Blender Masterclass - Learn Blender 2.8 in only 6 Hours | Ruan Lotter | Skillshare

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Blender Masterclass - Learn Blender 2.8 in only 6 Hours

teacher avatar Ruan Lotter, VFX and Motion Graphics Artist

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

28 Lessons (6h 9m)
    • 1. Introduction

      1:40
    • 2. The Blender Interface

      31:46
    • 3. Introduction to 3D Modeling

      53:49
    • 4. Pivots and The 3D Cursor

      18:51
    • 5. Using a Reference Image when Modeling

      9:59
    • 6. Smooth Shading vs Flat Shading

      8:45
    • 7. Adding Lights To Your Scene

      13:23
    • 8. Using An HDRI Environment

      9:09
    • 9. Introduction To Modifiers In Blender

      1:45
    • 10. The Array Modifier

      6:10
    • 11. The Mirror Modifier

      7:42
    • 12. The Boolean Modifier

      6:26
    • 13. The Solidify Modifier

      3:20
    • 14. The Subdivision Surface Modifier

      7:02
    • 15. Proportional Editing

      5:00
    • 16. Working With Collections

      6:50
    • 17. All About Parenting

      8:51
    • 18. Animation Keyframes and The Graph Editor

      20:38
    • 19. Materials Basics

      12:40
    • 20. UV Unwrapping

      34:32
    • 21. Creating Advanced Materials Using The Shading Node Editor

      34:04
    • 22. Volumetric Lighting And Fog

      9:01
    • 23. Ridged Body Simulations

      6:55
    • 24. Cloth Simulations

      13:28
    • 25. Camera Settings

      12:26
    • 26. Rendering Your Scene or Animation

      11:14
    • 27. Bonus Lesson: Basic Character Rigging

      12:40
    • 28. Conclusion

      0:36
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About This Class

Welcome to Blender Masterclass - Learn Blender 2.8 in only 6 Hours!

Ever dreamed of being a 3D Artist but can't afford the very high prices of 3D applications? Well then it's time you take a look at Blender. Blender is 100% Free and Open Source which means it's being developed faster than any other 3D application currently out there. New features are being added all the time, and any existing bugs get fixed very quickly because of the nature of being Open Source.

Blender has completely redesigned it's interface, and I personally think it's one of the most practical and user friendly interfaces available.

This course consists of the following lessons:

The Blender Interface
3D Modeling Basics
Pivots and The 3D Cursor
Using a Reference Image for Modeling
Smooth Shading vs Flat Shading
Adding Lights To Your Scene
Using HDRI Environments
Modifiers Overview
Array Modifier
Mirror Modifier
Boolean Modifier
Solidify Modifier
Subdivision Surface Modifier
Proportional Editing
All About Collections
All About Parenting
Animation Keyframes and The Graph Editor
Materials Basics
UV Unwrapping
Material Node Editor
Volumetric Lighting And Fog
Ridged Body Simulations
Cloth Simulations
Camera Settings
Rendering Your Animation or Scene
BONUS Lesson - Basic Character Rigging

And of-course much more - in only 6 HOURS!!! 

Follow along and become the 3D artist you've always dreamt about.

Let me teach you how to use one of the most exciting 3D Applications out there!

See you in the first lesson!

Meet Your Teacher

Teacher Profile Image

Ruan Lotter

VFX and Motion Graphics Artist

Teacher

Ruan Lotter is a Filmmaker, Editor and VFX Artist from Cape Town, South Africa. He has directed and edited several short films, internet commercials and music videos over the last few years. In 2007 he started experimenting with Adobe After Effects, 3dsmax, Maya and PFTrack to name a few of the applications, and never looked back.

He currently works as a VFX Artist and Editor at Creative Drive, doing post-production on international commercials and video projects.

He also runs a YouTube channel called TunnelvizionTV where he teaches people interested in Filmmaking and VFX (visual effects), from around the world, the secrets to many Hollywood VFX techniques.

See full profile

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Transcripts

1. Introduction: Hey and welcome to learn Blender in six hours. Ever dreamed off being a three D artist but can't really afford the very high prices off three replications? Well, then it's time you take a look at Blender. Blender is 100% free and open source, which means it's being developed faster than any other three D application currently out there. New features are being added all the time, and any existing bugs get fixed very quickly because of the nature off being open. Source. Brenda has completely redesigned its interface, and I personally think it's one of the most practical and user friendly interfaces available. Once you've completed this course, you will be able to navigate the interface, create your own amazing three D models using lights to light your scene. Design your very own complex materials using HDR I environments to create photo realistic renders apply modifies to your models how to use collections on how to parent objects to each other, create animations using key frames and have to use the growth editor. And then we're also gonna look at how to UV unwrap your models. We're gonna look at physics simulations, both rigid body simulations and cloth simulations. And finally, I will show you how to rig your own three D character, ready for animating and, of course, much, much mawr in only six hours. Get your free coffee at blender dot org's and become the three d artist you've always dreamed about. Let me teach you how to use one of the most exciting through the applications out there. See you in the first listen. 2. The Blender Interface: Hey, and welcome to the first lesson off learned blender. So as you can see, I'm using version 2.83 point two. But you can follow along in any other version that he's 2.8 or newer. Even if you are using the new version 2.9, that should be very similar to version 2.8. So, yeah, you should be able to follow along with that. So first of all, we're going to look at how to navigate the view port within Blender. So really, simply, if you holding your middle mouse button on your mouse and you move your mouse around, you'll see that we are going to orbit around the scene and then with the middle mouse button held down, you can also hold in control on your keyboard, and then that's gonna zoom in and out. So middle mouse button and control and then middle mouse button and shift on your keyboard that will pan around. So let's just go through that again. So middle mouse button on drag around its orbit, your seen middle Nelson control is zoom in and out and in middle mouse button and shift. He's planning around your scene, so that's basically how to navigate your scene with in a blender. So let's look at how to create new objects in our scene. I was gonna quickly go ahead and remove all of these objects in the scene just so that we have an empty project that we can work with. So in blender, there are many ways to do anything, really. So you can either go up to add you at the top, and then you'll see you've got mish curve surface and all of these things that you can add to your scenes. You can go add mesh and you can say cube, and that will create a Cuban your scene. I'm gonna delete that, and then I'm going to show you the shortcut key for that. So there's always a good idea to try and learn the shortcut keys inside of blender because that will just speed up your workflow a lot. And it will just make things a lot faster. So what you can do is you can press shift a on the keyboard, and then that's gonna bring up the admin you. And now I can go to either Michelle Curve or whatever that you want to add on. Let's go to Mish and then I'm gonna click on Cube and you can see that we have added a cube , so I'm gonna delete that again. So shift a on the keyboard and let's maybe add a cylinder, and that's how you add new objects to your scene. So let's add a que begin gonna delete the cylinder, shift a mesh and then cube, and then I'm going to show you how you can move, rotate and scale within your scene. So, as you can see, if I click off off my object, you'll see that this object will not be selected. That doesn't have a border. And if I click once on this object, you'll see that's gotta orange or yellow border around it, which means it selected. And now we can go ahead and we can manipulate this object. So again, there are multiple ways to move rotating scale on the left hand side off the view port. You've got these controls, so as you can see, we've got one that looks like a move and in a rotate and in a scale so I can click on one of these like, let's click on the move and you'll see it's gonna bring up these axes, arrows on our cubes. If I just zoom in here a little bit now we can drag along these points and we can move our cube in that axes like so. And I can also click on the rotate Matignon, the side, and that will bring up the rotation controls. So then we can rotate. We can click on these axes and we can rotate our object around those axes like that. And then if we pick on this scale button that will bring up the scale controls. So now we can go ahead and we can scale it in either a certain axes or direction. Or we can just click in the center and weaken. Just scale it like that. So I'm gonna delete that I'm gonna create a new cube, and I'm gonna show you the quicker way to move objects around inside of Brenda. So first of all, I'm going to sit my this key. Oh, this button on the side was gonna sit this back to the top one to the selection mode and, ah, now on your keyboard there are three keys that you need to remember and that its G or and s so G stands for grab. OK, so it's not move, but it's grab. So if I pressed G on the keyboard with this cube selected, you can see that the Q B's highlighted so it selected. And if I pressed G, you can see that I'm moving around in space. I'm gonna press escape on the keyboard to cancel that. And then I'm gonna press are for rotate and you can see now we are rotating our object. I'm gonna prison escape to cancel that. And if I press this on the keyboard for scale, you can see that we are scaling our cube. Now let's say we want to move it in a specific axes for specific direction. So you at the top. If you look at this area on the top right inside, you can see the X axes. Is the raid line going through like that and you've got the Y axes, which is this green line, and then Wat ze is our up and down. So let's say I want to move this cube in the X axes, so simply what I'm gonna do on the keyboard? I'm gonna press G for move. And then right after that, I'm gonna press X because I only wanna moving in the X direction or X axes. And now you can see that it's only moving along that axes. So I'm gonna prison escape to cancel that, and I'm gonna do the same again. I'm gonna press G for grab and then I'm gonna press. Why on the keyboard And that's only gonna grab it in the y axes. I'm gonna cancel that And let's do Z. So I'm gonna press G on the keyboard for Grab and then Z for the Z axes up and down. So that's gonna work exactly the same if we do a rotation. So I'm gonna press are on the keyboard so that we go into rotation and then I'm gonna press X, and that's only gonna rotate around the X axes. Okay, I can also I'm gonna escape on that and I'm gonna priests are And then why? And that's only going to rotate in the Y axes number, escape on that council and then rotate our and then Z, and that's going to rotate in the Z axes. What you can also do. You see compress are for rotate, and then I can press X that's gonna rotate in that axes and then I don't have to cancel. I can just press why, and that's going to switch over to the y axes or I can just somebody brace Z and that's going to switch over to the Z axes. Now let's look at scale so I'm can press its on the keyboard for scale. And then I'm gonna press X, and that's only going to scale in the X axes. Or I can press why that's only gonna scale in the y axes or I can brace Z, and that's gonna scale in the Z axes. All right, so let's go back to the grab shortcut. I just want to show one more thing when it comes to manipulating or moving an object around . So what you can also do is when you press G for grab on. Let's say I want to move it in both the X and the y axes, but I don't want to move it in the Z axes. What I can do these I can press G and then shift Z to exclude the Z axes. So now I can see are moving around on the x and Y axes, but not on the Z axes. So you can do the same with the other axes so I can do G and then shift X so that will move it in the Z and the Y axes. Okay, can also do g and then shift. Why? So that will move it in the sea and the X axes. So let's look at scale as well. So if you press s on the keyboard and then press shift Z, I can now scale in both the x and y, but I'm excluding the Z axes. You can also do s and then shift X to exclude the X axes and that will scale in Z. And why? So that's the basics off moving an object around in your seen in blender. Next, we're going to look at snapping. So whenever you are rotating or scaling or moving an object around, you can also use snapping. So to use snapping, you simply hold in control on your keyboard. So I'm gonna press G to grab my object and move it around and then I'm gonna hold in control on my keyboard. And as you can see, it's snapping to my grid. Okay, I'm gonna escape on that I'm gonna press are for rotate, and then I'm gonna hold in control and that's also going to start snapping to increments. Could do the same with scale, so s and then holding control, and it's gonna start snapping. So I'm gonna press escape on that, and I'm gonna click on one off these axes buttons here on the side topside view. So if I click on why it's gonna take me into a side view off our cubes, I'm gonna zoom in slightly and then finished in a pan over so it's centered. And now what I can do is I can with this cube selected, I'm gonna press G on the keyboard and then I'm gonna press Z because I only wanna move it in the why are sorry Z axes. And then I'm gonna hold in control and you're gonna see it's going to snap on my grit and I can place it exactly on top off that read access line click. And now if I just holding middle mouse button resume out slightly. You can see that our cube is now sitting exactly on our grid, which is pretty nice. So the in short got to remember for snapping. For now, he's control. Okay. Next, we're going to look at how to hide and unhygienic an object in your scene. So again, there are multiple ways to do this on. The easiest way is to select your object like this, just clicking on it and then pressing h on the keyboard for hide. So I'm gonna press h and you'll see that that's gonna hide my object and then to unhygienic free thing in your scene. You simply praise Ault H. And that's gonna unhygienic thing in your scene. I was gonna create a few extra objects so that Aiken demonstrate this better, um, Sums gonna place another cube. Maybe there and there. And maybe one more. Maybe there. So what I can do is I can click on this cube and shift click on another cube to select both of them and then compress H on the keyboard to hide both of them and then Ault h two and hide them another way to hide objects in your scene is by using the outline er year on the side so you can see all your object in this outline. Er this is where they all will be listed. So you can see it's got these little I icons next to all these objects. So I can simply click on one of these I object or these icons to hide and unhygienic my objects. I can obviously do this with all the objects in my scene. Or I can also hide the collection, which is like a group. We will get into more details on that later so you can hide that whole group and unhygienic as well. So that is hiding an unhygienic. So I'm gonna delete some of these objects and next I'm gonna show you how to duplicate an object in blender. So very handy shortcut is shift d d for duplicate. So I'm going to select my cube and you know my keyboard. I'm gonna press shift D and you'll see it's gonna create a duplicate and Aiken freely move it or move it around, and I can place it anywhere I want to. Let's say I don't want to place it anyway, but I want to place It may be on the X axes. I can simply just heat X on the keyboard and it's going to start moving only in the X axes . I can do the same with why, and I could do the same with Z. I can also do Shift Z to exclude the Z exceeds and I can move it around like so. And then you just click and it's going to stay there so you can also do both objects at the same time. So I'm going to click on this one shift click on this one and then the chef de to duplicate . And then I'm gonna praise Shift Z to move it in the X and Y axes, and I can place it anywhere want to you on day. We have our duplicate objects, so that's how easy it is to duplicate an object inside of blender shift D. So next we're gonna look at how to delete an object from your scene. So also very simple to do that you basically just highlight or select one of your objects, and then you praise X on the keyboard and that's gonna come up with us. Okay, delete and you simply click on the lead and that's gonna did eat that object. You can obviously do the same with multiple objects. I can click on this one shift click on this one and then press X on the keyboard and then confirm it by clicking on delete. Let's delete this one as well. X and click Delete. So let me show you how to select all the objects in your scenes. I'm gonna create a new cube. So shift a mesh cube and I'm gonna duplicate this a few times like that. So we have 12345 cubes and to select everything in your seen, the shortcut for that is a for all. So I'm simply gonna press a on the keyboard and you can see it's gonna select all of these cubes. And now I can press something like G or to rotate or s to scale, and that's going to select everything in your scene. Let's say we want to focus in on one of these objects. I was gonna move this one out of the way slightly further. Maybe glitches space them out like like So now let's say you want to focus in on this one cube. So to do that, you simply highlight that object, and then you're gonna heat period on your numb pad, so that's the period right on the side of your keyboard. And if press this, you'll see it's going to zoom in onto that object, and it's gonna focus so you can rotate around that object. I'm going to zoom out again, and I'm going to select a different object, maybe this one, and then press the period key. Now, if you don't have a numb pad. If maybe you are using a laptop without a number on the side of your keyboard, you can still do this. So what you need to do is you select your your object that you want to focus in on, and then you need to eat the tilde key. The tilde key is usually on a normal size keyboard. It's above the tab. It looks like a little minus, but little squiggly minus symbol on dumb. On some laptops, it is right next to the left shift on your keyboard. So if I click that off, if I press that it will come up with this menu system. And then, if you look at the bottom one in the corner to his view selected, and if I click on that, it's going to zoom in, do exactly the same thing. So just remember, if you don't have a number, let's do it again. I'm going to select this object and I'm gonna press the told the key And then I'm gonna click on view selected. That's gonna zoom into that object. So next let's look at the outline er again. So we briefly touched on the outlining and the section at the top. So what you can do is you can easily rename some of your objects. So let's say I select one of these objects you can see. It's also going to select the object in my outline, Er and I can simply double click on it to rename it, and I can type in your name calling my cube and in just press enter and you've renamed your object to something else. You can also show and hide as I showed you guys angles before, so you just click this eye icon to hide and unhygienic and another really, really handy thing that you can do you in the outline? Er, if you click on this falter icon around at the top, there some extra things that you can at your scene. So we're just gonna look out two of them. So this one that looks like an arrow. So I'm gonna enable that That is selectable. And then I'm also gonna enable, um, this little camera disable in a renders. So I'm gonna enable that as well. And then just move the mouse away and you'll see now we have instead of just the I icon, we've got the little arrow and then we also have the camera. So what? That means he's Let's I I select this cube and I d select or disable this selectable this little arrow. If I click on that, what that does is it makes this item un selectable. So if I click on this icon Oh, or on this mission of this cube, I can't select it. You can see that it's not doing anything. I can still select all these other cubes, but I can't select this one because it's not selectable. And I can do that with all my objects like unjust drag through that and now icon, select any of these. So I'm gonna enable that again. And then the render are the little camera. If I disable these, you won't see any changes in the view port. But when we render our image or animation at the end, those items or these measures will not be included in that Orender. So that's very helpful. If you have a lot of things in your scene and you want to render them in separate layers, you can disable some of them, render them out and then enable the other measures that you want to render. And then you can render those one separately. Someone's gonna enable those Orender icons again. And lastly, we're gonna look at collections. So, as I mentioned before collections or almost like groups off things. So what you can do is you can right click in this empty space, and I can say new collection, and you can see it's created a collection, too, and I can double click on that and call it maybe my group, something like that. And now what you can do is you can actually move some of these items or these measures you can just drag them into that collection like so And maybe that's drag these three into the first elections. Just drag and drop them into that collection agency. We've got this collection and in my group, both collections. So now I can actually antique this my group, and you'll see that it's gonna take that out from my scene. I can't select them. I can see them. They also won't be rendered, and I can enable it again. Or I can maybe hide that group completely. So on that my group collection, I can click on the I, and that's gonna hide everything for me. Or I can just click on the selectable for that group, and then I won't be able to select those items inside off that collection. So it's just a really handy way to keep your scene organized and to have different groups where you have different measures. Another good use for this east to keep a sort off back up. So what I mean by that is, let's say you're working on a very complicated model and you want to make a backup off that model because obviously it's easy to break something when you're doing some complex modelling, and you always want to be able to go back to a previous version off that model. So what you can do is you can duplicate that specific model that you want to kind of back up, and then you can write, think and you can create a new collection. And we can maybe call this back up like that and then I can take this cube and I can move it into that backup collection, and I can just switch it off so we don't see it. We don't accidentally change it, but it's there. If you want to go back, you just enable that collection again. And then you have your model that you've been working on another way to do this. I'm just gonna move this cube back into my group and I'm gonna delete this backup collection. So simply right click on that and then go to delete what you can Also Dio is with your object selected in the view port. I can simply right click on that object, and then I can go to move to collection. And if I click on move to collection, it's gonna ask me, Let me just do that again. Rightly moved to collection. It's gonna ask me, Do I want to do I want to move it to the collection collection or my group? Or do I want to maybe create a new collection so I can click on new collection and I can give it a name? Let's give it a name. Uh, back up like so. And now if I click OK, you'll see it's gonna create a new collection for me called Back up, and it's automatically gonna move that mesh into that backup collection so I could do the same. Now, I can maybe select three off these cubes and I can right click move to collection, And I can say I want to move it to the backup collection and you can see it's gonna move them automatically into the collection, and I can maybe switch it off if you want to keep it as a backup. So that's how collections work in a blender. So I'm gonna delete this backup collection just right click again. Delete Ondas. You can see we've got all our objects back because it's not really gonna delete any objects . When you delete collections, it's gonna bring them into one of your other collections was gonna move all of these into my group. And now they're all under that one collection again. Next, let's have a look at the properties panel. So if I select one of these objects, you can see we have all these different icons e on the side. And these are all the different sort of property panels that you can access within blender . So we're not gonna go through all of them right now is going to show you one or two of them . But you'll finds things like your render sittings like this is the top under in the properties, and this one is your output properties. This one is your layer properties. Then we have your scene properties. Then we have your world properties, object properties, modifiers. These are the particles physics. Ah, these other constrained properties and your object data, properties, material, properties and texture properties. So for now, we're just gonna look at one of them, and that's gonna be this little square with those little corners. And that's basically our object properties. Now, if I select one of these cubes and I make sure I'm on this object properties. This is where you can see things like your transform properties like your location, rotation and scale. And then you can also see other things here. They're not really going to go into details right now, but anything you need to notice here is that we have our location details. So if I click and drag, maybe on this X X easy can see can change that and I could do the same with why, and I can do the same with ze. Same with rotation. I can actually drag or I can click and type in a number. Let's say 45 degrees on the X axes, and that's going to sit that rotation for me. I could do the same with why and do the same with Z can obviously do the same with your scale here so I can scale it in this specific axes, and I can type in a number if you want to be exact. I want to make that two meters. It's put this one back on one meter, so as you can see, you can sit all these properties right here in your Object properties panel. So if I click on another object. Now it's gonna change again because obviously this Cuba's got different properties than this one. Same with all the others. So it's just a really easy way to see exactly what those properties are off that specific mish. So let's delete all these objects. I'm gonna press a on the keyboard to select all of them. And then I'm gonna press X to delete and then click to confirm. So I'm gonna create a new object, just a default cube again. So I'm gonna press shift a mesh cube. Now, I want to show you how you can actually split this view into multiple different views, and he can customize the interface exactly the way you want it. So first, for what you can do is you can right click either year at the top right there. We can write Dickey on the site, so I'm gonna rightly get on the top. We we see this, um, where the cursor changes to those two arrows when a right click, and then I'm going to select. You can either choose between vertical split or horizontal split, so I'm gonna choose vertical split, and you can see it's gonna bring up this vertical line and how it can select or I can choose where I want to split this view. So that's I want to split it right here. I can click and I can see we've got to view ports so I can move around in this view port and I can move around in this view port so I can maybe zoom in year and advocate this cube a little bit closer. But maybe in this scene I can view it from a little distance. What I can also do is I can now, right, click on this line in the middle and I can say I want a horizontal split. Now I can see I can either split this side. Why can split this side? So that's I want to split this side and I can choose well and split it like so. And now we have 123 areas in our view port that we can change what it can also do. He's Ah, let me just zoom out your oops, just pressing period on the keyboard to zoom back out so that it can also Dewey's. We can change the what type of window what type off screen we want to show in a specific area. So what you can do is any of these Windows right at the top. You can see it's got a little drop down. Then if I click that drop down, that's going to show you all the editor types. So currently we are looking at a three D view port for all of these different screens. But let's say I want to change this one to something else. I can click on the drop down and I can say I want Tiu have the UV editor on this side off the screen so I can just simply click there, choose UV editor, and that's going to show me the UV editor on this section off the screen. I can also change it to maybe the graph editor and that you have your growth editor could do the same and maybe go over to a text editor. It's gonna give you the text editor, so there are many different editors that you can actually show you. Ah, you can have your textures noted it to your so many different options. But yeah, I just want to show you that you can split your view into multiple views if you want to do that. So I'm going to change this one back 23 d View port. Now, if you want to join these windows back together again, I can right click on one of these lines and I can say join areas and then it's gonna give me these arrows so I can either choose. So I want to join this bottom one upwards or if I want to join this top one to the bottom safe, I do this one. You'll see that it's gonna join both those sections into one. And then if I want to join these two together again, I can simply right click in the middle and I can say join areas and I can choose which way I want to join. So I want to join this way to the right. So I'm gonna click your any gonna see that's gonna join all of those back together into one Vieux port again. Then just something else I want to mention if you look a right at the top of your screen, you've got layout modeling, sculpting, UV editing, texture, painting, shading animation, rendering compositing scripting and then also plus where you can select different different layouts. So these are layouts that's been created and saved as presets. So if you click on modeling, it's gonna take you to the modeling workspace. Sculpting will take you into the sculpting workspace. Same with UV editing. It's gonna dramatically have that split screen with your three D View port and the UV editor. The side some with texture, painting very similar, and shading will look a little different shading you will actually see the environment, the HDR I that's been voted. We're going to go into more details later on that, and then it's gonna bring up this node entity at the bottom. So don't worry too much about this. I just want to show you that you have these different panels or these different layouts. Same with animation to the animation will give you this dope sheet. Yet the bottom we can see your key frames etcetera, and then you have your three D view port on this side and then also a area on this side. We don't have the grit, so it's just been set up like that and in the same with rendering compositing and scripting . So usually I just stay in layout if I do most of my work. But we will jump into some of these different layouts like you ve letting shading and maybe animation later on. So that's bean. A overview off the blender interface. So the best thing to Dewey's practice Practice practice until you are very comfortable with creating new object in your seen moving, rotating and scaling your objects. And just how to use those different shortcuts the G R s for grab rotating scale and then also your different axes, Your X, Y and Z. He pressed them. So the best thing to do is just to play around and practice. Those shortcuts. Create some different objects, move them around, rotate them, scale them, renamed the menu outline, outline. Er, you can create some collections to play around with that. But yeah, that is basically just the overview off the interface. Get familiar with everything, and I will see you in the next lesson where we are going to jump into modeling. I'll see you then 3. Introduction to 3D Modeling: they and welcome back. And in this listen, we are going to look at modeling how to actually change your geometry and create anything that you can imagine so physical. I'm gonna delete the camera and this light that you see your so I can simply just drag box around this light Press X on the keyboard. Delete that and in the same with a camera, just select camera picks and in delete. Now let's say we want to start modeling something and we are going to start with a basic cube because usually what you will do issue will add a primitive item like a cube or a cylinder or a sphere. And then you will start from day and you will change that mesh and start modeling from that mish Onda. Then you'll be able to create anything from there. So let's say we are starting with a simple cube like this one, and I've got this cube selected. As you can see, I clicked on it and it's got the yellow or orange outline, and then simply we are going to press tab on the keyboard to go into edit mode. So if I press tab, you'll see that things are gonna change slightly. Was gonna zoom in your little bit and you can see we've got some of these little points on the side And then right here in the corner top corner, you'll see it says Edit mode. If I pressed Tab begin, that's gonna take me out off edit mode and back into object mode. So you can also change that while you have this object selected. You can also click this drop down yet the top where it is object mode, and then you can also just select edit mode like that. But it's usually easier just to use the tap short cut on your keyboard. So now we are in edit mode and you can see we've got these little dots on the sides or the corners off this cube. So basically, in any three D software, you get three elements that make up any three D geometry. So that is. Verte sees ages and faces. Now let me show you what these are so all right in the corner you've got these three icons , and the 1st 1 you'll see looks like a little dot 2nd 1 is a line and in the 3rd 1 is a flat square, so the 1st 1 is Verte sees second oneness ages 3rd 1 he's faces. So were the 1st 1 selected The Verte sees I can now click on these little dots on the corners thes or the verte sees. Okay, Now I can click on one of them and the same controls we used to move rotating scale object . You can use those exact keyboard shortcuts. So I'm gonna press G on the keyboard for grab, and I can see that I am moving that one point around in three D space. I can also press Z to just move that in the Z axes or ex to move it in the X axes or wide to move it in the Y axes. Okay, I'm gonna priest escape to cancel that. Now we're gonna go into edge mode. So it's the middle icon, Ian. Right at the top and ages are these lines connecting Verte sees together. So you always see there's there will be averted, see on each side off an edge. Now same thing again. I can press g on the keyboard and I can move that edge around. Why can press Z to move it in the Z axes X or why I can also rotate. So with that age selected, I can press are on the keyboard and I can rotate it and you can see how that's changing our shape. And we can also do scale. So I'm gonna pres it's on the keyboard and you can scale that edge like so And you can see that's changing the way our cube looks and in the 3rd 1 is face. So if I click this third icon now, we can select these flat faces in between these ages, so same thing again. I can select one of them. I can press G on the keyboard to move around like impressed one of the axes X Z Why? And I can also rotate like that. I can rotating, Let's say X axes Z x ease or why axes? I can also scale. So with its face selected, I'm gonna press. It's on the keyboard and I'm going to scale it up and down. And obviously you can skated in a certain axes as well. So I could do Z or why? Well, if I press exit won't be able to scale in the X axes cause. It's basically just a flat edge or flat face, and you can't scale it in the X axes. You can't scale it this way, if that makes sense, because it's just a flat object. Obviously, if we select something else like this one, I can scale this one in the X axes. Why Axes will do something slightly because it's not perfectly flat in that axis. And in the same with a Z, we can scale it that way. Now shortcut keys to toggle between Verte sees ages and faces very, very important little shortcut that you need to remember, and that's 12 and three on your keyboard. So if I press one that's gonna jump to the first little icon at the top, and that's my vert disease so I can select my Vergis ease Oregon Select to Vergis ease and I could maybe scale them. Why can maybe moved that 12 there and now if I want to go into edge mode, I simply press two on the keyboard, and that's gonna jump to this second little icon at the top, and now I can manipulate my age is so I can click on that edge. I can move it around. Why can select multiple ages by holding and shift again? Maybe select that one as well? Now we can skate it. So that's scaling those two ages working obviously a rotate scale G for grab. No, if you want to go into face mode three on the keyboard, press three. And now we can access these faces so I can now grab, rotate and scale. Next. What? We're going to look at ease. Subdividing. So subdividing is basically something where you want to create mawr geometry in a certain area off your mish. So let me show you what I mean. So let's say we want to create some extra geometry on this face that I have selected you so simply with us vice selected, I'm going to right click and you can see subdivide. Now, in fact, we can subdivide, you'll see it's going to subdivide this face into four new faces. So now I can go in and I can maybe just click on this face and I can scale it down, liken G for grab moving around or rotate that one face What I can also now dues. I can select these faces together, holding and shift. And I can right click subdivide again and I can see we've got a whole lot off geometry. So now I can go in here and I can maybe just do something with these two faces, maybe just grab them out a little bit like that. And maybe I wanna rotate those two faces slightly like that says you can see it just gives us more control to create some new geometry. So that is subdividing so I can go to this side, right? Leak subdivide, and you can see it created those for us. Um, what I'm gonna do is I'm gonna go out off edit mode quickly. So I'm gonna press tab on the keyboard and I can see we can't select those ages, faces or Vergis ease. And I'm gonna delete this model. Just press this X on the keyboard on delete, and I'm going to create a new object for us. And this time I'm going to create a sphere. So on the keyboard pressing shift a miche. And then I'm gonna create a UV. Syria met like something like this. And now I want to go back into edit mode. So with this serious selected press tab on the keyboard and we're gonna go into edit mode, you can see it's actually made off. It's made up of all these faces going around so lots and lots off little face faces that you can change. So obviously we can go in here into one of these faces and I can write Leak, subdivide, and it's gonna create four faces insight, that one face or I'm gonna undo that. So just control Z on the keyboard until we get back to that one face. What I can also do is I can press a on the keyboard, and that's going to select everything on this mish. As you can see, an hour can write, leak, subdivide. And as you can see, it's going to subdivide all those faces into four faces, and it's gonna create all these extra geometry for us to work with. So that is basically how you subdivide a face. So I'm gonna undo that again, and what you can also do is you can subdivide a an edge as well, so I'm gonna go into age selection by pressing two on the keyboard and I we can select these edges. So let's say we want to subdivide this one edge. I'm going to zoom in there and I'm going to right click with that each selected and I'm gonna select Subdivide Now what you can see it actually created that split that one edge into two ages and an easier way to see that easy. If we go into verte, see select mode so you can press one on the keyboard or you can click this icon at the top and you can see it actually inserted a vertex right there. So it kind of just split that edge into two. So I can now select this vertex and I compress G and I can move it around like so. So you can also do it with multiple ages. So I'm gonna go back into age mode or pressed to on the keyboard for the shortcut, and I can say I can select this edge Holden shift Click on this age, right? Click subdivide. So as you can see it, if I go back into verte, see select, which is one that created these two verte sees and then it also connected those two Vergis ease with a new edge. So now if I press three for face evict, I can either manipulate this one face year. Why can manipulate this face were right there. So that is subdividing. Next, we're gonna look at extruding now, extruding or extrude. He's probably one off the most used tools when it comes to three D modeling. Now extruding is simply let me show you what that is. Let's say we select this one face and I want to extrude that face. Simply heat E for extrude on the keyboard and you'll see that we are extruding that face. We're not just moving that face. We actually extruding it. So if I click again, you can see that we created something like that. Now I can extrude this face again so I can click on this face and it e on the keyboard, and it's gonna extrude that again. And as you can see, we've got extra faces that it actually created. And now I can go in and I can click on this face yet the bottom press e on the keyboard to extrude click on this face extrude click extrude and yeah, As you can see, you can go completely crazy and create some very, very interesting shapes really, really quickly by just using extrude So he literally just select the face that you want extrude an impressive young the keyboard to extrude that. Okay, what you gonna seduce? You can extrude multiple faces at once so I can click, holding, shift and in select some of these faces like so And then he e on the keyboard and it's gonna extrude all of those faces together, and it's gonna create this extra geometry for us. What you can also do is you can extrude on verte see So I'm gonna go to Virtus Virtues see Select Mode, which is one and now we can go in here and I could maybe select one of these verte sees you can either just click or you can drag little box around one of them. And now I can press e on the keyboard and it's gonna create another ver to see for me as you can see there. And it's also gonna connect those two verte sees worth an edge so I can select this word to see, like compressed G on the keyboard and I can move it around. So as you can see their he's our new urgency that created from this one extruded it and I can also go and you can select this new Vertu series. We created Press E on the keyboard that's gonna extruded again to there, and I can carry on like that and extruded again. You can do the same with ages. So I'm gonna go into age select mode, which is to on the keyboard. And now I can click on one of these edges and I can press E on the keyboard to extrude. And as you can see, it's actually extruding that edge, and it's creating a face between those two ages. If that makes sense, let's do it again on one of these, um, parts that I extruded. So let's say we want to extrude this edge right This I've got that each selected. I compress e on the keyboard to extrude, and as you can see, we created that new face in between those two new edges. Now I can obviously go, and I can with this age selected Aiken G to move it around or to rotate is to scale. So if we look at extruding, we actually have three different types off extruding tools that we can use inside of Brenda . So I'm gonna go back into face select mode. So that's three on the keyboard. And let's just focus in on an area off this interesting looking sphere. So what I've shown you before is if we select multiple faces like that and I press e on the keyboard to extrude gonna see, it's gonna extruding that direction automatically and all of them will be connected together like that. Now, let's say that's not exactly what you want to do. I'm gonna undo that. So I'm gonna press control Z on the keyboard, and I'm going to select all of these again, like so on. Just a little handy. Tapia. If you want to select maybe one face and you want to select a whole bunch of other faces in between, up to a certain point, what you can do is you select your first face and then by holding in control and then clicking on another face that's going to select the shortest path or the shortest route between those two faces. And it's gonna select everything so you can either do shift quickly, quickly click like so we'll just pick the 1st 1 old in control. Click the last one, and it's gonna select everything in between. So let's say we want to extrude thes faces, but you don't want extrude them all as one piece off geometry. You want to kind of separate them, you can write leak. And then, as you can see here, we've got three extrude tools. We've got extra faces, which is the normal one that we used earlier, which is E. Then you have extrude faces along normals, and then you also have extrude individual faces. Now I'm going to go with this extrude individual faces first, and now I conceive, I increase that amount that's actually extruding them separately, if that makes sense, so it's not just extruding them as one piece of geometry. It's extruding them all separately, and now you can go in and you can maybe extrude just that one, and it can extrude that way will do whatever you want to now the other way that you can also extrude used to extrude along the normals. Let me explain. So let's say you want to extrude this face right there at the bottom in assuming they're slightly and then you also want to extrude this face? Um, I only want to extrude those two faces, so shift click on that one and then shift Click on this one. Now, if I just do a normal extrusion for those two, as you can see, they are facing in different directions. This one is facing more downwards, and this one is facing mawr kind of this way. If I just beat you on the keyboard, you can see they are extruding in the same direction. Okay, now, that's not what we want. I'm gonna undo that and I'm gonna select them again. What I want to do is I won't extrude them along the normals. Now, the word normal in three D applications means a direction, and that's direction that the faces actually pointing towards. So I'm going to right click, and I'm going to go extrude faces along normals. Now you can see that they are extruding in the correct direction if that makes any sense. So you can also extrude inwards as you can see there. But I'm gonna extreme them like this and I can see clearly that this one extruded more towards the bottom and this face extruded more towards the side. So cool thing that you can do I'm gonna go out off edit mode, Suppressed tab on the keyboard. With this object selected, I'm gonna delete it. So just press X and then delete and I'm gonna create another severe. So I'm gonna press shift a mesh and then give the sphere again. And with this were selected, I'm gonna go into edit mode. So press tab on the keyboard. And now I want to select all these faces. So just over with your pointer over it and press a four select all. And I'm gonna write like, and I'm gonna go extrude faces along normals. Let's see what happens. So it basically it's just kind of scaling our I would, um, I'll see him. So that's what we're gonna do. You gonna undo that again and I'm going to select all those faces again. And I'm going to go right, leak. And this time I'm going to select extrude individual faces. Look at that and I can see it extrude. It's extruding each individual face as a separate mish almost, and it's extruding that separately out towards the just the direction that that face is pointing. So that is basically extruding. So just remember, you get the three different ways of extruding the normal way, or just that extrude and then extrude towards the normal direction and then also extrude individual faces. So those are the three very, very handy tools that you will use in blender. Next, we're going to look at something called the loop cut. So first of all, I'm gonna delete this mish. So I'm gonna press tab to go out off edit mode and then X and then click to delete. And this time I'm just gonna create a normal basic cube. So I'm gonna press shift a mesh cube, and then we're gonna go into edit mode. So with this cube selected press tab on the keyboard, and I can just click somewhere to de select all those faces Now let's look at Luke Cat salute. Cut is also in extremely handy to when it comes to you three d modeling or any three D application. And that's basically in creating a loop cut around a section off your mish. Let me show you what I mean. So I'm gonna praise control or on the keyboard. And that's a shortcut for loop that you can also use thes icons. Young aside, and you'll see one of them says Loop Cat. And if I click on that, I can choose where I want to create sleep cut or I can just do the shortcuts. I'm gonna just go back to my selection tool year. And if I hover over my object and I press control are I can now point to one of these ages and say I want a loop cut around that area. So I'm gonna just click there. And now I can also choose where exactly I want to put that loop cat so I can either right click to cancel out of that to put it right in the center so I can move it up and down. Or if I write leak like a did. Now you'll see at the bottom. It says Loop, Katyn slide. And if I click this little panel year, it will open up this properties panel, and now I can actually increase the number of cuts so I can say I want three cats. And as you can see, it actually created three cuts. And you can also change the factor so you can slide this exactly where you want those guts to be. I'm gonna put this in the center again, zero, and then you can just click anyway to accept those settings. So next I want to create a loop cut over the top. So I'm gonna press control or again, And this time I'm gonna point to this age you at the top so I can click their Aiken dragging around. If I want to move it, Why can right click if I want. I just put it in the center so rightly they can see it in the center. And if you want to, you can now increase the number of cuts against. I'm gonna make this 12 and then just click some way to accept their settings. And I can see we have all this extra or geometry so we can do a loop cut around this way as well. So control or then maybe point there and let's I want this one to be yet the front like so And it was gonna click to accept the sittings. Maybe we want to create a loop cut on the side as well. So control or click and then dragged to the side and then just click again to accept that. So now you can see we've got these extra faces to work with snark and go into face Select mode, which is three. And I could maybe select this face holding shift Click on this face old and shift click on this face old and shift click on that face And I could do something like a normal extrusion , which is just e on the keyboard, and that's just gonna pull it up on We have created something like that. So let me show you where that comes in handy. I'm gonna delete this model again, So I'm gonna go out off edit mode tab, extra delete, click. So I'm gonna credit New Cube, So shift a mish cube and then we're gonna go into edit mode. So I'm gonna press tub and we are in edit mode, So let me quickly show you how handy that loop cut and extrude combination can be. So, first of all, I'm going to select this top face and I'm gonna move it down towards the Z axes. So impressed G to move and then z to move it in the Z um, excess. Let's do something like that. Okay. Next, I want to create a loop cut. So I'm gonna press control are And I want to place a loop cut right here at the back like that, Okay? And then you at the bottom. I want to create a couple of loop cuts. I'm going to do control or and I'm gonna create one on this side, and then we're gonna set it to maybe point. I'm not gonna worry about thes the exact number right now, so I'm just kind of slide it to wear wanted. Obviously you can be exact by entering a specific number and click it like so. And I'm gonna create another loop Cut control or and I'm gonna just click and slide it over to this side. Maybe something like that. And then one more control or I want to do a do cut this way like that. So now what we can do with this extra geometry I can go to face select mode, which is three, and I'm going to select this face holding shift, this face Holden shift this face holding shift and that lost face. And then I'm going to simply press e on the keyboard to extrude and I'm gonna extrude it down to something like that. Click. And now, on the top section I want to extrude this face holding shift, this face holding shift, this face And I'm gonna press e on the keyboard to extrude And they we have a j simple as that says you can see loop, cut and extrude, Um, is basically one of those tools that you will use all the time when you are creating three D geometry or three D models off anything. So remember your extrude and you loop cut. Those are your friends. So next we're gonna look at Bevel, so bevel he's basically taking a sharp edge and kind of making it not shop. So let me show you what I mean. So I'm gonna go into edge select so you can press to on your keyboard and I'm going to select this age you at the top. I'm gonna do shift click on this one and then click shift. This lost one so you have those three ages selected. Now I want to bevel these. Okay, so I'm sure you can use one of these shortcuts you on the side. You can see this bevel there or you can right click, and I can do bevel edges, but we're going to look at the shortcut, which he's control be. So if I press control be on the keyboard, you will see it's gonna create this line, and if I drag it, you'll see it's gonna create this kind of like a bevel area on that edge. If I just click, you'll see that our edges not shop anymore. So now this is going to open up the bevel properties here in the corner and the bottom. And, yeah, I can sit things like the amount off segments. Now, if you look at how this bevel currently looks, you can see it's kind of flat, and if I increase the segments, you can see that it's adding mawr segments so you can make it nice and round so you can increase. This may be quite a bit maybe, like 20 nice and smooth, and then another thing you can do is you can change the office it. So if I click and drag the office it you can change how big that surrounding area ease off your bevel and then you can also set the profile. So currently, the profile is set at 0.5, so I can drag this down. You can see what's actually happening. They it's going kind of flat. And then if I drag you down, even MAWR, it's gonna go inwards so that if you want to create almost like an inverse bevel, something like that, or I can also take it the other way. So if I just drag this way, you can create something that's a little bit different than a normal level. If I take it all the way to one, you will get a sharp edge again in your bevel. Won't really be doing anything. So he's gonna drag this down until we have something nice and smooth like that. And then you can just click away and that you have your bevel so we can do this. Maybe with this section is, well, you in the center off our chair so I can click this one click shift click on this age shift click on that age and let's use the shortcut Certs Control be for Bevel. And I'm gonna pull this out and you can see that it's actually saving our sittings from our lost people. So if I click once is gonna come up again and I can change some of these things again so I can maybe make my segments a little bit lace. Maybe I want eight segments and maybe want to change the profile a bit. So it's not as round maybe I want to have. It may be as something like that. And then I can just click away to save that so you can do the same with these ages on the side or front. I can click us one shift leak, shift, shift, shift, click and in the same on this side. So we've got all those ages selected all around, and I can do control be for Bevel, and I can pull this out slightly and then click, and I'm gonna leave all the sittings the same when I consumed. We have that nice, smooth edge on the top as well. So if you go out off edit mode, if I pressed Tab on the keyboard. Now I can actually see that smooth edge that it created. So obviously there's a little bit of an issue year because we have these two Babel's that's actually intersecting each other, So there will be ways around that. But don't worry too much about that now. The only thing we are focusing on ease the bevel so you can see these sides. You on the front actually looks good again. See those two Bibles meeting each other right there. And yeah, that is looking perfect. So that is Bevel. So next we're going to look at something called an inset, So I'm gonna go back into edit mode. So I'm gonna select out you and then I'm gonna press tab on the keyboard to go into edit mode, And now I'm gonna show you how the inset function or operation works. So there are a couple of ways to do an insect. You can either use the icon e on the side, which is this one in set faces, or we're going to use the shortcut. We just always faster and better. So I'm gonna go into face select mode. So that's three on the keyboard and then I'm going to select this face right there in the metal gates. We've got this face selected, and now we're gonna do our insect. So either you can press this icon organised a shortcut, which is I for insect. So if I press ay on the keyboard and I move my mouth in words, you can see what it's doing is creating an in sit face inside off that big face. So I can click there and again sit some sittings here. But I'm going to leave this old default and I'm gonna click away and I can see we've got these extra faces that have created as well as this center face. So now I can do something like you can extrude this. Maybe you can extruded up for some reason. If you want to do that or if you wanna extruded inwards, maybe for some strange reason I'm gonna undo that on. And obviously what you can do now again is you can click on this face and you can insect this one again. So I'm gonna press I again and then insight that again and I'm going to do it again. I smaller so I can see, it's creating all these extra geometry for you to add some details. Now let's say we want to add some details on this leg. So what I can do is I can click on this one face on the leg, Chris I to inset, and it's gonna create something like that. And now I can do maybe a extrude and just put it in slightly. And now they've got something like little detail on that leg. You can also do the same with multiple faces at the same time. So I'm going to click on this face and then shift click on this face and then press I to inset. And you can see that it's trying Teoh in sit both off those at the same time, so that's also pretty handy. You can also try and do faces that's not kind, are touching each other or not in the same area so I can select this face and then select this face and then press I on the keyboard. And I couldn't create two identical insets on both of those, and I can do extrude and maybe move them in slightly to create some interesting looking details. There So as you can see a lot of uses for that inset. Next, we're going to look at something called the full operation. So filling is basically the way I think about the full command is to connect two things together so you can either connect to Verte sees together. We can connect to ages together to form a face. So to Vergis is connected together will be an edge. To edge is connected together will be a face. So let me show you how that works. Really, really simple. So I can go and let's go into edge selection modes. I'm gonna press two on the keyboard and I'm going to select this age right there and then I'm gonna shift click on this edge on this side. So you've got this age selected and this age selected and then on the keyboard, I'm gonna press if for full, And that's gonna full in the space between those two elements that I selected those two ages, and it's gonna automatically create a new face for us. So if we look at this from the other side, you can see it's a flat face that it created, and we can do the same worth. Let's say we want to join this face and this face together. Some shift clicking on these two to civic both of them. And then I'm gonna press if on the keyboard. And it's gonna full that with a new face. So let's go to the bottom and you can see that this is just a hollow section Your face right there. And then you put a face right here. Let's I want to join these two together, so I'm gonna go to H selection again. Select this age yet the bottom shift, like this edge and impress if on the keyboard and it's gonna full letting, as you can see Now let's have a look at how to join to Verte sees So what you can do he's I'm gonna go into Vertex Select mode So that is one on the keyboard. And now I'm going to select this little Verdecia right there. Shift click on this bird to see right there, and I want to extrude thes two Vertu sees upwards. So on the keyboard I'm gonna bris e to extrude and then I want to go z two extruding the Z axes like that now I can see it automatically extruded the face and everything together because we extruded both of those courtesies at the same time. So I'm gonna undo that. And what I'm gonna do is I'm gonna take this one vergis e Just this one on the right. I'm gonna press e to extrude on NZ to extruding the Z axis, and I'm going to guess the distance just something like that. As you can see, it basically created another Vertex with an age connecting to that other verdicts that we extrude it. Now I'm gonna do the same with this site. So I'm going to click on this Vertex moon oppressed young the keyboard to extrude Z two extruding the Z axis Click and I can see we've got another Vertex right there and another vertex right there. So now I can go and I can select this for to see shift click on this for to see and then I'm gonna press if on the keyboard. And as you can see, it's connecting those two verte sees with a new edge. Now what you can do is you can go into edge select mode so to on the keyboard, and we're going to click on this age right at the top, and I'm gonna shift click on this edge right at the bottom. So we've got these two ages selected, and then I'm gonna press if on the keyboard, to connect those two edges with a new face so we can do the same with this edge. So I'm gonna extrude let's rather extrude the Vergis is. I'm gonna go back into one Vertex election mode and I'm gonna select that Vergis e right there, that white one. And I'm going to zoom out e to extrude Z for the Z direction or axes. And I'm going to do the same on this side. Someone a zoom in here, Click on that Vertex, Zoom out you on the keyboard Z for the Z axes and click right there so I can see we've got these extra verte sees and I'm going to select this further. See on that emergency press f to connect them and I want to connect these two Vergis is together, so I'm going to click on this word isi shift. Click this one press if to connect and let's do the same on the other side. So I'm gonna spin around. Click on this vergis e shift, click on this one and then if to connect those two with an edge between them. So now we can go back into each selection, which is to on the keyboard. An hour can click on this age shift. Click this age press if to create that facing between and I'm gonna do the same on this side. So click on this one shift like this one priest if to connect and in the same on this side . So click on this one age shift like the other one. If two full them and in the same at the top. So click their shift like there and f to close that down. So I'm not sure why we will create this geometry, but just for demonstration purposes, that is how to full something. Using that if command okay, next, I want to show you how to increase and decrease your selection in a blender. So let's say we go into face select mode and let's say we click on this one face right here in the center off this area, and I want to increase my selection by one. So what I can do to increase my selection ease on the keyboard? The shortcut is control. Plus, and as you can see, it just increased that selection area for me. So I'm gonna press control plus one more time and you can see that increased it once again . I can do it another time. Control Plus and you can see it selecting all those faces for me. You can also reverse this by pressing control minus You can see that it will shrink our selection control minus again and in control minus again. So that's really cool if you are trying to select a certain area off your mission, but you don't want to go around and when I kind of quickly click all the faces. So let's say we want to select this back leg, so what you can do is you can simply click on this bottom face like so and now I can do control Plus, and it's going to select all those connected faces for me. And then if I do control plus again, that's going to try and increase that selection. As you can see, it's not selecting these faces here in the center. I can go control plus one more time and it's going to select that. But now it actually went around and it selected everything else because these things are also all connected. So a good idea to do something like that. He's, Let's say we have some more details on the side. So I'm gonna do select um, this face. I'm just gonna do a quick inside and in a quick, um, extrude do the same with this one inset and extrude and in the same on the side, so inset and then extrude. So something like that, which is all around kind of a similar amount off faces. So now if we select this bottom face and we do control plus can see it selecting all those faces around, I can do another controlled plus Andi conceit selecting that again. But I think you get the idea. So control plus and control miners is just increasing and decreasing the selection that you are currently selecting so also really handy for just quickly selecting an area off your mish. So let's say if I click the stop face their control plus plus plus plus in see how it's actually increasing that selection for you. So I think this example year is probably the best. Because obviously, if you want to select this whole area, you can either click and in holding shift and then kind of click around them or you can click and drag and that will also select all the faces that you drag over. Or you can just select that middle one and do control Plus plus plus plus. And I have selected all those faces. So that is selection, increase and decrease. Next, we're gonna look at how to join and separate measures. So currently, if you look in your outline, you can see it is Cube, and this is because we started with a default cube. So this is just one object in your outline. Er it's just just one thing, basically. So let's say we want to separate some of these ports and create a separate object. So I think that start with a new Meesh. I'm gonna go out off edit mode, suppressed tab on the keyboard, and it's to lead this one Chris X and in delete where you can say that if you want to. And now we're gonna create another cube. So I'm gonna press, come shift a mish cube, and I'm going to go into edit mode, so I'm gonna breast tab. Okay, Now we in edit mode, and I'm going to create a loop cut around this. So the shortcut for Luke cut east control, or again, sir? Control Or and I want to cut it right in the center. So I'm gonna click there. I'm gonna rightly, just to send to that and then click to confirmed that. So now what I'm gonna do is I want to separate this into two different measures. So very easy to do that. You select the faces that you want to separate, so I'm going to select this face. But sorry. We need to be in face like mode three on the keyboard. So I'm gonna select this face shift like this one shift like this one shift like this one and shift like this one. So I want to separate those faces from this mish. So with those faces selected, you simply write leak, and you can see these separate. And I can either choose separate by selection by material or by loose pots. And we're gonna go selection because I selected those faces that I want to separate. And if I take selection and I can see we have two objects in our out liner. So I'm gonna go into object mode by pressing tab on the keyboard to get out of it a mode and I can see we've got two different objects so I can click on this one object when I compressed G on the keyboard and I can actually move that away and you can see we have to different measures. It's obviously conceded Ian outlining as well. Now let's say you want to join these two together again to form one mesh No. One Mish. Um, it doesn't have to be or have doesn't have to have connected geometry to be one mish. Let me show you what I mean by that so you can take these two objects. Now I can click on this one shift click on this one on. Then I can right click, and now I can go join. So if I joined these two together, you can see in the art liner. It basically created a new object, which is just called Cube, so it's just 11 object and I for go into edit mode on this object. By pressing tab, you can see that they not connected, but they still one object. So I can are going you and I can enable Verdecia mode and I can select that Vertex and I can select that Vertex and I conjoined them together by using that if shortcut, you can see it created that edge between those two. Vertex is or Vergis ease and I can select this one and this one press F to join another Congar into edge mode, which is number two on the keyboard. Select this edge shift click on this edge and then press F two full that in for me, and I can do the same with these. I can select this age in this age, Chris. If same underside this one, this one. If so, you don't have to do this. I'm just kind of showing you that you can have, um, one object that's not connected to each other week and obviously connect them to each other like that. Another thing you can do is I'm gonna undo that. So we still have these two sections, but one mish. So as you can see, 4. Pivots and The 3D Cursor: Hey, and welcome back. And in this listen, we're gonna look at pivots on. Also, we're gonna talk about the three D cursor in blender. So first of all, I'm gonna delete the light and the camera, so I'm going to select those two and press X on the keyboard and then click OK or the lead to confirm that. And then, first of all, let's quickly just talk about the three d cursor. So I'm gonna move this cube out of the way. So it's compressed G and X two just moving on the X axes and you'll see there right in the middle of our scene. We have this cursor, and that's called the three D Cursor. Now, there are many different things that you can do with a three d cursor. And I'm going to show you some off the things. Yeah, just how you can actually utilize this three d cursor. So just know that that is the three D goes certainly can move it around. I'm going to show you sick and how to do that. And then we can also see the pivot point off this cube. So if you look at the Cube you'll see a tiny orange or yellow dot in the center off that cube, and that is the pivot point. So if I select this cube and I press are on the keyboard for rotation, you'll see that it rotates around that dot or around that perfect point. So that's the kind of the center point off this cube now to change that they are a different or a few different ways to change that pivot point. Um, but an easy way that I'm using to change the perfect point is actually using the three d cursor to change that pivot point. So let me show you what I mean. So let's say we want to move this perfect point off this cube and we want to set it on this corner off this cube. Maybe we want to rotate it around this corner, Or maybe this edge or maybe anywhere else. So what I'm gonna do is I'm gonna go into edit mode while I have this cube selected. So with cube selected breast tab on your keyboard to go into edit mode, you can also do that to you at the top, as I showed you before and know, what I'm gonna do is I'm gonna select where I want to place this pivot point. So I'm gonna go into Vertex, Select Motor Press one on the keyboard, take and select or see the vert disease, and I'm going to select this word ISI right here in the corner. You can see that it's highlighted. And now what I want to do is I want to move this three d cursor to this vertex. Now, again, there are a few different ways to do it. But we are gonna use the shortcut shift s so the press shift s on the keyboard, you'll see this menu pop up, and they are different selections such a can choose your selection to cursor selection too active and so forth, and ah, run at the bottom. You'll see cursor to select it. So that is our selection that Vertex on that is the curse. Um, So if I click this, you'll see this cursor is gonna jump to this vertex so cursor to selected and they can see that three d cursor actually jumped to that vertex right in the corner. Now we can go out off edit mode, so I'm gonna press tab on the keyboard to go out off road mode, or you can change this year to top to object mode, and I can see we are We can see those vergis is anymore, cause obviously we are in object mode. Now, with this cube selected, you can go to object or right at the top, and then you'll see sit origin. Now, the origins the same as the pivot point for an object. So said origin and I have a few different options that you can choose and the one we are going to choose ease origin to three D cursor. Okay, so if you keep your eye on this pivot point right in the center, we're gonna go object, sit origin origin to three D cursor and going to see that little dot is gonna jump from the center to that Ah three d cursor so you can see it's right in the corner now. So now if I rotate this cube, you'll see it's gonna rotate around that corner. So now we can go in and we can reset this three d cursor back to the world origin on really easy to do that. You just press shift s on the keyboard again. That's that snapping shortcut. And then we're gonna choose cursor to world origin. Now, the world origin is the center off our world. So if I click this, you'll see that that three Kurds is gonna jump back to the center of the world because we don't really need it to stay on that verdict anymore. We can use that three goes on for some other things. So if I rotate this cube now, you'll see that it's still gonna rotate around that new pivot point. Now, let's say you want to reset this pivot point back to the center off this cube. Very easy to do that So you can just select this Q begin or highlight this cube, and then we're gonna go to object, sit origin, and then you can use origin to geometry. You can also use origin to center off mess or surface and volume. But usually I just click on origin to geometry, and you'll see it's going to snap back to the center. Off that cube, you can see the bullet points back to center an hour. If I click, our press are on the keyboard. It's going to rotate around that center again. So let me show you that you can actually use something You don't have to use a vertex to snap that three d cursor to you can either use ages. We can use faces as well. Let me show you. So I want to sit the Ari or the perfect point off this cube to the center off the bottom face. So to do that, I'm going to go into edit mode with this cube selected suppressed tab on the keyboard. And now I want to go into face selection mode. So press three on the keyboard, and then I'm going to select this bottom face just like that. So now what I want to do is I want to snap this three d cursor to this bottom face. So with the spice selected, we're gonna press that shortcut again. Shift s and I'm gonna go cursor to select it. So it means it's gonna take the three D cursor and it's gonna move it to this selection, which is this face so cursor to selected, and they can see our three d cursor jumped to the center off this face No, we can go out of edit mode again. So pressed tab. And with this cube selected, you can go to object said origin on the origin to three D cursor and you gonna see that perfect points going to jump. There we go. It's gonna jump to the center at the bottom. And now, if I rotate this cube, it's gonna rotate around that face, as you can see. That pretty cool so we can do the same with edges. So I'm gonna go back into edit mode again. And this time I'm gonna press two on the keyboard to go into edge selection mode. And let's say we want to set our origin in the center off this edge that have selected you on the side. So I'm gonna click on this edge and in that short cut again shift s cursor to select it. So we're gonna jump. You see, the three d costa will jump to that edge in the center of that edge. And now we can go out off edit mode against a tab and then object set origin origin to three D cursor and you can see that origin jumped to that edge And now if I rotate this cube, it's going to rotate around that edge. It's obviously if I brace or and then maybe why you'll see it's gonna wrote it in the why axes or X was he? You can see they that's actually rotating around that point. So that's basically how you change the pivot point off an object. There are still some other uses for the three D cursor that I'm going to show you now. So let's say we have I'm just gonna reset this three goes back to the world origin. So I'm gonna press shift s and then cursor to world origin. John, back there on maybe let's just reset the perfect point off this Cuba's well, So the cube selected go to object, said origin, origin to geometry. And it's gonna jump back to the center off that Cuba's you can see. So I'm going to duplicate this cube. So with this cube selected press shift D for duplicate, and then it's gonna press X on the keyboard to just move it in the X direction or X axes and was gonna place it some way right there. So let's first talk about perfect points and multiple objects. So if I select both of these cubes, I click on the one and I shift click on the other one to have them both selected. You can see they have the perfect points in the center. And if I now click on or priests or for rotation, you'll see that it's going to rotate around the center. Point off those two objects. Okay, as you can see there, that draws a little line from the center, and that's how it's gonna rotate now. There are different ways to change how that works, so right at the top you'll see this little drop down next to Global, and this is basically called the Transform Perfect point. So as you can see, it looks like two circles with a little dot in the center off those two circles, which means if you have multiple objects, there's other circles. The perfect point will be in the middle off those objects, as we can see when we do a rotation. So if we click on this drop down, you'll see we have different options. Bounding Box Centre, three D Costa. Individual origins, median point and Active Element. Now currently we have a median point selected. As you can see, these are This is the two circles with the pivot point in the center, but we can also do individual origins. And as you can see, we've got these two circles with two dots inside off each circle, which means the origin will be in the center of each object. If that makes sense, so they let's click on this one to selected individual origins. Ondas concealed will change that icon at the top. And now, if I press are for rotation, with both of these cubes selected, you'll see that they will rotate around each off their own pivot points. As you can see there so I can press are and then maybe why to writer around the y axes or X o Z. Okay, what you can also do Let's see what other options we have you. So we've seen the individual origins that we just tasted also the median point and in this three d cursor. So if I click on this one now, it will actually use the three D cursor that's right in the centre as the pivot point for this selection. So if I press are on the keyboard, you'll see it's going to rotate around our three D cursor pretty cool. So if I press are and then zit or Z, that's going to rotate around the Z around that three because so now we can also change this to active Element. Now let's talk about the active element in your scene. So basically, if we have multiple objects, I'm going to duplicate one of these cubes one more time. And this time I'm gonna press X to move it in this X direction. Maybe let's place it there now. If I select an object, you'll see that it gets this outline, which is kind of orange yellow. And if I shift click on another object, you'll see that the new one is gonna turn bright orange ILO, and the previous one that was selected turns to kinda a darker orange or red. Now, if I shift click on this third object, you'll see that both of these previous ones turned kind of dark orange, and this new one he's a brighter yellow. Now this will be our active object, the one that you selected lost. So now if we change this, prove it yet the top. And we change this to active element. This will mean this Cube is the active element, and that's gonna be the perfect point for the selection. So I'm gonna change it, too. Active element. And now, if we praise are on the keyboard for rotation, you'll see that that selection is actually going to rotate around that active object. So you have many different options to choose from. Usually the default is median point to have that in the center of your selection presidency . There are many other ways to actually change the way that perverts work inside of blender. No, We can also use perverts and the three D cursor to snap objects to a different location in our scene. So let me show you what I mean. So let's say we want to snap this cube to this cube and we want to snap this cubes, prove it to an area on this cube. Now, I'm sure that doesn't make confident sense, but I'm going to show you, and I'm sure it's gonna make sense once you see what I mean. So, first of all, I'm gonna take this object, and I want to sit the origin to this side face. I want to set the origin to that center off that face. So I'm gonna go into edit mode, and then I'm going to go into face selection, which is three on the keyboard, and I'm going to select this face and I want the three D closer to jump this. I'm gonna press shift s and then cursor to select it. Okay? So you can see we've got our three d cursor on that face. I'm gonna go out off edit mode, Suppressed tab. I mean, with this cube selected, I'm gonna go object, sit origin to origin to three. Dickerson. So I can see we have the origin off this object on this face. No, Let's go into this object. And I want to sit the three d cursor to this face. And then we're going to use that to snap these two objects together. So with this object selected, I'm gonna go into edit mode, suppressed Tab and then stall in face selection mode. I'm going to select this face, and then I'm going to snap the three d cursor to this face so that short cut again shift s and in cursor to select it. Second, See, there is our three D cursor in the center of that edge. And now we can do this snapping. So I'm gonna go out off edit mode. So press tab on your keyboard and I'm going to select this cube where we change the origin . And with this cube selected, I'm gonna go object, and then we're gonna go to snap. And this is where we can actually do snapping to a certain area or a certain object. So now I can do all these different options here. And there's one that says Selection to cursor. Now this is our selection. That's the cursor, the three d costa. So let's see what happens. Object, snap and then selection to cursor. There we go. So you can see it took the perfect point off this object and it snapped that to the three D cursor. So these are still two objects. As you can see, I can stall, move them around, they're not connected at all. They just moved together or closer together on and then exactly at that same area or that same distance from each other. So you can also do something like, I'm gonna go into this object, gonna press tap to it, and then I'm gonna go and press one on the keyboard to select Vertex that for ticks on the corner. And I want to snap the cursor to that vertex. So shift s and then cursor to selected can see our three d curses. Now on that corner and I'm gonna go out off edit mode. So press tab on the keyboard. And this time I want to snap this objects origin or this object I want to snap to the three d cursor. But because the origin off this cube is robbing the center, that center off this cube will be snapped to that position. So let me show you what I mean. So with this cube selected, I'm going to go to object Snap Onda that I'm gonna go selection to cursor. So selection to curso object, snap selection to cursor, and they can see that the center off this cube snapped to that location. So, as you can see, this isn't really really powerful way to snap objects together or to move an object to a specific location on your in your world. If you want to maybe reset an object back to the center of the world? Very easy to do so you will do shift s and then our cursor to world origin to get that cursed her back to the center of your world. And then you can choose an object with eso. Let's say this this cube with the perverts centered. So with this cube selected, I'm going to go to object snap and in selection to cursor. And they can see our object is now perfectly in the center off our world again. So, yeah, that's how you can use pervert points and also the three d cursor in blender to move things around and also change the way you can interact with your objects in your scene. So give that a practice change. The pivot points around on some of your objects, snap some objects together and just play around and get familiar with how to use the three D cursor. It's a really, really powerful tool that I haven't seen in many other three D applications, so this is quite unique to blend also might be wrong, but I haven't seen that before in any other software. So play around without get familiar and I will see you in the next lesson 5. Using a Reference Image when Modeling: Hey, and welcome back, Andi. In this. Listen, I'm gonna show you how to add a reference image or a photo that you can actually use to when you're modeling something to use that as a reference. So first of all, I'm going to delete the lamp and the camera zooms, can select those two and then press X on the keyboard and then delete. And then what we're gonna do is we're gonna press, shift A to create a new object, or you can go to add at the top, and then we're gonna choose image and in reference. So this is gonna add a reference image for us. So it's gonna ask you, what do you want to add? And you can browse on your computer or your network and then find an image or anything that you've done that it may be a blueprint of something, and you can load that reference now, As you can see, it actually loaded it in on an angle because it will load it depending on what angle you are viewing from. But we can reset that really easily. So if you select this reference image and you go to the properties or the object properties panel you on the side, you can see that the rotation has got some values and we're gonna zero that out to sit this flat on the grit. So I'm gonna change this, just press zero and enter. And in the 2nd 10 enter and in the same with a Z rotation zero inter and I can see that is flat on the ground. Now we can scale this. Rotate this mood around exactly the way you're gonna move a normal object. So with this object selected, I'm pressing s on the keyboard, and I'm going to scale that up and you can see it's a blueprint off some type of ship. So we've got the top view in the side view and also the back or the front view right there . So for this demonstration is going to show you how to use maybe the top review off this reference. So with this reference image selected, I'm gonna go into the reference image properties so you'll see there's icon that's called Object Data Properties. Looks like a little picture with a triangle in front. So if I click on this, this is gonna give me the properties off this reference image. So there's a few things that you can change you. So the depth is on default. You can either sit that front, so it's gonna be in front of your object. So even though your object is above this reference image, the reference image will always appear to be in front. Or you can change it to back. So it will always appear at behind your objects so you can see they it's always behind it. So I'm gonna change this back to default. They can actually see. It's intersecting our object and in the same with side. So this is what side will be visible taken, do front. So the front side of our references visible. But if you look from underneath, it's invisible, so you can see it from that side and in the same with back. So back will only show the backside, but you can't see anything from the front. So I'm just gonna leave that on both for now. And then You can also change the transparency off this reference. So you find able transparency. You're on the properties panel. I can change. Just drag your mouse and you can see that will adjust the opacity off that reference. So let's it that to maybe we can actually adjusted right now. So right, And in the corner of your view port, you've got all these axes. You've got your ex new wine, your Z, and you can see how they are rotating if I move around in my scene. So let's say we want of you this scene from the top down, I can simply click on this Z Icahn in this area right here. And if I click on Z, it's gonna take me exactly to a top view off my scene. And I can use middle click and shift to pan around, and I can still use Zoom but the middle or the minute that I'm going to just do a middle mouse and drug, it's gonna take me out off that top view and back into perspective. So I'm gonna click that dizzy again to go back into top view, and I can see we have our ship top view right there and we can start modeling from this cube. So the way I will do this, he's I will select my cube and Let's just move it around and kind of get it in the center off our reference. But it's always good to be able to see through your objects when you doing any modeling off this type. So there are a couple of ways you can do this, and I'm just gonna enable X ray views. So with this cube selected, I'm going to go into X ray view. So this icon, right at the top and then I'm gonna go into edit mode. So just press tab on the keyboard and you can see we have our cube right there. So now we can go ahead and we can start moving some off these Vertex Verte sees around so I can take these two verte sees pressed G on the keyboard to move them around and maybe position them, maybe position that Murat at the front for now and maybe its position, these two right around at the back. So I'm gonna press G and maybe we should do this accurately. Empress X as well. So we're only moving in the X axes and I'm gonna place it right here at the back. Now we need to add some extra geometry into this model. As you can see, if I just go out of top view, you'll see that we only have this box right now so we can add some edge loops to create some extra geometry on this cube for this rectangle. So I'm gonna press control or to go into this loop cut, and I want to cut it right around like this. So it's gonna click once, and then I want to move it. I'm going to right click to go out of that. And then I'm gonna open the properties off this loop, catty at the bottom. Just click on this panel and I want to increase the number of cuts so it's gonna increase this and you can see it's adding more and more more geometry for us to use. So that's gonna be at about eight off those loop cuts and then we're gonna click to apply that and I can see we have all those extra geometry to work with. So now if we go back into the top view, if I click on this Z right there can see we have all those courtesies. So now I can simply go just make sure that you have extra. Have you turned on? Because if you don't have extra view turned on you only going to select the top age or the top Verdecia and you're not gonna affect you. See there the bottom off your model. So if you do that and you move everything moves something around or maybe scale something, it's only going to affect that top section unless you select the bottom ones. Menotti. It's always make sure if you do something like this that X rays turned on, Let's go back into the top view. And now if I drag a box around those vergis is, it's going to select all of them all around, as you can see there. So let's go back to Z and I'm gonna start Just scaling these two or these emergencies that I've selected was gonna press s on the key Borden's and scale them down. And as you can see, we can try and match our reference pictures. So I'm gonna do the same with these two at the front, so just select them and then s on the keyboard to scale scale them down like that. Now we can just go ahead and do the same with these as well. And it's do these ones as well. It's on the keyboard. Select s on the keyboard. Select is to scale. As you can see, this is also quite a powerful way off creating your models and then right at the back, skilled at all. It's enough. Resume out and we go back into our three d view. I'm just going to disable this x ray so you can see the model on. But I can see there is our basic shape off our ship. So what else can we do with this reference? I are also a very good thing if I go back into object modems compressed tab on the keyboard . So usually you don't want to be able to select this reference image because sometimes you're working and maybe you accidentally click on that and you move it around. And now everything is kind. Are may stops was gonna undo that control. See, So what you can do is I usually sit my reference image to be not or non selectable. Now, remember, in the first video, I think I showed you how to disable selectable on a specific object. So in the outline, er we're going to click on this, falter right at the top, and then I'm gonna enable this arrow, which is the selectable. So now you can see our empty or are references got that selectable enabled. And if I click on that to disable it now, we can't select this reference image anymore, and that's exactly what we want. So now we can go back into top view, click on our object, going to edit mode by pressing tab, and then we can enable X ray again. And we can start moving these things around again and exactly see, um, what we are doing. And that's how easy it is to use blueprints inside of blender. So the best thing to do, he's going to Google and search for some blueprints and see if you can find some interesting stuff that you can load into Brenda and maybe just play around with and see if you can model some some different shapes by using reference images and yeah, that way you will just practice how you can actually start modeling mawr advanced things in the future. So I'm sure you can find a lot off core blueprints online or anything. Really? Maybe if you want to do a ship, you can try ship as well. So yeah, play around with that. See how that goes, and I will see you in next. Listen. 6. Smooth Shading vs Flat Shading: Hey, and welcome back on in this. Listen, we're gonna look at smooth shading and flat shading inside of Bender. So it was longing to lead my camera on my lights or select them press X on the keyboard. Delete. So in Linda and most other three applications, you have a smooth shade option and also a flat shading option. Now, there are many ways to smooth out on object inside, over three replication, you can add a whole lot off extra geometry to make it more smooth. We can use something like a sub serve modifier, and we're gonna look at this. UPS observed modifier later on in this thing, this course. But for now I'm going to show you a way that kind of fakes the way that objects are displayed so they will look smooth. But the actual geometry is not really smooth. So this is really handy if you are creating low Polly models for maybe like a game or you're taking it from blender to unrealized, too unity or any other gaming engine that's always good to work with as Low Polly measures as possible. And that is where smooth trading comes in quite handy. now it doesn't work on everything. You can't really just add smooth shading to any object in your scene because it weren't Luca, Right? So let me show you an example. So, this cube, if I right click on this cube, you'll see that we have shades smooth and shade flat. Now, if I click on shades smooth, he will see something will happen and we will get this kind of smooth shading And it looks quite interesting, but it doesn't look all right because we can't see these ages on on this cube and yeah, it just doesn't look right. So I can now writing again and say this back to shades shaped flat and I can see it's we can see those heart ages again, which looks right so obviously for a cube, you're not gonna add that. So I'm going to delete this cube just X and then delete, and then I'm gonna add a cylinder, So I'm gonna go shift a and ah, well, it's add a UV severe first, so I'm gonna select UV sphere. And as you can see, we have this ups were You can obviously click on this ad. US Fear panel yet the bottom and you can increase your segments. And as you can see, that will smooth it out. Also, the rings increase that, but this way we'll just add all this geometry. If I open up edit mode, right click tab, you'll see that it's got all of these faces and all of these geometry. That's just extra geometry that you don't maybe really need. And as you can see right at the bottom, it tells us that we have 17,538 faces guarantee. So that's a lot of German tree just for a simple severe. So I'm gonna delete this again, and I'm gonna at this we're back as default. So you be severe. And in the settings I'm gonna change the segments back to 32 the rings to 16. So that's kind of the default geometry. If you add a UBC here and I can see, obviously it's not smooth at all. You can see all the faces If I go into edit view, you can see we have a lot less faces and Vergis ease in ages. And, ah, if we have a look at the bottom here, we can see that we only have 512 faces, which is a lot better than something like 17,000 or whatever it waas. So with a severe selected you can now or right click and I can go shade smooth and instantly. You can see we have this amazing, smooth looking severe. Now, if you look closely to the edge off, our survey can see it's not really smooth. He can actually see those corners, and if I click on it, you can actually see a little bit better. So it's kinda like a little bit of an illusion. It changes the way how the light is interacting with those flat faces. So it's kind of a way off cheating something to look smooth inside off any three application. So if I export this severe now to you, let's say to un really, engine under the engine will read that smooth shading, and it will keep that smooth look. So a really cool way to save on geometry if you're trying to keep your body can't load. So if I select this again, you can write it again and set flat so you can easily just change between that because it's not really changing the actual geometry. It's kind of just faking it. So I'm gonna delete this fear and let's say we want to add a cylinder. So I'm going to do shift a mesh and then we're gonna add a cylinder and I can see a cylinder. You can also change the settings at the bottom to increase it, but I'm gonna leave it on 32. For now. Now, cylinder is quite interesting cause I want the sides to be smooth. But if I just select my cylinder and I rightly can go shade smooth, you'll see this is gonna happen. So the side off our cylinders actually going pretty good. You can see it's nice and smooth, but if you look at it from angle, you can't see this edge going past you at the top and the same at the bottom. Looks kind of weird. Doesn't look right. So the way you want to do this is you want to go into edit mode first and then only apply the smooth shading to a specific area off your object. So let me show you what I mean. So I'm going to right click on this cylinder again. I'm gonna sit it back to shade flat back to normalcy. Concede we can see that edge again, which is good. So now with this cylinder selected, I'm gonna press tab to go into edit mode. Now, what I want to do is I want to select everything but the top and the bottom face. So when I select all these faces going around in the center, but not select the top and bottom so some easy ways to do that with everything selected as a tease, you can simply make sure you on face select mode so you can press three on the keyboard and then you can do shift, click on the top face and shift. Click on the bottom face to de select them. You can see there are gray, they're not selected and everything else is selected. Another way to do this easy. I'm gonna click to de select everything. You can just drag a box like this, but just be careful. If you wrote it around, you'll see that you have not selected any of the faces at the back, so you can do shift and just kind of shift and highlight them like so or another way will be easy just to enable extra view at the top and go to the side like a side view. And now you can just drag a box and that will select everything through that model so you can see it selecting everything through it. Enough. We switch off this X ray view, you can see that's also a perfect selection. Another way to do this ease. You can click on one of the faces, and then you can control Click. Another one is going to select everything in between and I can go all the way around. Maybe two year control. Click and in control. Click again, like so, so many different ways to select those faces. And now, with those faces around selected, I can write, leak, and then I can go to shade smooth. So yet the bottom shades move and shake Flat shade smooth. So now I'm gonna go out off it mode. So pressed tab on the keyboard and I can see that the side off this cylinder is nice and smooth, but we can still see that hard edge at the top and also at the bottom so that's gonna what you want. Now, just be careful when using smooth shading on everything. You kind of need to ever reason that you are using it. So remember, for low Polly assets for gaming assets for things like that, try and use smooth trading. If that is the look that you're going for. If it's not the lookie going for, then maybe leave it on flat shading. And if you're not worried about your poly count, you can always just add a subsurface modifier and we're gonna look at that later. But as I said, that's gonna add a lot off geometry to your scene. But if that's not something you are worried about, you may be making a very high density. Hi, Polly Can't model, then that's fine. Then you don't have to use the flat shading and a smooth shading at all. So, yeah, play around without to see how you can create different smooth shapes. By using this smooth and flat shading inside of blender, I will see you in the next lesson 7. Adding Lights To Your Scene: Hey, and welcome back on in this. Listen, we are going to look at lights adding lights to your scene. So first of all, we're gonna delete everything in the scene. Start with a blank seen so simple way to do that is press A on your keyboard to select everything and then X to the lead and then click to confirm. So now we have a blank scene, just something else. I want to mention about the three D cursor so the three D cursor will always be the origin off a new object that you're adding to your scene. So if we have, for instance, if we move this really cursor to the side and we create a new maybe a new cube that's gonna create that cube way that three d curse Aries. So that's why most of the time or your new objects such a great will be in the center because that really are. Cursor is in the center of your world. So anyway, we're gonna create a plane or a ground plane First far scenes. I'm gonna pris shift a miche. And in plain now, the plane is literally just a flat face as you can see it doesn't have any thickness. So we're going to use that as our floor and I'm going to scale that up. So with that plane selected, I'm gonna precipitous and then just drag it out. So we have a bigger plane, something like that. And now I want to add a cube on top off this planes, I'm gonna priests shift again, Miche. And this time we're gonna slicked Cube. Now I can see that our cube is not sitting on top of the plane. It's kinda in the center of it. And we want to move this cube up some with this cube selected. I'm gonna praise G for grab and then z fors. It was easy access. And then I'm gonna hold in control to snap, and you can see that snapping. And I'm going to snap it right at the top on top of that plane click and I can see that our Cuba's sitting exactly on that plane. So next on a headlight, so you can either add light by going up to object. And then, uh oh, sorry ad and then add lights year or the normal way. We always do it ease shift a the shortcut and then we're gonna go to light and then you'll see you have some different options. You've got point sun spot an area, so we're gonna look at point. First, I'm gonna click point, and it's gonna create that light inside this cube now, because it's creating it on that three d cursor. So I want to move that light up a little bit. I'm gonna press G, and then I'm gonna press Z to move it in the Z excess like that, and I want to move it over to the side. So I'm gonna press g again. And then why for the y axes, maybe. Let's put it some way there, Andi. Yeah, we can't really see anything, but our light is there. So let's quickly talk about these different views in blender again. The 1st 1 if you look around at the top next to X rays, so that will be the X ray. So if we look at the one next to it, the little wire frame one. This one is a wire frame views. If I click on this, you'll see everything is wire frame. You're not going to see any material. So any light or anything like that, the 2nd 1 is the one we usually working. And that's solid mode. So if I click on this, you'll see everything solid. It's also not gonna let us show you something like a shadow or a reflection or ah, material or anything like that on the next one we have is material preview mode, So if I click on this, this one will actually show materials. So it's like a way that you can preview how your objects will look. You'll see the different colors off those objects, and if they have materials, you'll see those materials. But again, we don't see any shadows or reflections or anything like that, and in the last one is our render a preview. So if I click on this or in the preview, it's going to go into kind of like a weird gray look because we don't really have set any properties to this light. So it's not very bright, but you'll be able Teoh see shadows and reflections and everything inside this render preview mode. Now, just remember that in blender you have different renderers that you can use, so the two main ones are called E V, and then also cycles E V and cycles were not really going to use workbench. So Evie is a real time renderers, which is kind of similar to something that unreal and unity and all of those applications use. It's a very, very fast renderers, but it doesn't give you 100% accurate results as in the real world. So in this course we are not really gonna focus on the E V render. We are going to focus on the cycles renderers, which he's the kind of better Indra. In my case, it's a lots. It's a lot slower than TV, but it's gonna give you accurate results. So whenever you want to go with something photo realistic or something just really, really nice and realistic, you will always use this. Cycles render engine, but you can still get some really, really nice renders by using E V. But it does require a little bit of extra work to kind of fake some of your reflections and some of your shadows. So I'm gonna change this from E V two cycles, and you can instantly see that something is happening. We can kind of see a shadow for Minya. As this is rendering my computer is slowing down a lot. So I am just going to go to performance and I'm gonna change the threads. Teoh too. So it's only using two CPU threads, so it's gonna be a little bit slower, but that's fine. So you can see by moving this around it goes or pixelated. And that's because we trying to render that image using this Orender preview. So now with this light selected, I'm going to go to the light properties. So once you click on your life will see a little light bulb appear in this icon section. So acting on this light icon, you can see we have ALS. This light properties here. So first of all, you can see color, which is white power size, and Max bounces. So let's increase the powers. As you can see currently, the power is set to 10. What? I'm gonna click there. I'm gonna change this to 200 so just type in 200 enter and I can see are light is a lot brighter. You can see it's actually reflecting off this off this floor off this plane, and I can also see that we are getting some nice shadow shadow from this cube. And if I just wrote it my scenic again, you can see it's gonna go pixelated again. It's going to start to try and render that scene again. For me, you can see it's looking pretty cool, so images zoom in your slightly. We have a little bit of a bit of you, something like that. So let's change the color off this light so I can click on this color. And let's say we want to make it a little more blue so I could just drag this into the blue area and instantly you can see our light is now blue. And it's obviously affecting the look off the other objects in the scene because they're all white and you can also increase the power. Maybe let's make it 400 watts. You can see that's brought in it up a bit, and then we have this size, so the size is basically the size off your light and the size of your light will affect the way shadows look. So if I make this smaller, I'm gonna sit this to 0.1. Press enter and it can see our shadow is a little bit shopper. So the edges off our shadows a little bit shopper that's a bit sharper. We can even take it smaller, maybe make it 0.1 in tow. And I can see we have this very, very shop shadow because our light source is very, very small. If I make this bigger, I'm gonna click, and I'm gonna make this 0.5 so half a meter now I can see our shadow is a lot softer again . So I could even increase this maybe to one meter, and I can see our shadow will be nice and soft. So we also get a different few types of lights as I showed you when we pressed a shift A and in light. You have these different options, but you can change them within the properties off that existing light so you can click on your light and then in the light properties, you can change them between point sun spot an area. So let's change this one to a spotlight. We're gonna get back to sun, so click on spot and you'll see, it's gonna change the way this light looks in the scene, and it's gonna create this spotlight. So now I can pick on this light and we can rotate it. So maybe wonder rotated in the X axes so I'm gonna press are and then X to lock it to that axes and Aiken gonna point it exactly where you want to point that light. You can also click and drag this yellow dot so you can just literally dragged this around in your seen to drag it to a very specific specific location like that. You can also change. The power can also change the size so everything else is still exactly the same. Don't worry too much about Max balances. Um, this is probably just a way that the renderers will work out where the light's kind of bounds and how many times it's gonna bounce. So usually I just leave that default. You can also enable cost shadow. If you don't want to cost a shadow for some reason, you can take that awful enable that again. So let's look at sun So I'm gonna click on sun and you can see how a scene is gonna Brighton up quite a bit. So currently the strength is on 400 because we had 400. What? But this is very different to that 400 watts off a point in spotlights. I'm going to set this down to one. And a usually a low number is pretty good for a son. And as you can see, that our son is giving us a very, very shop shadow right there. So you can also then change the angle. So this will be the angle off that son and that will affect the shadow density. Or if the shadow is sharp or soft, that's the angle off that son. So obviously we can increase and decrease the strength can maybe make it too. And that's gonna be a lot brighter. And then you can also just drag this yellow daughter around in your seen to sit that angle off how the sun is actually affecting your scene. Now, lastly, let's look at area somewhere taken area on a realize, gonna create, like this flat plane almost. And I was gonna drag this yellow so it's gonna pointing in the direction off our cube and ah, I can see we can change the shape off our area light sick. And if you click on this drop down, you get square rectangle, disk and ellipse. So this is square, so a rectangle can change it to rectangle or disc, which is like a flat around disc. As you can see, they weaken changes to lips and that will create an ellipse. So this is just different gonna shape. So I'm gonna sit this back to disk, and then we need to increase the power currently sited to what? So I'm gonna changes to maybe 400 and I can see it will just gonna affect your seen differently, Can see this fall off. This light is looking a little bit different than spotlight or point light. And you can obviously also increase the size and decrease size to change the way that your shadows look. So let's create one more light. So I'm gonna press shift a light on the stomach's gonna create a point light again, and I'm gonna move it up so g and then Z to move it up on the Z axes and then we are going to press G and why to move it in the Y axes maybe to this side And this change the color of this light to let's make it red and they don't want to increase the power as well. So it's make this 1 500 I can see we are mixing these two colors together. So we've got the blue light coming from this side is gonna make this blue kind of more dark blue and you can see the red light coming from this side and the way those for those shadows or actually changing. So that is how easy these to add lights to your scene inside off blender, play around and create some different scenes and at some interesting looking lights to your scene and and just see how they affect the way you're seen. Looks in the next lesson. We're gonna talk about hdr eyes, which is quite a cool way off introducing some very realistic lights into your scene. Also, you in the next Listen 8. Using An HDRI Environment: play. And welcome back on din this. Listen, we're gonna look at HDR eyes and how to add them to your scene and what they will do to your scene. So visible alleged or I usually ease a 3 60 degree high definition photo, often area or a room or a scene. And we use HDR eyes for realistic lighting. So those pixels that are stretched 3 60 degrees around your scene will actually, cause you're seen to be let so actually using those riel life pixels Or you can use it to cause your reflection in your objects to reflect that riel world seen around your around your world. So let me show you what I mean. So first of all, I'm gonna delete the light, and I'm gonna delete the cameras. Well, so just delete those two, and we only have this cube in a scene. And maybe, let's add a I'm gonna delete Cuba's well, and I'm gonna add a sphere. So I'm gonna do shift a mesh, and then we're gonna add a UV sphere. And I want to make this one a little bit smoother when I add a little bit more geometry. So I'm gonna click on this panel here at the bottom and increase the segments to 64 and then increase the rings to let's make that 64 as well. Okay, click away, and now we get something that's a little bit smoother. So first of all, what I'm gonna do, he's I'm gonna go to the world properties so you'll see this little icon on the side. It looks like a little planet red. And if you click on that, this will give you your world properties. Now, currently, the world is set to this gray color. Okay, so there's actually a big think off a big sphere that's actually around your whole scene or your your world, and that severe has got a color that is dark grey so I can click on this, and I can actually change this. You're not going to see a changing here because we not in a view that you're gonna see any textures. If I make this more kind of blue, you're not going to see any changes. But if we go to our render view, which is this lost Icahn day, you can see our world is now blue and that blue light is obviously reflecting against this sphere. And that's why this severe is now looking blue. So this was not really blue. That's just reflecting the light coming from outside. So let's say we want to change instead of having just a solid blue. We want to change this to an HDR I What do you introduce on this? Under this world tab next to this color, you'll see this little dot So we're gonna click this little dot and then we get all these options and we want to change this to an environment texture. OK, so I'm gonna take on environment texture, and everything's gonna go this purple pink color because we haven't specified an actual texture. So it's kind of just like a placeholder telling us that we need to specify texture because this is just the default, no texture, purple color. So I'm going to click on open right here, below environment texture. And then I'm gonna browse to a folder on my computer where I have saved all the hdr eyes that I use. So as you can see, we have all these different rooms that I've downloaded and you can just google free HDR eyes. There's actually a website called HDR I haven, which is completely free. And you can go. Then you can download your h your eyes. So I'm gonna choose one of these. Maybe, just like this warehouse were old Bus Depot and I'm gonna kick open image and now you conceive. We rotate around our scene. You can see this massive three D scene, so it's literally just a 3 60 image that's now wrapped around our scene, and you will also see that are Syria is looking a lot mawr kind of realistic. It's It's getting shades and light from different areas because it's actually using those pixels in the background to create light. So if we look at, let's say if you look at this area off our Eyster, I can see it's quite dark on that side at the back. And if I look at the light coming from that side onto our speak and see, it's kinda in the shadow. But if we look at these bright windows on this side, if I wrote it around to that side, you can see there's a bright light coming from that area onto our onto our sweet So that's why it's actually check changing the way that your objects will look because it's actually getting that realistic light from all different angles. We don't have any other lights in our scene. And with this on this aged or I can actually sit the string so you can see the strength is currently say to one. And if I dragged us down, you can actually increase the intensity off that HDR I. So I'm gonna say this to about 0.3 and enough We right around weaken, See that we're getting a nice soft light on our object coming from all different angles. Now, if we should give a reflective material to this measure to this sphere, we should be able to actually see our scene inside this reflection. So later on in this course, we're gonna go into materials and attitude creator and materials and all the different settings, So don't worry too much. If the next step doesn't make any sense, we're going to get to that later in this course. So let's just change the material off this. So I'm gonna go to material don't follow along, was gonna click on new, and I'm gonna give it a name. Just call this, uh, new a t for new material. And I'm gonna give it a base color was gonna make it maybe a little bit green. And then I'm gonna increase the reflectivity off this green so it's gonna bring down the roughness, make it nice and shiny and maybe bring the metallic up as well. So it's more effective. Gonna see it starting to reflect something. But because we have all these low Polly, um, you don't have a lot off smooth. We don't have a lot of German tree, so it doesn't equerry smooth. So we're gonna do is I'm gonna write leak on this sphere and I'm gonna sit this shade to smooth. So there, you can see can see the reflection off this actual warehouse in this city and are so if we go to this side, you were able to see the bus somewhere. There's the bus and that buses right here behind us there is the bus. So it's actually giving you that realistic reflection. Obviously, when you do your rendering, you not going to see the each year I you can render with an edged your eye But usually you will not surrender with that HDR I active. So let me just show you what I mean. Um, if I go to my render settings right at the top, this little camera So just note that we are currently using E V, which I said we're not really gonna use TV, but for now, it's It's nice and quick to see reflections and light, but we can actually change this to cycles and it's going to slow everything down. But everything is going be mawr realistic. It's gonna look a lot more realistic if I zoom in year and it's just render that for a second. You can see it takes a lot longer, but the reflections and everything will just look so much more realistic when using cycles . So under this render sittings, you can go down to foam and then if you expand foam, you'll see transparent life. I enable this. You'll see that our hdr I will be transparent. It's not gonna be displayed in our scene, but the interaction on your objects will still be exactly the same. So the light will still be coming from that extra. I and Reflections will also be there when you do a renders. So this is something I always enable When I just before I do my renders weaken actually enable them when you just add u h your because you don't really need to see that at your eye around your scene. You just want to look at your scene and see how everything is looking. And then later on, once you render this, you will use some compositing software to maybe place it inside a riel scene that's similar to that age dry that you used. So yeah, just a very quick way to create some very realistic lighting in your scene. So go to Google and just search for free HD our eyes and see if you can download a few on DA, then test them inside some of your scenes. Just create some random objects, maybe create a floor, maybe create some nice looking things, and then add a next year I to your scene and see how that will change the way your scene looks. I'll see you in the next listen 9. Introduction To Modifiers In Blender: Hey and welcome back. And in this Listen, we are quickly going to look at the modifiers in a blender, so modifiers or like tools, you can apply to different missions to create different outcomes. So if I select my cube in the default scene and on the side where you find all these property panels, you'll see there's one which looks like a spanner or arrange. And if you pointed that it will say, this is the modifier properties. Now, if acting on this, this is where we can addle these different modifiers says you can see you get different types of modifiers, you get the modify, generate, deform and in simulators. Well, so in the next few lessons, we are gonna look at specific some of these specific modifiers, and you can add to your missions and what they will do. So in this lesson is just an overview. So you basically select your object, and then you go to the modifier property spinal, and this is where you will add your modify us. So once you really kind of modify up, you'll see it will have some properties, and then you can also add a another modifier so it's adding a rate modifier, maybe below that. So as you can see, it will actually stack them together. And then you can also use thes arrows to move them up and down. So let's say you want that array modifier before the triangle Modify your put that one above, so it will apply these modifies from top down and ah, once you happy with a modifier, you can just apply or copy. Or you can just cancel that modified by taking on that X. So in the next few lessons, we're going to go into specific modifiers and how they work, So I will see you in the next lesson. 10. The Array Modifier: Hello and welcome back. And in this listen, we are going to look at the array modifier, so, you know, default seen. We can go ahead and weaken, delete the camera on the lights. I'm going to select those two and press X on the keyboard and then confirmed Black didn't delete. And then we're gonna select our default cube, and we're gonna add a modifier or an array modifier to this object. So with his object selected, I'm going to click on the little spanner to open up the modifier properties panel on the side. And then you can click this drop down at modify, and then we're going to go for the array under generate. So act like that array. You'll see something has happened with our cube. You can see it almost looks like two cubes next to each other. But you can't see any space between them. And in the properties panel, you will see you have a count, and then you have a constant offset and also a relative offset. Now, if I increase this count, maybe 23 you can see it just added a new cube next to the 2nd 1 and thinking can increase is all the way to whatever number you need, and you can see that actually created an array off that one cube now. Currently, the offset or the relative offset is said to one, which means it will take that one unit off that mission. It will just separate them. According to that, if I increase this number, you can see that we actually creating a space between those cubes because those cubes are one by one by one. So if I said this to to, you'll see, they will be an exact space off one cube between each of these cubes. And that way you can create a whole array off the same object. So just remember this is still one object. So if I select my cube and assuming you and I click on why press tab on the keyboard to go into edit mode, you'll see if I move any off these verte Cesaire around, you'll see that all my other cubes will actually do exactly the same. So let's go in your and maybe I select this face and I write dick and say, subdivide, and maybe let's subdivide that again. And maybe let's extrude some of these faces. So I'm gonna select those faces, press e on the keyboard extrude residency. That is happening with all these other arrays as well. So I'm gonna go out off it mode by pressing tab, and then you can also specify the direction in which you want to have your array. So currently you can see this is X, Y and Z So we have a relative offset off to in the X axis, which is that access. So if I change this to zero and maybe changed the wide to something like 1.5, you'll see that our arrays now happening in the X axes and I can obviously do the same with a Z as well. So I consider that back to zero and maybe sit dizzy to 1.1 and you will see that our array will now be on that Z axis. You can also make this negative. That can be negative one and then that will go down. We can also use something like negative one on the Y axes and that will then just make that array go the other way. Now you can also increase these other numbers at the same time. So I can sit this to maybe one and then maybe the why to one as well. And then it will be something like that and also play with a Z. So you can kind of see how easy these two maybe create something like stays. So let's quickly do that. I'm gonna delete this object completely, and then I'm going to create a new mish. So shift a on the keyboard and in Cuba, and I'm gonna scale this one slightly. So zoom in there by pressing period, and then I'm gonna press s for scale and in Z for the Z direction and then s full scale again. And then we're gonna press why? To scale it in the Y direction like that. So we have that one step. So now I'm going to go to the array or the modify ist panel. You can add, modify array, and then I'm going to sit this too. On the x axis 20 on the Y axes to maybe one and ah Z, I can increase slightly, maybe do something like Europe on seven. And now we can just increase this count. And as you can see we are creating a steak ice easy as that. So now we can go in your and I compressed tap to go into, um it it mode. Now I can take this face and I can just press g on the keyboard to move it around and then I want to move in the X axis, so impressing X and I can adjust the word off my stay case click. And there you have a perfect state, guys. Now, just remember, as I said before, this is still just one object. You can't really edit these objects now, but what we can do, ease. If we go into this, modify a panel, you can apply this modifier. So if I go apply, that modify will actually disappear, and then this will become one object. So if I highlighted breast tab to go into edit mode now, you can see I can actually go in here, and I can modify these steps individually so I can change the length off one of them. Maybe make that one of its shorter. So, as you can see, I can go in here. I can change them like that. So I always make sure that you are happy with your results before you apply your modifier because you can't really go back now and adjust the amount off steps. You will have to create a new array, maybe from one of thes objects, and then carry on from the So that is an overview off the array modifier. Also, you in the next lesson. 11. The Mirror Modifier: Hey, and welcome back. And in this Listen, we're going to look at the mirror modifier in blender, so I'm gonna start off by the leading the lamp and our camera, So select those and delete them, and then we're gonna use this. Cuba's an example for the mirror modifier. So using a mirror modifier, he's a very, very powerful to when it comes to three d modeling because it means you only have to model the one side off your object, and then everything will be murdered on the other side. Now, again, there are a few different ways to enable measuring in a blender. But I'm going to show you how to do it by are a modifier. So first of all, I'm gonna delete Hoff off this cube. So it's always a good idea just to delete off off the model that you're starting with, and that way it will mirror the other side. And then you can start modeling only on the one side off that model. So, with this cube selected, I'm gonna press tab on the keyboard to go into edit mode, and I want to put a loop cut right in the center So I have a center line that I can actually break this apart. So on the keyboard, I'm gonna press control or for Luke Cut. And I want to sit that look, I cut right year, so I'm just gonna take once and then I don't want toe move it around. I'm just gonna rightly to send to that. And then I'm gonna click away to accept that so I can see we have a cube that's got this line going through the center so we can now easily remove this one side, so I'm gonna make sure mean face select mode. So prison three on the keyboard and I'm gonna click and holding shift. And I shouldn't select all these faces on this side also at the bottom. So all of those faces so selected, and then I'm gonna press X on the keyboard to delete them, And this is gonna come up with a little bit of a different menu because it's actually asking me. Now, do I want to delete the virgin sees or the ages or their faces? So I'm just gonna click on faces. It doesn't really matter because, yes, we don't want to delete thes metal vergis ease. So the best option will probably be faces. So it's gonna click on faces and I can see we removed half off this cube so we only have half. And as you can see, it's hollow. So now we are ready to add our modify it to this off cube. So I'm gonna go out of that mode suppressed Taverna keyboard back into object mode, and with this half cube selected, I'm going to go to the modifiers panel on the side, which is this spanner or the range, and I'm going to click on add modifier. And then we're going to select Mirror so you'll see that there is the mirror modifier. And, um, if I apply that, you can't see that anything is happening on our screen in the view port because we need to make sure that the axis we are murdering from he's correct. So if we look at this little axes year on the this icon, you on the side, you can see that we need to mirror on the X. Our story on the Y axes, the X axes. Is this red line going this way? And the why is this green one going from left to right. So we need to mirror on the why axes and by default, this mirror modify is said to mirror across the X axes. So I'm gonna antic X and the magnetic. Why? And they can see it mirrored this one side to the other side. And we are back to a perfect cube. Obviously, if you want a mirror from top down, he will use the Z axes. Also, If you have an object in the centre off your two sides, you can also use a mirror object. Then you just click on this little dropper and you select that center object and, ah, a little mirror around that object. But for this example, we're just going to use the axes then yet the bottom You have some options. You can enable merge, which means it's gonna merge. The vergis is when they get to the center, which is always a good thing to do and emerge. Limit is 0.1 meters, which means if those words he's come closer to each other and they get to this threshold, they will snap together and become one vertex. Another thing to enable, which is also very good. Jesus clipping So clipping will basically allow or not allow you to move something over the mirror line or this X axes, basically. So if I'm in it mode, I won't be able to. Maybe, let's say, if I go into Vertex mode, I can't take this Vertex and move it across this line. You can see it's actually clipping it there. So you want to enable that on your as well. And now we are ready to start modeling. So make sure you go into edit mode by pressing tab and that we can start by, Let's say extruding this site. So obviously we can't select anything on the right inside because that is just a mirror image. We need to work on the side where we started. So I'm going to select this face right there. I'm gonna press E on the keyboard to extrude and you'll see the same is happening on the other side. So now I can scale it down as well. So I'm gonna press it's on the keyboard and I'm going to scale the down on its extruded again. Maybe let's extrude from your extra to the front and maybe, let's scale it up. And maybe let's extrude that again. Extrude again. Scaled down. Maybe Let's go to this area right here. I'm gonna extrude that out. I'm going to scale that in the X or in the Y direction. So s. And then why on let's extrude that again and extrude that again scattered down. As you can see, it's very, very simple to create some very interesting looking things really quickly by just using the mirror modifier. Really cool for creating some spaceships or anything. Really, that has got a mirror image on the one side so I can extrude both Those maybe have something you on the side that kind of might be a wing or something. They can move them around with them in the X direction. And as you can see, I'm just creating some very random looking things here. There we have a very weird looking spaceship. So yeah, that is basically the mirror modifier. And always remember not to apply this while you're busy doing your modeling because I can now go. And if I go out off it mode by pressing tab, I can always go in and I can go and apply this modifier and that will remove the mirror modifier. But it will make everything irritable. So let me show you. So if I click, apply that mirror modifiers going to disappear. And if I go into edit mode right now, I can now start and I can do things on the one side, and it will not replicate over to the other side. So you always need to gonna decide when you are ready to apply that modifier. But a good example will be easy to just duplicate your object before you want to delete that, modify or apply that modifier and then maybe move that object into a backup collection so that you have an option. If you want to go back and carry on with that mirror, modify, you can. So just save it into a separate collection, switch that collection offset and see it on. Then that will be your backup. So I will see you in the next lesson. 12. The Boolean Modifier: Hello and welcome to this lesson where we are going to look at the Boolean modifier. So, first of all, we are going to start by the leading our lamp and our camera, and we have this cube in this center and then we're going to go to our modifiers panel on the side, the little range. And then if you go to add modifiers, you'll see these a Boolean modifier, 3rd 1 from the top. So we're not gonna click it yet? I just want to show you that it's there. So what is a Boolean modifier? So I think it's better to show you what it does then to try and explain what it does. So I'm gonna take this Cuban. I'm going to scale it up. So it's going to get it up a little bit bigger like that. And then I'm gonna create a cylinder. So I'm gonna do a shift A on the keyboard, mesh and in cylinder on. I want to scale that selling because currently it's inside that cube. But I only want to scale it in the zed access up and down basically. So I'm gonna press. It's on the keyboard and then I'm gonna heat Z and it's gonna pull out, maybe pull it out a little bit further like that. So we have these two objects, so we have the cube, which is just a normal cube. And we have this cylinder like so So let's say we want to use this cylinder to make a hole inside of this cube, and that is when you're going to use a Boolean modifier. So let me show you. So I'm gonna select this cube first, and then I'm gonna shift click on my cylinder so I can see that our Cuba's got the docker outline and our cylinders got the lighter outline, and then I'm going to click on add modify a boolean. So as you can see, nothing is really happening. So let's say we want to use this cylinder to make a hole inside off this cube. That is when you will be using a brilliant modifier. So I'm going to select the Q because that's the one that we want to cut. And then I'm gonna go to my modifiers panel. So click on this range and then under add modify, I'm going to click Boolean. All right, Now, this is gonna ask me, what object do I want to use to create this 1,000,000,000? So I'm going to click on this little dropper, and then I'm going to click on this cylinder and we can't really see anything happening. But if we click on the cylinder and I'm gonna hide it So you're in the outline. Our next two cylinder, I'm going to click on the little icon, and I can see we actually have that all cut into this cube. Now, the thing is, if I unhygienic this cylinder and if I click on the cylinder and I move this cylinder around, I'm gonna press G on the keyboard. I'm gonna move it around. You can see the whole is not there when I moved around because it's actually doing this Boolean as we speak. It's actually doing it life. So if I may be placed this cylinder right there and I'm gonna hide the cylinder again, you can see that that whole actually moved with that cylinder. Okay, so what that means is we need to apply that boolean for there to be a permanent pole inside off that cube. So I'm going to select the skew begin, and then I'm just gonna apply this Boolean modifier so it's gonna eat, apply, and it's still just gonna stay as normal. And now I can actually click on the cylinder and I can move it out of the way and you can see they we have that cut. Now, there are a few different operations that you can use with a brilliant. I'm gonna delete both of these objects, and I'm going to create a new cubes who we start fresh. So shift a mesh cube. And this time I'm going to try and do something else. I'm going to scale this up again and I'm gonna create another cylinder. So shift a mish cylinder and I'm going to scale it up again. Scale. And also in the Z direction. So like that. And this time I want to do a different type off 1,000,000,000. So I'm going to select this Q begin and I'm gonna add a modifier, Boolean and I'm going to still do the object as my cylinder. So I'm gonna click on the dropper and then cylinder. So now we have exactly the same that we actually had before. If I hide the cylinder. You'll see we've got the whole, but that's not what I want to do. So if we go back to the Cube and go back to our modifier, you'll see that we have this operation and it says difference. So if I click this drop down, you'll see that we have intersect Union and difference. So difference is the one that we just saw where it's carrying a hole inside the Cube. But if I'm going to change this to let's try into Sect now, what Intersect is doing, it will only leave the geometry that's intersecting between those two objects. So now if I hide my cylinder, you can see this is only the part that's gonna be left over that support between or off the cube and the cylinder that's intersecting, if that makes any sense. So I'm just gonna change this And let's see Union So union will basically join those two missions together to form one mish, so it's basically a union between. It's basically joining two objects together, so if we apply this one, and if I off, he didn't the original cylinder, so you can, um, hide that you can still move that one away if you want to like so So it's still that's still on existing mish. But if you click on this new mission was created my click on press tab to go into edit mode , you will see that we can actually start changing this as one object. So it's not too objects anymore. It's basically joined together. So those are the three different types off Boolean modifies you find in Blender. So, yeah, play around with that. They really, really powerful to create cats or holes inside of other objects. Yeah, and I'll see you in the next lesson. 13. The Solidify Modifier: Hey, and welcome back. And in this listen, we're going to look at the solidify modifier, So first of all, I'm gonna delete everything in my scene. So I'm gonna press a on the keyboard to select all X to the lead and click to confirm. So I want to add a plane. So I'm gonna press shift a on the keyboard, mesh and in plain, and we can scale this up a little bit to see it a bit better. So it's gonna press s on the keyboard and scale it up like so. And now if we go to our modifiers panel, this little range and click on add modifier, I'm gonna add the solidify modifier under this generate column. So what that will do? Eases will actually give us some thickness. Because remember, a plane is literally just one flat face. It doesn't have any thickness. Now, this solidify modify will actually give a thickness, and you can Under this mode, you can change the thickness. You can just increase it like that. We can even go into the minus with negative to bring that up to the top. So yeah, it's just a really, really easy way to give something thickness. You can apply that. And now you have a rectangle that you can start editing. As you can see there, so many uses for this will be if you are maybe modeling something. Let's say I'm gonna just create a plane again and I'm gonna start modeling from this flat plane so I can go now and it can go into edge selection, which is to on the keyboard press on this edge here. And then I'm going to start extruding from that. I was gonna extrude like that, maybe extrude up. Maybe this way. So you can see we have some strange thing happening here and I'm gonna maybe extrude this face on the side as well. And maybe this one year to this side And maybe I'm just building something. I can also extrude some of these some of these verte sees. So I'm going to select this verte, see, and I'm going to go extrude in the Y direction. So today and maybe I can connect these two together. So select that's further, sees press if on the keyboard, and then go back into edge selection, which is two and then I'm going to select this edge and this itch, both of them press if on a keyboard to connect that. So maybe it we have something like this, and it's all just flat faces. So now if I go out off edit mode press tab on your keyboard to go into object mode and we go to our modifiers, I'm gonna add a solidified to this. I know I can increase the thickness and they can see we are starting to get some thickness . And now you can actually start to maybe change some of the properties off this mission. If a go into edit mode, I can see that it's got thickness, and you can start to adjust. Some of these vergis is around and, yeah, just create something from from that model that you created. So the solidify, um, modifier. He's quite handy to use, as you can see, very, very powerful. And it's just very easy to give thickness to your model so that solidify, I will see you in the next listen 14. The Subdivision Surface Modifier: a and welcome back. And in this listen, I'm gonna show you how to use the subsurface modifier in blend up. So first of all, let's get rid off our light, and our camera sums can select those press X on the keyboard and then click to confirm that So subsurface modifier. If you go to your modifiers, many on inside this little range, you'll see under add modifier. We have subdivision surface under generate now subdivision surfaces, probably one of the most popular modifiers to use in almost any through the application. Now what it does, it actually Smoothes out your models by adding mawr subdivisions to your models. So you need to be careful when using this, because it's gonna add a lot. What can add a lot more geometry or faces on and verte sees to your models. So let me show you quickly what I mean. So if we select this cube, you can see it's got shop ages. And if we look at the bottom, if we look at the bottom of the screen, you'll see Faces is six, so there's a total of only six faces in this scene. So with this cube selected I'm gonna go to my modify us the range, add modifier, and then I'm gonna click Subdivision Surface. Now I'm going to see something strange happening in your view port because it's trying to take those six faces and it's adding subdivisions to smooth it out. But as you can see, it's not giving us a desired effect because it's ah doesn't have enough faces to begin with . So what we can do is I'm gonna delete this modifier, and then we're going to subdivide this once, so it's got MAWR faces to actually work with. So I'm gonna go into edit mode. So brace tab on the keyboard and then with all the faces selected, I'm gonna write, leak, subdivide, and then maybe let's subdivided once more so right, Leak subdivide. And then I'm gonna go out off edit mode. So Priest tab on the keyboard and then with a cube selected, I'm gonna add that subdivision surface modifier again, and I can see we have something that is a little better so you can see it's smoothing the edges. Now, under the subsurface modifier, you can see some settings. We have the amount off subdivisions, and you can say that for render and for your view port, which is really nice because sometimes you don't want to increase the view port subdivisions too much because that will slow down your computer and will slow down blender . So this is really nice to have both of these options. So if you set your render value to two means it's gonna render to subdivisions. But because the View port is said to one, it will only display one subdivision inside off the view port. So let's say we increase the view port to match the render, so Regis increases to two. You can see that our model is a lot smoother. We can even increase their two, maybe three, and you'll see it's going to smooth it. Even Mawr. Let's take it up to four Nike and see it is very, very smooth. So now, with on sitting number four or the amount of subdivisions you can see now, yet the bottom we have 24 or over 24,000 faces, so this is really a nice way off smoothing out your models, but I will recommend rather setting your render to four and then your view port. Bring that down to about one or two, so you can kind of see it smoothing it out. But you don't have to worry about your view port slowing down that much Another way off. Disabling this in your view, port, ease by using these icons right at the top. So the 1st 1 eased to enable Orender. So if I take this off and I do Orender now, the render will not have this subdivision surface applied because I disabled the deer. You can also do the same with view port so I can enable Orender and then disable Vieux port . So in the view port is just gonna look shop. But when you do a render, it will have four subdivisions in that render, and it will be nice and smooth. So just some different ways to use it. One more thing I want to show you. I'm just gonna delete this cube completely and start with a new cube. So shift a mish and in Cube and its at this subject, subdivisions surface modifier again. And then we get this strange around looking thing. So what we can do is if I have this model selected now and go into edit mode. Suppressed tab on the keyboard. You can see it's still showing me the outline off that original mish, which is this cube. So what we can also do is instead off going in and selecting all these faces and then subdividing them to create more subdivisions so it can easily smooth that out. We can add some loop cuts that will do something similar. Let me show you. So on the keyboard, I'm gonna press control or for loop cut. And then I'm just going to click somewhere. I'm gonna drag. And as he dragged around, you can actually see what is happening with our subdivision surface modifier. So he's gonna drag this out too close to the edge somewhere they let it go and then going to do another Luke, cut control or click and drag it this way close to the age. I'm gonna do the same with the other way around. So I'm gonna do a loop cut again, click there and in drag it to this side and then maybe one on that side as well. So loop, cut, click and drag. And then we need to do one across like this as well. So they drag it up, and then one mawr drag it down and I can see it's actually starting to look like a cube against. And I'm gonna go out off edit mode. So tab and then we can increase our view port to two subdivisions, and you can see it's starting to smooth it out nicely by just adding those few loop cuts. So this is just a nice little trick. If you get something that looks strange, just add a loop gut and slide it as close as possible to that edge. And then you'll get something that looks nice and smooth so we can increase this not to three. On the viewpoint, you can see that's looking nice. So then what I will do is all bring my view port down to one against That's nice and fast, and then I'll increase my render to three. So I know when I do my final render, it will render at three subdivisions. So, yeah, that's just a really, really useful modifier to use inside of blender. Just make sure that you remember to set your view port to something low, and also just remember, if you are creating models for maybe a game. You want to keep those subdivisions as, um, as few as possible. You don't want to increase your face count or your poly count too much by applying subsurface modifiers. So play around with him, see what you can create, and I will see you in the next listen. 15. Proportional Editing: Hello and welcome back. And in this Listen, we're gonna look at something called proportional editing now. Proportional editing is also very, very powerful thing to use inside of blender. First of all, I'm gonna delete my camera and my light, so select those X delete on. We're going to use this cube to show how to use proportional editing. So first of all, I wanna increase the amount off geometry or the faces that we have on this cube. So with this cube selected, I'm simply going to right click on it and I'm going to go to Ah, sorry. We need to go into edit mode first. So select your cube tab for edit mode, and then I'm gonna make sure mean face civic mode. So that's three on the keyboard. And then I'm going to select this top face. We were gonna adul those extra faces, so I'm going to start by right clicking and then click on subdivide, and that's gonna divided into four different faces on with all those four faces selected, I'm going to write, think again, subdivide right again, subdivide rightly in subdivide until we have quite a few faces on this one face. So now we can go and we can click on one of these faces and it's I want to move that face around. So I'm gonna press G on the keyboard and I cannot grab that one face and I can move it around. I can press Z on the keyboard to just move it in the Z axes and you can see we can We can do something some things and you can maybe moved that there and it can maybe move this one slightly mawr, maybe move this one slightly more to create something like that. But that is very tricky to create some nice organic shapes using this method. So I'm gonna undo this controls the control Z control z until we are back to a flat face like this. And there's a way to use proportional everything that will change the way you will try and model any shape. That's kind of organic. So let me show you what I mean. So right there at the top, you've got this little circle. So this is just next to this pervert area and you've got your snapping. And then next to that, you've got this little circle with a dot in the middle of that circle, and that is proportional editing. So the shortcut ke Ys o So you can just pris o on your keyboard and you'll see that it's gonna activate. And then if you press over again, it's gonna disable it, or we can just click this little circle and that's gonna activated as well. So now if I click on one of these faces and I heat G on the keyboard, you will see this circle. Now you can use your mouse wheel to determine the size off this circle, and this will be the effect that it's gonna have on the faces around it. So I'm going to increase it to around the size. And now look what happens if I move this one face around. You can see it's also affecting the faces next to it proportionately so you can put it down , put it up, and it can create some really, really nice organic shapes by using this proportional anything. So if I want oh, I'm gonna undo that quickly. So I do. And I'm gonna press g again, and I'm gonna make this circle smaller, so it's gonna scroll in my mass wheel until it's nice since more like that. And not if I pull this up, you'll see it's only gonna affect those faces around it. Now we can also change the profile. So if you look at this icon, you at the top, you'll see that it's got this little shape next to it, which is the profile. And if you click on this, you'll see you have all these different types of profiles. So currently, this is set to smooth so we can do something, maybe, like shop. So if we said it, a sharp press G on the keyboard was gonna increase this size a little bit, and I can see for press Z to only moving in the Z axes, consider it a bit mawr, like a shopper looking profile. So I'm gonna undo that again, and we're gonna change this to maybe something cool like random. So now G and Z, I can see it's creating this nice, random effect, so really nice for creating some landscapes, anything like that that can be really interesting to use that random function. Let's see what else there is. We also have linear, so if we press G and in Z, and that will just create a very Linda linear, almost like a triangle. There's no riel like curves or smooth areas, just kind of linear like that. So, as you can see, this is also a very, very powerful way to create some interesting shapes or interesting organic shapes when doing modeling inside of blender. So play around with that. Use the shortcut key. Oh, to disable and enable proportional editing. And, yeah, just play around with it and see what you can create. I will see you in the next listen. 16. Working With Collections: playing. Welcome back on in this. Listen, we're gonna look at collections now. I know we touched on collections earlier in this course. I think it was in less and one or two. We looked at how to use collections, but I thought I was gonna create on extra. Listen, that's just gonna be focusing on collections. So I'm gonna leave all these items in my seen my camera on my light and my object and currently can see in the outlining here on the side. We've got a main collection right at the top, which is called seen collection. And right below that we have a collection and then below this or underneath this collection , we have our camera are Cuban, are light. So if I disable this collection by clicking this little tick box next to it, you'll see that everything in our scene will disappear and they will be not active. I can select them, and then you can just take that box again to bring them back. Now, collections are almost like a way to organize your scene. You can also use it in very different ways. You can use it as a backup or you can use it to separate certain objects from each other and have different kind of groups where you control different things separately or just have them all group together. So let's say we have a few lights in our scene, so I'm gonna duplicate this light. So with slight selected just shift D moving around, shifty, moving around, shifty, moving around. So now we have four lights in our scene and you can see them in the outline as well. So what I can do is I can create a new collection and maybe call that collection lights and have all my lights inside one collection just so it's kind of easier to see what's going on my scene. So an easy way to do that. He's Aiken. Select all these lights, so I'm just dragging a box around them in my scene, and I'm going to right click and I'm going to say, move to collection right at the bottom. We can use the shortcut key em, and if you click that, it's gonna ask you to want to move it to the scene collection to collection what you want to create a new collection. So let's create a new collection. So I'm gonna click new collection, and then you can give it a name and I'm gonna give it a name. Lights like that and click. OK, now I can see you in the outline of that, we have a new collection called Lights and you can see all the lights that we have in our scene is underneath that collection. Now, you can also minimise this collection to make everything just look a little bit neater So you can click this little down arrow next to lights. You can just click that and that will collapse that group. And you can see that this will show you that you have four lights inside this connection so you can still see them. Your lights will still function. You can toggle them off year by this I If you want to just switch them off, maybe temporarily. They will still render in your scene that you can't see them in your scene. You can also enable selectable. So with this falter you at the top, click that and then enable this little arrow selectable. And I can say that I don't want to be able to select in your off these lights. Maybe I want to keep them there. I want to see they are way. But I want to work on some other stuff around it. But I want don't want to select them. So then you simply next to that lights collection, I'm gonna click on that selectable or the little arrow just to disable that. And now I can't select any off these lights. I can still select the camera, and I can still select my cube, But a consulate, any of those. So let's maybe move our camera into its own collection as well. So I'm going to select the camera on the scene, and then I'm going to simply right click on it, move to collection, and I'm going to create a new collection. Sir, click on new collection and I'm gonna call this camera or cameras. If you have multiple cameras, click OK, and you can see that we have a camera collection and we have our camera below that. Now we can also maybe just minimize that or collapse. It will see there's a camera inside and then I can also switch off selectable. If I don't want to accidentally move my camera around. So as you can see, it's a really simple way to just organize your seen on. You can also drag and drop. So let's say if I do shift A and I just create a few different objects in my scene, maybe let's create a cylinder as well, moving out of the way so you can simply go and you can take the cylinder, move it into a collection, just drag and drop. Same with a plane. Dragon drop and you can see all those items are now below this collection, so you can also duplicate a whole collection. So if I want to make a backup, maybe off my seen off these three objects, I can simply right click on this collection Go duplicate collection, and I can see it's going to create a new collection for me that's got another cube cylinder and plain underneath. So now if I click on this cube cylinder plane beholding shift, I can move them around and you'll see it's actually a duplicate off our objects. So that's also just a very good way to create a backup. So I'm gonna delete this quickly and we'll show you what I mean, So let's say we have ah, whole scene with some lights. I'm gonna move the lights back into a main collection that I'm gonna move my camera in there as well. And then I'm gonna delete these duplications that we just created, and I'm gonna delete thes two empty collections as well. So now we have all these objects and all these lights and cameras in a scene, and let's say we want to make a backup, but we don't want to really create a new save file. We just want to create a back up off the scene inside this project. So really easy way to do that is within the view port. Just press a on the keyboard for select all can see. Everything is highlighted. So now I can simply duplicate these items. So I'm gonna press shift D on the keyboard, and I don't want to move them anyway anyway, So I was gonna press escape or right click with my mouse to disable that. So now in the outlining, you can see they are still selected. An hour can simply right click and say new collection and ah, this world Then create a new collection for me, and I can simply drag these ones into that new collection. And I could maybe double click on this collection to rename it, and I'm gonna call it back up, and then you can just minimize it like that. So, as you can see, it's really, really ah, nice way of working when you're creating collections in your scene. Just to organize your seen to have maybe all your different types off lights or different measures or maybe cameras in one collection folder, and also very handy for creating backups. So, yeah, that is collections in Blender. I will see you in the next lesson. 17. All About Parenting: Hello and welcome back on in this. Listen, we are going to look at parenting in Blender, So first of all, we're gonna start by the leading our light and our camera, so select those, delete them, and then I'm going to duplicate this cube, some scanner, select this cube press shift d on the keyboard, and then I'm gonna press Why? To just move it in the y axes and place it right there. So parenting in any three D software is a really important function. Because you will see what I mean by parenting. Let me show you quickly what that is so visible. If you select an object and you shift click on another object. Remember, we spoke about this earlier way. You have one active object, which is the lost object that you select it. So the first object you can see, it's got, like, a dark orange border around it. And the lost object is this bright yellow orange border. So let me just show that against I'm going to click on this cube first and then shift click on this cube. Now, if we do a parenting right now, this one, this cube will parent to this lost selected cube. Okay, so I'm gonna write like you can write it anyway and then go to parent, and then you can select object. And the shortcut for this is control P for parents you can also use. Come on, P. So if I click this now, you will see they ease this light dotted line between this cube and this cube, and that means there's a parenting constraint set up between these two objects. So now if I take this parent object and I rotated, you will see that the child object, which is this object will be rotating with the parent. So if I rotate the child object, nothing will happen to the parent. So that's how parenting works. So let me show you if I create another cube so I'm gonna go shift a mish cube Ondas just on top of this one else I'm gonna press G to move it around and in extra moving on the X axes . Just something like that. Now I want a parent, this cube, to this cube or its parent, this one to this child because currently this is the Baron. So if I wrote it this. This child will write it with it. So one apparent this cube to this cube. So I'm gonna first click on this cube. Which is it gonna be? The child shift click on this cube and I can see this. Cuba's got the bright outline, which will be the parent. And I'm going to right click parent object. So I can see there's a slight dotted line between this cube and this cube, which means they is a parent child connection. So now if I rotate this child, you will see that that cube will follow along because this is the child off this cube. If I rotate this child cube, nothing will happen to that cube. But what will happen if we now rotate this cube? So this cube is the parent off this cube. And this cube is the parent off this cube. So let's have a look to see if I rotate this one, you'll see that all the Children will rotate with that main parent. And then if we write it, this one, only that child off that object will rotate with it. If I scaled this parent, same will happen if I scale this one only the child will scale with. And if I scale this one, the parent, both of the parents, won't scale at all. So let's have a look at it in the outline. Er so an outline. You can see we only have one cube, but it's got this little triangle upside down triangle with the number two next to that, meaning that there are two measures below this cube. So you can see there's a little arrow that we can expand and you can see there's a cube underneath this one. So if I click on this one, you'll see this is that cube. So the main parent, this 11 below that one, this one. And if I expand this cube, you'll see these another cube underneath. And that is this cube right here. So this is the child off this parent, and this is the child off this parent, if that makes any sense, so really powerful way to connect different measures to each other, Another thing that you can actually use parenting for, which is just a little trick I want to show you. Before I end this lesson, I'm gonna delete everything in the scene So just press a and in X and in the lead. And let's create a mish so shift a delicious do a simple que begin. Now let's say we want to have a camera rotating around this object. I'm gonna go into a little bit of animation. Our But don't worry, they will be a listen just on animation. So don't worry, ive some of the things don't make sense to you right now, so I'm gonna create the camera. So I'm gonna go shift a and then I'm going to go to camera to create a camera and you'll see that we have this camera in our scenes was gonna move it out to maybe something like that. Now let's say we want to have this camera rotate around this centre or this cube, so there are few ways we can do this, but I find the best will be is if we barentu this camera to something that's right in the center off this cube. I don't want to rotate the cube. I want toe. Just have something that's inside the cube that's rotating that's linked to this camera, so I don't have to take this camera and try and kind of move it around and then rotate it back to the Cube, etcetera. So what I'm gonna do is I'm gonna create a new object shift A and this time I'm going to create an empty non. Empty is kind of just a placeholder object, so you can use it to link things together. But you can't see it in your renders. So if you render it you and see an empty just gonna placeholder and you can use it as a parent. So these are the different types of empties you get, and I'm just going to use a normal Ah, let's use a Syria can use anyone so sphere, I can scale it up so we can actually see it. So there is our sphere empty, and I want a parent, my camera to that sphere empty. So I'm gonna first like my camera, and then I'm gonna shift click on this empty okay, and you can see the camera turned dark orange and the empties bright yellow so I can now write like parent object, and you can see that little line going from the camera to our empty sphere. So now I can select this sphere or this empty sphere, and I can rotate it are. And then I'm gonna rotated on the X axes. So I'm gonna X and I can see if I rotate that empty. That camera will spend perfectly around the center point off that empty, which will be the same as the Cube, because this cube is actually in the exact same location. Now what you can do, let's say I don't want this cube in the center of my world. I maybe want to move it to the side, maybe to the side of my scene. Now, you can simply parent your cube to this empty. And then if you move your cube around, that empty will follow along and the camera will follow the empty. So let me show you how to do that. So I'm simply going to select the empty first. So that one and then I'm going to shift click on the Cube. You can see the Cuba's got the bright yellow border. American right leak parent object. Okay, so now that empty is a child off the cube so I can click on the Cube, and I could simply go. I'm gonna move it. So I'm gonna press G on the keyboard and you can see the empty and the camera is actually following along so I can place it anywhere in my scene, maybe want to place it there. And now I can go back and I can enable this rotation on my empty. So if I prison or Z, you can see we still have that 3 60 camera move around our cube. So that is an easy way to use parenting inside off blender. Give it a practice at some Children to some parents and see what you can do with them, and I will see you in the next lesson. 18. Animation Keyframes and The Graph Editor: Hey, and welcome back. And in this Listen, we're going to look at animation and key frames in blender, and we're also gonna have a quick look at the growth editor. Just an overview off the graph editor. So first of all, let's look at how you can add key frames and I can animate certain objects in your scene, so I'm just gonna delete the light and the camera as usual, So I'm gonna delete the just select the light on the camera, press X and then click to confirm, And then we can leave this cube, and I'm going to show you how to add basic key frames to this cube. So as you can see right at the bottom, we have this kind off timeline that you can drag so you can see the frame numbers and then yet the on the right inside, you can see the start and the end off your animation so you can sit the amount of frames that you want in your animation. So currently it's a two from 1 to 250 so I'm gonna increase or decrease the end, so only have around 100 frames, so I'm gonna kick your and then it's gonna type 100 to sit 100 frames and he can see if I drag this up a little bigger so we can see what's going on. You can see that it's now highlighting from frame number one to frame 100 so that's fine. So yet the bottom. You can also use the same keys or the same navigation controls that you use in your three d view port. So if I hold in the middle mouse button, I can move this around like panning. And then if I hold in control with the middle mouse button, I can zoom in and out like that and then again, all sold in shift with Middle Mouse. And that's going to do the same thing as just holding the middle mouse button just to pan around, because obviously we can't really orbit in a three D view year, so you have those two controls just panning and zooming. So let's go back to the first frame so you can use these controls to go back to the first frame. Or you can also use the shortcut shift and then left arrow on your keyboard, and that's going to take you back to the first frame. So let's say we want to just add a simple position and rotation or just just the position animation on this cube. So I'm gonna move this. I'm gonna press G on the keyboard to grab this cube on that. I'm gonna press X to just move in the X direction. And I'm gonna put the cube some way, like there. And then with this cube selected, I want to insert a key frame. So with a cube selected, I'm gonna press I on the keyboard, I for insert. And that's gonna bring up this insert key frame menu so you can see you. We've got different key frames that we can create. Location, rotation, scaling and in location and rotation, location, rotation and scale. Ex cetera. So many different options so you can go in and specified. You only want to insert a key frame for the location off this cube irritation, scaling or allow the other combinations. So for this one, I'm just going to click on location. I just want to insert a key frame on location, and now if we let's go, we drag this key frame or this timeline yet the bottom is gonna drag this to around frame 30. And then I'm gonna move this cube just to maybe the center as well or somewhere around the center. So I'm gonna press G on the keyboard and then X again to just bring it back to the center, and then I'm gonna press I again and then click on location. So now if we scrub between these two points, you will see that that animation has been saved and for some reason, it's not showing the key frames. Now zoom in, okay? It's just out of the screen so they can see. I just kind of panned up and down. Yes, you can see we have a key frame on from one. And then also we have a key frame on frame 30 So I can go, maybe to frame 50 and I can move this around so I'm gonna press G on the keyboard is going to drag it out. You're not gonna worry about which axes and and I can see it's not creating a key frame yet . We have to press I on the keyboard and then we have to specify what type of key frame we're gonna great. So let's create another location key frame and you'll see it's gonna create a key frame year in this timeline. So now we can play it back from frame one. So just he'd space on the keyboard to playback, and you can see we have our basic animation and it's just gonna keep looping. So what you can also do is you can drag these key frames around. So let's say you want to have this key frame and this key frame spaced out a little bit further. You can simply just click on one of these key frames and just drag them around to way. You want them to what key frame you want to sit them to. And that will just kind of slow down that specific animation between this two key frames. You can also go in here and you can delete a key frame so I can select this key frame at frame 30 Press X on the keyboard and in just delete key frames. And now it's gonna go straight from frame one to this key frame on frame 80. So I'm gonna delete all these key friends. I'm just gonna drag a box around them and then press X and then just click on delete key frames and let's do something a little different. So I'm gonna put this cube back in the center. So with this cube selected, I'm going to go object snap and then selection to cursor just to snap our cube back to the three cursor, which is in the center. And that's going to snap out cube back today. So another thing that you can do is you can enable or Toki frames. So yet the bottom you'll see this little around circle auto keying knife enable this. Then it will automatically insert key frames when you move or rotate or scale your specific objects. So let me show you how that works. So if we enable this, we always need to sit a key frame manually first. Because if I just gonna go to frame 10 now and I move this cube away, it's only going to set a key frame on frame 10. So enable, or in order to set a key frame on the first frame, I'm just going to press I and then I'm going to set a key frame, location, rotation and scale because we want to use all three. Those transform, um ways to to set a key frame. So I'm gonna click on that and it's gonna sit a key frame. And then I'm gonna go to frame number 20 year in the timeline and was gonna hit G on the keyboard just to move my cube to the side. And as you can see, it automatically created this key frame year on frame 20. So we didn't need to press I to insert that key frame. So I'm going to go ahead and on from 20. I'm gonna rotate this Cuba's well, so just pressing our and just rotating it like that and it's maybe scale this down as well . So I'm gonna precipitous for scale and then just scale this down to something like that. So now if we go back to frame one, so I'm going to use the shortcut shift and then left arrow. And if we play that back eating space, you can see that it's doing the rotation and the scale and the location off this cube. So now we can go ahead and we can maybe go back to or let's go to from 50 and we can move the Cube to that side, rotated again, scale it again. And as you can see, it's automatically inserting that key frame. And now we can play back our animation and you can see that's working. So another thing that you can do in this timeline you can copy and paste some of these key frames so I can go in and I can copy this key frame at frame 20. So just selecting it like that and then I'm gonna press control, see to copy. And now I can go to, Let's say, frame 80 and I can pace that. They control V and it's gonna pace that key frame the same key frame that had had a frame 20. It's gonna baste it at from 80. Enough Who played this back? You'll see that's gonna go to that location today, and then it's gonna go back to that key frame that we copied. So this is also a very good way. Just Teoh copy and paste key frames from the animation and then to use them like that. So another thing that you can do let me just delete all these key frames. I was gonna press x delete, and I'm going to start with a new scene. So I was gonna go file New general, don't want to save that. And it's the lead our light in camera first, and another way that you can insert key frames, ease with the properties panel year on the side. So if you look at your object properties So I'm going to select this cube, and then you can see under the object properties, you have your location and your rotation and your scale. So obviously you can drag and change these properties year, so I'm gonna undo that. But what you can also do is you can sit key frames right here inside this object properties . So let me show you what I mean. So let's say we want to have an animation of this cube moving from the centre and maybe just moving to this side of the screen. So what I can do is next to location. I can click these little dots to insert key frames. So if I click that you'll see it's gonna create this little little shape, and it's gonna go yellow and that means there's a key. From now on the X the X axes off the location. So I'm gonna do the same with the Y and Z, and you can see a key frame was added year on our timeline. So now I can go to, let's say, frame 50 and I can move my cube in the Y direction. So I'm gonna press G. And then why just pull that out today? And now we can go ahead and we can sit new key frames so you can currently see that X and Z did not change at all because we are still on zero meters on the X axes and also the same with a Z. So technically, we can only create a key frame on the why axes to create this animation so you can take or just click that to sit. That key frame or what I usually do is I just click all three of them to be sure that those values will be set as a key frame. So now if you go back to frame one and I play this back, you'll see that we have that animation. So let's say we want to add a rotation to that animation, so I'm gonna go back to the first frame and then with this cube selected in the properties off the object properties, I can now set a key frame next to the rotation as well, so I can click these little dots next to rotation. And now I can go to frame 50 and I want to add a rotation on the Z axes. So what I can do is I can either type in a degree year so I can just click there and say 1 80 presenter and you're not gonna see anything happening here because it's actually rotating exactly 100 degrees. So it looks stole. It looks the same, but it actually rotated. And and I'm going to click this little key frame button just to set a key frame on the Z irritation. So now if we go back to frame one and we play this back, you'll see that we have that 180 degree rotation so you can do the same with scale. So I'm gonna go back to frame one, and I'm going to sit a key frame for both X y Z on this scale. So just tick, tick, tick. And then I'm going to go to frame 50 and then maybe just going to scale this up to, like 1.5 on ALS the axes. So 1.51 point five and there was going to set a key for him again. Just click that. And now for play this back, you'll see that we have that scale as well. You can always go in year and maybe in the center maybe frame 25. Let's sit the scale 2.5 point 5.5 And then we're gonna take these boxes to sit. There's key frames, and now you can see that it's going from big to small and then two big. Now let's have a look at the Grove editor quickly. So currently, as you can see this window, you at the bottom. If I click on this icon right in the corner that is currently said to timeline, you can see there's a little clock. So that's the timeline, and we're gonna change this to grow off editor so you can just simply click on graph editor . Then it's going to take you into the girl's editor. Now, this is kind of similar, but it gives you a lot more information and data than the normal timeline editor. So you can use your middle mouse button to pan around and then you can hold in control, and then you can zoom left and right, and also up and down. And now I can see all these different curves that our animation is actually using. So what you can do is you on the left. Inside, you can see we have our cube and you can see we have cube action. And below that, we have the transform. So if I expand this transform, you can see all those different key frames so you can see the three location key frames, the three rotation key frames and then also the three scale key friends. So what you can do is you can switch some of them off if you only want to focus maybe on the three location, so I can enable those three. And this will give you only the rotation key frame someone assuming year slightly. We can see this a bit better so I can see that the Green Line is actually the key or the axes that is changing. And as you if you look in on the side, you can see green. That is the X location, and that is exactly what's happening. Yes, so you can see that is our why axes and our Cuba's moving from the middle onto towards the y axes, as you can see there so you'll see it's got thes handles almost like a busier curve. So what you can do is you can simply click on this, um, key frame right there, and you can use the same controls that you're using in your view port to move, rotate and scale. So to move it, I'm gonna press G on the keyboard to grab, and you can see that I can move that key frame around to any way I want to. You can also hold in control to snap. So the nice thing about blend Aries that's using the same shortcut keys doesn't matter which window you are in. So even using these curves that will use the same same shortcuts. So you can also change these handles so I can click on one of these handles and then press G on the keyboard, and that's going to change the curve that I'm using. As you can see that also, click on this one and then click on this handle press G on the keyboard to move that one around. So currently, as you can see, if I play this back, I'm just going to sit my end frame on about 50. So I'm gonna go back to Timeline quickly and just sit by end frames to 50 and then I'm going to go back to the growth editor. So now if we play this back, you'll see that the movement starts off slow and then it goes quicker, and then it kind of ends slowly again. So let's say you want to have a constant speed off your animation between two of your key frames, so that will be the handle type. So all of these key friends have has ah specific handled types it. So I'm going to right click on this key frame right at the end, and you can see that we have handle type. So currently that's said to something like aligned or maybe even automatic. And I'm going to say that to Victor and as you can see that it's got a very shop corner. So I'm gonna click Victor and I can see there's no curve or right here with this one key frame, so I'm gonna do the same on this one. So the one the beginning What I'm going to right Click on that one, Onda. Let me just see if I can select that. I'm gonna hide the X and Z cause we're not using them and I'm going to right click on that key frame handle type. And then I'm going to say that to Victor, and I can see we have this straight line. So if I play this back, you can see that are Cuba's now moving at a constant speed? So no curves, nothing like that. Let's say you want to have a curve again on one of these. You can simply just select that key frame, right, leak handle, type, and then change it to maybe something like automatic, and you'll see that that curve will come back. You can also use the shortcut key, of course, which is V for that handle. So you just select that key frame and any press V on the keyboard, and it's gonna come up with this menu showing you Which one do you want to choose? So I'm gonna sit this one to automatic as well. And they can see we have that nice curve back to our or between those two key frames. So let's quickly look at the rotation key frames. So I'm gonna hide this. Why? Location? Just by clicking on this eye and then for the rotation, I'm gonna enable them so they can see we have one curve that goes up because we only rotating on that one axes and that's the blue. So if you look at the blue year, it actually shows us that it is the Z rotation that we are using so we can go in and we can hide the exploitation and the UAE rotation as we're not using them. And now we can see that that is, our rotation could. So what you can do with these key frames, you can also use the axes shortcut. So let's say I want to remove this key from around I compressed G on the keyboard, and then I can freely move it. But then, if I press why it will only move in the Why axes basically up and down. Or if I press X, that will only go sideways. So obviously you compress Z because there's no third axes when you're looking at a graph is just a flat two D. Graf so it's basically why and then X You can also do things like scale. So let's say we have another key frame, maybe right there. So I'm gonna set a key frame on that same rotation rotation. So I was gonna press I on the keyboard on in just rotation so you can see we inserted a new key frame right there. That's what we can do is we can either select both those key frames beholding in shift, and then we can move them around by pressing G or I can press are on the keyboard for rotation, and this you can see. I can rotate around those two key frames. Why can press s to scale so you can see I can scale those two key frames. So everything you're using in your view port you can try and use those same keys in the growth editor, which is really, really nice. So let's say only one of you move this handle up and down like compressed G. And then why? And that will only allow me to move it up and down in a straight line, which is pretty cool. And that's the basics off adding key frames and animation to your objects inside of blender . Play around with us and see if you congest create some nice basic animation. I will suggest trying like something like a bouncing ball. There are quite a few tutorials on just the basics. How that actually work. But you, Congar Oh in you can try and Creator Assn. Normal Sphere and then try animating that sphere. So it's kind of bouncing on something, maybe just a normal plane and see if you can create like, a where touches the ground. It actually squashes this. We're down a little bit and see if we can create a realistic bouncing ball. That's always a very good example to try and create a your first animation. So see how that goes, and I will see you in the next listen 19. Materials Basics: Hey, and welcome back. And in this Listen, we're gonna look at materials inside off blender, so materials are quite interesting and very fun to work with. So let me show you how you can apply materials to your objects so visible I'm gonna delete the camera and the lights are just selectors Two items pris X and in delete. And then we're gonna work with our default cubes. I'm gonna zoom in slightly, so we have a better view. And then, first of all, what we need to do is we need to change over to the material preview mode. So if you look, you're right at the top of your wire frame and then you have your solid view, and then you have your material preview. So this is just gonna of you can also use their interview, but it's a little bit slower, even. Obviously, if you're using cycles, that will be a bit slow, but you can use TV as well. But for this one, I was gonna use this material preview mode, which is nice and fast, and you can see your actual materials applied to your object. So I'm going to select our cube and then year on the right. Inside we have all these properties panels. You can go to the one that looks like a little sphere with a raid and black checker texture or material on it. So I'm going to click on that. And if you point to that, you'll see that it says material properties. And this is where you're going to do most of your material work. They will be a separate. Listen on using the material note editor. So we're not gonna get into details about the nodes or right away. We're just gonna look at the basics off using materials and assigning them and changing colors, etcetera. And then later on in this course, we're gonna go and look at the actual notes that you can use to create more complicated materials. So, first of all, by default, there will be a default material called material. And as you can see, if we scroll down, you can see the base color and all the different properties off that material. Things like the metallic properties, speculative roughness and ALS those different things. So we're gonna look at a few of them, not all of them, and they just know that they are different shade er's inside off blender. So if you look at the top, it says surface, that's our surface Shader. And this is the name off that shader, which is principled b s d f. Now that's kind of the default material that you will use probably most of the time inside of blender. But just know that there are a few different ones. So if you click your this will show you all the different types off shade er's available in blender so you can see there's like a glass be SDF which is quite nice for using for glass textures of materials and in this one specifically made for hair And you also will find one for volumes that we're gonna look at later this principled volume shader. But for now, we just can use the normal principled B is DF shader. So let's start by deleting this default material. So I'm gonna make sure this developed material is selected and this is actually a material what's called the material slot. So we're going to remove this material slot to create a new material and you don't have to do that. Um, I just want to start off kind of with a clean slate so I can explain better are the slots work and how you can assign them to different objects in your scene. So I'm gonna click on this minus to remove that material slot, and I can see we don't have any materials in this area. So, first of all, I'm going to start by creating an empty material slot by clicking on this plus, and I can see it gives us a slot, but it doesn't have any material in it. And now we're going to click on New yet the bottom so this week and give it a name. So currently it says material 0.1 So I was gonna click there, and it's just rename this to something. Um, I was gonna call this raid and just like that, and you'll see it's gonna rename this material slot to read, and now we can go in and we can change some of these properties. So first of all, I'm going to change the base color so you can see currently it's a two white, and I'm simply going to click on this white and it's gonna bring up this color wheel and you can drag around and set the exact color that you want. So I'm going to set this to raid something like that and you can see our cube turned red. So obviously that is working, and then we can go in and we can change some of these properties to see what they do. So if I increase metallic, you can see that we will get kind of a more of a metallic look. So we don't really have anything else that's reflecting at the moment. Or maybe we need to add a floor. But we can do that in a minute, so just gonna see that is becoming Mawr metallic. And if there was anything next to this object, you would be able to see the reflection. And I'm gonna bring that down a little bit and in the same with roughness. So roughness is also one of these settings that you will change quite often. So the less the roughness ease. If you said this 20 then we basically have a perfect mirror. So it will be reflecting anything. Um, that is close to it. It will reflect that as if it was a mirror, so you can see it's actually reflecting an HDR I that's on by default. If you using this views just to kind of preview, your materials are reflective. Else you can see they that is quite reflective and American generating an increase that roughness again. If roughness is said to one, there will be no reflect or reflection at all. So usually that is not very realistic, cause any object. Even though you think it does not reflect any light, it will reflect a little bit. So never said this to complete one or complete zero unless you have a very specific need to do that on. And then there's some other things. You You can also adjust your emission. If you want to have this material actually emit some light, you can set this up in years. Well, but then there's also a shader that specifically designed for emission, and this is this emission, all right, they so you can either use that weaken city mission year. You can click on this black and you can increase this to maybe white or blue any different color, and you can also set the Alfa and some other things around that Yeah, I will differently suggest, if you want to use any mission material that emitting light to rather use the emission Shader. So phenoms going to sit this back to black that I want it to emit any light. So we have our first material and it's called the Red and let's create a new cube. So it's going to move this one off to the side, like so and in shift a mish cubes, we have a new cube, and if we click on this new cube, you can see that it doesn't have any materials assigned to it. So we can now go ahead. We can create a new material slot like that, and then we can create in new material A. We can assign a material that will really create it to this material slot. So if you click on this little drop down right here underneath this little swear, you'll see that we have to materials. So that's our default material and in our raid material. So if I click on raid, it's actually gonna sign that raid material we created for this cube. It's gonna sign it to this cubes empty slot, and it's gonna give it that same name. So now we can go in and you can change this. But if you change this, it will change all the objects using or linking to that specific material. As you can see, If I said this to Blue, all the objects with that material will change to Blue. So just be aware off that someone set us back to read and let's create a new material just for this cube. So I'm gonna with this group selected, I'm going to click on the plus to create a new material slot. And then I'm gonna click new to credit new material on this one. I'm gonna name Blue. Okay. And now I want to change the base color off that materials. I'm gonna click on the white and just change this to a blue color and are currently you can see this cube still read because it still has the raid material assigned to it. So I want to take this blue material and assign it now to this cube. So very simple. To do that, you can either select which one you want a sign right here. So blue I wanna sign And then I'm gonna click on this little severe right here next to Blue , and I'm going to drag it out and just drop it on this cube and I can see that is active. So let's click on this Raid Cube off hours again, and I'm gonna add a new material slot. And now I can say, instead of trading in new material, I can just use this drop down, and I can say I wanna sign this blue material to this empty slot So blue like that. And now I can drag this little sphere onto this one to a sign that blue material. So let's say we want to add our red material against I'm gonna create new slot Select Red, and I can drag that onto that Q begin. So it's a little bit confusing how this works, but, yeah, you basically working with material slots and then you save your material into that slot. Now let's say you want to only a sign the material to a specific area off your mish. You don't want to assign into the whole material to the whole mission. Maybe only want to assign it to different faces. You can do that. So I'm gonna move this cube away just out of the way, and I'm going to create a new cube. So shift a mesh cube. And this time I want to maybe apply the red or the blue only to specific faces off this cube, so you can different to do that. So with this cube selected, let's first create a material slot by clicking on the plus. And it was gonna load in the blue Material into that one. And maybe let's add another slots. I'm gonna click on the plus and in the drop down and in red, so we have both the red and the blue materials. Here we can add the default as well. So it's two plus and it's at the default material, which is just a white material. So let's say we want to apply a red to some of these faces. So with this cube selected, I'm gonna go into edit mode of press tab on the keyboard and then make sure you in face select Mozer Press three on the keyboard, and then you can select which face you want to assign that material to So I'm gonna select this front face, and ah, Then what we're gonna do, he's I'm going Teoh, select this red material. And with this face selected, I'm gonna click on a sign and they can see we've now assigned that red material onto this face so we could do the same. Let's change this face yet the back. I want to maybe make this white. So I'm going to click on this material, this default material and then a sign and you can see There we go. So it's 21 mawr bottom click on raid, a sign they can see. We have set those two to that. So play around worth adding different materials to different object in your scene and ah yeah, we're going to go into more details off adding textures etcetera later on. In this course, this was just kind of an overview off the material properties how to create new materials are to create material slots and how to assign them so either a full mesh or to assign them only to specific parts off that mesh. So practice with this until you are familiar with creating different materials for objects and I will see you in the next lesson. 20. UV Unwrapping: Hello and welcome back. And in this Listen, we're gonna look at you ve unwrapping inside of blender. Now you ve unwrapping can be quite a thing to get your head around. We can actually make a complete course just on UV unwrapping, but I'm gonna try and explain the basics and let's see how that goes. So, first of all, we are going to remove our camera on our light, as we usually do. So, selectors Two items X and in delete. Now you ve unwrapping basically ease. You want to unwrap your model that you create in three d You want to flatten that model out completely? So imagine taking this cube and creating it out of paper. And then you cut along some of these ages to lay it down flat on the table. And that way blender will know when you applying different textures to your three d object . It will know then how to wrap that flat texture around your three D object. Now, by default, if you bring in an object such as a cube or a sphere or a cylinder, those objects will be UV unwrapped automatically. But the minute you start to change this model and you start modeling something else, you will need to make sure that that model has a UV unwrapped. Um, that is that is correct. And that will be able to apply your textures to now. The problem is, or the problem comes in. If you do not UV unwrap, you object correctly. Some of those textures might actually be stretched what might be aligned in the wrong direction or yeah, most of the time, they will be distorted, and it won't look very nice. So always ensure that you have the correct UV layout when you are texting your objects. So let me show you what this Cube will look like. So this Q by default has got a UV map already. So now what we're gonna do ease with this cube selected, we're gonna use these layouts right here at the top. So these are like presets. Basically, that's been saved or layout presets that's been saved in blender. So with this cube selected, we're gonna go to UV editing right at the top, and then you'll see we're going to get to this split screen layout. So on the right inside, we have our three d View port And then on the left hand side, we have our UV unwrap view so you can use the same controls again year. So if you hold in middle mouse, you can pan around. And if you're holding middle mouse and control, you can zoom in and out. So just those two controls. So, as you can see, we have these flat faces laid out on this grid, and this is the UV map off this cube. So, as I mentioned before, if you can imagine, you are creating this cube from a piece of paper and you folding that piece of paper to create that cube, then you need some way to unwrap that Q. Begin to place it flat on the table so that you can apply a two D image or a texture to that flat layout. So this is exactly what you can see your so it looks like a little cross. And as you can imagine, you can fold this face and this face you can fold it up this face you can fold up a swell. This face will fold up, and in this face will fold all the way up to the top, which will be the top face then. So what we can do is you're in the three d View Port Aiken, go into face select mode. So press three on the keyboard and I can highlight some of these faces and we'll actually show me which face that is on our UV map. Now, I usually prefer to switch on a thing called Sinking Across or UV sink selection, and that will show all the faces even if you don't have them selected. So that's all, Um, it comes down to your preference if you want to see it like that. So let me show you what I mean. So in the UV section on the left hand side, you'll see these two arrows. Diet are edible arrows year right in the quarter. And if in able this you'll see all those faces, even if we don't have them selected. So there's just a nice way off seeing all the faces, and it can even click them inside the UV area. And then you can see which face that is on your model, if that makes sense like so. So, obviously this cube has been UV unwrapped already. So we not gonna use this. I just wanted to show you what a UV unwrap will look like. And this is perfect because you can see all these faces or exactly the same size. So this will work. Exactly. If you apply a two D image now to this cube, it won't be stretched. It will be perfect. So let's go back to the layout screen. So right here, talking and click layout, and I'm gonna delete this cube. So just press X and then click to delete. And I want to start just modeling a very simple shape that we can use as an example. So I'm going to start by adding a plane so press shift in a mish plane, and then we have a default plane on our grid and I'm gonna go into edit mode just to create a very basic three D shape. So with this plane selected, I'm gonna press tab on the keyboard and then make sure you are in face Cilic mode. So three on the keyboard, and then I'm going to select this face and I'm gonna extrude it. So press e and then just extrude that face like that and I'm gonna extruded again. Maybe like that. And then I want to extrude this side face. So I'm going to click on the side face extrude to there and then I want extrude this side face to they. So it's something like a t. I was gonna move this face down. I'm not gonna extrude it. I'm gonna press G and then Z to move it down in the Z axis. You can see we have something that looks like a T, so I'm gonna go out off it Murder brace Tab on the keyboard. And now we are ready to go into UV editing for this mish. So right at the top, I'm gonna click on TV editing, make sure that your mesh is selected, and then this is going to take us into this UV editing workspace so you can see by default . Our sink is still switched on, so make sure you switch that on if you want that. And now we can see that we have something on the side. But it just looks like a big square. So on the right inside, I'm gonna press three to go into face select mode and then I'm gonna start clicking on some of these faces and you can see on the left hand side. If I click on this face it only like highlights. This line near the bottom, working on this face. It's highlighting this line on the side, and it doesn't really look like a face. It's just a single line, so obviously we know this is completely wrong. It did not create the UV faces or the UV layout, um, automatically. So we need to do this ourselves. So what you can do to it's quite difficult to explain the whole thing behind you ve unwrapping. But you can unwrap certain parts separately so I can go in and I can click on these three faces at the top, holding in shift and I can write Leak, and then I can select UV unwrap faces and I can select unwrap. Let's see what that does so you can see it created these three faces for us in the UV layout, and I cannot click on them and you can see these or those three faces that we just unwrapped. Okay, so that looks kind of okay because I can see they are not exactly the same size, but they look like the same size. That proportions between these and these are correct. But let's say we want to unwrap everything at once. So what we need to do is, let's say, if I select all the faces on this model, if I just point to my model on the Empress A on the keyboard to select everything so you can see all those faces on our selected I can. Now go ahead and I can right click UV unwrap faces unwrapped, and this is going to give me something. It's just going to leave it exactly the way these because it doesn't really know how to unwrap this model. Like if you look at this and you imagine this was made out of paper or cardboard, Um, you can't really unjust. Unwrap it. You will need to take a scissor or something and cut some of these ages open to be able to unwrap them and make them flat and place them flat on the table. So we need to imagine which off these ages are we going to cut with a pair of scissors to create a flat UV map for this model. So now it sounds a little bit strange, but that is exactly what we are going to do. So what I want to do is I want to cut this edge and maybe this age at the bottom and in this edgy on the side. And then you can flip this face. You can flip that face up to form a flat face next to this face of that makes sense and in the same on the site so I can cut this edge. And in this bottom edge and in this age and in that face, Skittles have flip up. And then we have these three faces they can just flip up. But I will have to cut there and there and then maybe along this, a JIA bottom up and like, so around there. So if we can cut out this whole section there, this whole tea can flip up to form a flat face or flat faces next to these three faces and in the same underside. So let me explain to you, rather than trying to explain without showing so with my model selected, I'm gonna press two on the keyboard to go into edge select mode because we want to cut those ages. So I'm going to start with this side and I'm gonna cut all along this age on the side all along until we get to this point. So I'm gonna click on this edge. I liked it. And then with scolding shift, I'm going to click on this age. This one, this one, this one this one and this one. Okay, And now we want to tell Blended that those are the lines that we are going to cut. So I'm going to right click, and then I'm gonna go down and I'm going to say Mark seem okay because remarking that as a seam where we're gonna cut and I'm going to see it's gonna change Bright red orange. And even if I click away, you can still see that it's a red around those ages that we marked as a seam. So I'm gonna do the same on the other side. So I want to cut their holding shift, click, click, click, click, click, click and he can release shift. And then I'm going to right click and go to Mark seem so you can see we have that also marked as a seem. So now I can kind of imagine a little better. So you can imagine we're gonna cut their and this whole side is gonna flip up. And they were gonna do the same on this side. So we're gonna cut there and then that's gonna flip up. And then we still have these faces around the side and then also this face right at the bottom. So we can decide. Now, what are we going to do with those faces? So let's first do a little taste and see what happens if we try and unwrap it. Just like that. It's a lot of times you ve unwrapping is kind of trial and error to see where you think you're gonna cut him in unwrapping see outworks. But let's do that right now. So I'm gonna press a on the keyboard to select everything, and then we need to make sure that we are in face select mode because if you are in age select mode and you're right, click, you won't see that unwrap option. So I'm gonna press three on the keyboard to make sure in face mode and then right click UV unwrap faces and then unwrap. Okay, so now you can see something very, very different. You can see if I click on one of these faces, you can see that it did actually try and cut them along those ages. But it doesn't really look right at all. So we need to add mawr. Seems because we need to add more. Seems to able to unwrap this correctly. So I'm gonna go back into edge select mode, and I'm gonna cut this age right there, and I'm gonna cut this age right there. So right, Leak and Mark seem, and then we need to figure out what else we need to cut what I'm gonna do. I'm gonna cut this line here at the bottom and this one as well. Then this bottom face will just be kind on its own. But that's also fine. So I'm gonna mark seem and I'm going to select everything again. Make sure we in face mode three, right leak, UV unwrap faces and then unwrap. And I can see restarting to get something a little bit more interesting. So let's select some of these faces just to see what it's doing. So you can see that face there is linked to this face or next to it, one next to it. And in this one on the side is this face that was flipped up and in the same on this side. We have this face, which is this one year that's flipped up and in this face was flipped up from that side. Exactly. Are we imagined this one flipped up. This one flipped up in this one was flipped up from there and in the same on this site. You can see that t on that side was flipped up from this side. So I hope that makes kind of sense. Um, what you can then also do is you're gonna need to try and fit these faces into this area without them overlapping. Because if they overlap with a different face, it's gonna have the same texture on two off those different faces that you don't want. So I'm gonna highlight just drag a box around this area, and then you can use the same controls as you normally use in your three d view ports. I can use G to move or to rotate and is to scale and you want to make sure that they all inside this square grip. So what I can do is I can click or press are on the keyboard for rotate, and then I can hold in control on my keyboard to snap, and he can try and make them as perfect as possible. Move them in and make sure they're not overlapping anything. What you can also do is you can select all suppress a and then you can go to UV you at the top, and you can try and pack islands, not back. Islands will try and make this fit as best as possible. Let's see how this works. You can see it kind of changed the layout a bit, and it says, what kind of figured out that this is the maximum size that these faces or these islands can be to fit inside this area, You can also try and use average island scale, and that's also just gonna try and average those scales out. So let's see this. Anything else that we can try to make this slightly better. What you can also do is I'm gonna go back into edge mode and I'm gonna do a cut around this top Part two just got that out completely. So I'm gonna add a age or a seem right around the stop section. Like that. Right? Click Mark seem going to face mode three and then a to select all right click UV unwrap faces and then unwrap. Now I can see we get something that looks like this. So if you click on this face, you can see that's that bottom face right there. And if I click on this one, that should be linked to this one, like so And then you get that face right above it. And in the two on the side, same on this side. You have the big one at the bottom and in the middle one and then the two sites. So that's pretty good. And then at the top, you have 123 which are those those three faces. And then you have the side, which is just a loose face there on its own. This one as well. This one at the bottom and this one at the bottom. And then you have these two side faces. That's also they. So this should work perfectly fine. Um, just one thing you need to keep in mind as well. Let's say you have a texture that goes around this area like so you want thes faces to be next to each other because currently can see they are not next to each other. So this might be a little bit of a problem. So what you can do, you can say I'm gonna go back into age select mode, and then I'm gonna take on this age right here, and you can see it's highlighting this edge. And then it's also highlighting this edge, which means that's the same edge. So this face is really supposed to be next to this face if you want a texture to flow from this one, face to the other face. So what you can do is with that edge selected, I can right click here and then I can say stitch. Now that's going to stitch those two faces together inside this UV areas. So let me show you what it means. I'm going to right click and in stitch, and you can see that it's teach those two together. And if I select this face and this face holding and shift, You can see they are now stitched together and I can move them around. I can still move only the one face on its own. But they are now stitched together and the textures shoot flow between those. I could do the same with this a JIA so I can just go back into edge mode, select this edge and you can see it's highlighting this edgy at the bottom and then also this page right here. So I'm gonna write like and I'm going to stay stitch and you gonna see it's gonna bring this face around to connect with this face. So if I select this face holding shift, Holden shift can see those three faces are now linked together, which is nice. And we can even do the same for this front face. If you want them all to share one picture, that's gonna go flow around thes. So I'm gonna select this face. So this is the face we're looking at and go into age murder. I want to select this edge and you can see that age should be linked with this age. So I'm gonna write like stitch. Okay, so now I can see we have this face, this face, this face and this face all linked together So you can even do it this way on. And then you just need to make sure that you move them into this area and remember, you don't want them to overlap. So a good way to do that? It's just to select everything by pressing a and then going to UV and then pack islands. You can see it's backing those islands for you now. It might actually makes up our stitching and think it will, because we have those four next to each other and they still perfectly fine. So it's also a good way to do it. Another way to unwrap these to try and use the smart, unwrapping feature within Blender, which sometimes works really well. Sometimes it doesn't work that well. So let me show you how to use that. And with that myth that you don't have to specify the seams, it's going to try and figure out the seams automatically. So I'm gonna select everything year in my three D view by pressing a and then I wanna clear all these seems that we have marked so very easy to do that Just right Click and then you can say sorry. We need to be an edge mode. So make sure pressed to on the keyboard and then a to select everything right click and then we're going to go to clear seem so now I'm going to see all those red lines will disappear and they're all gone And now we're gonna try and unwrap this by just using a smart unwrap and lit blender Try and figure out where there seems should replaced So I'm gonna go into face mode three, then a to select everything. Then I'm going to right click UV unwrap faces And then, instead of going unwrap, I'm gonna go to smart UV Project. So smart TV projects going to give us some options. It's gonna ask us the angle limit island margin and in the area. Wait. So the island margin is something that you can use because that will basically space out the UV islands on this side just slightly. So I'm going to say this to something like zero point maybe zero point three, and just to have a little space between some of those islands and then I'm gonna click on, OK? And that actually looks pretty good as you can see you in our UV section. If I click on this face and that's that face right there above it, you have this face and next to it you have those two faces in the same with the other side . We have this face right there, the one above it and the two next to it. Then you have these three faces which all those top three faces next to each other and then you have Which one is this? This one will be this side face. This one will be this side face. And then you have this one, which is this underneath that one. And I think this one will be this face underneath your and then you have the two side faces , that one and that one. And in this one, he's right at the bottom. So this is also not a bad way to start because now he can either stitch some of these together. So let's say you want this face and that face to be together so you can go into each mode and you can maybe click on this age right here and you can see it's actually resembling this edge right there. So I can right click stitch, and it's gonna bring that one face a bit closer. But now I see we have some issues year with overlapping. So this face should be linking to that face, and this face should be linking to that face. So that's not really a good move. So I'm gonna undo that his control z move that back that c if we can do anything else here . So as you can see, this bottom edge right there this age is sharing a or this face. And this face is obviously sharing that one age you can see they. So I'm going to try and move this island or this section out of the way, and then I'm going to stitch this bottom face to this section, and then we're gonna stitch this section to the bottom face. Sounds a bit confusing, but let me show you. So I'm gonna go into face mode, face select mode, which is three, and I'm going to select all these faces and I just want to move it out of the way. So I'm gonna press G and then X just to move it in the x side erection. Just something like that. Then I'm gonna go into edge select mode to and then I'm gonna click on this age. You can see it's, um, sinking or it's actually sharing that same edge with this face. I'm gonna write Leak Stitch. Okay, then I'm going to click on this edge. You can see that age should be stitch with this face, right? Like stitch. All right. Now we are getting something really nice, so I can go back into face epic mode three, select all of these faces and just move them again so G and X slide them in yet I want them to overlap with anything. Now we can see if we can maybe stitch something else as well. Someone going to each select mode. And it's see what is happening here. So you can see this age or this faces sharing an edge with this face and in this age being shared with this face. So I'm going to teach this one that one will be moved to below year. So I'm gonna write leak stitch and kind of moved everything for us. So I am just going to click on this age, right? Leak stitch. And now we can see something is happening. I'm going to go into face lick mode and then I'm gonna press l while I'm hovering over this one. L will select all the linked faces, okay? And I'm gonna move it so just g drag it down today And, ah, when you can just bend that over by middle mouse click and let's see what else we can stitch us I'm gonna click on this edge Can see that ages resembling this Sword sharing and a an edge with this face So rightly stitch Same on this side So I'm gonna click there and that sharing edge with this face So rightly stitch And let's see where we can If we can stitch these ones as well So I can definitely do that I can stitch this edge with this face And then this edge with this face So rightly stitch So it's looking pretty good And if we really want to, we can maybe stitch one of these weaken sti church that with that I wonder if I can stitch multiple. I'm gonna try and stitch multiple ages. So I'm gonna select these three ages, right? Like stitch. And I don't think that worked. Just see three said that edge with this face, This face that's looking good. This face should be on that side. This face is that side, the spaces, that side, this one is a top model, and this one is next to it. And then this one should be that one. That's actually pretty good. So now we can go and we can select everything. So priest A and then you ve back islands and you can see it's going to scale it. And it's gonna make it fit as best as it can inside off this area. So I can see that's looking pretty good. Obviously they said a little bit of distortion going on. You can see some off. These lines are not perfectly straight, and they are a few ways to fix that. So this one really caused a lot of distortion. As you can see, it's a slight, um, skew lines. Here. You can obviously go in here. You can go into Vertex, select mode one, and select that Vertex and you can move it around and try and kind of straighten it out a little bit like that. But that will not give you a perfect result. What you want to do is you want to try and make this line straight from top to bottom. Same with this line because we don't have any curves on this on this three d model, so everything should be straight. So what you want to do is because these faces are obviously sharing Vergis ease. What I want to do is I want a straight in this line and an easy way to do that is just using this scale. Come on. But the problem is now currently, if I select if we're going to Vertex select murder, I select all of these Verte sees like that. And I use this scale command on process and then maybe X to scale them. Um horizontally can see we are affecting the other verte sees as well and we don't want that. So what I'm gonna do is I'm going to switch off this sync mode, so it's not displaying everything all the time. It will only display the ones that we are currently working with and that will allow us to change only these Vergis ease and not affecting any of the other faces. So let me show you what I mean. So I'm going to switch off the sink and you'll see that we only see the one that is currently highlighted. So I'm gonna just press a to see what I want to select you. And I want to select these faces down in the middle. So let me just see. I'm going to strike a box around thes vergis. Ease like that. And those are the ones that we want to see in our scene. So let me just see where they all because this is obviously no, a little bit of a fine. So I need to see that one. That one. This one And this one And this one. Yeah. So I'm selecting those faces, and then we're gonna go into this side and select those verte sees. Just like that. I'm still in Vertex Select birthday, and now Inga to scale it and scale it in the X axes. So I'm going Chris s on the key water scale and then X for X x season. You can see that only moving sideways. And now I'm gonna press zero on the keyboard to zero that out. Never pressed. Zero. You'll see they will be all in a straight, perfectly straight vertical line. And then I'm gonna press in tow or just click to accept that I'm going to do the same with the sights. I'm gonna highlight all these for two C's Chris s to scale. And then why? To specify or sort of x to specify the X axes and then 0 to 0 that out. Then you can just click to straighten that out so you can go in and you can do the same with these were theses. You can see these are also not perfectly aligned. But I weren't really going to too much detail with a model like this. Obviously, if it's a very complex model and you want to get it, absolutely 1% perfect, it will be a good idea to go in here and select thes two verte sees press s. And then why? Because you want to level him out in the Y axes and impress zero, and then click, and you can see if we have anything else that we need to adjust? No, those are all looking fine. So I can go into this three d view on press A select all and we can see maybe we need to do something with these Verte sees along this line. They also a little bit distorted and maybe on the age as well. So I'm going to go back into verdict select mode and just select those who are disease. And now we need to de select everything else. So let me just see if there's an easy way to do this. I'm going to select thes switch on sink and then only select those faces and then switch sink off. And then I'm going to go into Vertex Lick Mode one and then I'm gonna slicked those verte sees. And that's an easy way to do it. So I'm gonna spread it's on the keyboard and then X for X direction and then 00 that out. I'm going to do the same with this side. Select. There's Verte sees s X zero click. You can see that's perfectly straight. So now if we select everything that is looking good, I think we might be overlapping your sel I tli Yes, we? Are we gonna fix that now? So what I'm gonna do now ease, I'm going to switch the sink mode back on so I can see everything always. And now we can just click on some of these faces and we can move them slightly out of the way. So just g and then maybe X just to slide them sideways, make sure they're not overlapping like that. And then I'm going to select everything a and then you ve back islands just to get them all neatly backed inside this area. And then that should give you a very, very good UV map to use for your textures. So that's how you unwrap your model inside off blender. As you can see, it's quite a complex process. And once you get the hang of it but wolf differently start to go easier, or it will become more easier for you to unwrap your three D models just in government. You want to unwrap your three D model into a flat piece off paper that you can then apply a to the texture or image to. So always remember, you can start off by only selecting a few faces and then right leak and then unwrap those. And then we'll it will create an a flat unwrap off those faces only. And then you can kind of carry on and maybe unwrap those ones for you to create that. And then you carry on like that, and then you kind of stitch them together inside of this view until you get something that looks nice and not distorted and have straight lines. If you have straight lines on your model, all depends on the model. But you play around with that and see if you can unwrap a basic model. Just create something very basic and see if you can unwrap that successfully and, yeah, just practice, practice, practice. And I promise you it will become easier. I will see you in the next listen. 21. Creating Advanced Materials Using The Shading Node Editor: Hey, and welcome back. And in this listen, we are going to look at the shading note or the material note editor. So in a previous listen, we looked at how to create a new material and how to assign that to your different objects in your scene and also our to change things like the color and the reflectivity and the roughness, etcetera on that material. So now we're gonna take it a little bit further, and I'm gonna show you how to add a little bit mawr off advanced materials to your objects so visible. Let's start by the leading, our light and our camera in our scene, and we're gonna leave this cube, and this is what we are going to use to add some materials to. So first of all, I'm going to click this cube, and then I'm going to go to the material terribly on the side the material properties that we looked at before, And this is where you know you can set the different colors. So the bicycle you can change your and to preview that material in your view port. We just need to sit this right at the top to the material preview. And this is basically gonna change to the TV renderers just so that we can kind of see what is happening in our scene. So it's super forced, nice and smooth, and you can see the color and the reflectivity and all of those things. So let's say we want to add some textures or some images to this material. So with this cube selected, I'm gonna click on the shading tab right at the top, and this is gonna take us into the shading workspace. So first of all, you can still use your normal controls to move around the scene. Middle mouse, click and in control Middle mouse. Click to zoom shifted Ban, etcetera. So, Sam Keys, I'm gonna zoom in your slightly so you can see the cube a little bit better. And yet the bottom is our material node area. We were going to change the way we're gonna work with the different nodes, air different nodes and just connect them and see what we can create So you can use the same controls again years. So if I do, you are middle click on my mouth. I can pan around and control middle click. I can zoom in and out so very similar to the normal controls that you're used to. So we consume in your and I can see we've got a material output note. So this is just kind of the final node in your note tree, and then we've got this principled B S d f. And this is our shader. So with this cube selected, I'm gonna just click on this little material editor material Properties on the side and this spot this principled be SDF is exactly the same as all these settings that I showed you earlier. So you can see that it's got the red color. And if I change any of these properties, this will reflect on this side as well. So let's say if I increase my metallic, you can see on the right inside. It's also increasing on this panel, So this is exactly the same thing. It's just a different way to look at it. And in the note editor, we can obviously then connect different notes to this note. So I'm gonna zoom in here, and I'm gonna sit this metallic back to zero, and you can see it's gonna update on this right inside as well. So let's see what we can do So you can see all these little dots on the left hand side. And this means that these are inputs. You can input another node and connected to these dots. So we're not gonna go into all of these settings and all of the notes. I'm just going to highlight some off the more popular nodes. So first of all, I'm going to create a new node in this area right here. So to do that exactly the same way that you create anything in blender and that this shift a so you can also go up to node and we can go to add right here. And you can select your notes from this drop down. But I just find using this shortcut key is so much easier. So shift a on the keyboard and then you can go through all these folders like input output , shader texture, color, victor, converted script, group in layout, or you can click on search and you can just type in a name off the note that you're looking for. So the one we are going to add some is gonna do shift again and I'm going to go to texture . These are all the textures that you can add So a lot of them or textures that you can actually dynamically create within blender. So let's see if we add a normal checker texture. OK, so I'm gonna click on that, and it's gonna bring up this note, and I can just click to place it anywhere, want to. And as you can see, it's got a color one and a color too, and also a scale. And then it's got these outputs right here. So it's got a color output and also a factor output. Now, we're only gonna worry about the color output for this note. So I'm gonna take my mouse and I'm gonna click a drag a line, and I'm gonna connect that to the base color off our shader. So currently the base color is said to read, but we're gonna override that base color with this chicken texture. So let's see what happens. If I could make this color to base color, it's gonna update, and they can see we have a checker texture or material on our cube, so go ahead and we can change these colors so I can change the white. Let's make that blue. And maybe this gray. I can change to black and you can see that's updating in our scene. So we have this texture running into our base color, which is quite cool. So now if you go back to our layout, you can see that our Cuba's got those properties and I can still go ahead. And you can change things like the metallic off this material or the speculative or the roughness. If you want to make it very reflective, you can see that it's nice and reflective so you can play with these settings stole. So let's go back to our shading nodes was gonna zoom out your slightly and I'm gonna move. You can move these things around so you can just drag it closer and try and make it a little bit neater. So let's see what other textures we could input into our base color. So I'm gonna rightly all press shift again and then go to texture so we can do something like a magic texture. Let's see what that us. So I'm gonna disconnect this checker, notes I was going to take this dot and just drag to release that line and you'll see it will go back to our original base color and all this magic texture. Let's connect the color to the base color and see what happens. Taken. See, we have a very interesting looking texture. And now we can try and start playing with these, um, these properties off this note, I'm gonna increase the scale or decrease the scale. You can see how that's changing our texture and also this number year you can play around. Also, the depth will also change some things around. And, yeah, I can see this is why it's called the magic texture Quite interesting. So it's this or disconnect that one and let's see what other notes we can add. So shift a texture and maybe let's try a sky texture. So I'm gonna put the sky texture. They connect the color to my base color, wait for it to update, and ah, now we can see this is supposed to be a sky texture. So I was gonna play around with these sittings. Maybe if we changed often, never actually used this texture before, so Let's try something else when I'm going to delete this note. So with this note selected, I'm gonna press X on a keyboard. Same shortcut as we use, in the normal view, to delete anything so created. New notes shift a texture on. Let's look at the Grady int texture and we connect that to obey Scholar. I can see we have a Grady int. So it goes from dark to bright or Dr Light Black to white and yeah, so that is also quite interesting. And it can change these things from linear to maybe something else. Very cool. Maybe I can add a spherical radiant like that. So let's say we want to add a texture image that we downloaded from the Internet. So I'm going to believe this note. So with this note, selected GIs press X and weaken. Delete these two as well, so you can just drag a box around them and then just x on the keyboard to delete them so we wouldn't add an image texture. So I'm going to go shift a and then under texture, you'll see image texture. So I'm gonna click that, and I'm gonna gonna place it here. Now I can see we've got a new and open. So I want to open an image file from my computer. So I'm gonna go click open, and I'm gonna go to the folder where I downloaded my textures and I downloaded this from Quick Soul, which is a very nice website where you can find materials and I'm gonna go for the wood texture. And just this 1st 1 that I downloaded. No. You can see a few different materials that come with this one material, so you'll see things like albedo a O displacement to displacements, the normal map and a roughness map. And then just kind a preview. No, this is this can get quite complicated, but I'm gonna just going to show you some of the basics. So a lot of these different texture maps will do different things to the way your material looks in a three application. So, for instance, the albedo will just be the color information, just the texture. How would we look like what is in the texture and just the different colors? Then you get something like displacement. Well, let's talk about normal map. First normal map is away. Foreign three d application to kind of fake any bumps in your material. So let's say you have a concrete material. And as you know, concrete is not perfectly flat, so it will have little bumps, etcetera, and a normal map will try and fake those bumps. So if there's a light that moves across that surface, you'll be able to see little shadows and little highlights. And it will kind of give you the appearance off a material that's not just completely flat . Now. Normal map is kind of a way to to fake it. It's not exactly adding any geometry to make it bumpy, but then you get something called displacement and displacement is very similar to normal normal map. But displacement actually adds geometry to your model to create those actual bumps, so displacement will add a lot off extra geometry. So for if you're creating assets for a game or anything where you need to work with low poorly assets, I will suggest rather to use a normal map unless you have permission to use displacement to create all that extra geometry. Then you get something that's called roughness or the roughness map. Now, this will basically tell your material, because if you think off a, let's think off A like a metal type off material or a metal object that you get in real life. Now that metal object might have areas on the metal surface that's more reflective and areas on that middle surface that's less reflective to, say, materials the same surface, but it will have different reflective properties. Depends on way on that image you're looking at on that flat panel, so roughness map will give you exactly that. But, well, it's just a black and white image, um, of your texture. And it will tell Blender or any other three D application. Which part of that image is more reflective and which part of that image is less reflective . So it's usually if it's maybe if it's white, that will be more reflective. And if it's black, it will be less reflective. We can invert that, and it will be the other way other way around. So it's just black and white information, and yes, so we're gonna look at some of these. So first of all, we're gonna load in our normal albedo map, which is just the color map for that texture. So I'm going to click on this one, and I'm gonna open image to load it in, and you can see that we have our node in your now and it's not connected, so we can't see anything on our Cube yet. But now we can drag this color and I can connect it to my base color, and it's give it a second to update, and they can see we have our would texture on our Cube. You consider it's looking pretty cool looking pretty nice. And, um, yeah, that is basically how that textual stocks so you can see it's still it's very shiny across every zits, using the same amount off reflectivity across this, which is not very realistic. And that's what I explained earlier when I spoke about the roughness map that we're gonna importune. So what we can do next is let's bring in another image map that we're gonna map to. Maybe this roughness so you can now either duplicate this note and then we can just change the file that we load it or we can create a new one. So let me show you hearted duplicate a note exactly the same way we do duplication in blender. So you select this node and then shift D on the keyboard, and that's going to duplicate that note for you. So I was gonna move this one down here. Just, you know, this one. And then we want to reload the texture into this notes. I'm gonna click on this open icon again, and this time I'm not gonna load the albedo, but I'm gonna load my roughness map. So this roughness map, which is just a black and white image, and I'm gonna open that now we can see at the bottom It says color space Is this RGB? Which means it's it's normal color call information, the rate green and the blue. But I want to change this to non color because we don't really worry about the color information off a roughness map. As I said, it's just the black and white image. So we're gonna change this to non color, okay? And then we're gonna take this roughness and we're gonna input that or connect that to our roughness value right here. So currently we just use the slider to change the roughness. You can see that in the image. If I increase the roughness, it will be less reflective. And if I decrease this all the way to zero, it will be perfect mirror reflective. So I'm just gonna sit that back to the center some way. So we're gonna connect this image to this value. So I'm just gonna take this color information and just drag it over and connected to roughness. And now it's going to use that color information or the black and white information inside that roughness j big. And it's gonna apply that to this image so we don't really see a lot of difference, but is differently a difference between the reflectivity off some off the parts off this image. No, let's look at a bump map. So remember the bump map or the normal map is kind of the fake way off adding depth to your models. I was gonna move this one out of the way, and I'm going to duplicate this so shifty duplicate it to their lead soon. Yeah, And this time I'm gonna load the normal map or the Yeah, the normal map. So I'm gonna select this normal and then open image, And this time we need to connect it to a normal map node. So I'm gonna go shift a and this time I'm just gonna search cyclic on search. And then we're gonna type in O. R. And you'll see normal and also normal map. So I'm gonna select normal map and just place it there. Now we need to connect our normal note from color to color, and then you'll see it's got normal year, and then we also have a normal input value on our shader. So I'm gonna take this normal map and just connected to this normal. And now it's an update and you'll see that it looks a little different. It almost looks like it's got depth to it. I'm just going to disable this one to show you the difference. So to disable and enable or hide a note, you can select it like so and then press em on your keyboard for mute so m to mute in. You'll see it will go gray and that will see the difference. And then you can just toggle that on by just pressing him M m m vacancy that's with it switched off and that's what with it switched on. You can kind of see it looks like we have some geometry. They but it's all fight. If I zoom in here, you'll see this is differently all flat. But it's gonna try and fake that. If the light changes, you'll be able to see a slight variation in shadows, etcetera. So that's also just a nice way to make your models look a little bit more realistic. Now lost Lee. I want to show you how a displacement map works. And remember, the displacement map is where it will actually add new geometry to your object to create actual bumps. So to do that, we first need to duplicate one of these sums going zoom in year and I'm gonna take this one duplicated, so shifty and we're gonna move it over to to this site to zoom out here, and I'm going to place it on this side because we don't have any displacement on our shader . We will have to connect it to the material out, but you'll see that it's got a displacement connector right there at the bottom. So I'm gonna place my image here, and I'm going to go to the Open icon and everyone load our displacement maps. You'll see currently, this material that I downloaded has got to displacement maps so you can see that one is a Dre pig. And this one is the E X, or just two different fault file types Doesn't really matter. But I'm gonna go with a J pick. It's a lot smaller and just easy to work with. So I'm going to open up the displacement J pic and next we want to in put that into a displacement note. So it converted from color to displacement data. So I'm gonna press shift a search, and then we're gonna type D. I s for displacement and shoes displacement. And there we go. Now we see we've got some things here and I can take my color. And I'm gonna connected to height because that's the the height off that, um, that black and white image basically so we also don't have to worry about color so we can change this to non color and in the displacement outputs gonna go into the displacement off our material up it. I can see nothing is happening because there's a few things we need to do so visible. Um, with the Veerendra, every render does not do displacement. So this is currently evey render this material preview that we see you. So currently, if we scroll down year on our material properties, you'll see at the bottom it's got sittings, but there's no settings. Four displacement. And that's because we're using the E V render, so we need to switch to cycles first before you can see the displacement settings. So to do that, we're gonna go to our Indus sittings. So that's this camera icon on this panel or in the properties. And then right at the top, it's is render engine. And as you can see, it's by default on E. V. So I'm going to switch this to cycles, and it's going to slow down things a little bit. And because we are still in this material preview shading view, that's not gonna change two cycles. We need to be in the render view or right at the site so we could go on. This one is going to switch over to cycles, and it's gonna be a lot slower, but we're gonna get mawr realistic results. So now we just swap over to aside with a little bit lighter. I think we just need to add a light to our seen Someone's gonna press shift a and just add a light point light and was gonna move it out of the Cube So g z and it's gonna move it over to this side and then just make it brighter. So with this light properties, I'm gonna make this about 100. Let's make it 300 watts, Maybe something like that. So we can kind of just see material a little bit better, so no, let's see if I just get a nice view, my click on this. So now we've got this displacement in your And if we select our cube and we go to the material properties, if we scroll down two sittings so you'll see there's actually displacement drop down our but also settings and we want to go to sittings. And now we see that it say's displacement bump only. So bump is this normal thing, this normal map that we added year. So that is the bump map or you can call it normal map. So I want to change this bump only two. You can either do you displacement only, or displacement and bump. So let's just go with displacement only we're not really worried about this normal map. We can actually delete that. And now let's see if we can see any changes to our geometry. So I'm gonna start increasing this scale on our displacement node so currently can see it's a 21 So I'm gonna just up there to about five and you can see differently this something happening because if we look at it from the side, you can see that it kind of expanded. But the problem is, we don't have enough geometry on this cube to actually create all those little details. Because remember, this cube only consists off a flat face on each side. There's no extra geometry, that plane that can actually use to create those bumps. So we need to add mawr geometry to this model. So an easy way to do that we can go into edit mode. So with this cube selected pressed tab, and then make sure you have all your faces selected. So first of all, it's going to face select mode, which is three on the keyboard, and then you can just press a to select everything, make sure everything selected. And now we're gonna start just to ADM or geometry. And to do that, he's right. Click and then subdivide So I'm gonna rock except divide and I'm gonna do it again and I'm gonna do it again and I'm gonna do it again. Do it a few times until you have many small little faces. Maybe once more. That should be enough. And now we can go out off edit mode. So I'm gonna press tab on the keyboard and instantly you can see something happening so you can see year on the side off this cube. This something interesting going on you. It's actually changing the way. And you can see it here at the top as well. And this is called displacement. So it's using that displacement image to actually change the physical geometry off this cube. No, obvious the scale. Five. He's way too much. I'm gonna bring this down to about 50.5 and I can see we have a little bit less distortion or at that, adding off geometry going on. It's a little bit more subtle, which is a bit more realistic if you look at it from the side, you can actually see that is going kind of in and out and you can see what it's doing your so we can even decrease this a little bit more. Sorry, this size maybe set it to 0.2, and that will give you just a little bit more realistic looking material. So before in this lesson, I quickly want to show you guys and girls how our UV editor he's looking with this texture because I think this is gonna make but more sense what we did in the UV editing or the UV and wrapping and how this material is applied to this cube. So I'm gonna go over to the U V editing right at the top. So just click UV editing and I can see we can see our Cube. And if I zoom out on this side, you can see we have a texture, something to click here to de select everything and currently can see the texture. So if you click it at the top, we can choose which off our textures we can't be seen and by default this is on the displacement one so I want to change this to show the actual colors off this texture. So I'm going to click on the drop down, and I want to select the old Baidoa or Vido Jay big that we added as our texture. And I can see it's actually showing us our texture. So now what I want to do. So I want to select all these faces. So I'm gonna pris a on the keyboard on the side. And now he can see how these faces are actually placed on this on this UV editor. Now, obviously, we have all these subdividing faces because of our displacement. But I want to try and see if I can just un subdivide this quickly to make this just seem a little bit easier to understand. So I'm going to right click, and I'm going to go to unsub. Divide un subdivide un subdivide unsub provide un subdivide. And now we just need to unwrap this against I'm gonna write, leak, unwrap, and I'm gonna try. Uh, let's try this small TV project. Okay, Now we get something like that, okay? And I'm gonna on this side. I'm just gonna enable material preview, so I'm going to click this little material preview at the top so we can see our material. And now, if I select one of these faces So let's look at these two faces, Okay? I'm gonna turn on the sinking on the site so we can see all the faces. So if I click on this face, you'll see this is the face on our UV unwrap, um, side year and this faces right next to it so you can see these two faces or actually next to each other on our model. Now, if I zoom in your you can see that this texture doesn't really flow from the two day. So it might be that this face is actually rotated. So I'm gonna show you what happens if I rotate this face on the UV editor. So with this face selected, I'm just gonna press or on the keyboard, and I'm going to rotate it and you'll see what is happening to that texture on the right insights. If I just place it something like that, you can see that we change the orientation, how this texture is actually being projected onto that face. So I'm gonna undo that and I'm gonna write it again. But this time I'm gonna hold in control to snap, and I'm gonna rotate it all the way around like that, and we can still see that this is not matching up. So I'm gonna right at it. Further rotate holding control to snap, right? I to there. And now I can see it's still not that's still not flowing correctly over from this face to this face. Gonna write it again. Hold in control to snap. Also not right. And right again. Now we probably back to beginning to see that's also not right so away to figure out what's going on you I'm gonna move this out of the way. I'm gonna go into edge mode suppressed to on the keyboard, and I'm gonna click on this edge and see which edge is actually sharing these two faces. I'm big on this page right here, and you can see that's the edge on this side off this face and this side of this face. So they're actually the wrong way around. So this face should be flipped around and placed on this side. All this one should just move out. If that makes any sense, so these two ages should be the same edge. So what you can do, obviously as you can, right click now and you can say stitch, and that's going to stitch those two together. And now I can move these two faces. Some is going to face mode and select them and move them. Maybe it's gonna move them somewhere. You just to show you what's happening here. Now, if we select this age right in the middle, he concede, that is our edge. And if we're going to face a lick mode three, you can see this or this face is this face. This face is this face, and now if we look at our texture, you can see it's flowing across this age perfectly. There's no seemly can actually see. The texture is just continuing on that side. You can see it years. Well, that's very nice. So that's how you decide how you gonna place your U V's inside your scene. So sometimes you will just worry about everything around, maybe your model. But underneath it doesn't really matter, because obviously you won't be able to to have this seamless or that the sticks to actually flows around from all ages. It all depends on the texture and what you are trying to do. It's obviously you can see this is kind of working. This is kind of working. OK, it's not really flowing perfectly, but in this one, he's completely different. That kind of the wood grains go upwards, and these ones all go sideways, said You'll go in year again and maybe you just rotate this one around like that. Also, quick way to rotate something is to just click on it and then are, and then you can specify the degrees so I can just type in 90 that will flip it 90 degrees we can do, or 180 and that will flip it 180 degrees. So I just wanted to show you quickly how this texture works with UV unwrapping so that will maybe make just explain that a little better. So if we go back to shading, we can see we have a lower shedding notes here, and there are so many other notes that you can use your So let's say I want Teoh have a RGB curves in your to adjust my color or the brightness and the different colors off this texture. I can do that as well. So, Aiken do shift A to create a new node, and I think it's under color. But it's just yes, so they can see RGB curves. We've got you and saturation gamma or bright, bright contrast. So I'm gonna go with RGB curves and then I'm gonna place this one in the middle off this line. And if I click the, it's gonna automatically connect that note into that system. So now I can go and you can play around with these curves. And as I do that, you can see that our image is actually changing. So I can add a little bit off contrast. Bring this down maybe like so and then Brighton that up to add a bit of heavy controls, Something like that, Or can I go? And you can say I want a little bit more blue so I can get to the B and increase the blue and maybe decreased the greens ago to G and then decrease the green and maybe mawr red gonna bring some more red in there. So again, have all these controls in your note editor. Too bold, complex materials, as you can see by adding images from externally and piping them into your shader. And then you can also meant manipulate your images by using curves and adjustment layers or adjustment nodes to control the way you're materials will look like so they can see we have our material in our normal view board. You can see it's looking pretty cool. Onda. Yeah, go ahead and play around with some materials out of materials to your scenes, and I will see you in the next lesson. 22. Volumetric Lighting And Fog: Hey and welcome back. And in this listen, we're gonna look at how to add fog or volumetric lighting to your scene. So first of all, it's start by deleting our light and our camera, as we usually do. And this time I want to add a flora's well, so I'm going to do shift a mish plane to create a plane, and then I'm going to scale it up so press it's on the keyboard and just scale it up, and it's again scaling up something like that. And then I want to move my cube so it's sitting on top off the floor. So I'm gonna press G and then Z to move it in the zit access or the Z access, and then I'm gonna hold in control to snap and then just snap. It hurts right above that floor plane. Something like that. Next, we want to add a spotlight. So I'm gonna do shift a and this time I'm gonna go to light and then spotlight. Okay, so it's added this spotlight right at the bottom, and I'm gonna move that spotlight up. So I'm gonna press G and Z move it up and maybe something like that. So we have this spotlight shining from the top down. So if we were into this now, I'm gonna go tomorrow interview, and I'm going to switch the renderers over two cycles. Okay? So I'm gonna go to my renderers and changes over two cycles. And as you can see, it's starting to render, and we don't really see anything. I'm gonna increase the brightness off this spotlight, so select your spotlight, get your light properties. And currently it's on 10. What's so can increases to about 400. And now I can see we have that spotlight working. But we can't really see the spotlight. We can just see what it's actually reflecting on, but we can't see any volumetric lighting, and that's what we want to add. So, first of all, I want to switch off my world, um, texture or my world hdr I. So I'm going to go to this world properties. And then, as you can see, the color is currently set to this gray and the strength is one. So this is the same place where we add our 3 60 degree aged your eyes. So I'm just going to sit the strength to zero to kind of disable that so we can see our light, but better. And there's no other light coming coming in from the the world, basically. So we only have this spotlight in the scene. So I'm gonna go back to normal flat shading mode or solid mode, and so we just that's just a little bit faster to work with. So what we need to do is we need to create something with a fog or volumetric material to enable that fork basically. So what I'm gonna do, I'm gonna create a cube. So just shift a miche and in Cube, and I'm going to scale this cube up quite big. So it's covering this whole area where want the fog or the volumetric to be in my scene. So I'm going to scale it up process, scott it up some more, and then I'm gonna move this big cube up, so I'm gonna press G Z, move it up and just make sure it's kind of covering the hole light and the area off your scene that you want to have fog. So maybe gonna expanded a little bit more so priest s again and this time I just want to scale it in the ex and why? But I want to exclude the Z axes. So what you can do is you can press shift Z, and that will exclude Z excess axes from your scales. And I can see it's only scaling in the X and the Y direction. So I'm going to maybe make it just a little bit bigger than my floor plane. So not covering that entire area. So next we want to apply a specific material to this big cube or this big box. So with this box selected, I'm going to go to my material properties and I'm going to create a new material slot. And in a new material, you can give it a name. Yeah, baby, let's just call it fog just to keep things nice and tidy. And now what we're gonna do is we need to add a specific shader to this box. So first of all, you'll see there's a preview. If you click on the preview, that will just give you a three D preview off that material. But we're not interested in that Underneath that you have surface. If we minimize that. You'll see that we have volume and volume is the place where we want to be. But first we need to disable the surface material because we don't want to apply a surface material to this box. Okay, we only want to apply a volume shader to this box. So under surface, I'm gonna expand surface again and right at the top, you'll see this is the shader that's currently assigned to the surface. And this is a surface shader. It's called principle principled, be SDF. So I'm gonna click there and then I'm gonna go all the way up to the right inside and I'm just going to remove this material completely, or the shader remove and it's going to remove it. Remove it from surface. You'll see it's a surface. None. Now we can minimize that and then we're going to expand volume. So currently there's no volume Shader assigned, so I'm going to click on none. And this time we're gonna use the principled volume shadow to create that volumetric lighting effect. So principal volume and this is where we can sit all the different properties off that volume. So first of all, what you can see your is color on DCAA, literate and in density. Now your color and your density. That's probably the to parameters that you will use the most. So, first of all, I'm going to set the density to something a little bit less cause one is completely dense and then zero is zero density. So I'm going to sit there, some in the middle, maybe 0.5 press enter to set that, and I'm gonna leave the color at just a gray color for now. But still, we can't see anything in our screen on our view port because we need to go into render view to see the effects. I was gonna click on this reinterview. And remember, we are still on using cycles, so no, we can kind of see something happening in the middle around a. But the density is quite still too dense, So I'm gonna bring this dense two down 2.1. So I'm gonna click there 0.1 enter, and now we can start to see our Volumetrics. I was gonna zoom in your slightly and just kind of position the camera or the view port so we can see and gonna let that render for a bit. And there you can see can start to see the actual volumetric lighting around this spotlight . That kind of looks like a fog or a dust. And this is pretty cool, because now you can go and you can change your color can maybe make it a little bit blue and play with the density. And you can even add some emission strength to this so that it actually emits some light. Said it save. I increased this to about 0.5. Okay, that's a bit much 0.1 Maybe even that's quite strong. So maybe 0.1 and you can see it's actually starting to add light to your scene. So we're going to sit, but that back to zero so you can go in your and you can play with all these different settings and see what they do. But usually, color and density of those are the two parameters that you will probably use the most. And then just remember to be in cycles. You can still preview it in E V. I'm just gonna change my render back to E V, and you can see you can see some of the mullah metric lighting, but it doesn't look that nice so we can go in here and we can maybe try and change this a little bit. Volume, maybe. Make the density 0.3. And yeah, it kind of changed the way it looks like, but it's not as nice as using this. Cycles render. Sometimes I will use TV just to kind of get a preview off what I'm doing. But then I will always switch over to cycles when I'm kind of doing my final render. So that's how you add fog or volumetric lighting to blender. I will see you in the next lesson. 23. Ridged Body Simulations: Hey, and welcome back. And in this Listen, I'm gonna show you how you can apply some physics to some of the objects in your seen to create some physics simulations or rigid body simulations. So very simple, actually, we're going to start by deleting our light and our camera again. So you select those x delete and then I want to add a plane, a floor plane. So I'm gonna press shift a mish plane, and then we're gonna scale that upsurges s and then scale s and scale, Ihsan scale, something like that. And no one to take this cube and just move it up. So I'm gonna do G and Z move it up and I want to rotate that slightly. Someone's gonna press are and just rotate it like that. Just we have a cube floating right above our floor plane. So now we want to add some physics to this cube. So on this side, you can go down, and if we look at these panels, you'll see there's a physics properties. It's a little dot with a little's almost off circle around it. And if you click on that, you'll get away. These physique physics elements that you can apply. So for this cube, we want to apply a rigid body. Physics. Yeah, we want to apply the rigid body physics to this cube. So the cube selected. I'm going to click on Rigid Body and this is going to give us some properties. It's going to tell us that the type is active and it's gonna give us the mess and then also some other properties that we can work with. So just by doing that, we already applied some physics to this cube, and to playback are seen weaken. Simply press space ball and see what happens so you can see our cubes falling and it's falling straight through the floor. And I was gonna priest space to stop that. So I'm gonna go back to the first frame using the shortcut shift and the left arrow, and you can see that we jump back to the beginning. But now we need to tell blender that our floor plane is also a physical object. But if I just select the floor and I click on Regent Body and I press space, you'll see that the floor is going to fall a swell and that's not what we need. So I'm going to stop that, go back to the first frame and then with our floor selected, I'm going to change the type from active to passive. So, Beth, best of means it's still gonna be a rigid body, but it's not gonna be active, so it shouldn't be affected by gravity. So I'm gonna press space again and let's see what happens. There we go. You can see our cube is falling onto this floor plane. Let me just do that again, and it's kind of bouncing around a little bit. So now you can go and change some of the properties off these two objects. So let's say if we go, if we click on the Cube on DWI, go to our make sure you on the physics properties, you can see that we can change the mass off that cubits currently say to one kilogram, and we can also change the shape. So currently it's a two convicts hole, and you have all these different options like cone cylinder captial, sphere or box, several changes to smear. Then it will kind of assume that this object is like s were around knife would play this back. You'll see that it's gonna just kind of fall, and it's not really going to do anything cause it's a swear It just falls to the floor and it's not gonna do anything. So we can either say this to box because obviously that is a box on. If you are using a more complex model, that's not really, um, true to any of these shapes. You can always said it to mesh as well. Now mish will take a little bit longer to compute because it's actually taking that exact mesh from your model and using that as the inside the physics simulation. So if I run that through, you can see it's perfectly bouncing around the way that cube shoot bounce around. Now we can go in here and we can change some of the sittings. So I'm going to go in and expand this surface response and you'll see we have friction and bounciness. So if I increase the bounciness, let's increase the balancing this to about 0.9 point 83 space and I can see that it's bouncing a little bit more. What we can also do is we can click on the floor plane and we can increase the bounciness off the floor plane a little as well. Now for Brits, space run the simulation. You can see that it's a lot more bouncy so we can increase this even Mawr on the floor, plain space and you can see that's balancing around like crazy. So what we can do is we can also duplicate this cube. So much conflict the Cube and shift D duplicated and maybe move this one up a little bit. So it's kind above this other cube, and it's just rotated around a bit, so it's a bit more random and let's see what happens. So I'm gonna press space and you can see that those two boxes are actually interacting with each other as well, and this one almost fell off that floor plane. So let's just duplicate this one more time, rotated around and press space, and you can see they are interacting with each other. So really cool stuff. Let's just duplicate all three off these on just press Z to put them right at the top and maybe this traded them. Let's see how this looks. Space can see the interacting bouncing around. That one fell off the plane and that one's going to fall off a swell. There we go. So as you can see, it's really, really easy to add some nice physics simulations. Teoh your scene. I shouldn't see this. Anything else here that we can look at so you can change the mess. So let's say we want to change the mess off. Just this top cube. I can say this. Maybe 200 kilograms and ah, let's press space so that one will now interact a little bit different with the other cubes because that cube is so heavy. So it's actually just smashing all the other cubes out of its way. And they are a lFA lying all over the scene. So that's how easy to use to add basic simulations to your scenes inside of blender. I will see you in the next lesson 24. Cloth Simulations: playing. Welcome back. And in this listen, we're gonna look at cloth simulations in Blender, so really, really fun stuff. So, first of all, what we're gonna do is we're gonna delete everything in our scene. So I'm gonna press a on the keyboard to select everything, then X and then click to delete. So let's add a sphere. So I'm gonna do shift a mish, and then I'm gonna add a UV sphere just like that, and then I want to add a plane as well. So I'm gonna do shift a mesh plane and was going to scale that up. Someone's gonna press it's on the keyboard and just scared it up like that. And then I'm gonna move this plane upwards so g z and it's gonna move it to about there. Now I want to apply a cloth simulation to this plane and let's see what happens. So with this plane selected, I'm going to go over to the physics properties again on the sites of the little circle with a whole off circle and with explain selected, I'm going to click on cloth. Okay. And now if we press space to playback, you'll see that our cloth. It's just gonna fall straight through that sphere, and that's not what we want. So I'm gonna go back to the first frame shift left, click, and now we need to tell Blender that this is a collision object. So I'm going to select my my my my spear, and then under physics properties, I'm gonna click on Collision, all right, and that's gonna tell Blender This is a collision object and now a free press space to playback. You'll see something is happening. Our cloth is kind of just falling on top of our sphere, but it's not really doing anything, and it's not looking like cloth, and that's because we haven't subdivided this plane. So if I select this plane and I go into edit mode pressing tab on the keyboard, you can see that this plane consists off one big face, and that's not really gonna help us because it's not really gonna be able to bend that face . So we need to add mawr faces or more geometry to be able to do that. So, in edit mode, with this face selected, I'm gonna write, leak, subdivide and again rightly subdivide right click subdivide right click subdivide Do that a few times. Maybe one mawr until you have something that's got enough geometry and then we're gonna go out off it'd mode. So pressed tab on the keyboard and I'm gonna press space to play back. And now you can see we have something that looks a little bit more like cloth can still see a lot off blocking us. But that's fine. We can always just add a smooth shade to this. If I right click and say shades smooth, can see that is already looking a lot better. Well, obviously after add a little bit mawr geometry to make it nice and smooth, and we will probably just add a subsurface modify it to do that. So let's see how we can create something like a flag. So I'm going to start with a new scene, almost gonna delete thes two objects, so just drag a box around them X and in delete. And first of all, we need to have a flagpole. So I'm going to do shift a mesh cylinder. I'm going to scale it down, and then I'm gonna skeleton the Z access. So S and NZ pulled it out IHS z pulled it out and I'm gonna move it up slightly. So G z move that up and that is our flagpole. And I want to create a plane for our flag. So shift a mesh plane and I'm going to scale that up a little bit. And I'm going to scale it in the y axes, so it's why Just put it out. So we have something that looks a little bit more closer to a flag, and I'm gonna move that up so g z move it up to around here and I want to rotate it around the y axis so or why? And they don't want to rotate it 90 degrees. So it's gonna type in 90 and then click. That's exactly 90 degrees. And now when a move, it just so it's kind of on the edge of this poll. So, g, why? To move it in the Y axes to about there and in g z to bring it down to about there. All right, so that's our basic flag. And what we're gonna do is we're gonna click on this plane, go to our physics tab and then add a cloth physics properties to that plane an hour. If I press space, you'll see that our flag is just gonna fall cause it's not connected to anything or we don't have any collisions, etcetera. So now what we're gonna do is if you look in this properties section off this plane under the physics properties, if you go down, scroll down. If what'll these different settings said you can play with the tension and the compression and the sheer in the bending all of those things, I'm not gonna go through all these properties. You can play with them and see what they do. They will just change the way that your cloth actually interacts and will be generated. So what we're looking for ease under shape. If you expand shape, you'll see it's got a pen group, and this is a Vertex group that we're gonna create to tell Blender that these Vergis ease should be penned and not be able to move around. So what we're gonna do is I'm gonna zoom in yes, slightly, and I want to hide this poll for now because I actually want to see the Vergis ease underneath this poll. So the poll selected. I'm gonna press h on the keyboard to hide it. And then I'm going to select my plane and I'm going to go into edit mode, pressed tab, and then we're going to start adding some extra geometry. So I'm going to write like, subdivide, right, Dick subdivide and do that a few times until you have something like that with all these little bird disease. So now what I want to do is I want to select all the Vergis is on this edge right day. Okay, So an easy way to do that is click on one of these side views like X, and that will give you a perfect side view is gonna pan around, zoom in and I'm going to draw a box and just make sure that I select those verte sees on the age, and that's gonna be where it's gonna be putting open to that flagpole. So with those vergis ease selected, I'm going to go down to this little upside down triangle and this is the object data properties. And this is where you can specify Vertex groups so you can see it's his Vertex group with those selected, I'm going to click on the plus and it's gonna create a new verdicts group and you can always give it a name. I can just double click there and I can call this maybe been ah, cloth press enter and then you want a sign you need to assign these or the selection to this Vertex group. So I'm gonna take a sign that assigned it and how we can just taste it and see if I could go on de select it. Will de select that selection. And with this bun cloth group selected or highlighted, you can now click on Select and you'll see that it will automatically select that selection that you saved inside of that word ex group So we can go de select and I can go out off it mode pressing tab. And I wouldn't go back to our physics properties and we're gonna go scroll down all the way until we get to shape and then underneath shape. We've got our pen group, and if you click in this empty area, it's going to show you all your Vertex groups that you set up. So as you can see, there is the one that we created button cloth. I'm going to click on that. And now if I play back, you'll see that we get something like that. So it's actually pinning all those vergis ease along that edge. So I'm going to stop that, go back to the first frame, and then I wanna unhygienic my flagpole. Soto on hide. Everything is old H and that's gonna unhygienic it. And now, if you play this back, you'll see that our flag is actually gonna fall down the way it is supposed to. So let's say you want to add some forces. Maybe when I add a little bit of a wind force to this very, very easy to do so visible shift A to create something new. And then we're gonna go down to force field, and then you'll see you'll have all thes force fueled operators that you can add. So I want to add a simple wind so you'll see the 2nd 1 from the top is wind click on that and currently can see that the wind arrow is pointing upwards. So that's not really what we want. We want the wind to come from left to right, so it's gonna rotate that on the X axes so or in X um in 90 um, 90 is actually pointing the other way, said. That's not what we want we want or on an X and in minus 90 and then click. And that's going to rotate at exactly 90 degrees in that direction on day. Then we can increase the strength because currently, if I play this back, you'll see something is happening. But not really. We need a little bit off, stronger wind force. So with this wind force selected under the physics properties, you'll see that we have strength security. There's a say to one. I'm gonna increase this to about 50. Let's see how that works. You can see it will change the way that this wind operator looks like, and now it can press play and let's see what happens. You can see something's happening, but it's definitely not strong enough, so I'm going to go back to the first frame, increase this to about 200. Let's see what happens. So that's a little bit of I wonder if we move this up and maybe just move this towards the back. So with kinda is in the same area. It see if that makes any difference. No, that's not gonna make any difference. It doesn't really matter where they are. Seen it, He's so we're gonna increase this. Even Mawr, maybe 500 you can also play with the flow may be increased to flow a little bit, See how that works, and then you can also maybe increased the noise amounts. That's not always exactly the same amount off wind, so maybe it increases to like 1000. And that's looking pretty cool so I can right click on your flag, said it a shade smooth. And it's here that looks so that's starting to look pretty cool. So it's obviously always a good idea to add as much geometry to your cloth simulations as possible. So it's gonna select all these faces, right, like subdivide, and let's see how that works. Obviously, the mawr geometry at the slower the simulation will be so you can see the it's cashing our simulation. Yet the bottom you can see it's busy cashing this blue line, and then that's looking a little bit better. So what, you can maybe Dewey's, you can rotate this wind so it's not just going all the way perfectly forward, but maybe it blows in a slight angle upwards. Like that legis mover down something like that. Let's see how that works. Yes, so that is looking pretty cool. So obviously, once you've cashed your simulation, you can scrub through it and you can play it back and see it in real time and see how that works. Every time you change a sitting, it's gonna start re calculating that simulation from scratch. So that's always just a good idea to let it cash to do first. And then you can play it back to preview that simulation. But as I said, you can select your, um, your plane going to your physics properties and then change some off these settings and see how that will change the way your cloth interact with your scene and with the forces etcetera. But for now, this is just how you set it up, really, really simple. And then you can add forces and see are those forces will interact with your cloth in your scene. So that's how easy it is to add plot simulations in blender. I'll see you in the next lesson 25. Camera Settings: Hey, and welcome back. And in this Listen, we're gonna look at camera settings inside of Brenda. So first, let's create some objects in our scene. So I was going to duplicate this cube. So, Chef de and then I'm gonna press shift Z to move it on the X and y axes. Maybe just place it there and maybe one more search of D shift Z to move it on the x and y , maybe something like that. So we just have a little bit of depth in a scene, and I'm gonna delete this light for now. Let's just hide it. Maybe we'll need it when we do a little taste, render so to look through your camera. You can see this is our camera in a scene. To look through this camera, you're going to click on this little camera icon right here, so that will jump into your camera view. And the minute that you move, your seen around you're going to see is gonna jump out of that camera view. And then you are in the normal orbiter view where you can orbit around your scene. So I'm gonna click that again. It's gonna go into that view, and then it's gonna just move out whenever we move our mouse around. So there's a way that you can actually adjust the camera view while you are looking through it, because obviously you can. Now you can grab this camera and you can press G on the keyboard and move it around and rotated around, as you will do with the normal object. But that's usually quite difficult to get the exact perspective that you want. It's easier to look through the camera and in kind of moving around, we want to go. So to do that, he's we first gonna go and look through the camera, and then you're gonna press in on your keyboard in 4 November, and then you'll see the strong's form terrible appear, and then right at the bottom, you'll see item, tool and view. And if you click on view, you'll see an option that says lock camera to view. Now if I click this that will get this border around it. You can see that will create that dotted line, and this means now I can now move my camera while looking through it so you can use the normal keys, the middle mouse holding control to zoom and then holding shift. Well, middle mouse to pan around. So that's just a very easy way to adjust your camera to exactly the way you wanted. Maybe we want to have all three cubes in the center like that. And then just remember to untech this lock Emory to view because you don't want to change your camera view. Maybe, and then you can just press in again to hide that menu. You can also just click on this little button day to bring it up and just slide it back to hide it again. But using in is just so much easier. So now off set up my camera view and I can pan around to get out of it and don't have to worry about moving it around. You can also go, and you can lock your camera if you want to. You can highlight it like this and maybe go to the faulty at the top and enable selectable and then maybe take off the selectable on that camera. See Kant accidentally selected, but we're not gonna worry too much about about that Now I want to be able to select it and look at some of the properties. So let's look through this camera against. I'm gonna click our camera. I contradict through the camera, and with that camera selected, you will see the camera icon appear in the side panels. So if I pointed that you will see its object data properties and then you'll see a type and also focal length and some other options. So, first of all, you have perspective, and you can change this to perspective. Ortho graphic or panoramic Andi usually will go for perspective. Unless you're doing some Ortho graphic renders reflecting on Ortho graphic, you'll see that there's no perspective, so it doesn't go smaller the further it goes away from the camera on dime. Not sure what Penn remedies have never really used panoramic, but we're going to say this back to perspective, which is kind of the default camera settings. And in your focal length, this is the type off lens that you have in your camera are for it, zoomed in or zoomed out, or how wide it is or how narrow your field of view is. So if we Inco, if we decreases number you'll see that we can see Mawr in the shot because our field of view will be a lot wider and is like a fish Eileen's. And then if you increase this, this will actually just tighten that area off view. So I'm gonna say this to about 50 and then you can also do shift X and shift. Why? Just to kinda shift the camera around. And another thing that we can do you is we can enable safe areas. So if I enable this, you can change me, just zoom in your slightly. You can see those lines very, very slightly around your camera border. This is if you want to enable this. If you have maybe some text in this view area, and you want to make sure that it's inside the safe area off your screen, and you can also go in here under, let me just see ah, under Vieux Port display, and you can sit things like your composition guides. If I go in here, you can sit up maybe 1/3 so I'm not sure if you can see that, Really. It's very, very slight, but you can see it's got thes dotted lines going through like that and also vertically, so that's just an easy way to set up your shot as well. To compose your shot, we can maybe add like a center point, so that's just a vertical and horizontal lines he can see. That's the center of your shot. Yes, so just many things that you can enable year diagonal lines etcetera to see just some guides that you can set up on. Then we also have something like your depth of field. So let's say you want to have your background blurry and only the objects in front in focus . That is when you will enable depth of field. So let me quickly show you how this works, so it's actually very, very cool. So you can enable this just by ticking that box and then you can either select on which object you want to focus. We can sit the focus distance manually. Now I usually like to enable if I go to view poor display and I enable limits. This will show me way my current focus distance ease. So I'm gonna go out of this camera view just like this, and you can see this little X Yer the sees this limits that we enabled. And that is currently where the camera is focusing or going to focus does. You can see it's not even going to focus on this first cube, so nothing will be in focus, Really? So it also depends on the aperture that we're gonna sit for this camera. So I'm gonna go back into camera and ah, then you can see we have our f stop, which is currently 2.8. So if you know anything about cameras, the lower that number ease, the bigger the Apertura will be opened and the mawr blur. You will get to your background or to the foreground. Depends on where you are focusing. So I'm gonna set this down to something like 0.40 point four. So that's quite small. So that means we're gonna get a lot of blur. And then I also want to adjust the focus distance because kind of desert and see we don't have anything in focus because that's the focus distance. So I can slide this number around this focus distance, and you can see that's actually changing where that focus distance he's or simply you can click on this dropper, focus on object and you can just say I want to focus on this cube and click they and you can see that that focus distance is automatically going to be updated to that area. Okay, so now if we look through the camera again and we do a quick Orender. So I was gonna go to my render sittings, and we will change this to cycles and was going to change the resolution to 50. So under this little icon are put properties. Currently, my resolution for my render is HD 1920 by 1 80 But for temporarily, I'm just gonna sit this down to about for about 30%. So just rain is a little bit quicker And make sure your injury cities cycles. Let's just go back into a camera just to make sure everything is cool. So before we do a render, I just want to go to my world sittings. And I'm just gonna change this background, this great columns going to set the strength to zero so we can kind of see what we're doing and just do a quick rendered. Now we just need to add a light. So I'm gonna unhygienic this light that we have in our scene. And I think it's bright enough. Yes, so now you can see this first Cube right year. He's sharp and in focus, and you can see the Cube just behind. It is slightly blurry, and you can see the Cube in the four at the back ease blurry. So I'm going to zoom in here and he can kind of see this better so you can see as its rendering. That background box is kind of fuzzy, and this front one, he's nice and shop. So I was going to go back to normal solid view on Let's go back to camera and I'm gonna increase. I want to increase my blur even more so way to do that. Ease to play with the ratio yet the bottom. So I'm going to decrease this ratio to about 0.5, and that's going to give us an even bigger blur. So let's go back to your interview, see what happens now I can see the difference quite clearly, so the front one is in focus. The middle one is kind of out of focus and in the back one is completely out of focus. So that is how to do dip the field That was gonna antique that and go back to our normal solid view to zoom out slightly so we can see our camera frame. So another thing that you maybe want to do is you want to add an image inside off your camera, um, onto the sensor, basically. So to do that under your camera options, you can go to background images, and I can take that box. And then underneath that, I can add an image, and then you can either add an image or a movie clip. So I'm gonna add an image open, and it's just add a simple just a I was gonna add this wood texture just to show you how to do that. So I'm gonna add that, And as you can see, that's gonna overlay into my camera. So this is very good. If you want to have a reference, image may be over, often area off a room or something. Anyone to kind of see that image over laid on top of your render or on top of your three d scene. So this is we will do that. You can change the Alfonso. You can increase the Alfa or decrease the offer to make it more transparent. You can also change it if it's in front of your objects. So if I increase that often all the way, it's gonna be in front of my objects. Or you can change it to behind. And then he goes to change, stretch, fit and crop to just change the way that it's gonna stretch your image to fit your sense or not to fill it. And then you can also obviously just also office it your image and ignore so rotated like that and also scale it like that. So usually this is just for referencing a specific image. He can also flip it there. But yeah, that's is where you're gonna apply a background image to your camera. So that is everything I am going to cover when it comes to the camera in Blender. Play around with that, play around with the depth of field settings and see we can create some nice renders way the background is out of focus on and the foreground images or in focus, and I will see you in the next lesson. 26. Rendering Your Scene or Animation: Hey and welcome back. And in this listen, we're gonna look at rendering how to render your final image as a still image or how to render your animation to an image sequence or a video file. So let's set up a very, very simple scene. So we just have something to do get. I'm gonna create a plane so miche and in plain just scale it up and then let's create a simple cube. I'm gonna move it up. So gz holding control to snap. And maybe let's just create a few different boxes. So I'm gonna press Chef de to Mover or to duplicate and then shift Z to only move it around on the X and the Y axes and going to duplicate this one a few times and maybe duplicated once more. Maybe like that. And then let's look through our camera, see what's going on your s. So I'm going to click on the plane and I'm gonna move it. I'm gonna press G and I want to move it, um, in the x and Y axes. So I'm gonna press shift Z to lock it to those two axes. Place it there. I'm going to scale it up like so And then I want to move my camera. So I'm gonna press in for November, go to view, lock camera to view. And now we can adjust our camera. Just move it out a little bit soon out. Maybe just so that we see our off four boxes, maybe something like that. All right, I'm gonna antic this lot camera to view so it doesn't stick to it and impress in again to go out off that. So we have our camera set up and we have our boxes. Maybe just let at some. So this light is going to go into the properties of this light and maybe just make it a bit bigger radius, maybe one meter and maybe let's move it up a little bit of gz. And if we go into our render view, gonna see what we getting. So this is a evey reinterview certain cycles, so it's pretty forced to move around, but it's not very accurate. So let's look through our camera. Let's maybe apply some basic materials here, so I'm gonna slip the floor and just click on materials, new slot, new material, and let's create a base color, maybe like a dark gray. And then I'm gonna increase the metallic properties, and I'm gonna take down the roughness to about 0.1 something. So we get some nice reflections and then these cubes, I'm gonna add a new slot, new material. So I'm gonna change this color to blue. And maybe, let's just add some materials to these ones as well. So new slot, new material. Let's just make this one yellow and new slot new material. Let's make this one red and that one can stay white, religious, Adah actual material and then make it white. Something like that. Right now, let's say we want to surrender this. So first, let's look at our in the sittings. So we're gonna go to our interstate things which use this little camera, and he concurrently see there in the engine is said to E. V and we want to change this to cycles. But before I do, I was going to go out of my render view because it's gonna slow everything down, so it's going to go back to my normal solid view. Um, we can go to material preview so we can kind of get a little preview off. What are seen is gonna look like. But this is differently. Not a cycle surrender so visible under your in the engine, we're gonna change the two cycles and then you can see that you have your device sittings here. If you have a GPU can change this over to gpu Compute. Unfortunately, I don't have any GPU on this computer Sony to render with my Cebu, which is a bit slower and then under sampling, you can sit the amount off samples you want to render this image with. So currently can see the view poor to say to 32. So it's only gonna use 32 samples to render in the view port year. But your final render will use 180 to 128 samples, so you can always increase that and that will increase the render time. But it will also increase the quality. So I'm gonna leave this on default. And then there's also something called adaptive sampling and this will help with if some parts of your image is noisy, have a lot of noise samples. This will usually help with that because it will spend a little bit more time and rendering those problematic areas and to try and reduce the noise. And in other areas where there's less noise, it will use less samples on those areas. So it's gonna way to increase the time off your renders. But you can play around with that and see what the difference is in your time, so next. We also want to go down to this next to help um, and this ease basically your outward properties. So this is where you tell Belinda what type of file you want to render. How big it should be. All of that. So right at the top, you get your resolution. So this is just your image Resolution 1920 by one or 80 and you can sit a temporary size like I did earlier. So if I said this to 50% it will only render this resolution. But at 50% off that resolution, there's just a nice, quick way. If you want to do a quick test, render anyone who said it is something like 20%. You can quickly do that and get a very quick render. That's low resolution just going to see what's happening. So I'm gonna increase this back to 100 because we want to render at HD, and then we can also go down and say the frame start and frame. And do we want to render that whole animation? Or do you only one render the first frame? So you can specify this if you want to render your full animation And for this I'm just going to specify, I just want to do frame one to frame one because we don't have any animation, and then you can say the frame rate. Obviously, we don't have to worry about that now and then under output. This is where you specify where you want to save that render so I can click your and I can say I want to save this maybe on under blender and maybe just create a folder year and call it render like that. And if we go into that folder, I can. This is actually a four that has been used already was going to create a new one. Call it, surrender to and go into that folder Click Accept and Elsie. You'll have your fourth. They where it's going to save it to. All right then you can also specify the file format safe. You click here, you can see BMP PNG, SJ pigs target US Open UX. Ours All of those things Now I usually prefer to render in PNG, but sometimes if I do things for visual effects, then I will use open UNIX or which is a much bigger file. But it stores a lot more data that you can use to color. Correct your scenes a lot better. But for this I'm just gonna select P and G. And then you also need to specify if it's black and white normal RGB or if it's got an L far value as well. So let's say if there's no background and you want to Avonex transparent background So al fraternal thing, you will use RGB A. But for this, I'm just going to use RGB because there's no transparency in this render and then you can also said the color depth but or 16 but obviously 16 but will give you better quality, so I'm gonna set it to 16. But American said compression as well, and that's how Morell compressed your file will be the file size, so that's pretty good. And everything is looking good. And now we are ready to arraign the our image. So I'm going to go up to Orender. Yeah, the top and you'll see it's a surrender image. We can use this shortcut key if 12 some cynically conjuring the image because we just rendering that stole image and this is going to start rendering, I can actually zoom out year slightly to just get a bit of you. And I'm just gonna forced forward through this render okay, so you can see the render is complete and we can zoom in, zoom out here. Same control, such a use inside off blender. And you and I can either save your image. You can go to image right here, and you can save it, or it should be automatically saved because we specified that location. But usually I'll just goes image and then save as and you can save it from you if you doing one image. But let me quickly show you if you are going to do an image sequence or an animation. So I'm gonna close this down and let's say we have a couple of frames, maybe 10 frames of animation that we want to render so visible all I will go back into this property spinal right below the Render that our properties and I'll sit my frame start and frame end. So this will be 10 because I wanna render from from one to frame Tim, and then we're gonna leave that output location, and then you can either do an image sequence, as I mentioned before. You can do P and G's so it will save in PNG for each frame, um, or you will use X or which is a bit of format for that, or you can do something like a video file. Now. I weren't really recommend rendering to a video or a movie file, because the problem with that is, if something goes wrong, dearing that render you will have to start from the beginning again. If you are rendering an image sequence and something goes wrong, you can just start from the lost image that failed. If that makes any sense, so you can sit this, too. If if in big video and then you can go into the encoding and you can change this to HD 64 and maybe have this save out a mp four file in pick four medium quality or high quality etcetera. And then it will render a MP four video file for you. But I will always suggest rather doing a PNG or a open UX our image sequence. And that way you won't lose anything. If you maybe have a power failure or the program crashes, or your discuss fool or anything like that, then you can just carry on from the last successful surrender, which makes everything just so much easier. So that is basically how you render from within blender. I will see you in the next lesson. 27. Bonus Lesson: Basic Character Rigging: Hey, and welcome back on din this Listen, which is a bonus. Listen, I will show you how to rig a very basic character within blender. So for this, listen, you will need to install a plugging inside off blender, which is very easy to do. So we're gonna go up to edit and in preferences and in the preferences window we're gonna go to add on and then you're gonna go to community and you're gonna search for something called Rig. If I so just type in r i g. And you should see Rick if I or Rigging Karlan rig. If I on do you simply need to just take that box next to that plugging or that add on and then that add on is installed. So once you have installed that or added that, add on, you can close the preferences down and everything should be fine. So first of all, let's delete everything in our scenes. I'm gonna press a to select everything and in X and then click to confirm. So first of all, we need to add our bones or our or mature that we're gonna use to rig our character with so I'm gonna press shift a and then I'm going to go down to or mature, and then you'll see you'll have this human Mita rig or Metta Wreak. So I'm going to click on that. And that's gonna create this little bone structure for us was gonna zoom in you and you can see that is what we currently have. So now what we're gonna do is we're gonna try and either bring in a character so you can import a character or a mish by going to import, and then he can select either FB X or B J and do it that way. But I'm going to show you how to actually create a very, very simple basic just a block or box character that we can then apply this or mature too. So, first of all, I'm gonna start by creating a cube. So I'm going to go shift a and then I'm going to select Mesh Cube, and I'm going to scale that down. That's gonna be kind of the middle part off our character body. And I'm gonna move that up so gz and I'm gonna move it up to around just under. Maybe just under the head, Something like that. And I'm going to scale it in So X and also reading s for scale and X for the X axes. Just a skeleton slightly like that. And I want to scale it on the Y as well. So it's why scale it down. So we have something like that. All right, then we want to add some loop cuts. So I'm gonna go into edit mode on this cube, so eating tab on the keyboard and I'm gonna add some loop cuts. So control or and gonna add a lute cut right there and I'm gonna move it up something like that. And maybe let's do another one here, social control or and then just moved that up to there and maybe a loop cut around this area as well. So we have something for our enough geometry year to extruded arm may be on this side as well. So maybe something like that. And then we want to do one for the bottom as well, where the legs will come out So control, or maybe something like that should be fine for now. And then maybe at the top, we need one as we We need one for the other, Legace. Well, because I'm not going to use murdering. Now, you can obviously use murdering as well for this, but I'm just doing this very, very roughly. So next we're gonna start extruding some off these pieces. So let's start with the legs. So I'm gonna go into Face Lick mode, which is three. Select this face and I'm gonna extrude their down So Chris e to extrude extrude that down all the way to around there. And I'm gonna move that to the front so g and then why? To move it on the y axes just to about there. And then I'm gonna extrude that as well. So e to extrude extruded down something like that. And I want to scale that face in. So is to scale and then just scale it down. So we have something like that, and then we need to create the foot. So I'm gonna do e to extrude like so. And then I'm gonna extrude this port as the front of the foot, so e extrude a very interesting looking foot on. Then I want to go into edge select mode. So to and in select this edge around at the top of the toe and then I want to move it down . Sergey Z mover down something like that. And yeah, we didn't use mirroring. So we need to do this again, which is a bit stupid, but anyway will give us some good practice. So we're gonna select that face extruded down to around they g y to move it slightly forward in the Y axes and then extrude again all the way down to around there. We want to scale that in Estes scale may be moving back a little bit because you can see that bonus sticking out so g and why moved back slightly and then eat to extrude down. And then we're going to extrude this front face e to extrude and then we want to go into edge select mode. Select this edge GZ bring the down. Okay, so we have our basic legs and let's do the head quickly. So three for face like mode and I'm gonna extrude the neck just up slightly. Move it forward, Sergey, And why Scaled down s to scale something like that And I'm gonna extruded again and I'm going to scale it up street again, maybe to around eur, skated up and then e just the box head. And then maybe he again, and then is to scale down just to add a little bit off detail right there at the top. So maybe, let's just, um, take this one and holding shift and select this face. We have both those faces selected, and I'm going to scale that in the X axes. So is X, and that will scale it in that X axes just to make it. But fetter like that and maybe wanna pull it down a little bit. Um, you know what? I think that is actually fine. So let's go ahead and do the arms. So I'm going to select this on or this face and I'm gonna extrude it like that and I want to move it down so g z move it down, G. Why? To move it to the back and we can scale it down. So is to scale and in g z to move it, dance lightly. And now we want to extreme that so extrude to around there, then gz to move it down g y to move it a little bit forward. And now we need to maybe rotate this face. So I'm gonna press or and then why? To return it in the why axes like that and then went to extrude that hand. And maybe it's just scale that Doan and maybe just move that down something like that. And we can maybe just expand these two sides. So we have something that resembles a hand. So s. And then why, maybe something like that Very, very basic stuff. So let's do this side as well. So I'm gonna select that face. Um And then we're gonna extrude e and we're gonna move down gz and then moved to the back G y on. Then we're gonna extrude it or sorry, before we extrude it, we're going to scale that down slightly extrude. That's maybe a little bit too four. It was extrude that again scale extrude gz to move down, move a little bit forward g y and then we're gonna x treat the hand like that gz and just rotate that face scaled down and maybe moving down a little bit. Mawr this is very, very rough, But it should give you an idea of how to add a Greek to a bone system. Okay, so now, with that will selected, we are going to select our bone system who are meta rig. And then you'll see some extra options. You on the side. So we're gonna click on this one That looks like a little man, And this will give us just some of the properties here that you can change an update, but we are not really gonna worry about that now. We literally going to click on Generate rig so we can click, generate rig, and it's gonna take a little bit of time. Okay, so next we need to parent this rig to our character. So to do that is you need to select your character, reek or your character mesh first, and then you're gonna shift. Click onto this rig, okay? And then you're gonna right click parent, and then you're gonna go. Instead of object, you're gonna go under or mature deform. You're gonna click on with automatic weights. All right, so that has bean parented. And now we contest our rig and see how it works. So did a story you need to go into pose mode, so you can either click this drop down you at the top. Wits is object mode and in edit mode and impose mode. Or you can use this shortcut control tab control tab and you gonna see it's gonna jump into pose mode. So now I can take some of these objects like, Let's say we click on this cube in the middle and I pressed G on the keyboard and you can see we are moving our character around so we can go ahead and weaken. Hide that bone system that's behind it. So you can just click on this meta the rig year in your outline, er and just hide it so we don't see that so you can even go in and you can click on the's feet controls and G, and you can see that that is workings. If you want to do like a walk cycle or something that is all connected and the same with these controls. If I g or maybe Bris select one of these and just move them up and Danek and see that's working same with our hands, we should be able to select these hand controls and move them around. So pressing G on the keyboarding and CR that's working and the same with the upper body so we can select this control right there. G. And you can see our that's working Same with neck so I can do G. Well, that's kind of the shoulders and ah yeah, can going. You can even just enable X ray mode to kind of see some of the controls better so you can see through your object and I can select this head control, and I can move that around and everything is working pretty pretty well. Let's see if this hand is working on the side G. You can see that working perfectly as well. So as you can see, it's pretty easy to add a rig to any character inside of blender. Just remember to add the rig if I add on, which will make your life very, very much simpler when it comes to animating characters. So, yeah, go ahead and create a very simple rig and maybe Seaview can do a simple walk cycle. I will see you in the next listen 28. Conclusion: Congratulations. You have completed the learned blender in six hours. Course Thank you so much for taking the time to enroll in this course. And I really hope that you found it useful and that you will continue to practice your exciting new skill. Remember, you will only become as good as the amount of time you allow yourself to practice. Go and create some amazing three D art. And remember, have fun. Please be so kind to write this course and feel free to leave a review as it really helps me to create better courses for you. Thanks again. Good bite.