Maya 2019 - Texturing Characters with Arnold

hello and welcome to another exciting tutorial in Maya 2019 in today's tutorial I'm gonna be showing you how to make your characters look great in Arnold and the subject for this tutorial came about because I was preparing another class for Skillshare about dynamic poses for animation and I ended up stop making so much material prepping for the class and getting ready to show a character rendered that I actually thought this would be a great subject to actually cover with you guys because I found out that there's a lot of free rigs that I like using that they're a little bit old not too old but Arnold has only been around as the main renderer in my over two years so there's a lot of characters and assets that are in mental ray or really not designed to actually work inside of Arnold's but I thought it would be really useful for you guys to see how you could take an old asset and you could actually upgrade it to make it look great and since I'm working on this character series I thought it would be great for you guys to learn so I've released a new class on Skillshare which is all about dynamic posing for animation if you'd like to join it with me learning how to become an animator well there's a free link so that you guys can join Skillshare for two months and thank you very much to everyone who signed up to my previous class your support means a lot to me and also thanks to everyone on YouTube who actually subscribe to the channel left me a comment or like that's been really really really useful so I'll again make a request in terms of you want to either ring the bell or leave a like or just drop me a line that is absolutely fantastic cuz your support as well means the world to me as well and so how about we go ahead and we get our favorite beverage open up Maya and I'm gonna show you guys how you can make your characters look great inside of Arnold so one of the first thing that's going to come up is this warning saying that there's mentalray nodes inside of our scene and what we need to do is replace some of the materials so that Arnold can work with them properly for that we're going to go over to the script editor and from there we'll go into file open script and we'll navigate through our hard drive to look for our solid angle folder which came with Maya we'll look for the latest version of Maya 2019 go into Docs and look for this Python script well then double-click the script plus the Run button and go ahead and run the script and that should update all the mental ray materials to be lambert's so that they can be easily rendered by Arnold see the textures however we're going to go ahead and go into Arnold lights and create a sky dome light and then we will open up the render view and we'll dock it into our screen and I'll be jumping through quite a few layouts of screens so that you guys can follow along with what I'm doing and now that we've got the lights set up we'll just hit the render button and we'll see that we get this very flat type of texturing over here you can notice that even the transparency of Kayla's glasses has disappeared as well but that's ok we'll bring all of that stuff back but what I am gonna do is that I'm gonna create a display layer and I'm gonna call it glasses and I'm gonna select the glasses and I'm gonna actually hide them away just because I want to be able to just focus on texturing the eyes I'll open up the hypershade and now I'm gonna build myself a custom layout most of the time would be using the hypershade on a second monitor but for the sake of YouTube I'm going to make sure that you can see everything that I'm doing so I'll close down the material shader the property inspector and then I'll just dock this onto the right-hand side of my screen I'll take the render view and plunk it over here on the left and I'll be using the attribute editor to look at all the texture and material properties that I have over there so I just want to have a trend of you a perspective view and then I want to have all of my materials over here on the right so I can go replacing the key materials that were going to be working in the scene and it's really handy that in Maya 2019 we can go over here we can save our current layout we can give our custom workspace a unique name and I'll just call this one shading custom and then I can come back to it whenever I want if you ever don't want the layout of your screen to change you can hit the little lock pad at the top right hand corner and none of your screens can be moved or destroyed by accidents so looking at Kayla we'll start off by texturing the eyes we want the eyes to be slightly reflective they've got some transparent areas to them as well and a little bit of shininess from the wetness around the eye so if I select the main ball of the eye we'll see that it's made out of a single shape but that shape has various materials that are texturing it one for the white of the eye one for the color and one for the pupil in the middle over there now all of these materials are currently blends or Lambert's or very standard type of materials and we want to upgrade them to an Ahnold material so I'll go into shaders inside of the Ahnold tab and I'll look for the AI standard surface shader and I'll make my first material for the cornea which is the little transparent bubble that goes across the front of the eye over there and this material will be transparent and it wants to have a little bit of reflection and refraction tied to it now if I select the geometry for the cornea and I assign my new standard shader nothing's happening in the viewport and this is something that I ran into in terms of the normals of this material are actually the wrong way around so if I go into the mesh display and flip the normals you'll see that now I've got the white standard Arnold material applied to it and another thing that I want to do is go ahead and I want to select all of the faces here and I want to actually smooth them out a little bit as well and they edges I just want to turn them into soft edges I don't know why this was inverted maybe it was something to do with mental ray but importantly an Arnold this is not going to work so we want to make sure that we have our material will take its base color down because that's not going to be important but what we want to do is boost the transmission up to one so it's gonna make the material transparent and will change the index of refraction or the IOR to one three three so it's a bit more water like now this is going to create a cool effect that if we look at the eye now from the side the material is going to dis the shape of the pupil if we look at it on the side but if we look at it head on it is going to be perfect and undistorted so that little effect with the eyes is going to be great and what we want to do also is make sure that we have the material set as not being opaque so we're gonna go into our material our object settings and we will choose the Arnold tab and we'll scroll down and we'll look for the opaque checkbox and make sure that that is turned off so you can use the same technique for creating any other transparent materials that your character may have as an example Kailas glasses we could also create another material and give it a slightly different index of refraction and that would also be transparent as well and remember that anything that has a transparency that you want rendered not to have a solid shadow you have to take the tick-box of the opacity and turn that off in the object properties so now that we've got the eyes set up and that they've got this nice distortion over here we should start thinking about the rest of the materials that we're going to need to use for the eye and we'll go ahead and we will create a standard material for the white of the eyes if we ever want to check that we're selecting the correct object we can click in our viewport open our outliner and press F on our keyboard to navigate in the outliner to the group where the geometry is selected so if I apply the material we just made you'll see that I can texture both eyes at the same time but actually this object has multiple materials so I've just turned her iris and her pupil completely white as well so let me go back a second set that up properly a better way of doing this might be to go ahead and just make the other two materials that we might have to use for texturing the eye so I'll make another standard surface and I will call this AI eye blue just for the blue of the color of her eyes although I could probably call iris as well and what I can do next is just set up the base color to choose a blue like the similar material that we had from mentalray and then I will go ahead and set a color for the pupil and I'm gonna do this by going and choosing an AI flat material now the flat material is great for when you want to make graphic type things and I'll just go ahead and I'll take this material and I will turn it to black now again the important thing about the flat material is that this will be 100% black it will ignore all of the lighting properties that she might be under so with those three materials we can go ahead and start selecting the faces that we have to texture so we'll come into here into the eye and we will make a selection of faces and to give myself a little bit more real estate I'm gonna go up here and choose modeling expert mode just so that maximizes my view and I can see that I'm missing a ring here of faces that I haven't selected yet and by pressing shift and period I can grow my selection that way I can come here right click and choose assign existing material and look for my a I flat material which I probably should rename at some point then I'll come over and press ctrl I on my keyboard to invert my selection and I'm going to apply the eye blue material to the rest of the eye then I'm gonna use Shift + comet to shrink my selection and I know that her iris is actually only for polygons wide because I counted it earlier and I'm going to apply the eye white material to the rest of my selection just cuz I find that a quicker way of working I want to texture the eye in this way with multiple materials because kayla has some rig controls that actually allow us to control the size of her pupil and iris so I want to respect that and make sure that it's textured in the same way so I don't create any weirdness later on when I'm animating so now's a good time to go back to our custom shading layout and check to see how the materials are looking in the render and the good thing about having a different material for the eye color is you can very quickly make any changes and choose any crazy color of eye color that you might want now let me select our light and go into its color and we're gonna look for a physical sky shader this is gonna create a very simple background environment and that's what's gonna allow me to evaluate the reflections that are going to be in my scene now the white of the eye is gonna be slightly moist and it should reflect a little bit of the environment but if we don't have an environment there it's a bit hard for us to evaluate so I can take the light again and boost up its exposure to make the eyes a little bit clearer and now let's zoom in and have a look at what we need to do to get a little bit of reflectivity in the eye well we'll go ahead and we'll select our eye white material and I'm gonna do this by just adding a little bit of a metal tint to the eyes it's probably not the best way of doing it I could probably get the better results with a coat property inside of this shader but I'm really going for something that's more stylized and less realistic so it's trade-off between choosing if you want to keep her in the realm of cartoon enos or you want to use something that is very realistic type of lighting and I think that I can actually get away with using the metal nnessee just to give a little bit of that reflectivity right there in the eye so I want to go ahead and add some more detail to the iris material so I'll select it and choose its base color and I'll look for a ramp so I can create a gradient across the iris I'm gonna go ahead and change the type of gradient to a circular ramp and then I'm gonna choose some very loud and easy to distinguish colors in my case I'll just choose red and blue just so that I can figure out where the gradient starts on which part of the pupil and where it ends so I'll take the sliders of the gradient and after coloring them I'll just move them around until I can see where the gradient starts and where it ends and I'm currently getting some unexpected results here because I can't seem to find the edge no matter where I move this and I have to go and check the UVs because there seems to be a problem here so I'll open up the UV layout and I will select the eye and there we go so currently we have two UVs probably for the front and the back of the eye and that's what's screwing up my gradient so a quick way of fixing this is to go back into the hypershade and i will select the eye material and reveal all the connections with this button and I'm gonna go back into the place 2d texture node and I'm gonna look at the UV tiling and I'm gonna change the repeat you and the repeat v22 you could do this as well by fixing the entire UV s but this is just quicker and now if I go back to the UV viewer I can select the eye and you can see that now I've got the tiling texture so that hopefully should put the texture on the current UV in the right way and I can now select my material again go into the gradient ramp and choose where the gradient starts and where it ends so I want the blue to be on the outside of the gradient and I want the red just to start just before the pupil and I think that works there so I'm then gonna change the color to make it something more subtle so I'll choose a pale blue for the inside of the iris and then the exterior color I'll turn it to a slightly darker blue like that and that'll create a nice little gradient and to add a little bit of detail I will add a third color in between the two slightly closer to the outside and I'll make sure that that's a very saturated and bright color like that so I've got a nice variance over there so I'll just play around with the hue and with the saturation render that out and hey presto we start having a little bit of a color change going across the iris very nice so now we're gonna move on and start creating a shader for the skin and we'll start off again with standard surface material but it's so flexible that we can actually go ahead and start using some of the subsurface properties inside here so I renamed this to a I skinhead I'll apply it to the head geometry and the first thing I'll do is just choose a base color which is a skinny type of fleshy tone over here now if I was in a rush I could maybe get away with just using this base color but what I'm going to do is go over and choose the base color texture swatch over here and choose a file and I'll bring in a base color EXR file that I made earlier in true Blue Peter fashion and that will add some subtle color changes across the face thanks to the fact that kayla has UVs on her base geometry now the thing that's going to make the skin look realistic is having subsurface scattering which will mix multiple materials depending on the intensity of the light for that what I need to do is go into the render settings and we're gonna start adding some a Ovie's specifically I'm gonna go into the list and choose the AOV albedo the diffuse color diffuse direct and indirect and I'm gonna be adding them onto my AOV list by clicking on the double arrow button after I've made a selection so this material is gonna be a mix of materials and it's gonna be looking at the diffuse Channel it's gonna be looking at the specular in both the indirect and direct channels and then the SSS or subsurface scattering and we'll choose all of the sss aov s so that we can see what this effect looks like in our render view and it'll just add a little bit of time to our render but it will really allow us to see all the noise and all the problems which are there so if I render the screen out you'll see that I can now have a list under the Beauty panel over here and I can scrub through all of the different a Ovie's that Arnold is rendering out so I can see only the diffuse only the specular only the beauty pass which is everything with all the textures and all the lights all layered together so with that what we're gonna do is that we're also going to add a specular map to this as well which is another texture file which I made earlier as well and this texture is just like a very soft noise that I painted on top of Kayla's skin just to add a little bit of the text detail of the pores now I maybe could have done this with a procedural noise texture but I really haven't found one that looks great so I just went ahead and did the effort and actually painted it in by hand so we'll connect the texture file to the specular wait now if I press the isolate select button over here and choose the specular map I should see in my viewport what the specular map looks like except that my view pot wasn't updated so I've put a new video in here just to show you guys that it's a very fine noise that's just painted on top of that and again that's just some human skin noise over there to make it kind of like a little bit irregular when the light shines on it we can also have a look at what the diffuse channel actually it looks like as well you see that it's just some very lightly painted colors on the skin so now if we go into the AO vs and start looking at the specular channel in isolation we can start seeing the glow that the skin has and if we play around with the roughness property we can make the skin look shinier and slightly more sweaty or we can add it a little bit of a higher number and make it look a little bit more diffuse and cloth like I'm gonna give the roughness a value of about 0.35 and that should give me a good result now one way of controlling how intense a texture map is is using multiply and divide nodes in the hypershade view now multiply divides are great because they allow me to increase the value of a texture or reduce it very much the same way that we can play away with a slider if I press tab and type in multiply divide I can create a multiply divide node that I can connect from out color into input one and we can connect the output X into the specular channel as the specular is a grayscale image it really doesn't matter if we grab X Y or Z just to connect them up like that now we can multiply the value of the texture by three and we will see that the specular brightness increases in our viewport over here if we isolate the selection you see that this turns red just because we've taken the first channel that goes out of the texture which is red if we type into the G and B channels over there you'll see that if we put three on everything it goes back to being a white or gray color this is going to be a great way of controlling the intensity of different parts of your textured materials and should work across almost any of the standard textures that we're going to use today now we're going to create the subsurface property inside of the standard material and subsurface scattering will allow us to mix different colors together based on how strong the light can inter penetrate the surface as we turn up the subsurface weight we'll go applying the effect to the model and Kayla's face will start turning white and subsurface will allow light to go through the skin and actually pick up certain colors now to build a human character we're gonna be playing around with having a subdermal layer which is kind of like a yellow fatty type of color which is just under the baseline of the skin and then there's a deeper level of color which is normally red as well which is the blood vessels which are under the skin and that color will also come through as well so we'll choose something like a deep dark red and these colors will be all mixed together and will be picked up by the renderer and we'll get back a more skin like effect now right now she looks very waxy and almost made out of a modeling material Arnold refers to these colors as the subsurface color for the yellow and radius for the red color so for the subdermal colors to be visible we need to add another light into our scene by going to create lights and create a directional light and this directional light will just scale it up and place it so that it is illuminating Kaila from behind so we might try and see if we can get the light just a shine behind her left ear like this and hopefully we should see some color starting to bleed through let's increase the exposure of the lights till around 6:00 and we should start seeing the effect starting to come through if we zoom into the ear now the effect is currently quite subtle so we can come back to the material and if we needed to we could change the scale which would account for having objects of different sizes and is like a multiplier to allow us to see if the effect is working or not so if I put it to about point 6 we should start seeing a rosy red color coming in through the top of the ear over here we can also go into our a Ovie's and check through the SSS sov which will show us all of the subsurface scattering materials together and we should go and have a look at the SSS indirect the subsurface effect is applied currently equally across the entire head and that's going to give us a non very unnatural look what we need to do is create a texture map to control where the subsurface scattering actually comes in so the areas like the ears and the cheeks can have more of the subsurface effect applied to it so in the hypershade we're going to move all of the materials to the side and because we're pushed for time we're actually going to create these sub dermal maps based on the diffuse color by using an a eye colour correct node this node will allow me to take the out color of any existing texture and change its values to adjust the color in any way we see fit we can then take the out of this node and plug it into the subsurface color will then give the node a distinctive name like CC yellow and we'll modify the attributes of the node to change our original diffuse texture into a yellowish type of color by playing around with the settings of the hue the gamma the saturation and the contrast we're going to go ahead and make the next colour correct node by selecting our existing yellow node and pressing ctrl D on our keyboard to duplicate it were will then rename this to C see read for that deeper subdermal layer and we'll plug in again our diffuse texture and we'll wire this up to the subsurface radius property this time now we'll go back into the adjustments and we'll try to change the saturation and the hue and the gamma to make a darker red tone you have to think that this layer is actually under the skin so it's actually fairly dark after we're finished with our adjustments we can go into the ARVs and check out the subsurface scattering layer the subsurface albedo which is the base color with no lighting and then check the indirect and the direct lighting passes as well we should start seeing especially in the indirect pass the transparency and translucency of the skin coming through especially around the section of the ear this will vary from shot to shot and from character to character and it really depends on how big your characters are and also where the lights are placed inside of your scene in my case making a small adjustment to change the scale to 0.7 actually made the effect come out a little bit further and if we went back to our original scene we can now see that kayla has again a very waxy tanned type of skin color right now by selecting the subsurface weight and adding a file to add a texture map to it and we'll navigate through our hard drive to an image that I made earlier which again is a black-and-white image but we'll control the levels of the subsurface effect now if we have a quick test render over here we can start seeing that some areas of the face are less affected by the subsurface scattering but let's isolate the texture and have a look at it in a little more detail now the areas you can feel on your face that have the bones most closer to the surface like the bridge of the nose the chin are going to be painted a dark color which won't allow subsurface scattering to come through and the more fleshy areas like the ears and the lips are gonna have a lot more subsurface scattering occurring in them now the effect is still a little bit strong so what we're going to do is that we're going to tone it down by adding another multiply divide node in the hypershade will press on tab and add a multiply divide node and we'll take the out color of the texture and plug the output X into the subsurface property now let's zoom into the face a little bit and look at the overall effect in the AOV we can already see the texture map taking effect and the multiply node we will times all the channels by 0.5 so that the effect is halved you can also see some skin color coming back in the viewport as well let's head back to the Beauty pass and we'll see that kala now has a more subtle effect with her subsurface scattering and it's a nice blend between the base color layer and the subsurface scattering okay so as a summary I did exactly the same process for the arm and to texture the skin you always start off by choosing a base color should normally be a map that is painted in Photoshop or in ZBrush or another I have an editing program that you like and it should define the main textures of the skin in terms of its color choose to use a Ovie's in Arnold by setting them up and use them first seeing if the subsurface scattering will come through and also it's a great place to see if there's a lot of noise in a specific Channel and that you might need to increase your sampling when rendering we add a specular map which will add a little bit of shine to the skin which can be oily grease or sweat as well and a little bit of this helps keep the skin alive and in the subsurface scattering section we'll be trying to create the skin by thinking about the fatty materials which is just under the surface of the skin and the blood which is deep underneath and we'll be able to check this out by having a light that shines through the object and looking for this effect inside the a of these we also had a quick look at using color correct nodes and also multiply divide nodes there's a whole load of other nodes that you can use inside of the hypershade to help control your textures and we'll go through a few of those in future as well so if you've made it this far in the tutorial well done but now it's come the time for us to look at how to update Kayla's hair and there's various strategies that we could use in order to create a more appealing hair in Arnold but I'd probably need an entire series of tutorials just to talk about hair so maybe a note for the future now I'm gonna cover just two techniques here which is talking about UVs and also how to build some textures and shaded e-tail and that's gonna be very much the way that I'm going to approach this because kala currently has just a flat color for her hair and I want to add a little bit of subtle detail now the theme of this video has been updating old assets and making them appropriate in Arnold which means that the main problem is that we have to deal with the workflow of other artists that we haven't met in this case if I click on Kayla's hair and I check the UVs we're gonna see that the UVs aren't great and actually even though the hair has you've ease they've all been exploded and added into the main workspace area they haven't got the right size they haven't got the right direction and they're not going to be very useful to paint unless we have something like a 10k texture this means that we are gonna have to go in and remake the UVs so the first fix that we want to apply is to have only one shell per piece of hair geometry and we're going to do this by selecting all the faces in each clump of hair and we're gonna add just a planar or a camera-based projection just so that all the shells are tied to different parts of the hair and then we'll organize them later after we've gone through this we're going to select each clump of hair and hide the rest of geometry by pressing ctrl one and that will work in isolation what we're going to do is select a loop that goes around the clump of hair in a useful position and then we'll use the cut tool to add a shell border we'll then unwrap it and if we ever run into any problems we can actually unfold an incomplete shell with only some of the edges selected and then in the UV viewer you can she use the cut tool to just draw along the edges and separate them out we'll then orient our shells across the workspace and we'll tidy this up at a later date more complex areas of geometry like the ponytail will need multiple shells so we'll hide the seams along the dips in the geometry and we'll try to find areas that the seam in the UVs are not going to be too obvious when we look at them in Photoshop what I'm gonna do is make two textures the first one which is going to be a guide texture which will not be in the final render and this will just be with some bright colors and with some patterns like some stripes so that I can clearly see the direction of each clump of hair and the second texture I'll make will be a tileable hair texture which I'll make from some brushes and I'll use this as the diffuse color so I'll be painting in some darker and lighter strands of hair just with the Photoshop brush I'll save both of these images out as EXR and go back to Maya where I will add my guide texture to an Arnold standard material and I'll add this shader to the geometry this way we can then go into each clump of hair geometry and unfold the UVs into a shape that allows the strands to flow across the geometry now I didn't model or create the initial UVs so we've got a little bit of work that we need to do here and as my initial unfold is not giving me the result I looking for I'm going to expand the edges of the UV shell by choosing contour stretch tool and this will put all of the UVs to fill the UV square on the UV window well then select the edge loops by double clicking them with a single edge and we'll choose a line horizontal we can speed things up as I'm going to align all of the edge loops by pressing G on the keyboard to repeat the last command and I'll go ahead and I'll unfold this so that all the UVs are vertically and horizontally we can then scale the UV shell into a thin strip on the x-axis and check to see how the viewport is looking if we do find any unusual stretching here we can write clip to bring up the contextual menus for the Yui tools now we can grab tools like the relax or the grab brush to move around and reshape the UVs now to complete the hair you will have to spend some time aligning the UVs but because there's so many pieces of hair to fix I'm going to prioritize unfolding the larger clumps of hair like the ones at the front and the top of the head and thanks to the fact of having a tileable texture I don't need to be too precise when I'm placing my UV shells and I can have them either off to the side or slightly out of place on the UV template I'm doing all of this in an effort to save time rather than being precise and since this can be a very labor-intensive process I'm happy to do a few shortcuts here as long as the overall look of the hair is looking alright the flow of the clumps of hair is looking good so I will swap out the guide color for the diffuse texture that I made in Photoshop earlier and if there's still any errors in the stretching or look of the UVs they should hopefully be hidden away as the shape of the individual strands on the diffuse texture is much thinner and it's going to be much harder to spot in the final texture I'll also create a specular texture which was based on the diffuse texture by turning it into black and white and I added some highlights to individual strands of hair the specular texture again is a black and white texture where the areas which are white are most reflective and the areas that are black don't reflect at all and it's also good to choose a specular color which is complimentary of your main hair color in my case I'm adding a slight yellow tint to the specular you can feel free to experiment with any other colors that you might find appropriate don't go too crazy I'll also add lastly a sheen property in the Arnold shader and Sheen will create a nice shiny edge around the hair when the light hits it at certain angles it's very similar to Afrin alifair I'll choose a yellow color to match the specular and I'm going to turn the roughness of the effect down to 0.1 this will limit to higher out large the sheen effect is when the light hits it so with all these little processes done here I've shown you a quick summary of how you can complete your hair again I've brushed over this very quickly but it's mostly to spare you the pain of watching me unwrap and unfold UVs for about a few hours now is a good time to review our texture work and we can do that by adding some lights and creating a very simple 3d scene so I'm going to build a very simple backdrop starting off from a plane and using the extrude tool to create a backdrop and soften it off a little bit by smoothing the geometry and then I'm going to add three area lights into my scene I'll do this by following very similar techniques to those that are described during my three-point lighting tutorials you can find on youtube and i'll place a backlight behind her to light up her hair a warm key light on one side as the main light source to light up her face and then I'll add a cool fill light just under her chin these will all be Arnold area lights and it's a good time to check how your textures are looking under these lighting conditions and you might want to make some small tweaks here and there we can now type in some render settings and create a high quality render of the image now if we compare the before and after images we've got the Kayla rig with its original textures just updated into Lambert's and we've got the final texture that we've created now we can see that we've added a lot of great texture detail to the Kayla rig and all these little details we've added make a really big difference in my opinion to how the final render looks now some of you might be wondering if all this work and detail is worth it and in my opinion yes if we just compare the before and after image we'll see that the eyes of the character are really alive the skin looks fleshy and natural and even with that little detail that we in the hair we can see that it's very very very different from how it was perceived originally and it shines and looks much much much more appealing I think it's important to add these details into your work because the world of 3d is getting more and more sophisticated every day and people are a thinker in a way less forgiving because they really want to see a finished image or a finished animation and I think by adding these details in Arnold you can very quickly in an afternoon create a very very very appealing character or even update some older assets that were just not designed to work originally inside of Arnold so that's it hopefully you've had a little bit of an insight on how to make your characters look great in Arnold it's a few very basic things but it's a little bit of manual labor especially if you haven't built the character yourself however you might find this material quite useful for either upgrading some old assets or maybe you've got a character that you're making in ZBrush or in another program that you might actually want to render out in Maya go ahead and if you make anything interesting be sure to hit me a comment below and let me know what you're working on I've also created a class on Skillshare as I said earlier if you're interested in learning more about animation and you want to learn about how to create good posing for animation well have a look in the description box below I will have a link to a free two-month trial as well but until then please subscribe to the channel if you found it useful hit the notification button if you want to know when the next time that I'm going to be releasing a tutorial cuz my schedule is still very irregular right now and even a like or a comment is fantastic to help show your support until then well keep learning keep strong and I will see you in the next tutorial take care bye bye

Channel: yone santana

Views: 31,152

Keywords: Yone, Santana, yonesantana, yonesensei, Maya, 2019, Arnold, MtoA, 3D, tutorial, Autodesk, Character, Render, portfolio, UK, Beginner, learning, how to

Id: l21fshm_reM

Length: 39min 43sec (2383 seconds)

Published: Thu Jul 18 2019