BlendMasters Volume 1: Model a Concept Car for Film in Blender | Brandon Hix | Skillshare

BlendMasters Volume 1: Model a Concept Car for Film in Blender

Brandon Hix, 3d Generalist

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48 Lessons (8h 58m)
    • 1. Introduction

      1:10
    • 2. Customizing Blender with Addons

      1:10
    • 3. Placing Our Reference Images

      5:43
    • 4. Customizing the 3d Viewport

      3:40
    • 5. Blocking In the Hood

      14:45
    • 6. Refining the Hood

      9:51
    • 7. Completing the Hood

      13:46
    • 8. Blocking In the Grill Area

      12:22
    • 9. Refining the Grill

      12:54
    • 10. Creating the Inner Scoop Sections

      6:51
    • 11. Using Modifiers to Model the Grill Mesh

      4:53
    • 12. Placing the Grill Mesh In the Front Section

      8:45
    • 13. Finishing the Grill Area Scoops

      3:56
    • 14. Creating a Plan of Attack

      3:05
    • 15. Front Fender - Timelapse

      14:12
    • 16. Blocking in the Body - Timelapse - Part 1

      15:51
    • 17. Blocking In the Body - Timelapse - Part 2

      19:14
    • 18. Refining the Front Fender

      18:54
    • 19. Refining the Side Door - Part 1

      19:14
    • 20. Refining the Side Door - Part 2

      14:10
    • 21. Refining the Roof and Windows

      11:51
    • 22. Refining the Rear End - Timelapse

      7:03
    • 23. Refining the Engine Enclosure - Timelapse

      13:53
    • 24. Detailing the Tires Introduction

      11:37
    • 25. Building the TIre Treads

      8:57
    • 26. Further Refinement and Positioning the Tires

      13:42
    • 27. Blocking In the Rims

      12:53
    • 28. Detailing the Rims - Part 1

      12:00
    • 29. Detailing the Rims - Part 2

      14:44
    • 30. Finishing and Positioning the Rims

      13:16
    • 31. Modeling the Wheel Hub, Brake Disc, and Calipers - Timelapse

      11:22
    • 32. Headlight Design Preparation

      9:33
    • 33. Blocking In the Headlight Assembly

      12:56
    • 34. Creating the Low Beam - Part 1

      15:53
    • 35. Creating the Low Beam - Part 2

      10:11
    • 36. Creating the LED Light

      11:11
    • 37. Creating the High Beam

      10:45
    • 38. Adding Room for Additional Reflectors

      10:03
    • 39. Adding the First Reflector

      12:06
    • 40. Adding the Second Reflector

      13:21
    • 41. Adding the Turn Signal

      16:09
    • 42. Adding the Third Reflector

      14:07
    • 43. Additional Details - Timelapse 1

      15:23
    • 44. Additional Details - Timelapse 2

      13:16
    • 45. Additional Details - Timelapse 3

      14:10
    • 46. A Final Word

      0:53
    • 47. Invitation to Connect

      0:41
    • 48. Bonus Final Blend File Breakdown and Contour Explanation

      21:28
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About This Class

By the end of this course you will be able to build a fully detailed, high resolution 3d car for your next VFX film project.

  • Geared towards 3d modelers who are looking to learn some advanced techniques in Blender
  • Specific tips for how to achieve accurate edge detail for automotive rendering
  • Immediately practical to you and your projects
  • Built from concept sketch all the way to final clay model as you follow along
  • Gain tips and insight from a professional 3d artist about workflows in Blender

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Transcripts

1. Introduction: Hey, what's up? This is Brandon Hicks with Andy stock, and I want to thank you for investing in this course. I'm really excited, and I want to welcome you to Volume one of the blend Master Siri's, where I will be taking you through the entire process of building a hard surface High Resolution three D model from the ground up. We will be designing this model with the intention of using it in a live action visual effects shot for a short film. This course is entirely focused on the modelling process, starting with a conceptual design car. We're gonna build out each section using a detail up modeling, workflow and blunder. I'm really looking forward to sharing my process of year. And I have to say I think the best thing about this course is that there is a solid balance of both real time demonstration and time lapse modeling, and by the end, I hope to impart some extremely useful problem solving and time saving tips, allowing you to tackle your three D modeling challenges with ferocity. So if you're ready to start building your own concept car and grab this course today and let's get started, 2. Customizing Blender with Addons: Hey, guys, welcome this lecture. And in this lecture, we're going to jump in a blender and start setting up our default seen so that we can start creating the car. So the first thing I want to do before we start getting into actually bringing in some reference for the car is I want to go to the user preferences and I want to change some things in here. So let me go ahead and make this little bigger for you guys. Um, let's go through here and start talking about some settings. First thing that I can go ahead and start enabling are some ad aunts and the adults menu. The three D View dynamic space bar menu is something I use a lot. So you're heading. Check that off. So one of the things we want to enable is this mesh f to add on, and I'll go over some cool things that that does for us when we get into modeling instead, Polygon is another useful tool that is gonna help us out. And let's go ahead and enable loop tools. Relax. One more is very important. It's later management and and I've started to use this truly handy and we'll get into you how that's gonna hopes up. So in the next lecture, we're gonna get into actually importing our reference for the car, and then we're gonna start modeling, so I'll see you there. 3. Placing Our Reference Images: this lecture. We're gonna import our background reference for our concept car. So what we want to do is make sure that we're a North a graphic view and the way that you can make sure that you are into one of those views is by using your number pad and you can switch into those, make sure that you are actually in a North a graphic view. You should see the grid in the background. If you hit number five on your numb pad, you're gonna switch between Ortho graphic perspective. So just make sure interview that you want important image to in this case, we're in the front. You. So first thing to do is check off background images and our properties tab. Open that up click. Add it, Mitch. And then we're gonna go down to the axis and we want to pick fronts for the front of you. And now we've got image set because we're gonna important image. I want to make sure we click open, navigate to our car reference directory and then pick the front image and important that. Okay, so there are a couple of things we need to do to adjust this so that it's in the correct position and let's go in here. And first thing we're gonna do is we're gonna lower the capacity 2.25 I find that at a little lower rapacity than 0.5, you're gonna get an image that is a little bit more faded and is conducive to modeling without distracting you as much. We're also gonna move the image up in the Y axis so that the wheels sit on this thing Red line here, which is the X axis for you. And that way, when we line up all of our images and the other views you're gonna be able, Teoh, get all of them correctly positioned so that when you switch to use everything lines up, hopefully, so the value that we're gonna use here's 2.95 that's gonna put that right there for us, and that's what we wanted. And I just want to cover a couple of other things in here before we import the interviews. There are a couple of features that seem to have recently been added, so now you can flip an image horizontally or vertically, so that may be something that you guys can use that's helpful, can also rotate an image around an axis. So if you import an image and it happens to be turned nine degrees the wrong way, you can fix that. And and so that's handy. You can also scale your image here by doing this. And so if you find that helpful, definitely alter those values is needed, and that's what we're gonna do here. The last thing I want to mention before you start adding the other images in is this little button right here that's next to your source directory. If you click this, you're gonna be able to embed the image into your blender file. So when you click this, I've already gone ahead and embedded it and packed the file. Eso. If you click, remove packets, gonna unpack that image. And now it's going to reference this directory for the image that it's pulling for the back around here. If you check this off, it will pack the image. In that way, no matter where your blunder files, sits on your hard drive or if you move it to another computer, this image is going to continue on with that blunder. file, so that's pretty helpful. Um, And now let's continue to import the other images. So we've got three more to import. I'm gonna go ahead and do this, and we're gonna line these up correctly. Next thing I want to do is import the side image. So we're gonna go ahead and go to the right side here. Gonna get import. Check this off, import that side image. And we're gonna move this up the same way that we move the front image up 2.95 of the exact same value. As long as you're scale doesn't change. And you've positioned your images in your image editor to be the same proportion. Everything should line up correctly depending on the Y axis value that you type in there. Make sure that I lowered the capacity there, back down, back the image, and we're good there. So front side gonna go top, you know? And we're gonna make sure we cook top, and then we're gonna get it open car reference. Now, I have two different images here. Let me see if I could enable the thumbnails for you guys. Okay. One of these is the same dimension as all of the other images here. The other one is a rotated view. And now that there's the new feature and blunder, it doesn't matter which one you choose. But we go ahead and click the top. You here just so I can show you what it does now, this is not correctly lined up. It's going from left to right. We need to go from front to back. So if we switch to the front, you can see it flips from side to side, and that's definitely not what we want. So let's go ahead and rotate this negative 90 and that'll line it back up for us. Then we can lower the capacity back down, packed the image, and we're gonna go there. And then if you switch between front view and top you, you should see that everything lines up correctly minus the side view mirrors which are not in any of you except for the front you. So there we go. So now the last thing I wanted to do is align the back image. So we're gonna hit control number pad one. So you go to the back view at another image, make sure we have back selected open that click on the back image reference there and then one more time. We need to align this along the Y axis to 2.95 and we'll keep the other settings the same as they were before. So that's a pretty quick run through of how you guys can important the images into your own blunder file and line those up manually. The settings will, of course, change depending on your image reference and what you have custom and what you have customized for your own files. So that's how we set things up for modeling with the background images and in the next lecture in against you starting to model the car. So I'll see you there. So when the next lecture we're gonna get into you had a customized three D view port and get things set up so we can start modeling the hood for our car, I'll see you there 4. Customizing the 3d Viewport: in this lecture, I'm gonna briefly cover some settings we can change and altering the three D view port. That will make our task of model in the car just a little bit easier. So the first thing I want to do is pop into a three D view and then I'm gonna add a object , just the monkey head here. So we have something to look at and we'll give us some feedback. So the first thing I want to talk about over here is this wins view in the You tab in the object panel. It's currently set 35 millimeters for the lens. You know anything about camera lenses? You know that that's a pretty wide angle. It's not extremely wide, but it is considered a wide angle lens, and you can tell if we get in close here. We're actually not seeing a lot of distortion because we're in worth a graphic view as we're rooting in three D space with five that will put us in our three d view. That's not worth a graphic, and we'll see what that's gonna give us so you can see as we zoom in really close. We're getting a lot of distortion around the edges resume out. It's not as bad. But when we get in and start modeling a lot of details in the car, we're gonna get a lot of war being around the edges of the image. And so to eliminate some of that, I want up this to something high. Now to extend this a little further and exaggerate the what you're seeing. Let me take this down 18 and you can see we're getting some really wild distortion. So that's what we want to eliminate it. And if we go up to 200 you can see that we're almost back in North. A graphic view if we get really close. So I don't wanna go this high, but I think 100 is probably a good number. Uh, we could go there. We could also go down to 85. That's pretty much a standard portrait lens, and it's gonna eliminate a lot of the distortion. So if I switch back and forth between or the graphic and regular three D, you can see that it's eliminating some of the distortion but not totally getting rid of it , because we still want to maintain a bit of a camera lens sort of feel in our three D view, so that's the first thing I want to change. The second thing is, I don't wanna have the grid enabled when I'm in three D view because it's a little distracting. So what I wanted to do is go ahead and go down to you the display time and I want to check off the grid floor, and then I want to uncheck x and y as well because we don't need to. You have those visible to know that up and down a Z And then why is this way in excess This way? So we're always gonna have this down here to help us out. And I also like to turn this off so you can do that by going down to the manipulator button down here. Taking that off. You can also hit control space on your keyboard and you'll see me turn that on and off as we model. So that's something we need to get out of the way so we can see what we're doing. Um, there's probably a couple of other settings that air in here that waltz Week as we go. But the only other thing I want to mention before we move on actually modeling the hood for the car is this talk of quad view button never uses before. If you hit this, it's really handy. It's gonna enable us to quickly block in ah lot of things and look at multiple views simultaneously. So we're always gonna have our perspective. You here for what we're working on and then we've got the all the different versions of the car image in these use set up with our image plans. So we're gonna be able to use this to keep tabs on what's going on in all the views as we dio and again, we can switch in and out of that pretty quickly, and that's really handed a have and something to use. So that's it for the simple breakdown of what we're gonna do to alter the settings before we get in a model. And in the next lecture, we're gonna step into blocking out the hood and starting to get things detailed out for the sections of our car. So I'll see you there 5. Blocking In the Hood: Hey, guys, in this lecture, the first thing we're gonna do is block in our hood. So before we jump in, I want to cover a little bit about that reference that you see in front of you and talk a little bit about what we're hoping to do with this car. So this car is going to be used in the next couple of courses as an example for how you can build a three D asset for using a live action film application. And what I wanted to you is follow this reference that we've created this concept art pretty closely, but I want to mention that not everything is gonna lined up perfectly. It was never meant to be a you know, an architectural blueprint of a breakdown of a car. No schematics here. It's just a pretty loose drawing of where edges should go. So that said, things are gonna be perfect. But as we g o, we're gonna just things and it's always gonna be sacrificing the lineup of the way things are in three D so that we get a better shape in our perspective. You port. So as we jump in here, keep that in mind and we will have a lot better time if we're not so worried about the details as we go Now, what I want to do here is out of plane. I'm not gonna modify it an object mode because it's gonna mess up some of our transformations as we apply some modifiers later on. But I want to move the points on the left here, over to the middle axis. I'm gonna go ahead and add a mirror modifier. That way we can build only half of the car and save ourselves a lot of trouble. Now I'm gonna move this down toe where it's roughly lined up at the hood. And in this first lecture where we get into modeling, I basically want to take my time blocking in the roughness of the hood, getting things in place so that I get a nice, smooth transition from this edge over to the center, and then we can go and start blocking in the details a speak into things later on. So I'm actually gonna get rid of this central verte sees. I'm just gonna worry about this contour right here first, So I'm gonna look at this on top of you. Let's go to top you here. Okay, so we're basically going to bring this back to this back edge of where that panel starts, and then we're going Teoh kind of model things with an edge just following the rough consular of this line. And I'm not really worried about adding in a lot of smoothness right now. I'm just concerned with getting everything kind of where it needs to be in place. So we're gonna get really comfortable with modifying a lot of things as we get in throughout the rest of this course. And so I'm not really worried about many things. Perfect as we g o. I'm just wanting to get everything kind of situated because you got to start somewhere. So, um, let's jump into the front, you here and get everything up. So to make this easier, matata go back into court to the quad view, and I'm gonna go on a side view here and just kind of rotate things. It's gonna help us out a little bit. Now, I'm looking at the front view here to you kind of get everything situated. This is gonna have to end here and then this needs to end somewhere up around here. Now, we're already running into an issue where we're not going to see where this panel ends over here. But we're just going to smooth this out, this contour, so eventually we can connect this up to this back end for the front door here. So as long as we've got everything kind of following where it should in this front view, we should be okay. And what I'm looking for here is to make sure that as I start to get everything blocked and in the side view, I want a really nice curve that's gonna be generated with the subdivision surface modified . We're going to apply. So I'm not worried about the consular, this headlight. That may change. What I'm really concerned about is getting this nice and smooth curve from when we smooth this. So if we go ahead and not a modifier for the subdivision surface, we can do this by going down here and then upping this 212 or three. You wanna toggle between this, but having to go in there and click on the buttons? What you can do is just use control 12 or three on the top of your keyboard and that will switch between the amount of smoothing control. Zero will get rid of the smoothing altogether, and it will keep the sub serve active. That way you're not deleting it. You're just hiding it. So let's go back to you three. Just so we get a nice, smooth contour and we can see what the's control points are doing for us. And I'm gonna be pretty, um, pretty concerned at first about how we lined this up because I want to make sure that everything we're basing after this on this curve is going to be nice and smooth, so these can change in the, you know, the top U and the front view is not necessarily so critical. But what is critical is this contour from side view. Because as we get in here and start modeling all of these details and through here, we're gonna be adding in a lot of geometry, a lot of edges. We want to make sure that all of this is nice and smooth over here first. So select all these extra them back to the center and because we have clipping enabled right here and the mere modifier. If I just extrude those bring this all the way over, it will collapse those for us as I move past the X axis. So those are not clipped to the X axis. I can't move those off of this center, and that's good. So that's gonna automatically join those forests. We tap back into perspective mode. You can see we've got a nice, smooth surface to work with, and that's gonna be the basis for getting in here blocking at our hood. So as we get in here now, we start detail ing out some of these sections. I'm going to worry about getting all of these sections in here defined. Try to get some of those in place and I'm not gonna worry about the headlight. I'm not gonna worry about the little stuff work mostly concerned with getting in here and defining our main shapes. So noticing that that's a little out of place there, we're gonna need some extra geometry down here to smooth that out. But that will be added when we get any here and we start modifying the hop areas here. So now I'm going to go ahead and start eggs, Maj. Loops and that's just gonna break up some of the geometry for us. So when it right clicks, you not slide those, and then I want to scale this along the x axis, that kind of even that out S and X zero and that will flatten it for you. And then if you hit G, you can slide this with EJ slide, and that's going Teoh kind of line that up for us. So once again, I just want to kind of get a rough point of where that's gonna be at and in the top. You I can line this up to where the corner is gonna be, and then I can do the same thing here. And I'm I'm really trying to make sure that I'm using sliding. I know I have. The central Verte sees where I want them to be, and you have to remember we've basically aligned the mesh now to be a nice, smooth surface. So if we start manipulating things in these single axes, whether it be one of these views or multiple views just using the X Y and Z coordinates, we're going to lose that smoothness. So what I want to do is slide these along the surface of the mesh You can see, even though I've modified that geometry and the top u I'm Ah, I'm not losing this mood in this. So what I want to do now is quickly going here and make sure I've got smooth turn on for all this. So in edit mode, I'm gonna hit W for the specials menu, jump into shade smooth. That's going to split the normals out for us. Give us a better preview. You can see we're not losing any of that. Nice, smooth factor there. So I'm outlining what the main futures are here. And then I'm gonna go ahead and get rid of some of these faces because we're not gonna need all of them. But it's good to start with something, general and then moved to something more specific. So this is gonna be a common practice where we try to slide edges around instead of necessarily just translating them, because it's gonna be a lot easier to control. What happens if we slide them Now I know I'm gonna have to mess with the geometry for the headlight at some point. So I'm going to go ahead and anticipate that issue by going ahead and getting those vergis ease lined up with the top and bottom part of that light. And all of this is gonna change somewhat overly concerned about all that, mostly concerned about the boundary edges. Right now, I want to make sure I get everything kind of situated in a good place you notice on the border edges. I'm not as concerned about manipulating and the X y Z coordinates alone because we are not worried about those affecting the smoothness as much as we are when we manipulate those points in the middle of the geometry. So, um, I need to go ahead and make sure that everything's kind of lined up where we want it to be . No. In the top view, things aren't necessarily lining up exactly. We're not going to get this perfect. So we just want to kind of massage things in the place as we can, and then we will kind of pick and choose what views to follow as we think they're gonna help us out. Okay, so now I'm gonna go in here and start jumping into face mode and getting rid of some of the stuff that we're not gonna need. As we continue to model the hood of our car, this is gonna be extruded down and sort of a separate peace on into the hood. So I'm not really concerned with that right now. I do want to fix this top edge because it looks like it's got a little out of place. Is we started moving this around, so I'm going to just move that down on check that it looks OK and also smooth it really quickly and see ish. Everything is still kind of smooth and it looks like we're good, So we're in a good place so far, and it looks like we're doing a pretty good job of getting everything blocked in for the main edges. So what I want to start doing now is defining some of those sharper points and the sharper corners on getting those in place. So what I'm gonna do, instead of just going in here and being really anal about where all of our points air going and being overly concerned about all that, What I'm gonna do is go ahead and just at edge loops. And that's going to save us a lot of the headache of trying to make sure our geometry is perfect right at the beginning. So I'm using a troll are. And I'm just sliding those in place until we think we've got a good match for that corner. Looks like I'm gonna need to move this a little bit to get that in a place, so that's probably good there. Okay? And we're gonna the same thing down here. We're gonna need to add in point summer right here. We're gonna need to at least Adam one there, and then we'll start kind of moving this in the place to get it situated. We're gonna move this one in here. Some of us will have to changes. We g o. So just bear with me as we kind of block in some of these shapes. Okay, so I've got some extra faces here again. I want to get rid off. Well, just delete those, and that needs to be a lot sharper there, but we'll go ahead and fix that as we get into some of the more detailed areas and blocking that out, so you can see we're still pretty smooth. We're gonna have some issues because of these agile. Oops. But rest assured, we're gonna go back and fix those in the upcoming lectures. So that's not an issue. Right now we're gonna worry about. Now, you see this contour line going through the top? You let me go ahead and make this big so you guys can see this. Um, this is sort of a line going through the bottom of the shape of our headlight. So it's not representative of the top surface of the glass. It's more representative of the inside panel that everything is sitting on for our our headlight. So I'm not really concerned about matching this up. I want this to maintain a nice, smooth edge right here. So now what I want to do is kind of get in here and cut this up so that we're gonna maintain, uh, some nice edges around this headlight as we dio. So to do this, what I'm gonna do is go ahead and I'm gonna use the knife tool. And I'm just gonna go ahead and make some general cuts where I think we're going to need to get things in a place here so quickly just kind of blocked this out again. We're not being a really concerned about contour of all this. We're going to get a nice shape that will allow us to cut that face out of geometry, forests smoothing. Turn on. You're gonna get a lot of artifact ing, So go back to you The view where you're turning this observe off, and that's going to give us sort of a generalized contour of the headlight shape and get us where we need to be. So now that we've got things blocked out, switch back into our perspective. You rotate around, cannot check where things are. Of course, we switch into the subdivision surface preview. We can see that we're still maintaining a nice, even split up of our geometry so that everything smooth going down the surface, Farhood. And if we want to manipulate that, we can. But it's good that we started out with a nice, smooth piece of geometry to work off. So in the next election, we're gonna take a look at getting in here in detail, ing out some more of the hood and we'll get in here and fix up some of the geometry for something that slips that would benefit us here. So I'll see you the next lecture. 6. Refining the Hood: Hey, guys, welcome this lecture. And in this lecture, we're gonna take a look at fixing some of the geometry that we created when we started to find the boundary edges of our hood. And to do that, we're going to get in here and start in one end and kind of work our way around. Now, what I want to do primarily is working on getting a face loop that continues all the way around from this upper corner down and around this boundary it back up to here. And what that's gonna do is allow us Teoh kind of base the rest of our geometry in such a way that it's going Teoh, keep everything smooth when we start at increases in things like that. So this is a good practice against you for all of your geometry. And it will also dramatically increase your low polly skills as you get in and start modifying things. So what we're really first has collapsed images that we created by adding in those edge loops in the last lecture, go ahead and collapsed. Those that's gonna get rid of some of the stuff for us and then I'm going to go ahead and collapse a few more because it turns out we're really not going to need a lot of this down here, so that's going to simplify things for us. It's also important to note that the more you simplify your geometry and the more that you optimize things, the more you can get away with when you're going around manipulating your mesh. So what I mean by that is, if I have a lot of extra newest edges, loops added in throughout here, yes, it's gonna enable me to go in and define things easier. What it's not gonna enable me to do is maintain a nice, smooth mesh as I go on and start modifying the cage. So we need to eliminate anything that's not there for a purpose so that we can get a nice, evenly smooth mash. It's also going to save a lot on our poly count and help us out when we get in here and we start. Teoh, you know, really crank up the number of polygons when we mauled the rest of the car. So let's go ahead and start optimizing this the best way we can. I'm going to switch over the knife tools Start adding in a couple of edges. Here it turned on wire, framed you off and turn back on the Smiths traded so you guys can see a little easier. And what I want to do is mostly concerned about how this is connecting up here. So go ahead and add in a loop there, connect that back up. And then I think we can go ahead and get rid of this edge. Okay, so that's gonna do is it's gonna let us turn this quad in space so that when we had an absolute it's going to be defined along this boundary. That's exactly what I want. So it's also add in another loop here, well, kind of massage that into you. This curve, it's gonna help us out a little bit, can also slide this up a little bit. Kind of fine tuning the way things were laying out right now, bearing in mind that a lot of this is gonna change and we're going Teoh, keep some things the way they are, but a lot of it is up for grabs in terms of how we're going to go into modify things so that's accomplishing a lot force right there. I like the way that's working. This is still the quad, so that's OK. And so now we need to figure out what we want to do with this part of here. We want the same effect where we have that turn in space like that. So I think that's actually gonna work for us really well. And what I want to do now is go ahead and cut in a loop that goes up to this corner here that's going to give us a little bit more definition in this geometry. I don't want to add another actually been here. That's going to give us a pretty tight corner right there. So let's shift this over to the very tip of this edge. I really want a sharp edge there for that tight corner, and that's good. It's kind of go up in here and move these points around to help aside a little more with this up and over, bring this back so we get more of, ah, sharp edge there on. That's probably gonna be good for us now. I don't want to keep this up against these edges here. because that's gonna add in kind of a crease if you can see the reflection there. So I wanna move this down and away an angle that back out from this corner so that it's smooth itself back out, and that's gonna be good for us. Okay, Now we need to figure out how we're gonna continue on the connections from this side over to this side. And what I wanted to do is add in a loop there so we can add in some definition and gonna make sure we get everything moved around and in place where every like, it's now you'll notice in this lecture. I'm not really checking the other views all that often. I know that because we've defined the overall shape in the previous lecture and I'm sliding the edges that are moving them. I'm not really destroying the way that my mashes smoothed out in three D space. So really, what this is about is about redefining the layout of the mash and not about, um, you know, controlling the overall shape as much. What we are trying to eliminate with this control is the pinching that you're seeing going on here because There's no definition in this area. We've added in a lot of extra geometry with these points, and because of that, with them not connecting back up to a face yet. We're having a lot of issues. When the smoothing happens, you can see we've got some flipped normals. It doesn't really understand how to pull these back in the place on the mesh. So that's what we are mostly concerned about with this lecture is trying to get everything back in the place and where we needed. So I jumped on hero fast out of the loop there because it's gonna help us hold this edge a little easier this down a little bit. And, uh, you know most of this process is just a fine balance and finding what's gonna work for the mesh and how to keep everything even. You'll notice on the left side here that a lot of these quads are still ah, stretched down here and towards the headlight. Whatever Royals, they're pretty consistent in the way that they're laid out, both in terms of the spacing and in terms of the density. And so that's the result that we're after is maintaining that control and the more control you can maintain in the way that your mash is behaving, especially with a sub served modifier, the easier it will be Teoh. Create the desired effect if you're going off of a blueprint or sketch or a concept car or any other complicated model for that matter. Um, if you understand how to control the mesh at this level, then you'll have a leg up on pretty much everybody out there who just is trying to get the same result by sculpting without really understanding the underlying topology of the model . So we will get into a sculpting workflow in a later course. Uh, and it's It's a really nice way to go in and block out a a mesh and get things where you want them. But you still would have to go back over. And to get a really usable mass, she would have to learn how to read, apologize it using methods like this. So if you learn them now, when you get into sculpting later on and I get it getting into some more of the advanced ways to model, it's going to really help you out because it's gonna be information you can translate over into that arena. So this is gonna take a little bit more work down here. I think what I'm gonna do is go ahead and tryto really quickly connect this back over. And I just want to have a starting point to kind of split this task up over here because it's going to get a little crazy trying Teoh manage all of this all the same time. So in the next lecture, we're gonna go ahead and tackle this area and get that underway. But I think that's gonna wrap us for this lecture. And we've got a great head start in getting the mesh redefined and optimized for smoothing So you can see that got a nice fall off in pretty much all the angles. And, uh, I was gonna be some extra massage when going into you. But we will get this optimized and also you in the next lecture 7. Completing the Hood: Hey, guys. And this lecture, we're going to continue reach apologizing our hood, and we're going to wrap it up with the headlight down here in the bottom right hand corner . So going first and kind of assess where we're at, I think what I'm gonna do is try to simplify things a little bit by getting rid of a couple of these points. So, um, go and dissolve these, and that's gonna help us out a little bit. Join that up. Okay. Now, the first thing I want to do is go in here and, uh, redefined these corners so that they're pretty sharp. If we add a modified right now, we're losing those. So let's go ahead and fix that jump in here with the knife tool. And I'm gonna add couple of points there, get rid of that edge and then rejoined that face back up. I'm gonna do the same thing up here, okay? And now we're gonna try to figure out how to continue on with creating that facial loop all the way around the headlights. So to do this, um, start here, and we just want to try to connect up these edges and maintain quads where we can so pull this back down here for now, Get a triangle happening here. But I don't think it's gonna cause us a lot of problems. No, it doesn't look like it's doing anything really critical to fix down there. So that's not gonna really be an issue for us. Uh, can always go back in later and tweak it if we feel like we need to. So let's continue on and draw this up Here, connect that, uh, use the J command. Teoh, connect those pass back together. It's important that you don't use F when you already have a face created. It looks like it does the same thing and edit mood. But it's really to create an edge with when you hit f to come to make a face or a new edge between two points. But if there's already a face that exists, J will actually add an edge into the face. Otherwise, you're gonna end up with some weird looking geometry, and it actually won't be connected into the face. Make sure he is J there. Um, you just go ahead and wrap that off. We're gonna end up with a quiet here, Which is good. Could wrap this back here that's gonna work out fine. And then we've got our facial loop all the way around. So let's look at how we can go in and maybe tweak some things and smooths and things back out. We've got a star shaped, um, cluster here, which is not really doing us any favors, but we can probably eliminate some of the paths going straight back to this. We get a triangle here, we may want to try to get rid off, so we need to figure out the best way to do that on could do that to get rid of this edge. I see. We join this up, we're getting a trial here. Could collapse the urge, even that back out and then left triangle here. I don't really know if we need this right here, So let's try to merge that and see what it does. Yeah, I don't really see that being an issue. Um, we could just move some of these. Vergis is around up here and get that shaped back to where we want it with some of the extra loops we have going on there Let's go ahead and smoothies out some of these further into the edge to kind of relax the pull on those shapes on. See everything in there is looking good, so I don't think we need to smoothing out there. I wanna show you guys one thing that is kind of helpful in the loop tools out on that. We enabled you select a bunch of Vergis ease that you want evenly spaced, go down to the loop tools and then click on space. And it's automatically going to space those out evenly for you can also go into the settings and then pick whether or not you want to constrain that to an access. Um, and some other options here that you may find useful Luke Tools is a really cool at on. It gives you a lot of extra functionality, and a lot of flexibility is you go in and start messing with, you know, the geometry, trying to figure out the best way toe quickly and make modifications. So I think that's actually gonna work out pretty good for us. Okay, so let's try to smooth things out a little more, and one thing you can do is go in and selecting interior courtesies. Make sure you don't select the boundary verses here, But if you're going to select the interior vergis ease that make up the majority of the mesh, you're gonna go into the Vertex menu and click, relax. And that a couple of times it will kind of average out the pull between all of the vergis ease and then smooth things out a little more for a and beyond that, there are some things you can do to go in and manually pull the vergis ease in a direction that will smooth them out. I'm not seeing anything really big here that I'm worried about. For the overall smoothie, we can always go in and tweets. Um, thanks and make them better, because we're not gonna really apply the subsidy modifier right now. So the rest of this is really just fine. Tune A. It's all about pulling everything around and relaxing the strain so that you're getting those fine, you know, artifact ings that you see go away. And the the only way to really get that don is Teoh kind of fine tune the result. So getting pretty close to me and done here. Last thing I want to do after every everything smoothed is gonna add the depth for this. Now, we're gonna need to go in and model in some or areas here for this part of the hood. So what I'm gonna do first is add the depth for everything around, and then we'll go in and we'll, we'll add this tweet here. So to do this, we could just go ahead and select all of the boundary edges and then extrude those down. What I would rather do is use a modifier because it's gonna make our lives a little easier to give in the consistent. So let's get a solidify. And what that automatically does is adds, um, thickness to the mesh by basically extruding everything down. And what it's gonna do is help us creates a very even extrusion. So when you just pick our thickness there, decide how we want that to dio um, bearing in mind, a lot of this is not gonna be seen because we're gonna have edges bumping right next to it . So we just need enough depth that we're going to get a nice shadowing inside. Okay, so I don't need all of this extra geometry. It's creating on the backside. That's just a waste of space on a waste of memory. So I'm gonna click on Lee Rim and then I'm gonna turn these options on. It's you enable some even this, and make sure everything's kind of consistent. So if you look now underneath, you can see that we're getting that edge that we want in. But it's getting rid of all of that geometry under there for us. And now if you look at the hood, everything is really even. We've got a pretty high subsurface going on here if three. So we stepped back down to see that we've got exactly what we wanted when we set out to create the hood. And this is what I really want to see for the rest, the car we want to see nice, even topology, minimal stretching and then even smooth surfaces. So the last thing I want to do is typically you want to apply your modifiers in the order from top to bottom, but we're gonna leave the mirror and sub surf on, just in case we want to make tweaks. So I'm gonna apply the solidify. So like where that's going now, what that's gonna do is it's going to show a little bit of pinching here down the middle. That's because it's added in faces that we don't want going right through the middle of the model, since we're using the mirror modifier before we did the solidify. So let's go through here and select all of these edge loops going around. Do you select the faces we want to keep on the outside and then just hit X and delete those faces in the middle That will rejoin the mash evenly for us, and we got the fitness we want. And the last thing we want to hear is at in a edge loop, going all the way up to the top, leaving a little bit of room, and that's gonna crease everything nice and smooth for us around the edges and give us what we want. So now what I'm gonna do, you just go in. And now that we've got everything done on the hood, pretty much I want to go in and add in some depth to this area, the hood, because we're going to cover this up with another piece down inside here. But we need some extra thickness here, Teoh to give everything the way we want it. So what I want to do is turn back on that manipulator, and then I'm gonna set this to see we said it to view. I can kind of go in here from this angle, pull this down like that, and I want to make sure I'm not doing this to all of it. So I'm gonna de select, uh, the edges that we don't want to effects. Only gonna want to pull down some of those edges right in here. So let me get this up here. That's and get rid of that. OK, so we'll pull this down, you're gonna want to kind of angle this little back like that. And then what I'm gonna do is flatten that out and then kind of re rotate those edges around. So we've got some nice, consistent depth going on there on we switch back in the shade of you can see what Stewart , given its kind of a little bit more depth work with in the last thing I really want to kind of do You has come in here and scale these in a little bit so that we've got a little bit of a slant happening there. So I'm gonna kind of push those back into the edges around the left, in the right hand side, and then we're going to get our nice taper back into the hood surface there. Now, I like where these were going. And so now what I'm doing Those want to push thes back over here and then get to go ahead and rotate those a little bit kind of massaging in the place. And there go kind of get a nice little taper back in their little wet shit going on. So to preview a little easier how this is gonna look with a final car paint added, um, we're not gonna go ahead and do textures in this course, But what I wanted to you is in the three d deport Good on the shading, turn on mad cap and then select texture that you want to use. You can use redder blue for sort of car paint metallic, and if you rotate that in the three d view port, you can see a bit of a preview of what this would look like with lighting. So that is gonna be it for the good shape. We're gonna go back in and not some more pieces around it. But the next up, we're gonna get into you modeling another section of the car, so I will see you there. 8. Blocking In the Grill Area: Hey, guys, Welcome this lecture and this lecture. We're gonna take a look at blocking out the front of our grill area on the car. So the first thing I'm gonna do is going here and grab a nice boundary edge for our ah, our hood that we like. I'm going to go ahead and duplicate that, and then I'm gonna separate that out. So it's it's own mesh. And now we've got the hood by itself, and we've got this separate piece that follows the exact shape and contour of that boundary edge. And I'm gonna use this to my advantage to you continue on the surface of the front of the grill area. Because if I maintain the original occasions of all these points, it's going to allow me to transition seamlessly between where this hood ends and the rest of the car begins, and then we can worry about separate and this out a little bit for the depth. So, um, just gonna really quickly get in here and kind of block in where I think some of these details need to go. Um, we're gonna be doing a lot more getting in here and just kind of see how things look in three D space instead of completely relying on the quad view to do everything. Um, So what I wanted to first is blocking in the same way we did before and use this to my advantage. High dose. So it's a little easier. See what's going on. And, uh, then we can go in here and pop back in the one view and use that for the majority of our modeling practices. Okay, so let's get in here and kind of massage some of these points in the place. And I'm really only gonna be focusing in this lecture on this front part here and trying to see if we can get everything kind of lined up the way we want. So let's bring that down there, make sure we're going back to what we would like in three D space, and then we'll move. These two kind of match up a little better with the way that this views looking. Okay, so it's definitely getting there and just want to make sure we're not getting any crazy out of wack, you know, bending in this this view. And I think we're good. So Let's go ahead and finish this all the way down toe, where with God's a nice lip for that car. Bring this about halfway down, bring this down all the way, and then we're gonna want to extrude back into the Y direction. So let's do this. And I'm gonna scale this zero to flatten that curb out so that we've got a perfectly straight across section for us there to work with. And that's just gonna make things a little easier when we have to start joining things up later. So that is gonna be the foundation for our front shape. And we're gonna go ahead and go in and starts finishing out where things were landing over here trying to block out this connection up to the front fender. And then we're gonna see about working on a little bit of the inner shapes for the grill in this lecture. So let's go ahead and make some extra visions and get the major shapes in the place. So what? Angle this back a little bit? I think I've been a need another loop there. Teoh properly define this area, so that's gonna be good. And then let's go ahead and extrude these over. Make sure we're following that curvature on around. And that lined up there. Okay. And you can always check yourself over here, make sure that things were going the way you want, and it looks pretty good to me. So now we'll just connect those up. Okay, so it's gonna be a little more up to you to find where you think the front fender begins and the girl ends. But, um basically gonna connect up to this point and then leave the rest of this connection for the front fender when we get to that. So make sure I'm getting everything kind of massaged in the police there. It's extrude this up to this point. Make sure that it's where we want it in three D space. And I think Mona Taper back a little bit like that. This is gonna be the same way. Make sure we're where we want to be tapered back a little bit. I didn't move it over here a little bit in the X direction, and that's probably good. And then let's go ahead and connect those up and make those faces. Okay, so let's pop into the full view here. Do you see what's going on in three D? We've got a little bit of bidding into a weird sort of direction because all of these edges air following a certain contour and then they get around to this side and we're kind of war . Being there was a little further back than it's used to. So we just need to ease this in the place. And I'm gonna do that by kind of scaling these back in the wider action and then sliding things just to even things out a little more. Okay, and that's probably good. So let's go ahead and connect one more loop, connecting this all the way back up down to here, and then we'll have everything kind of blocked in over here where I think I'm gonna want things. So let's see, how do we want to do this? Get to it. Just down here, One up here. I think you probably just do this, Connect those up. I definitely think I'm gonna need another edge here. It's You helped shape the way this is going and, uh, nothing that's gonna add too many problems for us in terms of extra details, so that's gonna be okay. Okay, so it's kind of a reassessing, making sure that we're like in the way things were deforming and, uh, keeping ourselves in check. Always want to make sure we're kind of double Chucky. Ah, One thing can do is go into the snap elements down here at the bottom, check off for text mood. And then what you can do is instead of turning on snapping if you hold control while you have a river and on the verge asi and you're transforming you can you can snap Teoh a certain access with that versi. So it's kind of helpful if you want to make sure that something is on a certain level. So if it's the same z depth, you do that. And sometimes that can be I could be helpful. So I just want to make sure everything's kind of in line where we wanted to be. And then we'll go ahead and join these like that. Okay, so let's get in here and start doing a little bit of redefining for these inside shapes. Now these they're gonna be inside scoops that go all the way back into the surface of the hood. So we're gonna extrude these back and to make holes ongoing need to decide whether or not we want to keep this sort of convex shape going on with the grille, In which case we would probably do some detail geometry on top of the service that we have here, or we could do another inside scoop. And I think what I'm gonna want to do is probably another inside spewed using this this area here. So we need to kind of decide how that's gonna work and how we're gonna lay the mesh up because we're gonna need at least have a set of faces between, uh, this whole and this whole that we're going to create. And to do that properly, we're gonna need to think about how the topology is gonna react. So we're probably gonna do is use the insect command when we get our faces selected and want to make sure these lineup consistently right here along this curve because I want you used to be the same height from this group to the center. Scoot. So it's trouble pop in the face mode here on select our faces. Now I don't think we're gonna be able to do these at the same time because of this connecting edge in the middle. So let's just do this inside scoop first here and get this in set properly. And I'm gonna pay attention to you that the thickness that we're creating here, So point of three looks like a good number. We're gonna do the same thing on this side and said and type in point of three. Make sure that's exactly the same as it was on the side. Consistent. And it's gonna help us just maintain that, uh, that spacing across the forums. Okay, I have a little bit of clean up to do on the side. I want to delete thes faces, jump into Vertex mood and then hold his back to the center because this whole area is gonna be extruded into created one big hole across the center. And now we're gonna select the surface we want to extreme and then extrude those back in the space and let's go back a little further truck. If we've got our local, see if we jump into local orientation, I don't think that's gonna help us in this case. So just pop in the side view here. Holding is back in the same direction. They were headed a little bit more depth there. And then what I'm gonna do is just go ahead and delete the faces because we're not even gonna end up seeing them when we fill this in with the geometry. So the idea here is that we're gonna come in here and we're gonna increase these edges where we want them to be nice and hard for the inside and for the outer edge here and then for the front grill. We're gonna create a mesh that sits into this area, and then we're probably gonna do something similar for this side scoop just so that, uh, you're not gonna be exposed this hole that we've created on and I think that's really gonna ask nice detail to the form that grow. So that's gonna do it for this lecture. And in the next lecture, we're gonna continue on with the grill and see how far we get. I'll see you there 9. Refining the Grill: Hey, guys, welcome to this lecture. And in this lecture, we're going to take a look at continuing to refine and block out this mesh. So the first thing I want to do is kind of reassess where we're at, make sure I'm happy with the way things were lined up and kind of see if there's anything we need to tweak. So I'm gonna switch into Vertex Moon, and it's kind of switching a side view and see what's happening here. I don't like the way this is coming straight down and not following the contour of that outer edge. So I'm just gonna rotate everything kind of back in a place. Make sure that things were sitting where I want them, and then let's make sure we're happy with the way that everything is kind of falling leading up to that. That adds over there. Yeah, it's a little better. I think I like the way that's working. And let's also go ahead and finish out the rest of this, uh, this corner here so we can wrap that up. To do this, I'm going to basically just select um, it's point here. It's murdered over and then create quad. And then let's continue on this edge back over to here. Hold this up so that we're leading into that contour. What? We want it. That's probably good. And then once again, you will join that up there and kind of smooth things back out. Last thing I wanted to use. Join that, and then go back to this. You finish off that corner, okay? It's kind of just smooth things back out there. Okay? So let's talk about what we're gonna want to do to modify our sections down here. I don't like the width of this, uh, inner part right here, So I'm gonna make that will thicker about moving those out. And let's look at increasing some of these edges. So we have to kind of decide. Like how we want to proceed with the shapes of thes thes inner scoops. We can round off the corners. We can increase them on the inside, make them really sharp. And it really all depends on whether or not you wanna have a boxy look for you know, the edges on the front or whether you want to go in and get some nice, smooth curves connecting up. So I think what I'm gonna do is I'm gonna start by increasing these edges here. I also wanna crease this edge all the way down at the bottom. But I don't wanna crease going all the way up in around. I'm gonna de select these just so that I have the bottom I just selected. And now let's go ahead and bevel this out and add three cuts in there. So we get a nice, sharp edge how that looks, and I like the way that's going. So now we need to go in and see if we've gone in geometry in to clean up. Definitely got some pulling over here We're going to fix, and it looks like down here, we've got some edges we're gonna have to mess with. So slide that Vertex back up, get rid of this by collapsing that edge, and then I'm just gonna dissolve that edge. So we're left with a quad again, and there were gonna that's all fixed. Then let's go over here and assess what's going on with this. So we've got in got happening here. We've got a five sided, uh, and gone, and we need to figure out what we want to do. You can go ahead and dissolve this edge again, just like we did over there. So you get back to quads, and then we use our knife tool. Cut this back up to the middle and working be left with quads again on either side. And actually, what I probably wanted to you is cut using this edge on that's gonna give us quiets like I thought. Yeah, there we go. Okay, so that's back to normal. Go ahead and smooth that out a little bit. Remember that up and looks like we're good. Okay, So now let's get in here and assess what we want to do to sharpen things up. First thing I want to do is make sure that I'm really happy with the way things are lined up. I'm about to add some more geometry. And as you guys know, the more we add, the harder it is to get in here and make significant weeks. So just gonna pull these back a little bit, so I don't have a sharp of ah point happening there on the front of the girl Sam thing. They're a little bit and then I want to make sure I get a nice, smooth edge going across this pillar section leading into this outside edge over here. And I'm looking at the small contours from this hold of this whole. But I'm also looking at the overall shape of this curve to see if I liked the way that is looking. What? I'm looking straight down on Teoh piece there and I think that's gonna be okay. Not happy with the way this is curving. It's not. It's not really all that smooth. So I'm going to you kind of reposition some of the East and fix where that's pointed. Clean that up a little bit. Ah, goodbye. You back to normal here. Okay, so I think I like the way that's that's working now, and let's get in here and talk about how the increase in these corners up. So we got a couple of options here. You could do ah triple edge increase by going in and adding a loop here, sliding that over and then adding a little peer slight. No, I don't think we're gonna need to be that demanding on the mesh order to get the look. We're after. So it's really coming down to you. What is going to give you, You know, a leg up or an advantage If you're introducing edges in a one section versus another here. If I introduce address, it's not really gonna affect anything except for these inner peace is this will continue up instead of here. And it's gonna be one more edge that I have to make sure I smooth out so that things were gonna line up better. So instead of adding three edges, I'm just gonna add one on each side. Go all the way up to where it's pretty close up there, slide this edge back down to the middle to kind of move that back out. And I'm also gonna do that on the bottom. So do that there, Uh and then we need to look a joining these up so that we're gonna maintain quads and not have any that stretching. There you go. And I think we're getting enough of a crease inside that we're not gonna have to really be all that concerned about that. The other thing, too, is we're gonna end up covering a lot of this with an inside mesh. So I'm not gonna be super concerned about how all of this pans out because, ah, a lot of it's not even going to be shown. But for now, let's make sure remaining maintaining consistency. And, uh, that's good. So the last thing I want to make sure that I do is figure out if I liked the placement of where everything is. If I like the way that things air curving around here, when you decide if we want to dio increase or if you want to use, let this be curved and I think what I like ISS possibly a little softer edge over here, we'll have to see what that looks like. We could add in another absolute, or we could just slide this over. If we still like the way that it looks losing that corner down there and let's see that versus that and you know what? I think I like the way that that's bending. It's give me a little bit more character we can play with. So what if we increase this up over here and I like the way that's contouring up? So I'm cool with that? It's adding some pinching right up here. So let's average these back out towards the middle. Teoh, decrease the problems that we're getting there. And I think toe have a better holding edge. We're gonna have to have some more geometry over here we can play with to make this really work for us. Kind of massage. Things were things in a place and hope that helps. One thing we could do is go ahead and add in a loop connecting back up through the middle of this because we may want to have some more geometry there anyways, so that could end up doing us a little bit of a favor. Now let's talk about some of the other edges we may wanna crease for these. I'm just gonna do holding edge. I don't think we're gonna need to add two edges. I think one is gonna be plenty. And let's also add one here. So you connect that up and I think that's looking pretty good. Let's look at this underside here and see if there's anything we can do to make this look a little better. Not sure I like the way this is. Ah, defining its underside. So see, it's just slide these up a little bit, see if we like the way that's gonna crease everything. And yeah, I think I like that a little better the way that's working. They won't increase this underside here to get things on a little better place. Once again, just gonna go in there and smoothing everything out. Ensure I'm happy with the way that's deforming and all right, let's look over here and see if we have any kind of solution. Teoh this problem and yeah, if we add an increase their like wanted. We're also gonna fix our triangle problem because we battered in another bear attacks and it has nowhere else to terminate because it's actually giving us a quad even though these two edges were lined up. So that's actually gonna help us there on. We'll see. So I think I like the way all of this is bending right now and the way the creasing zehr taking shape and to kind of get a better feel for what we're seeing with the material on reflection. Let's go ahead and enable the Mac app over here into shady and see what that's looking like with actual shader material added. And yeah, I think that's working out pretty good in a little bit of, ah, living pinching in here. You could go in and and tweak a little bit. You move some of these edges up and relax some of that, it's probably not gonna be as bad. But a lot of this is just gonna be coming in here and playing with the way these work and getting everything into place. So think that's gonna be good. So in the next lecture will continue. Ah, refining and detailing the grill section and we'll see how it goes. I'll see you there. 10. Creating the Inner Scoop Sections: you guys in this lecture, we're gonna be taking a look at adding in a plastic insect to the scoop areas of our group . So we're gonna do is basically go into face mode. We're going to select these interfaces that make up our scoops. We're gonna duplicate those and separate them out so that they are on their own separate mesh. Okay, so what I want to do is I want to eliminate some of the clutter here and make it a little easier to see what we're doing. So I'm gonna hide the hood. I'm a lock down the front piece so that I can't select it. Um, and the only thing we can use for selection is this mess here. And I'm gonna tab back in to edit mood and start messing with this. So we went and set the's a little further back so that they're not right up against that edge. So to do this, I'm gonna add an absolute and then I'm gonna bring it back out. Teoh, let's say 0.6, it's probably get number, and we'll do the same thing on this side with the same value of 0.6 and then we're gonna delete the front faces by selecting that loop all the way around, get rid of the faces, and that's the basis for our mesh. So we're gonna use the solidify modifier again to our advantage here because I don't wanna have to get in here and model. All of the's extrusion is by hand. So what we can do is basically jump into the modifier section over here and then select the solidified modifier. I want to put the thickness and around 0.2 make sure I'm only doing the rim and I have these checked so that everything else is pretty even and see, um, so it's gonna Adams and Forests were actually gonna end up not even needing these back edges would go ahead and delete those once we have applied. But let's see if we like the way that's looking. I think one of the things we need to be concerned about here is thes edges down here sometimes are going. Teoh kind of pull the surface back to Farense. You, uh, this Ad river here, so we may want to do is just pull this up and over a little bit. Get that back into a place that we like it and then maybe do the same thing there. And so just kind of get one around this mash, pulling things out where I think they are needed. In that way, we're going to get a more consistent surface to play with. Let's pull this one over and down the back and pull this one over more and they were getting close on. This one's getting it where we want. It's, um Now, you can also use the scale tool Teoh kind of massage all of these back in the place. But you're gonna have a little bit of an issue because they're not they're not perfectly square. And since they're more rectangular, you're not gonna have things. Scale is evenly. One of the other things we could try is using the, uh, let's see. Let's jump in the face moment, grab all these. Try using the, um, shrink command, and, uh, sometimes that helps. Right now, it's not really doing a lot for us, so yeah, that's not really gonna work. Like I said, we could scale and, uh, sometimes that that will be enough. I think I want to move this ad you over a little more on were probably good. Okay, so now when you do the same thing on the side, go ahead and get all these faces selected again and try to scale them a little bit. Get everything in the place. And then, of course, we'll have to go back and do a little bit of manuals, Weiqing, to get things back in the place where you want them. Okay. Now, one of the things that's happened or will happen when we apply this, is that you're gonna get a face going right down the middle of our mirror again. So we're gonna have to get rid of that. And if we like the way that things are shaping up to the inside of that shape, we can go ahead and apply this and then see what it's gonna do for us. So before do that, make sure I've got everything kind of worried. Want it because as we go back in and start changing some things, it's gonna be a little harder to modify all of these things. So I think that's good. So let's go ahead and apply this little five modifier. Now it's going Teoh, give us a warning that the modifier needs to be applied after we already apply the modifiers above it in the stack. And so that's fine. We can go ahead. And if we did that and then move to this up to the top, we can apply it, and it would be fine. But like I said, it doesn't really matter in this case because we know what's happening. So that's fine. And let's go ahead and get rid of those faces for the mirror parts, and then we're not going to need the faces on the backside. So we'll go ahead and select these and get rid of those because they're gonna be covered up by this right here. Okay, so the last thing we're probably gonna want to do is get in here and kind of adds increasing on the front side. To do this, we can just add a simple absolute pulled out forward on both of these surfaces, and that's pretty good. So we can spend some more time coming in here and kind of tweaking where we, uh we want the used to go and, uh, how you like it used to be situated within the scene, but pretty much got everything in place now and now it's just a question of making some final changes before we move on to the next part of the model. So, uh, that's it. And in the next section, we're gonna be working on creating some material mesh to cover the inside of the scoops, so I'll see you there. 11. Using Modifiers to Model the Grill Mesh: this lecture. We're gonna work on building the mesh that's gonna fit inside this front part of the grill . So we're gonna do is build this in a separate piece, and then we're gonna go ahead and fit that in in the next lecture. So let's go ahead and add a plane, gonna jump into the local view so that we can isolate our Our attention on this first I want to do is subdivide this until we have enough mesh density that we can work on a nice pattern for our mesh. So there are a lot of ways to go in here and edit this. Obviously, a simple grid is not gonna be cool enough for this car. So we're gonna want to go in and start creating some selections that will allow us to modify how this looks Now, Um, since we're working with a pretty dense mesh it it will be better if we can use some selection advantages. So you make this little easy to work with. First thing I wanna do actually is go ahead and get rid of one side. Let's go ahead and apply mirror modifier. And now let's get to work on this. So I'm gonna select one edge here making sure that I'm selecting. Um, do you vertical edge loops here. And then if I go to select and then Checker de Select right here, it will alternate every other edge for me and give me a checkered pattern. Now, if I go over to the next row, I want to get a one edge up from where I have my active edge here and select this and then once again, I'm gonna get a checker de Select. And I'm just going to continue doing this until I've got all of these selected with the checkered pattern. Okay, so now that those are all in place, what I'm basically gonna do is modify the length of these edges. So we get some differing patterns and shapes going on here. And to do this, we're gonna want to make sure where are Pivot Point is set to individual origins, that where they all scale around their own individual sections, and then we'll skill those on the X axis until we get a shape that we like. And now we can go ahead and go in Teoh face mode and we can select all of these and then I want inset and instead of in setting the entire thing, if I had I again, it will allow me to inset the individual faces. And that's definitely what I wanted to hear so well inset those. And it's going to give us a little bit of a ridge right here for each of these. So we've got kind of a hexagonal sort of shape going on, And, um, next I want to basically extrude these down, and then I'm gonna go ahead and delete those faces so we're left with sort of, ah, honey comb kind of mesh looking object. And what I want to do to clean this up before we're able to use it in the next lecture is I want to go in and I want to make sure all of the edges on this side are flat, just like there on that side. So we can also go in and modify this a little bit so that the central shape is similar to the surrounding shapes. When I make sure it looks pretty even for us and that's close, let's go ahead and make a little bit more of an adjustment here, making sure we're paying attention to what's happening over here. And I think that's gonna be okay for us. Yeah, that's pretty good. Okay, so let's go ahead and fix this edge over here. We select all of these for this loop. It's gonna go all the way around that. I just want to de select everything except for this edge over here. Then what I can do is scale this by zero on the X axis and then just move this back out until I'm in a position where I'm happy with where that city I want to kind of match this angle. That's over here. So once we get that in the place, like what we're seeing, go and accept that, and then we'll see. Let's go ahead and pull these over. So where we've got these aligned right here. And once we get that fixed, we can go ahead and wrap this lecture up and we'll be ready. Teoh, jump into the next part. So me finish doing this really quickly. Okay, there we go. So that's gonna work out for us pretty well. And in the next lecture, we're gonna jump in and start policing this into our grill. So we'll see you there. 12. Placing the Grill Mesh In the Front Section: you guys in this lecture, we're gonna take a look at placing our grill mess that we've created into our actual grill . So first I want to do is go ahead and apply this mirror modifier that we have right here. And then we're gonna go out of the local view and started lining this where we want it. So we bring this over, rotate this in the place, and then we're just gonna get it in a good location to start with, scale it down a little bit, because I know it's gonna be pretty big on Bring the son of more is to kind of get in the general vicinity of where we want to be. Okay, so now what kind of go through and align this Teoh where we want this in? Our are actual growth. So I wrote anything in a place checking the top and bottom lips of this intermeshed and making sure that it's sitting where I'm wanted on. I think that's gonna be a good place to start. So, um, go ahead and look at what we can do to expand this out into this area of the grill. So? So we're gonna go ahead and add and a re modifier, and that's gonna let us duplicate this mesh out into the side here. And what we wanted to make sure we do is check merge. That's going Teoh. Allow this section right here. It's you connect between the rays that we create and then when we want to do, is basically going here and married the service. The other side. So you had an ad, a mirror modifier so that it's connected over to the other side. Make sure everything's connected like we want over here, and it's over good. And I'm gonna look at kind of positioning this into its final place. So the collapse thes make sure clipping turn on there and then we're gonna use a simple deform modifier. Switch this to bend instead of twist. And right now it's not bending around the correct access that would have been this backwards into the Y direction. We'll go back into edit mode. Make sure my three D cursor is centered around this for attacks. To do that, I can it shift s select cursor to selected. That'll move my three, Decker said. At that point in space, now it's locked to that mesh. So when we add our empty this time, it'll be sitting on that girl where we want it. I'm gonna rename this empty to be called center just so that I have a little bit better organization re select the mess that we're gonna be bending and then get origin right here and select the empty that we just created. And now we should see that this is bending properly backwards into the grill area. So I'm gonna cannot rotate into a top view so I can see the angle relative to the inside. Measure that girl that I'm just gonna play with this angle until I get something that kind of works or a good starting point. So what I'm looking for now is to make sure that I like the angle of the bend from one side of the other. I want Teoh, uh, kind of make sure the rotations where I want it Rose hitting that measure on the, uh, the X access. And then again, I'm gonna make sure that the bend from the front to the back is how I wanted to be. So let's go ahead and kind of position things get our rotation where we want it right there and then play with this angle and see how you like it. And I think that's pretty good. Okay, so the last thing we need to do is we can notice right now that we've got a little bit of an outward taper and a bend downwards because of the position of this mesh instead of fixed that we just want to select the empty right here, and I'm gonna rotate on the X axis. And if I switching a wire frame Saluzzi or see what's happening, do this. I can control the vertical bend. And I just basically want to make sure that all the verticals that you're seeing in this, uh, this mesh here are kind of converging up and down where we want them along the access of this shape for the front of the car. So I don't want them tapering down or up. I want to get him somewhere in the middle where I've got a nice, even consistent, real surface going across, and that's pretty much it for positioning things. So now let's do some clean up and get things back in the place where we want them. So what we want to do is we want to get rid of the extra geometry before we collapse. All of these. So I'm just gonna go in here, make sure everything's de selected, and I'm gonna go ahead and grab the east and probably this road to you. We'll go ahead and delete those vergis ease down here. Everything below this is gonna be able, Teoh, go away. So we'll delete those overseas that will double check and make sure we haven't lost any mesh information in the middle and then give out to the sides and make sure that nothing is peeking out a place Buffer Balu on the mesh there looks like we're good. So now we go ahead. Since we've simplified the geometry and we'll go ahead and apply these modifiers Now, it's really important that we do this in the right order, and that is from top to bottom. So first I want to apply the array, then the mirror modifier, and then the simple deformed and that's gonna enable us to apply everything without any warping taking place or anything changing from the way that we situated or mess here last thing I wanted to you before I'm done with this mash is I want to come in here on the size and get rid of all this extra matched data we're not gonna need. So to do this, I'm going to need it before basically, just select thes and switching in and out of wire framed you and go ahead and get rid of, uh, sections that don't really affect anything. So we're kind of close there. Let's make sure that that is not gonna end up messing anything up, and we're a little close, but I think we're okay for that. I think this one and it's 12 Okay. And now we want to do the same thing on the other side. Okay, One more thing. I want to do you before you at this lecture up that's coming here and add a little bit more geometry and see all of these surfaces. Now, you could do this earlier. It doesn't matter what you do it, but I wanted to use this opportunity to show you guys a selection method For if you need to modify some more advanced geometry later on in your modelling process. So What I want to do is bevel these edges. And you might think that is gonna be really complicated because I have to go into select all of these. That would just be a nightmare. Eso let me go ahead and show you what we're gonna dio. Basically, we just need to select one loop that represents the kind of vegetable one of bevel, and then we go to the select menu right down here, go to select similar. And then we want to select amount of connecting edges. That's gonna just select basically everything that looks like the selection that we made based on the number of edges that air connecting. So in the case of this particular mesh, it works out really well because it's only going to select these inner areas where one of devil things Now, those were all selected. I could go ahead and bevel these, and I'm just gonna use one cut in this particular case because we don't need a lot of geometry to get a better definition of this. But we'll go ahead and do one devil, and now we've got everything in place, got our bevel going on there, and that is our finished grow piece that's gonna fit inside of the middle. And up next, we're gonna work on you. Grow pieces for these outer edges, so I'll see you there. 13. Finishing the Grill Area Scoops: Hey, guys, welcome to this lecture and in this lecture will be taking a look at modifying this outside inter mesh for the grill area. So you create an air intake for this scoop area. So let's get in here and start modifying this. Basically, what we want to do is we We want to create a vertical strut that connects the top of the bottom surfaces and kind of splits this up to add some more visual detail. So to do that, what I'm gonna do is jump into local modes. If we can isolate this, going to select everything here and then isolate my view port so that I just have this in the central part and then I'm gonna go ahead and add in a couple of Etch loops. So when I had one of the top on the bottom not being super exact about this, I just want to make sure they're kind of even in terms of the with here. And so once that's complete, what we're gonna do is we're gonna do another insects jumping a face mood, select both of these and hit I. Do you go to an insight. I think I like the way that sitting already right there So just left click to accept. And then we're immediately going to jump into our edges menu biting Control E. And then we're gonna select the bridge edges loops option. That's basically just gonna connect those together and create our vertical straight there. So let's go ahead and modify this a little bit. We're gonna create a couple of you, eh? Just loops. And let's pull these over in space so that it bends a little bit just like that. And now we want to You kind of add in some or holding edges by creating so much loops on the top and bottom so that Thea Strut is a little more rigid or on the top and the bottom. And then I think what we're gonna want to do is kind of shape this a little more. So it's not just an oval. And so there's a lot of things you could do here. You can select the, um, the edge going all the way up and down on the left side. Slide it over to the right, create sort of a taper. You can add in more geometry, but ah I think we're gonna do is add in another edge. Sleep over here and then what I wanted to you is create another loop right there. But I'm gonna leave it in the center. And then that's going to create a really hard edge over here and that it's going to taper off and curve back into space on this side. So again, you can come in here and slide this around, get even more of an angle on this, Um, but I think that's pretty good, and that's all we need to do to creates are vertical struck, So we'll jump back out of local mood to see how this looks, and I think that's looking good. So we may have to go back when we do our detail pass at the end of modeling the car and see about connecting in some faces back here. To fill this in, we'll see if that's gonna be visible on a render or not. So I think that's gonna add enough detail, and it's sometimes helpful. Teoh just realize that you don't always have to go in and model tons of details and every single area to get a good result So, uh, look at your reference. Make sure that you're following what feels right and then act accordingly. So in the next lecture, gonna get into modeling and other section of the car and, um, moving forward will probably do a little bit more time lapse so that we're not wasting you guys time. I definitely want to pack in as much detail as I can about modeling the rest of the car, but it will take several hours. So So leave me a comment in the discussion section and let me know if you guys I want to see more breakdowns of how things are going. If you like the time lapse, let me know that. And your feedback would be awesome because then I'll know how you guys want to see the lectures, and it'll happen in the next course. So thanks. And I'll see you the next lecture. 14. Creating a Plan of Attack: So in these first few sections, we covered most of the techniques that you will generally use to create the rest of the car . And so, because of that, what we need to do is look at the rest of the car and decide where we're at and where we're gonna go. Now if we observe the rest of the vehicle, we have detailed areas such as the headlights that we haven't put in yet. We have the wheel areas. What? You're gonna have the tires as well as the rims. They're gonna go in there. There will be little more detailed. And then, of course, we have the rear tail lights that we're gonna have to model. So there are a few more sections. They're going to require some mawr attention to details we get in hearing with models, some smaller objects. But overall, the rest of the body of the car is laid out exactly like the hood, and the front end is so because of that, I'm going to go ahead and show you some time lapse video of me blocking in the rest of the vehicle. That's gonna leave us more time on the back end of this course to concentrate on modelling the more complex details such as the headlights and getting in here and finishing out the rest of the car. So just to give you an idea of where we're headed, I've gone ahead and created a contour of the rest of the curves on the car to show us where we're going. And basically, if you look at this, it's gonna kind of give us a road map of where things have come from with the front end and how that relates to the rest of the car. So I really went in, made sure that I jumped into these views, lined up the edges the way that I wanted them to be laid out, according Teoh, some tweaks that we needed to make. So before I wrap this up, let me talk a little bit about the decision making process and how that worked for this. So you can see some of the details if we highlight these edges are not laid out perfectly According to the concept art. Some of this has to do with what we discussed earlier, where the concept art is not always gonna line up perfectly with the model that we're creating, and that's okay. I wanted to go in and block outs, the major curves and the definitions of how things relate out in three D space. And so, for my own peace of mind in keeping everything clearly defined and where, knowing where I'm headed, I went ahead and blocked out the major forms, put those in three D space. And then I made the modifications at this stage so that if I knew I wasn't gonna need to follow part of the contour of this already went ahead and made the tweet on the curves. So this is going to serve a couple of really good purposes for us? First thing it's gonna do is it's gonna allow me to have a better understanding of the overall sections of the car as I get in here and I start to model them. Second thing it's gonna do is it's gonna allow me toe have a sort of scaffolding already laid out in three D space. So when I get in here and I start modeling, I'm gonna be using the same techniques that we use at the front end of this course. But I'm also gonna have a road map laid out for me where I know where things should generally be laying in three D space because I like the way this is contouring. And so because of that, I'm not gonna have to think about designing as I approached the rest of this course. So that's where we're headed. And that's what's gonna be coming over the next few lectures. I hope you guys enjoy the time lapse, and I'll see you in the next lecture. 15. Front Fender - Timelapse: 16. Blocking in the Body - Timelapse - Part 1: 17. Blocking In the Body - Timelapse - Part 2: - Okay , so we finished the block in face, and now you can see that we've got most of the body completed for the model. And so a couple of things I want to mention and talk about about how we're gonna proceed before we get into detail ing phase for the body. There are a couple of things that I tweaked that I want to show you guys one of the things that wasn't really included in the end of the time lapse was I went through and tightened up the edges on the back end. So we get more of a square, uh, sort of look on the rear end here and none of the geometry was changed. I just wanted and kind of pushed. These verte sees together, it's to make that happen. So one of mission that also I did not have this piece of geometry added for this other pillar for the other side of the door. So all I did was I beveled this edge and added a couple of atmosphere and you can see I don't even worry about connecting up the geometry to resolve these in guns because we're gonna actually separate all these pieces next and start working on them individually liquid on the front end. So that leads me into you. What we're gonna do next, and basically what we're gonna need to do is that we blocked everything in. We're gonna need to go through and assess where the separations are for the other sections of our car. If you look at the front end, you can see that we've already started separating the detailed areas into you, the actual pieces that make up the car. So even though we modeled everything together in this block in face as we detail, we're going to start at one end, and we're going to start separating pieces based on the seams. And I was very careful to model the separations of the car into the base mesh so that it automatically follows where those splits are gonna be. And that way, when I go through, all I have to do is start selecting faces, and then I can separate those out and we can start working on this. Individually biggest benefits is going to give me is that I'm not gonna have to worry so much about the topology as a whole model anymore. Now that we can split things apart where we've just got the glasses, separate objects were just working on these pillars. Separate objects, just the door, things like that. Things were gonna be a lot less complicated because it's not gonna matter so much. How the geometry resolves out to these boundary edge is. What's gonna matter is that the smoothing is held intact when we start adding in hard surface edges. So that's gonna be our basic approach going forward. And in the next few sections, we're gonna start walking through, splitting things up, resolving some top illogical issues that we've created with our base mash. And then I'm going to show you guys how to clean some of those up. So I'll see you in the next lecture. 18. Refining the Front Fender: in this lecture, we're gonna take a look at finalizing the geometry for our front fender. So to do this, we're going to increase some of these edges and we're gonna get in here, and we're also going to modify some of the topology to clean things up a bit. And we are are going to, you see, about connecting the crease that goes from the front end all the way through the side of this wheel. Well, so let's jump in and start doing that. First thing I want to mention is that when we started modeling, this front end weren't paying a lot of attention to you the way these creases were behaving . And so because of that, we have varying wits. You can see here from the bottom to the top, and sometimes that cannot a little bit of character and be a good thing. But for the remainder of the model, because a lot of the creases that we have are gonna be starting With one panel going all the way through the body of the cars, you can see what the side door, these two creases, they're happening here, go all the way through and terminate somewhere around the back end. So because of the prominence of those creases, we're gonna want to make sure that the width is very consistent. And we have a lot of control over how we set that up. So as we get in here, we're gonna want to pay attention to that. We're gonna focus on maintaining that distance. And then we're also going to talk a little bit about how we can correct the topology here to be a little better suited for making the modelling process easier for you guys. So the first thing we talk about is the way that I was adding in these sharp edges in the sharp corners going into the front end and how we're going to do things a little bit different as we get to the back in here. And the reason for this is just that I started using this technique, and it's perfectly valid technique, but is not as optimized as what we're gonna do following the next few lectures. And so I want to show you guys a better way to do this. And what I wanted to do when I started modeling was get these in fast and get these corners sharpened up so that we could get everything in the way that needed to be. But in my haste to do that introduced some of these and it just made things a little harder to go in and tweak the geometry. And so rather than do that early on, the best way to do this is to keep it all simple. And then they're going and add those corners when we had the thickness. And so what I'm gonna do now is go ahead and time lapse. A little bit of my cleanup of this mesh and you guys can see I'm gonna get rid of these corners and then we're gonna go in Teoh this mess here and I'm gonna do the same thing. But we're going to go ahead and add the thickness at the end of this lecture and you're going to see how we can achieve the same result with sharp corners. But do it in a much more controlled fashion. So right now, let me go and clean this up and then I'll get back to you after we get done with that. So the goal here is that emulate what's gonna happen when we use the technique. I'm gonna mention coming up where we bevel the the actual depth and get all these details on the place. So because they didn't do that on this section, I'm trying to go back and clean things up and then kind of mimic what's gonna happen later on with that, uh, so you can just see me around the front of the car and you can see this is ah, definitely a tedious way to go about doing this. So I think the technique that I'm gonna describe coming up is really gonna help you kind of bridge the gap and make modeling your sections and getting this in a place a lot quicker. Um, so have a little bit more cleanup to do here, kind of massaging his edges in the place, making sure that I'm definitely thinking about the quads, trying to get everything back into place and then continuing that line on up through the middle. So now we're going into the front fender section doing the same thing, trying to clean up, get rid of the corners that I'm trying to get in there. Prep the mesh for getting it in there where we can use the bevel technique. And there we go so well done. So to finish cleaning this mess up, I've gone ahead and deleted all the corners and gotten rid of the geometry that surrounding that and this mesh I've gone ahead and demonstrated how to you manually connect up those corners by going in and adding and the cuts yourself. And as you saw, it's kind of a tedious process, so it's a little unnecessary, and we're going to take a look at doing something a little more refined with this mesh. So let's get in here and start modifying the geometry and getting those edges in their the way we want. So let's examine our concept art first. We know we have this edge that starts in the front end. That's gonna be continuing up through the middle of the wheel well, here and then terminating somewhere over here. We also have increase from here to here, and we're gonna add in another one, going from the top edge of this window through the front fender ending right about there. So what we need to do is make sure that our mesh is following the concept art and the lines that we've laid out for the formation of this crease. And so to do that, I'm just gonna slide this around. I'm also going to go ahead and add in some extra cuts here that's gonna enable us to continue that crease all the way around through here. Now, let's look at where we're at. Okay, Let's go ahead and jump on the edge mood and start talking about creasing so I'm gonna select the areas we wanna crease. This is going to go all the way down through this end right here. And then I want to increase that right there. So we're not gonna worry about the corners and getting the creases there. And so we get our thickness modifier added, and we do have very last. So right now, let's just focus on increasing these. Um So what I want to do is go ahead jumping in devil. These and I can use two or three edges. Typically don't go above three because it's just excessive. So for these, I want to be pretty tight, and so I'm gonna use three. And then except that once again, let's jump into the bevel command menu and see what our settings air at currently were beveling at a 0.27 and that's probably good. But we want to make a note of that value so that when we bevel the other sharp edges in the door here, we're gonna be using that same value. So that is gonna be good for that's. And then we're gonna take a look at how to start fixing some of the problems that have been interviews because of the new edges. Clean that up and then we'll get into refining this edge. So we want to do first is make sure on edge mood, and we want to taper this edge into you the rest of the front fender and wanted to fade. So let's go ahead and collapse these edges because that's going to make it fade. Go ahead and combine that face. If we tied back out, you can see it's already starting to fade into the rest of geometry there, and that's what we want. And we're gonna go ahead and start jumping around and looking for in guns we can fix that have been introduced because of the bubble command. And basically, you're gonna run into this a lot. This is Ah, quad. There's been turned into an in Ghana five sided polygon as the to correct this. You're just gonna want to select these two edges that have been introduced and then hit X and collapses edges. And then over here, we're gonna have Ah, a couple of triangles that have been created were enjoying those up. Same thing there. And then what I'm gonna do is pull away the central Verdecia on both of these so that we don't have ah Kong Cave Quad happening there. So the last thing let's go ahead and connect those up that I'm gonna go ahead and knife that out, too. The edge of the mesh. You get back, Teoh. A nice even topology will turn those into quads to wrap that up, slide this over a little bit, get a nice even quad there and then let's look at the central parts, this kind of a mess. And hopefully if we look through here, we'll see a lot of triangles and we only have one right there. I don't even think that one's gonna be a problem. So what I want to do is connect this in this up to you maintaining this edge here. So I'm just gonna merge these at the center. I'm gonna start sliding this back towards the area over here. A man I think I mentioned before. But if you slide all the way over, so where you're in the middle of the mesh, you can then slide back and it averages out the position of that without having a jump into other views and modify that. So, um, this is a quiet here. This is tryingto here. I don't think that trying I was gonna do a lot of damage, so we're just gonna leave that there right now. And the rest of that's looking pretty good. So let's go ahead. Jump back and edge. Moon collapsed these because we want this to taper, um, into the rest of that that fender there. Okay, so we've got the basic editing finished. I think all of the clean up has pretty much been finished, and everything is looking OK so far. One more area here. I just saw you to jump in here and fix. Let me go and collapse those and we should be good. Okay, So if we assess where we're at, we we need to fade this into the fender a little more. It's a little sharper It there. This is not as pronounces I wanted to be. It needs to connect up and be very consistent with this front edge here. So we're gonna be messing with both of the East to get them in place and looking a little bit in there. Now, let's go ahead and smooth this out. The way we do that is we're gonna dripping overtax moon gonna go and select a couple of these virtues sees we're just gonna edge sly these out. Teoh average out the smoothing here, and so bump those over a little bit and then you want to gradually kind of slide less unless that you get to you the sharpen areas and that will just kind of fade that edge in as it goes back into you, the fender. And I think that's pretty good. Uh, may want to pull these back towards this a little bit so that it's a little more sharp right there, and yeah, I think that's looking good. Okay, So to get a more pronounced edge here or really need to do is select the, um, to select these edges that are going through this mess here. And we need to pull them away from the edge of defender. So that way they're popping out a little more from the mesh. Before we do that there, I can see here that I've got some, uh, geometry that not really please aware that sitting. So I'm just gonna pull those over in the X axis a little bit. Make sure that we're happy with the way that that's lining up. So let me go ahead and pump those over until we're happy with where they're sitting. That's better. And once again, let's go and select these and, um, all right, so here's already it. We're going Teoh very slightly. Pull these away using the x axis transform. You just barely pull those over and it doesn't take much, but you can see just by doing that, really starting to pop when you rotate it around the three d view port. So my other main concern is that we want to have a really consistent edge from this to this . So So we're gonna need to make sure that the verte Cesaire pretty much matching up from one to the other. So let's go ahead and jump in here and kind of move these over. You want to make sure you grab all the vergis is here? Because remember, we already had a thickness to this mash, so just need to make sure those air in place, and then I'm just gonna visually tryto line these up. Go ahead and get a better view here. Right on top of this. That's pretty good there. Okay, Now I want to do the same thing we did on the other MASH. We'll go and select that central line. We don't want to go all the way out to here, so we just need a few of these year. I'm just gonna use the stop, too. And let's go and pull these away using the transform. Max. It just takes a little bit. So don't push that a lot, because it's it's really gonna start popping. So, uh, this is gonna actually clean up a lot more when we had a thickness. So before I tweak any of that, I'm gonna go ahead, and, uh, we're gonna thickness next. So That's pretty much it for adding in the edges for this mesh. The last thing I wanna show you is what I was talking about, where we're gonna go ahead and adding these sharp corners using the new technique. So let's go ahead and add a thickness modifier or a solidified modifier to get our thickness will put a point or 25 men for the thickness like we've been using on the front of the car on these mush is and then we're gonna want to check only rim and then I'll go ahead and check those off, too. Make sure that that is good. And let's go ahead and apply it. So got our thickness back Now we wanted to use want to go into edge mood. We want to make sure that apart from selecting the boundary edge, which is the edge that goes all the way around the whole surface of the mesh, we're also gonna want to select the corners that we want to be creased. So let me go ahead and get the boundary selected first. Make sure all of it here. Okay, there we go. So that's the boundary. Now, any corner that needs to be creased. We gotta select that vertical edge that was introduced when we did. Thea this a little find modifier, so there's not many of that need to be creased. That's one on. And that one right there and then we've got a couple in the front end here. We need to you crease. So it's jump in here. Sure. I get into the shark and see it and will grab those edges one more. Right here. There we go. Okay. Not those air in place. If I go ahead and bevel the use the same way I just did to create these creases, we're going to get much better results for art. Apologies kind of rotate into a view where you can see this easily. You picked this corner right here. Double this out. Now, I'm gonna go ahead and use three, uh, segments and then I want a pretty tight spread here so we'll do that. You can see that all of our corners or not back and things were tightened up. But the best part about this is that it's a uniform across the entire mesh. It usually handles the introduction of new geometry. Pretty easily it might sometimes introduce. You know that the case where you have here, we need to collapse some of those edges in order to get, you know, a better quantitative geometry. But all in all, it's going to really reduce the headache. You're gonna have happened to go around by hand and increase those boundary edges. Teoh, hold your verse in place. So, uh, pick this corner right here. I'll zoom in a little bit so you can see it better. You see that? We've got quads in place on all of this, and it was all automatic. The best part two is that it's all even so, if you pick a value and you stick with it, you're gonna have really consistent edges all throughout your thickness on your model. And, you know, that's what we're aiming for. Just one little thing and like that can make a huge difference in the Finnish look of your model. So I definitely want to aim for professional look. And, uh, anyway, you can. So it's again. We can keep tweaking this to kind of get it in place a little better. Think what's wrong here is that the angle is a little bit off. So if we smooth this out by pulling that up a little bit might help a little bit should also do the same thing down here. Rotate. Rotate those in a place that we go ahead and make sure I've got that properly selected. Okay, we've got our geometry set in place and the final details in place for our mash here. And what I wanted to do is go in and show you guys some additional tweaks that I made to kind of increase the overall performance of the way this match was deforming. So you can remember right here we had a triangle that was introduced because of the intersection we created with this edge that was extended off of the main edge to come down to here. And because of that, it was going to create a little bit of pension on the get off. So I went ahead and merged the vergis ease to your that triangle for this part here. And then I want an extended a couple of edges through the body of the master. Create a quad that is right there. I then continued this edge going all the way through the central body of the mash down to the bottom, which allowed me to create a quad there and just kind of generally clean things up down there at the bottom. And then, other than that, I made a couple of weeks appear. Just Teoh merge things where I could. There was a couple of bending issues that were happening up here that I got rid of by just going in and correcting the quad formation. And then the main thing I did up front was I made sure that the the edge extending all the way through the body was connected up so that there weren't any quads in the way and disrupting the flow of that edge. Reason being that we have a much more refined definition of defender. You can actually see that as I rotate around the fender with that edge connected all the way through the front that you can kind of see the bend and the highlight heading that. And that's just because we have ah better topology Lee out now that more accurately reflects the way this should be formed. So not a lot was done just basically emerged overseas and then cut in some additional edges to reconnect things back up. I don't really think I added any topology. I just kind of read organized some of the way that everything is connected up the front there. So not a lot of tweaks, but I didn't want to make sure to go in and specifically talking about the ones that I did make for you guys. And ah, that's gonna wrap it for the front fender section. And so I think it's looking very good. And in the next lecture, we're gonna jump into doing the same thing. We're gonna do it for the door of the car here, and we're gonna talk about some of the same issues we're gonna run into you. There's a lot more complexity happening with this door handle here. We're gonna have to adjust and also how we're going to connect the door up through the top of the roof and, uh, how that's gonna affect some animation. So I'll see you in the next lecture 19. Refining the Side Door - Part 1: in this lecture, we're gonna focus on this door right here for the body of the car. And so what I want to first is separate this door out from the rest of the block, then mesh hair. And so although we have some parts appear like the glass and the pillars sort of the outline of this door that would connect up when we start to animate. I'm not gonna focus on those right now. I just want to focus on getting the body toe look like it should merging in with the rest of the front fender. So let's jump into face mode. Let's grab the door and let separate that out. Okay, so we got our door selected. Separate that and let's go in a local mood so you can just isolate this and I have to work with the rest of car. We know where our main edges are, so we don't really be seeing the rest of that right now. So there's some things I want to do to clean this up before we get going on the rest of the tweaks. I wanna pull these over to clean this flow. Upper here got an extra vert. Asi right there. Orders. Go ahead, dissolve triangle down here. Let's go ahead and collapse that edge. You hear that triangle? And I think we're good. We're back to you. A clean mesh. So now we need to sort of figure out how we wanted approach beveling these edges. So basically, we have this main edge running all the way through the body of the car. This edge through the top part, these two edges here gonna get bevel. And then, of course, we have everything down here in the handle area to kind of worry about Beverly. So what I want to kind of do is focus on a couple of areas and split them up so that I'm not having to worry about getting everything done all at once. The reason for that is that if we look at the size of this door, we have these main actors that are running pretty much all the way through the mesh here. And then we have this door handle, which is a lot smaller in relation to the rest of the door in terms of scale. And so if we try to bevel everything all together, we're gonna run into an issue where we start to bevel and then you can see if I use my value that I was getting used for the last lecture for these main edges. It's just way too wide. The bevel, those small areas on the door handle. So I don't want to do that all the same time. I want to split that operation up. So let me go ahead and it's just bevel some of the main edges. Now, get those in a place and go ahead and get those settings back to where they were. So we'll double and we'll type it a 0.27 Use two segments, which will be three edges one right down the center. And there we go. So those were in place, and now we're gonna focus on the door. Get those in there. So think about the door handle is that, um we're gonna want to make sure that the edges are holding all the way on the inside of this handle. We're also going to make sure that the outside part of this is beveled. So we get a nice sharp edge around the outside the handle and then we actually have some sections around here that continue on through the body that we want to make sure bubbled to you to give us a nice, clean, faceted look. So before I do this, what may be a little easier is for me to go ahead and collapse the such here. So we're back to a quad. Same thing up, top going collapsed that and then I want to go ahead, emerge these verses because that should be a continuous at all the way through. So now that we're cleaned up a little bit around the handle area, we can jump in here and start beveling this out the right way. So I'm gonna actually select pretty much everything in here except for the very bottom edges that make up that face on the interior of the handle. Reason for that is we're gonna go ahead and get rid of that after we have this done. So let's go double this. We're not gonna use nearly as much uh, offset for this bevel. So I'm just kind of doing this by I to make sure I get everything kind of in place. We'll go and accept that, and I'm gonna jump in and get rid of that face. Just delete it right now. Okay? So we kind of examine where we're at now, remain devils in here. We've got our sub devils in here for the handle, and then we know we're gonna have to go back and start cleaning some things up around the intersections here. So if we look at the interior section on the handle, we can see that we got nice, clean quads going all the way through to the bottom here of the handle on out to you, the outside of the mesh. And so nothing to clean up there. That looks really good. And what we need to be really critical about is, uh, seeing if we still have quads all the way out to the outside. I just here. So I got a quad. There's no cleanup is necessary. This is turning into it and gone. That's an end gun. And that's still quads. That we're good there. And so it looks like we need to collapse couple of edges over here to you. Start getting everything into place. Go ahead and collapse. Those, um, we'll see what kind of face we're looking at here for the East. Okay, So at least three sides heading into this area, we've got one C 233 there, so we could join it up right here, get us back to four, and that may be a viable option. So let's go ahead and see what that looks like. Go ahead and join this back up there to there. Then I'll hit E and give it there. They're on their go. So now we've got quads back where they should be, right here in here. And now we just have to clean up this interior area so we can go ahead and merge all of these back up to get us to some base squads to work with. And then that's gonna make it a little easier to kind of just mentally get to a place where we can fix this area down here. So the big part about cleaning this mess up is is that if we focus on one area and we just got this perfect, we're still gonna have to clean this up up here. And so you don't want to just zoom in and focus on getting one area perfect without paying attention to the rest of the mash and how it's laid out, because we still we're gonna have to clean up some pinching that's happening up here in this area. And who knows how that's going to affect the rest of this topology because they're in the same general region. Um, and they may end up getting connected in some way. So I definitely want to make sure that paying attention to how those could possibly flow together and some potential edge saving techniques we could use to get things back in the place. So I'm just going through here now, examining the mash, seeing what the best possible ways to connect things up. The issue we're facing now is that although we had a really nice mess down here for the way this handle looks, we need to fix some of the pinching and the stretching that's happening up here with these . And the way that we would do that is to connect the edges on through the rest of these down through the middle instead of just connecting them back up to a single edge right here. And that's what the bevel did for us automatically so what I wanted to you has come up with a solution that minimizes stretching. Doesn't add a lot of topology back into the mash because I like the fact that we're pretty optimized at this point but definitely resolves the shading issues 40 that let's jump down here because I noticed a couple of edges would go ahead and get rid off grand collapsed those. And then what I want to do is kind of start resolving how this is gonna connect up. So first things first, we know that we're gonna have to connect these through in some way. And so although we don't know how, we're gonna connect those up throughout the rest of the mess yet, we do know we're going to connect these up. So let's go ahead and get thes connected up on all all four of these main edges here. So God do this mess on that way all the way through. Okay, so you can see just by doing that, a little bit of the pension gives away and up here. It's not as big of a deal because we have more of a convex shape. But because this scoops down into the mesh. We have a little bit of a common cave problem going on because the subdivision modifier just doesn't know how to smooth that out properly. So it needs a little more help with some or edges. So to do that, there's ah bunch of different ways when you go in here and try to optimize this. But I think the solution that I came up with is pretty good for this mesh. And although it may not be perfect, it's definitely gonna end up working out for us in terms of trying to maintain quads and to fix the general. Look at this. So what I wanted to you is I want to go in here and I'm gonna start adding in some cuts and these air gonna be continuing these I just down through and allowing the stretching to kind of dissipate for us. So gonna connect that up. I want to connect this to this so because the knife told in work, I'm just gonna j to connect that there and then I want to do the same thing on the side. So I'm basically gonna connect here down to the middle and then back over to you this mean courtesy here, down in the middle of the mesh. That way we're not continuing this all the way through the bottom and adding in a bunch of extra quads that we don't need. So what we're gonna do is go ahead and join these faces up That will put us back in a quad , even though it looks like a triangle, we've got a vert asi here making it a quad. And then what we can do is start to focus on connecting things back up in such a way that we're happy with the results. Looks like that didn't connect where I wanted it to you. So I'm just gonna merge that too. That Vertex. Okay, so let's take a look at what's happening. Now that we've connected those up, you can see that the stretching is minimal here. And more importantly, we're not getting a crease down in the middle of these edges going through the mesh because what I want is I want the effect that we've got May increase is running the length of the body of the mesh that we've got these May increases in these corners here, But I don't wanna crease here, and I don't wanna crease here through the main body that mesh vertically. I definitely want to. You eliminates the stretching and the pinching their But I definitely don't want a hard surface crease. And because of the way this meshes sort of transforming right now in the way that it shaped , it could be a little hard to get things in a place where that is gonna work for us. So, um, basically, what I'm gonna do is I'm gonna go through here and just keep connecting things up till I get the quads where I want them. And then we could massage the Verdecia around and get back to a place where we're happy with the way things are looking so kind of Move these over a little bit. There we go. Now we know if we move these away from the center here, we're not going to get nearly as much of an effect because there's not a lot of stretching or pinching happening there. So we're pretty good here on this corner. There's not a lot of things we need to fix and smooth out. So actually, pull that back and not a lot is gonna happen down here, though it's gonna make a major difference how far we are away from the middle of this 1,000,000 verte see. So if I pull this over, you can actually see in shaded view what's happening. And the pinching is coming back into play as we move towards the middle of that right there . So you can see as I rotate around, although we're getting a much nicer crease in a point, there were starting to get sort of a bowl shaped pinch right in there. And so it's gonna be just kind of trying to find a good position for these Vergis ease to sort of blend this back into the body of the main door there. And so one thing I'd still want ad in is make sure that I make this a quad. So I'm gonna put a main edge going all the way back to their and that will make sure that we're wanted out again and everything's back to normal. So that's gonna be the main set up for fixing that pinching, and it does a pretty good job on. And of course, we can always go back and keep tweeting these values to get to a better place. But I think I'm generally happy with the way that's working. We're not adding in a bunch of extra quads, necessarily, but we're back to their and that's looking good. So what we can do now is go ahead and fix some of these triangle areas we have going on there. We don't need this set up anymore because now we have edges going all the way through the mashed. We'll go ahead and connect these up, and that will give us an opportunity to go ahead and dissolve thes Vergis ease and then reconnect things back up where we just have quads grand dissolve that connect this back up kind of slide that in a place, do the same thing on this side. All right, so the last thing we need to do before we start adding in our solidified to kind of sharpen up these corners is to go in here and make sure that our door is fixed and optimize in such a way that we're happy with the way things were kind of shape down here. So we have a little bit of clean up when you do down here. So in order to kind of figure out how I want things to work out here, what kind of reposition my view around this area? Now, this is a main edge running all the way through to the center of this handle. And I want to connect these up because they should be the same edge. So I wanna continue this all the way through. That's gonna help the shading a little bit and we'll see what we can do here. Okay, So what? I want to check first Because it may save me some time is see if I have any in guns that are left to clean up. So if I select this got once you three, four sides there, but then we've got a little bit of edge right here to make five so we can actually go ahead and collapse this because that's gonna alleviate some problems there gonna have the same issue up here because we got a symmetrical shape. So when collapse that and that'll fix that for us now we want to do is go ahead and I'm gonna go into this all of these edges, and that's gonna put us back to you A good position for making everything quite it out. So I'm gonna slide these down, get back to a place where you can modify things a little easier. Now you decide how we're going to connect things up. Basically, we know that we have a loop going all the way around in these sections to connect up and go back through. So I wanna kind of mimic what's happening over here on this side. And so because we have a main edge here, we know that's gonna be kind of the central axis of symmetry there, and we need to decide how we're going to connect things up to make quads again for this. So it looks like we need a drawn edge right through here to get our loop structure back. So once we connect that up, we can see that we've got our loops happening again, and that's exactly what we want. So kind of smoothing down the area. So now if we look at the way things were combining, it's a lot more appealing with the way that that edge is kind of transitioning into the handle itself. And as we rotate around you can see what I mean. There. So again, a few more tweaks to go in there and kind of position. These Vergis ease in a much more appealing place to get things kind of even back out. But in general, I'm pretty happy with the way things are shaping up for this handle. So what we're gonna do now is going to go ahead and go in and add our thickness to the mesh . So before I do that, I want to go ahead and save. Go ahead and do that. And here we go. Okay, So I'm gonna jump back into full view here. So you guys can see the modifier stock, go ahead and add the solidify modifier again. Make sure all of our normal settings air checked off of a 0.25 thickness. And that's gonna be the normal thickness for us that use their. So everything's looking good. And once again, we're gonna play this out of order so that we can keep the subdivision modifier in the mirror ring on, and then we're gonna go in here and start adding in our devils to get a thickness with increased edge added. So let's turn back in Azmoun and then once again, we're going to select the overall boundary edge, going all the way around, making sure we also take the time to select the corners that we want to maintain sharpness with. Now, typically, I would be selecting these corners, but because we already have a lot of geometry down here, it's Ah, it's really not necessary. You add in a bunch of extra quads down there to keep that sharp because we already have holding edges to keep those sharp for us. So to make sure that we go all the way around and connect things up where we want sharpness , get a sharp corner here. I wanna grab go down to the front end here, make sure we get our sharp corner there. Continue up our selection for that boundary edge. They're in there and one more corner here to make sharp. So we should be good there. Double check everything kind of look around. Make sure we have all the edges selected that we need to have selected. And I think we're good, so I'm gonna zoom in on an area. Can I get our thickness the way we want it. And once again, it would be best to use a single value for all of your bubbles for the thickness to make sure that your paneling is consistent. But I'm just gonna go ahead and I have all this right here, so Well, I didn't two segments for three edges all the way around and use something small 30.1 is one of them that use and what enter to accept that. So one day we need to do right here. That I see is go ahead and continue these edges all the way through. Do you keep everything into quads? And Ah, little bit of cleanup has to happen here, and we should be back to normal there and looks like we're good, so we could go around and check all the other edges, But I think we're gonna be OK. And that's basically it. Forgetting the door in place. And if we look at it with the rest of the car, we can see that things are definitely coming into place. And now we can see how this is gonna fit with the rest of body. We've got our continuous edge that you can see starting with the front fender and then continuing on through the side door. Now that's creased all the way through the length of the body and eso that's looking good. I'm pretty happy with the results and the next lecture. We're going to start tackling some more of the car and shaping things up, so I'll see you there. 20. Refining the Side Door - Part 2: in this lecture, we're going to continue working on the side of the body of the car here. You can see that for the remainder of the body. I went ahead and split off some other sections, and that's just to get us ready for getting into those areas. But, ah, lot of those will kind of shift and be altered as we go. So nothing final. Just definitely wanted to jump ahead and split things off for us to make it easier. So there's some tweaking I want to do on the side door that we just finished before we jump into you the rest of this because it's going to affect how this looks. So let me jump in here and show you how I'm gonna modify this. What I don't like is the rim and where that sitting on this lip of the window right here. And so I want to join these back up and then I want to jump in that mood, and that's gonna allow me toe line. These points up and move them and keep everything together, some jumping on top. You here so you can see what's going on. If you look at the concept Art. You can see that the lip of the door really starts right here where the other edge is currently located. Ah, and I want to bump this over and lying everything kind of back up to where it should be. And because we have everything joined up, it's gonna make things a lot easier. So what I'm also gonna do is go ahead and join up the rest of these measures here because they're gonna be pretty easy to get back apart. And so I go and just joined this up and then let's jump in here and start tweaking some things. So I'm not gonna be editing anything other than the position of some of the East uh, these edges. So I'm just bumping these over in the X axis and just trying to get this this furthest over edge next to the window employees, and then I'll go back and all its weak any problems that we seem to be having. This could be a little tedious. So I'm just trying to speed this up a little bit in this lecture on all these sections to save some time. And that way we can spend more time working on the details that matter. So little more clean up. That's it. So we're back to normal, and I think that's good. So that will do it for the door. Now, let's go ahead and separate things back out. So we've got the door, the body, the windows and in the roof Separated. Okay, so now we just have our body down here with the work on. And so we're gonna jump in here. Main issue here is gonna be continuing on these edges that we've established in the side door here. We're also gonna have some more advanced areas. We need to going here in two week, based on the kind of results we want to get here in here. So let's first go through and do what we've been doing and clean this up a little bit. So I'm gonna focus on this front section where the door starts. Go ahead into solve this for to see you. Then we'll merge this one, and we want to get back to quads. So still gonna triangle here? I'm actually gonna bump that over a little bit all d to create a new Verdecia that's connected to the others. And then I just want to bump this over into you the side of that door a little bit gives them worked up there. So we're back to quads in the front end. That looks good. And now we want to try to go in and see how we can resolve some of these, uh, layouts and topology. I want to get things just a little more consolidated. Not real happy with the way we kind of went through and tried to make everything work. So I'm definitely gonna want Teoh do some mesh connections and then we'll alter what's happening based on that. So we'll join that up there, go ahead and connect that up. And then I just want to see there's anything else down here that we can modify to give us a little easier time. So can I want to remove this edge? I don't think we really need that. And then what I want to do is kind of observe how these are flowing back into the rush of the mesh. Um, this probably doesn't need to drop down this far, so we could probably get rid of some faces in there. and the same thing up top. I want this sort of inset of the rest of the side of the body here to flow directly into the under side of this door. So I don't want this little hook that's happening up here. So what's stopping here? And look at a way to get rid of that. You can see that we've got an extra face here that is creating the hook. So if I want to get rid of that, I'm gonna go ahead and bump this over. Then I'll go ahead and continue a cut on up through that. I was gonna merge to that cut Teoh, get rid of that face and move. That adds all over the back. And, uh so now you can see that there's not a hook anymore. It's just one continuous line starting from this hard edge here, going all the way through, and so need to bump this over a little bit to get that line a little more into place. So images jumping hero fast. You can always selected speed this up for you guys. One kind of line things up and yeah, that's looking a lot better there. So It's good. Now you're going to notice a few areas where there could be triangles popping up here. We're actually okay because of the way that's flowing through. We definitely have one here, and I'm as worried about it right now because we stuff to bevel those inside edges on a lot of these surfaces, so that could fix some things for us. And I don't want to be premature about being obsessed with fixing those. So said that we're probably to get rid of a face here. So let's just merge to you this for to see flatten that out, see what's looking like. It definitely brought that line up. Okay, so I think I'm generally happy with the way that's looking now and is, uh, kind of give us, um, some room to play and a few less headaches when we start getting in here modifying things. So now we want to go in and start creasing things up. Let me speed this up really quickly while I select all the edges that we need Teoh Bevel for this particular part of the mesh. Okay, so let's go in. Belle. These These are same value that we've been using for all of the main body cuts, which is a 0.27 three segments, two segments, three cuts and, uh, quick to accept that. And then we'll start assessing what we need to jump in here and tweak. So let's look for the obvious stuff first. I always like to start with something easy that gives me a little confidence boost before we jump into doing anything to overly complicated. So she were uneducated, and I look for these first collapsed those because that will always help. That's so just quickly scanning the mesh, trying to find areas to fix and, uh, collapsing the edges where we need and went around on seeing How about all fits together. Same thing here. We want to continue this all the way through the edge of the mash. So we'll cut that in and then do we did before joining us to the last. You get rid of that extra face over there, and I was like, We have a couple more edges collapse, and that should be it. Let's go ahead and look at what's happening. We've got a nice hard edge continuing on from the door through the rest of the body down here. Uh, pretty happy with the way this is looking a little bit of pinching happening here in to fix , but overall everything just by using the default devil is looking pretty good. So let's go in here and kind of start tweaking things, getting them in the place. I think you'll find the biggest time sec and these models is gonna be all of the time you spend going in and just massaging and moving points around. So these little details take up the most time. That really tedious. I don't seem like they matter all that much. But if you get to the end of the process and you wonder why your model maybe isn't as sharp as it could be, a lot of times it maybe because you haven't taken the time, Teoh, it really concentrate on putting your time in where it matters moves, which is, uh, sadly enough, in models like this, it's gonna be where you spend your time detailing out. So it's not the most fun thing in the world to do. If you are a Navid modeler like I am, you may enjoy this, but a lot of people don't. And just look at it as something that you're gonna get a lot of benefit from on the back end. So we have these main edges going all the way through the body. But they're not really defined for the same sort of problem we're having when we started doing the front fender here. So if you remember what we did, we have to sort of bump those edges over to get that really sharp look that we're going for . So I want to do sort of a negative bump on these furnaces here to give us that crevice that really sharp into your edge there and then on this external edge, going all the way through as well as this one down here, I want to make sure that I'm sort of bringing this out. So just bumping these edges over a little bit like we've done several times in the past Now , minor tweaks. Okay, so I want to refine this corner. I don't like the way that it's Ah, just kind of get lost right there. Definitely want to see that intersection. So I'm gonna continue this on through. Same thing on the side and then we're gonna join things back up a little bit. So I'm gonna dissolve these vergis ease in the middle. Then I just want to connect everything back up here. You select to Verte sees that air split another agile automatically. Creative rid X for you. So that's good. And then I won't emerge down. Teoh, this central vertex here to get rid of these extra edge is going all the way through the mesh. So let me just convert this to a Kwan and again we should see a little bit of difference here. Not really enough to write home about, but it's I think it helps a little bit there. So Okay, let's let's go down here and assess what's happening in the bottom corner and see if there's anything we need to do to you. Kind of clean things up the way we did on that top scoop. Okay, so we've got a triangle happening here. We go ahead and emerge that to get back to a quad kind of shift things around there. And now let's just massage these Vergis is in place until we're happy with where they're sitting on the mesh. Also, this quad is non plainer. So if we bump this up a little bit to kind of lose this edge back into the alignment of this fourth point on the quad and you see for society that flattens it back out, that's gonna help a little bit so slow and, yeah, I think that a little bit for us. So let's get everything lined back up on our reference here. It's like that a little bit. And, uh, it's gonna look a little bit more fine for us there. Okay, Same issue down here. We have that We had a top. We have some extroverted sees that I'm not super excited about. Go ahead and to solve those and then reconnect these edges back up the way we want to try to connect these backup is, see if there's anything around that would benefit from having an extra edge. Go through it and I don't see any triangles that we need to fix in the mesh. Ah, see if see if we actually need that third edge. It's possible that we could get away with deleting that. So let's go ahead and try to dissolve those edges again, like we did up top again, trying to maintain that even edge flow all the way around and just making subtle tweaks here and there. So I think to fix this triangle, what's going to be easy is just to connect this point at this point and then that's gonna give us two adjacent triangles. We can go ahead and join into a quad, and so bump this up a little bit on, Uh, okay, so I'm pretty happy with where that's looking. Let's jump out of local view and see how we're looking, OK? Once you kind of add in some more refinement to the edges up here because we're losing those edges into you the body. So just maintaining the focus on the entire body instead of one section trying to maintain that edge that flows through the central part of the body from the front fender to you the side door all the way through the back end and making sure that those are again even because that's really important. Okay, the last thing I want to do is jump in here and bump over this edge on the bottom before ever gets on. Want to de select inside birds on this scoop and just gonna pull this in a little bit, living inside edge and then I'll probably go ahead and move this up a little bit. Just so we have a tighter crease happening happening there and I might just move it up on the Z. So, uh so, yeah, there. You not looking too bad and okay, that is gonna wrap it for preparing the rest of the side body of the car and up next, we're going to get into doing some more refinements. I'll probably do a lot more time lapse from here on in, especially for blocking in the rest of the body. The car. There's not gonna be a lot of stuff. It's brand new at this point. So the rest of the main sections will be pretty much time lapsed. And if there's something important that I think needs to be covered, then I'll slow down and cover that, Uh, we'll get into that and then we'll save more time in the back end for us to do more details . So I'll see in the next lecture 21. Refining the Roof and Windows: 22. Refining the Rear End - Timelapse: 23. Refining the Engine Enclosure - Timelapse: 24. Detailing the Tires Introduction: Okay, Now that we've got our car pretty much blocked out with second level of refinement, we're gonna utterance you, Seymour of the really fine details for getting our car wrapped up. And so let me kind of describe where we've come so far again. And then I'm gonna talk about a little more about what we're gonna focus on in this this section. So so far, we blocked in our body. We've refined it once to get it up to this point. And I wanted to you another level of refinement bringing us up to three levels and three passes of getting the car where we want it so you can see it's not finished. We've still got a lot of holes to fill in different parts of the car, but it's definitely looking better and better as we dio. So the thing I really want to focus on and give a lot of time to in this section is two things. The wheels and then the lights. So the headlights and the tail lights and the wheels actually have two sections. You've got the tire and the rim. And the reason I want to focus on these because they tend to be the most complicated sections of these vehicles. If you can get past doing the body and the refinements that come with adding these consistent edges, then you're at a place where you can jump into doing this level of detail. And it could be a little frustrating dealing with the level of complexity and the organization that is necessary to get these completed without having a lot of headaches. So I want to make sure that I cover that for us, and everything is gonna be a little bit mawr clear By the time we finished that up and then for the rest of the body of the car, there's nothing new that I'm gonna cover that we haven't already covered in another part of the lectures or the course. So I'm really just gonna go ahead in time, lapse a lot of the simple stuff like the door handle and you know, the finishing the back window here and all that kind of stuff because it's not really gonna add anything. You having me sit here and explain all that to you, and I'm sure you guys we're probably getting tired of hearing me talk So, um, I'm gonna go ahead and cover the wheels, the rims, the front headlight assembly in the rear tail light assembly, and then that's gonna wrap it for all of the real time sections. And then I'm gonna finish out the course, showing you guys some some ways to finish this off. And I'm gonna just probably play some music for you guys again. So, um, that's what we're gonna work on and to wrap this lecture up before we jump into actually getting into the wheels. I want to kind of talk a little bit about the set up in the way that we're gonna We're gonna make this work. So the first thing I want to do is jump into my layer management here and the tools panel I don't want make sure that I've got everything where I want it. So what I did previously during the middle of the course was I went through and I put the contours that we were using on the very back layer because, as you can see, we went back and really completely changed. Ah, lot of the planning for this back end. And so it became unnecessary to happen around. So that's back there. The cars on one layer at the very top. And then down here, I'm gonna rename this two wheels and then we'll probably have another couple of layers for each of the headlight and tail it assemblies. Just like like I said, because it's gonna be a lot more complex. There's gonna be a lot more pieces, so make sure we're staying organized as we can. So now that we got that in place, I've talked about that. I want to kind of show you guys what we're gonna be doing. So just broad stroking how this is gonna work. I'm gonna make sure I'm on the second layer, which is our wheels layer. And I'm gonna kind of really quickly break down what's gonna happen. So the wheels are really complex in that they, uh they're made up of a base shape, which is the overall silhouette, the tourist shape of the wheel. And then you've got the treads on top of that. So basically, when you have a wheel, you've got something that looks approximately like this, and that's sort of the profile of you. And then, of course, this is wrapped around in a complete spherical tourist sort of shape to make up the wheel. But to do that, it can be done using a detail up or a box modeling approach. But it ends up being a little messy when you want to try to go in and fix things. So let's say you got the tread the way you wanted it and try to go in and mess with things . It's really not gonna be that easy to fix. So we're gonna do instead is we're gonna talk about a method using modifiers to actually model this for us. So what I want to do is basically gonna array this out and we're gonna use an offset in the negative y direction. So I'm gonna change this to negative one in the relative offset on. You want to make sure using relative offset because he used constant offset and you've modified the width to not be exactly one blunder unit, then it's not really gonna work when you're trying. Teoh match the subject in constant offset because this is more of a global version of the offset. This is more of a based on exactly how why this whole section is so basically now that we've got this going the right direction, this represents one element of the shred or the section of the tires. So I find that we need to duplicate this out pretty far and basically were assembling our tire flat. And then we're going to go ahead and wrap it. Um, and the basic process for this is we're gonna go ahead and add, uh, empty and we're gonna let seals do plain axes and just for quickly scale this up so you can see this. And, um, we're gonna go in here. You go back to our modifiers that we've got another array, we're gonna use a simple deform, and it's going crazy right now. As you can see, vote basically want to find that empty that we just added. And then we want to select it here on the origin, and we're gonna bend instead off, um twist. And it's still kind of not doing what we wanted to do because we want to wrap. And the reason for that is the orientation of this empty. So you have to kind of play with this to realize which direction Ugo, But what I found in my research is that if you rotate it 90 degrees on the X and the nine degrees on the Z, it will kind of start bending in the way that you want it. And so if we jump back into our modifiers panel, we could start bidding this in a negative direction and you can see that it starts bending all the way around to create a wheel shaped. So problem with just dragging this is you're gonna get maxed out at 1 80 So I'm just gonna go in type of negative 3 60 then that's gonna wrap that all the way around for us. Now, we've got some issues you can see that it's gonna end up kind of distorting the overall shape of the wheel because of the way that we've modeled in our treads and as far down as they are, This is probably way too thick for the kind of wheel that we're gonna want to do. So we got some things you have to tweak. Basically, this is the method we're gonna use. And then, of course, we would marry this over the other side to create the other side of the tire. So once we get the treads in place, it's going to really use it. Go ahead, jump back into edit mode and then modify the treads while all the modifier still working for us. And then it's gonna make it much easier time for us to come in here and get the wheels detailed out. So that's what we're gonna start working on the next lecture. And before I wrap this up, what I want to do is kind of show you the set up for starting to model the treads. Because the next lecture, I'm just gonna jump in and start time lapsing so that we're not gonna end up wasting a lot of time. You guys watching me doing some redundant stuff, modeling those treads for you? So first thing I want to do is pull open my background images over here, Could see we're in the top. You here and I want to model the tread flat. But this image is really gonna get away, and we need to use another reference image. So I'm gonna hide this icon for the top image reason for the car at another one and then make that the top you as well. But leave it on. Open an image, jump into our car reference directory and pull up the tire treads, and that's gonna bring that in forest. Now, I design these an illustrator. You guys can use whatever method you want. If you want to. Just take a straight on shot of a tire and then copy all of the positive elements of the tread. That's basically what you're doing. This is a custom design things I didn't want to, you know, use any designs that were out there that I didn't have the rights to. But you guys feel free to use this or any of the other elements in this course for your own projects. That's really cool. I would ask that if you use anything in here that just mentioned that you got it from any stock or from the course, because it would help me out a lot if you would help spread the love. All right, so we got the tire treads in here. That's the basic set up. We're gonna go ahead and add a plane in here that is going to represent the which of this section of the tread So what I'm gonna do is go ahead and immediately get into a mode where I'm marrying this over. So I want to you make sure I apply a mirror modifier, Turn the clipping on and then go ahead and start bringing this over. Teoh mimic that reference here. And so the last thing I want to mention before we wrap this up is that by switching to a wire frame here, I want to make sure that I'm matching the height as well as the width of this pretty accurately because we're gonna be dependent on making sure all of the treads line up perfectly. And the way that this tread image was basically created, I would have duplicated some sections out an illustrator and made sure that I was aligning everything correctly. So I've tested this. I know it works. These angles are positive up here, negative down here for a specific reason because I want the gaps to be even. And so all those angles were worked out, and it's just something you'll have toe mess with if you're doing custom shreds. So scale this back until I'm pretty close to that edge. Doesn't have to be perfect, but it didnt does need to be uniform from top to bottom. And we've actually had active turned on. So I'm gonna want to turn this back to you. Uh, it's trying to be the end point. Go ahead and do that. And now, when I scale, it should scale evenly. Yeah. Okay. So zoom in, get this lined up and on the far side over here. It's not as important because we're gonna be modeling extra sections out, but, uh, guideline that up, and then basically, we've got a flat plane here, and what I want to do at this stage is go ahead and threw in some extra sections in here because I want to have the ability to go in and sort of deform the tread and the tire shape . So there's not just completely flat all the way across, and we'll talk more about that one. Get into you starting to add the modifiers, But basically, I'm just gonna go in, start adding some cubes and then getting these blocked in the one thing I do want to mention about what I'm gonna do to approach this modeling stages that you could sit here and just outlined everything. Fill it in with Annan Gone used to solidify the same way we were using Teoh kind of extrude the car, body shapes and word. But the problem there is that you're not really gonna be ableto bevel the edges if you stop being concerned about the topology. So what I would recommend is if you guys were going to smooth the edges of the treads. If you're gonna get in close and do some tire shots, I'm gonna go ahead and use that approach. When I do these, you need to focus on modeling using the regular box modelling techniques, making sure you've got even topology with consistent edges and actual quads. That way, when you bevel things were actually gonna turn out the way that you want. So that's gonna wrap it for this lecture and then the next lecture it's gonna be starting into the time lapse where I just basically show you how to you get this tread set up and then I'll jump back into real time. Start explaining three actual modifier set up again. So I'll see you guys in the next lecture 25. Building the TIre Treads: Okay, so now that we've got our tread blocked out here, there's a little bit of cleanup that I wanted to you on some of these sort of cubic shapes in the middle before we jump in and start adding in all of our modifiers and because of the way we beveled this, we need to continue these shapes on through the edge and then to leave these outer faces on these these outside shapes on both sides. And we also need to get rid of the bottom faces that were created here. So I'm gonna go ahead and just get rid of these. And then, like I said, I want to get rid of the's faces and only the same thing over here. And then I want to snap these to this edge so we can just select these edges. Uh, let's see. Were on edge snapping. So, yeah, there you control and snap those over and then all did the same thing on this side, cause you have to remember, we're gonna be mirroring this aura, raying this and then reconnecting this consistently on both sides, going all the way through. So as this happens, thes air actually gonna need Teoh continuously Join up with the mirrored side over here. You have to remember to think about that as you're going through and making your treads because otherwise things will end up not really working the way you were hoping. So that's that's good. That's our basic correction they're ready to make. And so that will work now and you'll notice that I didn't need to do it on the other parts here and here on these pieces because they don't actually go all the way the edge. So I'm gonna have a little gaps there. But it's been planned so that that's what I want to happen. And so that's good. So it's all one object. We get everything ready with wall the tire there. And so let's go ahead and get our race stuff set up and then we'll get our entire bending around and we'll start adjusting things. So the first thing I wanted you is go ahead and add an empty and that's gonna control Ah, lot of our race that hangs over here. So I'm gonna recent of the three D cursor and I'm gonna go ahead and add an empty and we're gonna use the plane axes. I'm gonna rename this to be. Let's call this our entire empty and I'm gonna jump over Teoh the empty settings over here and then up the size to about 20. And the reason I'm doing it here and not just scaling it is because the scale will actually affect some things if if we're gonna be using this for other things, like parenting or some modifiers later. So I don't want to scale anything I want to make sure all of this stuff is clean starting off. And I just want to look bigger in the view port. So now we can re select our tread, go back over to this modifiers panel, get our mirror set up, so we're gonna leave that, and we're gonna be rearranging a lot of things, but we're just going to start off simple. So we're gonna go to Ray, and once again, we're gonna need Teoh get a relative offset Gonna zero that out on the X So it's not going in the X direction. We're gonna type a negative one, so it starts duplicating out into the negative Y direction, as you can see here and So I'm just gonna up this count and again, we need to get about 60. And that's just because I have experimented a little bit with creating this tire and because of the scale of my treads, I know that's about the number I need to go to. But it's gonna change depending on your reference image and how the tire looks. So we'll probably just some of that. But now we've got our Ray going and it looks good. The other thing. We're probably gonna reduce checkoff, merge and then first and last. In that way, when it starts to connect these shapes that are supposed to be exactly mirrored from front to back, they're gonna join up. And you're not gonna have double Vergis season and top of each other. So this will work depending on this distance factor. Here, you may need to up this or lower, depending on how close your vergis is air getting. But I'm just gonna leave everything as a default right now. So that's our basic array. And now we're gonna use this empty to kind of been this back around. So, like I said before, basically just gonna add a simple deform Set this to bend. Make sure we select our empty. So tire empty isn't we want we're gonna get negative 3 60 And remember that we're gonna have Teoh offset the rotation for our empty you to get this to work. So negative 90 in the X negative 90 in the Z, and that's gonna get us what we want. Now you'll notice here it's flipped the other way. And so I want to actually modify these values until I get them lined up properly. So yeah, it looks like we need to go positive 90 in the X instead of negative, and they're flip back around. We're now in the proper alignment, and now we can start making modifications to the profile of our tire until we get things in place that we wanted. So what I'm gonna do is go ahead and jump into our actual tired shape again and start modifying the wall of this tire until I like the way it looks. What I'm looking for here is, uh, some reference that I have that I'm referring to you for the way this looks. I want this to come closer towards the tread because there's a pretty big, thick wall here going away from the tire. And I'm also gonna be bringing the inside of this wall up because you'll notice that on sports cars, a lot of times the tires are a little thinner towards the top and you have bigger rims. Um, and you'll also notice that tire right now If you look straight on, it's ah, it's kind of just flat all the way across and then bending a little bit when it gets into the wall. But that's away too generic. And so I want to make sure that I go in and modify give the whole thing a little bit of a bend pretty flat all the way through here. But as soon as it starts setting this last tread, I want this last tried to be sort of part of this Ah, angle bending off into the tire. So that's what I'm gonna work on. And I'm gonna go in time, lapse this for you guys so that yes, I want to see her through it. But it's pretty simple. I'm just gonna be rotating and moving his profile around until I get it where I want it and we'll pick it back up from there so we'll do this real quick and then I'll see you after we're done. 26. Further Refinement and Positioning the Tires: Okay, so now we've got all of that finish, and we basically, for all intents and purposes, have a finished higher. But before we wrap this up, there's a one technique. I do want to show you guys that I've seen a lot of other advanced modelers out there using , and it's just adding another simple deform modifier, and that's gonna actually allow us to twist the treads a little bit and give us a little extra added level of realism because most higher trades, if you see them there, they're kind of slanted in one direction. And I think this is so that when the tires cutting through things like water, it prevents the flow of the water from just slamming against a flat service and instead directs the water through the tire, probably to prevent something like hydro planing. So in order to create this effect, we're basically going to duplicate the empty we have here. And I'm gonna kind of move this up a little bit for right now to get this out of the way. Want to rename this? Uh, let's call this call this tired twist. And, uh, let's pop these back up and I want to go ahead and zero out. All of their rotations were back to just a regular empty right now. And what we need to do is figure out the exact center location of this tire on. The problem with that Reno, is that if we hit Tab and we try to figure out how to center this up, the only thing we really have access to is the information of our tread definition and the profile up here because we haven't applied any modifiers. So we want to figure out a way to get the three D cursor somewhere in the middle of this tire. And so one way to do this is if we just apply the array modifier usually would have to play these in order. But right now, if we just apply the array we tied back in, we're going to get the full information here. And so we actually need to apply the simple de formas Well, that's going to give us at least the full circle right here of the tire. And so what I wanted to you is get a really close approximation of the center of this, and so we want to do is zoom in here to the middle of this and we didn't actually have to apply the mirror modifiers. So we're just gonna pick the furthest edge to the left here. The rest of this is actually being mirrored still in that modifier, and I want hit shift us and then snap my cursor to selected. That's gonna put the three D cursor right in the middle of the tire and then watch what happens when I undo. So if I undo back to the point where I have all of my modifiers back three cursor isn't gonna move because it's not part of the undue stack. So I basically went back to where nothing's changed, but I put the three d cursor in the right location. Now, what I want to do is make sure that I get this empty and I put it right where that three d cursor is. So I'm gonna select the empty shift s and then selection a cursor, and that's gonna put our tired twist right in the middle of this tire shape, which is exactly what we want. So if I re select the tire, we're gonna go ahead and add another simple deform modifier. Again, it's gonna go a little crazy, but we need to select our tire twist empty, and then we need to make sure it's on the proper access again by making sure that we are rotating this in the proper method. So you have to play with this a little bit, depending on your set up. Teoh, get this located in the right direction, Um, so rotating on the X and is he isn't working, rotating on the why is probably what we're gonna have to do. So if we give negative 90 let's see if that gets us where we want it to be. It looks like it does. OK, so that is going Teoh level the tire back off and just twist it along. The why access, which is what we wanted to do. And the issue now is really kind of personal preference and depending on the design of your tire tread. But basically what it's doing now is it's twisting all along the surface of this tire because of the order that the modifiers Aaron So we have the twists going last, and I'm just gonna go ahead and relatable these so that it's a little more easy to see what's going on here. We've got our bend here, got our ray. We'll just leave that in the nightmare. Okay, so the mirror is happening first, and so we're starting off, basically, with our profile that's being mirrored over, then it's duplicating everything out to just show the array like this. Then we're adding the bends, and then it's doing the twist last. So what we need to do in this case because of the design of the tire tread, I want to twist on the other side as well, mirroring back in this direction, going the opposite direction on the other side. So to do that, we need to put the mirror after the twist. So I'm just gonna go ahead and bring the mirror down and make it happen. After all, the stuff happens with the twist, and you could see the choice is going a little too much right now. So instead of 45 I think if we bring this down, has it been like negative 20? That will be a little more subtle, and it probably does matter which direction the twist is happening. Um, you can go this way or this way with a negative number. And I think since the rim is going to be on this side, you want the tread twisting back into space because that with the surface of the water or whatever dirt it's gonna be gripping is gonna be cutting into the tread and then tingling back into the main part of these empty spaces in the tread itself, which I think is gonna better direct the flow. Whereas if you had this going the other way, um really doesn't make sense, dynamically toe, have things hitting it and, ah, not really have anywhere to go. So that's just my rationalisation. And I don't really have anything scientifically to back up my findings there. But it's just an observation I made when I was looking at a bunch of reference. So that's basically gonna be how we wrap up our tread. There's a lot of things you guys could do to come in here and, ah, improve this. You can go in and add custom twists, more treads angle these treads. I know a lot of the reference I saw have these trends actually differing in the depth from front to back of this the specific trade itself. So rather than just doing it on the edge here, you could actually do it per tread down here. That's one way to go. And you could also add a lot of other small details. And a lot of this will be getting into doing when we start shading this in the next course . But right now, you know, we could also add some of those little small hair fiber like rubber things that you see on the tires. And if you don't know what I'm talking about, pull up some reference of a tire and you should know exactly I'm talking about not exactly sure what those air therefore. But anyways, just trying to think of some boys to adds more realism. So basically, right now we've got our twist empty. We've got our regular bend empty, and then we've got a tire. So if I move anything right now without selecting the other stuff, it's gonna affect the tire in a weird way and obviously not be what we want to have happen . So what I want to do is figure out how to manipulate this in such a way that it's going to work with our car because if we pull up the car right now, you can see the cars really small and it looks like it can just drive along the surface of the tire, and that's really not what we want. So to fix this, we're gonna have to figure out a relationship that we can set up that will allow us to safely move the tire around without changing any of this stuff. And the only real reason when you do all this is for keeping the modifier stack intact. So if you really want Teoh have an easy way to do this, you can actually go ahead and apply all these modifiers. You don't think you're going to change anything? That's fine. If you want to keep these intact, that's fine to you were just gonna basically need to add an empty. So I'm gonna go and duplicate the tire twist. Call this tire master, and, um, we're gonna go and leave it where it is because we like that. And what I wanted to you is basically parent all of this stuff to this thing empty that we just created so we can select the tire. Go ahead and hide that select empty for the bend up here. Hide that. And then I want to select the tire twist right down here. Hide that. And now what I can do is unhygienic All of that that will select everything that I just had selected. And then I'd go ahead and find Let's see the tire master right here. And then we can go ahead and select that as well. And that's gonna be our active object is the last thing we selected. And if I hit control P, I could just parent all that. Now I want to keep the transforms. That way, nothing moves. And if I just have everything parented that way, when I select the tire master and I move everything, then it's all gonna move is one giant unit, and it's not gonna mess up any of the treads or anything like that. So if you're happy with your tire, what I would do is probably collapse everything and then get that all brought into place. But for right now, we're just leave everything connected, and then maybe at the end, I'll go back and, uh, probably put a backup of this on a separate layer and then for the actual tires that I'm using on the car itself. I'll probably just go ahead and collapse all the modifiers and keep everything sort of simplified because things actually will speed up if you do it that way in the view port. So, um, something to be aware of, So I'm gonna jump in front of you here, move this in the X axis to get it over here, kind of lined up properly, and you'll have to again look at reference to see specifically where it should be lined up within this front offender area in relation to the wheel. Well, but basically, that's how you get the tire modeled and in place. And then if you're not really happy with the way that it's sizing with wise, you have a couple of options. You could modify the tread with again by jumping back in here and then pulling these vergis is out. You can also scale the tire along the X axis, or you can also scale the empty. So a few options there it will have some rigging implications. If you were going to use this empty toe aid in the rigging process, then that could become an issue if you started messing with the scale of all of these things. So I just want to be aware of that. Whatever decision you make here, unless you're going to apply the scale and get rid of all of those custom settings here, it could become an issue when you're trying to use this tire, actually get it rigged up. But that's not really what we're worried about in this course. So that's basically how you're gonna get the tire in place to get in place around the other edges of the model. You can duplicate this. I would duplicate everything as a unit, all of the empties, all the tire service itself together, using all de eso that you're using the same information with a link duplicate. Um, you can do that, or you can use an array on top of this right here by basically just having that selected Click Another Array, or you can use a mirror and use a mirror. Basically, you want to select a mirror object. So if we add, let's center the three Chris euro fast and if we add another empty. We can actually use that to help us mirror this over into the other side of the car. So we'll go ahead and name this empty row fast. We'll call this well mirror, then. If I re select our tire, we can select the wheel mirror down here and with X on that's going to automatically mirror that over to the other side of the car. And so good thing about this is wherever you move this tire in terms of positioning it, relatives of this fender is going to the exact same thing on this side, the other direction. And so that's gonna be good for lying that up. And because of the way this car is designed, actually wants you have the tire mirrored back here, but I want to have it a little bigger. So instead of mirroring that, what I'm gonna do is I'm gonna go ahead and grab all of my stuff. Let's go ahead and turn the car layer off right now. And once I have all of that selected, I can, um, it all d and then move this along the Y axis until we're back over here. Let's turn the car back on so we can see where we're at. And then I want to kind of position this in place. But I also want this wheel to be a little bigger and so on. Easy way to do that is just a select your tire bend or your empty right here for the bend that you're using it. And then if you move this up or down, you can increase the size of the tire and a pretty easy way. So I want to make this a little bigger like this. And then once again, we can select our tire master. And then there's move that back up until it's sitting on the ground plane. So you're gonna have to fiddle with us a little bit to get it in place once again. Once you get that, there will probably pull this back a little bit into the car bodies that were a little more lined up and once again, that should duplicate the tire over to the other side and make it in exactly the same place . And now you've got all four tires. The great thing about the set up is that you can use the same empties that use for the wheels to help you position and duplicate your rooms, which is what we're going to get into you in the next few lectures. So that's basically how we're gonna get the wheels in place. And in the next few lectures were going to get a lot more in the detail about how did your rims for the vehicle, So I'll see you there. 27. Blocking In the Rims: in this lecture, we're gonna get into you setting up the rims for our tires. So to do this, we're gonna use the same basic approach we use. When we were modeling the wheels and the treads, we're going to get ahead and hide everything and jump on a separate layer. Teoh kind of focus just on the rims. And so I'm gonna jump into you layer three, because it's currently empty. And then I'm gonna go ahead and load up some reference the same way we did before. So let's go ahead and open up the background images over here. Now, I've got one image, but it has, Ah, two different pieces of reference on it. So I'm in the side of you right now. I want to go ahead and add an image and then jump into the right view for this. Open this from our car reference directory and you can see if God at rim's J peg here. We open that up now. Currently, it's showing both the right views that we currently have active. So I want to get ahead and disable the other right view that we have here, and then you can see that it automatically centers this because I position this directly in the middle. The document. So for the right of you, you're not gonna have to move anything around. You could just open it and place it, and it should be the correct position. So we're gonna jump in on the front view for the other reference. Again, we're gonna turn this off this piece of reference and then add another image. Make sure it's set to you the front view, and then we're gonna use that same picture that we just opened up. So what's gets the car reference like rams? And there we go, this one we're gonna have to bump over because I want this to be the side profile for our rims. So we're gonna move this over in the X axis. I'm just holding shift, Fine tune where that's going, and I want to put the front of the room itself into the center of this right on the center of the axis of our world. So three d cursor, if centered, should be right in the middle of that position. And now we've got our reference set up correctly for starting model rims. So this will take a few lectures. It's not gonna be something that we can do in one, but I want to go ahead and kind of explain what we're gonna do. It's gonna be a little bit about the same process that we use before to do our wheels and using the rate modifier. So we're gonna need to start with a basic objects and then kind of get the profile in place , and then we'll work our way up from there. So I'm gonna go and start with a circle. We're gonna go ahead and add a circle. I'm immediately gonna hit F six to pull up our menu here for that circle, and it's gonna default to 32. And for this design that I came up with, we're gonna actually need 30 vergis ease. So let me go ahead and set that, and then I'll kind of explain why that's the case. We'll pull that out of 30. Everything else should be good, and we rotate this nine degrees along the y axis. That should put it in the correct orientation for this view. So jump into edit mode here and scale this up and let's actually start from the middle and work our way out. So let's zoom in here. Get this, employees. And all right, let's talk a little about why I decided to go with 30 verts for this circle. Basically, what we're gonna do to create this is we're going to start with one piece of this rim, one of these struts, and then we're going to use the array modifier along with mirroring. And some of those empty techniques were used in the previous lectures to duplicate those around for us so that we don't have to keep track of all of this geometry. So the way this works is you have to define half of one of the struts, mirror it over and then duplicate that around the rest of the rim. And that's fine. Except when you start messing with half of the rim and then you get over here to where it's gonna be mirrored on the other side. It gets a little hairy trying to figure out how that's all gonna line up. So you have to start trying to think in terms of how many Verdecia you're gonna need to put around the circle to support the shapes that you're modeling. So basically, I picked 30 because I wanna have at least three per strut. I wanna have one in the center because we're gonna be marrying this overs. We gotta have a line going straight through the middle of one of the struts. Wanna have at least one supporting vert over here for this line going all the way through to the other side of the strut. And then I wanna have at least two or three per a middle empty space of the vertes before they connect going around. So if you add all those up all the way around, I came out to 30 and I played with us a little bit, and it just seems like 30 was a good place to start. So what I need to do to get started is I want to go ahead and rotate this circle so that one of these is straight up and down on the center access here. And that way we can just work on this top straight here. So if you basically pull open a calculator, I can show you guys how to figure this out. Basically, you take 3 60 The number of degrees in a circle divide that by the number averts that you put in the circle. So in this case, 30 that's gonna give you 12 degrees. That's 12 degrees per span from one vert to the next. And right now it's it's cutting this and half between vert. So we need to divide this bite to you, giving us six. So there we go, and that's what we're gonna rotate by. So we hit our and then just type in six that's gonna put this street on the middle now because I'm using five struts here and not uneven number. You're not gonna have anything else lineup inherently by using this technique. But all I'm really concerned about is this part of where the circle is meeting right here. So that's basically how you're gonna approach this. Whatever your struck design, whatever your rims air going to be doing for the support, make sure you plan out how many virtual gonna need around the circle based on your design and go from there, and it will take a little bit of experimentation. But I have faith in you guys, So let's go ahead and pop it in the front, you real quick and look at what we're gonna be doing. I find that it's a little bit easier to try to manipulate things into place as you extrude out instead of just getting over the end of the front view and then jumping into the side of you and trying to work from there. You've already got a lot of stuff going on, and it's a little more difficult to you work with that. But basically, we're gonna start for the center. We're gonna work our way out. I'm gonna get this kind of lined up here and then I want to go back towards the middle. So I'm gonna go ahead and extrude this scale this n word. And right now I want this probably on the three d cursor and that's gonna help us out when we start to move things around. So, um, just gonna go ahead and pull this up here, and then we'll probably go ahead and extrude one more and then let's go ahead and collapse This the center so we'll treat this is one big surface and then again, we'll use that to get a little bit of a taper here. No, I'm gonna go ahead and flip the normals because they're already flipped the wrong direction . And then I'm gonna go ahead and smooth this whole shape out so that it's using smooth shading instead of last radio. Okay, let's jump back into edit mode here. Now, as you can see from the front, you This is supposed to be its own separate shape with a bit of a separation, and then it goes into the struts. Now, this gap is probably way too big. So I'm gonna want to dial this back a little bit and not have this go this far in and go this deep between the two You so I just want to extrude in the X axis back a little bit. And if I scaled right now, it's gonna skill from this point where the three d cursor is. So I'm gonna recent of this around the selected and now if I extrude and scale outward, it's gonna scale from that point. And like I said, let's go to the front view and make sure that our the side view and make sure that we're happy with the distance here because that is way too big of a gap. So I want to bring it back to something pretty small. And then what I can do is extrude back to you where it lines up here. And then that's gonna be the X axis. And I'm gonna hold control and just snap Teoh diverts Now, currently, it's using edge. Don't wanna switch this to Vertex, and then it'll snap to one of the Burgess sees if I hold control. So that's good. Let's go back to front. You here. See where we're at now? Once again, I moved, So I wanna snap my curses selected extreme scale this up and I'm gonna start right about here. And then what I'm gonna do is go all the way up to this point. Line this up with that line. Now move this whole thing over, get things in the place, and I'm gonna add a couple of agile Oops in here, too. Supports, uh, where this is positioned. So I'm gonna again reposition the cursor, go here, and instead of doing the repositioning of the cursor a lot, what you can also do is go to you individual origins and that will read position your scale point based on which edge loop you have selected because it averages your selection based on just what selected. So that's another way to go if you don't wanna have to reposition the cursor all the time and were the same thing here, extrude up all the way, pulled us over. And then once again, I'm gonna switch in a wire frame mode at a couple of edge loops to define this and then scaled us down. Skill that down and again, We're not going on for anything perfect here because we're gonna be deleting a lot of this , but we want to get that contour pretty close to write on. So let's go back up to here. Extrude up all that back. Pull that back there. Well, that, uh, over and you guys get the point. That's pretty simple. Just basically trying to follow this curve all the way around. So this is just a preliminary mock up here. We're not worried about accuracy. We're gonna end up tweeting a lot of this later on, but I just want to get a basic shape set up, and now we can focus on getting rid of what will you need to get rid of and then starting to you Just hone in on one of these stress. So I'm gonna switch in a face mood, and then we need to focus on what we're gonna delete now. Now, I don't want to just get rid of everything without thinking this through. I want to really pay attention to how we're approaching this s o. I know. Want to start here, and I want to get rid of at least half of this model going all the way down. So all of this on the side is basically gonna get get deleted and make sure we gravel this and we need to figure out over here where we're gonna stop mirroring. Um, so we know that we've cut this down the middle right now. That means that we need to go all the way over to halfway across this strut. Teoh, maintain that mirror all the way across. But I don't wanna have to worry about marrying this part to you, cause that's redundant. So I'm just gonna worry about making sure that I have a diagonal going all the way through the middle. In between these two struts, I'm gonna get rid of everything on the other side of it. That way we can mirror across the center, access for one strut duplicating it. That'll get rid of the need to model all this twice. And then we can worry about just making five copies of that because they're five struts. So if that doesn't make sense right now, I promise it will when we get into you, uh, into doing this in detail as we g o all kind of explain why I'm doing things and try to make This is simple for you guys that I can because we are getting into some of the more advanced and kind of difficult, uh, modeling practices. And, uh, hard part about a lot of this is that you really have to just sit here and plan and plan your way through how this is gonna work out. Because if you don't, you end up getting the end of it and realizing that you know things air Not really flexible because you haven't planned out the way that your geometry is gonna come together, especially when it comes to duplicating and using the array technique. So now that we've got everything in place here. Our next task is going to beat. You kind of start lining up all the vergis ease. We're gonna get rid of the faces we don't need in the middle here and see how we can connect everything up and start modeling our strut. So that's we're talking in the next lecture. And, um, I will see you guys there. 28. Detailing the Rims - Part 1: Okay, so now that we've got our basic shape blocked in, let's go ahead and mirror this over. So we're gonna go ahead and apply mere modifier, and it's currently going in the wrong access. Let's go and switch this to why Turn on clipping and should be good to go yet. So I want to jump in here and focus on getting the overall shape right of the outer edge on the strut. We're gonna go and get rid of these faces on the inside like I did before. When I first started building this shape. I want to kind of work from the middle and go out that way. I know I have enough birds to support what's going on, so I know that right in here, we're gonna have a hole that's cut into He strut to make room for these bolts. So I want to give some supporting Vergis ease to enable that extrusion inward. So we got one of the bottom of circle here, one of the top. I'm gonna add one in the middle. Then we can go ahead and just kind of move this out to the edge. Now I want to bring He's down a little bit and we'll go ahead and pull this down. Create this hard edge right here. Find that up. Now, I want to be a little more strategic about the way that I'm doing everything in here because I don't want just go ahead and start cutting in stuff without really thinking through this. I do that. I wanna have this contour, but I don't want to add a lot of extra stuff in there, so I think it'll be easier. Just kind of move these into position. Hold these down. Just sliding them across that service 30 there. And then once, we kind of got the main parts of that circle lined up. You had an ad in some extra edges here. Get things in place for us. See, you probably had one there. Go ahead. That's now I wanna have a little bit of a new interesting detail happen with the top part of this looking the concept art. We've got a line going through here now. I'm not gonna worry about the implications of the topology and what problems that's gonna create with Ian guns right now is going to go ahead and get this in place. Eso line this up and then we're gonna end up deleting a lot of this stuff and going back in and fixing things later. So one more thing I want to do is cut in this edge here, remembering that instead of pulling these edges over, it's more important that I keep the symmetry. Um, so I'm gonna go ahead, delete all these faces, and now we've got a nice even side that won mirrored over should line up directly when it starts being connected. So I'm not worried about this underlying piece. This this certainly is you going all the way through and under struts here that's gonna be put in later. So I'm gonna go understood these faces now, Typically, I would suggest going in and creating your extrusion is by using the solidified technique we've been using for the rest of the car. But in this case, we've got a lot of complex sort of interactions going on, and I wanna have a lot more control over what happens is with you. So I'm gonna be a lot more hands on with how this is gonna be extruded. Um, so let's look at this I want to select this other edge. Then again, let's go ahead and extrude this into the X axis. Keeping in mind, I want to kind of overall keep the strut with here uniform and keep that realistically, you know, thick. So I'm gonna go too far back. And I think that's OK, sir. Yeah, I think that's gonna work. So now I want to go ahead and add a little detail right here, which is why we created this cut in the first place. So I want to have a little bit of an extrusion. So I'm gonna do is go in and set this. And I don't want the middle Vertes to kind of come come out away from the centre access. I want them to be symmetric ALS minute be for boundary. That's just gonna keep it connected in the middle there. And then we could do a little bit of an insight on that and then argue ahead and will extrude this on the x axis just a little bit. Give us in depth there. That's going to give us a little bit of an interesting, um, shape their so right now it looks really weird because we don't have this observes, Let's go ahead and add one And now and get a little bit better of a preview How this is gonna look and what's kind of make sure we're happy with things. I'm gonna turn on optimal display. We were not really being swamped. All this edges in there. Okay, lets go and cut in this circle. And I think that's gonna do it for this lecture, and we'll go ahead and server finding stuff later on. So we're gonna use the same basic techniques. But first thing I need to do is kind of get an edge loop in here. So I'm gonna start at the bottom working with this outside edge, just cutting some. The message is all the way up through following. This is best that I can and uh, gonna go up to here and then reconnect at the top there a little bit of clean up by connecting what did not go through. So it's like thes e j that automatic cut through there for me and give me some birds. Connect this back up on this end to give us quads again up there, and they do the same thing down here. Okay, so let's jump back in the face Moon, grab all of the inside shapes here. Then we will extrude these back into the x axis. Gonna give us a nice hole in there and then went inside again to give us the slip. So I foundry again. Hold this n word. And when I get it, it's lined up as closely as we can. And then we're gonna have to go back in a just, um, of these efforts manually. So slide these down, and so that's in place. Most of these should be pretty good. So we're not gonna have to do a lot of tweaking. Just want to kind of get things more closely lined up. And any time we can straighten things out a little more, it's gonna be better for us. We just want to make sure we're doing what we can that all lined up there. And then if you look at the underlying edge, its being created by that sub, sir, if you could see what's gonna happen. So I'm gonna go and bring this up until we're happy with that's looking in terms of the overall shape, same thing in the outside here. I want to make sure that's I'm pulling things out and positioning things according to how I want that toe. Look, it's better. What? Or Okay, so some of this will be corrected as we go on and start deleting stuff. And now that I got that in there, I can go ahead and get rid of these interfaces. Do you create that whole? So it's going to lead those got things a little too squashed right here. So I'm gonna go ahead and, well, these down a little bit, really happy with the way that Sunday. And it's like everything else. You follow the reference as closely as you can, and then you're gonna have to go in and really observe what's happening and make your corrections. Based on what looks best to you, so is gonna be you become a lot more out since that's an extrusion good. All this in a little bit matching. And now let's get in some of the hard surface details in here. So select the ring going all the way around. Go ahead and double. This is in one cut. And then immediately after that stunt, I got inside that and that's going to give us a nice hard surface cut in there. Then we can go ahead and add some supporting cuts and through the rest of this, So there's gonna be some tweaking we to go back into you, but I'm just gonna focus on this right now. So one thing I want to do before we get into that is I want extrude this back to create our other bit of depth in there. And it's good, so and a select this actually appearing on the inside. We're gonna bevel this using our three segments. We're gonna do the same thing on this one. It was more of a hard edge right there. So as you can see, some nice edged detail going on there not to smooth some things out. Wait, We got some things that are going on. May not really want, uh, forgot to do a boundary cut on this. So I'm just gonna go ahead and merge to you the last going outwards so that we get rid of that interface and that's gonna get rid of that ugly little transition there. And it's like you that that's gonna create triangles. So, actually, I'm gonna go ahead and cut in another edge and emerged to that instead because I want to maintain quads where I can so under the same technique, do that instead. Yeah, that's better. Okay. And then check down the bottom. Same thing going on here. So again, cut one extra edge on each side and then we'll go ahead and merge down to you. There's so you forget to hit boundary when you're doing in the inset your that boundary edge. That's how you can clean up those birds. So, like I said, we'll probably go back and clean some of this up. But I think I'm pretty happy with the way that is working, as always, double. There's gonna be some areas that you probably need to go in and fix by collapsing some edges. But for the most part, I think I like where that's headed. So see anything else we can do over here to make this little more appealing. Like I had an ad, one actually been there to give us a hard surface. Then just make sure I'm happy with the way that is working out for us. Yeah, that's looking good. So the next lecture, we're gonna get into you further tweaking this. Putting this whole in here and then using the bolt factory at on Teoh automatically kind of generate these nuts and bolts for us, so I'll see you there. 29. Detailing the Rims - Part 2: in this lecture. We're gonna work on finishing up the strut design for this rent, and we're gonna punch a hole right here for our bolts. So what I want to do first is kind of assess where we're at with the location of these Vergis ease. We're not really gonna be able to see the whole shape take place until we delete this introvert. So I'm gonna go ahead and get rid of that. And as you can see here, if I switch back into shaded view, we've kind of got the start of what appears to be a circle. And there are multiple ways you can kind of punch a hole in a shape like this. Simplest way is to basically start off with square, and with a subset of modifier turned on, it's going to round it out for you. You could also add a circle with the right number of urgencies and then project that into the side of the model using the knife project over here. Is that something we could do it. But since we already have the geometry and place here, let's go ahead and see if we can work with what we got. Now, if you look at the way the whole is shaped currently from the side, it's already sitting on sort of a flat angle, and so I don't really want to mess that up. But what I do want to do is go ahead and snap the cursor in between these two vert, so I have pretty much the approximate center of where that struggle needs to be. Now, any time I'm doing modification to these Vertes, we have to remember that we're using a mirror modifier so inherently we're going to only be working on 1/2 of this. So we need to make sure that we're using the three D cursor as the position for all of our scaling and things like that. Let's pop back into the side of you here, and first thing I want to do is kind of just slide this up until I get these contours kind of where I want them. And I don't want to just move them because, like I said, it's already projected onto that angle pretty nicely, like the way that sitting. And so I want to do what I can with just sliding these edges around until I get it back. Teoh the closest shape I can there. And then if we kind of examine where we're at, we can look at it from multiple angles and see your No, it it's Ah, pretty, pretty elliptical right now. It's not really circular, and so there's a couple of things we could do to try to remedy that could go ahead and jump into our loophole down here under the circle option. And if we go ahead and just hit circle with these selected and with our three d cursor in the center with the pivot on the three cursor is going to go ahead and turn around those out for us now, Unfortunately, what it's doing is it's not taking our clipping into account and it's Ah, it's going ahead of moving these around the center and then we've got some overlapping things happening here with the geometry, so I don't like the way that's doing that. But we do have options in this selection here that we can use to change the method for the circular command. So we have fit inside best fits. Let's see, we got flatten, which will try to flatten a circle instead of projecting it onto the mesh. And I think I want to go ahead and disable this because I want to project the circle into the mesh. We can specify a radius that will keep the circle of a certain size. And then we have regular here, which will distribute overseas, uh, evenly around the outside edge, which I think I do want so we can try it with this. And we're still getting that jumping happening there. So let's go ahead and uncheck regular and try it one more time and get a little bit better result there. I think I like that a little better. Um, but ultimately, with the way that we have it here, the Circle Command isn't really gonna lend a lot of help for us while we're using a mirror modifier. If we want Haddon applied the mirror modifier. The Circle Command would be a good option, but it's just something to keep in mind. If you guys want to, you apply it and you're happy with the way the mirror is working. Just bear in mind that if you do apply it, you're going to have to start making sure that both sides are coming across evenly when you're making modifications. So I think I'm gonna just settle for the elliptical sort of version of this. We really wanted to get picky when you come in here and try to scale along the normal to get things back into a place where we, uh we like the way that it's sort of forming a more circular shape. So if I scale along the y normal there, I can kind of get Maurin through a sort of a circle circular shape instead of a spherical shape. Um, but as you can see, it's not gonna end up being perfectly matched. Teoh the reference here because again, that's sitting on angle. So just keep that in mind. Um, so basically, what we're gonna do now is we're gonna extrude this back into space on the X axis. What I want to do is again reposition the three d cursor around the selected, and I want to kind of bring this in a little bit. So I'm gonna switch this back to global turn off the manipulator, and then I want to go ahead and scale this in a little bit so that we are kind of getting more of Ah Kong cave shape in there. And then I'm gonna go ahead and select our order right there, and I'm gonna go ahead and devil this and then once again and said it turning off the boundary so that it's going to take into account our mirror modifier. So Okay, so you'll notice we got some nice creasing going on here, but we also got some weird shapes happening, and that's just because we need to collapse. These edges that were introduced, uh, creates triangle. So let's go ahead and collapse thes and will collapse these down here. It's leg got wrong. Selection there will collapse those. And now things should be pretty close to back to normal. So this is one method of doing this. You can see there some disadvantages to doing it, uh, starting off this way because it's not maintaining an even distribution of this all the way around. And one of the reasons for this is when we start creating the bevel, go ahead and start battling. You could see the mod ah down in the bottom. Left hand corner is set to offset and you can cycle through that by choosing which or depths or percentage, Um And so depending on what your needs are, that may help you a little bit. Also, if you want to just add an absolute income in here and do this and then if you hit the for even it'll make sure that distance is maintained all the way around the edge loop. So you're going to get a much more even distribution all the way around from top to bottom . So it's really personal preference. Whatever you want to do, it helps us. But I'm okay with being a little little different from top to bottom. So I'll go ahead and use this and we're gonna do for the bolts is actually used the, uh, the add on for the bolt factory. And I should have said I do that towards the end of the lecture. Right now, what I want to do is go ahead and start duplicating the struts around so that we can get an idea of what they look like when they are in place. So to do this, I'm gonna go ahead and recent of the three D cursor, so that's right back there in the middle gonna select my mess year and we got our mirror going here. We've got our sub surf there, and what we need to do is add another empty just like we did when we were doing the tires. Use plain axes, its name. This I will see, ran empty. And then again, I'm gonna make this a little bigger so you can just select it easier Jump back. Teoh are rims there? And then I'm gonna choose a rave and immediately disabled relative offset, enable object, offset and then select are empty that we just created. Okay, so we're getting some weird rotation happening here where it's showing the count accounts actually gonna be around five because that is the number of stress we have planned for in our reference And to get rid of this happening, the reason that's happening is because, of course, we have, um, some built in rotation already being applied to you are rim object. So we need to go and apply the rotation. So we'll hit control a and then select rotation to apply that go ahead and high at all this stuff again. So it's sleazy or see everything and then pretty simply, all you have to do is select your room empty and you're gonna rotate around in the X axis until you meet up on the other side. Now, I happen to know that because we're using five struts, we're gonna need to rotate exactly 72 degrees all the way around. You perfectly match this up on the other side. So once that's finished, we can switch back to our rooms, enable merge first and last, and everything should merge pretty evenly for us. So we'll go ahead and take a look at what's happening. So you for happy with it. We know we have some issues around here. It's not exactly connecting up the way he wants. Looks like we've got some issues happening down here as well, so we'll have to assess why that's happening. When this does happen, the first thing you need to look at is your modifier stack in particular. Which order are the modifiers being applied? So from top to bottom, Um, first we're marrying things over. Then we're smoothing the way rang and really, we want to be smoothing last because it is, uh, it's after all of the modeling has been finished. So let's put that on the bottom and right away we can see that fixes our problem on the edges over here and looks like it is 16 that as well. So the second thing you need to look for if you're having issues still based on joining things up is first, make sure all of your centre line vertes on your edges are clipped and they are lined up on this central access. And then what you need to do is jump into your array and your mirror up here and check the merge limit. And the distance is they're pretty much the same thing, and depending on what were these air in and depending on what you're trying to do with merging your duplicates. If you change these to a lower number or a higher number 0.1, you're going to see that it definitely makes a difference because it tries to emerge more or less, depending on your settings. So if you're having trouble getting things properly lined up and it's just not working right before you try to merge everything by collapsing all your modifiers and then going in modifying things by hand, just play with your merge limit and your tolerances here, and that should help a little bit. So before we wrap this up, I want to show you what we're gonna do for the bolts for the bolts. We're not really gonna be modeling them because there's actually built in modifier or an add on that will do this for us. So what I want to do is go to the user preferences jump into the add ons appear Then I want to select Let's go to add mesh. And then under this option here, you see Bolt factory, we're gonna go ahead and able. That that's gonna do for us is add a option down here, the very bottom for bolts under add mesh. And so you can see right there it is, adding a bolt for us. And there there is. So what actually want to do is I'm gonna go and delete that jump over to an empty layer, and that way we can kind of see what's going on. So I'm gonna go ahead and add one back, and now we can pop up in our settings and we kind of play with how this is looking now I actually like the bolt style, so I'm not gonna leave. Uh, anything. Um, I'm actually gonna keep the weight. It everything the way it is there. Now, I actually like the bolt style here. So all I want to do is kind of work on these threads down here so you can change a lot of these options, like with links. You bring that all the way down and mess with all this. And if you're wanting to keep the threads and you're wanting to change how deep they are, things like that, that's a great option. What? I'm actually interviews. Go ahead and jump in and work on actually getting rid of these faces because we're not actually ever going to see these threats, so we don't really need to have them around. So I'm gonna select all of that. I try to go back and get rid of this top level of, uh, faces. So by doing that, we're gonna get rid those, and then I'm gonna go ahead and leave those faces. That looks like we've got one more really small loop up here. We go ahead, get rid of those. And then, of course, get rid of those. So just got the cap, basically. So let's move that back toe layer three. And now we can go ahead and start positioning this in place. I'm gonna rotate this around its medium points, and we're gonna have to correct the origins. Origin around the geometry is what we want here. We'll go ahead and rotate that around the white access by nine degrees and then let's go ahead and kind of get this into place. I remember that this is on a tilt, so we're gonna want to go ahead and jumping in the front. You and kind of aligned this, get in the place there, and I just kind of play with the position of that. And so we're happy with where it's sitting. We also probably need to do is pull the ah, the actual hole in set up a little bit so that it is also sitting at an angle like this. It also flatten this out on the X axis and then rotate that back in the place to get a really nice clean, even edge there. So now it's just about moving this bolt around. It's what we like, where it's at liking the size of it, and that's pretty much all there is to it. So I'm gonna go ahead and put this pivot back of the three d cursor, and I'm just gonna hit shifty can rotate that 72 degrees and then shift are a couple of times to repeat that, and everything is in place now, so that's pretty much it for getting the bolts in place, getting that whole kid in there. And in the next lecture, we're gonna pick it back up and sort of wrap up our Rym section and then placing those within the tires once that's complete, So I will see you there. 30. Finishing and Positioning the Rims: this lecture. We're gonna wrap up our room design here, and then we're gonna move on. Teoh finishing out the wheel assembly with some other pieces. So there are a couple of things we can do to kind of spurs things up here. And first thing, I want to have a look at his adding some more definition on this edge or are struck here. So I want to go ahead and kind of do we've been doing by leveling this out. So I'm gonna select all of the main edges here that connect up. And then I want to make sure I get the supporting pieces that you needed to be doubled to create those hard edges. A few here and I'm gonna go ahead and bevel this out and you have some issues up top, so I don't wanna go too far, but I definitely want to have enough to you kind of get a nice even double. It isn't too sharp. And I think that's a little too sharp. So let's go ahead and have all this and then we'll fix that Top edges we need to you. So it's probably there. It's like you to go and collapsed thes and see what we got going on up here. All right. It looks like this edge split up a little too high, so we'll need to bring that down. We've got some extra I just here which you could collapse. But I think that's gonna end up causing more problems. It's going to fix. So is we need to find a way to connect this on through yet another path on just to save some time here. I'm gonna go ahead and just joined this back up over to this Bert, you think J commands and that will get us back to quads. So I think that's looking good. Make sure we like the way everything's working all the way around and looks like we've introduced a little bit of an issue down here with the way this is joining up. And so let's go and play with our settings like I was talking about before, so we know it's not the mirror because the mirror would be right in the middle. So it's gotta be the array. And you said the distance of Ilic 0.1 point 01 It's worse. So let's go down the 0.5 And, yeah, I think that's working better. Simply joining that up a little more and the way that we wanted to. Yeah. Um, let's go ahead and about adding an absolute or we could possibly just double this. Double this and see what happens. Yeah, I think doing that with the boundary is going. Teoh, introduce a nice little detail that for us. And then once again, we need to make sure that we've got our settings properly. It's huge. Yeah, so low that even more bear in mind. Although this will fix things, you need to make sure you're checking around and making sure that it's not also introducing extra problems for you. Uh, so I think that's good. I'm pretty happy with center part of this, uh, a little bit of pinching happening in the middle, but we may fix that a little later if we have some time to go back after we don't all the pieces. So now what I want to do before I wrap this up is kind of tweak some of the overall settings and at in this Ah, this inset right here. First thing I want to do is kind of change up the sizing of these bolts. Somebody going combine those into one object that I want to reset the origin to be around the three d cursor. And let's go ahead and bring these in a little bit like this, actually, kind of like where they're at scaled like it sets plumbing a little bit there. Then what I can do is jump into the edit mode, select everything, go to individual origins and then just hit s and it will scale these up around each selection and was fill those holes up a little more so we can ah, make sure we're not seeing all the way through the other side with the open spaces there. So a little bit of geometry intersection happening there, but nothing too serious. Bring this down just a little bit, but I'm pretty happy with that. So let's go ahead and get this supporting strut or this whatever this rim is behind in there. So I'm gonna go ahead and start by just doing a circle once again, we're gonna use the same settings before, so we're gonna have 30 points and then I'm gonna go ahead jump in the edit moon Rotate that around. Why nine degrees Scale that up on. Just go ahead and extreme This out to here. Keeping in mind this is gonna be behind all of this stuff. So it doesn't really matter where it starts and stops, as long as the part that's visible is what we want to be. So again, I'm gonna go ahead, not a sub surf there. And I just noticed that my screen CASS keys aren't on. So So I had to make sure those air on for you guys. So we need to go ahead and get some depth in here. So I'm gonna go ahead extra this back in the X axis, don't select everything hit W and smooth the normals. And here's my strategy for this. We're gonna have some other pieces that go into the wheel assembly. Remember, you're gonna have the tire that goes around this whole thing, and then you're gonna have some pieces like the, uh, the brake disk, the caliber that goes behind the struts, that air in the rims to kind of fill in all this area back here. But I definitely want to increase the extrusion back. At least this far. That way, when I'm at an extreme angle, I can't see back into you. All of the mess we have going on back here. So, um, it looks like this. Let's get right there. And like I said, a lot of this will probably filled in later by, uh, shadows or other details. Things like that. So think what I want to do is go ahead and out of devil and then once again, I'll go ahead and set. That might even add in, Do you tell right here Kind of add a little extra extrusion in there For some, Tito, whatever you guys want to do, really is not important. But you just want to kind of add some visual complexity wherever you can to fill things out . So that's pretty much it for getting the rims in place. Like I said, we're gonna add some extra pieces in there. But let's go ahead and kind of get things positioned with the tires right now. So if we look at this, we got the same issues we have before. We've got everything kind of moving around. So here's what I wanted to you. I want to go ahead and make sure I've got a version of this somewhere that is backed up. Just in case I modify things on this very bottom layer over here or if you jump into the layers tab, we have the contours layer on layer 20. That's kind of like my backup layer. So we jump back into layer three, select all of this. I'm gonna go ahead and duplicate it and then move that down to this last layer just so we have an extra copy of that sitting somewhere. Now, jump back in the layer three will activate layer to you so you can see the tires. And what I'm gonna need to do is keep all of the stuff here intact so that it's not really moving. So, uh, let me actually shift select layer to you. Get that turn back off. What we need to do is create another empty for our parents. So go ahead and create that call this Wim Master, go ahead and once again hold this up. So we have something big to select. Now I want to select everything, making sure the active object is our empty that we just created. I won't hit control P keep the transform to create apparent relationship. Now we should move everything without anything going haywire. So just because I know we're gonna get into some pretty geometry intensive, uh, situations here wanted down this to level one, and now we can activate layer to and with just the master selected for the rims, we can go ahead and try to get us to this place that rather just lined this up by hand. Want to go ahead and right click the tire master shift s Teoh Put the cursor on the selected objects, and then I can select the ringmaster shift s input selection to cursor that'll center at forest automatically. Now, I'm just scaling this down, making sure I kind of get things but in place where they need to be. And I'm actually gonna want to bring this up to about there. So we're going to make a little bit of a modification to the rims and they need to be brought out to you where they're just peeking over the edge of that tyre wall. So maybe somewhere on there, Okay, Now I'm gonna go ahead and once again turn off layer to you. So we're just back to this, and we're gonna modify this a little bit so that we get a better looking rim. So in order to do this, what I wanted to you is make sure that I've got are three cursor where we want it. We'll go ahead and shift us and put that around there, and then I'm gonna go ahead and scale these in a little bit based on three cursor position . We want kind of a con cave sort of lip there so that the edge of the tire has something that sit on. Because essentially, with these rims, if you really have these existing in real life, you would have the wrens sort of really going all the way through the tire. And it would be one giant metal piece for the tires to wrap around. So we need to keep that in mind. We're modeling these because we're really want to shoot for that realism. So let's go ahead and grab our ringmaster once again, hold us out a little bit. Make sure we're happy with how this here today, and I think I'm okay with that. I might want again kind of adjust the tire a little bit. Do you work on fixing this Actually going to scale this up a little more That I'm gonna fix the tyre wall so that it is a little more in line with how I want things to be here. So this is the biggest benefit of keeping everything in modifier stacks. Because once again, I'm not having to go through and really fix a bunch of geometry. I'm just having a fixed one little piece and it's gonna end up doing a lot of good for us. So it's like, Go ahead and get rid of this absolute and just want to see that the tires kind of bulging out a little bit on the edges so that it is, you know, kind of ah, full of air and peaking over the edges a little bit like that. And it's not perfect, but I think is pretty good for our purposes here. And like I said, you can always go back and tweet things to your heart's content later. And the same process that we used for duplicating the tires all the way around is what we're gonna use to duplicate the rims. So I'm gonna go ahead and do that in between lectures. I'm not going away. Everybody down by showing it here, but, ah, there you go. Basically got a nice little rim in place. And that's gonna prep us for finishing out the main part of the wheel assembly and up next , I'm gonna go ahead and model a couple of other objects that will fit in behind here to kind of give us the impression of an entire axle and braking system. And that's just gonna fill in these areas. You're not peeking all the way through the car and seeing the tire on the rest of that, so I will see you guys in the next lecture. 31. Modeling the Wheel Hub, Brake Disc, and Calipers - Timelapse: 32. Headlight Design Preparation: Okay, so we've got our wheel assembly finished here, and I've got this isolated so we can kind of take a look at the pieces that we added in the time lapse. And what you can see is we basically had three main pieces. We've got our wheel hub back here. We've got our Roeder, which is this big disk with the holes in it. And we've got our caliber here, which is what causes the brakes, actually slow the tire down. And so these air a few more pieces that I shows the ads that kind of give us some more realism for our model overall for this wheel assembly. And there's a lot more things we could do to go in here and kind of deck this out, really make it really nice piece of detail in here. But of course, it all depends on the application. And if you guys have time to do that for your car, some other things we could do is go in here and add some more bolts and some actual lines that actually helped the calibers use their function to clamp down on this road. Er as it's rotating the calipers are actually going to stay stationary as the wheels rotate and as they clamp down on the road, or that's what slows the car down. So it helps to kind of do some research. Keep in mind how things actually work, and then side for your purposes, Are you doing the model for a close up shot in the wheels are gonna be using it for mostly wide shots. That's the case, you know, really, maybe even need to do this much detail. It all depends on what you're gonna use it for. I would say, if you're going to sell a model, something like that, or you're doing it for a client or something, You're gonna really want to make sure that if you're doing it for film purposes, you've got everything he told out to their specifications. So make sure you run that by whoever you're doing this for, But mostly if you do this for yourself, it's all up to you. I shows to kind of get a main caliper kind of done in here and then just leave it at its base form and not adding much stuff to it because you gotta remember we're gonna be out here pretty much with the rest of car, and so we're not really gonna be needing to see all of that stuff up close all the time. And so I didn't really think I needed all that detail. So let's talk a little bit about where we're gonna go next. The last thing we're gonna do real time in this course is the headlight. And we're gonna do that after we look at some reference. But the rest of this is pretty much any time last. So the next lecture is going to start up our last real time lecture. Or actually, you guys had to put all the pieces in place. And before we do that, let's take a look at some reference I have for the headlights So you can see here. We've got some reference. I took these shots when I was just running around the city and got some nice close ups of some various cars around, uh, the city. And so let's take a look at some things pieces. Now you're going to see a lot of really detailed, intense looking reflections and refraction, Zand all sorts of craziness when you start taking shots of your own reference for the headlights and tail lights. First thing I would tell you is don't get freaked out about how detailed everything looks. Most of that doesn't have to be modeled. It's not gonna have to be all put in there, Polly Bond by polygon. So don't forget and think that you're gonna have to do all this. A lot of this. We're gonna cheat when we do our shade er's and the next course we get into doing all of the glass and the Crume and things like that on the inside. So just realize, get reference. Definitely Look at that when you're working on your headlight design. But don't think that you've got to make everything done in the modeling face. So let's look at the pieces we've got here. Basically here. We've got a light we can see. We get a reflector over here, got a general assembly of the headlight. And then, of course, we've got another light down here. Now you're gonna find really wildly different designs across different levels of cars, especially when you get into more exotic sports car type of situation. You're gonna find a lot of really different kinds of headlights that are gonna be out there , and none of them are really gonna look the same can be pretty different. So again, it's kind of going to be up to you if you're doing your own concept car than you need to kind of take a look at the main elements that make up the headlight. Decide how don't include those in your design for doing a car that already exists. Try to find some reference out there. Get some of your own photographs the closer up, the more macro kind of photographs you can take or find the better. And if you pair that with finding actual assembly instructions or directions for the car itself, when Emanuel you're gonna find the best hybrid of reference, you confined for how to put everything together because there's not gonna be a lot of headlights that air disassembled to show you all the pieces. And so you're really gonna have to observe and then use that knowledge to help you out when you're going into the model. Thanks. So let me talk a little bit about the main pieces that make up the headlight assemblies. Okay, so the main pieces that we see in. Most of the headlights have a low beam, which here is a little bit obstructed, and I can't really decipher where it's at. I believe it's in this section of the light here, um, and so committed by reflections that you can't really even see where it is. But you had a low beam that's gonna be the main headlights always turned on when you're driving, Um, Teoh, just eliminate the road. Basically, you're gonna have a high beam, which is usually got more convex lens on the front of it, especially in the more modern car designs. And that's to project the light forward as far as possible. These were gonna be your fog lights of your high beams, and they are going to really throw light out there. So if you're in a really dark part of the country driving around uses the high beam lights , you're gonna turn on in that kind of situation, then you're always gonna have a turn signal. And so you got those three basic elements that air kind of always included in the light, and then on top of that, you're gonna have a lot of reflectors and refract er's and lenses and glass elements and all of the assembly pieces that make up the surrounding parts of the lights. And so all of these words in unison, Teoh do things like spread the light evenly over the road if you're driving in certain countries, the lights are aimed at different parts of the road because of the way the laws dictate how that's supposed to work. If you see lights that have lines that are going horizontal across them, that's to cut the beam so that it doesn't hit drivers in the eyes when you're driving on the road. So all of these things were things I came across as I was doing my own research into the headlight designs. And it's not something you would typically find just by looking at pictures. And so I really want encourage you guys when you get out there and get to taking your own pictures or finding them wherever you're looking, look it. The information behind the pictures to you figure out why people did it, and that will help you a lot when you design your headlights because you're ultimately designing for realistic function and not just aesthetic looks. So you want to make sure these air is realistic as you can possibly get them, and it just helps if you know why things were done the way they're done. So, um, the main thing unifying in most of the headlights is that you're gonna have these things called parabolic reflectors and parabolic reflectors are basically the con cave shapes that have these mirrors of these chrome surfaces in the background of a light. And they're going to gather the light together and project it forward when this light bulb in the middle is turned on here. We could see an example of these vertical lines splitting this glass up, and that is diffusing the light and spreading it out evenly when it's projected forward. And so again, all of these elements work in unison to kind of make things behave correctly when you turn the lights on and enable to you to get maximum output out of the lights themselves. Um, so this is ah closer example of a light with the halo light rings turned on on the outside . And this is actually from a semi truck that I took a picture of, um But it just goes to show you that, like it doesn't matter where you get your reference from. It will always come in handy. Even if it's not the exact same type of car or vehicle that you're doing it for. You're still going to walk away with some things that definitely inform you about how you're gonna be able to design your own stuff. So for those of you who have taken this course and are really looking to you, get out there and put your own designs to the tests. I would really encourage you to get out there and just test your own drawings and your designs and your three D models against real world application and ask yourself questions like, Why am I putting it together this way? Wide is the curve here or the concert? Were there come together in such a way that that I like the way that looks, you know, does it with this really work in real life? You know things like that, and it's just gonna make you a better modeler and ultimately about her artists, because if there's anything I hope to drive home with this course, that's that observation is really your best friend when it comes to doing these complex things, and it doesn't really matter how complex it is. It doesn't matter how crazy your design is. It has to be rooted in reality. And you have to really have a good reason for wanting to make the decision making. And sometimes you have to you make the decision. You don't want to make and sacrifice your design to make it a better design. So that's what we're gonna be looking at as we get into the headlights. Hope this has been a little bit more informative about why have lights work the way they work and what pieces you need tohave toe, have your headlights looking realistic. And so, as we get into the next few lectures, it's gonna be the last of the real time lectures. Um, and then you're going to see me deck out the rest the car in time lapse. But I really hope you have enjoyed this course, and I've really enjoyed getting the card together for you guys and kind of showing you my method for putting things together. And if you like it, please don't forget Teoh leave a rating and let me know what you think. Thank you for watching. And I hope you enjoy the rest. Of course. 33. Blocking In the Headlight Assembly: okay, in this lecture, we're gonna be taking a look at certain to build our headlight assembly. And so what I've done here is I've created some or reference that I'm gonna be using to model things from it. We've got our front view, which has a little bit more detail in the rest of use. And just some basic placement of our low beam are high beam Cem, other lights and reflectors and where turn signals gonna be on another. This is final. It's basically just kind of put in there. So I have ah, good idea of where things will be placed. And then I can kind of experiment as I go that we've got our side view over here, which is all lined up with guides when I went ahead and drew this out. And then, of course, our top you down here was a little bit more sketchy and loose. So let me kind of explain what we're gonna do with this lecture. We're going to take a copy of the consort for our headlights and where that's gonna sit. I pulled this right off the top of this section right here from the car and so in layer for here. I've isolated just the pieces I want to be working on right now, and I'm gonna having created some basic circles that have eight vergis ease. And these are gonna be placeholders for um, for some objects were needs to cut into the mesh they're gonna be creating in this lecture . So basically, the idea is we're gonna wanna layout and overall netting or a mesh that is gonna be drawn across the wire frame for the headlight area, and we're gonna cut the holes for the lights into this mesh. I think that this particular job is probably the most difficult part of ah headlight assembly process. And so, although there are a lot of pieces when we get to doing the assembly itself, nothing is quite as complex as the overall contour and shape itself of the the intermission here. So let's go ahead and get started building this basically a creative plane there. I went and deleted all the vergis ease and make Sherman Vertex mood. I hold control, I can create over to see anywhere, and then I'm gonna basically set this to edge mood and then I can set this Teoh snap to that by holding control. And we've gone over this before. But I just wanted to kind of remind you guys. So basically, all I'm doing right here is I'm gonna get extrude and then hold control so that it snaps it to that framework. And then I can go ahead and kind of create a basic polygon to start with when flipped his normals. And then I can kind of slide these as I need to along the edge of that frame to create the surface that I need to. So we're basically just going to be kind of extruding things up. Want to try to make sure that I'm keeping things relatively, even all the way up? Um, but at any one point, I could just go all the way across and then kind of start going back down, making sure I have uneven number of urgencies over here compared over here, then I'll just join the back up there. It's like the middle. And then, of course, we'll just fill those with the f commands. And that only works because we got that F two modifier turned on. So make sure you have that turned on, um, so we're gonna want to add some more detail, but I'm gonna go ahead and just continue up right now and extruding the planes up here, and I'm not being too are really critical with the way things air. Uh, kind of falling in police on this is just for guide. So you can always go back and kind of mess with things and make sure we like where things were sitting. But I think that's gonna do well. So what I wanna do now start adding some definition in the middle, so I'm gonna go ahead and add a couple of edge loops and then I'll start pulling these down in the front of the side views. That way, we can kind of start seeing how things are going to sit is I don't want these just stretch evenly as a flat plane across this entire grid. I really want to create sort of a different kind of surface that's more con cave in the middle. And so I'm gonna try to line these up a little more where that's what's happening in the side views. So just tampering is a little bit really good. Start No, once again, Let's go ahead and see abouts how we're going. Teoh kind of join everything up over here, so I don't want to get too far ahead of myself. But I'll go ahead and, um, we can go ahead and split this up in the middle a little bit. Join these up, and then it's just the same process over and over again of kind of massaging things in the place. So I'm gonna go ahead and finish this up, and then I will get back to it once this is over. Okay, now that we finally got our mesh grid in place, we've got a little bit of definition going on here in the middle, but not a lot yet, and that's kind of what I want. So I want to make sure I've got everything kind of in place way. I wanted to be the overall layout, and I'm gonna go ahead and add a modifier to smooth this out. I want to use the shortcut there to create a subject modifier, and that's just gonna basically create a base grid for us. That is gonna act as a, um, sort of skin we can use to start snapping things to similar leads the way that we have the edges out here that we're using as a guide to create the mess to begin with. And so what I'm trying to do is create a surface that I can use Teoh kind of act as a guide for projecting these circular shapes onto the mesh, and then that's gonna allow me to cut them into this shape. So what I want to do now is I'm gonna go ahead and clean things up a little bit when I could do a smooth on that to get some smooth shading going on. And let's go ahead and turn on optimal display in the subset of modifier, and I'm gonna get red bumps up to three instead of two. So we get a really even service because we're not actually gonna keep this, so that's going to be fine the way it is, and then we just want to make sure that everything is where we want it before we start doing this. So if there's any edges that are not particularly snapped where you want them to be snapped to, you make sure you get that fixed right now because we're gonna be using the rest of the shape for the remainder of the lecture. The weight is so if you have anything to fix, make sure you do it now and you should be good after that. So I think I'm generally happy with the way that sitting. And so what I want to do now is basically focused on these shapes because these are really the primarily the focus of this lecture. So what I want to do is basically from the front. You kind of think about projecting these backwards into space along the Y axis so that they wind up cutting into the surface. There's a couple of ways you can do this. Since we're talking about options here, we can jump into the front view, select the circle that we want projects like the other surface, and then we jump in the front. You can use the knife project tool that will actually automatically project from the front You down the positive Why access and that will hit these write in a place where we want them to be. Problem with this method for us is that it's going to add a lot of unnecessary Vergis ease and some ugly non quad surfaces here, and that's really not gonna help us in terms of topology. So I don't want to use that method for this. It might be helpful if we were doing something with a little more sculptural methodology, but right now, let's just go ahead and manually do the same thing by pulling these backwards in the Y direction until they touched the surface. So to do that, I want to switch from the edge, snap element to you the face, and that's gonna let me it's G. And then why you constrained that? And then I was I hold control. I want to just kind of look in the watch until that disappears in the middle. So let me kind of get all of the other men use out of the way, and then we can kind of see what's happening. So I just want to pull it so right about the time it disappears. And remember, I'm just constraining to the Y axis here so that I don't have to you worry about swapping into a North a graphic view, and this is a really quick ways you can get everything lined up, um, and then projected correctly. Now it may seem a little weird that we're doing this was so a few vergis ease with circle. Um, it would make a little bit more sense if we subdivided it. But the reason for this is that I really want to maintain some even topology and some low, uh, polly methods when we're going ahead and starting to do the hard surface modelling. So if I would have been subdivided everything, it would really be hard to get in here and manipulate things. We're really gonna be rebuilding this surface. But after we get these holes cut into it, So once that's finished, I'm basically under the same thing with this circle. But what I want to do is go ahead and set this up so that I can go ahead and create the whole. So I'm gonna go ahead and extrude these in, and it helps in this case, the have this set around individual origins. Is that what keep everything centered up for you and even and then once I have an inner ring that creates an absolute going extreme, this back in the Y direction to give us our whole and that's gonna be the basis for the whole that we're gonna use as we start joining everything up. So now I'm gonna go and do the same thing I just did there for this other hole right here. I'm gonna speed that up again, and then we'll get back Teoh real time after that's finished. Okay, so now we've got our basic same set up on both of these holes here and now I don't even need this mess anymore. I'm gonna go ahead and and now we've got our holes basically projected along that flat surface in three D space. We're gonna want to go ahead and start figuring out how to combine this together. So I want to go and join these up, and then once they're in the same objects now and kind of start figuring out how I want to get things in place now, the reason we did the inside extrusion on all these to add this absolute is because it's gonna give us a little bit more freedom in terms of the way we want to kind of position these polygons and how they're gonna react to one another. as we get this surface in place. So once we get things kind of lined up on one of these edges when you're enjoying this up and then I can go ahead and try to you extrude out with, of course are F commands to create some additional faces that joined down the middle. I'm gonna go and subdivide this right down the middle and at another blue And then we're gonna kind of just join this up all the way around so we get our surface back, but it's gonna be a much more low polygon surface, and again, it's gonna retain that curvature. But it's gonna keep everything a little more optimized, and we're gonna have a lot more control over the way that it bends and things like that. So I'm just gonna continue this out to the edge, you know, make sure return back on her edge, snapping, and then that will snap back to that edge. Same thing over here. And then again, I want to just kind of basically start off simple. So we're gonna start there and kind of just joined back up. Start here and let's bring this outs. Join that back up again. Nothing complex here, you guys not to do this by now. But this is basically what we're gonna be doing to create our base mesh all the way around . So once again, I'm gonna go and speed this up a little bit. And then once that's finished, we will talk a little bit more about where we're gonna go from here. - Okay , so we've gone ahead and finished combining all of this together and see, it's definitely wanted out. And it's got everything kind of in place where we want it. Not a complex mesh, but definitely one that required a little planning there. And so to finish this off, all I'm gonna do is go ahead and grab the inner ring here. And once again, we're gonna go ahead and devil these go all the way out here, and then I'm gonna go ahead inside once again, just like this, Get a little bit of a ring on the inside and that's gonna finish up, are inside cuts. So that's pretty simple. Way to go in and get our inside based assembly put in place for our headlights. And so and the next lecture we're gonna jump in and start actually getting things in place . But now that we've got a good foundation laid, that's gonna make things a lot easier for us, so I'll see you in the next lecture. 34. Creating the Low Beam - Part 1: guys, welcome to this lecture. And it's like we're gonna take a look at some of the changes I made to you this in the previous lecture. And then we're gonna talk a little bit about how we're going to start building our low beam down here. So as you can see right here, basically, I went in and kind of made sure that spacing around the outside of these devils was a little bit more even that way we had a little bit more consistent surfaces to find here also went in and cut an extra hole in here. He's in the exact same technique I used for these two holes just to create a little bit more of an open space to use for this little all you do you like, We're gonna be adding later on. And so let's get into talking about how we're going to create our parabolic reflector. Okay, so here you can see we've got a parabolic reflector that I took a reference picture off and you can see that it's very con cave in the way that it shaped. You've got these vertical ridges happening up and down the entire length of the reflector itself. And then, of course, we have the assembly on the outside. The last thing we need to kind of focus on we build this is that we get a hole that needs to be put in the middle, and then that's where our light bulb is gonna go. So that's the basic layout, and probably the hardest thing about this is maintaining consistency between your edges and making sure that the bend is spiritual in nature and not Messi's. We'll talk about how to you approach that when you start modeling. Let's come back in a blender and I'll show you how to get started. Okay, so what we're gonna do first is go ahead and reposition a three d cursor. I'm gonna go ahead and jump over to the origin here. Let's go and add a circle hit F six to pull it. My options. I want to set the virtues of 30 and then I'm gonna go ahead and jump in the edit moon and rotate this around the X axis by 90 degrees to get that in a place. So now that this is kind of rotated in the place, we get everything going here. Let's go ahead and join up these And then just kind of, um I get everything sold in here. What I want to do is create a really even grid layout. I'm using the verse that we already have in place. So I'm just gonna select the pair's averts going across and then hit Jay to join those connecting edges with new vertes all the way through the mesh. Um, from top to bottom. And that's going to give us it really nice created out, Phil shape for the circle that we just created. Go ahead and just wrap up feeling the center really quickly. And then we'll talk about what we're gonna get from here once again. I think it's important, Teoh, try to plan things out as much as you can. I had to do this a few times to get it right. So, um, look at your reference and just keep that in mind, so to proceed here. What we want to do is we know we're gonna have to add the bend in there. We also know we want those vertical ridges, and we're gonna have to put a hole in here. So the question is what order do we need to do things in to make sure that they work out correctly? Well, what I know I don't want to be doing is adding the whole at the very last because things are already going to be deformed and it'll just get messy. So I'm gonna go ahead and do the whole first year. It's only first has grab these two birds in the middle story and had control plus a select another set of theses by expanding that boundary. I don't want to go ahead and inset this that way we've got our own set averts to mess with . We don't have to worry about offsetting any of this geometry. So now I can go ahead and scale this in the Z axis a little bit to get a more square shaped happening there. And what I can do is pull up the tools palette, and that's gonna bring us into you are Luke tools down here. I can hit circle, and that's going to you create a much more circular layout shape for us. You can play with this a little bit. Um, you can click any of these options and they will kind of change the way this works. So if you regular, that'll tried. Teoh. Flatten that out more and get a little bit more of a uniform shape. It's not. We've got our circle in place. Let's go ahead and extrude that in the Y direction. We're going to shoot it just a little bit and then we'll go and extrude it all the way back in and delete those faces. So we're left with a perfect circular hole, right in the middle of everything. It's not. What I want to do is kind of get our bend in place. So to do this, I'm gonna go ahead and re select are circular section right here in the middle. And then I'm gonna go ahead and go into the side. You here. Now I want to turn on proportional editing and then I want to set this to you sphere instead of the regular smooth option down here at the bottom. And then if I pull these Vergis is back in the Y direction and then control the influence with my middle scroll wheel on my mouse, that's gonna let us kind of get that parabolic spherical bend in the shape. So I want to start off kind of subtle. And then once I get that in a place left like to accept that, start pulling this back again a little bit more and then reduce the influence once again, pull it back, reduce the influence. And I just want to kind of keep this going until we're happy with the way this is. Ah, kind of working for us so once again doesn't have to be perfect, but you just want to get as much of a nice circular bend in there as you possibly can and things in the place. Turn that off and then pull these back a little bit more And there we go. We're gonna nice urban share going on there. Go ahead and jump up to you are smooth shading and enable that I'm gonna go ahead and add a subdivision service modifier. It's gonna kind of smooth things out. Give us a little preview what things are gonna look like. And now they got things in a place. Let's go ahead and talk about adding those ridges. So I want to do is jump in the edge mood and I'm gonna basically select all of the vertical elements of the edges as they appear here. Somebody gonna get all of those selected. Now, what we want to do is one of bevel these just a little bit so that we've got a little bit of a ridge to work with. It's amusing one segment, and you can see I'm not even really beveling them out as much. I'm just creating a little bit of a rich here with these edges. So once that's done, barely visible, I'm gonna go ahead and, um, go ahead and jump into face mood control I to get all of our other faces selected. What? You're gonna be our inside of our ridges? I'm gonna go ahead and extrude these back into the Y direction again. Not a lot. Just a little bit just barely visible, and that's gonna give us a little bit of depth happening there. And then I wanna have a bit of a con cave bend happening through the middle of each one of these vertical sections. So what I need to do is add another cut going down the middle of all of the use, So I'm gonna start with the main ones here, go all the way through and make sure I grab these. So one last cut there, and then we want to make sure that we figure out how to you cut through the middle of these . So we're probably gonna have to do is go ahead. A knife. Uh, he's in right here. And the great thing about this section is that it's gonna be mostly covered up by the light bulb. So you're not really gonna have to worry about how this looks all that much. You want to make sure you get everything kind of in place for the cut to work properly. So we're gonna join this up, um, on these edges here. And then let's see if we join this up over there and get back to you. Quads. I believe so. Let's go ahead and do this same thing down here at the bottom will join these back up to get our quads back there, and we got a few other triangular issues happening there. But you can always go back and fix that later. Not super worried about that because it's again in the middle. Not really gonna affect us all that much. So now I want to do is jump back in the edge Mood, Grab all of those vertical cuts that we just made. And, um, after we get all of those selected, basically, just gonna shift those into the Y direction. And so for the middle here, switch into wire frames. I grabbed the rest of these edges, and I'm actually just gonna go ahead and grab the rest of the circle as well, because I want that to move with the rest of this. Those in the place make sure we've got our vertical lines going through all the way and actually rethinking this Probably just want 1/2 those selected matching the other vertical edges. Do you select these real fast, Always kind of, ah, experimentation issue what's gonna work perfectly. But now we've got this selected Let's go and try to move everything back in the Y direction . Yeah, that looks everything back there. Toggle into object moon and I think we're looking pretty good. So again, not perfect in the middle there, but not all that necessary. So that's our basic parabolic reflector happening there, and I think for our purposes, that's gonna be plenty of detail. So what I want to do now is kind of work on the light bulb itself and then get our little Klebold fixture in the place. So to do this, it's gonna be pretty simple again. I'm not worried about a lot of detail here, so I'm going to an eight by eight Sphere scale. That in the place helps to know that the way the parabolic reflector works is that it gathers light at a point where it projects into the center over here and then kind of amplifies that. So as a result, you're gonna want to kind of make sure that you get the light bulb in a position where it's actually bouncing into the parabolic reflector properly. That's just gonna be by comparing your positions, you the reference. So I'll leave that up to you guys. And then once again, let's go ahead and add a subdivision surface modifier, And then we will go ahead and quickly add a, um, base fixture for the light. Do this. I'm gonna add a plane toggle in edit moon, Make Sherman Vergis courtesy selection down here, select all of it, delete it and what we're gonna basically was create a profile for our light bulb fixture. So we're gonna control Click to start creating of urgency extrude this back in the Y direction. And then I'm gonna extrude this down to the middle here and we'll go ahead and extrude back in this direction and we will Let's go ahead and add a little bit of a definition on that down there. A little bit of a bevel going on there. Okay, so now that we've got our profile in place, let's talk about a modifier called screw modifier. Now that's going to go ahead and rotate that around an access and create a duplicate version based on the profile. So I want to switch this the Why access and you can see that's immediately creating a cylindrical object based on our profile. So if I set this to Cal Corder, that's going to kind of fix the normal a little bit there for us. Um, and you can set the steps to whatever you want them to be. I'm gonna down this to you about eight all the way around, and that way, I think, is gonna be a little bit more optimized for us. So I'll pull this in the Y direction, get that in a place they're. And then if I want to edit the profile because it's too big right now, baseline and go ahead and select this. Just put down the Z axis until it fits inside that hole. And then I've got things kind of lined up in a place, so pull this back a little bit. We don't need that much, and that's good. So you need to move the lightbulb. Remove this up, get this in place. And once again, um, need the reference. Just your light bulbs. Yeah, that's looking. And once we're pretty happy with the way that sitting go ahead and sweet things. And as long as we got this screw modifier in place, we can kind of mess with things, and it's still going to maintain all the shapes that are necessary. It's you, uh, keep things going well for us, so we can kind of infinitely go in here and add detail is necessary. And, um, it's really kind of a handy way to work, because you can kind of just go in there and tweak things after everything is in place. So that's basically how we're gonna get our light, bold, kind of in there. And then I want to set up a quick parents in relationship. So I'm gonna keep the transform on these and parents that light, bold base Teoh, parabolic reflector and everything moves is that unit. Then I can go ahead and pull this back into you place. Make sure I set this to you. Let's go individual origins or median points. And then I was going to scale this down. So we're kind of centered up here and roughly get that in the place because we're still going to be adding some pieces as before. So it's pretty close and probably to pull this down scale a little more. But that is our basic idea of getting the parabolic reflector in the place. And in the next few lectures we will add more details to more sections of the light, and we'll get into how that works. So I'll see you in the next lecture 35. Creating the Low Beam - Part 2: Okay, now that we've got our basic low beam parabolic reflector in place, go ahead and finish up with low beam in this lecture and get everything in place. So what I want to do is go ahead and utilize what we did for our light fixture here. So I'm just gonna go and duplicate this in place, and then I'll tap into this and we can actually just use what we have here to kind of build on for the rest of our mesh. So I'm doing you first kind of expand this out and just move these up in the Z axis. That's gonna expand that up a little bit for us, and we can kind of pull this forward and let's go ahead and see what we needed to do here for getting things in a place I know. I'm gonna want a rim kind of going around the reflector to kind of give a nice little devil going into interior. And so what I think I want to do is kind of play with the vergis easier a little bit, get things more attuned to the way that they're gonna be needing toe look. So let's go ahead and kind of move things around here. And so we get something that we like. So just kind of massage things in a place, and I think that's better again. This is not gonna be a super complex sort of, ah, set up because we don't need it to be all that detailed. We just wanted Teoh kind of reflect. Um, how this is gonna look on the interior. So I think I want to bring it in like this where there's sort of an interior bevel there. In that way, we're gonna have a little bit of space on the inside That just helps reflect things around for us. So we pull this up a little bit. That's a little bit more parents just like that. And then I don't see that we have enough resolution here, so I went up the steps up a little bit Here, go up to 12. Think that's gonna work out for us and then see if we can kind of get things a little better in the place here. Okay, So, by adding another subsurface modifier to that and go and smooth that out even further and two steps is probably a little too much want to keep this kind of low. So, uh, that's looking pretty good. And one of the things we can do here is kind of increase the complexity a little bit by, um, creating an inside edge here and then giving ourselves a little bit more toe. Look at once we get to the inside. The way this is gonna work is I'm basically gonna duplicate this Verdecia which disconnects it from this edge. Then I can go ahead and kind of build outs my own extra little edge or surface in here, and that's gonna give us extra little piece of geometry that goes down in there. And then we can move that back around on the other side and create another extra little lip . So I'm gonna go ahead and actually duplicate that Verdecia the same way we just did up here . And when we pull these up a little bit, gots more room to work with, and then I can start bringing this back around, which again is going to give us a little bit of a lip here or are inside ring. So let's see how that looks. Still seeing a little bit of that Peek out from the edge. So we need to kind of bring this up, that out of the way, bring this up again. Accommodate, make some more room there. And, yeah, it's getting closer. Probably being a little too exacting here. Not all that important, since we're not really gonna be seeing Probably this far into the mesh, but just want to kind of make sure I'm closing things off the way that it needs to you, and it's looking good. So now we can go ahead and kind of work on the complexity of this mesh. Bring those here, and then I'm gonna go ahead and, uh, kind of bring some of these in and down, giving us a little bit, uh, well, given extra lip there, which again is just gonna add some visual complexity. So since it's a little hard to see that bring this down so you can kind of see it peeking in there and yeah, that's gonna do You gonna do what we want to do? I think so. Ok. Looks like we got some flip Normal is going on there on the inside edge. So what? I want to do is grab this right here, separate that out so that it's actually its own separate interior mesh. And then I want to unshackle Cal Korder, and that's gonna flip those back around. So that way you can actually see that on the inside. You can see that it's adding a nice little lip in there that just ask, um, the feel that there's more than one piece kind of being thrown together in here. So anything you can do to kind of add to some of the visual complexity is really gonna help in case you guys get close, close up with a render or anything like that. Okay, looking good. And now I want to go ahead and kind of finish out the body of the housing for this light. So I'm gonna kind of mimic what we've got going on here in the reference. And so what I want to do again is go ahead and duplicate this and I'm gonna go ahead and bring that forward just a little bit. And then I'm pretty much just going Teoh, start with what we got and the more kind of modify things, tweet them and see if we need to kind of adjust things. So we kind of get all the Virts back in the place here, and then we'll start playing with these little So I'm not really worried about the Bev ALS . Do you want to make sure this curve is kind of in place and so we don't need a lot of vertes to define that since we are using a sub surf, But I'm gonna have two of those. So this point, I'm just extruding trying to get those in place. So two or three for each of the curves. Probably plenty that I could go back and add stuff as I need to you so that back and see how that looks for we move on. Okay, so probably a little big, at least in the upper regions, because we're gonna have Teoh try to get it to match the inside of this. Remember, we don't need to scale. We can just kind of massage things in the place by pulling this contour down a little bit. So we're gonna bring this down like that. Wanna pull these for just a little bit? It's getting closer, but we're still not all the way inside. You can see we got that peeking out. So to make room, I'm actually gonna need to probably scale the, uh, Herbalife reflector down a little bit. And since the parenting has been maintained, if I do scale the reflector itself, then it's going to scale this with it, which is actually gonna be to our advantage in this case. So So the front you here on a scale this till we get it small enough, I'm gonna pull this back forward and one of things I want to make sure that I do is not have it too far forward on The Reflector. So somewhere around there's probably good. See, that's adding a lot of extra rings in there, which might do us some favors adding to the complexity. And once again, we just pull that back, fill that space in, and I think that's looking pretty good. So a little bit of Peking here happening because of the way this is shaped could go ahead and out of Vertex, pull that in the back, and that's gonna create a little bit more of ah, sort of stylized look there. So it wants you kind of get things in a place you do that, it's also gonna peek out on the bottom down here and again, Not super important. I'm not really worried about making this exactly perfect fact. Probably a little bit too much detail going on here. So we can probably dissolve some of these for disease and just try to maintain a little bit looser topology because and keep in mind, we're not ever gonna be really getting super close on this stuff. Probably. So a lot of this is probably just overkill, but totally up to you. Um, definitely depends on what your needs are. And I think the most important thing to keep track of here is that you want something to be visually complex, but also to be unique. You don't want to start looking, uh, exactly like something else you've already modelled. So just kind of mix it up a little bit. I'm just kind of freestyle in this right here right now and trying to get something that looks good up the subset of a little bit. There, you can see that adding in some nice, uh, hard service edges. And if you wanna better crease, you can definitely slide this back again at a triple triad sort of group of points there. And you're gonna get a really nice hard increase there. So think that's really gonna do it for getting that in a place I'm like. I say, you can kind of come in here infinitely, work on tweaking things to your liking. It's really up to you guys how you want, Teoh get things in place. But that's going to wrap it, forgetting that in a place we'll go back in later if we need to you and ask details. But I think next we're gonna work on this small light right here. So that's what will be next. 36. Creating the LED Light: in this lecture, right? Work on getting our little led lights here in the place. And so it's gonna be pretty simple modelling, but I will go ahead one. Yes, through this. So a lot of the same settings were going to use on Let's jump in here. It started. So do the led. Um, if you never seen led before, I have a lot of different shapes, but the most common is typically like 1/2 sphere. And so let me go ahead and start with one of these here, and then we can go ahead and kind of get rid of half of it. I'll go ahead and extra these back into space. Can I get our basic led shape and this sort of traditional looking ladies, some of the more modern ones or a kind of square shape. But anyway, so you guys can kind of experiment on your own to see what you guys wanted to you with that So one of maintain quads, we could go ahead and basically divide this in half and connect that up and just quite this out on all sides. So there we go. Not super necessary. Were not really going to see all of that. But I always like to me take Watts. So now let's rotate this like this, scale this down a little bit, jump into the front. You kind of get this over here in the place. So it's like we've kind of got a configuration here, if about five of these. So I'll go ahead and just kind of get these roughly into place and, as always, probably tweak some of this. But that's the basic configuration. Now let's pull this back into space here. Now we need to kind of decide how we with housing to sit and how we want the rest of the match up. Now the whole itself here is not really aligning Teoh reference. So I want to offset these a little bit. Where there mawr in the direct center of this whole is it sits into D assembly, and now I want to decide if we need to keep these straight on or if we want to kind of rotate these back. So where they're kind of sitting at an angle like this, Um, seeing as how these air sort of ah supposed to be protecting the light forward to help with elimination. I think we're probably gonna want to keep the configuration forward. But again, your design will probably different quite a bit then. So whatever you do, just make sure it kind of fits with the car you're using or the functionality that you're aiming for. He's gonna be admitting the lights, and then we need to again figure out how to set up our our little, uh, assembly here for this. And so once again, I think I'm gonna go ahead and just use a plane. We're gonna set that up again to be, um, using the screen modifier. So this is gonna be a really simple one. I'm basically just gonna dio uh, up and then back to create a basic cylinder. And so let's make sure we had a screw modifier here said that why you keep that 16. That's fine. Now I want to just kind of get this in the place. Well, center this up on that center led scaled us down. And so it is kind of lining up with the outer part of that circle small enough to fit right inside. Flip the normals there, and then, of course, we're gonna have Teoh hold this back in space, lined this up and I want to create a lens on the front of this. So unlike the parabolic reflector down here with low beam, all the other lights that we do up here, we're gonna have lenses that kind of project the light forward. So once again, let's pull this up a little bit. Make some room for that. And I do want to kind of give this a little bit more of a definition. So what kind of pull that up, give it a little bit more lip there, and that's good. So we want we can go ahead. And that's absurd. And you were like that. Okay, So the unfortunate downside of using the screen modifier is that we're not able to do anything unseen metrical about the way these lights or set up. And really, I would have to say the best benefit you're going to get the best bang for your buck is gonna be customizing your like configuration to you kind of have a lot of character. And that's the only gonna be possible if you're willing to go in here and kind of get into each of the specific objects spend some time tweaking them. Um, I would really recommend not just blowing right through this, but really give it some thought. So, um, what I would like to do is kind of angle the contour of this back. But in order for that's what we're gonna have to go and apply the screw modifier. So now that we've got that applied, we can see that we've got all these live. Now I'm gonna go into the side view selectees, and then I'm gonna kind of roads hate thes around like this. So we've got kind of a contour going on like that. Then I want to scale these back out, but I don't want to scale in the Y direction. I just want to scale around the Z in the ex. Im gonna hit us shift. Why? And that will kind of expand this back to where it's even from left to right here. But it won't keep that circular contour for us. So that's good looking. Good. Mess with that a little bit. Get in place now. I want to create a small lens. It's gonna go in the front of this. So before I do that, I just want to make sure I'm happy with the way that sitting and I'm liking the way that's gonna line up. Actually think I wanted Teoh kind of mawr closely match up with the contour of our whole. So she's gonna have toe eyeball some of this to get it in place. But my worry about the front you right now, I'm really just kind of worried about the side. So rotating around the X axis here and then once again, we'll scale it shift. Why? And get that back to a circular shape there. And it seems like when that happens, kind of flattening that back out. So I wanna overcompensate and then do that again and hopefully flattens back out this time . Yeah, we're maintaining that nice same angle there. Okay, so it's, like a little bit of a mess here. Scaled that back in on the x axis. Yeah. Good. Okay. It's now that we've kind of got that in place, move this back a little bit, rotate down the places they're looking good and want to make sure that our bulbs are again not really gonna be getting in the way so I'm actually gonna pull these out a little bit Sore. Where again? There on that pitch. So just selecting each one of these ladies and kind of angling them back in, sort of a multi tier, sort of lay out there, and now we're gonna go incredible ins. Now, this is similar to the way we did the windows, and it's gonna be pretty simple. Um, all I really need to do is, like the inside ring here and go and duplicate that. And then if I want scale that up a little bit, he's an altar s here to kind of fat in that up. Hold this back into space a little more, And then what? I can go ahead. And do you, um, is true. The Seine get a basic Phil, and then I could join this up in the middle with an extrusion merging all of that. But if I wanted to maintain quads, I would need to work out how we're going to kind of join everything up. So pull this forward a little bit. You. What happens when we tried Teoh Sort of start connecting all this? See if we can actually get quads here, and I actually think we can So got enough efforts going on here. That's not gonna be a problem. So go and connect these up. A little bit of danger will get some pinching in the middle. But I'm not really concerned about that. Is like I keep saying over and over again. At this point, this is gonna be pretty small. So pull this out a little more just a little bit. Now we go ahead and select that outer ring all the way around. Make sure we get all those Vergis ease, and then we can get pull this out a little more. Might even inset this another level of, uh, averts in there so we can pull the side and just created more of a bulge there. Okay, so now that we got that in place, want to make sure that I have any of the remaining led ease tucked back far enough. But they're not gonna be an issue. No, I hadn't smooth this out. And then that will suffice for the way it looks on the outside. But when we get the texture in all this stuff, I want to go ahead and set it up so that it's gonna work with our shader is nice and easily so Anything that has thickness like the glass for the windows, the windshield or lenses like this, you're going to want to make sure you thinking it. So we're gonna use our solidify modifier once again. This time you don't want to check only room. You want to make sure you've got the whole thing extruding back into space. So I'm actually on the wrong object. Let's go ahead and make sure we have our blends selected. And I think this is actually still part of that object. So I need to separate this out and then, yeah, let's go ahead and add a solidify. I want to do that before the subsurface. And again, we don't need to pull it back a lot, but we do need to pull it back enough to create some depth there on. There we go. So you go ahead and apply all that if you want. I like to leave on my modifiers active until move on to the next stage because I just want to make sure I'm able to tweak things easily if I need to. You and once again, that is a reasonable layout. But that's what it takes to get that light done. And so move on to you doing the high beams next. And that's gonna be it for all the lights set up. And then we will get into you somewhere. The reflectors turn signal things like that. So I will see you guys in the next lecture. 37. Creating the High Beam: Okay, guys, this one should be pretty quick because we're gonna be doing the high beam. And it's not a lot different from the low beam in terms of set up. So basically going to need Teoh get one of these housings in place. And so once again, we can go ahead and duplicate that or again. We just go ahead and start a new one. Might be a little simpler to you. Start a new one right now, because, uh, this is gonna be a little bit different, as it turns out from this one. So I want you kind of go ahead and work on getting things in a place here, so I'm gonna start by putting over it right there. Then once again, I'm gonna block to sin, really. Simply to begin with, we could go back and add stuff later on is needed. Let's start with something simple. Just like that on. See, it probably wants us to come in a little bit like that. Well, that back into space on start off with that and see where that gets us. So we'll need to add a amount of fire once again. I notice a lot of the stuff that I'm doing in these lectures for the lights is really repetitive. And the reason for that is just because, um, a lot of the elements air really the same. So, uh, let's go ahead and kind of bring the stand till it's closer to size. We'll go ahead and jump in the front. You kind of get this in place. Skill that down a little bit. Go ahead and subsurface that up. You know, I'm watching the right circle as we're trying to follow us around and figure out where these air sitting again. Not super critical, but definitely wanna make sure that I'm inside of that ring. So here. See you those a little bit. Find out once again that it's a little bit big for the size. And that's because we've been set this bevel. So I'm gonna keep the active vertex appear selected, and then make sure I'm around the point of active element right there. Scale this up in the Z axis. Just going to squash this up and expand that out a little bit to make more room for that light. And well, that little bits that's gonna work. Okay, so again. We got kind of a decision to make here. We could decide whether we want Teoh kind of bring things in and, ah, rotate this around. Kind of get a slant on this or if we like the way that it's poking out here, um, really depends on how we want this to be perceived. And if we want to keep this one down here being exactly the same, definitely have it designed that way in the concept art. But it doesn't have to stay that way. So this is one of those situations where we need to kind of be a little attuned, Teoh, what we need to do to be adaptable and whatever works best for the design. That's what we do. So it's against trying to massage things in a place they're and bring this back kind of just pull this this all be covered up any race, and that won't really matter. But Okay, so we're gonna have a bull inside, and then we're gonna have another lens on the front. I'm gonna go ahead and add a, um you ve sphere once again, we're gonna keep it really low, irritate that arounds this lined up and size properly. What? Somewhere around there and because we're not really gonna be seen all of the inside of this right now, I'm not really gonna worry about it. We may have to go back in and add a dish or something in there when we actually get to shading this in the next course. But, uh, we're not really going to see that, and I don't really know how that's gonna need to work out. Um, the lens is really what's most important because unlike the ones over here, this lens is really gonna be kind of hazed out. So we're really not gonna be able to see through much in terms of depth. And that's why I'm really overly concerned about the way things were looking. Let's move that out. And then once again, let's go ahead and create our lens. So go ahead and separate that off. Give us a ring week in years. Go ahead and apply that we've got some virtual work worth and let's work on how this lens is going to look okay, So rather than just kind of manually shifting things around as we did before, what I'm gonna do is, uh, going to snap the cursor to the selected change that to be around the three D cursor. And then when we extrude this, it will automatically It's true those in for us. So I'm gonna kind of gauge how Maney sets averts I need here. And then we will go ahead and kind of join things up quads once again. So if you remember how we did this, basically, I'm, uh, just making sure that I have the right amount of birds here. It's you creates quads when they join up in the centre. Everything's even and so just quickly joined these up. Okay, I would do the same thing we did earlier when we did the parabolic reflector. And we're gonna use their proportional editing with sphere option turned on. That's gonna let us bend this outward this way. So that's gonna quickly give us Arlen shape. Go ahead and add are, uh, object Moon. Smooth that out. And then let's make sure we're happy with where this sitting. So let's reposition this right about there, Okay? Now, I'm gonna go ahead and add the sort if I modifier again, make sure once again, we're filling the whole thing because this is gonna need some thickness and way too much. So pull this back toe were somewhere right around there. I stick piece of glass for our fog lights or are high beams. And now we just need to scale this down a little bit where it's sitting on the inside of that. Now it's really up to you again. How much consort you want on this before you apply your solidify, Andi, like that. Make sure that you've got your curvature the way you want it. It's a little easier to maintain you've been this that way. So once again, we want to kind of bulge this out even more. Pull that forward a little bit and there we go. So that's looking pretty good. And so we got our bulb approximately in the right location. Then we just need to make sure we're happy with where everything's sitting and I think deeper in like that is gonna be a little bit better for us. So that's what I wanted Dio just like that. Okay, The last thing that we can do to this piece before I move on is a little bit more visual interests of this that it's little bit separate from this piece up front. Go and apply thes screw here and then I want to go ahead and add some details in here that's gonna make this kind of pop a little more. So add some supporting groups in here, and then what I can do is kind of select this all the way around. And let's go ahead and do every other one, so I will just be select. He's. And once we got that, we can kind of go ahead and inset the's a little bit, actually, before do that, let's go and do an extrusion. Well, that in a little bit, yeah, we'll go ahead and pull that up. Um, turn even on will go up 0.95 0.95 on the other side, even on got sort of a square shape happening there and, well, that back a little bit just to smooth that out. Same thing there a little bit more even there, And that's doing doing some good things for us. So just that little bit of visual interest from, uh, you know, this distance get a wider shot. We're not so close in it's gonna add a little bit of break up for us and always visual interest. It's gonna help us out when we're looking to do a nice car. So in the next lecture, we're gonna get into doing the reflectors, expanding the set up a little more and trying to wrap this up and get into the rest of car , so I'll see you there. 38. Adding Room for Additional Reflectors: this lecture will be working on making room for our reflectors. So if we look at the mess right now, kind of got this base serve angular shape in place, but want to make some holes in here to accommodate the other pieces. So if you look at a reference, you can see we've got for Fletcher down here. It's kind of helping to amplify this light bouncing around even more, uh, sort of reflection piece of her here, turn signal there and then one more up top. Um, I think I'm just gonna go ahead and all of the reference here and just to make things a little easier on us, just get things in a place for these pieces as they exist here. So we need to kind of decide how we're going. Teoh, modify the mesh to make room for all these things. And I think for, uh, this front piece down here at the bottom, it's gonna kind of angle in with these lines that are gonna be sort of a chrome reflective material that bounces to slide around. And so because it's just gonna be in an angle, I think I'm gonna need to do is kind of just push thes vergis, ease, um, into space. So we've got kind of a div it inside of the shape itself. So it's gonna drop down a little lower in there, And if we need to extrude, we can. But I kind of want to see where it is gonna lead us. So all these down cannot be into exacting here. I just want to make sure that, uh, happy with where this is headed. It's good we could go ahead and extrude that, but I think I'm gonna play with the positioning as it stands right there for our reflector . So let's talk a little bit more about how we're going to need to make changes here. Now, these are actually gonna be embedded into this base mash. So definitely for this reflector. And this one, we're gonna need to do some sort of mesh extrusion or separation. So what I'm gonna do now is try Teoh kind of get thes. Vergis is realigned on the base, mashed so that we can have an easier time trying. Teoh, follow these contours and split this off. So what kind of massage? Things in a place don't want to go all the way over here because we're gonna have to stretch this over. And I like the way that this is already shaped. So I don't really wanna have to read you any of that. So we may have to play with. It's going ahead and adding in a cut there. I don't want to just add a loop cut because it's going to go ahead and go all the way. I've been here, and that's gonna create a hard surface edge for this circle. And if we don't want that, so use the manual cutting here with the knife tool all the way over. And now let's see if we can start following this contour down all the way to the bottom. And that's looking. He said to me, So just edge sliding here, making sure to kind of maintain this outer contour as closely as I can. It's not gonna be perfect, but we are gonna be shifting things around, so it's not that big, Okay, but, um, and me to kind of see how we're going to you get this up here, one of things we could do is just kind of rotates around three d cursor, since basically a spherical shape, uh, rotate that. None of those over in a place. And it shouldn't make huge difference in this overall shape here, so, yeah, it shifts things a little bit, Um, so many to kind of tweet this by hand a little bit to get where we want it, but it doesn't have to be perfect. So zoom in here a little bit, Make sure everything's still kind of in place on, okay? And let's check this top one up here and see is when you do the same thing, I think that we do. So what skin Rotate that around the three d cursor that locked in there. Well, this back a little bit the same thing over here once again, just kind of checking to make sure everything's kind of still in place once we do that, Um, go ahead and just kind of slide things around, so we get them sort of lined up there. You had an add another cut there. Well, let me kind of even out. He's, ah, edges and a little bit of control over this border. Here. It's more that triangular shape. So this down and I think that's gonna be a good set up for getting everything extreme. So let's jump over to face Moon. Now I'm gonna start sort of at the bottom, work my way up. What I want to do basically is think big and then we get specific. So if these were supposed to be one giant extrusion in, I would want to do these all at the same time. And then, of course, we could extrude with some extractions after that. But I think what I want to do instead is just your separate extrusion Zen. So we need to kind of decide how that's gonna look. We've got separate borders here and looks like you got an outer border going all the way around so I could do this first the second and then do this last, um, really kind of pay attention here and make sure that we are happy with the way that's gonna work. Actually, I think I'm gonna go ahead and select the other one and go in with that one as well, because again, I want to work from biggest to smallest here. And so I'm actually going Teoh, pull this whole section. Um off and back. So let me show you what I mean. It's going to inset this. Would it be to, um let's turn the border boundary off and that's just gonna do the inside on the inside faces. What? We got a little bit of edges there. We're going it. Why? To split these off of the mesh. Then I'm just gonna move these back in the space, try to push those around a little bit, scrums those in place and do a little bit. It's Weiqing there. And I don't want to do you a whole big operation right now, getting those kind of really further back into space and out of the way. But I do you want to do is kind of separate them enough that got our separation happening, and then I can rejoin things pretty easily. Now, what I want to try to do first is just do a bridge. So I'm gonna select those boundary loops, making sure that we have an even number of urgency selected. What should be easy? Because we have the exact same number of edges control unit popping or edges menu and then bridged the edge loops on hitting on how far away you transform that. It may or may not work, but if it doesn't work bridge of those manually. So throughout this. Okay, so now I'm gonna go ahead and add a lute. Pull that down to the back, give us a nice little hard edge there. Then we're gonna work with this to kind of again at our pieces back in. What I think I wanted to you is go ahead and select this devil it a little bit. And once we got a nice little double, their made you a little insight again to give us. Ah, nice little Phil. It'd edge. Okay, so a little bit of tweaking rodeo just to get all the pieces Kind of where they're not stretching, so tweet that a little bit. But for the most part, that is kind of getting us where we want Tokyo for prepping things with the intention to put the reflectors and the turn signal on all that in the place. So it's looking good. Um, in the next election, we're gonna get into actually building the reflectors. It's gonna be pretty simple, because again, we're going to allow that texture ring in the next course, but we're definitely gonna get those into place. And then we're gonna get really close to wrapping up. You have light assembly, so I'll see you there. 39. Adding the First Reflector: in this lecture. We're gonna start building out our reflectors over here. So let's take a look at our reference here and kind of talk about how that's going to work . Now we know that the reflector or the turn signal is over here. We know that's gonna be pretty much plastic. Um, probably some texture on that. But these other three, the top, the middle over here in the bottom don't really tell us anything about the material itself other than maybe the texture that you see on it. So we need to decide if we're gonna model this and get these details in, Um, and if that's necessary, or if we're gonna do these with texture in process. And so what we need to talk about a little bit is what the materials going to made up of and how that's going to affect the geometry. Now, anything that's gonna be transparent, uh, there's a good chance we're gonna need to you go ahead and kind of get some of that detail in there because it's going to affect the way that it refracts, and the texture isn't necessarily going to be able to do all of that for us. So the better you can get the geometry locked in place for transparent materials, the better. It's gonna look when we get the lighting and shading. But for the other materials that arm or chrome based or reflective and they're solid and nature, you can pick a lot of that with surface details. So most of these are gonna be just solid. And the only thing I'm really gonna want to do you transparency on that we haven't done already. It's probably this reflector over here and possibly this up here, so we'll have to take a look at that and see what that looks like. But I think we're gonna focus on these two at the bottom right now. So let's take a look at this one so you wouldn't get that in a place. I'm gonna start off with just a basic plane and we'll go ahead and kind of get things into place here. So just rotate this in a place kind of skill, this down. Give us a good starting point there. Now, the great thing about this shape is that it's got pretty rounded corners, so we're not really gonna have Teoh worry about putting in a lot of extra geometry to hold those. I just, um So we just need to get enough in there to you. Can you give us this overall contour that we like Nelson Engine side? How this is gonna look from the side of you because we only have the front you here to work with. So start off. Let's pull this back up to the front of this and then when you decide, do we have depth here or is this just flat inside of this sort of con cave area and d base mesh and then bulging out? Or how is that gonna look? And so right now, let's just go ahead and block in the rest of silhouette, and then we can work on how this is gonna look when we start placing this. So last thing I wanted to hear is kind of roads. Hate this and get that there will do the same thing on the other side over here. Make sure we have enough points in sort of this middle area to define this curve at the bottom. So that's important. And then just enough supporting edges over here that we're gonna be, Ah, we're gonna be OK when we start Sort of subdividing this and all of that. So just kind of get this last thing in the place over here and let's Ah, let's go ahead and add a subdivision modifier. And then let's rotate this or like that. Actually, we're gonna just go ahead and pull these in the Y direction back. It's only gonna optimize that Well done. It's you subdivisions. And then we go ahead and pull this back in the space. So let's use our personal editing here. Try Linear. So that's working for us. Go back till that's pretty much inside of the mesh and then just kind of work on the fall off there. So it's working a little better for us. But I need to do the same sort of thing up here at the front, Uh, is above the mush there. Okay, we got a nice little been happening there. Let's go ahead and smooth this out with the faces. That's a little easier to look at. And then once again, just trying to get all of these in place so that they're sitting on that mesh. Okay, so if we leave things like this, we're gonna need to create another surface over here to fill in this side. So we could leave this up. We could flatten this back down on the bottom and then create another subdivision going to the middle. It's really kind of up to us to decide what's gonna look best. So we just switch off my proportional editing there and then let's just gonna go ahead and fill this and the best way we want. Teoh, have this look so being that this is gonna be a solid objects and I'm not really all that worried about the geometry needing to be all that complex, um, school had and just fill this in. Normally, I would use a solidify here, but because we have such a weird contour, it be easier. Just go ahead and build a side down. So I want to make sure before I do that I've got all of my peace is sort of sitting on the ground where they need to be. Okay, so now that that it's working, let's go ahead and pull one of these edges down over here. And this is that contacts will be able to kind of join things up the way we need Teoh. And it will be a little easier. So pull this back a little bit. Connect that up. Sort of get our meshed on there with a quad there. We go ahead and cannot bring these back into place. So we're gonna need at least three subdivisions there. Let's join that up, Subdivide that. That's going to give us a quad there. Same thing here, drawing that up and then once again, make sure we have enough subdivisions to go across. No, we just fill this up. Okay, So now let's make sure we like the way this contour is God curving for us, working out, what kind of even things out, a little bit more. And then we're gonna go ahead and fill in any other side as flow. So once again, we kind of figure out we're gonna join things up on the side over here. So let's go ahead and bring that up a little more. Probably. Actually, bring those over forward. Join that up when that start there. So I've got that in place. We can just kind of sweet things around. And so we like the way this concert where and once again always thinking ahead to you how we want texture this And if that's going to affect the way we need to model things, get those in the place. Think based on what we've got here, get a nice little sort of organic shape happening with that. But I do want to do is make sure that contours kind of following this headlight shape, that we would get a little bit nicer transition happening there. So want to make sure all the orientations properly roads headed. And then once we get everything kind of grounded, we can just kind of slide things around and make things a little easier to lock in the place. Okay, So like in that a little better Still need to make sure you properly seated. That is always It's just about tweeting things until we kind of like the way that it's sitting. Then any interesting things we gonna add to kind of make the mesh little bit mawr, um, sort of unique is gonna help us out. So once again, just kind of pull these back in the place. There we go. Then we can try to figure out an interesting way to you. Kind of add some devils going on here. So go ahead and select these and see, we get It's kind of interesting. A little more like that. Bring that, um, do something similar over here. Just totally making this up. Not, um really all that concerned with that's looking right now, but I think that's gonna do a nice little Consort Ridge for us there, which will make that a little bit nicer when we get some of those reflections going. So that's gonna wrap it for that one. Probably go back and sweet. Yeah, just a little Morgan were smoothed out, but that's pretty much it for that one. Next lecture will take a look at adding this reflector here, and if time will add the turn signal, so I'll see you there. 40. Adding the Second Reflector: you guys in this lecture will be working on building this reflector right here. And so, looking at the reference here, we've got kind of a really swishy design leading into you. You turn signal over here, and I'm kind of not really digging the way that this is looking, the reason being that it's really similar to all the other curves we have going on all the way around. If you look at the reflector pieces from all four of these main pieces we have drawn in here, they're all kind of similar. And so I want to break that up and kind of add some more visual interest in some design elements into here. Make this just a little bit more fun to look at. So in order to do this, let's go ahead and start off Simple. Um, what's going to add a basic cube? Really big. So let's pull that down and we're just gonna kind of get in here, have a little bit of fun and see what we can come up with. Um, so I have a basic idea for what I want going into this, and I know that I want to have some sort of zig zag Jackie elements going on. But again, I don't know how that's gonna look it. So what I'm doing is starting off simple so they don't overwhelm myself, and then we can kind of work out the details. Us. We go. So first things first we have to get oriented so that we got a good, nice corner base to start off with here. Otherwise, it's gonna be a nightmare trying to get everything lined up. So the kind of at least get things see, get things lined up here is where it's sort of in place. So, um, again not focused on details right now, we just want to get the big, blocky version of this put in. So what I want to do is kind of start off by defining that outer zigzag edge. So I'm using the local transform their to get that in a place, and then I'm gonna go ahead and extrude this all this out with another extrusion. So let's pull that out in the local. Why? Here we go, and that's going well there. It's going to rotate that back in the place and we'll see trying to get my local, uh, transforms working there. So see it one more time. Let's go ahead and pull this bark. I want to have a stepping motion happening there. But the way that's working and so we need to just kind of work with are, uh, John. Try not to get that back in place, So go ahead and join these back up over here. Go ahead and cannot block this out. Yes, that's where we're back to quads There of it. So, actually don't need this over here. One of these, okay? Nobody decide how we're going to. You kind of work with. What we have here is airbase mesh. Got everything kind of put into place. We could start pulling things. Um, trying to get them just kind of lineup with this outer edge over here. I want to spend a lot of time with this because, uh, it's not really the most important part of it, but we definitely want to get things blocked in wherever we can. So was in a place then. I think what I wanted to you is I kind of pull these all down so that they're kind of sitting in an interesting angle there and might even try to do some interesting tweaking here to get things I have quoted back out in a different format. Um, sort of do that it's actually jump into you or text mood and will join these up. Now we can kind of rearranged the way that things air flowing here started one corner and go up uniformly there. I don't let us get some kind of interesting things happening there, then spreading collapsed. These edges need that many faces over there. Okay, so and I grab these faces now, go ahead and set. Make sure we type much of an insect would want. So it's too 15 you know we can do is go ahead and select all of these. I'm gonna go ahead and inset. But I wanted to you individually just all hit. I again let me inside all of these separately. Then when I pulled us down, I've kind of got, um, separate faces happening there, which is gonna again bounce the reflections around even more. So switch my pivot point individual origins and I could go in scale. These bring those way down, given some interesting shapes in there. Okay, and now that's in place. Before we finish this off, I want to go ahead and now line everything where it's kind of better sitting into this cavity we have over here. So I didn't split that off. What I did there was that an ex elected and I had all d and that's put that off for me. But now the edges aren't really connected the way we need them to be. So now I need to manually kind of connect these that just back up, - get that in a place they're They wanted to make sure that it is kind of sitting where we wanted to say, Well, right up a little bit. Now I just want to select all of the main edges and devil things. But because we don't need the bottom faces, that's what I want to get rid off right now. Little hard to seize. Let's go to the side here and see if we can jump in here and there are these. Okay, so I think that's pretty much all of them. We're sort of edge happening there. Go ahead and get rid of that. Here we go. Join these up. Sure. All of our normals appointed the right direction. On what? See? No, I think we're happy with that. Okay, Now we can go ahead and kind of split all of our bevel up the way we want it to be. We can try just doing everything at first. You know, that works, it's double all of this and we'll start off with to see if we're, like, in the way that looks and seeing as how we're not really gonna use a subsurface on this, I think that's OK. Uh, we might try three just to see how that's gonna look out for us. So that's yeah, I think that's looking a little more high definition. My cassettes were not doing a sub surf. It's not really gonna matter. And ah, that said, because we're not doing a subsurface triangles actually don't matter either. So we don't even have to bother fixing those, which is always handy. Um, specially if you're used to having a quiet everything out, it's nice to not have to do that all the time, So Okay, so now what I can do, because I still need to kind of get everything kind of massaging the place is turned on my proportional editing and then just kind of push and pull things. And so we're happy if you don't wanna mess with the contour of something in the way that it's laid out, like everything together that you don't want to mess with and then everything around that will be tweaked, but not what you have selected. So it's not doing enough to really mess with the way things were looking could split that. But I think I'm just gonna leave it and instead, again, just pushing poll as is needed, and that's pretty much it. Once we get this kind of massage in the place that will be there, and if we're happy with the way it looks, that's all we need to do. It's going to get a nice little unique reflector in the place, and, um is gonna lead us into doing the turn signal the next lecture and that what kind of almost wraps or the entire headlight assembly there's one more reflector to do you up top once we're done with that and that'll be it. So I'm gonna go and continue to tweak this until I get it, kind of Ah, aligned with the mesh. Better to the way that I like it. And in the next election, I'll update. You know what I did, So I'll see you there. 41. Adding the Turn Signal: this lecture. We're gonna take a look at adding in our turn signal, which is gonna be sitting right here. So let's take a look at our reference and kind of see where we're at now that we've got our other reflector down here finished and how that's gonna affect our layout. So we know we're gonna want con sore the turn signal up against the side of this mess year for the front. Hi. And so we're also going to want to connect this up somewhere down in the middle here and kind of provide a nice fall off there in relation to the peace we just finished. So to start off, I think what I'm gonna do is grab some verte sees from this edge here. That way, we don't have to rebuild circle part, um, and so we just need to pick whichever part of that is gonna be best for us. I'm gonna go one lower there on that. Then we just need to de select the parts that we don't need to have, so probably come down to, uh, definitely not down there, but maybe that far. Let's look at the reference again. So, uh, Yeah, he's So I'll duplicate those off. Move them over slightly in the X access. Most separate those out from that mesh, so you can see we maintain that curve and give my starting point for the rest of this reflector or the turns ago. So what we want to do is again, Bill, just the outer surface going down to the edge. Here, join this back up over here to the bottom, and then we're going to solidify this because it's gonna have some transparency. So we just need to make sure we've got everything lined up. And let's go ahead and subdivide that a little bit. Give it some bend in the middle, Then we can figure out how we want to. You kind of build this out. So let's see from view. Bring that in a little bit. Definitely want to. You add a little bit of a subdivision there. Once again, I'm not wanting to match the reference perfectly because we're gonna have to figure out how to sort of expand this out and fill up the rest of this open area we have here. At least that's the goal that I have because I want to you kind of utilize the space as much as I can. You gotta remember we're gonna reading this from a distance. So if you look at the mess here in relation to the rest of the car, you remember these air this big and related to all of this. So if you have a big, wide shot of the car, you're not going to see a lot of this. And so only when we get up close and kind of look at headlight from about this distance, we're gonna be able to see all of this stuff. And so I always wanted to kind of remind myself of that as I'm going through in modeling. It's easy to forget that and then end up spending tons of time detailing in all of this extra stuff. That's just not gonna be ever seen, even when you render up close. And, uh, it's really just, you know, kind of a waste of time. And frankly, it's going to slow you down when you start rendering. So get that into place. Okay, so let's grab this whole edge over here on the right, and it's kind extrude this down. Make that the active. Vertex will select active element for the pivot point jumping a side view like this. Make sure we are kind of sitting where we need to be on the ground plane during these down . Just like that. Okay, go ahead and smooth the overseas out. I think the normals are flips. Yeah, they are. So we'll flip those back and see how we want to fill in the rest of this mesh. Let's do that for right now. And work on tweaking. I've just been is gonna look and then just go ahead and finish up this shape going all the way up to here. So subdivide this again. It was a little more access to you. How that sitting all these back a little bit. And then let's go ahead and figure out you get everything back in the place over here. Okay? So we'll extrude down. You noticed you in this lecture. I'm making sure to kind of always check from the Ortho graphic views to make sure that everything's lining up the way that it should, because we're going to have to make sure as we wrap this up that all the elements are falling into place. Otherwise, we're gonna have to spend more time going back in tweaking things. So I'm gonna actually jump in and, um, snapped this to the edge of here because that is the framework for our headlights. It struck again in the front. You So I'm using that to kind of dictate the height that were at now, I'm gonna kind of slide this back down until I'm matching up where that's ending. In the from you. That makes any sense, Uh, snapped into this to get a basic height and then slid it back down to you. Kind of get us where we want to go. That if I just transforming the why it's not really gonna affect the farm for you, but it will change. Sort of how that's wrapping and the depth of everything. So I wanted to kind of figure out how we're gonna join all the rest of this up. So quad that back out. Well, I had one more point there to make that acquired. Then we'll join that back up there. Okay, so we got our basic shaped locked in for the turn signal. Now, what I want to do is kind of refine everything, get it locked in the place. And, uh, if you overall other consular of this smooth out that way we solidify this. We know that things are gonna be fine the way they are. We really have to mess with this when we go ahead and add the light bulb and things like that into the the turn signal. So you bring this back a little bit, remember to we're gonna be filling this in on the side. So it's not super critical that everything is perfect right now, but I definitely want to get everything kind of position correctly. So let's go ahead and add the solidify jump in here and solidify. Now, I'm gonna add this before the sub surf. And again, we don't want to just fill the rim. I want to feel all of it will leave everything by default. Checks won't go up to you somewhere around there. Not really gonna be able to see how that's looking. And so we're able, Teoh, go ahead. Double things. But I think that's gonna be pretty close. Make a little more thick. There also Remember, too, that the back end of this is going to be closed off. So we go back to the car for a second. Um, back in here. We're going back into the body of the car so you'll see glass on this side. But back in here, it's gonna be cut, Officer as worried about how the reflector and the rest of these pieces up here are, um I joined up terms of the depth. What I am really concerned about is at about this single where you start to rotate into the body of the car, overlapping. Am I going to see any holes? And I want to definitely fix those. Get everything in the place where that's not happening anymore. So So not really, um, happy with the way it's bulging. So what kind of do what? I can give us a little bit more of an edge here. Go ahead. Enjoying this back up, down to the science. We got some more geometry to play with and go ahead and out of the blue text there. Okay, that's a little better getting into the kind of building our little wall over here, but I think that's kind of necessary to enable us toe get enough of ah definition in the middle so we can try to find how that's again. Sort of bulging out from the center. All right, let's take a look at where we're at. That's pretty good. I want this to definitely be a little closer into the middle here. I'm gonna bring these edges until they're very close to the inside over here. I wise, but should be okay, because remember, we duplicated everything off of that base. Uh, absolutely. Again. Just kind of massage things in place, getting everything we want. It's and I like that a little better. So it's working. Okay, so we got everything in place there. It's Go ahead and apply the solidify. Go ahead and jump on edge Moon Devil this out on the edges. And I'm gonna want to do that on the bottom side to you. So make sure you select there was a swell and then any corners that need to be sharp, you got to select those to you. So let's go ahead and grab all the stuff. Appear That's supposed to be kind of sharp the rest of this, you know, um, again, this hasn't been locked in, but I just want to make sure that as I select thes I've got a good idea of how this look. So yeah, I want this one to be sharp. Can't referring back to my reference to make sure kind of following the way things should look. Okay, it's got double this and down here at the bottom, we'll go ahead and, uh, kind of start bringing these up a little more. We're back into the bottom of this mesh kind of avoid that little scoop right there. It's kind of cutting into that. So go and again, I'll probably do a little bit of tweaking just to make sure that I'm happy with where everything's sitting. But I think for the most part, that's good. Last thing we can do is jump back in here and, um, kind of work on creating some interesting insects. So again, to do this, you basically just need to select your, uh, your piece is there and then kind of inset those and then extrude those end to get your shapes going. And before I do this, go ahead and supply. This observes, I've got a little bit more geometry to work with. Okay, so now that We've got some extra geometry to play with. Kind. You decide how we're going, Teoh, create some extra details on the surface here. So what I want to do first is kind of a line. Things in such a way that our service details are gonna be better in place for us to kind of work with things. So I wanna line up what I can. What I'm trying to do here is come up with some design elements that are going Teoh sort of give me a consistent set of Rose and Vergis ease that I can use to create some interesting insights into geometry. So you'll notice I'm only moving in the interior of urgencies. I've got set here. I've got a set here. Um, I'm trying to get those the same approximate with so I can actually do this over here too. You notice I've got the same number of Vertes going all the way up, so that's important. I actually grab one more row here. Use that as well. Let's go ahead and it's do these. I grabbed these right here, and then I'm gonna go ahead and actually and set those a little bit. Bring those down into the mesh a little bit down the Z and the why Kind of going back at an angle is gonna give us a nice little concert or there See this? I want to add back this absurd. So up to again. Look at what we got to play with. Then we're gonna want to go ahead and again, Devil these edges. So what I'm doing here is I'm selecting all of the inside loops that we created, and then I'm just selecting the corner edges that make up one of these sections all the way rafts. So let's doesn't selected devil. Those just use one segment there. It's gonna create a nice little square portion here that's really hardened up. It's gonna add a little bit of a nice texture to the top of this reflector for us. So I'm gonna go ahead and do that to the rest of these, and then once I get some more details put on here, we will, uh, Groban's you this last reflector up top for the final part of the assembly. So I'll see you in the next lecture 42. Adding the Third Reflector: this lecture. We're gonna work on building the reflector that you see in the reference on this upper part of the base here. But before we do that, let's get in here and talk about the modifications I made to the model after our previous lecture. So we jump in a wire frame hearings, you have added light bulb, the base. Ah, lot of this I just copied and pasted from our original element down here also kind of went back in and added some elements on the interior. This just in case we ever see what's gonna be on this lens back here. So if I hide this, see what I did there just kind of duplicated all this stuff and moved into their So not a big deal. And then here on that piece we're working on, I wanna had in, doubled all the edges on the inside of these extrusion kind of got everything into place, hugging up against the side of the base mash and then also built back up the wall on the outside of the base mesh itself because I really wanted to make sure that this entire shape was enclosed once we put it back into the interior of the car, and it wasn't gonna let light leak through this into other parts of the car. So that's what I did. And now in this lecture, we're gonna talk a little bit more about how we're gonna get a reflector in place up here. So the idea with this reflector is that some of the lights could be bouncing around inside of the turn signal is it flashes on and off. And so this reflector would supposedly help amplify that a little bit. Not sure how practical it is, but once again, it's my car. So do whatever I want. Um, so, uh, for your purposes, just use reference as much as you need to you to make sure that things are in place. But once again, let's start off with Cube. And we're going to kind of build the same sort of thing that we built up in the, uh the other reflector. You saw it towards the middle of the car or the assembly down here, so I'm not actually going to use the reference of the circle redoubt reflector that you see . Um, I don't think that that really is going toe. Um, toe work for the way this is gonna is gonna be reflecting because this is typically what you would see to diffuse light if it was a clear or a transparent material. And so because I wanted to bounce late instead, I think it makes more sense. Toe have some kind of shape that looks more like that. And so just want to start with something simple. Gonna get things in a place here. And then once we've got a base shape toe, work off, be a little easier to kind of massage everything in place. So it's dude, that's and then I'm gonna go ahead and extrude this face slide that edge up there kind of match that shape gone across that way. And then do we want to extrude down? Or do we want to just kind of extend or that faces today? Definitely want to add some geometry. So I think what I'm gonna do is go ahead and cut this across, but I want to cut from here over. So do this. No. Cut that down there. Then I just want to join up on the other side so I'll select those two efforts. And it, Jay. Okay, so let's go ahead and grab this face. We had an extra why nots, and I'm not gonna scale it. I'm just gonna slide that edge over at a vertical cut there. Well, this back and let's pull this way back over here like that, okay? It's not what I wanted to you is kind of get everything in the place matching what we see here with the Contour. So it could have been this back over there. It's sort of do the same thing and then bring these back up. So it's edge slide. What I wanna do now is kind of angle this down. So I'm gonna bring he's forward, Vergis ease. Sort of a lot closer to the ground on the inside of this, because, remember, we're supposed to be catching light from the inside of this and the reflecting back forward . So once again, we're gonna want to make sure that we are keeping all that in mind as we kind of model this out. So I think it would help Teoh kind of have its scoop a little bit. Bring this down. Same thing here. Make sure. Well like that That's a dipping inside like that. A lot more. That's good. A little lower on this one. Smoothed that out. And yeah, I think I like the way that's looking. It's kind of messy right now, but, um, once we smooth everything out and get everything kind of back in the place of the bubbles, I think that'll work out for us. Eso mean, pull this over a little bit. Once again, let's make sure this is down low and things How this is not gonna be a transparent material . Um, we're actually not gonna need thickness. So I forgot myself for a minute there. But I may want to keep it, because once again, we're at a weird angle. You might be able to see part of this edge, so yeah, I'm probably gonna keep it. We don't, however, need the bottom faces. Let's go into you local view. I must get rid of these. Yeah, So I'm gonna do the same sort of thing I did before, and I'm gonna create these sort of triangular faces. Then we may not even need to worry about sub serving this particular mesh because we can just do all of it with the Devils, and, uh, hopefully in the end, that will probably save us a little bit of geometry. So now we've got everything Try angled out there, kind of re select our top faces right inside this, uh, like that will instead it again and hit I inside the individual faces. And then let's bring those in a little more, and I want to kind of do this as evenly as I can, So I'm just trying to rotate it around and make sure that these aren't scooting too close to an edge. Okay, Now we could go even further, and the way to do that would be a new tool that, um, we haven't used so far in this course. And that is the poke tool. So you can search for it, or if you have all p, it will actually go ahead and do that. What it does is it basically collapses any of the faces you have selected with the Vertex in the middle, so it can do some interesting things. And then if you change this offset, it's going to automatically kind of move those in and out based on the surface normals. So if I rotate and sort of a side view here. You can see what I'm talking about. So if you go out, you go out in his in and then offset relative will kind of change, depending on, uh, the extremity of how the normals air facing and where the angles were gone. So you can change the way this works weighted mean, mean or bounds. And, uh so I would recommend just coming in here and kind of playing around with the's settings and seeing what you want Teoh accomplish. But once you get everything in place, you go ahead and go back to for a text mood, and then you can actually individually select, deferred to seize if you want, and then move those around. Since there's not a lot of these were still my hand going inside of you. Pull those down a little more where we're kind of getting some nice little angles going on in there. And then, if you really want to get, um, more detailed, you can come in here and kind of select, um, select each of these triangular areas and then we could do the same thing all over again. So if we select try to use the select similar here. Every face regions should works We instead, those again using the individual, uh, commands should give us some interesting things happening there. So it's gonna do the same sort of thing you get with a bevel. But anyways, if you guys want to play with that, that's cool. I'm actually gonna leave everything the way it is there. I think we have enough detail, and then I'm gonna go and select all of these going edge mood and let's go ahead and devil this out. So I'm gonna de select all of the edges that are not gonna need to be sharp. And you know what? Actually, since we're not using a subsurface, that's not even necessary. Let's just go ahead and double this and I'm gonna use 32 segments, three cuts, and there we go. So I got a nice little geometric looking a reflector in there now. Okay, So once again will probably have to kind of massage the corners in the place. Get everything fitted. Tiu mesh properly. It will take a little bit more time, but it's really the same stuff. We've gone over, um, up to this point, and nothing's really all that different. So before we wrap this up, I want to kind of talk a little bit about how we're going to get this back in the place, because remember that our car is on layer one, and it is all the way over here where we need to slight to be. So what I did when I originally created this mesh is, um I duplicated a wire frame preview over here. And so if we jump back in the outline, er, I've got it locked. So where we can't select it. So we just define the one piece that has this little arrow turned off, and that means you won't be able to select it The view port. So if we uncheck that you can now select the wire frame, you can move them around now. And the great thing about this wire frame is that it? It's kept the location offset in The origin is in the original place. So I turned on layer one and I zero these out. Everything will go back to where it waas. And the reason this is good is because I turn the car off again. You go ahead and select all of this and then make sure that the active object right here is the wire frame. But I give had parents and then keep the transforms where they are. The others were all parents and back to the origin. So now what I can do is by just selecting the front end. If I zero all these back out now, all of those pieces air immediately put right back where they need to be inside the car. So it's really handy way to kind of take everything off the side, get things in a place where you want them, and then once again move everything into place. So you, ah, kind of get rid of the wire frame because we don't need it anymore. We can go ahead and just all p and then we can clear the parent and keep the transformation and will need to select all of the objects instead of wire frame. So once again, if we turn off layer one, it control I did you select everything but the wire frame Now what? All p for the transformation, um, and clear the parent and keep the transformation Everything will stay the same. Now we're free to delete this wire frame and we're back to normal. So let's go ahead. And we started the view Turner layers back on. And there you go. You know, if we turn everything back on, everything is back to where it waas and the car is looking good. So that is gonna wrap us in the next few lectures Were gonna kind of continued to be selling things out here. I'm gonna go ahead and fix anything that's sticking out as a problem. Massage things in the place, and then I will start jumping into the time lapses building out the rest of car. So, thank you, guys for watching enjoy the time lapse coming up. And, uh, if you guys were having a good time building your own models, Thanks. 43. Additional Details - Timelapse 1: 44. Additional Details - Timelapse 2: 45. Additional Details - Timelapse 3: 46. A Final Word: well, we've completed the car model, but there's still so much more to do. It's time for you guys to get out there and work on building your own advanced models. But before you do that, I want to remind you that this is just the beginning. There's so much more that we're gonna cover in the upcoming courses in Blend Masters and Volume two will tackle texture, ring shading, lighting and rendering the car that we built in this course. We're gonna be doing all of this in the cycles rendering engine inside Bolander. So for those of you have been looking for a really in depth course on creating photo, real shooters and cycles get ready because it's gonna be jam packed with information about how to create those shade er's. I also want to let you know one more time that I'm available to answer any questions about the course. So hit me up in the discussion section with whatever you need, and I'll get back to you within 24 hours. I hope you enjoyed it, and I will see you in the next volume. Thanks, guys. 47. Invitation to Connect: Hey, guys, this will be brief, but I want to take this opportunity to let you know that I'm available. If you want to connect any stock exists provide inspiration, training and resources for the indie artists out there. And I believe a big part of what makes us great is the indie community itself. So if you have any questions, comments or just want a shot, I want you to know that I'm connected on most of the social networks out there. Follow any of the links on the screen or you can check out the lecture Resource is for a list of all the places you can find me at home online. So, friend me, follow me and tell me what you're working on because I would love to hear your story and just to get to know a little bit more about you. Now, enjoy the course, and I hope to hear from you soon. 48. Bonus Final Blend File Breakdown and Contour Explanation: Hey, guys, welcome to the first update for this course. And in this lecture, I would like to You just gonna walk through the model that you see in front of you and the final file as it exists in the upload. So in future updates, I'm gonna include all of the files labeled up top as they've been recorded. So that way you've got the car at multiple stages all the way through the course that you can reference. But what I want to do here is I want to just kind of break down the layering that we have set up. I'm not gonna use the layer at on over here. I'm just going to refer to you the default winner layers under the bottom. So it's a little easier to you understand if you're not using the atom and then what I want to do finally, is also walk through question that a couple of people have had, which is using this contour that I used in sort of halfway through the course to block in the rest of car. We're gonna look at taking that and creating ah, small portion of that so I can show you guys, what is needed? It's You make that work. So first, let's talk about the breakdown on this file. Now on, uh, the slayer down here, it's Ah, a little later I was using as a guide for the windshield wiper. So I even tested the size here for how this on the windshield. But that's not really relevant. So the top four layers here are all of the main sections of the car as they're finished. So the first section is gonna be the main body, and that's gonna be pretty much everything. And, um, second layer is gonna be the wheels just by themselves that the locators and everything in place, everything still parents head and all that front backwards were separated. Third layer is gonna be the rims on. Like I said, those also have locators. So, um, the different sections were beginning connected there. I believe these air actually all still connected to the main locator there. Yeah. So the rooms themselves are connected. Teoh, the wheel empties so that those could have around. And I left the calibers right here directly connected to you. The wheel lock so that those don't move When the wheel rotates, so that may be a little hard to understand why, until you start rotating the wheel, But let me see if I can get this. Yeah, So as the wheel rotates, zoom in a little more if you guys can see what I'm talking about as the wheel rotates three caliber stay in place, just like they would in the real world, so that's not super necessary. But I set it up that way so that if you wanted to do a quick animation, you could We're going to save the rest of that for rigging in a later course. And then, finally, the fourth player here is Ah, the interior of the headlights and, uh, the interior of the tail lights as well. So if you want the whole car activated all of those layers, you've got that there. The last layer is always my backup layer, which is later 20th down here. That's gonna have the original super sized version of the tire, the rim, of course, the contours that we hit away and all that. And so with that, let me get into you breaking down this contoured shape here so you guys can see how I built that for the car. So what I'm gonna do is I'm gonna move this up, too, another layer here and then switch over to the side view here and I'll kind of show you what happened. First, let me explain a little bit about how I went about this. So before we had the rest of the car built in, you remember that? I blocked in the front section, and when we got to the front fender, I went ahead and created the rest of this contour mesh. So a few people were asking, How is that accomplished? And how did I do that? It's basically just a mesh. And if I happen to edit mood, um, I hid some of the rest of this so I could see things more clearly. But if I hit each one, hide the rest of that, that's going to show the rest of it. Now it's got a mere modifier apply, just like the rest of the car. And a subset for applied, not the subsurface turned all the way off now. So if I increase that back up, that's your three. Um, then you guys can see that it looks like it might be minute of curves, but it's actually not. It's just mesh that doesn't have any faces, so you can see the points there to create a sharp corner. I just went in and added a couple of holding points around me and Vertex, and that's what created those sharp corners. And so, uh, to build this it's really simple. Let's Joe Teoh empty layers like show you guys how to do this. So you need to be one of the Ortho graphic views. And what would be a better idea is probably to bring up your quad view, because it'll make things a little faster to do this. So we are basically gonna add a mesh. And so to do this, we just pop into, you hear been plane out of plane. Now what I do basically is I immediately go into edit mode and I delete everything. Now you don't have to leave everything you delete three and just leave one for attacks behind. But I go ahead and get rid of all of it. Now that object still exists. You can see it. We're still inside of the plane down here. So the planes not there anymore. At least it doesn't look like it's there any more. But if I move the three d curse around and so this is the orange dot that's because the pivot point for the plane is still there, so it still exists as an object. But all of the vergis ease the edges, and the faces, of course, are gone. So to add things back in, since we're still in edit mode, if we hold control and just left click, we can start adding in points like that. Now, you don't have to do it that way. Once you have one point by holding control and left clicking, you get hit E and just extruded. Now, unless you select a whole bunch of points and hit F, those aren't actually gonna become faces. So basically what you need to do is just create one point and then go ahead and, uh, extrude that around. So let's do that a little bit right now. We've got one point there, but I move this over to about there, and then I'm just gonna hit you. Start extruding that up, moving it around, and we're just gonna get kind of an approximation remembering that we're gonna add a subsurface to this so it's gonna be smoothed out as we get more into this. Let's toggle that quad view. Now we start lining things up in multiple views. Now, I heard some people talk about the idea that things are gonna match up. Um and that was frustrating when you were trying to do this on your own. And you're right. Things aren't gonna match up exactly. Especially not using the blueprints that I have here because they were not, you know, drafted in some sort of drafting program. Eso the measurements are very much approximations. They're not perfect. And also, the design changes a little bit from the front to the side view. But again, a lot of this stuff you're gonna find online unless you're modeling an existing car are gonna be that way. So basically, what you can view is just pick of you and start modeling from the side. I would see this is right. That's right. So missing you go to the back to you if you really wanted to you your modeling around the other side. Um, but basically, you're just gonna pull this up and I just wanted really fast all the way through Teoh, Uh, get store in here and it helps if you kind of do this, that Ugo and multiple views. But right now I'm just trying to show you guys quickly how to do this. So I'm gonna top you here. That's what we're missing. Rooms in the top You. So the timing edit moon and let's pull up our background images and check on the top. You You okay, so we'll tie back in that Ammon on. It would be a little easier to understand how this works now. So you need to find a point that exists both on the side view and the top u that shares Ah , common feature. So, like, let's say it's the front of this, uh, this a pillar here of this car. So if we picked this point when we know that if it gets up to the top of this, it's supposed to be curved back and connected into you, this part of the a pillar, So I know this needs to kind of be over here somewhere, and then once you get the starting point of that on the car where it needs to be. See here that these features don't line up from the top of the side view. That's not because it's not lined up as an entire image from top to the side. It's just that this particular part of the image was not drawn correctly from both views. So again, you have to kind of pick. What do you want to be the master of you that are gonna follow. And again, if you're using blueprints from a manufacturer, this won't be a problem. You're always gonna have stuff that lines up perfectly, probably for you guys. But if you're using your own images, odds are they aren't gonna be perfect. So now all you gotta do is basically follow this window line all the way back and get things lined up in a place. So pull these over and we'll just d selectees. I'm using the middle mouse button after I hit Beaver Box, Select to de Select and Left Click is to re select those. And so, um, once you get these kind of in place, you can see how they start bending correctly in three D space. So we go ahead and quickly position the rest of these back into space where they need to be . And again you can see here it's not totally lined up. And when I was doing the model, I just had to pick something that was relatively close. And it was it was kind of annoying because I had to constantly go back in and try to massage the points where they were smooth and both views. Because, remember, the the concept art that you're using is just an approximation. So it doesn't really matter how it looks on the concept art. It matters how it looks in the three D view. So at any point in time you could jump out at it moon jump in a three D view, rotate that around, and if you don't like the way it's looking there, that's what's most important. So let's go ahead out of subject modifier at a level three there. Now you can see that it's starting to be smooth, where we need it to be smooth, but the edges and the corners or not. Uh, of course, sharp soda to get back in here and fix that. Basically, you select a point. You can it all D that will extend a new Vertex off of that one in the quadrant where your mouse is located and for any thing that needs to be super sharp. Just add a point on both sides, and that will create sort of a corner there for you. And there's that. And then basically, just go down the rest of the car, um, down the side of the door here and keep creating those from extrusion. Now, we're not connecting these up in the face is so we don't need to be worried about, you know, Is this gonna be the same number of er disease from this road of this road? It's not gonna matter here, because ultimately, you're just looking for a really quick approximation of something you can use to get an idea of where things were out in three D space. So here, I know this is gonna be kind of ah, big shape. So I'm just gonna join us up. I just selected these two and hit F to join theirs. Um, so now we need to go to the top. You again make sure that we're kind of in line, and if you if you can remember Teoh to get it correct in one view and then don't affect the location of any of the points except for in one access as you're modifying in another view that things will still line up in the original. So what I mean by that is if I know that this is in the correct spot here, um then I'm gonna wanna only move this in the X direction here. You can see how, as I move it here, it's not actually affecting the position down here. So as I move this left to right, you can see that it only effects this one particular view. And so I know it needs to be lined up here, but as long as I get in line in terms of side to side right there, I know it's gonna kind of be in the right place as an approximation. So here's the same way. Like, I know it needs to kind of be in line with this point here, so I'll pull that over again, trying to follow this master console war that is in the top. You sort of right here all along the car and they would go And then, of course, you just average this to figure out where that ISS can. I have to think about drafting this, to be honest, in order to get things in the proper places, Ugo. But after you get started, a promise it's not that hard. So here we need to add a point in the middle hit W subdivide. That's another way to do it. Slide that double tapping G and then, of course, joined that up F But then again, you know that. Okay, it should be in line, and that's a lot better off than it was over here. So we should get there and again, see if I move this in the wider action here, it's gonna affect the one down here. So just make sure the best way to do this is pic of you to be your master view for a certain part of the body of the car, modify it and of you to get perfect and then Onley moving in one axis on the other view on , you'll be good to go. So, uh, go ahead and finish this car door really quickly. You guys can see kind of a final mesh come into view. Okay, so now you ask. You kind of see how that turns into the side door. And ultimately, if you want, come back in here in perspective, you alter things to be perfect without using the reference, because ultimately, the references there as ah guy, just like this is just here is a guide. And the reason I chose to do the contours in the first place was really to speed the time lapse up so that it was a little quicker because I knew there was already going to be a lot of time lapse later on, I didn't really want to just take up several lectures with blocking in the rest the body. So this helped me kind of visually and perspective be able to model the rest of the car without having to jump in and constantly give it to those side images. Um, this may not be the best way to work, depending on your situation. I wouldn't normally do this if I was modeling a car from scratch, But it definitely helps me keep things tight and, you know, sort of organized for this course. It is one way to work. You don't have to work this way. Um, I haven't seen a lot of other people work this way. So again, totally up to you. But there we go. We got some sharpened up corners. They're going here if we want. Just keep Scharping these corners up. Totally up to you guys. How do you want to do this? But I wanted to have a pretty close approximation of how that was gonna sit. So there you go. Now, there's one more thing I want to talk about that really helps out by having this contour created for the rest of the car. And that is when I went back to start blocking in the body. So let me sharpen One were corner up right here. Let me show you the real strength of this method for when you're starting to add in the base mesh. Okay, so I've got the body of this concert. We're done for the side door, and I want to start putting in the base mesh for the car, Um, for the store. So the biggest benefit of having this contour available now is that I know where the main points are supposed to be sitting in three D space, right? We already went to the work of using the concept art to get everything in place. We know that from the front view things, they're kind of where they should be. This looks really crazy, but you got to remember, the further you get past the front view into the rest of the car, the rest of these are gonna match up at all because you can't see the back of you or the side view from the front. It's obscured by the spender and everything else. So again, yeah, I just ignore it and move on and trust that your stuff is in the right place from when you modeled it. Um, so there again, you know, a few things out of place, but we know basically where the man points are supposed to be. Okay, so now what I can do is kind of lock this in the place where we go down to you where this is located right here. And we can turn off this little icon right here for select ability. And I don't make it to where I can't right click and select this any more in the three d view port. So what does that do for us? Well, this three d mesh still exists, and it still exists is a guide. So if we go in and create a new plane, what's they were starting from scratch here, which initiated view we still gotta face there. I'm going to start the same way. I'm gonna go into edit mode, going delete all the vergis ease. Now, when I create a vertex, I got this sort of floating out through the space. Right now, I jump over to the snapping commands and I pick edge. Then when I start to move this round, if I hold control, you'll remember this from inside the course. But this is the best way to use this. I hold control as it's moving, it'll snap to the contour that we just spent all that time putting together. So if you really quickly wants you block things in without having to go back to those or the graphic views, you snap your points to the corners. Extrude, snap, extrude, snap, extrude, snap And it's not limited. Teoh diverted sees that you used to create this. Remember? We only have like one over here one of the middle one of the side right there. It's limited not to anything, except for where this curve lies In three D space, you can go to the edge of the corner here. You don't have to. You can start in the middle. You cannot create is many Vertex points as you need to define the base mesh. And so there. We've got that blocked in really quickly now and then, of course, we could go back. We just have to match the top in the bottom count for the vergis ease. So I'm just trying to make sure that I've got the same count there and then, of course, will join the backup. Now, using that F to add on and just bam filled it in, that's all done. We need to add some more definition. We can add a loop in. There we go. That's super quick to block the net, because normally, um, you would have to go in and kind of do this with one extrusion kind of going down. So let's say we picked this whole road and we extrude down and you know, we're gonna move it in the X direction that we had to go back over here. Okay? That's not the right place. Slide that down and move that up. We're guessing in three D space where that's at. Well, now that you know of the guests, all right there in front of you and basically just snap things using move and then control the snap where you want it, Teoh. So, uh, it's pretty quick explanation of how I did that and not super complicated stuff that we kind of went over in other parts of the course in terms of the snapping command and how you would put the rest of the mesh together. I basically just separated the complexity of modeling the base mesh into two steps. First step is build the contours so that you've got a guide in three D. Second step is build your base mesh right over it. It's kind of like Rita apologizing before you have any topology to begin with. If that's if I can kind of put it that way. Um and so I think it's it's a cool method again, it's not super necessary. If you get more advanced, you don't have to build the contours first. In fact, Like I said, I usually don't. So, um, but definitely explore it. Let me get Let me know what you guys think about how it works out for you guys. And if you like it, if you don't like it, let me know what your your situation is with your vehicles that you're modeling and how you like it. And, um, I will be back soon with more updates. I'm currently recording, um, Mawr extensions for the course. I'll be answering some more questions. I'm definitely gonna go back in and add bonus features for modeling the vehicle, possibly getting into doing an interior on things like that. So there will be tons of bonus material as the course progresses into maturity. And I just want to say, Thank you, you guys, you have purchased the course and helps me get as far as I've come so far. Um, it's it's been an honor. Teoh, talk to a lot of you guys and really get to know you. And I can't I can't wait to you really get in here and explore some more courses with you guys. I've definitely got some more things coming up soon, so let me know what you want in the comments, let me know what you like and definitely share this course of your friends. Let him know that it's, uh it's cool course and that it's fun to be a part of. So thanks, guys. I'll see you in the next update and have a happy lender sort of day. Thanks.