WEBVTT 0 00:00:00.340 --> 00:00:01.000 Hi, 1 00:00:01.010 --> 00:00:04.070 I'm Union Casper and in this video I will show you the 2 00:00:04.070 --> 00:00:10.370 workflow of creating stylized characters in blender based on my experience in 3 00:00:10.370 --> 00:00:14.170 film productions at the blender animation studio if you find this topic 4 00:00:14.170 --> 00:00:18.660 interesting visit the blender cloud where I go into far more detail 5 00:00:18.840 --> 00:00:20.550 by giving a step by step 6 00:00:20.740 --> 00:00:23.460 tutorial course on the subject. 7 00:00:23.840 --> 00:00:28.120 This tutorial is, in a way, a brief version of the full course. 8 00:00:28.130 --> 00:00:32.659 So be aware that I'm not going to dwell on any details. 9 00:00:33.340 --> 00:00:36.550 There's a link in the description, but let's just dive straight in. 10 00:00:37.040 --> 00:00:38.420 The full character creation. 11 00:00:38.420 --> 00:00:42.090 Workflow is often not very linear and can include different 12 00:00:42.090 --> 00:00:45.950 steps based on the type and style of the character. 13 00:00:46.440 --> 00:00:51.060 In this case, I'm giving a somewhat idealized simplified workflow 14 00:00:51.740 --> 00:00:57.230 as the very first thing. It's necessary to know what the character is supposed to be. 15 00:00:57.240 --> 00:01:01.350 In this case, it's not going to be overly cartoony or realistic, 16 00:01:01.360 --> 00:01:03.160 but sort of a mix of both. 17 00:01:03.540 --> 00:01:07.950 This way the style is abstracted enough to not be uncanny, 18 00:01:07.960 --> 00:01:13.050 but also not too detached from reality to still feel grounded 19 00:01:13.840 --> 00:01:18.850 Apart from that, you should have an idea of who your character is supposed to be 20 00:01:19.440 --> 00:01:25.300 nail down individual points like ethnicity, gender, age, time, 21 00:01:25.300 --> 00:01:30.060 period occupation attitude and potentially more 22 00:01:30.540 --> 00:01:33.750 really nail down who you want to create. 23 00:01:34.640 --> 00:01:38.160 Then, before this leads us into doing some first concepts, 24 00:01:38.280 --> 00:01:40.660 it's good to do some research 25 00:01:41.140 --> 00:01:44.100 this step might make you re examine your character, 26 00:01:44.110 --> 00:01:47.860 but it also should inspire and guide you on creating it. 27 00:01:48.340 --> 00:01:51.740 They need to be references on the character itself. 28 00:01:51.810 --> 00:01:55.150 Maybe you have an actor in mind as an inspiration for example, 29 00:01:55.540 --> 00:01:58.310 you should also gather references for the style you want to 30 00:01:58.310 --> 00:02:01.110 use which are likely going to be artworks by other people. 31 00:02:01.110 --> 00:02:01.860 Which is okay 32 00:02:02.440 --> 00:02:05.650 then there are also references on the technical execution. 33 00:02:06.040 --> 00:02:11.520 If you want to go for a fur coat then find out how other people tried 34 00:02:11.530 --> 00:02:16.360 and succeeded before you were just going to save you a lot of trial and error. 35 00:02:17.040 --> 00:02:20.470 And of course you should always include references from 36 00:02:20.470 --> 00:02:25.350 real life like anatomy and fabric behavior and more 37 00:02:25.840 --> 00:02:30.160 know how real life works before you recreate and abstract it. 38 00:02:30.740 --> 00:02:34.670 Once you have all of it display it onto a collage ideally 39 00:02:34.670 --> 00:02:40.660 nicely organized in size and groups based on importance and categorization. 40 00:02:41.040 --> 00:02:45.460 My personal recommendation is using pure ref on a second monitor, 41 00:02:45.470 --> 00:02:48.560 phone display or even printing it out on paper. 42 00:02:49.340 --> 00:02:52.560 Now it's time to work on the design of the character. 43 00:02:53.230 --> 00:02:58.210 The ideal scenario is to work from an existing concept before going into three D. 44 00:02:58.260 --> 00:03:02.500 This might be your own drawing or someone else's with their permission and credit. 45 00:03:02.500 --> 00:03:03.160 Of course 46 00:03:03.640 --> 00:03:04.500 I have to admit 47 00:03:04.640 --> 00:03:09.360 that in my case I didn't work from any drawing but I can highly recommend you do so 48 00:03:09.530 --> 00:03:12.760 since it will save you a lot of time throughout the process. 49 00:03:13.340 --> 00:03:16.720 The concept should embody a lot of the preparation from 50 00:03:16.720 --> 00:03:19.360 before and serve as a reference for the model. 51 00:03:20.340 --> 00:03:22.240 It's good to start off the three D. 52 00:03:22.240 --> 00:03:24.560 sculpting with some simple blocking, 53 00:03:24.570 --> 00:03:29.160 which means laying out the overall proportions with simple shapes. 54 00:03:29.740 --> 00:03:32.140 This can be done by creating and placing cubes, 55 00:03:32.150 --> 00:03:35.560 cylinders and spheres and sculpting them roughly into shape 56 00:03:36.240 --> 00:03:41.360 from here on you add more definition and detail over time. Step by step. 57 00:03:41.840 --> 00:03:44.040 It's okay to keep the shapes very plain and rough 58 00:03:44.040 --> 00:03:46.850 for now until the overall shapes are set in stone, 59 00:03:47.840 --> 00:03:50.280 definitely keep multiple objects around. 60 00:03:50.300 --> 00:03:53.810 You don't need to sculpt everything from one object. 61 00:03:53.820 --> 00:03:57.460 Also make good use of symmetry options to save time 62 00:03:58.140 --> 00:04:01.160 to not really worry about running out of geometry to sculpt on. 63 00:04:01.250 --> 00:04:03.960 There are helpful tools and sculpt mode 64 00:04:04.340 --> 00:04:08.380 one is dynamic topology which is enabled with control D. 65 00:04:08.480 --> 00:04:12.950 Which creates and removes geometry dynamically. While you are sculpting 66 00:04:14.040 --> 00:04:14.820 in the options, 67 00:04:14.820 --> 00:04:18.750 you can further define things like the resolution and the re meshing method. 68 00:04:19.339 --> 00:04:23.770 There's also the new fossil re measure that re measures the entire object 69 00:04:23.780 --> 00:04:29.010 almost immediately with the shortcut control are based on its volume alone, 70 00:04:29.020 --> 00:04:34.060 which is a much faster and reliable method with much better performance. 71 00:04:34.640 --> 00:04:37.850 It even re measures intersecting objects if you merge them. 72 00:04:38.740 --> 00:04:44.800 You also don't actually need to use that many brushes to get the first sculpt going 73 00:04:44.910 --> 00:04:49.560 simple draw. Crease smooth and grab brushes are usually enough 74 00:04:50.340 --> 00:04:52.690 once everything is roughly where it should be. 75 00:04:52.760 --> 00:04:58.030 It's good to finally merge the separate objects either with the Berlin modifier 76 00:04:58.040 --> 00:05:02.160 or by just joining them and re meshing everything with the vaccine every measure 77 00:05:03.140 --> 00:05:03.950 afterwards, 78 00:05:03.960 --> 00:05:07.380 you can paint the objects with vertex colors to get 79 00:05:07.380 --> 00:05:10.060 a better impression of how the character will look like. 80 00:05:10.840 --> 00:05:15.200 This is very helpful but also remember to turn the colors off from time to time 81 00:05:15.380 --> 00:05:18.660 since they can obscure the actual shapes of the sculpt. 82 00:05:19.140 --> 00:05:22.550 You can even paint in things that are not there like 83 00:05:22.560 --> 00:05:26.660 eyebrows and eyelashes to keep things fast and flexible for now 84 00:05:27.140 --> 00:05:27.910 for the hair, 85 00:05:27.920 --> 00:05:31.570 you can again use separate objects or extract geometry from 86 00:05:31.570 --> 00:05:35.710 a mask or by using the skin modifier or even curves 87 00:05:35.870 --> 00:05:38.750 to create separate hair strands or ponytails. 88 00:05:39.840 --> 00:05:42.560 Afterwards add vertex colors to those as well. 89 00:05:42.940 --> 00:05:45.360 If you don't have a strict concept or to follow, 90 00:05:45.370 --> 00:05:48.010 you can continue to polish the head sculpt or 91 00:05:48.010 --> 00:05:51.660 create design variations before settling on one of them. 92 00:05:52.140 --> 00:05:55.210 Just make sure that you increase the resolution and polish 93 00:05:55.340 --> 00:05:58.860 for the final head sculpt until you are happy with the results. 94 00:05:59.940 --> 00:06:02.090 Different matte caps or even your own custom 95 00:06:02.090 --> 00:06:06.060 ones can help you see surface imperfections more clearly 96 00:06:07.140 --> 00:06:10.480 and don't worry about losing the vertex colors at this step, 97 00:06:10.490 --> 00:06:12.860 since they can always be repainted afterwards, 98 00:06:13.240 --> 00:06:16.560 they just serve as a pre visualization right now anyway 99 00:06:17.240 --> 00:06:21.430 and again keep references on the site, especially when sculpting things like hair, 100 00:06:21.440 --> 00:06:24.560 which can be very tricky to pull off if you're not used to it 101 00:06:25.440 --> 00:06:28.410 for the rest of the body. It's basically the same thing. 102 00:06:28.420 --> 00:06:31.490 Starting with basic separate objects To block out 103 00:06:31.490 --> 00:06:34.000 the proportions and shapes as a good workflow. 104 00:06:34.010 --> 00:06:37.380 Also try using the mirror modifier with a custom 105 00:06:37.380 --> 00:06:40.440 mirror object that serves as a center axis. 106 00:06:40.450 --> 00:06:43.440 This way you can easily keep the entire body 107 00:06:43.440 --> 00:06:47.060 symmetrical no matter the transforms of each object. 108 00:06:47.640 --> 00:06:50.880 Also don't forget to apply the scale with control 109 00:06:50.890 --> 00:06:54.060 a of your objects to avoid weird brush behavior. 110 00:06:55.340 --> 00:06:59.230 It's good to sculpt the character in a resting post like 80 posts 111 00:06:59.360 --> 00:07:05.360 with very straightened and angular limps or in an a post which is more relaxed with 112 00:07:06.040 --> 00:07:08.650 For example, 45° Arm Angles. 113 00:07:10.040 --> 00:07:14.220 The depot's is a better resting pose for later rigging and animation while 114 00:07:14.220 --> 00:07:18.280 the a post will give you more accurate defamation in the animation. 115 00:07:18.300 --> 00:07:21.860 If the character is leaning more towards a realistic style, 116 00:07:22.640 --> 00:07:25.850 keep sculpting and refining the proportions and shapes 117 00:07:25.980 --> 00:07:29.150 until you're happy before joining everything together 118 00:07:30.040 --> 00:07:30.890 for the clothing. 119 00:07:30.890 --> 00:07:36.210 It's again good to extract new objects from masks and refining them further 120 00:07:36.210 --> 00:07:38.460 by adding faults wherever there should be 121 00:07:38.460 --> 00:07:40.860 compression and stretching in the fabric. 122 00:07:41.640 --> 00:07:44.670 Vertex colors will again help you with your impression of the character 123 00:07:44.670 --> 00:07:48.060 so far and you get to experiment with different color palettes. 124 00:07:48.840 --> 00:07:51.870 If you decide to change the overall proportions of the character, 125 00:07:51.880 --> 00:07:54.070 it's easier to merge all the objects of 126 00:07:54.070 --> 00:07:56.850 the body together and adjust everything together. 127 00:07:57.540 --> 00:08:00.660 Just be careful about any modifiers. You might have still active 128 00:08:01.440 --> 00:08:05.590 afterwards. You can split them into individual objects again with a shortcut P. 129 00:08:05.630 --> 00:08:06.440 And edit mode, 130 00:08:06.560 --> 00:08:10.310 you can again create variations of the outfit but extracting them 131 00:08:10.310 --> 00:08:13.310 via masks is not the only option to create them. 132 00:08:13.390 --> 00:08:16.200 You can also, for example box model, a shirt 133 00:08:16.310 --> 00:08:17.460 subdivided a bit 134 00:08:17.940 --> 00:08:18.430 and shrink, 135 00:08:18.430 --> 00:08:22.650 wrap it back onto the sculpted body and continue to finding it from there. 136 00:08:23.240 --> 00:08:27.220 Keep adding more sculpted parts of the outfits until everything is there. 137 00:08:27.240 --> 00:08:31.760 Some objects can remain a bit rough until you get to the final polishing later on 138 00:08:33.740 --> 00:08:35.870 before settling on the design completely. 139 00:08:36.090 --> 00:08:41.059 It's a great practice to test the current one and see if it can be tweaked in any way. 140 00:08:41.539 --> 00:08:44.250 This is also important for the later of rigging and animation 141 00:08:44.410 --> 00:08:47.060 to have a style guide already at hand 142 00:08:47.840 --> 00:08:49.990 before work can start on that. 143 00:08:50.000 --> 00:08:53.320 It's important to have a better mesh to work with instead 144 00:08:53.320 --> 00:08:55.660 of the highly dense sculpt of the head right now, 145 00:08:56.040 --> 00:09:01.460 I can recommend to either roughly remodel the head manually from subdivided cube 146 00:09:02.040 --> 00:09:05.250 that you snap back onto the sculpt with a shrink wrap modifier 147 00:09:05.840 --> 00:09:10.060 or to use the new quadri measure in the object data tap to the site. 148 00:09:11.340 --> 00:09:15.110 Just make sure to have enough overall density and place the 149 00:09:15.110 --> 00:09:18.490 geometry a bit more accurately around the eyes and mouth. 150 00:09:18.500 --> 00:09:20.360 With some manual modeling 151 00:09:21.140 --> 00:09:27.260 Also make sure the eyelids have 3-4 edge loops on them to be able to close them too 152 00:09:27.740 --> 00:09:29.960 at an inner mouth and some teeth and the 153 00:09:29.960 --> 00:09:33.780 tongue that closely represents the later polished result. 154 00:09:33.790 --> 00:09:36.050 But it's okay if they're a bit rough for now 155 00:09:37.140 --> 00:09:39.610 to get most of the sculpted detail back. 156 00:09:39.620 --> 00:09:42.600 You can add a multi resolution modifier subdivided a 157 00:09:42.600 --> 00:09:45.370 couple of times and add a shrink wrap modifier, 158 00:09:45.380 --> 00:09:47.860 shrink wrap the original scope onto the new one 159 00:09:48.060 --> 00:09:52.260 and apply it and you will have the detailed version on the multi rest layers. 160 00:09:52.740 --> 00:09:55.200 Just make sure to not shrink wrap any geometry 161 00:09:55.360 --> 00:09:59.850 that wasn't there in the original sculpt like the inner mouth and in her eyes 162 00:10:00.340 --> 00:10:02.450 with the vertex group and some white painting. 163 00:10:02.460 --> 00:10:06.550 You can exclude parts to be shrink wrapped by adding it to the modifier 164 00:10:08.040 --> 00:10:09.140 at some shape keys, 165 00:10:09.170 --> 00:10:11.280 model and sculpt on each one to get 166 00:10:11.280 --> 00:10:13.960 different facial movements and mix and merge them. 167 00:10:13.960 --> 00:10:16.560 However you like to create various expressions. 168 00:10:17.140 --> 00:10:20.090 Be careful to only work on the base resolution, 169 00:10:20.270 --> 00:10:22.150 not any of the multi rest layers 170 00:10:23.240 --> 00:10:24.170 for this task. 171 00:10:24.180 --> 00:10:27.970 You essentially only need the grab and smooth brushes to 172 00:10:27.970 --> 00:10:30.650 move stuff around and relax areas a little bit. 173 00:10:31.240 --> 00:10:33.250 Start off with the basics 174 00:10:33.410 --> 00:10:35.950 like close my eyes and an open mouth. 175 00:10:36.640 --> 00:10:41.320 You can create the same shape keys for multiple objects and either animate them 176 00:10:41.320 --> 00:10:46.660 together or even hook them up via drivers so that they all slide together 177 00:10:47.240 --> 00:10:50.160 from their work your way up with simple smiles, 178 00:10:50.170 --> 00:10:54.650 angry shouts and very stretched and compressed expression tests 179 00:10:55.640 --> 00:10:59.960 this will inform you if the current proportions work well or need to be tweaked 180 00:11:00.340 --> 00:11:04.750 but by the end you should have some appealing expressions to show off as well. 181 00:11:05.340 --> 00:11:07.670 Like always references are important. 182 00:11:07.680 --> 00:11:12.060 Even if you're just filming yourself to know how a face is really supposed to move, 183 00:11:12.640 --> 00:11:17.590 you might realize the eye shape doesn't really work with all the expressions or that 184 00:11:17.590 --> 00:11:21.850 the eyebrows are too high by default or the teeth are too low and small. 185 00:11:22.340 --> 00:11:24.950 Just tweak those areas until it looks right. 186 00:11:25.940 --> 00:11:29.190 Just make sure to always get some feedback from friends or 187 00:11:29.190 --> 00:11:32.420 co workers before moving on to the next big step. 188 00:11:32.430 --> 00:11:34.700 Or if you're in an actual production, 189 00:11:34.870 --> 00:11:40.160 sign it off like all the other steps by an art director or whoever your superiors 190 00:11:41.340 --> 00:11:42.750 to make it all look even better. 191 00:11:42.760 --> 00:11:46.360 You can add some additional asymmetry to insert more character and 192 00:11:46.360 --> 00:11:50.360 appeal into each expression and you're done with a general design 193 00:11:51.240 --> 00:11:52.120 from here on 194 00:11:52.250 --> 00:11:57.450 the task is to create the actual production ready asset and finalize the style. 195 00:11:58.540 --> 00:12:01.090 The sculpted character so far is sadly impossible 196 00:12:01.090 --> 00:12:03.390 to rig and animate in any production. 197 00:12:03.620 --> 00:12:05.560 So the model needs to be cleaned up. 198 00:12:05.940 --> 00:12:07.950 This is where the reader apology comes in 199 00:12:08.340 --> 00:12:11.640 read apology is about creating a version of the model that has the 200 00:12:11.640 --> 00:12:16.740 lowest necessary amount of geometry with the same shapes as the original one. 201 00:12:16.750 --> 00:12:18.450 Especially when subdividing it. 202 00:12:18.940 --> 00:12:23.150 Just create a new object and either start from a simple base object 203 00:12:23.160 --> 00:12:26.860 or just poorly model it all the way starting from the face, 204 00:12:27.640 --> 00:12:29.710 Make sure to use a mirror and shrink 205 00:12:29.710 --> 00:12:32.770 wrap modifier and enable face snapping in edit mode 206 00:12:33.000 --> 00:12:35.350 to keep things close to the original sculpt 207 00:12:35.840 --> 00:12:39.570 from here on it's all about extruding, ripping, cutting, 208 00:12:39.580 --> 00:12:43.760 filling and merging geometry to get the topology you need. 209 00:12:44.140 --> 00:12:47.460 There are a few things that make up a good read apology. 210 00:12:47.840 --> 00:12:49.970 The edge flow is very important, 211 00:12:49.980 --> 00:12:53.660 which is the direction of the loops that are going around the surface. 212 00:12:54.240 --> 00:12:57.460 These are all made from quartz which our faces with 213 00:12:57.470 --> 00:13:02.210 four sides and their lead into different directions via pulse, 214 00:13:02.220 --> 00:13:06.820 which advertises with less or more than four connected edges 215 00:13:07.340 --> 00:13:09.920 but never go above five connected edges. 216 00:13:09.930 --> 00:13:12.860 Otherwise they might become really visible. 217 00:13:13.440 --> 00:13:15.200 It's very much a puzzle where you need to 218 00:13:15.200 --> 00:13:19.100 create an efficient and very functional version of your objects 219 00:13:19.310 --> 00:13:20.080 that supports 220 00:13:20.200 --> 00:13:24.260 any sort of movement compression or stretching that will happen with it 221 00:13:24.640 --> 00:13:26.120 once it gets animated. 222 00:13:26.740 --> 00:13:29.460 For example, just like for the expression tests, 223 00:13:29.470 --> 00:13:32.950 it's good to add some extra loops on the eyelids since 224 00:13:32.950 --> 00:13:36.760 these will have to close to and need that extra geometry 225 00:13:37.240 --> 00:13:42.760 joints need a minimum of three edge loops to be able to bend while keeping their shape 226 00:13:43.240 --> 00:13:45.790 if you want to exaggerate a crease somewhere in the face. 227 00:13:45.790 --> 00:13:49.530 For certain expressions also have a minimum of three edge loops 228 00:13:49.530 --> 00:13:52.960 ready like at the last line or between the brows. 229 00:13:53.540 --> 00:13:56.440 Using the subdivision surface modifier will smooth the 230 00:13:56.440 --> 00:13:59.340 entire results so be aware of stretching. 231 00:13:59.690 --> 00:14:04.830 That's why you should mostly rely on evenly sized squats all over the place, 232 00:14:04.940 --> 00:14:08.750 especially on areas that will deform a lot or very curved 233 00:14:09.340 --> 00:14:12.760 increases and hard surfaces are an exception usually since the 234 00:14:12.760 --> 00:14:16.820 former needs more density to stay sharp and the latter 235 00:14:17.100 --> 00:14:19.860 doesn't need any extra loops to deform. Well, 236 00:14:20.440 --> 00:14:23.920 it's generally a good practice to start from the face and to reach, 237 00:14:23.920 --> 00:14:28.860 apologize each limp separately from there and stitch them together afterwards. 238 00:14:29.640 --> 00:14:33.490 Make the loops generally follow the shapes and muscles of 239 00:14:33.500 --> 00:14:36.360 the body to support the direction they will reform too. 240 00:14:37.240 --> 00:14:40.740 Make sure that most loops lead back into each other. 241 00:14:40.750 --> 00:14:44.160 You don't want some loops to spiral all over your objects. 242 00:14:44.740 --> 00:14:48.190 At some point you will have read apologized everything that was sculpted, 243 00:14:48.370 --> 00:14:51.850 which is when you will have to model things that weren't already there. 244 00:14:52.540 --> 00:14:54.880 But first add a multi rest modifier 245 00:14:55.080 --> 00:14:59.160 subdivided a couple of times and apply the shrink wrap over it. 246 00:14:59.540 --> 00:15:04.160 Then click on apply base and get rid of the multifarious modifier to. 247 00:15:04.640 --> 00:15:08.390 Now your anthropology will have the same volumes as 248 00:15:08.390 --> 00:15:11.960 the original sculpt when adding a subdivision surface modifier 249 00:15:12.640 --> 00:15:16.550 from here on out you can model in some inner islets in a mouth, 250 00:15:16.560 --> 00:15:22.150 polished the already existing teeth gums and tongue and model in some proper eyes. 251 00:15:22.740 --> 00:15:25.900 When you get to the clothing, you can duplicate parts of the body 252 00:15:26.100 --> 00:15:28.050 to have a good base to start from. 253 00:15:28.540 --> 00:15:33.150 This is also the time to add some more definition to roughly sculpted 254 00:15:33.150 --> 00:15:38.650 objects or adding seems and nice pockets to pants and other details. 255 00:15:39.240 --> 00:15:40.130 Once it's done, 256 00:15:40.260 --> 00:15:42.170 make sure to have the asset 257 00:15:42.480 --> 00:15:47.230 in the correct world scale like roughly 1.7 m in my case. 258 00:15:47.340 --> 00:15:49.460 And it's time to go to the next step. 259 00:15:50.440 --> 00:15:54.910 Just like the topology is the first step to some good rigging and deformations. 260 00:15:55.060 --> 00:15:59.400 The UV maps are the first step to good textures and materials. 261 00:15:59.410 --> 00:16:04.310 Just imagine you take some scissors and make multiple cuts on your cleanly 262 00:16:04.310 --> 00:16:09.160 model character unfolded onto a flat surface and place an image on top. 263 00:16:09.740 --> 00:16:11.590 This flat unfolded mesh 264 00:16:11.760 --> 00:16:12.860 is a UV map 265 00:16:13.240 --> 00:16:15.850 and that's how texturizing a digital model is done 266 00:16:16.740 --> 00:16:21.170 to achieve this, you can select edges and edit mode and tack them as seems. 267 00:16:21.350 --> 00:16:24.260 These edges will be the cuts on the U. V. S. 268 00:16:24.840 --> 00:16:27.580 Once you have them placed you can unwrap your mesh 269 00:16:27.590 --> 00:16:30.750 and the UV map will be visible in the UV editor 270 00:16:31.440 --> 00:16:33.410 by enabling the stretching overlay, 271 00:16:33.550 --> 00:16:37.760 it will be more visible if the U. S. Are less ideal in certain areas. 272 00:16:38.440 --> 00:16:42.830 Also already using the UV map to add a color grid texture onto 273 00:16:42.830 --> 00:16:46.660 the model will also show the distribution of the UV space better. 274 00:16:47.640 --> 00:16:51.390 The goal is very much to place just enough seems 275 00:16:51.390 --> 00:16:55.560 to evenly lay out the mesh with minimal amounts of stretching 276 00:16:56.140 --> 00:16:59.620 but just like it's impossible to create a perfectly flat map of 277 00:16:59.630 --> 00:17:03.680 the earth without some areas being a bit bigger than others. 278 00:17:03.840 --> 00:17:06.550 Some imperfections will be hard to avoid. 279 00:17:07.040 --> 00:17:11.150 Also try to avoid placing too many seams that are in the face. 280 00:17:11.150 --> 00:17:17.060 For example since under certain circumstances it can be easy to spot the seams 281 00:17:17.440 --> 00:17:19.450 hide the seams as best as you can. 282 00:17:20.140 --> 00:17:22.920 Once you have your ups nicely unwrapped it's 283 00:17:22.920 --> 00:17:24.930 time to adjust and organize them better. 284 00:17:25.280 --> 00:17:27.569 They should be laid out in a way where they take 285 00:17:27.569 --> 00:17:30.900 up as much space as possible from the one by one. 286 00:17:30.900 --> 00:17:31.860 UV space. 287 00:17:32.540 --> 00:17:36.860 Having the place in a symmetrical way. Can also be very helpful later on. 288 00:17:37.440 --> 00:17:38.400 Make sure the U. V. 289 00:17:38.400 --> 00:17:41.710 S are generally having the same scale unless you want 290 00:17:41.710 --> 00:17:45.610 some UV islands to get more texture resolution than others. 291 00:17:45.810 --> 00:17:48.030 It's a bit like packing your luggage and making 292 00:17:48.030 --> 00:17:51.450 sure everything fits in perfectly without getting all messed up 293 00:17:51.840 --> 00:17:53.950 for areas like the eyes and lips. 294 00:17:54.100 --> 00:17:59.230 It can also be helpful to select that geometry and projecting it from the view, 295 00:17:59.290 --> 00:18:02.760 smoothing them out a bit and stitching them back to the rest 296 00:18:03.340 --> 00:18:06.270 whatever makes the V. S more evenly distributed. 297 00:18:06.940 --> 00:18:09.550 If you start adjusting movies like this in detail, 298 00:18:09.940 --> 00:18:13.430 Remember that you can pin UV points with the shortcut P. 299 00:18:13.600 --> 00:18:16.960 So that they don't move when unwrapping those ups again. 300 00:18:17.740 --> 00:18:21.970 Also make sure that none of the UV borders are too close together 301 00:18:21.980 --> 00:18:26.350 and that no UV should ever overlap unless you know what you're doing. 302 00:18:26.740 --> 00:18:30.890 You can also use UV sculpting tools for wider smoothing and grabbing of 303 00:18:30.890 --> 00:18:34.960 areas but be careful not to cause too much stretching with it. 304 00:18:35.640 --> 00:18:39.040 Scale some areas with proportional editing enabled to 305 00:18:39.040 --> 00:18:41.760 get some more evenly sized SUVs at the 306 00:18:41.760 --> 00:18:46.460 cost of some more stretching it's always a bit of a balancing act between the two 307 00:18:47.140 --> 00:18:49.800 for the clothing. It might also be important to have the UV. 308 00:18:49.800 --> 00:18:53.050 Maps laid out in neat rectangular patches 309 00:18:53.440 --> 00:18:56.310 this way it's very easy to just slap on some fabric 310 00:18:56.310 --> 00:19:00.550 patterns without having them distorted or go into weird directions. 311 00:19:00.940 --> 00:19:04.170 Just pin the borders of the islands and enable life unwrapping 312 00:19:04.540 --> 00:19:07.570 then adjust the borders to be as rectangular as possible 313 00:19:07.920 --> 00:19:10.860 and the rest in between will automatically conform to it 314 00:19:12.240 --> 00:19:15.610 And keep comparing it to the grid texture and the three D. View. 315 00:19:15.620 --> 00:19:18.560 This will be a good reference on how distorted the textures 316 00:19:18.560 --> 00:19:22.260 would be and how much texture resolution each area gets. 317 00:19:22.940 --> 00:19:25.620 Go through all the different objects with these principles 318 00:19:25.630 --> 00:19:27.780 and you will have some clean functional U. 319 00:19:27.780 --> 00:19:28.220 V. S 320 00:19:28.450 --> 00:19:29.960 to texture. In the next step 321 00:19:30.740 --> 00:19:33.950 to get the character some colors. We need to add textures. 322 00:19:34.440 --> 00:19:39.560 Add a shader editor in the interface to edit the note based materials and 323 00:19:39.560 --> 00:19:43.760 an image editor to see and paint on the textures in a two D. 324 00:19:43.760 --> 00:19:44.270 View. 325 00:19:44.640 --> 00:19:49.170 Also as a pro tip enable the note Wrangler add on in the preferences. 326 00:19:49.840 --> 00:19:54.360 I can recommend to just use the default principle be sdf shader in the notes. 327 00:19:54.600 --> 00:19:58.270 Since it has basically everything one would need during the text ring, 328 00:19:59.210 --> 00:20:01.210 then start out with a basic colours. 329 00:20:01.740 --> 00:20:06.050 Do this by adding and painting on image textures or vertex colors 330 00:20:06.060 --> 00:20:10.170 and plugging the note outputs into the base color of the shader. 331 00:20:10.640 --> 00:20:13.850 Most notes can be freely mixed with the mix or G. B. 332 00:20:13.850 --> 00:20:18.700 Note and each have their own advantages. Use the material preview mode 333 00:20:18.840 --> 00:20:22.060 in the view port which displays everything you're working on 334 00:20:22.440 --> 00:20:26.760 control, shift, click on any note to see that output directly. 335 00:20:27.340 --> 00:20:32.930 Start out with most primary colours and then mix in secondary colors. 336 00:20:32.940 --> 00:20:38.480 You can also then start mixing an ambient occlusion or cavity inputs, patterns, 337 00:20:38.490 --> 00:20:42.060 noise and specific painted in details. 338 00:20:42.070 --> 00:20:46.360 Just blend the notes together either by using screen to Brighton. 339 00:20:46.540 --> 00:20:48.160 Multiply to Darden 340 00:20:48.540 --> 00:20:51.450 Or mix to blend between two inputs. 341 00:20:52.240 --> 00:20:54.190 Also make sure to paint on the alpha 342 00:20:54.190 --> 00:20:57.660 channel which is the transparency on an image texture 343 00:20:57.920 --> 00:21:02.350 to use as a mask By plugging it into the factor afterwards. 344 00:21:03.140 --> 00:21:05.260 The well aligned rectangular UV is for 345 00:21:05.260 --> 00:21:07.890 the clothing will really become useful now since 346 00:21:07.900 --> 00:21:10.040 images like clothing patterns can just be 347 00:21:10.040 --> 00:21:12.860 slapped on top and they will immediately align 348 00:21:13.440 --> 00:21:17.760 extra details like stitches can always be painted separately on top afterwards, 349 00:21:18.740 --> 00:21:21.030 definitely keep all of these influences 350 00:21:21.230 --> 00:21:26.960 in the colour as separate notes because once you are done it's time for the shading 351 00:21:27.840 --> 00:21:28.300 the other, 352 00:21:28.300 --> 00:21:31.790 most used inputs in the shadows apart from the base color 353 00:21:31.800 --> 00:21:36.560 are roughness to define the glossy shine or the lack thereof. 354 00:21:36.940 --> 00:21:37.720 Metal nous, 355 00:21:37.880 --> 00:21:39.460 if the surface is metallic 356 00:21:39.840 --> 00:21:46.050 and normal to add fake high frequency details that we didn't model in already. 357 00:21:47.040 --> 00:21:50.150 If you want parts to be transparent like glass or ice, 358 00:21:50.340 --> 00:21:51.770 you can use transmission 359 00:21:52.140 --> 00:21:56.760 and to just make them use fade away or just completely disappear. Use alpha. 360 00:21:57.340 --> 00:22:01.190 You can also use speculator to tone down the glossy highlights 361 00:22:01.210 --> 00:22:04.370 but if you want to have it really realistically accurate, 362 00:22:04.440 --> 00:22:05.690 increase the roughness. 363 00:22:05.690 --> 00:22:06.270 Instead, 364 00:22:07.140 --> 00:22:09.120 pluck your individual notes from the colour 365 00:22:09.130 --> 00:22:11.910 also into color ramps and hue saturation value 366 00:22:11.910 --> 00:22:16.860 notes to change and then remix them for the other inputs of the shade up. 367 00:22:17.440 --> 00:22:21.820 Try to keep everything organized well enough by clumping notes together, 368 00:22:21.930 --> 00:22:24.160 framing them or even grouping them, 369 00:22:24.640 --> 00:22:28.270 change the lighting conditions and test how the materials react, 370 00:22:28.640 --> 00:22:32.860 adding additional lights and rotating them around manually. Can also help 371 00:22:33.540 --> 00:22:37.790 in case of the skin. It's also good to add subsurface scattering or S. S. S. 372 00:22:37.790 --> 00:22:42.060 And short to give it that waxy look like the light is shining through 373 00:22:42.640 --> 00:22:45.960 to give a nice fake hair look on modeled hair. 374 00:22:45.970 --> 00:22:49.210 I can recommend the anisotropy shading which adds 375 00:22:49.220 --> 00:22:52.060 a directional distortion to the glossy highlights. 376 00:22:52.540 --> 00:22:57.440 Turning the anisotropy to one by itself is not really going to look convincing or 377 00:22:57.440 --> 00:23:02.560 even good since it just adds a spherical pattern based on a world access, 378 00:23:03.140 --> 00:23:07.250 you need to create a second UV map added as a tangent 379 00:23:07.250 --> 00:23:10.960 note and plug it into the tangent input of the shader. 380 00:23:11.740 --> 00:23:13.300 The orientation of the U. S. 381 00:23:13.300 --> 00:23:16.080 Will then influence the direction of which 382 00:23:16.080 --> 00:23:18.540 the highlights will be distorted towards. 383 00:23:18.550 --> 00:23:24.540 So all hair strands need to be laid out as flat as possible and aligned vertically. 384 00:23:24.550 --> 00:23:29.120 Now the shiny streets are going horizontally across the surface 385 00:23:29.340 --> 00:23:32.360 instead of the fixed spherical direction of before 386 00:23:32.940 --> 00:23:35.250 to fake individual hair strands of hair. 387 00:23:35.260 --> 00:23:38.110 You can paint a black and white texture with small 388 00:23:38.110 --> 00:23:42.360 value differences and plug it into the anisotropy rotation, 389 00:23:42.840 --> 00:23:47.850 adjust that same directional map with a color ramp and plug it into the roughness, 390 00:23:48.240 --> 00:23:49.040 add color 391 00:23:49.250 --> 00:23:50.060 and you're done. 392 00:23:50.540 --> 00:23:55.690 Keep testing and tweaking your materials in both Eddie and cycles and optimize it 393 00:23:55.700 --> 00:23:59.860 towards the render engine you want to use later on for the final rendering. 394 00:24:00.340 --> 00:24:05.050 Once you're happy, you might have a hugely complex nonsensical no tree. 395 00:24:05.440 --> 00:24:09.480 This can be then simplified by only looking at the necessary inputs 396 00:24:09.790 --> 00:24:16.450 that lead into the shader and baking everything down into a set of image textures. 397 00:24:17.340 --> 00:24:20.030 Just make sure you have cycled set as the render engine. 398 00:24:20.070 --> 00:24:21.360 You control, shift, 399 00:24:21.360 --> 00:24:25.390 clicked on the part of the no tree you want to bake and select 400 00:24:25.390 --> 00:24:30.060 an image texture note where you want to bake it too and it should work 401 00:24:30.440 --> 00:24:31.930 to speed up the baking process, 402 00:24:32.050 --> 00:24:37.330 set the samples to something pretty low, go absolutely overboard on the tile size 403 00:24:37.520 --> 00:24:41.770 set the bake type to emit with a generous margin and click bake 404 00:24:42.340 --> 00:24:46.560 ideally. Once you're done, your character should look good whether you use eV 405 00:24:46.700 --> 00:24:49.770 cycles or just material colors in the view port. 406 00:24:50.440 --> 00:24:54.000 Just like we wrapped up the original design with some expression tests. 407 00:24:54.240 --> 00:24:58.810 This is the time to put everything that we made so far to the test with a full post. 408 00:24:59.210 --> 00:25:02.250 This is to see if there are any last adjustments that 409 00:25:02.250 --> 00:25:05.320 should be done like tweaking the proportions of the body fixing, 410 00:25:05.320 --> 00:25:06.680 stretching, et cetera. 411 00:25:06.870 --> 00:25:11.350 Of course it's also great to not present the character in the current resting post. 412 00:25:12.050 --> 00:25:16.560 The rectify adding in the preferences can really help to get some rough poses going, 413 00:25:17.140 --> 00:25:21.110 add a basic human rhetoric and adjust the placement size and 414 00:25:21.110 --> 00:25:24.460 orientation of the bones in edit mode to fit the character. 415 00:25:24.940 --> 00:25:28.170 Don't forget to enable X. Mirror to save yourself some time. 416 00:25:28.740 --> 00:25:32.080 Once you're done, click on generate rig and there it is. 417 00:25:32.120 --> 00:25:35.340 Select your character then the rig and with 418 00:25:35.340 --> 00:25:38.680 control P parent the objects to the amateur. 419 00:25:38.680 --> 00:25:39.960 With automatic weights. 420 00:25:40.540 --> 00:25:44.230 With this done you can do some exploration in the overall post. 421 00:25:44.240 --> 00:25:46.770 Experiment and see what you want to go for 422 00:25:47.140 --> 00:25:49.010 since the rig is pretty procedural. 423 00:25:49.020 --> 00:25:52.810 There will be issues if some deformations are outright broken. 424 00:25:52.810 --> 00:25:56.720 You can manually go into weight paint mode and paint out some issues. 425 00:25:56.730 --> 00:26:00.270 Make as many poses as you want until you find your favorite in the end. 426 00:26:01.240 --> 00:26:02.890 Don't forget to look at references and 427 00:26:02.890 --> 00:26:05.440 even make references from yourself if necessary. 428 00:26:05.580 --> 00:26:09.800 I recommend to have a second view port to the side and set 429 00:26:09.800 --> 00:26:14.170 the shading to be completely black maybe with some dark grey outlines. 430 00:26:14.540 --> 00:26:17.860 This way you can see if the silhouette is readable enough. 431 00:26:18.540 --> 00:26:20.790 The post can then be tweaked towards a single 432 00:26:20.790 --> 00:26:23.760 camera angle or any perspective you want to render, 433 00:26:24.240 --> 00:26:28.290 make sure the post is dynamic enough with differences and angles, 434 00:26:28.300 --> 00:26:31.560 enough asymmetry and whatever else you have in mind as well. 435 00:26:32.740 --> 00:26:36.480 In this example, I wanted something comfortable and confident, 436 00:26:36.490 --> 00:26:39.640 not a super happy victory jump or something like that, 437 00:26:39.650 --> 00:26:43.410 but something way more contained and down to earth. 438 00:26:43.420 --> 00:26:46.660 Have an idea in mind of what kind of post you want. 439 00:26:47.140 --> 00:26:49.770 Then apply the amateur modifiers as shaped keys 440 00:26:50.140 --> 00:26:53.330 and then you do essentially the same thing as with the expression tests, 441 00:26:53.670 --> 00:26:56.790 add more shape. He's for various nondestructive fixes 442 00:26:56.930 --> 00:26:59.260 in the defamation and keep comparing it 443 00:26:59.510 --> 00:27:02.350 to the original resting posts because the proportions 444 00:27:02.490 --> 00:27:04.030 shouldn't change. Of course 445 00:27:05.040 --> 00:27:08.740 this is very easy when animating all shaped keys to zero 446 00:27:08.750 --> 00:27:12.660 on one frame and enabling all shaped keys on the next one 447 00:27:13.140 --> 00:27:15.770 creating variations. This way is also a good opportunity 448 00:27:16.340 --> 00:27:18.380 if you notice that the arms actually look a bit 449 00:27:18.380 --> 00:27:20.960 weird and length or the hands are too big. 450 00:27:20.970 --> 00:27:25.060 Now is the time to make last changes before committing to the end result. 451 00:27:25.540 --> 00:27:29.860 Also sculpted expression that you like and polish it until you're happy 452 00:27:30.640 --> 00:27:31.810 from here on out. 453 00:27:31.820 --> 00:27:36.230 You can play some lights a nice environment and render a final image, 454 00:27:36.240 --> 00:27:39.150 render multiple angles or even a turntable to 455 00:27:39.150 --> 00:27:41.350 show as much of the character as possible. 456 00:27:41.740 --> 00:27:46.260 A so called clay render is also good to show off the model itself where it's rendered 457 00:27:46.260 --> 00:27:49.350 colorless in diffuse gray with only the bump 458 00:27:49.350 --> 00:27:51.850 and normal information at most from the materials, 459 00:27:52.440 --> 00:27:56.160 add wire frames on top as well to show off the clean topology you created 460 00:27:56.540 --> 00:27:58.670 Brenda does also Western tables and you have a 461 00:27:58.670 --> 00:28:01.550 complete character for production that you can show off 462 00:28:02.240 --> 00:28:06.770 from here on there. Of course, more steps like doing an actual rig for the animation, 463 00:28:07.020 --> 00:28:09.770 animation testing and the rest of the production. 464 00:28:10.340 --> 00:28:14.030 But in terms of finding and developing the design and style of the character, 465 00:28:14.060 --> 00:28:16.140 these are the steps you need at the very 466 00:28:16.140 --> 00:28:19.550 least to create a complete stylized character workflow. 467 00:28:20.940 --> 00:28:23.730 If you're interested in more educational blender content, 468 00:28:23.740 --> 00:28:26.180 a huge asset library of all the blender, 469 00:28:26.180 --> 00:28:29.420 open movies or you want to support these projects. 470 00:28:29.430 --> 00:28:32.600 Head on over to the blender cloud and say hi in the comments. 471 00:28:32.610 --> 00:28:35.860 You will also find a fully rigged version of this example 472 00:28:35.860 --> 00:28:39.960 character called Rain and various files from the creation process. 473 00:28:40.440 --> 00:28:42.960 I hope to see you there and thank you for watching