How to Animate in Blender: The Ultimate

Guide
Blender, a versatile open-source 3D creation suite, is an animation powerhouse. For
aspiring animators and seasoned professionals alike, mastering Blender animation
makes it possible to bring abstract ideas to life with precision and creativity.

Delve into the intricacies of Blender animation, explore both 2D and 3D animation
techniques, and learn about Blender’s best animation tools. Even if you’re a complete
beginner, you’ll soon be ready to tackle your first Blender animation project.

Animation 101

In the Skillshare class “Advanced 3D Animation: Create Professional Renders with Blender,”
teacher Derek Elliott uses Blender to create an animation of a product box being opened.

Before diving into the nitty-gritty details of Blender’s robust animation tools, let’s clarify
what Blender animation is all about. Animation in Blender involves giving life and motion
to objects and characters in a 3D environment (sometimes with the goal of making them
appear 2D, as we explain below).
 It’s the process of creating a sequence of images, each slightly different from the last, to
create the illusion of movement. Blender provides an extensive array of tools to facilitate
this process, and understanding how to leverage these tools is crucial for successful
animation. So while Blender isn’t the only animation software available, it’s one of the
most powerful (and it also happens to be free!).

Blender animation can be applied to various types of subjects, from inanimate objects to
cartoon characters to complex human forms. By mastering Blender’s tools, you can gain
the ability to manipulate, deform, and animate all your creations, whatever they may be.
This skillset empowers you to tell engaging stories, visualize architectural designs, craft
captivating video game characters, bring products to life and more.

Best Blender Tools to Learn About

In the Skillshare class “Product Animation in Blender: Bring Your 3D Renders to Life,” teacher Derek
Elliott demonstrates how Blender’s built-in tools can be used to create realistic cloth simulations.

To become an adept Blender animator, you’ll need to acquaint yourself with several of
the program’s indispensable tools and features.

Some of the most useful tools include:

o Constraints: These allow you to set rules and conditions for how objects move and interact.
For example, you can specify where it’s located, limit the degree to which it can be rotated, and
more.
o Motion paths: Create predefined paths for objects to follow and simplify complex animations
with the help of motion paths. They also allow you to quickly and clearly visualize the motion an
object will take.
o Drivers: Control multiple aspects of an animation through a single parameter. For instance, the
rotation of one object can be controlled (i.e. driven) by the location of another object.
o Shape keys: Morph an object between different shapes and poses with shape keys.
o Rigging: Skeleton-like structures that enable animations of 3D objects. With a human
character, for example, rigging enables realistic animations in which the character’s joints bend
in the right places and directions.
o Grease pencil: A versatile 2D animation tool that allows you to draw in a three-dimensional
space.
o Keyframes: Record an object’s exact position and placement at a certain point in time by
adding a keyframe to mark it.

Once you’re able to understand and use those tools, you’ll be well-equipped to handle a
wide range of animation-related tasks.

2D Animation in Blender Step-by-Step

Blender may be focused primarily on 3D graphics, but it can still be used to create
stunning 2D animations.

Follow these steps to start creating 2D animations of your own:

1. Start a 2D Animation File

Click the “File” tab, hover over “New” and click “2D animation” to create a new file.

2. Create a Grease Pencil Object:

Switch to object mode by selecting it from the drop-down menu in the upper-left corner.
Create a Grease Pencil object to serve as your canvas.

3. Enter Draw Mode

Go back to the drop-down menu you used to select object mode, but this time use it to
enter draw mode. From here, you can use Blender’s built-in animation and drawing
tools to start creating the foundation for your animation.

For example, the Draw tool will allow you to add strokes and color, while keyframes will
make it possible to block out your animation’s sequence.
4. Prepare the Animation

Switch to edit mode and get your drawings ready to animate. Depending on the result
you’re trying to achieve, this could involve creating a motion path for your object to
follow, creating a new drawing for each frame of the animation, or manually moving your
objects into position for each keyframe.

5. Preview Your Animation

To see what your animation will look like without taking the time to create a high-
resolution render, click on the “View” menu and then select “Viewport Render
Animation.” This will quickly generate a preview of your animation. From there, you can
either make adjustments or move on to rendering.

6. Render Your Animation

Once you’re happy with your animation, follow Blender’s rendering instructions to
finalize and render it.
Animating 3D Models in Blender

In the Skillshare class “Complete Beginners Guide to Blender 3D,” teacher Harry Helps uses Blender to
create an animation of a 3D frog.

Not into 2D animations? No problem. Download any 3D model (or create your own 3D
object, if you’re feeling ambitious) and you can animate it in Blender.

Follow these steps to put your 3D models in motion and create original 3D
animations of your own:

1. Create a New File

Instead of creating a 2D animation file, create one for 3D animation by clicking the “File”
tab, hovering over “New” and clicking “General.”

2. Import Your 3D Model

Next, import your 3D model into Blender by clicking “File” and hovering over “Import.”
Select the appropriate file format (such as .obj), find and select the model you want to
import, then click the “Import” button.
After doing so, you should see the model in the 3D space you’ve created. Import more
models as needed to build your 3D scene, and use Blender’s built-in lighting tools to
illuminate everything.

3. Add Keyframes

Use keyframes to set the initial and final positions and orientations for your 3D object.
To insert a keyframe, enter object mode, then click “Object,” “Animation,” and “Insert
Keyframe.”

Add as many keyframes as you need, and play around with your objects’ position and
orientation in each one to create the effect you’re looking for.

4. Find References

As you’re working on your animation keyframe by keyframe, be sure to use references

whenever possible. Doing so will help you create more realistic and accurate
movements, whether you’re animating people, animals, plants, machines, or just about
anything else.

5. Polish and Fine-Tune

Fine-tune your animation by adjusting keyframes and the interpolations knitting them
together. Also take the time to animate small portions of your models that you may have
overlooked while focusing on the larger motions, and remember to give some attention
to your animation’s texturing too.

6. Add Sounds

If you want to enhance your animation with sound effects or dialogue, you can do so in
several different ways.

For instance, you can add an audio clip directly into the 3D space by creating a speaker
object. This can be especially useful for adding ambient background music and
environmental sounds.

Alternatively, you can use Blender’s Video Sequence Editor to edit and fine-tune Sound
strips. This can be helpful if you need to precisely match audio to specific parts of your
animation.
7. Preview and Render Your Animation

As described in the steps for creating a 2D animation above, preview your 3D animation
to ensure it looks how you want it to. Once you’re happy with the results, you can render
it and see your final animation come to life.

Create Unique Animations with Blender

Mastering Blender’s animation tools is a gateway to limitless creativity. From crafting 2D

animations that tell stories or breathing life into 3D characters and objects, Blender
offers a powerful platform for animators of all levels.

As you continue to explore Blender’s animation features, remember that practice and
experimentation are key. With time, dedication, and a deep understanding of Blender’s
animation capabilities, you’ll be on your way to creating unique and captivating
animations that truly stand out.

https://www.skillshare.com/en/blog/how-to-animate-in-blender-the-ultimate-guide/

What is 3D Rigging for Animation?

BY
EJ HASSENFRATZ

What is rigging in 3D?

3D rigging is a process in which you set up assets so they can be animated. Rigs can
be made up of a variety of things, from simple controllers, blend shapes, and deformers
to full joint skeleton rigs. Regardless the setup, a rig is a chain of object relationships.
Rigging is an essential step in the 3D animation process, as it allows animators to
manipulate the 3D model and make it move in whatever way you want it to.
Rigging can be as complex or as simple as you need in order to achieve the movement you
desire. Above is a character is rigged by just using a combination of Deformers in Cinema 4D.

What is the process of 3D character rigging?

The process of 3D rigging involves creating a skeleton or "rig" for the 3D model, which
is made up of interconnected joints and bones. The rig is then used to control the
movement of the 3D model, much like how a real skeleton allows us to move our
bodies. The rig is typically created using specialized software, such as Cinema 4D or
Blender, and can be as simple or complex as necessary for the project at hand as a rig
is simply creating a setup that allows you to animate an object or character easily.

The process of 3D rigging typically involves the following steps:

1. Create the 3D model: In Cinema 4D, this can be done using a variety of modeling tools
and techniques, such as spline modeling, polygon modeling, or sculpting. You should
design your model in a way to ensure that it will be easy to rig and animate. For
example the more dense your mesh, the harder it will be to rig and animate your object.
On the other hand, if you have a very low poly object, it can be difficult to achieve nice
deformations.
2. Design the rig: This typically involves creating a skeleton or "rig" made up of
interconnected joints and bones but rigs can also include using Deformers, Blendshapes
and hierarchy. In Cinema 4D, you can use the "Character Object" to create a hierarchy
of joints and bones for you automatically. No matter what you do to create a rig, it
should be designed to match the movement and deformation of the 3D model.
3. Set up the control system: After the rig has been created, the next step is to set up the
control system that will be used to manipulate the rig and animate the 3D model. This
 typically involves adding user-interface elements, such as selectable nulls, sliders and
buttons, to the rig, which can be used to move the joints and bones and create specific
poses and movements.

Weighting is the process in which you define which joints influence which parts of your
characters mesh.

1. Weight the model: In order for the rig to properly control the movement and
deformation of the 3D model, it is necessary to carefully "weight" the model. In Cinema
4D, this can be done using the "Weight Tool," which allows you to assign each bone in
the rig to a section of your geometry, determining how much influence each bone has on
the deformation of each part of the model.
2. Test and refine the rig: Once the rig has been set up and the model has been
weighted, the next step is to test the rig and ensure that it is working properly. This
typically involves creating a series of test animations to see how the rig and model
behave, and making any necessary adjustments to the rig to improve its performance.
3. Use the rig to animate the model: Once the rig is working properly, it can be used to
animate the 3D model. This typically involves using the control system to manipulate the
rig and record keyframes for the type of animation you require.
Rigging can involve a combination of controllers, expressions, and blend shapes.

How do you animate a rig?

Once the rig has been created, the animator can then begin to animate the 3D model.
This is typically done using a process called "forward kinematics," in which the animator
moves the joints and bones of the rig to create a specific pose or movement. The
alternative to forward kinematics is “inverse kinematics” which is a technique used to
automatically calculate the movements of the joints and bones in a rig to achieve a
specific pose or movement for the 3D model. The 3D model will then automatically
move and deform to match the movement of the rig, creating a realistic and believable
animation.
A face rig can be setup to be able to achieve any type of facial expression an animator would
desire!

What are the uses for rigging?

In addition to controlling the movement of the 3D model, 3D rigging can also be used to
add other elements to the animation, such as facial expressions or clothing. This is
done by adding additional controls to the rig, which can be used to manipulate specific
areas of the 3D model. For example, an animator might add controls for the eyes,
mouth, and eyebrows to the rig to create a wide range of facial expressions.

One of the key advantages of 3D rigging is that it allows animators to create complex
and realistic animations quickly and easily. With a well-designed rig, an animator can
create a wide range of movements and poses with just a few simple actions, saving a
great deal of time and effort. This is particularly useful for creating animations with many
characters, as it allows the animator to quickly create and manipulate multiple rigs at
once.

What’s the best way to learn 3D rigging?

Because each character and object you can rig can be it’s own little puzzle, it’s
important to learn the foundational concepts of 3D rigging. No matter the software, the
process of rigging is fairly similar. There are many tutorials and videos on the topic but
it is important to learn from experienced animators and riggers like the instructors at
School of Motion so you’re getting the correct information.
In the end, the absolute best way to learn 3D rigging is simply to get started and try to
rig on your own. Start by creating simple rigs and experimenting with different
techniques and controls. As you gain experience and confidence, you can gradually
increase the complexity of your rigs and animations. Remember that rigs can be as
simple or as complex as is required for your task at hand. Don't be afraid to jump in and
try to rig your own objects, make mistakes and most importantly learn from them - this is
an essential part of the learning process!

https://www.schoolofmotion.com/blog/what-is-3d-rigging-for-animation

Blender 4.1: Animation & Rigging¶

Bone Collections¶
Bone Collections are now hierarchical (129fb2eab8). The collections
are shown in a tree instead of a flat list, where they can be rearranged
and nested via drag-and-drop. The outliner also shows the bone
collection hierarchy (2e2b5dcd52).

Screenshot of the Bone Collections in the Outliner in Blender 4.1

Visibility is determined by the bone collection itself, and its ancestors:

a bone collection is only visible when its parent, grandparent, etc. are
visible (6cfbf9ef2f). In other words: hiding a bone collection will also
hide its children.

Screensh
ot of the Bone Collections in the Armature Properties panel in Blender 4.1

Bone Collections can be 'solo'ed with the ☆ icon. When any bone
collection is marked as 'solo', shown as ★ in the interface, the regular
visibility options (the 👁 icon) are overridden. Only the bone collections
with a ★ are then shown. This makes it possible to, for example,
quickly show certain bone collections without altering the regular
visibility setup.

An Un-Solo All operator is available to disable all 'solo'ed bone

collections, and return to the regular visibility rules.

Screenshot of
the Bone Collections in the Bone Properties, Relations panel

The Bone Properties' Relations panel also shows which Bone

Collections the Bone is assigned to, including visibility & solo toggles.
The bone can also be un-assigned from its collections here.

Python API¶
import bpy

# Create bone collections

armature = bpy.context.object.data
bcoll_root = armature.collections.new("A Root Collection")
bcoll_child = armature.collections.new("Child Collection", parent=bcoll_root)

# Moving the bone collection after it has been created.

bcoll = armature.collections.new("collection")
bcoll.parent = bcoll_root # Assign a new parent collection.
bcoll.child_number = 0 # Move to be the first of its siblings.

# Access to the top level (aka 'root') collections:

for bcoll in armature.collections:
print(f'Root collection: {bcoll.name}')

# Access to all collections:

for bcoll in armature.collections_all:
print(f'Collection: {bcoll.name}')

# Access to all collections, backward-compatible with Blender 4.0.

# NOTE: this does NOT return the collections in a strict top-to-bottom order.
# See the link below this code for more info.
colls_all = getattr(armature, 'collections_all', armature.collections)
for bcoll in bcolls_all:
print(f'Collection: {bcoll.name}')

# Assigned bones can be retrieved hierarchically:

bcoll_child.assign(armature.bones['thigh.L'])
for bone in bcoll_root.bones_recursive:
print(bone.name)

For more information about the bone collections, see Bone

Collections: Storage and Hierarchy.

NLA¶
 Add new channel options to Action bake, so you can choose what to bake
(loc/rot/scale and custom properties) (dd5b870d15, 4ddb52a775).
 Rename "NLA Channels" to "NLA Tracks" (661e7e451a).
Screenshot of Blender showing the new Bake Action popup
Weight Paint: Bone Selection¶

Selection mode options in the Weight Paint mode

Bone selection mode is made explicit when you enter weight paint
mode with an armature (edcac1f48b). It now has an icon and can be
accessed with the hotkey 3. In previous versions, this mode would be
enabled implicitly when both 'vertex' and 'face' selection modes were
turned off.

Keying¶
Rik Schutte explains these changes in Keying Animation Updates in
Blender 4.1 (YouTube).

 Pressing I in the viewport will no longer pop up a menu of keying sets.

Instead, it will use newly added options in the Preferences. These
options define which channels get keyed. This makes it significantly
simpler to set up Blender so that it keys what you need. (a99e419b6e)
 There is a new hotkey K in Object and Pose Mode which pops up the
Keying Set menu. This shows the menu even if a keying set is active in
the scene. (87fc8e8ddd)
 The hotkey to change the active Keying Set has been changed
from Ctrl+Shift+Alt+I to Shift+K. (87fc8e8ddd)
 When the User Preference option "Pie Menu on Drag" (in the "Keymap"
category) is enabled, holding I and moving the cursor will show a pie
menu to insert one of Location, Rotation, Scale and Available.
(87fc8e8ddd)
 The User Preference option "Only Insert Needed" is now split between
manual keying and auto-keying. (5e28601d69)

Drivers¶
 Single Property and Context Property driver variables now support a
fallback value to use if the RNA path lookup fails. (d0ef66ddff, Manual)
 Drivers that failed to evaluate are now underlined in red in the channel
list of the Driver Editor. Previously that only happened for drivers
attached to non-existing properties. (b9074381e5)
Graph Editor¶
 Scale from Neighbor operator (b27718a9e7, Manual)
 Add an option to automatically lock key movement to either the X or Y
axis. This can be found under View » Auto-Lock Axis. (446b92d2ce)
 Add option to right click menu on animated properties to view the FCurve
that animates it. For this to work the object/node has to be selected.
(a91a8f3fed, Manual)

0:00

/ 0:24

Demo of viewing the F-Curve of the animated property

F-Curve Baking¶

A new operator "Bake Channels" has been added to the Graph Editor.
(1e931f5bd7, Manual)

It allows you to:

 Specify a range to bake.

 Define the distance between baked keys, e.g. 2s or 3s.
 Remove keys outside the baked range.
 Define a interpolation type for new keyframes.
 Bake modifiers to keyframes.

It is found in the Graph Editor under Channel » Bake Channels.

Dope Sheet¶
 Speed up Dope Sheet by only calculating keyframes that are visible in the
current view. (f06fd85d97)
Motion Paths¶
 Add an option to create motion paths relative to the active camera. This
means the motion paths will appear in screen space when looking
through that camera. (79f84775f2)

https://developer.blender.org/docs/release_notes/4.1/animation_rigging/

Character Design in Animation:

Definition, Process & Challenges

To truly appreciate the significance of character design, one must

understand its profound impact on our lives. Think of those cherished

childhood memories spent glued to the television screen, eagerly

following the adventures of our favorite characters. These animated

drawings shaped our imagination, taught us valuable life lessons, and

became lifelong companions. They ignited our dreams and sparked our

creativity, leaving an indelible mark on who we are today. But what

makes certain characters stand out and become timeless classics?

The answer lies in the intricate process of character design.

At CGWire, we help animation studios from all around the world to

manage their character assets. From experience, we gained invaluable

insight into the intricate world of character design and how important

a well-crafted character design process is. Join us in this article as we

explore the intricacies of the character design process, uncover the

techniques employed by masterful animators, and gain a deeper

understanding of what it takes to craft compelling characters.

What’s Character Design

Character design is the process of creating characters, from

protagonists to supporting cast, to drive the narrative and engage the

audience on an emotional level.

A well-designed character possesses a unique visual aesthetic that

instantly captivates the eye. From their distinctive physical features to

their attire and accessories, every aspect is meticulously crafted to

convey their personality, background, and purpose within the story.

The artistry lies in finding the delicate balance between familiarity and

novelty, ensuring that characters feel fresh and intriguing while

remaining relatable to the audience.

But character design is not limited to appearances alone: a

remarkable character transcends the boundaries of their visual

characteristics, embodying a rich inner world that fuels their actions,

motivations, and relationships. Their personalities evoke emotions,

whether it be through their wit, humor, vulnerability, or strength.

Memorable characters possess flaws and quirks that make them feel

human, relatable, and flawed, allowing us to connect with them

deeper. The art of character design lies in creating such personalities,

infusing them with an unmistakable presence that resonates long after

the credits roll.

For example, consider the character design of Mickey Mouse

originating in 1928: with his iconic round ears, white gloves, and

cheerful personality, you can still recognize Mickey Mouse’s silhouette

a century later.

The deliverables of the character design process include concept art,

model sheets, turnarounds showing the character from multiple

angles, color schemes, and any additional reference materials needed

for production.

Why Character Design Is Key

Characters with distinct visual designs are more likely to leave a

lasting impression on the audience: unique silhouettes, color palettes,

and memorable details contribute to the character's recognizability

and set them apart from other animated work. A well-designed

character becomes instantly recognizable and can endure in the

collective memory of audiences for years.

Well-designed characters also have the power to evoke strong

emotional responses. By attributing human characteristics to non-

human characters like relatable traits, distinct personalities, and

expressive features, animators can establish a deep connection

between viewers and the characters on-screen. This connection

fosters empathy and engagement in the story's outcome.

Who Is Involved In Character Design

Character designers specialize in conceptualizing characters based

on scripts and storyboards. They create initial sketches, explore

different designs, and refine the appearance and personality of the

characters. Character designers work in team under a supervisor or an

art director. The art director oversees the overall visual style and

aesthetic direction of the animation project. They provide guidance

and ensure that the character designs align with the broader artistic

vision of the animation and maintain consistency throughout the

production.
During pre-production, storyboard artists work closely with character

designers to translate the character designs into sequential drawings

or panels that represent the key moments and actions of the story.

They help establish the character's physicality, movement, and

expressions. Modelers then take the 2D character designs

and create three-dimensional models using specialized software. They

sculpt and refine the digital models, ensuring accuracy and attention

to detail in terms of proportions, anatomy, and costume design.

During production, animators are responsible for breathing life into

the characters. They use character models and rigging systems to

create believable movements, scenes, and expressions. Animators

infuse personality and emotion into the characters, giving them a

sense of vitality and bringing them closer to the intended vision.

The Character Design Process In 5 Steps

Character design combines artistic vision, storytelling, and audience

connection way before any actual drawing is done.

Character Research

The character design process begins with understanding the project

requirements―script, genre, target audience, and artistic vision ―to

gain insights into the world and tone of the animation.

 Understand the audience - Gain a deep understanding of the story,

themes, and target audience to guide design choices and ensure
characters resonate with viewers.
 Get familiar with the genre - Familiarize yourself with the animation
genre and study existing works to understand visual conventions and
desired artistic direction.
 Conduct research - Gather references like pictures or videos and study
existing material like scripts or concept illustrations.
 Develop a visual mood board - A visual mood board showcases the
desired atmosphere, color palettes, and textures to serve as
references throughout the design process.
 Understand each character's role and personality - Each character’s
visual representation should align with their narrative purpose. But you
can’t understand a character without taking into account its
relationship with other characters, so make sure to not just limit
yourself to the characters you are responsible for.

When you are acquainted with the global picture, it’s time to drill down

into the details.

Concept Development

In this phase, artists generate initial ideas and concepts for a

character’s design. They explore different visual styles, traits, and

personalities that align with the story and project vision. This is mainly

a brainstorming stage, but you can leverage character sheets from the
scripting phase to guide you. A character design concept should

address the following points:

 Personality - The character's defining personality traits and how they

influence their actions: strengths, weaknesses, fears, desires, unique
quirks, and mannerisms.
 Backstory - The events that shaped the characters before the story
begins and their current goals.
 Role - The character’s main role in the story and how they relate to
other characters.
 Visual appearance - The look of the character: physical features like
age, body type, hair color, silhouette, and facial expressions, but also
clothing style and unique visual elements that mirror their personality,
role, and backstory.
 Expressions and body language - Everything related to how characters
move and express themselves through movement.

A character needs a distinct design, but it also needs to remain

relatable for the intended audience and respect the production’s

unique technical constraints like the color palette or the art style.

Sketching

Artists create rough sketches and thumbnails to flesh out the initial

ideas. These quick and loose drawings capture the essence of the

character, exploring proportions, poses, facial expressions, and

silhouettes. Multiple iterations and variations are created to explore

different design possibilities.

 Explore different ideas - Use sketching as a creative outlet to

generate a variety of design ideas for the character: experiment with
 different shapes, poses, and compositions, and allow your imagination
to roam freely past the boundaries of your initial concepts.
 Emphasize silhouettes and proportions - Focus on capturing the
character's essence through their silhouette, with distinctive and
recognizable outlines that convey the character's personality and role.
Proportions can also emphasize specific traits.
 Show facial expressions and gestures - Sketch various facial
expressions and gestures to convey the character's emotions and
mood: eyebrows, eyes, mouth, hair, and hands are precious tools to
evoke feelings.
 Use dynamic poses - Explore poses that capture the character's
potential movement―how the character might interact with the
environment and other characters. This helps in understanding how the
design translates into practical animation and storytelling.

During sketching, always refer back to the character's backstory,

personality traits, and role within the story to ensure that the sketches

align with the narrative and accurately represent the character's

essence and development throughout the animation.

Refinement

The refinement stage is an opportunity to bring the character design to

its full potential, adding depth, and details while removing anything

that doesn’t contribute to storytelling:

1. Clean line art - Create clean and precise line art to define the
character's features, contours, and proportions. Use confident strokes
to refine the initial sketches and ensure a clean design.
2. Add shades, highlights & textures - Add shades to give the character
depth and dimension, while highlighting key features to bring attention
to specific areas. Experiment with textures to add visual appeal.
3. Maintain visual coherence - The refined design integrates all the visual
styles, color palettes, and aesthetic choices established in earlier
stages. Aim for a final design that is clear, visually appealing, and
easily recognizable by ensuring that each element serves a purpose
 and avoiding clutter or excessive ornamentation that may distract from
the character's essence.

At this stage, the design is complete and ready for delivery.

Turnarounds and Model Sheets

The character design process ends with the delivery of character

packs including concept art, turnarounds, and model sheets.

Turnarounds are illustrations showcasing the character from multiple

angles, typically including front, back, and side views. These visual

references serve as a guide for 3D modelers, helping them accurately

recreate how the character should look from different perspectives in

a 3D space.

Model sheets go beyond turnarounds and offer additional detailed

views and references for specific elements of the character

design―facial expressions, hand poses, costume details, accessories,

etc. They help artists maintain consistency and accuracy throughout

the animation production by offering precise visual instructions for

each specific element.

Turnarounds and model sheets are essential tools that also serve as

references for rigging and animation, ensuring realistic movements

and expressions.

It’s An Iterative, Collaborative Process

The character design process includes reviews and feedback loops as

the project evolves. It’s not a straightforward process where

everything falls right on the first try. Having the right methodologies

and tools to support this collaborative aspect is important to increase

productivity.

Because of this, Kitsu is an invaluable tool for character

design. Sharing designs with colleagues or clients becomes a

seamless process: just upload your work and gather constructive

feedback from the user interface:

By providing a centralized platform, Kitsu enables open

communication and coordination among team members involved in

the animation pipeline. Designers can seamlessly connect with

modelers, riggers, and animators to ensure a smooth transition from

the design phase to the production stages with delivery tracking:

 Lastly, Kitsu offers version control, providing a comprehensive history

of the character design process. Designers can easily revisit previous

iterations, track changes, and maintain a clear record of the design

evolution. By having all the design assets in one place, designers can

efficiently manage their projects, making it easier to access and

update character designs as needed:

https://blog.cg-wire.com/character-design-animation/

 BASIC COMPUTER SKILLS

 3 Easy Ways to Merge Objects in
Blender: Step-by-Step

Download Article

An easy to follow guide to merging shapes in Blender

Written by Luigi Oppido | Edited by Travis Boylls
Last Updated: October 9, 2023 Fact Checked

 Joining Objects
|

 Using a Boolean Modifier

|

 Merging Vertices
Do you need to combine multiple objects into one with Blender? There are actually a few
different ways to merge objects in Blender, all of which are easy. You can join objects to create a
group, use boolean modifiers to merge complex objects, or merge individual vertices from two
shapes. This wikiHow article teaches you three effective ways to merge two objects in Blender
3D.

Things You Should Know

 Join two objects by selecting them in Object Mode and pressing "Ctrl + J."

 You can use the Union Boolean modifier to combine two objects into a single shape.

 To merge the vertices of two joined objects in Edit Mode, select both vertices, right-click them, and select
"Merge Vertices."
Method 1
Joining Objects

Download Article

1.

1
Understand merging in Blender 3D. Joining objects together links multiple objects together as a group,
with the last object you select being the new parent object. When one object in a group is selected, all
joined objects will also be selected and act as one object. This does not modify the geometry of any of the
objects. Objects do not have to be touching to be joined.

 Joining objects together is useful if you are dealing with complex shapes, character models, or
complex scenery. It is not particularly useful for 3D printing, where the geometry of the joined
objects needs to be merged into a single object.
2.

2
Make sure you are in Object Mode. You need to be in Object Mode to select multiple objects. Check
the drop-down menu in the upper-left corner to see if it says "Object Mode." If it does not, click the drop-
down menu and select "Object Mode."
3.
3
Select an object you want to join. To select an object, simply click it with the mouse. It will be
highlighted in orange in the viewport.
4.

4
Hold ⇧ Shift and select other objects you want to join. You can select multiple objects by holding the

"Shift" key and clicking them. All objects you select should be highlighted in orange.

 Select the object you want to use as the parent object last.
5.

5
Click Object . It's in the menu bar at the top of the screen. This displays a drop-down menu.

6.

6
Click Join . This joins all selected objects as a group. When you select one object, it will select all objects
in the group.[1]

 Alternatively, you can press Ctrl + J (or Command + J on Mac) to join selected objects
together as a group.[2]
Method 2
Using a Boolean Modifier

Download Article

1.

1
Understand the application. The boolean modifier takes two different objects and can apply one of three
modifications. Unlike joining two objects, the boolean modifier will create a new object with modified
geometry. The three types of boolean modifications are as follows: [3]

 Union: The Union boolean combines the primary and secondary object into a single shape. All
intersecting internal geometry is removed. This is the one you use to merge objects.
 Difference: The Difference boolean subtracts the shape of the secondary object from the
primary object where the secondary object overlaps with the primary object. The geometry of
the secondary object is completely removed.
 Intersection: The Intersection boolean creates a new shape where the geometry of the primary
object overlaps with the secondary object. All the geometry that is not overlapping is removed.
2.

2
Make sure both objects are overlapping. You can move objects by clicking them to select them and
press G to grab them. Move them with the mouse and click to set them down. Move the two objects you
want to merge so they are overlapping in a shape you want to create when they are merged.
  You may need to adjust the viewport camera angle and look at the shapes from different angles
to move them into the exact position you want.
3.

3
Select the primary object. When using the Union boolean, it really doesn't matter which object you
select. Select whichever one you want to be the primary object.
4.

4
Click the blue wrench icon. This is the Modifiers icon. It's in the button panel alongside the panel to the
right. This displays a drop-down menu at the top of the panel to the right.
5.

5
Click Add Modifier . It's the drop-down menu at the top of the panel on the right. This displays a menu
of modifiers you can select.
6.

6
Click Boolean . It's the third option in the menu below "Generate." This displays the Boolean Modifier
menu in the panel to the right
7.

7
Click the Union tab. It's the tab in the middle of the Boolean modifier menu.

8.

8
Select the secondary shape in the field next to "Object." It's in the Boolean Modifier menu. You can
either click the field next to "Object" and select the secondary object in the drop-down menu, or click the
eyedropper icon next to "Object" and then click the secondary object. Both objects should be highlighted,
and the secondary object should be listed in the field next to "Object." [4]

 Both objects may combine, creating a preview of the combined shape. This may look a little
weird at first.
 Do not select both shapes in the viewport. This will result in an error message when you try to
apply the modifier.
9.

9
Click
. It's the icon that resembles a bracket pointing down. It's in the upper-right corner of the Boolean
Modifier menu. This displays a drop-down menu.
10.

10
Click Apply . It's at the top of the drop-down menu. This applies the modifier and merges the two shapes.

 Alternatively, you can press Ctrl +A (or Command + A on Mac) to combine the two shapes.
11.

11
Move or delete the secondary object. The modifier does not delete the secondary object. It is still intact
and overlaps with the combined objects. You can either select the secondary object and move it out of the
way, or press the Delete key to delete it. You should now see your two objects combined into a single
shape.

Method 3
Merging Vertices

Download Article
 1.

1
Understand the application. Merging vertices from two shapes is a more precise way to merge shapes
together. It takes a little longer to do it this way, but it gives you more control over the cuts and polygons
that will be created.
2.

2
Move the two shapes you want to merge close together. You can move a shape by clicking it with the
mouse and pressing G on the keyboard. Move the shape and then click to put it down. Place the two
shapes so that the faces you want to merge are facing each other. You can rotate a shape by pressing R.

 It's not necessary that the two shapes be touching each other, but the two faces you want to
merge should be close to each other.
3.

3
Select both shapes. To do so, hold Shift and click both shapes. They should both be highlighted in
orange.
4.
4
Join both shapes together. Press Ctrl + J (or Command + J on Mac) to join both shapes as a group.
5.

5
Switch to Edit Mode. To do so, click the drop-down menu in the upper-left corner and select "Edit
Mode."
6.

6
Make sure you are in Vertices Select Mode. To do so, click the box right next to the drop-down menu
in the upper-left corner. It's the box that resembles a dot on the outline of a cube.
7.

7
Select two vertices on both shapes across near each other. The vertices are the dots in the corners of
the polygons and edges. They resemble black dots in the corners shape's polygons. Hold Shift and click
two vertices across from or touching each other on both shapes.
8.
8
Right-click one of the vertices and click Merge Vertices . This displays a menu with options on how
you can merge the vertices.
9.

9
Select an option to merge the vertices. The options are as follows:[5]

 At Center: This will merge the vertices at the center between the two vertices.
 At Cursor: This merges the vertices at the cursor. The cursor icon resembles a crosshair with a
red and white band around the center. You can move the cursor by clicking the cursor icon in
the menu bar to the left and click where you want to put the cursor.
 Collapse: This merges vertices on a single shape that are connected by a line or edge. This is
not applicable when merging two separate shapes together.
 At First: This merges the vertices at the location of the first vertex you selected.
 At Last: This merges the vertices at the location of the last vertex you selected.
10.

10
Continue merging all subsequent vertices. Continue merging vertices two at a time using the same
steps as above until the faces you want to merge are completely fused together.
11.

11
Adjust the position of any vertices you want to move. When merging the vertices, it may change the
vertices' position and deform the object's overall shape. If you need to move any merged vertices, click
them with the mouse and press G on the keyboard to grab them. Move them with the mouse and then
click the set their position.
12.

12
Switch back to Object Mode. Once you are happy with the merged shape, click the drop-down
menu in the upper-left corner and switch back to Object Mode.

https://www.wikihow.com/Blender-How-to-Merge-Objects#:~:text=Join%20two%20objects%20by
%20selecting,and%20select%20%22Merge%20Vertices.%22

How to make a 3D animation face? Creating a 3D animation face requires a

combination of artistic vision, technical skill, and the right tools. In this step-by-step
guide, we’ll explore the process of bringing a digital character’s face to life.

From sculpting and modeling to rigging, animating, and rendering, each stage plays a
crucial role in crafting a believable and expressive character.
What’s 3D Facial Animation?

Wh
at’s 3D Facial Animation?

3D facial animation involves creating lifelike representations of human faces in a

digital environment, typically for use in movies, video games, virtual reality, or
augmented reality applications.

This process combines artistry, computer graphics, and animation techniques to

generate realistic facial expressions, movements, and emotions.

It begins with capturing or modeling the basic structure of a human face, including
features like eyes, nose, mouth, and skin texture.

Then, sophisticated software and algorithms are employed to animate these models,
allowing them to mimic human expressions, speech, and gestures.

Advanced techniques such as motion capture, blend shapes, and rigging are often used
to achieve precise and nuanced facial movements, ensuring that the characters appear
natural and expressive.

The goal of 3D facial animation is to create believable and immersive digital

characters that resonate with audiences and enhance the storytelling experience.
>>>Read more: What is the application of facial motion capture technology?

How to Make a 3D Animation Face?

Whether you’re a beginner or an experienced animator, this guide will provide
insights and techniques to help you create captivating 3D animation faces.

Step 1: 3D Face Modeling

3D
Face Modeling

Creating a 3D animation face starts with making a 3D model that looks like the
character’s face. You can do this using software like Blender, Maya, or ZBrush.

These tools help you shape, adjust, and add texture to your model to make it look real
or stylized. You can also use pictures, scans, or photogrammetry to help you get the
details right.

The level of detail you add depends on how you want your character to look and what
you’re using it for.

If you’re making a movie, you might want a very detailed, lifelike face. But if it’s for
a cartoon, you might focus more on making it expressive rather than super realistic.
>>>Read more: New technology innovating 3D animation production industry

Step 2: Facial Rigging

Faci
al Rigging

Facial rigging is the process of adding a system of bones and blending shapes to your
3D face model.

Bones act like the skeleton, defining major facial joints like the jaw, eyes, and
neck. They provide the structure for movement. Blendshapes, on the other hand, bring
life to the face by creating subtle expressions like smiles, frowns, or blinks.

There are two ways to create blend shapes: manually sculpting different poses or
using tools like FaceBuilder or FaceCap to generate them automatically.

Manual sculpting gives artists precise control over each expression, while automated
tools speed up the process, especially for complex animations.

Once rigged, the face model becomes dynamic, capable of conveying emotions and
reacting to its environment.

This step is crucial in animation, as it allows animators to breathe life into characters,
making them relatable and engaging to the audience.
From joyful grins to sorrowful tears, facial rigging empowers animators to evoke a
spectrum of emotions, enriching the storytelling experience.

Step 3: Facial Motion Capture

Faci
al Motion Capture

Facial motion capture works by recording the movements of a real person’s face and
copying them onto a digital character.

To do this, you can use cameras, markers, sensors, or special headsets. Software like
Faceware or iClone helps analyze and tweak the captured movements to make them
perfect.

This method saves a lot of time and effort for animators. However, it needs some
adjustments to make the movements look natural and expressive. Think of it like fine-
tuning a radio to get the best signal.

With facial motion capture, animators can make their characters smile, frown, or show
any emotion just like real people do. It adds a whole new level of realism to 3D
animations, making the characters more relatable and engaging for audiences.

>>>Read more: Pros and Cons of Motion capture? The development of Motion
capture Asia
Step 4: Facial Animation Editing

Facial
Animation Editing

Facial animation editing is the next step after applying facial motion data to your 3D
face model. This process involves refining and perfecting the animation using
different tools and techniques.

Keyframes, curves, and graph editors are commonly used to tweak the timing,
intensity, and smoothness of facial movements.

These tools allow animators to fine-tune each expression, ensuring they match the
character’s personality and the scene’s requirements.

Layers, masks, and modifiers are also essential for adjusting and customizing facial
expressions. They enable animators to add, remove, or modify specific parts of the
face, enhancing the overall performance and realism of the character.

Additionally, scripts, plugins, and presets can streamline the editing process,
automating repetitive tasks and simplifying complex adjustments.

Step 5: Facial Animation Rendering

Facial animation rendering is the last step in making a 3D character’s face move and
look real. It’s like putting the finishing touches on a painting to make it perfect.
 You use special software or engines to do this. These tools help make your animation
look high-quality and lifelike.

During rendering, you can adjust things like lighting, shadows, and materials to make
your animation look just right. You can also use features like subsurface scattering,
ambient occlusion, and depth of field to add more realism.

Rendering takes time and needs a powerful computer, but it’s worth it. It makes a big
difference in how your animation looks in the end. It’s like making sure your cake
looks as good as it tastes!

What is The Best 3D Facial Animation

Software?
Determining the “best” 3D facial animation software depends on your specific needs
and preferences. However, several market-leading solutions stand out for their
features and capabilities.
 Face AR SDK is a powerful choice for real-time facial animation, offering robust
tools for creating lifelike expressions and movements.
 Adobe Character Animator is another top contender, known for its user-friendly
interface and seamless integration with other Adobe products.
 CrazyTalk and iClone 8 are popular options for both real-time and post-processing
facial animation, offering a wide range of features for character creation and
animation.
 Blender, although known for its versatility in various aspects of 3D animation, also
boasts robust facial animation tools, making it a strong contender in the market.

Ultimately, the best software depends on your specific project requirements, budget,
and personal preferences. It’s essential to explore and experiment with different
options to find the one that best suits your needs.

https://animost.com/tutorials/how-to-make-a-3d-animation-face/

Blender 3D Lighting Manual

Posted onOctober 16, 2022Updated onJune 14, 2024
 Lighting is one of the most important parts of a 3D
scene. Whether you’re animating or creating still
renders, nothing can improve a scene more than
lighting. Before we can get into advanced lighting
techniques, we need to cover the basics.
This page may contain affiliate links which pay me a commission if
used to make a purchase. As an Amazon Associate, I earn from
qualifying purchases.

More Articles on Lighting in Blender

 Three-Point Lighting in Blender

 Using IES Light Files in Cycles

 Blender Light Groups

 Animate Flickering Lights

Lighting in Cycles vs. Eevee

It’s important to know that lighting can differ
between the Cycles Render Engine and the Eevee
Render Engine. The settings may need to be
changed depending on which one we are using.
Eevee is restricted to using 64 light sources in a
scene.
Cycles is a very powerful tool for rendering realistic
lighting. But with extended render times in Cycles,
Eevee may be the most practical for many things
such as animation.

I will do my best to address differences between

Cycles and Eevee as we go. There are several features
such as using light groups that will only work with
Cycles.

While there are different ways to set up lighting for a

scene, they all use the four lighting tools Blender has
to offer.
#1: Adding Lamps in Blender 3D
Lamps (often just referred to as “lights”) are the most
basic way of lighting a scene. Blender gives us four
types of lights to work with. Lamps will probably be
in every scene we create and they will carry most of
the weight in lighting an interior scene.

Before we look at the four types of lamps, let’s

answer this important question first…

How do we add a lamp in Blender?

To add a light (lamp) in Blender,

press Control + A on the keyboard
while in the 3D Viewport. Choose the
object type “light” and then choose
the lamp type from the four available
options.
After we cover the different lamp types, I will include
some general lamp settings below.

Point Lamps
Point lamps are the best representation of how most
real-world light sources work. Light from a point
lamp starts from a single point and emits outward in
every direction.

As the light travels farther from the light source, it

dissipates or reduces in strength. This reduction of
strength is known as Falloff.

The default falloff of a point lamp in Cycles.

With the default settings, a point lamp may appear
similar in Cycles and Eevee, but the setting options
are different in each render engine.

Cycles Point Lamp Settings

Eevee Point Lamp Settings
As with all lamp types, the point lamp settings are
found in the Light Properties Panel.

Sun Lamp
The sun lamp imitates having a sun in our scene.
Since the real-world sun is so far away, the falloff
from its light is not noticeable to humans on Earth.
So in Blender, a sun lamp will have a “constant
falloff” meaning it’s the same strength everywhere in
the scene. We can control the direction, intensity and
color of the sun lamp.

T
he sun lamp’s strength is the same regardless of how
far away an object is.

Spot Lamp
A spot lamp in Blender simulates a real-world spot
light. Its light shines in a cone-shaped pattern, but
the light dissipates as it travels from the source. We
are able to adjust the strength, color, size of the
cone and the “blend.”
The blend is how sharply the light is contained in the
cone pattern. A zero blend will be fully lit in the cone
area and no light will be outside the cone.

There will be a distinct and noticeable separation of

the lighted area. If we increase the blend setting, the
lit and unlit areas will blend together.

Zero Blend
Max Blend

Area Lamp
An area lamp emits from a plane. These lamps
simulate light diffusers in studios and other large
emitters of light commonly used in photography or
film.

An interesting setting on the area lamp is the spread.

It is found under “Beam Shape” in the Light
Properties Panel.

By default, it is set to the maximum of 180 degrees.

Turning this down gives us a sharper outline of the
light as shown below.
Default Spread

Zero Spread
Different shapes for the area lamp can be selected
from the light properties panel. Options include:
Square, Rectangle, Disk and Ellipse.

General Lamp Settings

Here are settings commonly available for the
different lamp types. They are located in the Light
Properties Panel.

Color Settings

We can select a color for lamps by clicking the

colored box. A color picker will open where we can
choose a color.
We can enter specific RGB, HSV or Hex values if we
need an exact color. There is also an eyedropper tool
to choose the color from somewhere in our viewport.

Power Setting
The power of the lamp is its strength. A higher
power value will be brighter and will shine a much
farther distance in the scene before it falls off.

Lamp Radius Setting

Radius is the physical size of the lamp. In addition to
the simple size of the lamp, size affects a light’s
shadows. Larger lamps produce softer shadows while
smaller lamps produce harder, more defined
shadows.

Going too small on the radius can give Cycles issues

with calculations so try to keep the sizes close to
real-world measurements.

Max Bounces (Cycles)

Cycles is a Ray-Trace Render Engine and performs
complex calculations which trace the path of each
light in a scene. As the light strikes objects, it is
reflected, refracted or absorbed. Cycles does a fair
job at replicating real-world light behavior.

The max bounces setting is found in a lamp’s

properties panel when using Cycles. This is the
maximum number of times the selected light’s path
will be followed when it “bounces” off of an object.

Higher values will be more realistic (and add more

light) but will extend render times. This is a setting
we can lower when attempting to reduce render
times.

Reflection Multipliers (Eevee)

The Eevee Render Engine does not use ray-tracing
like Cycles so it does not have a Max Bounces
setting. Instead, lamps in Eevee use a reflection
multiplier.
This controls how reflective the light will behave
when it contacts different types of surfaces (or
volume) in the scene.

These allow us to slide the values from zero to one,

but we can manually type values outside this range.
Higher values will make a surface type (diffuse,
specular or volume) more reflective for the selected
lamp’s light.

Cast Shadows (Cycles and Eevee)

This setting does what the name implies. When the
box is checked (as it is by default) the lamp will cast
shadows in our scene. There may be situations where
we don’t want shadows cast by a specific lamp.

If that’s the case, we can turn it off in the setting of

lamps individually.
 Cast shadows
activated
 Cast shadows
deactivated
In Cycles, the “Cast Shadows” setting is simply a
checkbox. In Eevee, there is a checkbox and then
additional settings for shadows.

We can have the shadows “clip” (this means not

display) prior to a certain distance with the Clip Start
setting.
Multiple Importance Setting (Cycles)
A much less self-explanatory setting name is
“Multiple Importance.” When this is checked on,
there may be less noise in certain areas of where the
light shines. It is another setting to try if you need to
reduce noise or conversely, reduce render times.

The bias of a shadow is a setting to adjust in order to

reduce self-shadowing in Eevee.

#2: HDRI Lighting in Blender

Another way to light a scene is with a high-dynamic
range image (HDRI) inserted in the world
background. These can provide both background
imagery and lighting.
You add the HDRI into the world properties. I have a
full guide on using high-dynamic range images in
Blender as well as this video on my YouTube channel:

The best place to get free HDRIs is definitely from

Poly Haven. No account required, no catches – just
free images and other 3D assets.
#3: Emissive Material for Lighting
in Blender
One tool for lighting a scene that often goes
overlooked is emissive materials. We can apply
emissive materials to any mesh using either an
emission node or the Principled BSDF shader.

This could make entire objects or parts of objects

contribute light to a scene.

This emissive material’s strength, color and other

properties can be adjusted in the Material Properties
Panel. Because materials can use nodes and shaders,
the look of this lighting source can be highly
customized.

Adding an Emissive Material

Adding an emissive material is like adding any other
material, but we will generally start with an Emission
Shader. Open the Materials Properties Panel. At the
top, add a material slot if there isn’t already one we
want to use. Change the shader type to “Emission.”

Add New Material

With emissive materials, we can use the objects to

“glow” in order to light our scene. Even more can be
done by activating an emission pass in the View
Layer Properties and then using it in the Compositor.

If you’re looking for a complete introduction to

material shading in general, I have a two-part series
on the subject – which starts with this video.

#4: IES Lighting

IES Lights are file types which tell a lamp how to emit
light and how that light diminishes as it travels away
from the lamp. IES files are created by manufacturers
of real-world lights to simulate their effects in
scenes.
Continue reading or see this article about IES
lamps for more.

We will first need to download an IES light file that

we want to use. Thousands of them can be found for
free at IESlibrary.com.

IES lamp
example
IES lights only work in Cycles and will not work in
Eevee.
To set up an IES light, add a point lamp to the scene.
Go to the Light Properties Panel and turn on the
“Use Nodes” button. This can also be done in the
Shader Editor if the point lamp is selected.

Use Nodes in
properties panel.

Use nodes in shader

editor.
With the lamp selected, go to the Shader Editor.
There will be an emission shader plugged into a light
output node. Hover in the shader editor and press
Shift + A to add a shader and locate the IES Texture
Node.
Plug its Factor output into the strength input of the
emission shader.

A
n IES Texture Node file browser button
Toggle the IES texture node to “External” and a file
browser option will open. Click on it and navigate to
the IES file you want to use. Choose it and the IES
lamp should display correctly.

We adjust the strength of the light from the IES

texture node (it may need to be turned down
significantly from the default). We can adjust the
color of the lamp from the emission shader.
https://brandon3d.com/blender-lighting-manual/

Create simple indoor lighting

in Blender 3.0 using an iPad
April 28, 2023 ⋅ By Cara Greer

Blender has always been computer-centric and optimized for mouse and
keyboard. But what if you could model and render scenes with the
convenience of a touch-enabled tablet and the power of your PC or Mac?

With Astropad Studio, not only can you use Blender on your iPad while
utilizing your computer’s processing power, but you can also speed up and
simplify your modeling workflow!

To help you get started, we are putting together some tutorials to build your
confidence using Blender on your iPad. This guide will focus on the basics of
lighting in Blender using the Eevee rendering engine.
set up quick keys and
shortcuts for blender on your
ipad
Before we get into lighting our scene, we will want to make sure we have the
relevant quick keys and shortcuts to streamline our workflow. If you’re new to
using Blender on your iPad, check out our guide for setting up Quick Keys and
gesture shortcuts in Astropad Studio:

Blender Setup for iPad

lighting in cycles vs. eevee

Lighting can differ greatly between the Eevee and Cycles rendering engines,
and as such the settings for lighting under each type will be different. Cycles is
a very powerful tool for rendering realistically lit scenes with very little
limitation on the number of lights utilized, but with this power comes longer
rendering times. Eevee can currently only support 128 active lights in a scene,
but it can be more convenient for beginners or for animation due to the shorter
render times. For this reason, we are going to keep this guide limited to
Eevee.

Regardless of whether we are using Cycles or Eevee for rendering, we will

have four different lights to choose from and customize for our scene, and
they are referred to as “Lamps” in Blender.

blender lamp types

Point lamps – Point lamps are the most basic representation of how an
average light source functions in real life. The light from point lamps starts at a
single moveable point and diffuses outward in every direction. The strength of
the light reduces the farther it travels from that single point, and this reduction
is called “falloff”. To edit this lamp and any others you place in your scene,
you can find the settings on the right side by clicking on the light bulb symbol.
The main settings we would likely change on this lamp are the color, the
amount of diffusion from the source, the radius of the light source, and
whether it casts shadows.

Example of a point lamp and its customization

Sun lamps – Sun lamps, as their name implies, are meant to mimic the sun
we see on Earth. The sun lamp’s falloff will be considered constant falloff
since the real-life sun’s light is more or less consistent and not focused on any
one point like a normal lamp would be. The common settings to adjust for the
sun lamp are color, strength, and whether it casts shadows.
Example of a sun lamp and its customization

Spot lamps – Spot lamps simulate a spotlight and shine their light in a cone
shape. The light slightly diffuses as it travels from the source but the falloff is
not nearly as dramatic as what you would see with a point lamp. Not only can
you edit the color for spot lamps, but you can adjust the diffusion, shadows,
and size of the cone. If you aren’t sure what objects the spot lamp’s light is
encompassing, you can select Show Cone under Spot Shape, and it will
provide a translucent example of the cone’s shape that is not affected by
diffusion.
Example of a spot lamp and its customization

Area lamp – Area lamps emit their light from a plane much like the light
diffusers you see in Photography. The light can be completely diffused from
the light source (the default) or they can be set to limit their light solely to the
shape of the plane you choose causing sharp edges to appear. There are a
few different shapes to choose from with area lamps, and while I have a disk
shape selected here, you can choose a rectangular, square, or circular area
lamp as well.
Example of an area lamp and its customization

what do we use for indoor

lighting?
For your typical indoor scene, you will use point lamps, spot lamps, and
potentially area lamps. It will depend on the mood you are trying to create
with your lighting and the light sources you intend to have in your scene such
as candles, lamps, and various other electronics. For strictly indoor lighting, a
sun lamp is unnecessary; though you may have windows that could allow light
from a sun lamp to shine in from outside your indoor scene if you choose.
prep your scene
For a demonstration of how an indoor lamp would typically look and to give
you an idea of the settings involved, I’m using a basic living room model that
has been pre-built. If you would like some tips on modeling and texturing to
create characters or a scene, you can find our other guides here.

An untextured image of a living room scene in Blender

In this living room model, we have a lamp on a table and while we don’t
technically have a ceiling modeled, we will also have a light source coming
from what would be the ceiling for the sake of the render. We are mostly going
to be focusing on the corner with the lamp.
how do we begin?
In our scene, we are mostly going to be focusing on point lamps. Typically
lights within a home are small, relatively low wattage, and yellow-tinged to
give it a cozy feel. Since we have a table lamp already created, we will use
that as our starting point; so let’s get a point lamp in place. To add a lamp to
our scene:

 Either use our Add Object shortcut or type Shift+A to bring up the Add
Object menu.
 Select Light
 Then select the lamp you want to add to your scene. For this instance,
we will want a Point lamp.

How to add a lamp to your scene

Once your lamp is added to your scene, you can then use
the Grab and Scale quick keys to place the lamp within the confines of your
scene’s modeled light source. I have placed mine where a bulb would
normally shine from in the lampshade of the corner lamp of my scene. From
here, you will simply need to decide the mood you want your lighting to set;
this means choosing color, brightness, and whether or not it casts shadows
for realism.

Difference between yellow and white light

In the comparison photo above, I am using the render preview feature to get
the best idea of what my lighting choices look like without going through a full
render. While this makes things look a little fuzzy as a result, we can still get a
good feel of how our lighting and textures look.

Using a more yellow-tinted light provides a bit more of a homely feel and with
the pink wallpaper, it may bring to mind a grandparent’s home, or a childhood
bedroom. With the white light, we get a slightly more modern and maybe
sterile feeling environment, even with the pink wallpaper. White lighting is
typically achieved through the more modern LED lights and is common for
newer homes and office spaces.

In both examples, I have shadows enabled so that we get a realistic shadow

under the table and around the bookshelf. Without shadows enabled, we
would get an environment that is a bit more flat and akin to a video game.

Example of lighting that does not cast shadows

add an overhead light

While we may not have a full ceiling light modeled in our scene, we can still
place a lamp where the ceiling would be to improve the realism of our final
render. For this, we can Add Object once more and select
another Point lamp. This one will be placed where our ceiling would be and
since it is encompassing a much larger area, we will want to increase the
radius on it.

Inclusion of a lamp where a ceiling light would be

lighting from electronics

As a bonus, if you have electronics in your scene like a TV or computer, you
can also utilize them as light sources. This type of lighting will not involve any
lamps but will instead come from the texture of the model. On the television in
this scene, we have two separate textures for its body and screen. To change
the screen texture into one that emits light, we will need to:

 Select the model

 Tap on the Materials button on the right-hand menu. The icon should
look like a red beach ball.
  Select the material for the screen, or whatever part of your model you
would like to emit light.
 Enable Emission in the menu that appears under your selected
material by clicking on the dot next to it, and from here you can change
the color of the light emitted from this texture.
 Under Emission, you can also adjust the Emission Strength which will
dictate how much light the texture will emit into your scene.

Emission of light from TV screen texture

render the scene

To see a polished version of your scene, you can select Render in the
Astropad Sidebar, or select it from the top left of your desktop.
Fully rendered living room scene

Get started today with Blender on your

iPad
Get the most out of Blender with your iPad! Try out Astropad Studio with our
free 14-day trial. No commitments, cancel any time.
Mirror any desktop creative software on your iPad with Astropad Studio
 Mirror any desktop app on your iPad
 Compatible with Mac and PC
 Build your own shortcut panel, custom gestures, and custom quick keys
 Utilize pressure-sensitive and precise sculpting and painting
 Connects over WiFi or USB cable
https://astropad.com/blog/create-simple-indoor-lighting-in-blender-3-0-using-an-ipad/

How to light your models

and scenes in Blender
Jesse Davis
·

Follow
9 min read

Jul 15, 2018

Getting good lighting is the biggest Blender improvement most people

can make. This article is all about lighting your models and scenes. I’ll
cover setup, direction, intensity, and mood.

Lighting models

When you light your models, you want to bring out the best in them.
When done right, your lighting highlights your model’s best features,
creates depth, and enhances the overall mood you want your art to
radiate.

Setup
Before you start setting up your lights, make sure your camera is in the
right place. Nothing is as annoying as getting the perfect lighting, only
to decide you want to shoot from a different angle and finding out your
lighting doesn’t work from there. Try out as many angles as you want,
just do it before you light everything up.

When you’ve done that, you can start with a basic lighting setup like
shown in this picture. These aren’t exact positions, so feel free to vary
them a bit. The key light is usually the main source of light and should
be positioned in a way that it lights the part of your model you want to
stand out. Your fill light is there to make sure you don’t make the dark
side of your character too dark by adding just a little illumination.
Don’t set it to the same strength as your key light, as you do want some
shadows left. Finally, there’s the backlight. Your backlight should
always be behind your model and facing the camera and sets your
model apart from its surroundings. With a stronger backlight comes a
stronger lighted and what parts are in the shadows. Because of this, the
direction of your lights will influence how people perceive your model
and create a 3D effect.

Direction

First of all, you can move your light up or down:

 Horizontal light or flat light means you light your model directly
from the front. There are almost no shadows here, so you get a kind
of neutral effect.

 Under lighting is a way to make your model look slightly creepy and
unfamiliar. Because you put a lamp under your model you get
shadows in strange places, adding a strange effect.

 Top lighting has a similar effect. Because you light your model from
above you get shadows on the eyes, making your character look
scary. Because of the sun, most things are lighted slightly from
above, so keep that in mind if you want natural lighting.

Of course, you don’t always go all the way down or all the way up with
your lights, but as you do the effects of top- and under lighting become
stronger.

Besides up and down you can move your light from left to right around
your model:
 [caption id=”attachment_2104" align=”alignright” width=”401"]

 A good example of side lighting[/caption]

 Straight lighting gives, like horizontal lighting, almost no shadows

and doesn’t change much about your model’s appearance.

 45° angle. This is a very common way of lighting. You mostly light
one side of your model, while also casting some light on the darker
side. Make sure you add a little spot of light on your model’s dark
side with this kind of lighting, as this adds a little extra bit of special
to it.

 Side lighting, meaning your lighting is at a 90° angle with your

camera, makes one side of your model fully lighted and one side
completely dark. Because of this, it gets very clear that your model
is 3D and not just a flat cardboard cutout. Side lighting also creates
a lot of contrast, as your model isn’t evenly lighted.

 Backlighting is something you get when you shine a light from

behind your model towards the camera. It adds an edge around
your character and sets it apart from the background. When you
 shine directly in the camera, you only illuminate the edges of your
character. This can be nice in some cases. If you want more from
your model than just a silhouette, an extra light comes in handy.

That’s it for lighting directions. You can use a combination of these

techniques with your different lights, and don’t be afraid to experiment
a little (or a lot). Now on to intensity.

Intensity

First of all, don’t go too bright and don’t go too dark. If your colors
start to become white, you should dial down your light’s brightness and
when you have to squint your eyes to see what’s there, turn it up a
little. Don’t worry, I’ll explain how to make dark scenes later on, so
hang on. First, how do you get the right brightness?

There are no exact rules. If you want to get it right, you’ll have to try it
out for yourself. There are some guidelines like the ones above though,
so here they come.

 Your key light is usually the strongest light in your scene.

 The brighter your backlight, the stronger the lighting around your
model and the separation of your model with the background.

 Your fill light should always be weaker than your key light. You use
it to fill in the dark shadows, and you don’t want those to disappear.
Besides this, brighter lights bring make for stronger colors and the
emotions associated with them. This is more something for the “mood”
part of lighting, so I’ll continue there.

Mood

The most important role of your lighting is to set a mood or create a

certain atmosphere. You can do this by using direction, intensity, and
color.
Like I said before, natural lighting is something we’re familiar with and
makes for a character that looks safe or even welcoming. To get this
kind of lighting, put your light a bit up and at an angle, mimicking the
direction of the sun. Adding a bit of red or yellow to your light makes it
look even more real. Lighting from slightly above also lets your model
look more attractive by highlighting cheekbones and hiding the chin,
making it ideal for a photoshoot.

For the strange, unfamiliar look you can use downlighting. It casts
shadows on the cheekbones and bridge of the nose. It’s like holding a
flashlight under your chin when you tell a campfire story. Strange,
unknown and a bit scary. If you want to go for the real horror, top
lighting is a great alternative, as it makes black holes from your
model’s eyes. Be honest, that’s just downright creepy. Using the right
colors can also do wonders, so taking a look at Plutkick’s wheel of
emotions is never a bad idea.

The kind of shadows you use on your models also adds to your model’s
atmosphere, so here’s what you need to know. Sharper shadows look
scarier and unfamiliar. To create those, use small lights. For more
natural, warmer shadows you can use bigger lights. A bigger light
basically equals a softer shadow. Keep also in mind that a brighter light
makes for a sharper contrast between light and shadow.

Lighting scenes

Lighting your scene isn’t an easy task either. You have to take
everything into account, from shadows to realism. Here we’ll also be
talking about setup, direction, intensity, and mood.

First of all, set up your camera. You don’t want to move it later on and
find out all your lighting has to be adjusted. Once you’ve done that,
decide whether you want to light your scene manually or use an HDR
or something like it. If so, you can still add a few lights here and there,
just not as much as when you’re starting from scratch.

When you are starting from scratch, start with your key light.
Depending on what kind of scene you’re making, this can be either a
sun light or an area lamp. For outdoor, natural scenes a sun lamp is
best, but for anything indoors I recommend using area lamps. If you’re
doing an outdoor scene with a creepy atmosphere it’s better to use area
lamps, as you can make these smaller and thus create sharper, darker
shadows. To start off, set your key light at a 45° angle with your camera
and shining down on your scene. You can always change this
depending on the specific requirements of your scenes, but it’s a good
starting point. Add a bit of color to your key light to set the mood for
your entire scene.

Your key light won’t light everything, so you’ll need a fill light. This is
basically a big, dim light that makes sure most of your scene is still
recognizable when it’s not lighted by the key light. You can put it
opposite of the key light to get the best effect. Make sure you can still
clearly see the difference between a shadow and a lit place after you put
up your fill light, as shadows are crucial for the depth of your scene.
When coloring your fill light, make sure its color matches that of the
key light. It doesn’t have to be the same, but taking a look at the color
wheel never hurts.
When you’ve set up your key and fill light, you can put up some
spotlights to highlight special parts of your scene. This is optional, but
if you decide to do it you should be careful. Make the spotlight either
barely noticeable or blend it into your scene, like a patch of sunrays
breaking through the leaves or a streetlamp shining down on
something.

If you’re looking for more ways to create a great atmosphere or tell a

great story, you should read this article about telling a great story with
your scene.

How to light a dark scene

[caption id=”attachment_2102" align=”alignright” width=”354"]

While this scene is clearly dark, it’s still fairly easy to make out what’s
in it[/caption]

Dark scenes can be hard to light. While trying to get that darkness into
their scenes, many people make the mistake of leaving too little light to
actually see what’s there. That’s a waste of great work, especially when
there are better techniques that make your scene look dark without
dialing down your brightness too far.

First of all, get some color out of your scene. Make everything a bit
duller than it would be in a bright scene. You can do this with the
colors you use on your objects. When it’s dark, our eyes have a hard
time making out colors and are much better at seeing black and white,
what brings on to the next point.

Create more contrast. Try to move your scene a bit towards a black-
and-white photograph. You don’t have to go all the way, but more
contrast means a better illusion of darkness. Making your lights
slightly blue also helps to maintain the illusion.

Finally, you can add a big area lamp or a sun lamp that gives off a very
faint glow, kind of like a full moon. Nothing is ever completely dark,
and this way you add just a little bit of extra light to your scenes.
Whatever you do, never try to create darkness by dialing down your
lights. Use a combination of color, contrast and glow, then see how far
down you really need to go.
That’s it for lighting your scenes. While I hope I’ve shed some light on
the subject for you, you should realize lighting is a pretty complicated
matter. After this article, you only have an idea of the basics. To really
master lighting you have to practice a lot, so stop waiting and get
creating!

https://medium.com/@jessekeuter/how-to-light-your-models-and-scenes-in-blender-2386d269cc1c