the top by pressing seven, and let's bring the second reference, which is this top reference image. I would like to put it also at the center, something like that. We need to scale it a little bit up until it fits this end of the second reference image. But to do that, there is an easy way to do it, which is to rely on some cubes. Shift A, let's go to mesh, we can add the cube. On the S mode, we can move this cube a little bit up, for example, here, and we can switch pres Z, switch to the wire frame. Let's take the sides of the cube to the borders of our sneakers. Something like this. After that, we can press seven to go to the top. Now we're having an idea about the shape length of our shoes. You can sect the top reference image and press G Y. Let's move it a little bit forward, and we can scare it a little bit up Intil it fits these borders. This one here, and the other one on the bottom. X so now, our references are well set. Now we can take them sideways, so we can move, for example, one on the x axis like this. So one's going to matter. Same thing for this bottom. We can simply take it down. Dt is going to interfere with our modeling. The first thing that I'd to do is to start with this area. I'd like to model this part. I'm going to press shift A. Let's go to mesh, and I'd like to start by a plane. On the S mode, I want to select one single vertex, press control I, to reverse the selection, and we can press x in the lit the rest because all I need is just one single vertex. Let's select this vertex that we got here, and I'm going to press G to move it to this location. We got it here, I'm going to press seven to go to the top and we need to move it on the x axis. Let's move it here to the center. We can start extruding to make this turn. After that, I want you to press tree so that you can go to the side and we can grab these first three verses and extrude them up. We can extrude like this. Extrude in spin, we can press r to spin the parts around. Extrude spin and finally exude here, and that spin, and we can try S y and press zero so that we can flatten this surface. After that, what I want you to do is this, we can select these two vers. Let's press one, to go to the front, and we can extude them by following this edge line until we reach the bottom, for example here. We can exit this front autographic. We can select these four, press F to fill them. Let's push this one a little bit to the left side. Same thing here. After that, we can select this single vertex. We can extude it up like that. Select these four s, press F to fail, Sameth on the left side, press F. Can press seven to go to the top to investigate how we're doing so far. Thank we're good. Finally we can extrude another extruion on the top. And we can fill these four vertices, press F, Sething here on the top press F, and let's fail this space. We can press z, to switch to solid. Let's check this out, right click, shade smooth. All we have to do right now is to add the mirror modifier, so that we can make it because as you know, our sneakers are symmetrical. This object selected, let's go to the modifier properties, and let's add the mirror modifier. This one right here. As you can see the mirror is not perfect. What we need to do is this. I'm going to press old here in this area, and we can take it to the left side. As you can see this edge line goes beyond the center, we don't want that. All we need to fix this problem is to check this clipping in the mitral modifier. Once we check the clipping, you're going to stop right at the middle excellent. The next step is going to be to model the body of our sneakers, this area right here. On the S mode, I want you to grab these three versus es, shift t, to duplicate them, and we can extrude them. E, y, Let's extrude, for example here. We actually just tack it all the way till the end, and let's insert an edge loop for this middle parts. Another one, for example here. Let's try to check these up. So Let's select this one. Let's sick it up. We can activate the snap toool to the versax. We can snap to the same level here. Same thing here. Let's insert another edge loop. Let's stack without the snap tool. Let's take this one to the bottom. We can insert, for example here two edge loops, and you can to understand why. Also here, let's add some additional edge loops. I'm going to press seven to go to the top, I'm going to press old to grab this area. I want you to activate this proportion addition tool, and I want you to set it too sharp. Right now we can take this one and close that loop. Can close it like this, take it a little bit backward. Can press old here, try to bring it outside, press old. That's deactivate the proportion titin, can press old, try Z to spin this part around, and Let's extrude it until it finish, until it connects with the other side. Perfect, Let's press old here. You can try to spin this one around on the z, z, spin it around. Something like this. Let's investigate the shape for our sneakers. We can do right click, shade a a smooth, or right click shades smooth, so that we's going to have any weired edges. Looks press much good. The next step is going to be to add the base for our sneakers. Let's press three and on the bottom, I'm going to press old right here, shifts old to select the entire gine, shift d to duplicate it, can right click and try to extrude and z to go down. Like that. Right click Shade smooth. And here it's not connected. If you press L here, this one is connected. Let's select them both, and we can press and merge by distance. To versus the are removed, one is here, and the other one is on the top. Perfect. The next step, it's got to be to add some modifiers. The first modifier that s you add is the solidify. We need to give this sneaker some depth. Let's do that from here. Let's go to modifiers, and let's click on this solidify. We can increase this thickness to something like 0.2. After that, we can add new modifier is going to be the eval. Let's take these to the sign just so that we can see what modifiers bee. We got first the mirror and the solidified to add thickness to our sneakers. The third modifier is going to be the Pevl modifier. Let me just show you. The Bevel is going to give us some nice details on the edges. We can reduce this amount a bit down, something like 0.03. Also we can increase these segments, for example, three. Looks better. Let me also try to add the subdivision service modifier. Let's try to add it. It gives some nice details, but we still need to work, for example, in this seams that we got. What we can do, can take these inside, like that, perfect. For example here at this location, let me just press sch go to the side. Stry to trim it even better. C take it down like that. Perfect. For example, here we need to find a way to not keep this point point. We can add str to add some tra edge loop. Tack this one. Add another one. Check it like that. So we can press double G to slide these over. Double G, slide this part, check this point a little bit down. Now it looks much more better. Now let's add the third or last piece of our sneakers, which is this area right here. I'd like to select my sneakers and on that this mode, I want to select these I'm not selecting the right one. We can select this part, press control I, and press H to hide the rest, just so that we can be able to grab these four vertices. Shift D to duplicate these, and let's press t, to go to the side and we can extrude them. Let's we can spin around like this, spin and continue until we reach the top. We can try to scale this part a little bit down, but actually we can do it later for just. Here on the top, we can press to activate the proportion it in, and we can scale this part. We can scale it only on the x, so S x, scale it something like this. Sick this one to the side here. It looks a bit creepy, but we got to work on it. Click shade smooth. Let's get rid of the proportion vital and we can check it backward, Soth like that. Same thing here. That's nice. Here for the top, can check this one backward. Soth Lastly, for this point, can either check it backward or we can be vol because I prefer to check it just backward. The last piece of our sneakers, it's going to be the ties piece that we got on the front. To do that, I'm going to select These four vers. **** t to duplicate them, try Sy press zero, to have them flat, can push them, for example, here to the start and try E Y, extrude them like this. Sick them a little bit up, can select this entire part by pressing, press P, separate selection, and let's operate on it. I'm going to just get rid of the bevel. I can just remove it. Right click Set smooth. Let's select it all by pressing A, G Z, let's sick it up. Can grab this part, easy to extrude it like that. Perfect. On the de mode, we can insert some edge loops to define the edges without the bevel modifier. After that, we can select this part, express sch, go to the side, Shift D to duplicate it like this. Another time we can select it Shift D. Spot here, we can spin it. Spin it sideways like this. Let's try to spin this one round to like this. That is perfect. Let's check it from the outside. Looks pretty much good. We might want to scale it a little bit on the y. Let's select all these three ties, and we can switch the pivot point to these individual origins, just so that we can scale each one on its own like this, and we can try to scale it just a bit down. We can try also to scale it on the x. Let's see There we go. Looks pretty much good. Let's put these sneakers in the right place. I'm going to press old age, bring back my character. Let's select all these components and I want you to check them sideways. Before we can proceed, I want you to do something. Now we don't need that mirror modifier. I'm going to show you. We need to distinguish between the right and left sneakers. We should not leave it like this. To do this, I want you to apply the mirror modifier, so we can apply it here. You can also apply to this object here, the mirror modifier. After that, select them both. I should add this mode, press old e to bring back any hidden parts, and I want you to grab this edge line. Press old, saething here on the bottom, press shift old, and we can press seven to go to the top and I want you to push it inside. Basically, this one is going to be the right shoe or the right sneaker. It should be like this from this side. You can take it even more inside like that. After that, we can select it. Let's put it here. Can get it real down. Les press street go to the side, place it at the right place. R z end its spinach by ten degrees, or even 15. Let's make sure it's well aligned. Scat it up a little bit. Nice. Shift to duplicate, and we can move it here, can try S x and minus one, to invert it to the other side. Let's try z, and we need to spin it by -30 degree. We spin this one by 15, this one should be by. Basically that set, we got our sneakers. Looks good on our character. In the next lecture we can text. 20. Texturing Character Eyes & Eyebrows: Our next move is going to be to texture the is. We didn't add the, now it's. Let's switch back to the objects mode, can select our head. On the EIS mode, I'd like to switch to the edge mode. Can press old to have that circle selected. Also, we need to switch the pivot point from here. Let me just score a little bit. I'd like to put it on the median point. Two shifts S and cursor to selected. I'm going to exit IS mode and shifts A go to mesh and let's use a UV sphere. I'd like to scale this UV sphere down. Something like this, and we can spin it on the x axis. O x, let's sinish by nine degree. Basically, I want this area to be in the front. All right. Let's do right click in shade smooth and we can push it a little bit inside here. Can scale it a little bit up. Let's press one to face it from the front. What we need to do is select our body and switch it this mode, activate the proportion in this in tool here. We can select these points, for example, this point here, and we can move them a little bit forward, like this. Let's select the top pushes a little bit sideways till it covers the entire Ii. Push it forward. Also, we can select the I and try to scale a little bit on the y, S y to make it a little bit flat. Our is. Perfect. All we have to do right now is to textura it. With our sphere selected, let's add a new material, and let's call it I. Here in the principle SDF, we need to bring a texture image. You're going to find this in the resource. I'm going to be using this. We're going to simply connect to the base color. Let's switch the dS mode, and also here we can pick, can click and choose that texter. But actually we must switch to the UV editor so that you can be able to control our UVs. Let's press one. I'm going to press U and projects from view bounds. Immediately, we got our I. All we have to do is just set it a little bit down. I'm going to press old here to select or actually press C, select this line. I think I'm going to need to select this entire part. We can press F to scale it up or down, so make sure to activate the proportion in this into. We can scale it a little bit up like this. We got our. Now it's on to duplicate our i to the other side. I want to show you a cool track to do so. You can select our character, can switch it at its mode, select one of these diversities. This vertex must be right at the center. Shift S and cursors to select it. After that, we can put this pivot point, we can put it to the three D cursor. Let's select our I, shift D, to duplicate it, right click, and try S x and minus one, and it's going to be inverted to the other side. Perfect. We have to work little bit on the I. First, what they should do is to add some roughness. Shift A that serves for color ramp. Control space that we maximize this window, and we can connect the eye to the factor here and the color to the roughness. Control spaces go back and we can tweak these nodes. Now it's transparent, something like this, and we can make that color a little bit less shiny. There we go. The last thing I'd like to do is to add the reflection in our eyes. I'm going to show you. On the edge mode, I want you to pick this circle. You can press slightly circle, Shift D to duplicate it, and let's put it up here. A I'd like to deactivate the proportional ind. I can scat it a little bit down, but it should be scaled on the medium point. We can scat it like this. For the UV mapping, let's select the UVs, can scale them way down, and we can put it in a white area like this. We can do the same thing to the other eye. Now I'd like to add the eyebrows in a little bit of the eye lashes. Let's select our body. I want you to select these faces. These phases. Shift D can duplicate these parts, press P, separate selection. Let's select these objects, and let's go to the materials. I'd like to add a new material and I delete this character tex. Let's add a new material, let's call it eyebrows. You can make this material brownish. Let's give it the same color, we can use the eye picker to pick the same color that we got in our eyes. After that, we can add the solidify modifier to these objects so that you can make it pop up outside. L et me just reverse this offset to one, and basically we got it. We can add right now the mirror modifier to it. Can apply some weakens to the eyebrows and ma press one and we can switch the w frame, and we can drag these versicle bit to the left side. Let's push them outside a little bit like this. Also, I'd like to do is to add the subdivision surface modifier. Just to make it a little bit better. O at this moment, we can insert some edge loops to sharpen those ends like this. I'd like to add some eye lashes that's going to surround our eye, only from the top. Let's select this face. Can keep pressing control until we finish that edge loop all the way to this location. Select that phase two, shift d to duplicate, and we can press P to separate selection. We can select this object. Shift select the eyebrows, and you can press control J so that we can have the same effect applied here. At this location, or for this second object, let's assign the eyebrows. We have to t weak them a little bit. Let's push them a little bit outside, so we can press G Y or actually let's press old here, try to take it that edge a little bit to the outside, like that. That's nice. For the is, we have to fix them. But we can press G Z and try to take it a little bit up like that. There we go. Nice and basically, that's it for the Pro. We're going to continue our work in the next time lecture. 21. Texturing Character Hair: So to texture the hair of our character. Let's select the hair and we can add a new material. Let's call it hair. Here in the shader editor, you can scroll back to see those nodes. I'd like to bring a new image texture, it's going to be this hair texture. You can find it also in the resource. Let's put it here and we can connect colors to the base color, and immediately, we can see that. What I have to do is to invert the location of this texture. What we can do is this, we can select this node, we can press control T to have the mapping and the texture coordinate. In order to have this shortcut working, you need to be enableing this nodangular. We can go to edit preferences, and under the add ons, we can search for angular. This node rengular. You can make sure to check this box. Let's score a little bit to the rotation, and I want to spin around the z location to 90 degree. Let's search to 90 degree. Now the orientation of the hair goes hand in hand with these hair particles. Perfect. All you have to do right now is search we a little bit the roughness. Control space to maximize this window, you can take these nodes backward. Shift A, let's search for a color. L press enter, and we need to connect the color to the factor. And cut to the roughness. Control space is go back, and let's tweak these handles. We can make them close to each another. Zoom, I don't want you to be glossy like this. Something like this seems reasonable. For the black color, we can reduce it, make it less black. Black represents glossiness, you can take it a little bit up. Or even up, something like that. The last sep it is going to be to add some bumps. Shift A let's search for a bump node, and let's connect the color of the hair texture to the height, the normal to the normal. Control spaces go back, let's see. The bumps are crazy high, so let's reduce strength to 0.1 or 0.25, 0.2, it is going to be fine. Then we got our hair and it looks fabulous. We can continue our work in the next time we lecture. 22. Texturing Character Clothing - T-Shirt: Now it's time to start working on our t shirt. I want you to select our character, switch the edit mode and be on the face mode here, and we can press L to select our t shirt. Something like that. After that, we need to go to our material, the character texture, and we need to select our character texture, not the skin texture. Make sure to select the character texture. Here we can also switch this texture to the character texture. We need to be painting here. After that, we can exit edit mode, and let's switch to the texter paint, and we can activate this mask, the paint mask. Before we can proceed, I'd like to use a reference image or the final result that we're going to be able to achieve. Here on the right side, I'd like to split my scene upward like this, and let's switch it to this image editor. Next, let's bring that reference image, can simply drag it and drop here, and we can focus on our T shirt. First, let's make our T shirt orange, so we can pick this color orange color, and let's click using the fill bucket. The next step is going to be to paint these white strips, these white lines. We can switch back to the draw and let's keep it white, this color. I'd like to press one, and we can start starch painting here on the bottom. We can press F to reduce the size of that brush, and let's start painting. Obviously, we have to increase the strength to one, start again. But this line here is not perfect. So I'm going to press control Z to reverte back. We can use the stabilized stroke. Let's go to the stroke, and let's use this stabilize. Also for this fall off, I'd like to keep it. Let's pick the constant. There we go. This is exactly what I want. Control Z, and let's make that strip a little bit smaller. Let's press three, go to the side, and we can brush this up. Next, we can go to the top, and let's work on this neck strip. For example, here we can take this point down. Let's press F can start from here and go all the way to this location here. Then, we can switch to the back here. Let's continue that line. Til it connects from the back. Also here, let's press F to reduce the size of the brush. You can take that point, til it reaches and shoulders. Now all we have to do is to fill this space, and we can continue brushing that space until they finish. Also, we can press control space to maximize this window, and we can work on it here. It's going to be much more easier. Let's switch to the image editor, and Let's keep this mode to the paint. Now we can just keep painting here. Until you finish those spots. We got our T shirt texture. The next step, I'd like to show you how can we put a logo, for example here and the middle? How can we do that? First, I'm going to be using this logo here, this basketball logo. Feel free to choose any logo that you want. I'm going to scroll a little bit down here and I need to scroll all the way to this texture properties. Click on it and let's add a new and we can score a bit to this open, and we can open that a tture that we want. We're going to be using this basketball. Keep in mind that it must be a PNG format, so that's going to have those edges. The edges need to be transparent. We need to scroll here until you find texture, and we need to pick it. We need to pick this texture. For the mapping type, we need to choose tencel. That's going to be visible. That texture is going to be visible. We can do right click, so that we can move it around. We can zoom in a little bit, or also you can press shift and right click so that we can scale it up or down. Let me just put it right at the center here. Also we need to check the color. The color needs to be white. Otherwise, you're going to be affecting that logo. Let's press F to scale that brush up, and we can start brushing this. You can see this problem to be cut. Our texture or our logo seems to be mirrored. That's happening because we're still using that x mirin. Let me just zoom in. We can just check this box, X mirin. Let's zoom in here a little bit. Also I want to go to the stroke and get rid of the sabized stroke, and let's start painting here. We can paint that texture. After that, we can press control one to jump to the back, can move our character to the left side, and let's paint that logo again on the back. Basically, that's it. We got our T shirt textured. You can switch back to the objects mode, and let's take a lookal looks pretty much good. Again, make sure to save this image texture, so let's go ahead and save it, save as character texture. You can just overwrite it. In the next time, lecture going to start working on our short. See. 23. Texturing Character Clothing - Short: Our next move is going to be to texture our character short, this piece of clothe that we got here. Our do first is to replace this logo, this past logo with this texture, this tropical text, we're going to find this in the resources. Also you can feel free to use your own. Back to the textural properties, you can click on this image. Here, and let's choose that tropical mage ttcture that we got. Now we can switch this menu to the texture paint and we can start painting. As you can see, I'm still using that stencil, the texture as a sencil. If you lost, you can just check the previous lecture to how to set it up. Basically it's here, you can collect here, choose that texture, this one, and you can set the mapping to sencil. Let's zoom in and we can start a brush in here like this. But actually we forget something. Control Z, we forget to highlight only the short. On the edit mode, we can press A and let's select our short, the front on the back, exit edit mode, let's activate the mask, and we can click to scale down that texture, and we can start brushing here, let's press F to reduce the size of that brush. Let's start a brushe like this. We can do right click, and let's move that texture down, and Let's continue like this. Basically that says, we got our short texture. You can see that's highlighted in the in the character texture image. All you have to do right now is just save this image. Let's overwrite it. It's the same image. Basically that says, we can continue our work in the next lecture. Just reach back to the object point to see got the short. We're going to continue our work in the next lecture. 24. Texturing Character Shoes - Sneakers: Now it's t to start texting the shoes for our character. Let's select our shoe and we can add a new image tuture, a new material, so we can go here to material, add the new material, let's call it sneakers. Here in the principal BS ZF, we can press shift A, and let's serve for an image texture, and we can click on you, and let's set it to two k. Let's multiply the width and the height by two. 24, multiply by two. That's it, and here, let's call it sneakers. Check sir. All right. I'm going to just leave it as black, ands press okay. Next, let's connect the color to the base color. What we can do is to select the sneakers and push it backward here. Try R z spinach by -15 degree to set it back to zero. So let's press s to go to the site. What we need to do first is to apply all the modifiers, we got in the modifier properties. Let's go to modifiers. We can apply them all. What actually we can do is to go to this object, converge into a mesh. All these modifiers are going to be applied. After that, let's select our sneakers, we can jump to this mode, select everything, and we can press U and smart UV projects. It's all UV map. You can just do this, let me just switch this to sneakers texture. We're good. For this sencil, let me just remove it. I'm going to go back to the object mode. Going to go back to the text paint, and we need to scroll a little bit to the text and just get rid of it. Our next move is going to be to paint some strips. We're going to let me just use the draw tool. Can press F to reduce the size of that brush. We can zoom in a little bit, and we can start a brushing like this. Let me just stroll z, we can activate We can activate the stroke to stabilize. On the ES mode, we can select only the parts by pressing, and we can exit I mode, and let's check. We can check this mask. Now we can take press F to reduce the size a little bit down. We can add first line like this. We can add three lines. Let's press control t to jump to the other side, and we can do the other thin in the opposite way. The next step is going to be to work on the back. Let's press Control one, to go to the pack. What I'd like to do right here is to add some of a circle. Let's brush that circle. Like this, and we can add small tip on the bottom. Basically we can draw a circle here. So like this. Let's continue brushing that. Sound like that seems to be fine. On the edge mode, I'd like to highlight, let me select these points here, you can press old to select these areas. What we can do, you can try to give them a different color. Okay exit ts mode, we can use the fill bucket, let's keep it edge white, and we can click. So this makes it looks much more interesting. All right, so let's go back and put the sneakers in the right place. Can place it right there. R z, let's spinach by minus or by spinach by 15 degrees. Can push this one backward a little bit, push it to the right side to the left side, like that. After that, I would like you delete this left sneaker, and we can simply duplicate the right one. Let's select our character, select a point that's going to be in the center. For example, this point shifts a put the cursor to selected, and let's switch the pivot point to the three dcursor, and we can select our sneakers, snit to duplicate it right click. Let's try S x and minus one. It's going to be inverted to the other sides. All we have to do is just spin it by 30 degree, which must be on the median point. R is Z, spin it by -30 degrees. There we go. We got our sneakers. Now all we have to do is just texture the socks. Let me just select them. On the Edit mode, let me just pick them using the face mode. You can press L, select the sock. What we can do is jump to the texto paint. Let's exit Edit mode. I can jump to the texto paint here. B for the sx, I want to give them the orange color, so we can pick here the orange. Let's click here to text that. Let's press one. You can switch again to the to the brush tool, and go to the top and I'd like to draw with the white. Let's add that strip on the top. Let's make it white like this. We need to make sure to have that x mirror enabled the met reverted back. We can check here the mirror, the x mirror, to the x, and let's start painting. Basically, that says we finished texturing our character. All we have to do right now is to save that texture image again. The character check sort is fully text sort, so I'm going to just save it. We got our character in the next coming step, we're going to start the ging process to make it ready for animation. If you have any questions, let me know, we're going to see you in the next coming section. 25. Fastest Way to Rig Your Character Easily with Blender: In this oral, we'll bring our character to life through rigging. We'll explore the powerful technique of waist painting to address any rigging issues you might encounter. Let's get down to it. To rig our character, we're going to rely on an add on, built in add on in blender. It's going to make the process of rigging our character much more easier. This add on is called rigifi. We can go to edit preferences. In the add on step, we can search here for gifi. And I want you to check this box that we got here. After that, I'd like to put this cursor right here at the center of our origin. Shift S, let's put the cursor to the board origin, and we can press one to face our character. We can select our character, try to move it a little bit down until it touches this red axis. GZ, We can take it down like this. Perfect. After that, let's press shift A. We can go to armature and basic basic human metal ric. Click on it, and you're going to have this human metalic. You can press Z to switch to the fi frame to see this rate. All we have to do right now is to scale it up until it fits the shape of our character. We can scale it up like this until it reaches the shoulders. After that, we can switch the edit mode, we can press edits, and we can start aligning these bones with our character. For example, this one for the knees, you can take it to the right side. The problem that we got is this. If we move this bone to the right side, so this bone is going to remain in place. Since our character is symmetrical, it's going to be very useful to use the mirror modifier here. Instead of using the mirror modifier, we're having this option here at the top, this x meter, you can just click on it. Now if you move this bone, the head of our bone to the right side, you cannot perform the same action to the left side. Let's select the bottom bones, we can switch. Let's use the move tool and we can move them, drag them to the right side. Example here, and let's continue for the waist. I'd like to drag these bones a little bit down here. Same for this mid section, can drag it a little bit down. The same thing goes for the waist bones. I'd like to drag them a little bit down. Also, we can check the top for the shoulders. Let's select the head of these two bones, and we can drag them to the right side. For the arm bone, this bone here needs to be placed exactly on top of the arm joint. Otherwise, it's result some weird arm movements. For this last bone, we cannot place it on top of the hand. For the head, you can just expand this bone all the way a little bit to the top, something like this. After that, I'd like to jump to the side so we can press three, to go to the side, and let's align these bones from this view. I'm going to grab this bone, try to have it centered, and let's go like this all the way to the bottom. We can select those, move them sideways, Sameth here. Same thing goes for the hips and the waist bones. Let's just track them backward until they are inside our character. For the knees, perform the same ing, press three. Select those and move them to the center. There we go. Seems perfect. I'm going to just switch back to the solid. Our bones are not visible, so we can do something to make them visible. We can go to this bone data. We can collect here and we can go to viewport display, and I want you to click on this in front. The infront can make the bones appear in front of our character, which is great. So now it's time to reg our character, but before doing that, we need to make sure of some things. I like to do is to select, for example, the yes, and shifts, let's make them part of our character. Same thing for the eyebrows, let's select the eyebrows, we can go to the modifiers. Let's apply all these modifiers. We can go to objects, convert into a mesh. After that, we can press shifts, select our character, press Control J to join all these pieces together. Now for the eyes, selects both ys, shift, selects our character, control J, and now it's all connected. Let's do the same thing for the hair. For the hair, it's a little bit different. I'd like to do is this. I would like to optimize it first because it's not a mesh, it's a curve. If I press d, let me just duplicate it and check it sideways. If we go to object and convert it into a mesh, check this. If I press, to go to das mode, I I press to select everything, we're going to be having 154000 vertices in just the hair. That is really huge. I'd like to do first is to optimize our hair. We can select our hair, can go to this data properties. For this resolution preview, I'd like to reduce it down real down to something like four. Or even three, three is going to be fine. You can see those edges that we got here. I think it's going to be four is going to be better. Also, we need to optimize this busier circle. Let me just bring it back this one that we used as a canvas for shaping the hair particles. I'd like to do introduce this resolution, two, four. Now if we select our hair and if we go to object, converge into a mesh, On the edits mode, we can select everything. It goes down to only 18,000. It's just delete the rest. I'm going to just delete this easier because our hair is now a mesh, sameth for the other hair. Let's select our hair, shift, select our character, and let's press control J to make it part of our character. Sameing goes for these sneakers, so we have to make them part of our ct. But I prefer to do something here. Let me just select this sneaker. We can hide them. I want you to do this. I want you to drag, can press here, can press O to activate the proportion addition tool, and you can simply drag it a little bit down. I'm going to explain why. Let me just exit at this moment, Control H to bring back to press. I were good. Let's select our sneakers. Shift select our character, and press Control J. Now it's all set, so final two weekends, we need to check the transform of our character. Let's select our arte, we can press n, go to item. The rotation, set 90, should be zero, so you can press Control A, and let's apply the rotation. Also, we need to do the same thing to our RC. The scale is St 1.5, it must be set one. Control A, let's apply the scale. Basically, this happens if you scale your object on the object mode, not on the dS mode. If you scale it on the edit mode, es can happen, but that's fine, you can just apply the scale. So let's select our character, shift selects our armature, and we can press control P, and let's set parent to armature deform with automatic weights. We're having some problems, the bone heat weighting, fail to find solution for one bone or another. This problem happens because of our geometry. I'm going to show you how you can fix this problem. Let's select our character. We can switch the dit mode. Let's select everything. We can press and merge by distance. This is the first cleaning method. As you can see 2000 vertices are removed. She is fine. So let's try again, select our amateur, character, shift select our amateur, control P, add such. Let's repeat that parenting. Now it's working just fine. Now we can select our amateur and we can switch the objects mode to the pose mode. Let's try, for example, to spin this arm. We can press r, x, and let's spin it like this. There we go. It's working perfectly. Let me check ahead. We're having some problems here. So hair particles are not included. We can fix that next. By the way, I want to let you know that rigging a character isn't easy, so I just consider myself lucky this time. If you're having trouble rigging your own character. Let me know in the questions section down below, and I'll do my best to help you out. I switch back to the object mode and I want you to fix the problems that we got. The first problem that we got is this. This hair particle it's not included in the process. Sometimes blender gets weird, so we have to deal with that. To get this problem fixed, I want you to select the armature first, shift select our character. We can switch the objects mode to the weight pains. I'm going to just get rid of this mask and let me select. I'm going to press control and click on this bone. Let me explain how this weight map works. Basically, the weight map is arranged between the red color and the blue color. The red color means that that bone is going to control 100%, that geometry, the red geometry. On the other hand, if it's blue, it means that this bone bone is going to affect this area. The problem that we got here is that this bone is not controlling these eye lashes of character and some of these hair particles. Check this out if I try R X, if I move it back, you can see that these elements, the blue elements, what's going to be moving with it. For example, this green, the green is in the middle, toe is going to be affected 100%. What we need to do is to make all these elements red. To do so, you can press one. And I want you to grab this gradient, and you can make sure that the weight is such one, same thing for the strength, one, and you can drag from up down. You can keep going down like this. You can redo that, ag same thing here for this eye lashes. Everything now is affected. Let's strike this out. I'm going to press R z, and you can see we don't have that problem anymore. All these elements are affected by this bone. The second problems we got with this shoe. I'm going to select the press control and click on this bone. So for example, this tie here that we got on the top, it's not affected, should be green. What we can do is to use the mask, we can click on the mask. Let's press all A two d select everything and we can select only this portion, and what you need to do is to paint it. But it should not be blue, red, should just be green. You can just paint just a little bit. Actually, it's a little bit difficult to do that. I just control z to reverse back. What we can do is to just reduce the strength to something like 0.5, and we can paint here like this. Now it's green, just keep it like this. L et's try this out. You can try to move that bone, and it means you don't have that problem anymore. Once you fix your gon using the height map, what I suggest to do is to generate the g. You can select a rig, and let's go through this icon, that that's objects properties, and we can scroll a little bit down until you find gi fi. Here we're having this generate rig. We can click on it, and as you can see, we're generating a rag. This g's going to be much more easier to control. Let me just s I'm going to select it, press control tap to switch the pose mode, and we can for example, select the hand. Stretch move it. But as you can see it's not connected. What we can do is to redo that connection. Let's select our character. Shift select our new armtur, and we can press Control P, and let's set parent to armature deform with automatic weights. Now let's select our new arm, Control tab. Let's select the hand, for example, as you can see it's working just fine. Can select the middle section, can take it down. Perfect. We can just go back to the objects mode. Let me just hide this meta. We don't need this anymore, can just hide it. Let's only work on this new armatur. Now it's working just fine, we can select the legs. Let me just switch the wit frame, this portion here, we can try to ick it up. It's working, but the knee, it's not going in the right direction. What we can do to fix this problem is this. I'm going to show you that. Let's use first the x miller and we can select this bone with these rows, and we can spin it. Let's spin it. Let's make it go forward here. R z, can spin it like this. Now if we select that bottom bone, If we try, let me just switch back to me preview. If we try to check it up, it's going to be working. Let me just get rid of the x mere. The legs are working just fine. For example, these bones, they are not used in this rig. What I suggest doing is just just get rid of them. Here again in this data object properties. We're having these layers. This layer is this one, the one with the dots with not the t dots, but the fool dot. You can shift and click on that. So Let's do the same thing to their side, this one, shift and click on it, to just get rid of it. For example, these bones, you are not controlling anything. You can just get rid of them. P shift, click, to remove them, same thing here. Basically, I want to keep only the bones that are working. That's why I select these layers. We got our character rigged and it's ready for the next move, which is animating it. If you're having any trouble with this rigging process, you can contact me. You can send me your project file, your character, and I'm going to help you rig it. Thank you for watching, and I'm going to see you in the next come of lecture. 26. Make Walk Animation: In This eorial, we'll bring your character to life by creating our first animation, which is the walk cycle. Let's jump right in. The first step is going to be to brain reference image. I'd like to press three to go to the side of our character, and we can simply drag this walk cycle reference image into our T viewport. After that, we can scale it up. Let me just scale it up until it fits the size of our character, something like this. We can just take it sideways. Turn out, the first step it's going to be to create this pose, the first pose of our walk animation. To do that, I want you to select our rig. Also let's make some distance. I like to just drag it a little bit down. Also we can go to the data properties, and I want you to check the opacity. Now our image is transparent. Let's select our g and we can switch the pose mode. The shortcut is the control tab, and let's start working on it. I'm going to press three, go to the site and let's set the legs to these positions. But as you can see, these bones are not visible. The leg bones are not visible. If you're having this case, what I want you to do is to select these invisible bones, and we can switch this mode by pressing tab, and I want you to scale them. We don't want to scale them like this. We want to scale them on their individual origins. We can go to this pivot point and we can switch it to these individual origins. After that, we can just scale it up, to scale it by three, for example. What actually just control z, I'd like to scale it by two. So we can type S and two. Can press enter. Let's exit EIS mode. As you can see that those bones are pretty much visible. I'd like to do the same thing to the other bones, for example, the two bones. O S mode. Let's scale them by four because they are really tiny, now they are visible on the front. Sameth for these on the pack. We can switch at this mode, try to scale them by tree, exit at this mode, and the we got them right on the back. I'm going to press t to go to the side. I'd like to select this leg front leg, and we can simply take it backward. Match this pose. You can also try to spin it, so let's press R, spin it and take it up. Basically the toe must be touching the red axis. We can use this red axis as a floor for our character walk. We can press R, try to spin the toe a little bit. You can see this problem, I don't want to expand it to this area. Spin it just a little bit like this and we can take a little bit down. For the front leg, this leg here on the front, can simply drag it forward. Take it a little bit up until it locks this lock here, and we can spin it. Let's try, can spin it like this. As let's try to play a little bit with this bone. Just keep it like this. Let's drag it down. But we're going to see this problem as we got. This problem here. One of the ties here, it's not connected with our shoe. What I'd like to do is to go back to the object mode. Let's select our rick first, rig shift, select our geometry, and we can switch to the weight paint. Now what I want you to do is this, I want you to go to the data properties, and you can find the bone responsible for this object. You can just keep going down by pressing it down a row. There we go. This one, this one, this one here. As you can see the first, this tie here is green, but this one is not green. What we can do is to make it green to put it here. We can deactivate or use the masks of images. You can use it. Press all A to deselect everything. We can select this tie only, and we can activate can go to the gradient, make it radio, click on it and you can simply drag. But I don't want to make it red, so I'm going to just increase the strength to something like 0.4, just to make it green. We can just click and drag and as you can see, it's taking place here, which is the right place of it. Perfect. Turn let's go back to the objects mode and we can carry on our animation. We go let me just press tree to check the legs. Leg seems to be fine. I'd, I'd like to take this back leg. Let's switch back to the pose mode, can select this, contract spin it, so r X or actually just take it a little bit up. So like this. Contract spin it on the bottom. Take it a little bit down. Perfect. Now for the arms. For the hands on arms, let's select this bone, this bone right here and we can take it a little bit forward. Let's press t, to go to the side. We can press r, to spin it, sick it up, let's make it close a little bit to the body of our character. You can spin it, press R to spin it. We can also spin it on the z z, spin it, to go inside. Let's do the same thing to the other hand. Let's press t, and let's see. Obviously, we have to push it backward. For example, here. Just make it close. We can select this bone and we can spin it, so we can try R Y, spin it like this. We can take it a little bit down like that. Press three, spin it. Just take your time with this first pose because it's essential. This part down. Let me check it from the front. Seems pretty much fine. I like it. All we have to do right now is to insert or to save this key frame. To do so, I'd like to click on the bottom and drag up. I'd like to switch this menu to this timeline. Basically I want you to think of this timeline as actual time. If you go here to this output, you score without going to find this frame rate, it's set to 24 FPS. FPS stands for frame per second. Meaning that 24 frames from here. 24 frames. Let me just find it. Yeah, this one, 24. This 24 1-24, it's going to represent 1 second. Same thing for our walk. I'd like to set it to 1 second. You can control it, you can make it for example 2 seconds, just multiply this number by two. It's going to be mount to 48 and so on and so forth. I'm going to just lock it here to 24. You can do it from here from the end, you can just set the end to only 24. This space here. I'm going to jump to the first frame, you can do right click. We can press shift and right click to jump to the first frame or you can write it here, right number one. And since this is the first pose of our animation. I'd like to save it here in frame number one. We can press A to select all the bones. Everything needs to be selected, and we can press I to access this key frame menu, and we can insert two elements. We need to insert the location and the rotation. Let me explain. If you select, for example, this bone here and if you press n, you're going to find this transform. Basically, we need to save the location. If you press J, we're going to be moving the location. If you press r, we're going to be moving the rotation. We need to save both of these values. This is what I did here. After that, what I actually do is to do the same key frame on the end. In cycle animation, the start and the end must be the same. Otherwise, it's going to work, it's going to look abroad. What we can do, we can do right click, shift first and right click into frame 24. After that, we can press A again to make sure that all the bones are selected, and we can press I and insert ocation, and rotation. It's now we can call our animation cyclic because the start at the end are the same if press space, weren't going to have any change, but it's cyclic. The next step is going to be to add the opposite position. For example, at the middle here, so our character is going to be swinging his hands or his arms in the opposite way, same goes for the legs. Luckily, we have an option to do so in Pender without having to repeat the same steps again. We can press old here. Make sure that everything is selected here all the bones. We can press old and click left click. So we can select the entire row, can see that, and we can press right click, and we can click on copy. You can also click on Control C. Copy that and since we are on the 12th frame, which is the middle, I'm going to do right click and I lecture paste flipped. Now as you can see that position is flipped. It's going to give us this position here. We can press space, and basically we got our basic walk animation. This is what we did. We start from here, which is the same as the end, and at the middle we flip that, it's flipped. That's all. Next, I'd like to work on the middle. I'd like to work on this pose here. For this pose, we can set it at six. We're starting from one, six, 12, 18, and 24. Here at six, I'm going to press three. Let's try to make it look exactly like this. I'm going to press control space to maximize this window, zoom in a little bit, and this is the front leg. Let's select the front leg. Push it forward, and let's keep it straight. So I'm going to try, spin it a little bit to make it straight. For the toe, let me just push it back like that. We can select this bone. We can take it down, but as you can see one is going to allow us to do so. Our leg is going to be stretched, stretched. We can do is to take the hip bone, can drag it a little bit down like this, to give it some room, and after that, we can take this leg and drag it down. Sounding like this. We got that first leg. After that, let's create a second. Let's work on the second leg. I'm going to pick this bone and let's take it press G, take it here. You can press r to spin it. Let me take the front leg a little bit backward here. That's fine for the arms. Can select this part. Can just make it relaxed here. Let's select the back arm. Push it a little bit forward, let's spin it upward. Control space, let's go back. Make sure that you are in frame six. I'm going to select everything and press I and inserg location and rotation. Now we got it. Let's investigate that first part of our animation. Can press shift, and right click, keep pressing right click so that you can go from here to here. I think it looks a little bit inverted. It should go backward like this. But we're going to fix that's another big issue. What we need to do right now is to add the 18 frame. To do so, I'm going to press old, we can co here to reset to not select anything. You can press old right here, this entire row. You can do right click. Let's copy that. Go to frame 18, right click, and we can paste flip. All right. So let's press space, and let's see our animation. Our animation is better, but as you can see is flip. Our character is going backward. To fix this problem, we can go to frame number one. We can select everything, all the bones, all the key frames, and we can try S x and cy minus one. So that we can invert it to the other sides. Now it's backward. After that, I'm going to press g x, let's move it like this until it's in the right position. A let's press space, let's see. As you can see we got our cycle walk, and it looks fabulous. The next step right now is to pick our animation and save it because we're going to be using it later in game engines, Unity, and nal engine. Let me select my rig and press control taps. We'll jump to the edit mode. With all these bones selected, I want you to go to pose animation and big action. But before doing that, I'd like to show you something. I'd like to separate or to split my senior. I can split it to two parts. First, we have in the timeline here, I would like you switch to this dope sheet. I'd like to change the dope sheet to action editor. So that we can add a third panel. Let's just click down below, lift it up, and let's switch it to this non linear animations. Also, I'd like to change the name of this animation. Here in the c action, let's call it capture Walk. L et's go ahead and select all bones, can press A to select everything. Also here, I want you to select all these keys so you can press A to have all these keys selected. After that, we can go to pose animation, big action. Here let's work on this. We're having the Scian frame 1-23, but I need to check that. This is the first frame all the way to 23. I don't want to jump to 24 because actually 24 and one are the same. You can see that. There is no change in the in the character pose. So the sting frame is one and the end frame is 23. Let's go ahead with that. Let's go again to pose animation, Bake action and here one to 23, I want you to check this visual key in and basically that's it. Only selected bones will selecting everything, which means that everything is going to be selected. Let's go ahead and click on. All we have to do right now is to just push it down to clear this area. But before that, I'd like to change the name of this non linear animation or the baked animation. Let's call it animation walk. After that, we can just click on push down as you can see, it's saved down below and the top is clear. Now we are ready for the next animation, which is the run. Se 27. Make Run Animation: So we got the walk animation. The next step is going to be create the run animation. Let's get down to it. Control space to go back to our scene, and I do I'm going to press space to stop the animation. I want to get rid of the walk animation or just save it aside. I saved down in the non linear animation. All you have to do is just uncheck this box. Now we're going to have any of that animation, the walk animation. I'm going to press shift and left row to jump to the first frame, and we can select all bones, go to pose clear transform and let's clear everything. Now archcter is set back to the original location, and it's ready for the second. So let me just go back to the object mode. We can press reach, go to the side, control space here, and simply drag and drop our second reference image, which is the run cycle. Simply drag it and drop it here, and we can skate it up until it matches the same size of our character. There we go. A control space. We can select our reference image, go to this data, be properties, and let's check the opacity. Now it's transparent. Let's select our character, the rig of our character. We can switch to the pose mode, and let's go ahead and create the first pose of our run animation. Let's start with this front leg, so we can grab the front leg, we can try to move it forward like this, take it a little bit up, just exit that mode. We can try to spin this one on the y axis. Spin it forward like that. First we can to go back. Let's select the bottom, for leg, take it up. It needs to be touching the ground. Got to do that in just a second. Let's take the back leg. Can spin it like this, tick it up, and also let's try this. R y, and let's push it down. L et's press again and let's check. So we have to release this. This won't make it like this. After that, we can select everything. We don't need to select the bottom, so I'm going to press shift. We can just click on it, to de select it. S how's de selected. I'd like to drag this part down until the heel. Of the shoot is going to touch this green line. Z, sick it down like this. We got it for the legs. Now let's work on the arms. For the arms, let's take front this arm here. Obviously, it should be pushed back like this. We can spin it sideways. Stick it backward like this, we can select these two rows, and we can spin them like this. Let's select the other arm, and we can push it like this. Let's see. Obviously we have to kick it backward like that, r x R Y, There we go. Three. The next step is to make our character lean forward like this. We can select this waste bone, this box here, and we can try can click on r and x so that we can spin it. After that, we can select the top top bone, this bone here, and we can left his head ale bit up. We got the front or the first post of our run animation. I'm going to select everything. I'd like to press and insert location analyzation. Make sure that you are on the first frame. Okay. After that, with everything selected here, I'm going to press old here, to be able to select all these key frames, control C. Let's jump to frame 23, and press Control V. Now actually frame 24, 24. We're going to be excluding that this last frame because we don't need it. Let's go to the middle, which is 12. And you can do right click and it's paste flipped. Let's play the animation, to see where we got. Let's press space. It's going backward. What we can do is to go to the center here. We can select all the key frames by pressing, and we can try S x and minus, can type minus one. Let me try that again minus S x minus one. We have to move it just gx let's move it by one frame. Okay. We got it. Next, I'd like to work jump here to frame six. We have 613. We actually, just take this one a little bit back. G x, take it back. Should be at 12. At frame six, Let's create the second pose, this pose you. Control space to maximize our window, and we can try to relax those hands, make them a little bit like this. For the legs, stretch this leg all the way like that. You can take it a little bit like this. For this leg, we can take it up and try to spin it. Get a stretch, take it a little bit up, and these we can move them backward. Here, a little bit stretched, so you can keep it like this. Push it back. Then can take this one forward a little bit. Let's select ever again, control space, and we can insert a new key frame here. Let's press I insert location and rotation. I'd like to press all to select this tire row of frames, control C, and let's jump to frame 18, and then the right click and paste flipped. Let's see. I'm going to he seems to be running backward. But first, we have to fix He seems like he's going back here. He should remain in place. Whether we have to move the first pose backward, or this pose we have to move it a little bit forward. Let's first. As you can see we're having just one cube here. Let's keep that in mind. We can jump to the second pose, select everything. Shift, can de select at the bottom, click on it, don't need it, and we can move it forward here. Until just one e is left. Let's select everything, press I, and scation, and rotation, can press, control C. Let's go here, right click and paste flipped. All right. Let's run that animation. It seems fine, but like I said, it seems to be backward. Let's slack everything by pressing A. You can be on the middle. We want to take these the key frames on the right side, put them here and the ones on the left, put them here. We must be on the center. Let's say 13. S x and minus one, you can try g x and move it just by one key frame. There we go, so we got our running imion. It's acceptable. We can definitely improve it, make it look even better. For example, we can work a little bit on the head. Let me just take the reference image, can press one to face our character, and we can try this. Let me try For example, when our character is going to be in the first position. I can try to lean a little bit sideways. R Y and let's lean sideways by minus ten degrees. Sound like this. Let's press I insert location and rotation. We can press old just like this entire rock control C to copy it. Let's go to the middle, right click, paste flipped, and at frame 24 we can do right click and just paste. Let's play out. It seems good. I think ten degrees is a bit too much. Let me just go back. You can just reduce that amount. Let's say it to minus five. Click replace last minus five, and here it's going to be just five. R Click replace keyframes. Let's play our animation again. We're going to be looking at our character from the back. The run imsion seems to be fine. That's it. All you have to do right now is to just bake our animation and save it. I'd like to do right now is to bake our animation. Let's select all these bones by procin A. You need to make sure that you are on the pose mode. Let's go to pose animation and bake action. We're starting 1-23, only selected bones, selecting everything. Let me check this visual key. We can press okay here. Let's call this new action, animation, and we can simply push it down. Now we have two animations down below. Let me just show you that. This is the run. We can check this box and check the walk if you want to switch between animations. In the next same lecture, we're going to start working on our jump animation. See soon. 28. Make Jump Animation: Now it's just touch working on our jump animation. I have this reference image. I' going to be using. I've divided the jump animation into seven sections. If we exclude the starch frame and the last one, which is a default pose of character, we're going to be left with seven poses. Let's get down to it. First is just and check this animation, the run animation, and we can start press shift. Canon press shift and recolect to go to the first frame. What I want you to do is to go to pose Clear transform, and let's clear everything. Now our character is in the default position. Then Let me also switch to the objects mode. We can just delete this reference image and I'd like to press one to be facing our character, and simply drag and drop this jump cycle reference image. You can s just set it a little bit up, push it sideways. Let's tick it a little bit backward. Here. This is the first frame, second, third and so on. Let's press one, control space. Let me select my rig and we can switch the pose mode, and let's start working on it. This is frame number one. You can see that number here. This is the number of frames that you are on. We are on frame number one. I'm going to just press I and we can insert the location and the recision. We need to start our jump animation from the fault pose. It's set yellow, meaning that we have inserted these key frames. We can press control space, check that. You can see it here. L et's jump to frame 25. We can do it from here, can click and set it to 25, control space, and let's stretch create the second pose. I'm going to select the waste bone, the cube here, and we can simply take it down. Something like that. We can select these rows, can press r y, Let's pin them forward like this, send it for the other row. Can spin it like that. Nice. After that, we can select the hands and we can left them little forward. Let me check sound like that, but also we need to lean our culture forward. We can select the hip bone again, we can try x, and we can drag it forward and for the head. Left it a little bit up, toy to press r x so that we can spin the head. Let's press one and we can select everything by pressing A. I think the shoulders are a little bit stretched. We can just select the hands, stretch to move the shoulder is a little bit down like this. We are on frame 25. Let's select everything, press I and insurge location in rotation. It's a control space, and let's work on the third frame. This one right here. We need to jump to frame 35. Let's do it from here. Frame 35, control space, and let's work on this. Basically, we have to lift the waist up here. As you can see, our case is going to be in the air. This is the beginning of the jump animation. I'm going to select the legs, take them up a little bit like this. And let me lift the hands up. Set like that. Let's select everything, press I, insert, location, anurization. We can press control space and let's assess what we got so far. We can just scroll back. Also here we can set the end. The end frame here is 91. We can set it here. You can set it to 90 because the last frame is the same as the first frame, should not include that. We can press shifts and rightly so that we can move on from first frame. It's going down. We need to fix this here, but that's fine. Let's just carry on. Let's press one. And let's see. Probably that's a little too much. On frame 45, right here. Our tory is going to be jumping in the ir, control space, and let's take select all these bones, except the one on the bottom. Let's press one. I let you take it up here. Select the legs, lift them up, and we can try stray r y, try to spin, these sideways like this. Can spin this one, let's press r, or x, Syth in here, our x. That's fine. Let's press one. You can select them both, try to have them centered, and for the arms or the hands, just tick them up, push them forward, spin on the x or x, spin them like this. This is our jump. You can take the head, try to make it down. This is frame 45. You can select all bones, press I and insert location and rotation. Let's move on. We can just keep collecting on the right row until we reach frame 55. Here in 55, the average much the same except a little bit hands and the height or the jump height. We need to start sing. We can just take it a little bit down here. We should not be selecting. Shift and double click on that. We can take it this part a little bit down like this. I believe it's on the same level. I'd like to as tick it up. Let me just change the position of the hands. Our so for the legs, g, make them a little bit different. Let's, press I, insert location, and rotation. Now frame 63. Rise a row till we reach 63. Now we're going to be a landing. This is what we're going to be landing. For the landing, I'm going to just take my legs like this. Hands, let's move them down. Probably they should be up. O x. Let's squares one and let's take a look. As I'm going to select the hip bone, I'm going to drag it down. For the hands, tick them a bit down here. For this arrow, let's press or y, can start stretching up those legs like this. We can press I, can press A to select all the bones, press I, and less insert location and rotation. Now we're left with the last frame. For the last frame, can I just copy the first frame, control space. Let's go to frame 991. You can do this. I'm going to click here. Let's press old, select the entire frame control C to copy it, and we can re click and piece that. Okay. Let's play out animation, Control space to maximize this window. Let's see. I looks promising, but we have to work on it. Let's press one. For example, the jump here, it's not good. He's jump in before he leave his legs leave the ground. That should not be the case. For example, at 35, can simply expand his legs down like this. Let's select everything, press I insert location and rotation. Let's see that. There we go. Control space, let's play the animation to see. The first part looks good. But landing doesn't that's good. Seems like if we are missing something here 63-9091. I think for example, a 75, we can do this. It can be landing down like this.'s press one. We can take the legs down until they touch the red axis. Our character is going to be bouncing off the ground. Let's just take this part down. Press A, everything, press I, it is inserted location and rotation. Control space. Let's play our animation again. The jump, go down. Seems fine, but for example here, these legs are not working well. We can select these rows, ry. Let's direct them forward. L. Let's select everything, press, insert location and rotation. I believe we're having the same problem here. For example, let's frame 12, let me just set them so r can make them face forward. Select everything, press I insert location and rotation. But actually here on the front, they should be like this. Let's select everything, press I inserted location and rotation. Since we made adjustment to the first frame, we have to do the same thing to the last frame. I'm going to just click here. Press old and left click. You can do Control C to copy this key frames. Let's jump to frame one, right click and past that. Et's got the jump. I'd like to do is to speed up our animation because it looks a little bit slow. Let's press space. I can see it's slow. Control space, and let's go back to the first frame. Can press A to select all these key frames and we can press S to scale them down. Make sure that you are on frame number one. I'm going to scale them down until they reach 60. The Stute position is going to be from one all the way to 59. Like I said, we should not include the last frame. Let's just set it here to 59, Patrol space, and let's play our animation. See from the back. Pretty much good. We've got our jump animations. All we have to do right now is to just save it. I'm going to select all these bones. Let's go to pose animation, and we can pak action. I'm going to check this visual key so starting 1-59, and let's press. O animation is picked. I'm going to call it here. Animation Jump. After that, we can just click on push it D. Now it's down. 29. Make Idle Animation: This torial, we're going to be making an idle animation for our character. This idle animation will be used during moments of inactivity in our game. Basically with our character, one's going to be performing any specific action, we're going to be playing this idle animation. It's just a repose that we're going to create. Let's jump right in. I'd like to bring a reference image. Here on the right side, we can simply split our scene vertically like this and we can switch it to this image editor. I'd like to bring this idle animation, Idle pose. Let me just drop it here, and let's try to create that. I'm going to select my rig and we can switch here to the pose mode. We can select everything, all the bones. Let's go to Pose clear transform and clear all. This is the default pose of our character. I also want you to uncheck all these boxes, if you're having, for example, this walk, I want you to check it. So that each one's going to interfere with our new animation. Let me just set our animation to one, slot from one. We can start by creating this pose here. Just try to make some space, take all these down like this, and Let's right in. The first position, I'd like to t weak a little bit the legs or the foot. You can just move it a little bit forward, can spin it sideways by pressing R Z. Let's do the same thing to the other foot. R Z, spin it sideways. You can take the middle box. You can try to tack it down, just to make our character a little bit relaxed. Can select these rows and contr r y, and let's spin them a little bit forward. Same thing here. Something like that seems to be fine. For the hand, we can just relax them. Let me just take them. We can make them relaxed, R x, can spin that sideways, move it's a little bit forward, sin it for the other hand. Just take it, move it a little forward, r x, can take it even down. All right, something like this, take this one back. R x, Ry. Now it's completely relaxed. For the shoulders, I'd like to spin them just a bit. I can select this shoulder, try R z, can spin it sideways like this. Just a little bit. For the head, You can either try to turn it sideways. Let's keep it like this. This is for the default pose. Let's press A to select all these key frames, all these bones, and we can press I to creating inset, and we can insert location and rotation. Keep in mind I'm on frame number one. We can set the end to B eight. I'd like to expand our animation. This is the length of our animation to frames, and we can jump, for example, to the last frame. Also we can press all here to select all these key frames, can do tcl, copy, tcl here and paste. Like I said, all these animations are cyclic, the first and the last frame needs to be identical, the same. Here on the middle, can jump for example to frame. 20, can try to take this box a little bit down, so GZ just a little bit down. As if our character is breathing some. We can press, let's insert location and rotation. Check this out. It's got to be going down like this. Can bring him up like this and we can spin them a little bit sideway zero. Let's press I and insert location and rotation for only that queue. Let's try that out. Let's play. It's going to be spin I think that's a little bit too much, can bring it back, press I, insert location and rotation. Basically, just keep twisting these key frames, inserting the first ones. Keep experimenting with this animation. For example, at frame 40, we can play a little bit with the legs. Let me just Let's select these two bones. We can try r x or R z, can press R, and z can spin it sideways, press I, inserted location and rotation. Now we're going to be moving that leg just a bit and back to its original pose. For the hands, we can tweak them, for example, at frame 20. Let me select both hands or actually just this hand, move it backward, just a bit, press I in cert location. Probably that's too much. So we can press old here. Let me just make sure that everything de selected, we can press old, and we can try g x and we can type 20. We're going to be moving these key frames by 20 frames, just to make it a little bit slower. S like that. It's moving. Let's do sthing to the other hand. C try to spin this hand, so R Z. Spin, take it a little bit in, press I insert location anitation. Let's try that. Nice. We're having some movement here. Good. At frame 60, try to check it a little bit backward, press I insert location and rotation, Syth in here. We can move it forward instead, Ication rotation. Let's try that out. Our dal animation is going. It's going down. We can also try this. Let me select the middle box, the hip bone. We're going down here and we're going up. We can go again down a frame six. Let me just try G Z. Take it down just a bit ps I in search location and rotation. Try that out. It's going down again. We can play a little bit with head. Let me just select the head bone. For example, a frame 20, can try to spin it a little bit sideways here, Spress I, inscation, analytation. Straight that out. He's going to be spinning his head and going back. Seems to be fine. But I think I need to exaggerate this animation because it's sarely visible. Let me just select the middle bone. The hip bone, we can try to take it a little bit down. G s down like this, press I instcation rotation. We can also do the same thing here. G Z, sick it a little bit down, I insert location rotation. For the hands, let's also take them down. We can try R Z. We need to be on the median points, Z, just to spin them forward like that. Let's press I inication rotation for both of those elements. Same thing here, we can do the opposite, geez, take it down, press I insert location and rotation. Splay that out. There we go. For the shoulders, we can try to move them a little bit forward and backward to make our characteral lian sideways. For example, as frame 20, you can move the shoulders a little bit forward, press I intercation rotation. Here at the middle, we can try to spin it a little bit. Press I again insert, save that. Key frame. Okay. Here we can try our Y, spin it on the y axis, let's press I inserted location. Let's see. Pretty much good. I like it. We've got our animation. Let's go ahead and bake it. Ctrol space, go back and let me select all these bones. Let's go to Pose animation. Bake action. We're going to be baking 1-80, but I don't want to include the last frame. You can just bake it to 79. Let's go to Posimation, bake action, set it here to just 79, press enter. Let's click on this visual key in. Okay. All right. The last sep is going to be to click on Push Down to save our idle animation down below. Let me just expand these jobs. As you can see, we have all the animations here, control space to maximize this window. We're having the idle to jump, run, and walk. In next time, lecture, I'm going to show you how can we export our character with these animations. See soon. 30. Export Character with Animations: Al, I will show you how to successfully export your character with its animations as FBX files and make them ready for game engines like Unity and real engine. Before doing that, I'd like to expand or to minimize these panels, these windows, so we can do reclck join areas. All we need is just this non lineary animation tab, this panel here. We can just recli join areas like this. Basically, we need to export two FBX files. The first one is going to contain the skeleton, and the second FBX, it's going to contain the animations, our character for animations that we got here. Let's start first with our skeleton. What I'd like to do is to switch, let me first go to the object mode. With our skeleton selected, we can go to this object data properties, and I want you to switch the skeleton from post position to rest position. Basically, this is the default pose of our character. The next step, I want you to check any animation that we got here. For example, the idle is checked, let me just check it, so everything needs to be checked. Perfect. After that, we can select our character first, shift and let's select our skeleton, and we can go to file on the top export export FBX. First, let's call our FBX file character model. We can press enter and here for these settings. First, all I need to include is just what is selected. We can check, we can limit this selection to only this selected object because we don't want to have the MT and other stuff, included in our FBX file. We can also make sure of that in this object types, we can only include the amateur shift, and let's include the mesh. That's all. We can scroll a little bit down here. For the geometry, let's expand the geometry. I want you to switch the smoothing from normals only to face down below here for the amateur, I want you to check this add leaf bones. We don't need them. Finally, since we are exporting our skeleton, we don't need to have any baked animation. I'm going to just check this box. Let's go ahead and click on Export. Px. We got the first FBX exported, character model. Next, we need to export our animations. Let's select again our RC and we can switch back to this object that's our properties, and I want you to switch to the post position right now. After that, in this non linear animation, I want you to check all these animations that you want to include. Let me just check them all. After that, we can select first our character, shift select our amateur, let's go to file, export FBX. First, let's change the name of our FPX to character animations. Next. For these settings, I'm going to leave them just as they are. All we have to do is just scroll down, and we need to check this bake animation. Let me just expand it. Now we need to export these animations. Also, I don't want you to check this all actions. Because sometimes we might be experimenting with more than these animations. Basically we have to limit the export to only what is selected here, to only the animations that are selected. Let's go ahead and export our animations. Basically that we got the two FBX files. We got the model, and we got the animations. Also, I want you to bring that texture, this texture, the character texter. If you lost it, I'm going to show you how you can bring it back, so we can go back to your scene, and you can switch it to Image editor, and F here we can click and pick you can search for your character texture, the texture that we created and painted before, and you can just go ahead and save it wherever you want. Now I want you to save these files and put them aside because we're going to be needing them later when we're going to start working in unity and in real engine. 31. Game Environment 1 - Base Mesh: So we're going over into this nets and to show you how can we design our game environment? Specifically in this storia, we're going to be designing the base of our game environment. First, I'd like to use this reference image, this is going to follow to build our base. I'd like to simply drag it and drop it in our blunder scene. Here on the right side, I'd like to create a new menu. It's going to be an image editor, so we can click here and switch it to the image editor. This you can be able to drag and drop images. Let's bring our base game environment. You're going to find it in the resources, and let's start working on it. First, we'd like to do is to press A to select everything, x and delete all the assets we got in our scene. After that, we can press shift A, go to mesh, and we can start with a plane. For the dimensions of our plane, I'd like to give it 160 on the width on the length of it. S x, we can give it or actually let's do it from the n. We can press n to access this transfer. You. On the x, we can give it 160 meters for the length of our base mesh, and for the y. For the width, we can give it, for example, 20 to 25 meters. Feel free to choose any size that you'd like. Let's divide our game environment into three sections. We' having this section that is divided by river, and we're having this mid section that has an earth crack, and we're having this small river, and finding this section here. Let's go ahead and divide it into three parts, we can insert two edge loop, or actually let's start with first edge loop, can take it sideways here, and we can insert the second edge loop so that we can be able to grab this face and move it up. You can take it up, something like that. After that, we can insert an edge loop to define the river, control out again, and let's add it right here, we can take this face and move it up. For this location, we're going to be having this river. After that, I would like to add the third river. We need to have it, for example, here, control B to pv this part like this. We can scale it a little bit up and extrude it down. Also we can activate the snap tool, we can switch it to the verse x, and we can snap this phase to this phase. So that we can have the same verse at the same height. Let's delete these faces. We can select them and delete them. I can also I'd like to scale this phase on the x, S X, scale it a little bit down like that perfect. 32. Game Environment 2 - Adding the Walking Path: Next step is going to be to define the path where our character is going to be walking. Let me just show you that in the final result. This path here, I'd like to define it a little bit better. On the this mode, I want you to insert two edge loops of Control R. First one right at the middle, can click and Control B, and we can pavl it, something like this. After that, we have to exclude it down, but I don't want to exclude everything. I'm going to select this face. And let's press to creating inset. But as you can see this inset, the dimensions of these insets are not even. We have a big gap here instead of this small gap. Let me just reverse back and we can exit this mode, and we need to apply the scale. The scale it's not even. If you press n, you can see that the scale is set to 80 versus 12. We have to do this, control A, let's apply the scale. If we go back and press I again, we're going to be having an even the distance for these inset edges. I would like to track this one a little bit down. We can delete the start, x deleted, select this edge, and we can snap it to the end like this. Here, let's think this over. I think that's fine, I'm going to just leave it like that. After that, let's do the same thing to all this path, so let's press I. And we can tack it down. Let me just remove cat rid of the snap too. C tack this one down like this. Finally leads to the same top. I can select this face, press I, and let's drag it down. I'm going to delete this face, and let's grab this image and we can snap it to the end. Can activate the snap, activated or snap it like that. Perfect, so we've got our path, and it looks perfect. 33. Game Environment 3 - Adding Cracks: Third step is going to be to add some earth cracks, just like what we got here. Let's do that. I'm going to press seven to go to the top. Basically these can be used as obstacles for our character to jump on. We can insert, for example, an edge loop right here, control R. Horizontally, we can add another edge loop, and we can try this. I'm going to try to select these two vertices, try to scale them real down. We can take these to the left side and try to expand this one, a little bit like that. We can insert, for example, extra edge loops here. I can take this one like this to define that crack even better. Sound like this. After that, we can let me scale this on the x. And we can grab these phases, and we can exclude them down. We can select this phase x deleted, and also here at the middle control R. We can try to randomize this section. You can go to mash transform and choose randomize. We can access this tab that we got on the bottom, and we can increase this amount, like this. Now we randomize that edge line. You know, cracks are not symmetrical, so we need to add that randomize effect. Smthing here on the bottom, we can repeat the same stem, can press old, shift old, select both of these edges, and let's go to mesh, transform, randomize, can increase that amount, something like this. But we must be careful. We should not have any clipping whatsoever. Here we don't have. Let me just see. Think we're having a clipping. Let me just hide the subdivision the snap tool. Can check this one should not have any clip. Next, I want you to repeat the same steps that we did, for example, here, we can add another crack. Let's repeat the same process. We got the second crack added to our pace mesh. In the next coming lction, we're going to continue working on our game environment. 34. Game Environment 4 - Adding Up Hills: Next s, is to add these uphill that we got here. Let's do that. I like to on this mode, I'd like to insert some edge loops. Let's insert, for example here, four edge loops, or even five, can press enter to apply that and we can grab these faces that we got here. Let's just see. I think that's a little bit too much. We can just use on this part. I'm going to press I secret inside, exclude it up, can scale it down. What I'd like to do, we can select these vertices on the corners and we need to scale them a little bit down. We should not have everything in a cubicle shape. Let's do the same thing to these vertices, can scale them a little bit down like this. Also, I prefer this method. I'm going to just delete these phases, and let's select these on the side. You can try S Y and press zero to having them flat, Let's activate the snap tool, and we can snap it like that. Perfect. Next, I'd like to create the top. Let's again se phases. We can press I again, secret inside. Exude up, we can scale this part down like that. There we go. Let's add the second uphill. I'd like to add it here on the top, so you can add it here on the other side. Let me insert another edge loop. I can remove get rid of the snap Tool, something like this. Let's just insert some edge loops here. I'm going to grab these verses, express I, ext up. And we can select these edges on the side, can try S shift z to scale them down like this. After that, we can add the second layer, press I again, sd up, and let's scale down. Also here we have to spress, shift old, can try to scale this part down. Select again the top, scale it a little bit down. Also here for the side, I'm going to try to align this edge S y p zero, activate the snap tool and let's snap it like this. After that, we can select these phases, push them outside. Perfect. Here we can slide this 35. Game Environment 5 - Final Tweaking's to the Game Environment Base: The next move it's going to be to add the subdivision surface modifier. Let's do it. We can go to this modifier properties, the ranch icon, and let's add a new multifer, it's going to be the subdivision surface. From here, we can apply some improvements. Ric sheet smooth, L's like this, Ric shade smooth. For example, here on the crack, we can insert extra edge loop so define edge, just catch it of the snapse Du G, slide this one up. There we go. We can also define the bottom, because that's a rocky space as we got here, control r, something like that. Let's do the same thing to the other crack, insert some ra edge loops, same thing on the bottom. That's fine. Also here for the river. Let's make it look like this shape. On this mode, I'm going to insert an edge loop, take it down. On the top, let's do the same thing. I can insert two edge loops, press old, and we can bring this one forward. There we go, something like that. You can take this one down by I pressed all here just like the entire row. Can insert an extra edge loop, can push it outside. We can add the randomization effect to make it look like this. For now, let's just make it work. Here, let's insert extra edge loops, sameth here on the bottom. That's nice. Sameth here for the second river. For the second ver, I'd like to add this trick, this inset that we got here. I really like it. What we can do to do this, let me just hide the subdivisions of ros modifier and let's figure out way to add this inset. We can insert an extra edge loop. Press all shift, and we can bring this one forward like this. Next, let's bring back the subdivision surface, and we can add plenty of edge loops. Let's check the uphills. I'd like for example, to add some edge loops, we can define this edge a little bit better. Also, I'd like to get rid of these corners that we got here. I don't want to have this curved corners. To fix this problem. We can go to the advance in the subdivision properties, can calcre, and in the boundary smooth, we can switch it from all to keep corners. Now we kept the corners of our game environment. Also here, let's insert some edge loops to define that edge a little bit better. Now for the last step that we must do, which is to randomize our game environment, as you can see here. The river is not perfect. We're having some cracks, we're having some imperfections. We need to apply the same thing to the base of our game environment. To do that, we're going to be relying on one of the most important tools in Blender, which is this proportion addition tool. I want you to enable it. I'm going to just keep it smooth. Let's start working on it. For example, let's work on this river. I'm going to select this part and we can increase the mouse. I can slide it a little bit like this. I can add some imperfections. Same thing here for the river. Let me just push this let ***** back. This one forward, something like that. We need to add that randomization. Symeth for the road, for the road, I'd like to insert some edge loops to define the end of that edge of the road, like this. At the middle, let's in some of ee, just so that we can play with it. Can check this one up. This one, we can move it down to make that twist. Here, let's take this one up. Fly same in here. Let's play with this orientation. That is perfect. Also here at the end. Just take your time and try to randomize this shape of our road. The next step, need to randomize it on the z axis this way. We can for example, select these, G Z, take it down a little bit. We can select random, GZ, to lift them up. For example, this uphill, I would like to push this section inside. Something like that, Let's push this one here. The better, the more randomization you add the better your scenes can look like. For example, here we can tick this one up. Take this one down. Just be flexible. I can take these two edges, slide them like that. That's perfect. I'd like to repeat the same effect, for example, here. It's a little bit challenging here. Let's do it instead here. That is fine. Over here, we can insert an edge loop, select two random position, take them back. This one, we can push it forward. To have that rocky space. Sing for this second uphill. Can try to deform it a little bit, make it look interesting. Basically, that is the trick, just use this proportion indigent tool to affect the shape of your game environment. As a last trick, I'd like to define the road a little bit better. So you can add some edge loops to both sides like this. Now the road is a little bit more clear. That's perfect. This is the part where we're going to be adding some bridges. We're going to be doing that in the next gaming lecture. 36. Game Environment 6 - Design Wood Bridge I: We onto this news are also, now we're going to be designing the assets for our game environment. I'd like to start by creating a bridge that's going to connect this part here, point A to point B. This is the bridge as we're going to be created, this one, going to be text to make it look like this. Let's go ahead and create this asset. First, I'd drag and drop our reference image. Going to find this into resources. L drag it and drop it here. I'm switching to the image editor, not the image editor. Let's go ahead and create this. First, I'd like to create a basic mesh. Shift A, let's put cursor. We can slash with the plane, Shift A in a mash plane and I'd you take it a little bit up, and we can scale it ale bit up on the edit mode. Let's switch it edit mode. Scale it on the x. We can press seven to go to the top. Let's put it here, we can scare it up and scale on the y axis. Something like this. After that, let me just trim it a little bit. It seems to be fine. Some next, I'm going to just hide my environment and just focus on our bridge. The first step, let me just get it a little bit on the x. The first step is to bend it. We need to bend our plane. To do that, I'm going to press control r to insert an edge loop right at the middle. We can take it up like this. A little bit up, and we can try this control B. Let's pve and we can insert few edge loops, something like this. Now we're having that bend effect applied to our plane. We can do right and shade smooth, to have it smooth. The next step is going to be to add these side planes that we got here. To do that, I'd like to select these versus, so we can select every other one. Like this, Shift d to duplicate this part and we can exude it up so easy, sick it up, something like that. After that, we can do the opposite, we can select the other edges. Let's press shift d to duplicate these, collect and type E z, and let's go up. The next step it is going to be to randomize these versus a little bit, so we can go to mesh, transform, randomize, and let's increase that amount. Something like that seems fine. Now it's random enough. We can select the rest, the ones, and we can apply the same effect. They are straight if you switch if we press three. Can I see that they are straight. We have to randomize them a little bit. Let's go to mash, transform, randomize. We can increase that amount or a little bit up, and basically that's it. I also like to randomize the bottom here. A, to select everything. We can select this part by pressing, we can hide this by pressing H, and we can select again the bottom here. Go to math, transform, and randomize. Increase that a little bit up. That is perfect. A H, let's sprint pack the main plane. Next, what I'd like you do is to give this plane some depth. To do that, I'd like to add the solidify modifiers. We can go to the modifiers, and let's add the solidify modifier. You can increase this amount. So. Also we need to add some trach weakens. Let me just show you, for example, we can insert an edge loop, control, take it up, can take this vertex, slide it a little bit back. To have some of cracks and stuff like that. Let's do the same thing here. You can add some random a little bit hard to add this here. Let's tick this one up. At some random positions, and let's select them again, and we can randomize them. Mash, transform, randomize, increase that amount. For example, e having some cap, should not have any capian, can switch wrame, should be able to select this part easily. Okay. That seems interesting. Let's do the same thing to the other side. We can insert some edge loops here. L et's keep them random. If you can insert an edge loop at this location, you can go to the other side and which frame is going to be better. Let's switch to the edge mode, and let's select all these edges. Mash transform, randomize. Increase that a little bit. There we go. I'd like to randomize the base, can insert two edge loops, select the base, go to ma transform and apply the randomization. This increases the amount. Something like that. We got that. Now let's add this part here. We can also try to insert some edge loops on the sides to fix this bad geometry. T dark spots. I'd like to add the supporting columns at the start at the end of our bridge. To do that, we can select this phase, shift touplicate it. You take it for example here. C extrude it You can extrude in x edge loop, try to scat it on the x, something like that. In order to have this effect that we got here, we need to pavl some virtues. We can s this versex, press control, shift, and B, and it can pvl it. You can reduce the mouse count to just zero, to have that effect perfect. Here we can push it inside. I'd like to let's do the same thing on the side so control shifts and B. Can bevel that corn two. I don't think I'm going to need this edge line, x, let's just gets rid of it. Here we can push it inside, push it back, control shift B. That is nice. Let's select this part. You can press one, or actually three, go now just one. You can sketch it on the Z axis, and push it inside. For the base, can make it a bit flat. It's going to depend on the environment. I take it this one back. Let's duplicate this shape. You can select it duplicate it for each year, can scale it on the y, S y minus one to have it inverted. But you can see that it's a little bit bigger, so to fix this problem, you can press shift n to flip the normals. Now it's back to its original place. Also, for example, I would like to get rid of this phase, we can press M, s merge at the center. Checks a little bit like that. That seems reasonable. Let's see. Now let's duplicate. I select these two columns, shift d two duplicates, and I'll check them here. We can try R z and spend them by 110 80 degree, to make them a little bit different. There we go. Right click, shade out a smooth. Now it looks perfect. We got our first bridge. The next step is going to be to put our bridge inside our game environment. We can press old He to bring any hidden part of He. Let's just tweak it just a little bit. I think it's almost in the same place. But we have to fix, for example, the start. We can try x term a bit on the x axis. For example, here, we can Let's tack this first x up here. Something like that. It's pretty much connectable. A little bit to the left side. We got our bridge. In the next time lecture, we're going to be adding these barriers. 37. Game Environment 7 - Wood Barrier: The next step it's going to be to create these barriers as we got on the front and the end of our bridge. These barriers adds much more details and makes our environment looks interesting. To create this barrier, I'd like to start first by defining the top. I'd like to put cursor, for example, at the top. Shifts right click. Shift can go to mesh, and let's start with a circle. We got this circle here. I'd like to reduce the number versus just eight. We have in here. It's a little bit of a low poly mesh. Let's sick it up. Can drag it sideways. Let's start working on it. First I to press F to fill it, and it can press easy. Scale it down. Til it reaches the bottom. Let's just get rid of the proportion of in for now. I think this is about the height of our objects. Next I in two edge loops, can press all here, can slide scale this one down, move it a little bit forward. That is nice. Here at the bottom, I'd like to show you something. I'm going to press control R, can take it for example here, push it back. What we can do is to select this vertex, this edge, and we can press V. The VT is can be splitting it into two parts. After that, we can select this vertex, can push them a little bit sideways. After that, we can just get rid of this bottom face, like that. Perfect. Next what I'd like to do is to pl. Let's apply or a this effect that we got here. We can press control shift and B to pavl this part, actually just press control B. To beval it. We can select this vertex, this edge, slide it down, press here, sick it up. It's a little bit interesting to get the same shape. I think if we try to scale press here, try to scale the middle little bit down, put it at the center. It's going to be fine. We just need to have a wider top. Sending here on the bottom. Let's press old. Can scale that one up. That's nice. For the next step, we need to duplicate this object. Shift D, it's duplicated and let's move it sideways. Also on the edits mode, let's select everything, go to mesh, transform, randomize. We can randomize this a bit like that. Let me press here at the center. Try to randomize only the center. That seems fine. I'd like to do is to add this middle bars of food. I'd like you use the same object that we got for example, this one, Shift D, duplicated, move it here to the center to the center, can spinach on the y by. Let's say, something like this. We can scale real up, scale on the Z axis down R z. Also, we can try S Y, to make it a little bit flat and we can extrude it outside. Let's not keep it straight so we can select this face. Drag it a little bit up. This one we can push it a little bit, Z, make it smaller. This one we can make it bicker. After this, we can select this part, shift to duplicate it, drag it down, S Y. Something like that seems to be fine. We got our first barrier. All we have to do right now is to put it at the same at the right place. Let's combine everything, so we can press control J to join all these pieces together, and let's put it here. I'm going to spin it on the z axis by minus nine degree, can press seven, to go to the top, skate it down, put it here, where it belongs, we can spin it a little bit. G. We can also go to objects such origin, origin to Geometry, something like that. You can spin it on the x r x, and on the edge mode, you can select these, push them a little bit forward. What about spinning this one on the y axis? It seems interesting. Then we've got to salt it a little bit down. Sk maybe on the y. That's perfect. Shift D and let's put it on the other side. I can sketch on the, spin it on the. Let's place this one here. I can spin it by minus or 180 degree, or actually just leave it like that. After that shift d duplicates. Let's put this one. Right here, x g z to take it up, x again. Basically, that's it. I'd like to apply some demsation. For example, here we can S minus one, can scale it on the z and drag it down. Just to make it look a little bit better. We got the barriers with our bridge, so we can continue our work in the next com of lecture. See you soon. 38. Game Environment 8 - Bridge II: We're going to be designing the second bridge that you're going to be using it to connect these two points that we got here. Point A to point B. Let me just show you the reference image of this bridge. This we're going to be build this one. Let's go ahead and build it, so I'd like to bring this reference image. Simply drag it and drop it here. First going integrate these w pieces that we got here. To do that, we can do shift and c here and shift a mash plane. Let me tack this plane up, and Let's operate it on it on this mode, we can skit it on the y, and I'm going to insert an edge loop right at the middle. And two edge loops one is going to be here, and the second one is going to be right here. After that, which we can do, we can select this edge, and we can press V to separate it. Same thing here. Let's press V to divide that section two. After that, we can select this vertex without the proportion in this in toe, can slide it sideways. Something like this. After that, we can take this part, can switch wide range, be able to select everything, can push it to the side. And Let's make it that cut at the top. Perfect. After that, what we can do is we can select these two points, press M, merge at the center. Same thing in here, because these are disconnected. We go we need to connect them, so let's press and merge at the center. Now it's just one piece. The next step to do is to exude this phase, so we can press A to select it. We can press E and let's exude a bit up. Something like this. Let's press seven, to go to the top, can switch wi frame. We can try this. I'm going to try R z, spin it a little bit sideways, just to not make it that perfect. For the next step, we can grab, for example, this verse, control shifts and B, and we can svel it like this. Let's do the same thing this point, Control shifts B, sv that. You can do it for example here to the bottom. Control shifts B, a little bit. Perfect. Let's do the smething on the other side. Control shift B. Control shift and let's pel all of those. That is nice. For example, here, we can expand this one a little bit forward. That's nice. Also at the middle, I'd like to insert, for example, two edge loops. I can press here, drag it a little bit to the side, can scat it a little bit on the y, press here. Scat this one at bit big. M it bit bigger. Not that much. We've got our plate and it looks perfect. All we have to do right now is to duplicate it a lot of times. Let's duplicate this part, if d, to duplicate, can move it on the y axis, but we need to modify it tricky should not be the same. What we can do, go to the top. Can take this one a bit down here. Something like this. Let's check that out. Looks fine. I can try to make it a little bit big on this edge. That's nice for the second plate. Shift, let's duplicate it, let's move it here. For example, here we don't just get rough it. Select these two phases. What actually we can do is this, to try to merge these two points together. Press merge at the center. Two, press merge at the center. Let's do the same thing here at the bottom. Select two M merge at the center. Okay. Got that. Seems fine. But we need to tweak this parts again. Let's make it smaller instead. But let's take this one. We can try this S x and minus one to put it over to the other side. We've got three plates so far. What we can do is to create one without any deformations. Let's try to connect these points. Perfect. I can put it as the third one. That's nice. I think that's enough. We can duplicate this one again here. S x minus one. Shift the tick is one forward. I think that's good order. We can just duplicate of those plates. We can select them all, press control j to join them to make them one piece, and after that, we can add the ray modifier. The ray should be on the y axis. Let's se it to one on the y axis and zero on the x. We can increase it just a bit. And we can increase this amount or discount number to something around five or six. We can press seven to go to the top. We can spin this one by minus nine degree. Let's put it at the start here. And we can scale it a little bit up. That's nice. All we have to do is just reduced count, something like four. G Z, and let's tick it down here. The next step to deform it to make it look like this, you have to use the curve. But before doing that, I think it's going to be better if we add these ropes that we got on the side. Those are ropes. To do that, I'm going to select this single ver d, to duplicate it. Let's sick it up, and we can extrude it on the x. Til it reaches this point. Select this point again. I can extude it on the y. I select this piece, Etude it down. We can try to bevel it insert an edge loop horizontally. S y. Set it down, and and control. 39. Design Environment Assets - Modeling Plants: Now, what I'd like to do is to design some particular ***. For example, we're going to design the plants, the mushrooms, some mushroom some dead trees, and some wood trunks and also some rocks. I'd to start with this plants. I'm going to simply bring this solid reference image, and we're going to drag it and drop here and let's work on it. I'd like to select everything and just hide it, and let's start fresh. I'm going to press shift as and put the cursor to the word origin and shift A mash right. Let's start by forming the shape of our leaves here. I'm going to press seven to go to the top and we can switch mode. I'd like to insert some edge loops. First, let's scale it down on the x. S x, we can trim it a little bit like this. Let's insert some horizontal edge loops. Let's say four, four is going to be fine. Let's press er. We can do this. I'm going to select the top two versus, and let's activate the proportion gin. We can keep it at smooth, and I'd like to scale it down. Can scale it down like this. Can increase the mouse a little bit, something like that, let's do the same thing here to the bottom. But actually should not be too connected. Let me just chuck this connected. Let me just reverse back. But the smooth, it's not working well. Let me just switch it too sharp. Scale it like this there we go. Can try S x only. Sening here on the bottom, can scale this particular part like this. We've got the shape of our leaf, for example, here, let's scale it real down, S X try to collapse like that. After that, I'd like to insert some extra edge loop. It's going to be this way. What we can do is to add two other edge loops like this, and we can take press old, select this one, or actually we can select these two on the sides, and G Z, and let's lift them up a little bit. That's it for the second step. Lastly, what we need to do is this. I'm going to select the end, let's press at three, and we can try to spin it on the x axis. O x, let's spin it, and we can increase that mouse. Now we got one leaf. We can try right click sheet a smooth and basically that's it, we got this shape. We can try, for example, to reduce this one little bit down without the proportion editing tool. We take it down like that. Next we need to do is to duplicate this leaf multiple times. Let me also try this. I'm going to try to lift this one a little bit up. Let's not make this one straight here at the end. I can move this a little bit forward. Sound like that looks fine. Ample to duplicate this object, but first, I'd like to put the sensor here. Let's select this vertex. Shift a cursor to select it. We can exit at this point by present time, and let's go to object, says origin, origin to the d cursor. Now we can duplicate this object, so Shift D, we can duplicate it, and we can spin it on the Zax. R Z, can spin it like this. But also, I think we need to make it a little bit fatter. Let's at this mode, we can select it all. Try S x. Let's get it a bit, make it a little bit wide. Let's select this object, you can, shift D, and let's press R Z. And we can try double r to have that free rotation, something like that, and we can scale it a little bit down. Let's do the same thing. I'm going to select these two, shift to duplicate them, R z, can spin them around a little bit. Try to scale up and we can switch here to individual origins. Let's press double r so that we can move them freely. Nice. Scale them a little bit down. Let's do the same thing. Again to finish this sloop, can select these three, shift to duplicate them, R z, and let's spin them around like this. This order, we can spin it like this, just to make some room. Scale this particular leaf, little bit down. Double r, something like that looks perfect. We can add another one. Let's select this big leaf. Shift to duplicate it r z, and let's spin it like this. Scale it just a bit down. We got our leaf and it looks fabulous. We can take this one. Just take your time with it. You can add extra leaves, shift, can add, for example, this one here, just to make it look enter sin. We got our leaf. I would like to work a little bit here on the bottom. Let me select all of these leaves and press control J to join them into one piece, so now it's one piece. I'd like to grab the center, activate the proportion addition, and we can take it a bit do. Sc the mouse because it's going to be touching the ground from this point. We got our plant. 40. Design Environment Assets - Modeling Mushrooms: The next asset that we need to model is the mushrooms. I'd like to create two mushrooms, just for the variety. I'm going to simply drag and drop this reference image and I'd like to put it or replace it with our plants. Let's take the plants sideways, shift as curt to the world origin. And let's switch the pave point to the medium point. What I'd like to do is to add new let's start with the cylinder. Shift A can go to mesh and let's use a cylinder. For the cylinder, I'd like to go with a low amount of vertices. Let's go with eight. Eight can be fine. Let's scale this one a little bit on scale it down without the proposal edition. We going to need it. I'm going to insert an edge loop here. Check it up, scale it a little bit down. Check this face. Take it up and we can exclude this again, scale a little bit up, and we can s again, let me just get rid of this phase. I can press old just like this part. Try let's press tree, go to the side, can extude it as scale it down, and we can take it down a little bit. And we can exude up, probably try this. Scale this one down. Something like this. You can take the little bit down to make our mushroom little bit rounded on the top and we can press F to fill that gap. We got a perfect mushroom. I'd like to get some deformations here on the bottom. We can take this one like this. Let me probably too. It's good to add some variations here. We can try to take it to the left side. So like that, seems fine. Let's select our mushroom right in sheet a smooth. Basically, we got the first mushroom, so let's add the second one. They are not very different. Shift, let's duplicate this. Let's give this one. For example, you can scale these parts a bit. And we can make the trunk drog a little bit smaller. G Z, let's take it up, simeth here. I think I got it. We need to scale this part a little bit down. Control again, skate it down. We can press shift so that you can select both of these ranks and GZ to tack it up. We got our mushrooms. Let's continue in the next coming lecture. 41. Design Environment Assets - Modeling Rocks: The next step is going to be to work on the rocks. I'd like to bring the reference image that we're going to be using. This reference image, solid rock. Let's start working a it first. Let's make room. I'd like to just take these to the right side. Design a I'd like to start with the sample cube. Shift A let's go to mesh, and we can bring cube. I'd like to add some extra edge loops. We can add, for example, geo right here. You can try to sket on the x axis, something like that, and we can add an extra edge loop right at the top. Control R like this. We can take these a little bit outside. Now we actually do is to randomize the shape of our rock. We can press old just like this entire row. Let's go to mesh, transform, and randomize. This way, we're going to be randomizing this line. Let's increase the amount of the randomization. We can make it something like that. We can try S Z to lift it a little bit up, something like that. Here for the top, you can just keep playing a little bit with these vertices. Try to randomize their position. Same thing here. They should not be organized at all. After that, all we have to do is to add the bevel modifier, and that's to right click and shade a smooth. Now we got that shape of the rock, we can increase the segments, probably three, or decrease that something like this. Let's increase that amount to something like 0.2. We got a rock, we can generate multiple rocks. We can for example, duplicate this shape shift to duplicate it, and we can try. Let's try, for example, to press here, go to mesh, transform, randomize, can randomize this even better. Something like that. As you can see, we have different rock. G Z, you can take it as part down. We should not be having any strong clipping here. Let's see. Just keep experiment with the location of these s to generate different outcomes. That's for the rock. If you have any questions, let me know so I can continue or work in the next lecture. 42. Design Environment Assets - Modeling Wood Trunk: Now it's time to design this drunk. This is we're going to be putting in our scene. It looks really good. Let me just simply drag it and drop it into our reference image part here. Let's take all these assets and we can drag them to the right side. First, I'd like to start with a cylinder shape. Shift A,'s go to mesh and we can bring a cylinder. You can change this cap fill to just nothing. We need to keep it empty like this. And I think eight, we can just calculate here. We're having one, two, one, two, three, four, five, six, seven, eight, nine, increase that to nine, nine can be fine. Let's spin this on the x axis, O x let's spins by 90 degree, and on the S mode, we can sce it on the y to get the shape of the trunk. I think that is a reasonable shape. Next we need to do is to work on the end and the start. I'm going to insert an edge group right here and another one on the pack. Now we need to make these cuts that we can see here. To do that, we can select, for example, this edge, and I want you to go to mesh, split, and faces by edges. Now if we select one of these ss, if we slide them over, you're going to have that cut right at the middle. I want you to do the same thing, for example, two edges. Let's do the same thing here. Actually, we can also select one of those. Let's select this one and this one. Or we can make three here. Let's go to mesh, split, and faces by edges. Now it's going to be a little bit difficult to spot that. That's fine. Let me try to scale down. Can scale them up just to make them a little bit different. Let's select these edges. Separate them. Something like that, too much, and we go lastly we got this one. Let's check that. Seems to be fine. We got to push the entire line. Let's ps old, shift actually here, old, shift old, the entire rows, and we can scale them a little bit up. Something like this. Let's do the same thing here. Let's first split these two parts. We can press old, shift old, and let's get it up. That's fine. Next, we need to add some extra edge loops right at the middle here. Let's add, for example, three, can press old here, try to push it a little bit down. This one, we can take it a little bit up, not that much. Something like that. Also, we can use again that randomize to randomize this line. Let's try to randomize it a b, something like that. Same thing here. Mash transform randomize. Can randomize it like that, and finally, this one. There we go. Seems to be fine. We can try to scale this part a bit down. Same thing here, Let's try let's select all of those. Can scale it down and push them backward. That's nice. The last step to do is to give this wood tree some depth. I can see here right now it is pushing sharp. To do this, we're going to be relying on a new ad's called the solidify modifier. I adds some depth here. Also let's press and check the item. The scale is fine but porrisation. Let's apply it to Control A. Let's apply theorization. Let's just so that we want going to have any weird issues with our jump tree. In the solidified settings, we have the thickness. I controls how high, you're going to go here. How thick you want that root tree to be. Let's set it to I think 0.16 is going to be fine. We might want to scale down this, so let's select it. Try S shifts y, sc it a little bit down like that. We've got our wood tree. To do is apply. Let's do this shade auto smote, right click, Shade auto smote like that, and now we are ready for the next asset. 43. Scatter Assets in Game Environment using Particles System: This net. I like to show you how can we scatter all the assets that we built inside our game environment. We need to put them spawn them in our game environment. By the way, we're going to find all these assets in the resources, you can download them and use them. To scatter our assets inside our game environment, there is two ways. I call it the hard way and the smart way. The hard way is to simply keep duplicated one by one. Let's do this. Shift, can duplicate it like this. Place it here, you can spin it around and place for example here. Shift can put it on the other side. Spin it like this and keep doing that. This way is not the best way because it's going to take a lot of time and it's not controllable. On the other hand, I'd like to show you a better way using the particle system. Let's do that. For example, we can start with a tree. We're going to start with the trees. We're going to scatter the trees across our game environment. To do that, I'd like to select my game environment, this part, control space, let's go back and we need to go to the particle system. This icon particle properses. I'd like to add a new particle properses, and let's call it trees. I'd like to switch it to here instead, not an emitter. Now it's scatter across our game environment. I'd like to reduce the number to something like 210 50, and we can scroll a little bit down here til we find the render, can click on it, and we need to render as an object. The object, you can pick it from here. You can use this instance object. You can use this eye dropper, click on it and pick the tree. As you can see, we're using the tree we scatter on a tree, the tree across our game environment. We need to make sure of something, Let me just select our game environment. We can press n, go to item. The rotation and the scale must be such one, one and one, and tree triple zero here. Otherwise, we can do this, Control A, and let's apply rotation and scale. Same thing need to go for the tree. Let me just check the tree. As you can see it's not right. The scale is a mass as well as rotiion. Control A, let's apply rotation and scale. Now it's a little bit different here. So let's go back to the particle settings and we need to work on it a little bit. Let me just tweak the scale. F the scale, let's increase it up. I'm going to set it to 0.75 probably that's so much. For the scale, let's reduce it a little bit down. Let's just keep it just like this just for now. Next what I'd like to do is this. I want to tell blender the areas where we want to have trees. This is an important aspect. To do that, I'm going to select again my game environment, and we can go to this objects of properties, and we can add a new vertex group. Let's click on it here, and we can call this vertex trees. On the edit mode, I'm going to press seven, go to the top, and we can select, for example, some areas. I want to have, for example, the trees here, something this here. A little bit here on the top. Basically, I want the trees to be on the side of our game environment, not in the center. Let's just, for example, these couple, I think you got the idea. Let's also do this. Select these. A. Now I'm going to assign this vertices that we selected to this vertex group called trees. After that, we can go back and after that, we can go to the particular properties and we can choose this vertex group that we just created. I'm going to scroll a little bit down. Here for the field weights, I'm going to click on it and the factor collection. I'm going to click and choose the trees. I'm going to scroll a little bit down here until I find the vertex group and for the density, I'm going to click on it and choose trees. As I can see the trees are scattered only in this vertex group. The next step is going to be to tweak the settings of our partical system. I'd like to go up a little bit and that starts by tweaking the number of trees because I think it's too much. Let's reduce it down to just 25. I think that's reasonable, probably a little bit higher or about 50 or 75. Can reduce that manul this. After that, we need to set or to fix the orientation of our trees. They are laid flat on the ground. We need to make them vertical. We can go back to this object. Let me just we need to go to the top and we need to check this advanced slot. Right now we can have a new tap called rotation. Let me just find it. This one, ation. We can check it, click on it and we need to change this orientation axis. Let me just keep changing until we find the right. Global x, global x works best. Let's go back to the scale. Let's increase the scale a little bit up, something like that, and also for the scare randomness. That increases ale bit just so that all these test have the same size. We need to have bigger trees and smaller trees, something like that. Also for the orientation, I would like to not keep them all straight up. Let's go to the randomized phase or the randomized orientation, and we can randomize it a little bit like this. To 0.25 is going to be good. As you can see the trees are not perfectly up. So let's go with 0.15. That's nice. We've got the trees, so we need to do the same thing to all these other assets. For example, we need to add the rocks, scatter on the rocks and all these other assets. Let's do that. I'd like to select my came environment, and let's go again to the particle properties and go up. Let's call this one trees just to make it different. Trees and we can add a new particle system. Let's call it, for example, rocks. For the rocks, I'm going to scroll, let's live it down and we can use the same particle system for this. Let me just see. For the render, first, I'd like to check make it here. Let's set it to advanced, and we can go to render as, I'd like to render it as an object and we can pick the rock objects. This rock object. We've got the rocks scattered across our environment, but we need to tack tack it a little bit. I'd like to use different vertex group. Let's go back to object that properties, and we can add a new vertex group and we can call it rocks. Or actually we can call it main area. We're going to be using this main area for all these other assets. For the main area, what I'd like to do, I'm going to select, for example, all this porch except the road, something like this, and we're going to control the number of particles randomly. Same thing here. Let's sign that. Also we can insert, for example, two edge loops here, and we can select them, select just one edge loop. But actually just make it a little bit random. Now if we press select, we can be able to select all those this main area. This main area, we're going to be using it for not just the rack for all the remaining assets. Let's go here to the particle system and we are selecting the rocks, we can set it here, rock. Let's scroll a bit down for the object. We're using rocks. And for the vertex group in the density, I would like to pick the main area. Now let's go back and let's tweak the scale, can increase the scale to zero point 0.1. Scale randomization, we can increase it real up. So like because the rugs, they are not the same. Also we need to check this rotation, and we can randomize the rotation. Let me just set it first to global x. Something like that. Looks fine. The phase just play let be with this. For the scale, let's increase it up, 0.15 and for the number of the racks, I'm going to cut it by 250. I looks fine, but I think I'm going to just go with 150 instead. For the scale, I just want to scale it a little bit up. There we go. Seems to be fine. Let's do the same thing. I'd like to add. What we got next? We have the, the wood trunk. This one, let's add it, let's call it Wood trunk. Going to copy this control C and control V. Don't know why plan that does not do that automatically. Let's repeat the same step, it must be here advanced. Let's go to the render, must be an object, and we can pick this trunk object. We've got it scattered across our game environment. In the density, let's pick the main area. So for the number, I think I'm going to just go with 50. It should be really low. Now for the scale, we're having some particles here. For the scale, we need to increase it real up, something like that, 2,002,600.260, and also for the rotation, let's check the rotation. It must be laid flat. Let's try this on the y axis, something like that, randomization. Make it random, like that. Should not be having flying trunks, something like this can be fine, but also we need to reduce the number to something like 30. 20, 20 is going to be fine. Lastly, what we need to do is to add this or actually, we need to add the mushrooms and the plants. Let's do that. Let's add plants. And let's check here advanced, scroll down to the render, render it as an object, and let's pick. Let's pick the plants. This one here. We got the plants, so it should be scattered only on this vertex group, the main area. Let's increase the scale up, something like point 0.2 can be fine or something like 0.15. Scattersation. Also for the rotation, check the tion. Can keep it at global x. Can randomize it a little bit. I think we have to push it a little bit up. What we can do, we can go to our plants on the mode, selects everything and try to move it up. G Z, try to lift it up. If you control, if you edit this main plant, all the particles are going to be edited as well. That's been done. Last thing, we need to add the mushrooms. Let's add h rooms. Let's copy this name. Let's pace it here. Switch your hair advanced, scroll down to the render, can render it as an object, and let's pick the mushrooms. Fungus or mushrooms. Density, let's choose the main area. Yeah, we have to tweak the scale. Skip it at 250, and for the scale, a the scale a little bit up. We need to randomize the scale, but also for the rotation. Let's skip it at global x, probably spin it a bit sideways like that seems to be just fine. For the phases just keep it at zero. We can also go to the top and end change in the seed. We can increase the seed number to scatter those mushrooms in different areas, something like that. We got our game environment with all the assets scatter in them. In the next game lecture, we're going to start texturing our game environment. If you press Z smeric review, so all these assets are textured, but our game environment is not. We're going to be texturing it in the next game lecture. 44. Unwrapping Game Environment: This new lecture, we're going to be texturing our game environment. For the doing that, we need to unwrap it. To unwrap it, I prefer to hide all these particle systems that we got in our particular properties. Can just hide it from here that we can focus only on our game environment. Here on the bottom, I'd like to split my scene into two parts, so we can split it virtually like this, take it up, and we can switch this menu to the UV editor. Also we need to split it actually split in the next storio. Now what we need to do is to switch to the edit mode and we can select the entire game environment, and I want you to press you As choose the Smart UV project, and you can click on O K. As you can see, our game environment is unwrapped, C press control space. This is all the UVs of our game environment. In the next time lecture, we're going to start the texturing process of our game environment. 45. Texture Painting Game Environment using Rocks, Mud & Grass Textures: Now it's time to start luxuring our game environment. First, I'd like to switch this menu from the UV editor to the shader editor. I'd like to click on you. Make sure that you are selecting our game environment. Let's click on you, and we can call it G E, meaning that game environment. We got here the principle BSDF, connected to the material output. Let me just take this one to the right side just so we can have enough room here. If we try to change the base color, if we click here and try to update this color, I can see our game environment is going to be changing. If you're not on the meteror preview, let me just show you. I you see this, you must press Z and switch the metric preview. If you are, for example, in the sold, pret going to be able to see that change that color change. Let's, switch back to metery preview. The first thing we need to do is to add a new image texture that we're going to be painting on. Let's do that. Shift A, let's search for image texture, can press enter here, and let's simply connect color to the base color. Here for the tract, let's click on you, and I'd like to call it, let's call it GE paint. GE stands for game environment. So for the width, so we can just multiply it by two, press enter, same thing for the height. Let's multiply it by two. I'm going to keep the color as black. You can keep it, make it any color that you want. Let's click on OK. So now we got an image texture assigned to our game environment. The next step is going to be to start painting our game environment. I'd like to start first with this texture. We're going to be using the rocks, this rock texture, we're going to be using it to paint the road. To do that, I'd like to create, let's add can scroll here down to the texture properties, and click on it, and let's add new texture. I'm going to just click on pen, and I want you to pick the textures. All these texture, you're going to find them in the resources. Double click on the rocks. Now we got it. If we jump, for example, to the texture paint, and Let me just go back. Basically, here we have to choose that texture. I think it's down below for the text mask. Text, where it's already picked. You can click on it and pick this texture. If we start painting here, we're going to be painting that's rock. I'm going to press Control Z, to revert back and press seven, to go to the top and let's start painting here. Let's start painting. That's rocky rote. Something like this. So Let's continue all the way till the end, can press shift in middle mouse to zoom in. Make sure to not zoom back or in just so that we can keep it, keep the scale of our texture consistent. Let's keep taxona like this. As a last move, I want to show you something. I want you to scale the brush a little bit up. We can press F to scale it a little bit up, and we can add some randomization here. Scroll that a little bit down. Just need to add that effect of randomization. Also here for the strength, we can reduce it down to something like 0.4, and we can increase the scale. I'd like to have some variations here. We should not have the same effect. The same texture repeated itself. We want to add some randomization. Sound like this. It's check out from here, control space, so it seems perfect. Now for the second texture. We need to add, let me just show you the second texture. We need to bring the mud Also, as a next step, we're going to be bringing the grass. Let's use the mud instead. Let's go back here, control space, to go back and we can pick or go back again to the textur properties, and we can choose the second texture. It's going to be the mud top click on the mud. Let's try this. As you can see now we're painting the mud. But since we are since we reduce the strength to 0.4, so it's not shown correctly. Let's increase the strength to one. Press seven to the top control space, and let's start painting the mud again. Something like this. We can press F to scale up tax. Saething here on the bottom. Just take your time and do some quality brushing here. And press F to scale up the tax brush. We can exit that mode and try to brush these hidden areas that we couldn't brush otherwise. Control z to verge back in case you messed up. A L little bit here on the inside. We got the second map. As a third map, we need to brush the grass. Control space, and let's go back to the checks or paint and I'd like to pick the grass. Double click on the grass and let's start painting the grass again. I think for the grass, it should be on top here. This area here it should be all grassy. Something like that. A little bit here. Control space, verge back. Let's start painting these. Let's continue brushing the sides of uphill, like this should not be perfect. L et's carry on until we finish that turn. Something like this. Let's check it from distance. It looks fine, looks reasonable. I'm going to press seven, go to the top and end, let's continue brushing here. Also I'd like to reduce a little bit of strength, and we can brush a little bit here for the side. Actually here, we should not be brushing that grass tex. Let's increase the strength to one. And we can brush here, for example, we can press F, scale down the brush, sometimes increases up. That's fine. Let's go back and let's do the same thing here. Can reduce again the strength, control z to verte back. And Let's paint that. We've got our grass text control space to go back to our C, and go back to the layout, and I'd like to bring the rest of our particle system. Let's select our object, go to the particle system, go back to the top and let's bring back everything. Control space, and let's see. Lo go. All we have to do right now is to fix or to add the bumps to our normal map. Control space, let's go back to our GE paint. Let's go back to this GE paint, and I'd like to add the bump node. Shift A, t's for a bump node. I'd like to connect the color to the height and the normal to the normal. As you can see it's ale bit bumpy and it looks fabulous. As a last step, I'd like to add some variations in the reflection of our map. Shift let's search for tor ramp. Spot here, we can connect the color to the factor and here the color to the roughness. We can tweak this color, these handles a little bit. Tweak them a little bit sideways. Like this. Seems to be fine. Let's try to inverte these to the other side. I can put the plaque here. Seems to be interesting. To make its grass a little bit glossy. I like that. As a last move to finish texturing our game environment, we need to texture this bridge and these barriers. To do that, we're going to be relying on this wood texture. This wood. We're going to find it also in the resources. Control space. Let's select our object. Can go here and add a new material. We can call it wood material. Here we can simply drag and drop that texture that we just saw. This one. Let me just drag it and drop it here and we can connect it to the base color. We got it by de fold. What we need to do is to jump to the ds mode, select everything, can press u, and let's try Q projection. It seems to be fine. I'm going to just increase the scale of our texture. I'm going to select this texture, press control t to have the mapping and the texture coordinates, and I a to increase the scale to just five. I think that's so much. What about two? We can just take it a little bit up like this. Increases only on the x axis. That's nice. We can also add the bumps. Shift and let's add the bump node. Control space to maximize this window and let's connect the color to the height and the normal to the normal. Control space, go back and let's see, we're having the bumps and it seems perfect. Let's see what we got next. We need these barriers. Let's use the wood material. On the Edit mode, select everything, press Q projection. But we need to create a duplicate for this material. Let's duplicate it from here because we need to affect this mapping differently. Let's make it wd material. We can add a dash and let's call it barrier. For this barrier, I'd like to just reduce the scale to something like 0.8, can be fine. Let's do the same thing to all of those. Wo barrier. On the Edit mode, selects everything, press U, Q projection. And lastly, let's do the same thing here. Barrier, this mode, select everything, press Q projection. There, perfect. Same thing here for the second bridge. We need to use the same wood. Let's use the wood. Barrier. Let's see. I think it looks perfect right off the spot. Yeah, I like it. I'm going to just go with it. For these objects, let's use again, the wood. On the edit mode, selects everything, press U, Q projection. There we go. It's wrapped. The last step, we need to text, we need to add the river. Let's do it this way. Shift and right click and shift A can go to mash plane. On the edits mode, we can scale it real up, and let's type G, and we can lift it up, something like that. After that, we can scale it a little bit on the Y. S Y. Trim it here. Let's select these two s, push it here to the right side. After that control spaces go back and to the shader editor, we can click on you and let's call it River material. We can press A and period on the numpad so that we can bring this principle PSTF, and let's assign to it this river texture. You can just assign it like this. Select this river control T, and we can increase the scale on the x and y to two. It looks reasonable. I might want to scale it a little bit. I think I'm going to just leave it as it is. Seems to be fine. Also for the glossiness, I'd like to reduce the roughness to zero so that we can make it glossy. I'd like to duplicate the same river, on the Is mode, selects everything, shift de, to duplicate it, and let's push it here. Let's salt it on the x axis. Something like that looks reasonable, so control space, and let's take a walk. Everything looks great. It cuts our river. All right then. Perfect. As a last time, we need to save that paint text that we were working on. To do that, we can switch here to the UV editor, and I'd like to pick we call GO E GE paint. This mage text, the UV map of our game environment. We got to save it, otherwise, is going to be saved somatically. Let's click on Image and save as and you can save it under any name that you want, and basically that's it. 46. Unreal Engine - Let's Install Unreal Engine 5: The first thing you're going to need to do is to search for real engine in Google, and I want you to click on the first website that comes up. After that, once it loads up, I want you to look for this blue download button in the top right, this button right here. Next, I need you to scroll down little bit to refind Epi game Launcher. Click on Download Launcher and wait for it to download. Next, just make sure you install the EP games launcher and wait for the verifying updates. After that, the EP games launcher is going to launch itself. It's going to ask you for an EP game account so you can look in using your own G mail account as I did here. So once you've signed into the EPI games launcher. You're going to find a bar in the top. So I want you to click on library, and then in the top right, you're going to see this installed engine. Click on it, and the launcher will ask you about the location where you want to put real engine files. So basically, the en real engine is going to be several gigabytes. This version is around 20 gigabytes, so make sure you have enough space for that in the diretory you've chosen. Once installed, you'll have this launch button. Click L launch to open n real engine. And once it loads up, you should be looking at the startup screen that looks exactly like this. That means that you are good to go to start your own and real engine project. 47. Unreal Engine - Import Game Environment to Unreal Engine: I help, we'll be creating our first and real engine project. Next, we will import our game environment, and we will also work on the lighting to make it better. Let's get down to it. Let's go ahead and create a new and real engine project. I'd like to choose the type games, and I'm going to just keep it blank. After that, I want you to set this quality preset to scale. After that, we can just call our game project, we can call it character game. Let's go ahead and create our new and real engine projects. Here we are in real engines. I'd like to do first is to expand or to scale up the funds because it's really readable. If you want to do the same and scale up your interface, you can go to tools and D bug, and you can go to this widget reflector. Here in the application scale, we're going to have the scale of one. I'd like to sell to 1.25 in its press enter, and now it's a little bit better. So next, I'd like to go to this contents browser. In case if you are not seeing this content browser, let me just lese it or close it, you're going to see it down below here. I want you to click on it and click on this Doc in layout. This can be fix right here. After that, we can expand this menu. Let's take it a little bit up, and I want to do right click, and let's create a new folder just to keep everything organized. And we can call it environment. Inside this folder. I'm going to be bringing that game environment that we exported before. It's called the game environment to optimize. I'm going to simply drag it and drop it here. For the settings, I'm going to keep it as they are. I'm going to just scroll a little bit down, let me just take this menu up and we can click on import. Just give it some time to be imported. Let me just close this window, and we got our game environment here. What I want to do is to do a right click again here inside our environment folder, let's create a new folder and we can call it Tax. Inside this folder, I want to put all these assets. This is our game environment. I want to put all the textures inside that folder. Let's select, for example, this one first, shift, select the last object, and we can simply drag it and drop it inside the textur folder. You can click on Move here. After that, let's do the same thing to this fungus materials, let's select them both and we can put them inside, move here. Perfect. So the next step is going to be to drag our game environment, and let's put it inside our scene. Can drag it like this. Let me just take this manual a little bit down. We can double click on this game environment so that we can zoom on it. I want you to do right click and you can press W so that you can move in. You can score the mouse, if you want to increase the speed, and basically that's it. We are inside our game environment. I'd like to go to the Soching position, which is right here. The next step it's going to be to delete our environment. I don't want to keep these landscapes, so they don't match our purpose. I'm going to go to this outliner and we can scroll a little bit down until we find landscape. You can select it and you can press delete. If I press delete, I cannot delete it. I think because it has too many elements. This is just for security reasons. What we can do, you can expand this folder and we can select the first element. Can scroll a little bit down, shift, and click here, and you can delete. English do the same thing, you can select again the last one. Go all the way to the top, select the first one, shift, and click on the lite. Now everything is deleted. You can also delete this folder, the landscape folder. Excellent. The last thing I'd like to do is to work a little bit on the legion, as you can see it looks dim and not that good. Which we can do first, we can click on this sky light. We can go down a little bit here, we can scroll a little bit down until we find the intensity. L et me just find it first. This intensity scale. We can click and let's set it 25. Let's press enter. Now as you can see our environment looks more vivid. I really like these colors. We can also click on this exponential height fog. Basically, I'd like to make the horizon looks a little bit clear. This one selected, you can go scroll a little bit down. We can score a little bit down until we find this fog density, and we can reduce it to something like 0.001. Now it's less it's clear. There we go. So we got our game environment. In the next coming tutorial, we can bring our character so that we can build our game. Son. 48. Unreal Engine - Import Character to Unreal Engine: All right. The next step is going to be to import our character. I'm going to go back to the content folder and let's do right click, and let's create a new folder. Let's call it my character. Let's press enter and let's enter this folder. Here, I'd like to bring those two FBX files that we exported before, the character animations and the character model. I'd like to start with the character model, let's simply drag it, drop it inside. For these importing settings, I want you to check the skeleton mesh. Make sure to check it. For the animations, we don't need to have any animations for the skeleton. Let's just go down and import, click on imports. Let me close this window and we can bring our second animations. This for the right here. Character animation. We can simply drag it and drop it here. For the settings, I want you to check this import animations. For the skeleton, we can click here and we can choose the skeleton we imported before. Let's just click on it, and basically, that's it. We can just go ahead and click on imports. That's going to just close again this window and we can bring one of these animations. Let me bring, for example, the jump, can put it here, L's sick our character up. We can select our character and we can double click on it here in the outliner, so that you can focus on it. I want you to press and press left click so that you can spin around and let's check our character. It looks fabulous. We can bring the other animations. This is jump. We can bring the run here. We can bring the walk. We have the idea. Let me just put it here. Now we can play our game just so that we can see if these animations are working. As you can see everything is working well. In the next time of lecture, we're going to make our charactere playable. See soon. 49. Unreal Engine - Adding Custom Collision to Game Environment in Unreal Engine: Before we can start working on our character and make it playable, I would like to address the collision of our game environment. I'm going to press right click and let's press S to revert back here, can press W two, go forward, A d two goside. I want you to go and click on this level. Let's click on it. Now if we try to go inside our game environment, We aren't going to be able to do so. There is some hidden block that's preventing us from getting inside our game environment. Basically, this is what is called the collision, our game environment collision. By default, let me just press escape so that you can stop our gameplay. By default, when you generate or when you bring a new object to real engine, engines going to generate a collision. I'd like to show you that. We can go to content, this environment folder, and let's double click on this game environment FBX file, double click on it. It's going to be like this, you can simply duck it in the top like this. If you want to see the default collision that y engine has generated for our game environment. We can go here to collision and you can choose this 26 DOP simplified collision. As you can see, this explains why we cannot enter our game environment. These green lines are like a shield that prevents us that prevents us from getting inside. This is a really bad way to generate collisions for our game. Our environment here looks like that ship in the bottle. Our character's going to be able to walk in it, neither interacts with it. What I want to do is to generate a different kind of collisions. A type of collision that's going to allow us to go inside, but also collide makes architecture collide the ground, as well as all these objects. To do so, let's first delete. We can get rid of this bad collision. Let's go here to collision and we can just delete this collision. Here on the right side, you're going to have the details. I want you to scroll a little bit down and to define collision. This tab right here, you can click on it to expand it and down below here in this collision complexity. By default, it's going to be set to project default. I want you to switch it from project default to use complex collision as simple. Let's click on it. And now as you can see, we're generating a different kind of collision, a better one. It's matching exactly all the assets that we got in our environment. Meaning that our ct is going to collide with this rock, it's going to collide with all these objects, and also is going to be colliding with the ground. That's really good. All we have to do right now is to save this asset, can save it. Let's go back to our game project. We can just delete this window here, close it. Let's play our game environment. We can play, and let's stretch to go inside. So now there is no block, we can go inside. But also if you try to hit, for example, this rock, it's going to be an obstacle, what's going to allow us to go inside it. Samin goes for the ground. So you can see the ground is colliding. This is exactly what we want. In the next comment lecture, we're going to make our character playable. 50. Unreal Engine - Putting Camera Behind Character: In this story one, we're going to be making our character playable. The first step to do so is to create a game mode, put the character inside it, and then we'll place a camera behind our character. Let's get down to it. The first step is going to be to create a player start. The players start is what the camera is what you're going to see once you play here, co a Q. If you don't have it in this outliner, what I want you to do is to go this plus here, quickly at the project. Go to basic and we can click on this player start. This player starch is in form of a capsule. I want you to put it in the place where you want your capture should be. Let me just place it here. This is the starting location of our game. I want to start from here. Now if we press play, we're going to start our game from this location. Let me just show you. We're going to be seeing this. Let me just show it. I'm going to go back here and it's play. We goals so we are matching our gaming environment. The next step is going to be to add some blueprints. I want you to go to this content folder. Let's do click, and we can add a new folder, let's call it blueprints. Inside this blueprints, I need to add two blueprints. The first one is going to be our game mode. So right click, and let's go to Blueprints class, and we can choose this game mode base. Here for the name, let's call it my game mode. Presenter. Here in the ward settings. If you don't have this tab here, you can go to window and click here on the word settings. Here I want you to scroll t you find this gay mode override. Here for the none, I want you to click and choose this blueprint that we just created. It's called my game mode. This one right here. For the next step, now we need to create our character blueprint. Let's do right click. You can go to Blueprints class, and I would like to click on this character. We can call it here my character. Now let's go back to the world settings. We set the game mode, and now for this pond. For the pond class, I would like to click here and let's choose my character, my character. The same blue print we just created here. Now we're all sets. What I want to do next is to double click on this my character blueprint. We can simply drag it or dug it here at the top, and we got this capsule. Basically, this capule is the same capule that we have here. So we assigned it to be the same. This is the same capsule. Like I said, in the intro, we're going to be putting our character inside it. So I want you to select mesh, and we can scroll a little bit down to define machine, the skeleton, and you can click or none. I want you to choose this character model and not arture animation. Carat model, skeleton. Let's click on it, and we're going to have our character inside this capsule. Barely, so we have to scale it down. I want you to press E so that we can jump to the scale. Actually R, not E. Also that you can scale it down and we can grab it from the middle. Can keep scanning it down like this. Can press W, can track it down, something like this. We got our character inside our capsule. So the next step is going to be to add a camera. Like I said, we want to track our character from this location right here. Let's do that. This camera must be attached to the capsule. Let's go to capsule, and we can click here on. Let's search for a sprain arm. Sprain arm, this one right here. We got our spring arm. Let me just zoom back, can take a look at it. It's facing this direction. Actually, what we need to do is to make our character face the same this blue axis. Let's select our character, we can press E, and we can spin it by 90 degree. There we go. Now it's facing this blue arrow. Let's select our spring arm and we can take it a little bit up. Let me press W again. We can take it a little bit up here. Let's press E, we can try to spin it up by ten degrees, and after that, we can add to it a camera. Let's select our spring arm. We can click or and let's add camera. This camera right here. Now we have this camera right behind our character. We can press W and we can try to tack it a little bit up, press E, can spin it just by ten degrees. Let's see. Probably let's tick it even up. Back. There we go. A now let's compile and we can go back to our project. So we can play so that we can see where we got. As you can see, we have our camera right behind our character. I would to a little bit, so let's go back to this michcure blueprint. Can try to take our camera a little bit backward, so that we can cover more of our character. Let's compile this, go back to game projects, and let's play this. Basically that's it. Now we have our character ready for the next step, which is to make it movable. 51. Unreal Engine - Move Character Forward Backward and Sideways: In this new reteral, I'd like to make my character goes forward backward and also sideways. If you press play right now, this is what we got. Our character is going to be fixed, it's going to be locked in this position. What we need to do is to set first our input controllers. To do so, I want you to go to the settings on the top right. Can click on it and go through project settings. On the left bar here, I want you to scroll a little bit down, tally find engine. After that scrolled down, tally find input. Click on it, and here we're going to be finding this action mapping and the axis mapping. To explain the difference between the two. Basically the axis mapping is used to bind continuous input actions, like moving a character, forward, backward, or even accelerating a vehicle. On the other hand, for action mapping, I want you to think of it like a trigger. That's going to start searching action. After that's going to turn it off like jumping, firing with a weapon or a check. Our case, we're going to start with this access mapping because we want to move our character. We can click on this plus icon right here. I'd actually call it first. Let me just give it some names. We can call it forward, backward. We can press enter. For these controllers, I'd like to start with the W. You can click on non and press W, we can search for it, this one, the keyboard W. Basically what I want is when I press W, I want Mc go forward. We can choose any key that you want. For the scale, I'm going to just keep it to one because we need to go forward, and we can click on this plus icon ratio, so that we can add the reverse which is using the S key. We can click here and let's search for S. Let me just scroll down here, this one, the keyboard S. For the scale, as you might guess, it's going to be minus one. As press enter, and now we set our access mappings. Right. Let's go back to our game project, and I want you to go to the character blueprint. Let me just expand the bottom window. Inside this blueprints, we're having this my character blueprint. Let's stop a click on it. Inside this tab, we're going to be having three tabs, the viewport, the construction script, and the event graph. I want you to be on this event graph. Let's scroll a little bit back and we can select all these nodes. I'm going to press delete key so that we can delete them and start fresh. The function that's going to allow us to go forward and backward, it's called add movement input. I'm going to do right click and let's search for it here. Add movement. Input. This one right here, this f function. Let's crick on it, and we can zoom in. For this function to work, it's going to need two informations. First is going to need the word direction, which is the position of this game mode. What is it in the map? The second, it's going to be the scale value. Basically how fast you want your character to be. We already set it be four to one, so the scale is going to be one and minus one based on each key going to be pressing. So now we need to bring these controllers that we created right here. The forward backward, let me just copy this name, Control C. Let's go back to my character blueprint, right click, and we can just paste that here, and I need to have this axis event that we created before. Let's click on it. For this value, this axis value, I want you to connect you to the scale value. We already set this x value here. Let me just show that, this one and minus one, and we can also connect the main slot to the top slot of our ad movement input. Next, what we need to do is to add the word direction, meaning that the position of our character. To do so, I'm going to be adding a forward vector. Right click. Let's search forget actor forward vector. This one right here. Let me just take it aside and we can go ahead and connect the return value to the word direction. Let's compile this and we can go back to our game project, and let me play my game. It's an mic press W, as you can see it's moving forward, and if you press S, we're going to be going backward. It's working just fine. If we try to move sideways, so if we press A on or D, Joe is going to work. Let me just stop my game, I'm going to press Escape, and let's go back and add these functionalities. Here in the project settings, I'm like to add another access mapping. Let's click on Add access mapping, and we can call it here right left. Present. For the first key, I to press A. L et me just search for the keyboard A, this one right here. I'm going to keep it minus one. It's going to be to the left. The left is minus and the right is plus. Let's add a second axis mapping, it's going to be the d. I'd like to use the d to turn right. This d right here. For the scale, let's just keep it at one. Let's go back to our blueprint, this character blueprint, and we can score a little bit back. We need to add the same movement input, right click. Let's add a movement input, this function. After that, we need to add the input axis. R click, let's bring the right left. This event axis event as we created here, second one, and we can connect it like this one here, and this axis value is connected to the scale value. Now we need to get this actor, but it's not the forward. We need to go sideways. This function is going to be this. Let's do lick, and let's get a right vector. This one. Let's take it sideways, and we can connect it again. Connect the return value to the word direction. Let's compile this and we can go back to our project, and let's save this and we can play our game. We can go forward backward. I I press A, we're going to be moving sideways. Perfect. Also, in order to keep everything organized, let me just go back to my character blueprint, and we can, for example, select these three nodes, can do right click, right click here, and we can add creates comment from selection. You can call this one character movement, sideways. Let me just put the sideways first. Sideways character movement. For the top nodes, let me just select them. Right click, creates comments, forward, backward, character movement. As presenter and now we got everything organized. In the next time lecture, we're going to continue working on it. We've got our character movable right now. It's going move forward backward and sideways, so we can continue our work in the next lecture. 52. Unreal Engine - Add Mouse Controllers Make Camera Look Up Down, Left and Right: In this torial, I'd actually have some control over my camera. Let me just play my game so that we can see. The camera is going to be fixed or locked behind our character. We don't want that. I want to have some kind of control. We can spin around, we can direct our character based on the orientation of our camera. Let me just press escape, and we need to go to our project settings engine and put and we need to add some new axis mappings. Let's add the new ax mapping, it's going to be to lock up and down. A Let's press enter and for the key as we're going to use, it's going to be the mouse Y. House y. This one right here. For the forth xs mapping, I want to look right and left. Let's add a new x mapping, and we can call it here, look right left. For the key, I'd like to use the mouse y, mouse x, not the mouse y, like this. Here for the scale, I'd like to set the mouse y to minus one. L can just do which here. Now we are ready, let's go back to my character blueprint. This one right here, you can just to click on it if you lost this tab, and here we need to add a new controllers. Let's first bring the x mapping that we just Here it's look up, up, down, right click, let's search for it. Look up down, this axis event. And that's the right click again and we can bring the other one, which is to lock down up down, right left, this one right here. In order to connect these axis events, we can have three options to choose from. Basically in real engine is going to provide us with three functions to use. The first one is the ya, this one right here. It's going to allow us to turn our camera right and left. Basically we can rotate around the vertical axis. The second function is going to be the pitch. The pitch will turn our camera up and down. It's going to be similar to just nod in your head up and down. The third function is going to be the roll. You one's going to be used in our case, but it's going to allow you to roll your camera to a certain degree. This is mainly used to roll your camera if you are tracking an airplane from behind. For the look up and down, we're going to be using the pitch function. Let's use it. I'm going to do right click and let's search for ad Controller pitch. Pitch input, this one right here. Let's connect the main slot to the main slot here. For the axis value, let's connect it to this value like this. For this look right and left, we're going to be using the second function, which is the ya. For the second input axis, we're going to be using the Yaw function. Let's do it, right click. Let's add controller. This one, the input. Let's go ahead and connect this slot tough this slot, and for the acess event, can connect it like this. It's very switch forward, so let's go ahead and compile this and we can jump to our game object and let's play our game. Let's try right now to move our camera. As you can see, the move left and right is working just fine, just fine. But up and down, it's not working. We cannot move up and down. To fix this problem and make our camera look up and right. I want you to go to this mycharacter blueprint, and I want you to check the sprint and Here for the details. Let me just scroll down a little bit. We can find the camera settings. I want you to check this use bond control rotation. L just click on it. Now it's true. Let's compile this and let's go back to our game object and we can play. Now let's test this out, so we can look up and write and we can also change the direction of our character. Really nice. If you have any questions about this, let me know, so I can see you in the next come of lecture. Thacker. 53. Unreal Engine - Add Jump Functionality to Character: In this torial, we're going to be adding the jump functionality. Basically, I want when I play my game, let me just show. If I press space, I want to be jumping, I want my X to be jumping in the air. Let's do that, and just press escape, and we need to go to project settings. For the jump, we need to add an action mapping and not an access mapping. Let's add a new action mapping. Let me expand it here and we can call it jump. No press ger and for the key axe space. Space bar, this one. Let's go back to my character blueprint and let's set it up. Also for this camera, for the camera notes. Let me just select my camera notes. You can do R click, and let's add the comments. We can call it camera movements, just to everything organized. Now for the jump functionality. Let's bring first our action input. R click, we can bring that jump. This one R the action event jump, and it has two notes. It has two slots here. When pressed, it's going to perform a certain action, and when released, it's going to do another action. Luckily, in real engine, these functions are ready to be used. Let me just sure. I'm going to just click on Prest and we can drag it like this. I'd like to search for the jump. This function right here. Jump. For the release. Let me just drag it like this and we can add the stop jump. Stop jumping function. Let me just select all these nodes, right click add or create a comment, and let's call it character jumping. Press enter, and we can compile this, and let's go back to our game project and let's play this. Let's go forward and we can press space, and I can see our character is going to be jumping, which is awesome. Now we got everything, we got all the functionalities, we got the camera, we got the forward sideways, movements of our character. Next, we're going to start working on assigning the animations. See so. 54. Unreal Engine - Assign Idle Animation to Character in Unreal Engine: Now it's tied to assign these animations to our character. This is a big step. Let me just show you and explain what we're going to be doing. I want the first animation play is the idol. If nothing is pressed, charac needs to be i, this first animation that we got here. If I press W, I want to be walking. If I press space, I want to run this jump animation. Let's perform these actions. The first step is going to be to add an animation blueprint, that's going to control all of our animations. Let's go to animation, and you can click on Animation blueprint. I'd like to choose the skeleton, our character skeleton, and that is to create. For the name, let's call it my animations. Let's press enter, and we can double click on it, double click on my animations. As see we're having the event graph and anim graph, which is the output pose. Before we can start working on our animations, I would like to assign this blueprint here. This is my animations. I'd like to jump to my character, so let's double click on it. On the left side, we're having this capule component. I want you to click on this mesh. And here on the right side, you can scroll a little bit down until you find this animation tap. For the ym class, I want you to click here, and let's search for my animations. This is the blueprint that we just created here, this one right here, my animations. We can just compile, and let's save this. Let's go back to my animations blueprint, and what I'd actually do is to add a new state. In this anym graph, I want you to do right quick. Let's search for state machine. State machine, this one right here. Next, I want to connect this new stage machine can connect it from this character pose, L's connect it straight to this result. After that, we can double click, double click on our new stage machine, double click on it. As you can see we're having the entry. This entry node. This entry node means what you can see, you will see when you first play your game. The first state that you're going to be in, your character is going to be in. That's the entry. Let's go back to my emissions. If you take a guess, what's going to be the first entry state? Obviously it's going to be the idol. What I actually do is to connect, let's connect to a new state, let's the new stage here, and we can call it idle. Press enter, and we can double click on this idol. Note, and what I actually do is to bring our animation. On the right side, we're having this assets and browser. The first animation is the idol. We're going to simply drag it and drop it here, and let's go ahead and connect it to this result. Let's compile this. Now it's running. Let's go back to our game projects and let's play our game. We got our character id here. This idle animation plays only once. We have to make it continuous. We have to make it loops over and over again. Let me just press escape. Let's make our idol animation loop. Let's go back to my to my animation boprint, and we can click on this idol animation. Let's just search for that here in details. You can just scroll a little bit down and define this loop animation. I want to check this, it true. Let's compile. Let's go back to our game projects and we can play. There we go, so it's working. We got the first stage of our character, which is the dal state. In the next coming lecture, we're going to work on the walk and run and the jump, so see soon. 55. Unreal Engine - Assign Jump Animation to Character: In this orial, I'd like to assign the jump animation, this animation right here. Once we press space, I want to play this animation. Let's get to it. Press escape to cancel that. Let's go back to my animations, blueprint, this one, just double click on it. Actually I'm in the graph. This new state that we created before, so let's double click on it. Here we're having the idol. What we need to do is to take the idol and let's drag this line like this and we can add a new state. Let's call it jump. We're going to be running the jump animation from the idol. That's the rule. Let's so a click on this jump animation. Inside the jump stage ethic, you bring that jump animation. Let's simply drag it and drop it here and you can connect it straight to the result for output animation. We can just compile and I want you to revert back. Let me just make some room here. We are in the jump state, and we just go back to the new state machine. In our new state machine graph, we're going to see this icon, this double flash icon. This is the rule. Basically we can be playing the jump animation based on a certain rule. The certain rule that we're can be using is the jump. If our character is in the fly, is flying, it's not touching the ground, we can play that animation. Let's stop a click on this double flash to set the rule. We need to create a variable. Let me just soll down a little bit he until you find variables. You can just click on New and the variable we can call it in error.'s press enter and we can simply drag it. I'm going to keep it as bleion. Boling has two values, true or false. If he's in r, or if he's not. We can simply track this bully. Let's put it here. Let's get it and we can simply connect it to our result. Let me go back to the new state machine. We need to go back from the jump back to the idol. If that animation is finished, we need to go back. Let me just take it like this, go back. For the second condition, as you might guess, we're going to be doing the opposite. Let me just bring this variable. This volume variable, get ir. I'm going to check if this variable is true or false. Let me just drag it here. Let's bring the the nut volume, if this variable is not true, let me just connect it here. Basically if this variable is not true, I want you to stop the animation. Let's do that, I'm going to just compile. And I want you to set this in er variable because right now it's just bol in. Let's go back to this event graph, and I want you to use this get owner. This trike is bond owner. Let's connect this original value. I like to connect it to a get movement. Component, this movement right here. After that, we need to connect to a new variable. It's going to be is falling. Let me just connect it is falling, this function. Is falling means that our character is not touching the ground. After that we can just connect it to that variable, this in air variable, in air. To wrap this up. This variable is going to be true if our character is falling. If it's not falling, it's going to be true. That's the main subject. Let me just go ahead and compile this and you can go to our game project and let me just play this. Let's press space. Still nothing is happening, so I think something is not working well and just go back to my animations. Here I forgot to connect this event, Blueprint update animation. We need to connect it straight to this set to this variable. Aon is going to be working. Let me just go ahead and compile this. We have this red flow going on over here. It looks nice. Let's go back to our game project and display our game. So we have a problem here. Our animation doesn't run fully, doesn't play fully. Let me explain what's happening here. The jump animation plays only if our character is flying. Since our character comes back to the ground faster, it doesn't give enough time for that jump animation to play fully. We have two solutions to fix this. We can delay the jump functionality time or we can shorten the jump animation. I'd like to go with the second one. I'd like to shorten my jump animation. To do so, I'd like to jump to my animations here. Here in this SS browser, let me just find my jump animation. You can double click on it. It's a little bit slow. What we can do is we can go to this asset details, can scroll down and to define this rate scale. I want you to double it so let's say it two. I can press enter. Now the jump is faster. Let's go ahead and save this assets. I'm going to just close this window and let's go back to the game object and we can play our game. Let's go forward, we can press space. Now our ate is jumping 100%. 56. Unreal Engine - Assign Running Animation to Character: In this torial, we're going to be making or assigning the walk run animation. Let me just play to show you. Once we press W, I want to play the run animation. Let's get down to it. Let's jump to my animation blueprint and I'm in this new state, No invento graph, the new stage machine. I'd like to add a new state from the idol, so we can simply drag it right here. Let's add a new state. I'd like to call it running. And we can also make it both ways because we can go from running back to the idol like this. Let's just connect it back to the idol. Can simple it side here. Let's set the condition for running. I'm going to start with this condition that's for the idol to the running. Top click on it. What we need to do is create a new variable that's going to determine the speed of our character. Once the speed of our character is greater than zero, we can play the run animation. One it's equal to zero, you can go back to the idol. Let's go here to variables, and I want to add a new variable. Let's call it sp. Speed one is going to be b, it's going to be float. Float is the number is the number. So I you bring this speed variable, let's put it here, and I get it. Get speed. I'd to connect it to a greater value, so let's connect it to greater than greater this. If the speed is greater than zero, play the animation. That's the condition that we're going to be use it. Let's compile this and can go back to the new states, and we can jump to the second condition, which is go back from running to idle. Topolic. Bring the speed. Like I said, the speed must be zero, so that we can go back to the idle. Let's take it from the speedier and we can search for equal, this function right here, and let's connect it straight to the results. Let's compile, and let's go back to the new state machine. We need to apply some changes. I'm going to just delete these two conditions for the jump, and we need to connect them straight to the running. Let's bring one to the run, and we can go back from running to the jump. Center this one. For the conditions for the jumping, let me just start with running to jump, so double ck. I'm going to bring the in air variable. Let's get it, and we can connect it straight to this result. Let's go back and let's go back to the second condition, which is to go back from the jump to the running. I'm going to bring that in air variable, and it should be not pulled in. This one right here. Let's connect it straight to the result. Now we set the jump. Let me just go back to the event graph. No, A to the new state machine. We got the idle connected to the running and the running connected to the jump. The last thing to make all of this working is to go back to the event graph and let's set our walk or our run animation here. First, I'd like to bring an e value function, right Click, let's ss value. Not this one, but the one with the question mark, this one right here. Let me just take it up a little bit. After that, I want to to press control so that we can deselect this point so press control, can drag it and put it in this top socket, execute. Next, I want you to drag this returning value. We can take it and connect it to this input object. After that, we can do the same connection. Let's bring this return value right here, and we can connect it to get velocity. This function right here. After that, let's connect this returning value, can drag it, and let's connect it to vector length. This one here. Finally, we need to connect this node to the speed. Let me just drag the speed. We can set it here, and let's connect the return value to the speed. Here for the top, we can bring this value to the set and let me connect the set to the set like this. Let's go ahead and compile this. Let's go back to the game object and we can play our game. Let's see. We're having the idle. Something is not working here. So we didn't set the animation. The jump is working, but for the running we didn't set it. Let me just press escape, can go back to my animations. Here in the new state. Let me just click double click on running. We need to assign here that running animation. This one here. We can simply drag it. Let's go ahead and connect it to the result. After that, we can just compile, go back to the game project, and we can play our game. The one animation is playing, but it's not looping. It plays only once. We need to make it loops forever. Which we can do. Let me just press scape, can go back to my animations. Here we can select this animation. Let me just scroll down a little bit and define animation. Loop animation. You can just check that. Compile, go back to game project, and let's play this. And it is considering out of running. So we can press space to jump and basically that's it. 57. Unreal Engine - Finalize & Publish Character Game Project on Windows: Welcome to the final lecture of our unreal engine game development journey. In this sorial, we'll learn the entire process of publishing our final game and witnessing it come to life on the windows platform. Let's dive in. First, I'll actually apply some cleaning. I'll actually delete these characters that we put first as a test. I'm going to just delete them, character animations, right. I'd actually play my game to see those how it's going to look like. We got our character is running. We're having this problem with the shoes because we did I didn't feel that in the previous lecture. But as you know, this is not a big deal. Always go back and we can fall the bottom of our sneakers. Hopefully, you don't have the same issue in your game. Once you're satisfied with the game. Let's go ahead and publish it. To do so. I want you to click on the settings on the top right, and we can click on project settings. We are first in the project tab, the description. I'd like first to change this project thumbnail. I'm going to provide these images that you can use. Let me just click on these three dots and you can go to my folder here. This one, the project thumbnail. T's topical gage and it's going to be garage. For the description, we can call it, let's call this. This is my first character game. No. For the project name, we can call it my character game. For the company name, you can put the name of your company. I'm going to put mine, so it is a reality fakers. The next step, I want you to go to this maps and mode. This is really important here. For this default game mode, I want you to make sure that you are using our game mode. Let me just show you this blueprints, this one, MG mode. We call this MGA mode. It's not selected, so we have to select it.'s search for it. M game mode, this one right here. For this default maps, we're having the editor Stop and this one here, the game default map. We have to choose the level of our game. Let me just go back to the content. This is the level that we got. Game project. If you don't see it, you can click on file and save current level as, and you can call it anything that you want. I'm calling it here game project. All right. Let's go back to our project settings and we can choose it from here. It's called game projects, this one right here, click on it. Same thing goes for this game default map. Let's choose it from here. Nice. Next, we can jump to the packaging and let's see what we can do here. Down below in this built configuration, I would like to switch it from development to shipping. We're going to be shipping our game. For the staging directory, we can choose the directory where we want to put your game. Let me just put it here. Let's click new, and we can call this folder. Game my game project. Let's click on it and we can select click on select folder. Now it's select it. Next, we can jump to the supported platforms. I want to be publishing my game on windows. We can check all the platforms and I want I want to keep only that windows, this tab right here. For this target hardware, let me just click on it and see. For the target hardware, we're targeting the desktop and for the quality, I'd like to set it to scalable. Just so that our game can adapt based on each setup performance. It's the last step is going to be to go all the way down here t we reach this platform, and I want you to click on windows, and we need to do some changes here. For this editors slash, this is what you're going to see when you launch this project in IRL. It has nothing to do with publishing your game. But I'd like to put it here. Let me just put my image. This game splash. D click on it. For the game splash, the actual game splash. This is what you're going to see that first cover that you're going to see when you're going to be publishing our game. L star, I'd like to pick this game splash. Dlo we have the icon. The game icon, I think it's important. We have to set it. Let's click on Choose File from computer and we can pick our icon. Like I said, all these images, you can find them in the resources. Now we're ready to publish our game. I'd go back to my game project and here I'll click on platforms, and let's go to windows, and we can click on this package project. Let's click on it. We're going to need this SDK because we're not publishing our game on Android. We're going to do that in the next section. Let's just click Continue. And we are on this document, my game project that we selected earlier, so let's just select that folder. You can see the packaging projects for our game has started. Just give it some time. I think around it's going to take some time, 15 minutes to 30 minutes based on your game. The packaging has completed, so let's check our game. Inside my document, we've got this MGAme project. This is our game, so double click on windows. As you can see this icon, let me just click view. That's extra large, can choose this extra. This is our game. I'm going to just double click on it. And let's play our game. You can see that's covered that I told you about. Let me just allow access here. There we go, so we got our game. We can play it on windows. Isn't that really awesome? 58. Unity - Export Game Environment into Unity: In this section, we'll be taking our character into unity, building our game and publishing it on our mobile phones. Let's get down to it, so here we are unity. I assume that you have unity installed in your computer. Basically, this is the install. This is the first der install, 20222. I want you to make sure of something really important. Since we're going to be publishing our game for mobiles, we need to check something. I want you to click here and go to add modes. Here if you scroll now, you're going to have this Android built. If it's not, if you don't have it installed, just check check it here and start installing it. Once you have all these three models installed, you are good to go. Let's just go back. I'm going to just jump to projects, and I'm going to create a new project. Let's call it. My game character, my character game. I'm going to just keep it at TD and let's create a project. The first is going to be to bring our game environment. So I'm going to just try to organize the folders. Let's do right click. Let's create a new folder, and I would like to call it character game. Tsress enter, double click to enter this new folder. Let's start with let's create a new folder. Right click, create folder. Let's call it game environment. Double click and we can bring all these files. We got the FBX file and we got the two texts. I'm going to simply select everything and drag and drop them inside our game environment folder. We got our game environment or I'd you do is to just track it and drop it into our scene here. I'd like you set here the position to zero and zero, so let's just type that, so zero here, and zero on the Zax Perfect. Now I'd like you do is to assign, make the material a little bit better. As you can see the normal map is not applied. If we select our game environment, and if we scroll down, to define the material, going to be able to change these informations. We have to do is to create a new material. Let's do as collect here, create a new material, this material here, and we can call it GE material. GE stand for game environment. Here, we have the Albedo. I'd like to bring this albedo. The Albedo is the fuse or the cat map, Tex For the normal map, let's just drag and drop this. Drag it here, and we can click on fix now so we can fix this normal map. Perfect. Also for the smoothness, we can increase it. We can set it for example 2.6. All we have to do is to simply track this material and assign it here. You can see the difference. The new material has the normal map applied, which is great. Also here, like I said for the smoothness, if you want to make it a little bit glossy, you can increase that value. Let's set it 2.6. There we go so we got our game environment, so in the next comment material, we're going to start working on our character. Se. 59. Unity - Export Character into Unity: The next sep is going to be to bring our character and put it in our scene. What I'd like to do is to go back to my character game folder, this one and we can create a new file on a new folder, and we can call it character. Let's press enter, double click on the character folder, and we can bring those two files, BX files. My character and my character animations, three exported previously from our blender scene. Let's simply track them and drop them here. Next, we can drag and drop this mychar file, can drag it and drop it here. Let's work on it a little bit. For the character. We're missing some textures here, so we need to make sure to bring them all. These are the text surs, or electri the first is to create a new folder here inside my character. And we can call it textures. Inside it, let's assign or let's put all these textures that we got like this. That's great. As you can see by the fault, we got the skin applied as well as the eyes, which is good. We can work a little bit. On these materials, Let's can call care on plane and let's scroll down until we find the materials. We get the Ii. The scan. For the scan, I prefer to work on it separately. Let's write click, create, and we can create a new material. Let's call it scan. I'm going to just assign, let's put in this texture. Having improved the is on the third one. I'm going to simply drag it and put it in the albedo. Also, I'm going to just delete these two textures. We don't need them. Here in the skin material, we've got albedo. Let's go ahead and put this one right here. Can work a little bit on the smoothness, can reduce it a little bit down. Something like that looks reasonable for our character. For our t shirt, we can create a new material. Let's create material. Let's call it T shirt, and we can assign this in the Albedo. Let's track it and drop it here. This is how our character looks like. Looks fine. We can tweak a little bit the smoothness, or reduce it at bit do, and Let's do the same thing for the genes, right click, create a new material. Let's call it genes. I'm going to just assign the genes texture here, and let's go ahead and put the genes on top of our pants. Perfect. All right. So now, our character is ready. So in the next coming lecture, we're going to start working on it. See soon. 60. Unity - Add Joystick Canvas to Control our Character: It's tonight signed to make our character playable in Unity. But before doing that, we need to install a p, Joystick package. There is a free Joystick package that we can use. I want you to go to this Asset Store and let click on this search online. Make sure that you are logged in in this asset store website for Unity, and let's search for Joystick. Pack. This press enter, and basically we got this. This green thumbnail. Click on it, it's free, 100% free. We can click on Download. I already did that. So I'm having this option to open unity. I'm going to just click to pen. And t just wait for it a little bit. There we go, we got the Joystick. We can click on Download. Like I said, I already did that, I'm going to just click on nport. And we can scroll down here, and let's import everything. I'm going to just close this window and let's go back to my scene. In my scene, as you can see, we got the joystick pack added to our character game folder to our scene. What I actually do is to go back to my charactere game and I need to do is to add a new Canvas. I'm going to do right click here and let's add y, and we can go to Canvas. Let's press swer. Inside this canvass, I'd like to put this joystick. Let's search for it, so it's going to be in the prefabs. I'd like to use this fix joystick, can simply drag it and drop it inside our canvas. Right now, we got it. If we switch the game, you're going to be able to see this big joystick. But we go we need to tweak it a little bit. This is the joystick. We can change its position from here. You can change the position of our joystick. Also you can change the width and the height of it. You can scroll down a little bit to the scale and let's set the scale for example to 0.2. 0.2 like this. I think that's a little bit too low, so set it 2.5. From here, it's easy to control. We can play our game. Let's see. I'm going to just go back a little bit here. As you can see the joystick is working and that is fine. All we have to do right now is to assign it to our character. That if we take it up. For example, if we take our joystick up, I want my character to be moving forward. We're going to be doing that in the next matoral. S. 61. Unity - Make Character Playable in Unity: So it's tied to make our character playable. To do that, we're going to be creating a C sharp script. I want you to go back to the character game and I want you to create a new folder, let's care it scripts. Just for the sake of keeping everything organized. Scripts and Inside the scripts, let's create a new script. It's going to be C sharp script, and let's call it player controller. Let's double click on this play Controller script, C Sharp script, and just wait for our VS to launch. To save your time, I already provided the script that's going to make your character playable. You're going to find this in the resources, so just download it. This is the one. All you have to do is just copy everything. Copies and let's paste it down here. Control V, can paste it here. Basically, the name of this class should be the same player control. If you change it, make sure to change it also here. If it's the same, you can just go ahead and delete the top. Basically this function here, this fix updates function. It's going to see if the joystick is moving or not. If it's moving, we can do something here. Otherwise, we can apply something else. We can save this script and let's go back to unity, and what I let you do is to select my character, this character here. We need to add a component. The component is going to be the script. We can simply track this script and put it here. By default, you're going to have the rigid body. Basically the rigid body. Added here is added here, the required component type of rigid body. Down, we got the script. For the rigid body, I would like to assign my character. We can simply drag it and drop it into the rigid body. For the joystick. We can use this fixed joystick. Let's simply assign it right here. For the animator, we're going to be doing that in the next cama lecture. Here for the speed, we can increase the speed to five. Let's press enter. We can play our game, and let's see. I'm going to just take as you can see, it's falling down, our character is falling because there is no collision for our character. As well as the ground the game environment. What I'd actually do is to select, click on my character. Let's add a new components going to be capsule collideer. Not actually the capsule, but let me just find the other one. Collider, let's search for capsule. Yeah, this one. Let's scroll a little bit down and we can increase the radius of this capsule for the height, can increase it up, and let's sick it up. It must be matching the dimensions of our character, Let's see that from the side. You can also switch to the two D. Actually it's a little bit difficult to spot our cache, but that's fine, we can just do an estimation. Let's increase height by 4.15 0.5. I think something like this is going to be reasonable and can drag it a bit do. Perfect. We've got the collision, the caps of collider for our character. We need to do the same thing for our game environment. Let's select our game environment, and we can go down here and it's add the new component. It's going to be the mesh collider. Click on it. I'd like to keep it. Let me just try first. We can hide the mesh render, as we can see here the collder. The spring pack. The mesh rendered. Now let's play our game and let's see if we're going to be falling or not. There we go. We're on the floor right now. No perfectly. I fix that, but let me just try our joystick. It's working, but not that perfect. Let's go back and let's see what we can do. I'd like to select my character and we can go first to the rigid body. I prefer to increase this mass to something reasonable like 15 or 20. Let's just keep it at 20. And we can go down for this interpolate. I want to change to interpolate, so that we can have a smooth movement, also for the constraint, just so that we can avoid having those rotations. I'd like to freeze the rotation on x, y, and z. Let's go ahead and play our game again, and let's see. We can use joystick. It's a little bit better. I can see some improvement here. A. Let's go ahead and play our game so that you can see our progress. I'd like to cut it down here. Let's play that a little with this joystick, move it forward. Good. It's working just fine. But you can see this glitch problem that we got sometime. It happens with the collision of our ground. The collision it's not smooth at all. We got to fix it. Basically to fix this problem, we need to lock this rotation, this degree here. Let me just show you. For example, if we are here. Our character, it's not vertically aligned. It should be always set to zero like this. To do that, we need to go back to our script and work a little bit in it. First, we need to create a new variable that's going to represent the locked angle. Here at the top, so Let's double space here. Let's double enter to go down. We can start with the public float and let's float, let's call it fixed rotation. And we can call it, we can assign to it the number zero. Or actually let's assign to the number ten, just so that I can show you. We can close that with the semicolon, and we need to create a new function. It's going to be the update function. We don't have it here because we need to keep updating that value again and again. Let's go down and torch by private void updates. Let's press to accept that change. Here we need to start with the vector. Let's write this vector angles, and let's make it equal to transform point equal angles like this. Down below, let's write transform, transform point ar angles, and let's make it equal to new vector three, and let's open the parentheses here. We can close that with the same com. Inside these parentheses, we need to put we have in the x and y and z values of the rotations. For the x, we need to set it to this fixed rotation. I'm going to just copy this variable, control C, and let's spaces inside, and we can add a coma and let's bring the ar angles point y, let's add another coma and ar angles point z. C. Let's save this. Let's go back to our game. We're having a problem. Vector two does not contain a definition for Z. Let me just see. The problem is we're writing vector two, should be vector Tory, so let's just let out and replace it by vector. Control S, let's go back to our game. Sit for it to compile. Now we don't have any problems. Let's play our game. Let's see if the rotation of our game object for our characters can be a log ten. That is the case. Let's play a little bit with the joystick. Let's see. As you can see, we don't have that problem anymore. Our character is going smoothly. All we have to do right now is to just go back to our scripts. And set this angle, the fixed crotion to zero instead of ten. T S go back. We can score a little bit down here and here we have the fixed crotion. Because we set our variable to be public here. That's fine. We can just keep it at zero. Let's play, and basically we're good to go. In the next lecture, we're going to start assigning the animations, the idle and run and the walk animations. See you in the next lecture. Take. 62. Unity - Assigning Animations to Character using Animator Controller in Unity: All right. The next step is going to be to assign the animations to our character. Basically what I'd like to do is this. Let me just play the game. I want when we take the joystick up like this, I want to make my character one. Let's do that. And once we drop this or release the joystick, we want to switch to the idol movement. Let's get down to it. First, I'd like to go back to my character here, and we can do right click and let's create a new animator. This animator controller. Let's click on it and we can call it my animator. We can assign this animator to our character. So let's click on our character, scroll down to our script. We're having this animator slot. We can simply drag and drop this my animator here. It's not possible yet, but we're going to work on it. Let's double click on my animator to having this state, the entry. I'd like to do is to put the idol animation as the entry. We can go to my character animations, this one, animations. We can click on this icon so that we can have all these animations. We're having here the idol. Let me just change here this. Having the idle to jump, run, and walk. Let's try the run. We can simply track it here, so it's going to be connected to the entry. This means that once we play our game, we're going to be seeing the first animation, which is the run. It's not yet. We going to be able to see TTS because we have to assign our animator. Let's go back here and let's see if it's going to be possible right now. Click still nothing. What we need to do is to add a new animator, so we can select my character and add animator here, this one. We can take it all the way to the top. Top here. For the controller, we can use my animator and for the Avatar. The Avatar still not possible, but let me show you how can we do it. We need to go back to my character animations and let's double click on it. Just click on it. No need to double click. Here for the g. I want you to switch to the g here. We're having the type of animation generic, I want you to switch it to humanoid and we can apply it. Let's apply it right now. After that, we can go back to the generic. I want you to do this step so that we can make this animator visible by unit. I don't know why it's happening. Just do the same thing and you're going to be fine. Now let's go back to my character, and we can scroll down here. Now if we click here, we're going to be able to see this my character animation. Now it's visible. Let's also assign it down below in our scripts for the animator here, so we can select my character. Then. Now if you play our game. Like I said, we're going to be seeing this entry, which is the run animation. Let me just go here to my scene, go back, and let's start again. We can take, let's play this one again. We're having the run animation. But it's only running once. What we need to do is to go back to the run animation, double click on it. Select the run animation, and here I want you to click on edit. If we scroll real down, we can have this option the loop time, I want you to check it and go down and just apply it. Now if we play our game, The first animation that we got in our animator, which is the run, it's going to keep looping over and over again. But as you might guess, we don't need to have the run animation right of the spot. What we need to do is to have the idle first. But I prefer to do it differently, m just so you. I'm going to just select this run animation. I'm going to just delete it. Let's do right click and we can create a new state. It's going to be a blend tree. So let's click on it. We can select this plant tree, and let's call it. Movements movement. We can scroll a little bit down, double click on it, select the blend tree. Here in this list, the motion list, we can add three motions. Let's add the first one, the second motion, and the third motion. The first motion is going to be the idle, second going to be the walk and the run. Let me just show you that. Here for the idol, I'm going to just simply drag and drop the idle, to be the first motion. For the second motion, I'm going to drag and drop the walk, and lastly, we need to bring the run. As you can see, we got it all connected here, which is fine. Check this out. If we double click here under this node blint tree, you can see this character that we got here. Let me just maximize it a little bit up. If we play this and if we try to take this value 0-1, we can be easily moving from idle to the walk to the run in a smooth way. You can see that. This is one of the best ways to set your animations is by using this blend tree. Now it's going to be easier to address this variable, this blend variable from our script. But before doing that, we can change, for example, let me just We can change, for example, this bland, let's call it speed. Caracter speed. Now we got it. Let's go back to our script and inside this fixed update. We got the joystick function. If the joystick function is running, if we are moving, so I want to do something. Basically what I'd actually do is to change this value. Change this value 0-1. I want to set it for example to one. Let's do that. Here, let's set, I'm going to bring the animator. Same variable that you've got on the top, this animator. Imater. Nimter, is going to be point set float. Let's open the parentheses, and we can call it speed. Let's bring the speed comma, and we can set it to one. We got this and elsewhere. Let's just copy this value. We can go to the else. Meaning that the joystick, it's not touched. If it's not touched, let's set the speed to zero. Control S, let's go back here. Switch for it to compile. Let's play our game. We'll go back to our scene. Now we're having the idle, and we're having the run. Perfect. But for the idle, it's not loop in, so what we need to do is to double click on the idol. Let's here to edit, scroll down. For the loop time, let's set it to loop. We can apply this. Let's play our game again, and let's see. The idle keeps running. Let's just go. There we go. It's walking just fine. 63. Unity - Best Trick to Make Character Smooth Animation Transition: To show you a quick track that we can apply to our animation. If we play, if we take our character forward, we can see this transition from idle to running to back to idle. It's completely sudden. We don't want that. We want to have some smooth transition. Between these animations. To do that, let's go back to our scripts and inside the set float animation, I'd like to add the third parameter. Let's add the comma here. I'd like to add first the speed or the timing to go back to the zero animation, which is 0.1 f, and for the third parameter. Let's add the point Delta T. Let's copy the same line. Let's go back, go down here to the zero speed. We can add the comma and pace that. Control as to save our script, and let's go back here, let's switch for it to compile, and we can play our game, and let's see the difference. Now if we go forward and drop and release that joystick. Our cache is going to be going back to the idle in a smooth way. 64. Unity - Make Camera Follows Character: In this story, I'd like to make my camera follows my character. Now if you play our game, so this is our game here on the right side. As you can see the camera is really messed up, we're not able to see our character. We have to fix that. Let me just go back to my game here. You can go to tur game scripts, and it's create a new script for our camera. Let's do right click, create a new C sharp script, and we can call it camera. Follow orbit. Let's double click on it. Here, I want you to copy and based script that you that you're going to find in the resources. This script right here. You can just copy, for example, just what is inside this public class, Control C, and let's go back here and we can delete everything inside, Control V, and control S to save this. Can go back to our scene. After that, I want you to select the, the main camera, and you can scroll all the way down. Let's bring this camera follow orbit. Can simply drag it and drop it to be the last element here. So the target, it's going to be the character, so we can simply drag and drop the character here, it's going to be the target of our camera. For the follow of speed, it's such a five, and the offsets, we need to adjust that based on the play. Let's play our game. Let's see. We're it's following from here. But we need to set work a little bit better on the angle. Let's just scroll. C jeck this one here to the side. For the camera, we can scroll down, and let's check it a little bit. Let's check the z back a little bit. For the Y can check it like this. I would say four here and nine or minus nine on the z. Four on the y and minus nine on the z. Let's set that, we can exit the play mode. Four here n minus nine. Let's play out game again, and let's see. It's working just fine. I think we need to increase the speed of our character. Let me just do do. I'm going to just exit a game mode. Let's select my character. Score the down. To the move speed, let's set it to 15. Let's play our game, and let's go down there we go. Let's actually have to invert the z location to the other side. Let me just show you. I'd like to put it like this, but before doing that, let's invert our character. We can set it to -180 degree on the y axis like this, so this is can be facing our environment. For the camera, you can set it to nine instead of minus nine. So let's play our game, and let's see. Now it's perfect. Now the camera is following our character. In the next lecture, we're going to continue working on our game. See you soon. 65. Unity - Add HDRI Lighting in Unity: Industrial, I'd like to work on our environment. I'd like to add an HDR map so that we can change this lighting that we got in our scene. To do that, I would like to bring an HDR map. We can go to Carature game here. Inside our game environment, we can bring this new HDR map. This one. You can find it in the resources. I just put it over here. And we can click on it. In the text of shape, I want to switch it from two D to cube. After that, we can score a little bit down and we can click on Apply. After that, we need to create a new material, so let's do right click, create material. Let's call it H DAP. For the type, the shader type. Let's click on here. Let's choose a cube map, skybox. Basically in this cube HDR, we can simply brand this HDR map, can drop it right here. After that, we need to go to the lighting tab. If you don't see it, you can go here to window, panels, and go to Lighting. Here I want you to go to the environment. Under this skybox material, we can simply drag and drop the material that we just created. Let's drag it and drop it right here. Basically we got it, we got our HDR map, we can work a little bit on the intensity. Let's reduce it to 0.25. I like that, real time shadow. For the resolution, I'd like to increase it to 1024, and I'd like to get rid of this directional light. Go back to the inspector, Let's try to set the intensity to 0.25 or 0.75. Let's improve the lighting in our scene. First, I'd like to take this intensity multiplier to something like one. That's going to be fine. For the resolution for HDR map, I'd like to take it to 248 to have better quality. Down below, I'd like to activate this fog. You need to have some fog right in the horizon. Nice. Let's give it the same color of the sunset. This color, for example. Can make it a little bit dark, something like this here. Yeah, something like this. Also, let's go back and we can increase the density. Let's increases the density to 0.15. Or I just stick to one. Let's go back to the environment to this directional lighting. You can switch back to the inspector. Here I want to do some two weakens. Here for the intensity, let's set it to zero point t set it to one. T one is too much, so let's set it 2.5 or 0.75. For this strength, the resolution, I'd like to take it all the way to one. For this resolution, I'd like to pick the very high resolution to make it really high quality. For the type of the shadow, we can experiment a little bit with it. Let's switch from soft to hard shadow. I'm going to just go with soft. Also here for the color of the sunset. We can make it a little bit bluish. Let's try that out. I think I'm going to just go with this orange color. Fine, Let me just go back to the environment lighting. Can reduce a little bit this to 0.5, the intensity. Or actually just keep it keep this one at 0.85, but reduce this intensity multiplier to something like 0.5. Let's play our game. Let's see. Now it looks much more better. Can I just go with this. 66. Unity - Finalize & Publish Character Game on Android: What I'd like to do is to build our game and publish it on our mobile phone. We need to publish it as an APK format so that it can be readable by our phones. Let's go to a file and we can go to the build settings. These are the build settings of our game. What I'd like to do is to switch from windows to Android. Down below here, we're having this option to switch platform because we are set first by the windows. We need to switch to Android. Let's just click on switch platforms. After that, we can go to the player settings and we can tweak a little bit the name of our game as well as the company name. For example, let's call it reality figures, and for the product name, we can call it character game. My character game, something like that. For the version, that's fine, I'm going to just keep it like this. For this icon, you can pick the icon of your game. Basically in order to change this icon, what we need to do is this. We need to go back to our assets folder here. I'm going to simply drag and drop this icon. It's a PNG file, so we can simply drag it and put it in our assets. Let's go back to the publishing settings. We can go to file, build settings, go to player settings. Here we can click and let's search for icon. Same name that we got this one. Tab Carcon, and as you can see it's set to the icon of our game. So all we have to do right now is to build our game, so I'm going to just click on Build, and we can put it, for example, to my documents. Click Unity and double click and let's save our APK format file here. Let's call it My game. My character game. Let's save. I'm going to be saving my senior. I'll just switch for it a little bit. I'll just switch for it to finish. Finally, we got our game exported as an APK file. Now it's a mobile app. All you need to do is just copy it into your phone, install it, and play it. Thank you so much for watching. This is the end of this course. If you need any assistance, I'll be glad to help you out. Thank you, and I hope to see you in future projects. Take care. 67. Final Lecture Conclusion: And congratulations, you've made it to the very end. We did it. We officially built our own game from scratch. It was a long journey. We started from two D blueprint and went all the way to modeling, texturing, animating our character, designing our own game environment, and building our final game in both in oral engine and unity. Hopefully, the knowledge in this course did and will help you in year to the journey, so right now you should be ready to tackle any character project thrown at you. By the way, I'm providing all the project files here for you to download and compare with your own work. It's going to be the character fully rigged with animations included the game environment, and the final game that we created together. So if you need help, just message me here, I took the promise to make my students my top priority, so just don't hesitate to contact me anytime you want. So I hope this course was exactly what you are looking for. I wish you a lot of luck in your career as a tit designer. Also, if you can take please the time to rate this course, that encourages me to keep improving it and add more projects. So thank you so much for sticking with me till the end. I really appreciate that, and I hope to see you in future projects. Have a fantastic day.