Blender Modelling Series - Volume Three | Joe Baily | Skillshare

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Blender Modelling Series - Volume Three

teacher avatar Joe Baily

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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

30 Lessons (2h 60m)
    • 1. Intro

    • 2. Object mode and edit mode

    • 3. What is geometry

    • 4. Select Geometry

    • 5. Extrude tool

    • 6. Loop, cut and slide

    • 7. Delete geometry

    • 8. Dissolve geometry

    • 9. Subdivide

    • 10. Inset faces

    • 11. Using the spacebar

    • 12. Reset the view

    • 13. Numpad for zooming

    • 14. Zoom to Border

    • 15. Repeat last action

    • 16. Repeat History

    • 17. Redo

    • 18. Full Screen Area

    • 19. Appending files

    • 20. Linking Files

    • 21. Parenting objects

    • 22. Assign location, rotation and scale

    • 23. Clear location, rotation and scale

    • 24. Select multiple geometry

    • 25. Select loops

    • 26. Bevel tool

    • 27. Challenge one

    • 28. Challenge two

    • 29. Challenge three

    • 30. Thank you

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About This Class

Blender Modelling Series - Volume Three

Welcome to volume three of the blender 3d modelling series. In this volume of the series we begin to transition  from blenders object mode, which focuses on the objects world based properties such as location, rotation and scale, and begin our focus on the edit mode of the 3d viewport which is used to alter the shape and form of our objects.

This is where we will begin learning about the digital structure of our 3d models and how we can manipulate vertices, edges and faces to mold any primitive object into the shape that we need.

Meet Your Teacher

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Joe Baily


My name is Joe Baily and I am an instructor for 2D and 3D design. I specialise in 3D modelling using software platforms such as blender and 3DS max to create virtual models and assets for video games and animations.

My alternative job involves teaching sport and PE in schools and so I have 1000's of hours teaching experience in multiple various fields. My goal here is that I always find great instructors in websites like youtube who are great but never give out enough content to really satisfy my own hunger for learning. Therefore, my goal on skillshare is to provide comprehensive quality teaching on any subjects that I cover, such as blender 3D.

See full profile

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1. Intro: Hello, guys on Welcome to volume free off the blender Modeling Siri's. So what are you going to be learning in this volume off the morning? Siri's well, we're going to start by learning about object mode on edit mode, what each of these are and how they differ for each other. We're going to be learning about what geometry is in the digital world. We're going to be looking at how we can select for disease edges and faces, which are basically the three different types of geometry that you have. We're going to be learning how to extrude geometry. Use the loo, cut and slight all on Duthie insect faces tall, which all involved creating new geometry with your mesh. We're also going to be learning the reverse. So how we can delete on dissolved geometry former objects, we're going to be learning about the usefulness off the subject. Vital how we can use the space bar to locate any tools that we are unable to find how to reset the view in the free de Vieux port. We find ourselves struggling to center in on our on objects. We're going to learn how to snap the Freedy cursor, which is going to be very valuable in terms of being able to few our objects more cleanly. We're going to be using the number pad as well in this volume. So we may have already been introduced to using the number part in previous volumes. We're gonna be using it in this volume as an extra feed shop zooming. We're also going to assume to a border this involved basically creating a manual box in which blend that will soon in on. We're going to be looking at repeating and re doing so. Repeating basically involves repeating previous actions that you have already made in blender, which can act as a very helpful short cut on DWI. Doing is basically the opposite off the undo feature. So if you've undone some think that you did not want to undo, then we can use the redo beach shot to bring it back. We're gonna then move on to full screen areas. So, having a single panel, it's full screen how to upend models form other files, which is a very important lesson for major projects as you may create a single model that you'd like to use in multiple scenes and multiple blend of files. So that's a very important electric chair for how to do that would also be looking at the control menu, how to link mortals for mother files and how this is different from a pending how to parent objects to each other. A signing location, rotation on scale, clearing, location, rotation and scale. How to select multiple geometry parts. How to select loops on how to use the bevel toe. So there's a lot to cover in this volume of the course, so let's get started. 2. Object mode and edit mode: in this lecture, we're going to be talking about objects mode. Andi Edit Mode These are your two key modes used when you are modeling in the free de Vieux Port. Object Mode focuses on how the objects is positioned in the blender world, such as its location rotation scale on relationships to other objects in the blender world . We already know a lot about object mode. If we have completed the 1st 2 volumes. This volume focuses on edit mode on edit mode focuses on the shape and form of the object itself. This is where the actual creation takes place. The hockey that we use for switching between object mode and edit mode. On the fly is the tab key on a keyboard on a traditional keyboard. You'll find a tab key directly next to the Q key on your keyboard on directly above the caps lock. So that's going to blender very quickly so that we can few object mode and edit mild now ahead of time. I've actually created this little example, so this is the sort of thing that you'll be able to create from something as simple as a cubes. All of this geometry was created. Form a queue and you'll likely see it looks very weird because we have all these little dots on each off thes little parts on. Basically, this is made up or geometry, which is we are going to cover in the future lectures. But commonly we can see all of this because we are in edit mode. Now. If you've opened up a blender file, which I'm about to do now file and new, you'll come up with this screen. If you have to default layout and by default, you will be in objects mode. So to go from object mode to edit mode and vice versa, there are two ways. The first way is to click on the object mode Dropbox, which will show you six different options. Do not worry for now, about any of the paint modes or the sculpts mode. For now, we're gonna focus on object mode and edit mode, so I'm gonna select edit mode on what that does is it brings us into edit mode. We see that the cube looks slightly different in edit mode because we are able to select geometry, and if we swapped between any mode and objects mode. Then you'll be able to see in this tools tab on the side of the Freedy Vieux port that the options will change that if you look closely at tossed taboo in object mode. Currently on When I change its edit mode, the tools change based on what mode we are in. Alternatively, we can use a hockey to switch between these two modes only. So if we press the tab key on a keyboard, so I'm just going to very quickly enable the screen pass key so that you can see we're gonna hit the tab key. And now we've gone into object mode. It's have again into edit mode. It's have 1/3 time into object mode so we can switch between the two at the press of a button. In the future. Lectures were going to be learning more about what our objects are made off. Aunt, how we can edits the geometry off these objects. Thanks, guys. And I'll see you in the next lecture 3. What is geometry: So one of the big questions that you might ask is what, exactly? Each geometry? Well, in the digital world, we have to have objects made off something. It has to be some form of data that can create a free D structure out of data. So objects in the digital world are made up of what we call polygons and polygons possessed geometry. Basically, the more polygons and object has the more beads ho it has. If you look at video game consoles, for example, you actually see if you do a bit of research into how they are powers, you actually see that there are examples, such as deep number of polygon counts. That's a console can produce for its games. This is a good marker to see how powerful that console is. So basically, polygons can define how much detail when objects can have on geometry. Is the construction off these polygons on there are free types or geometry. These are Verte sees edges on faces. In the next lecture, we're going to be looking at what each of these are, how to select them and how they interact with each other 4. Select Geometry: in a pretty this lecture. We looked at what geometry is on and learned that she geometry is basically made up of a Siri's off overseas edges on faces. In this lecture, we're going to learn how we can select these foresees edges on faces. We can only select geometry while present in edit mode and cannot select geometry when we are in object mode. We can also select multiple types of geometry at the same time by using the shift key to select multiple methods. So let's go into blender, where we're going to learn about how we can select our geometry. So our first step here is to basically go from object mode to edit mode, and I'm going to do that by pressing Tab Key on my keyboard. Now we'll actually find that our entire object is selected. How do I notice? Because the entire object is given a very yellowish color. This is by default. What signifies that the objects has been selected, so all with the geometry is currently selected. So what I'm going to do is I'm going to de select everything, and I'm going to use the hockey, which is the A key on a keyboard. I'm going to press the a key on the keyboard, and what that does is it be selects everything so nothing is selected. So let's assume in by scrolling up on our mouse so that we can get a better view off our key. So are cubes made up off the disease edges and faces. But what exactly are these? Well, by default, when you first enter edit mode, you will be in for tech select. So if you go down to the info bar for a three D view port, which is located here, you'll find you have free icons that look quite similar to each other. The 1st 1 is your currently selected one. This is Vertex. Select the 2nd 1 he's age selects on the third ease Face Select. You were in a Vertex select mode Weaken. Basically select any points on our cube by right clicking on our mouse. So I'm going to right click, and now we have a selected vertex. A. For Tex to summarize is basically a single coordinate. Berta. Seas are basically one dimensional. They can be manipulated in their location, but not in their rotation and scale. So For example, if I hit the G key, I can grab Morning Vertex. But if I right click to cancel, if I try to rotate it, nothing happens because it's no Afridi piece of geometry. If I hit the s key to scale again, nothing happens because again, it's not free, dimensional. We can also select edges. So if I hit, select this icon here by left kicking, I can now select my edges rather down. Want the seas to summarize? On edge is basically a line where two bird disease have been connected together. So we go into for tech. Select this for Tex on this vertex. I won't make up the age. The line that goes between them, like for disease edges can be gloved, unmoved. They can also be rotated because you can rotate between the two birth disease on. They can also be scaled, but only in terms off the length of that age. Because an edge is still not a free D piece of geometry, it's still two dimensional. Finally, we have facing it. So I'm gonna go into face like now by clicking on this icon with the left click and now I can right click to select any often white faces. With these faces, we can hit the G key to grab and move right click the council. But we can also rotate our faces and scale our faces on because thes are made up off most Alvertis ease and edges. Faces can be scaled and rotated as if we dimensional, which is very handy to summarize. A face is basically the space that is filled between free or more edges, Onda Verte sees so basically triangle shapes on. Beyond that, pretty much covers the absolute basics off, how to select geometry and how geometry works. So finally, we can select multiple types at the same time by using the shift key. So if I go back into blender now and I come down to our free selection methods, currently, we only have faced select. But you also see, as I hope, all over it, it says I can shift click for multiple modes, so what we can do is hold on shift key, left, click and now face Select on Edge Select are selected at the same time. This means if I hover my mouse over face, I can select a face But if I select over an edge, I can also select the age, which is very, very powerful if you want to manipulate your objects by using two or more different types of geometry and also we can hold down the shift key on select Vertex Select as well. So now we can select pretty much any type of geometry that there is at the same time, which is both their useful but can also be slightly difficult because sometimes you might want to select a face but end up selecting an age by mistake. So that's one thing to keep in mind if you're going to have more than one selection method available. The second things keep in mind is that you cannot. If I hold down the shift key to de select my selection methods, you cannot be select awfully. You must have one twice elected so that you can actually edit show objects. So there we go, guys. Those are the absolute fundamentals off how mesh objects work in a blender. Thanks. And I'll see you in the next lecture 5. Extrude tool: in this lecture, we're going to be learning about how we can exclude geometry. We can create new geometry, form existing geometry thanks to the method orb extrusion. This will add geometry but will also change the shape off the objects. We can either extrude along a single axes or extrude along individual normals, which is the direction that the geometry is facing. The hockey for regular extruding is the E key, but we can also use old B to bring up the extrude menu in the three d View port. So let's begin extruding our cube on guns go into blender. And currently we have our cute. So what I'm going to do is I'm going to right click to select our top face, and now we're going to look at different ways in which we can exclude. So first thing I'm gonna do is I'm gonna come over to the tour's tab where we actually have the ability to extrude our objects. But we actually have several different options. We have extra legion on extrude individual as well as a drop down box that gives us some similar options. The standard way is to huge the extra region If we click, we can then create new geometry. Bring it up and down along the axis off the selected geometry on. If we are happy with what we've got, we can left thick. So what's happened here is that I've hit the streets button and it's basically taken the selected face on. It's basically allowed us to bring that face up by adding additional faces, edges and courtesies below it so that it can remain connected to the rest off the original object. So now we have new faces, edges and birth disease in which we can use. We can then grab one of thes faces on Let's Go e and Extrude Region again, and now we can see that we can extrude out this new face. We can also extrude it in so that we can actually create some rather interesting effects with our mesh so we can create almost like a shoe box type geometry. So let's bring now. But if, say, I wasn't happy with bringing it out, and I just wanted to extrude but not doing its how its soul. Then instead of left clicking to confirm, I can right click and what that does is, although it doesn't actually cancel the extrusion. It places my extruded face on top of the new geometry. So in this example, I'm just gonna grab my left, read our key, which is the X axes. I'm just going to rub that out when we can now see that we can't manipulate that new geometry and bring its out without actually making any change to the rest or power objects . We can also manipulate it in other axes as well. In addition to this that we have extrude individual. So the big question is, what's the key difference? Well, to show you this, I'm actually going to undo what I've done a couple of times just so we can clear up the space of it. So gonna hit control and said And so I get rid off that extremely geometry Sanada extruded your maturity is gone Now on Guns Day is I'm going to select different parts off my objects , so I'm only going to select two different parts. We're going to select this face on on what guns do here isn't going to hold down the shift key and select another face. Now we'll be learning more about this later on in the course in the lecture that focuses on multiple selections hypes. But for now, let's just focus on what we have. So by holding down the shift key, I've been able to select two different bases at the same time. So I could, like, click on one face and then hold down the shift key to select the next. We have these two options extra legion on extrude individual. What I'm gonna do is I'm going to use these short cut key to extrude, which is the E key. So I'm going to the each year, my keyboard and now I'm going to extrude. So that brings out the faces in a very interesting way so I can bring that out left. Please confirm on that looks very good, but they are actually still connected to each other, which might be fine. But what happens if I was to extra dummies individual faces? How do we do that? Well, I compress control Z, and we can either click this button here to extrude is individual, or we could bring up the extrude menu, which is cult on E. And then we can select fire fight for texture normals for individual faces. Both perform very similar actions for low party objects. So I'm going to select region. Vertex Normals, for example, left, Click. And as we extrude out, we actually get a slightly different effects ever so slightly. But they're still connected at this center. What if we were to extrude out as individual faces, however, so we'll just hit control and see to undo that Oates and E. To bring up the extrude on, then extrude individual faces on. Now we get something very different. So what happens here is if we extruded individual faces, then we actually get a situation where we can extrude those faces in a direction that they are already facing in. So now that's geometry is no longer connected. It has been separated on new geometry, has been placed in between. So that site basic introduction into how we can exclude geometry on our mish. So to summarize, I'm going to right click on this top face on hit the iki again on We'll just it's true that up. So now I've used E t. But before we end, let's come over to the Tools tab and we'll actually see that we've got a interesting box that has popped up. So I'm gonna drag that up and drugged out. So now we have all of these different options. We don't need to worry too much about these options for now, but some of them can actually be found down here in the info bar. So, for example, we have our orientation proportional editing on fall off. All of these can be found in the info bar, but basically, this is a very helpful box for when you are excluding that one face. So by default, for example, were constraining it to desert axes. If I was to antic that however we would actually be able to extrude. But nothing changes. And the reason why is because once we grab our objects, we can move around freely regardless of the constraints. So you might be a little bit confused that but basically, if I just control Z and then e again, we can eat to extrude and left click. That extrusion is constrained to desert axes. But if I was hit e again which excludes Isett and then press the send key, I would unconstrained that extrusion. So now I can extrude its freely in awfully directions. If I was to left, click this time, then we can see that the tick box for the Z axis is now gone. We can also see the change in which the vector or the location off the extrusion has bean made. So if I exclude one more time, we hit E ke, keep it locked to deserve access and just bring it up and then left Click. Then we can see that the affected change is Ciro on the X and Y axes, because we constrained it to dessert on the zed value is of C 0.676 So that's the length in blender units that we have extruded form the original face. So that's how defector works when we're excluding the rest of this. As I said before, you don't really need to worry too much about because all of these tools are already present in the more accessible info bar at the bottom of the free view port. Note that once we do something such a select another face, the Objects hard panel actually doesn't disappear. Now it depending on the action that you're going to do, such as the stale feature, you actually often bring up a different type of box. So now we have a resize box, rather done and extrusion box. So again we can see the vector values on how we have scaled the objects. So that's a little bit of bonus content in this lecture about how the actual actions have works, which is found below the tools shelf on one side off the Freedy View ports. But there we go, guys. That's pretty much how we can use the extrusion tall in a blender. I hope you guys enjoy the lecture. Extrusion is a very powerful tool and one that you will use a lot in blender. Thanks, guys. And I'll see you in the next Let 6. Loop, cut and slide: in this lecture, I'm going to be introducing the lute cut and slide to this tool as new geometry without changing the shape off the object itself. Unlike the extrude, it'll Luke cuts will advert season edges, but they will not add faces. They can be positioned based on existing faces off the missions that are creating new ones . The typical method off using the Luca and slide is to use the hockey, which is control are on a Windows operating system or command are on a Macintosh system. So the blue cut and slight all we're going to be demonstrating on a simple cube. So what I've done from the previous electrolysis, I have basically gone file and new because it would just be much simpler to show you the new cuts and slight hole on a simple cube down the complex object that we had. So what we're going to need to do is we're gonna need to press the tab key to go into edit mode on, then press the A key to ensure that everything is he selected. So there are two ways to activate Luke cut and slide. The first way is in the tools panel on the side of the three D view ports. If we look under where it says the extrusion, if we look down far enough, we get Luke cuts and slide. So what we'll do is we're going to left Click that, But nothing seems to happen until we hope over out. She you should be able to see that we have a purple loop off, eh? Geez highlighted in our shoes. This basically tells us where the position of the loop cup will be based on where our mouse cursor is. So if I wanted a Blue Cuts that was going across the sides, I'd have to hover my mouse until I get Luke cut going across the sides of our key on. Then left click. So I've left clicked once and now a lot off the edges have turned yellow, so now it's a part of Amish, but it's yet to be positioned. I've always left clicks once, and at the moment I'm actually able to move. My loop cuts up and down thes faces. Once I find a position that I like, I have one of two options left. Click on My Mouth will confirm that new position. A right click on my mouse will confirm the middle position. So, for example, if I was to move the blue cut up close to the top, why can left click on Now there's my Luke cut. So we zoom in on an object we can select for Toussie's, including the Virtus. Ease off our new geometry. It we're going to face select again. We'll see. We've got new geometry constructed as a result, all that that Luke cut. If, however, we were to light flick, this is what would happen. So I'm gonna press the a key to the selects everything. And this time I'm going to use the hockey. So I'm gonna use control and are on my keyboard to activate Luke Cutting slide. I'll hold up my mouse cursor over until I find a lute cut. I like the look off. I'm going to left Click to activate, but then I can cancel the change of position by right clicking, which will place my blue cut in the center off those two lutes faces above below. So if I going to face select, you'll probably see that we pan our view of it that the faces above and below The new Lee created age will be exactly the same size because we decided to right click and place that new cut in the middle rather than left click to confirm the new position. So I hope that makes sense, but we can go a little bit further with blue cuts. So what I'm going to do is I'm just going to drag out our tool shelf on just bring out this new cut and slide it tap. So we have several options. Here we have the number of cuts, thesis, smoothness, the fall off on the factor. We also have thes additional options, but we're not gonna worry about most of these for the moment, the Lao on guns do some bones, create a new Lee cuts but going across the opposite faces. So we're gonna go controlling our and now I'm gonna hold it over till it's like this, which is excellent. But now I can do is I can increase the number of cuts and I can do that by scrolling up or my scroll wheel. So every time I scroll up on my scroll, will I add an additional cuts to my Lou cut and slide and we can go as high as we need to. So in a moment I want the cuts. You can see how many cuts you have. If you look at the position where your info bar was before for your free d E port, it will tell you your number of cuts. So basically down here. So once I find the number of cuts that I'm happy with, so I'm going to scroll down to go about free on guns you left click on, then I think holders keep them centered. So I'm going to white click. And now I've got a. With those new cuts, I can easily increase or decrease the number of cuts again with this option panel. Here it aside so I can decrease it to as low as one on increase it. This highs I need to. So for now, I'm going to use a value or free up. Next, we have the smoothness feature, So the smoothest feature is company set to zero. And this is really useful if you want to usually cuts to actually create more spherical style geometry. The smoothest value goes between minus one and plus one and starts its CEO. If we increase the value to one, we can actually see that it goes beyond. But in general, we want to go up to one and no more. One of basically creates thesis veritas form. If we go beyond one, we're actually going beyond the bounds off what we consider to be a spherical form, but as something that you can do if you need to. But as you can see, we now have a very interesting object. As a result, off changing the smoothness. If we go down to the minus ease, we can again decrease our geometry. Sorry actually comes in on itself. However, we warned in this example, the geometry actually literally falls in on itself on that is not good. You want to avoid that at all costs. The reason why it's stunning in this example is because we only have free cuts. The more cuts we have, the more effective the smoothness tends to bay. So for now, let's go with an example who around point free to So we got point free to, and we can see that it's just bringing out those faces just to make the object a little bit more spherical, but we can change how this works by changing the fall off. So at the moment we were inverse square. But we have numerous examples. What guns do is I'm going to increase that smoothness even higher to about 0.6, just so we get a better idea of how the fall of works. This basically changes how the smoothness is applied to dilute cuts. So we start with linear. Then we instantly see that the effect is much more subtle. In certain places of the lute cut, it's still there. It's still noticeable. But just by changing this fall off, we actually get a different effect. We have shop, which basically ensures that the Luke huts come at a very sharp age up suit, a center inverse square, which is the the four standards. Lutes, stay Andi smooth. Each of these has a slightly different effect, but you're obviously free to play about with them with your projects to see which one works best for the type of model that you are creating. Obviously, if you have a hard geometry model, so basically something that has a load of sharp, hard edges, then you might want to go with something clocked, linear or sharp. But if you're creating something that's more organic, such as a spectacle shape, such as a character, you might want to use something like roots, spear or smooth when determining the full off off your edges. And finally, we have the factor value, which goes between values of minus one on one. But, unlike smoothness cannot go beyond those values. So this is an actual slider on. Basically this. The terms, the distance between the cuts. So here we type in a value off Ciro. The distance between the cuts is the same. If we increase this factor value, we actually drag the Luke cuts to one side off the loop. So we've actually managed to drag one of the loop cuts away to one side or the object where we have a lute cut in the center. That was no. Usually, they're. So if I gradually moved this back, you can actually see the loose traveling across the object until we get a value of zero, where we have that centrally cut back in the center. If we go to a value of minus one, then the other lead cut on the other side now becomes the new central do cuts for the object. So there we go. So in this lecture we looked at how to use the loo cuts Lytle how to increase in the increased the number of cuts, how to apply its smoothness house. You changed the smoothness type fall off And how to position does lead cuts with the factor value. Thanks, guys on. I will see you in the next lecture. 7. Delete geometry: in this lecture, I'm going to show you how we can delete geometry, form our objects. We can very easily the geometry and edit mode by pressing the X key. This will bring up the delete menu, where we can decide if we want to delete faces. Edges over theses. Meaning is just a little bit more comprehensive than simply deleting the entire object in object mode. Be warned, as this selection can change your mesh in different ways. So I'm going to show you now some examples off the leasing geometry and how it can effectual mesh. So I'm going to keep the cue that we had in the last lecture that hards the inset it geometry. I'm also going to keep this face in the center here selected. I'm now going to press the Xscape, and that brings up our delete menu. So we have a wide variety of options here, so we have 30 sees, urges, faces only phases and edges only faces on. We also have some dissolve beaches, which is very, very useful as well. But more on that in the next lecture. For now, let's focus fallen thes 1st 5 sudden what we want to do is we want to select and delete the selective face. So let's just earlier. So we go x. Let's delete the overseas. Ah, what's happened? It's deleted a lot more than what I had intended to on. That's because if I use control on C, what's happened here is if I go into Vertex elect, it gets rid of the face and it basically gets rid of all the fertile sees that made up that face. The problem here is that because each of those burgess ease world required for faces around the selected face as a result off their deletion, those edges and faces got deleted as well because they can't exist without the vergis ease that were deleted as a result off deleting the face if we try and crusty XK and early, eh? Geez, then in this example, we get something slightly similar. However, have a look and you can actually see it. We're going to edge select that some of the edges have survived, which is very interesting If we go controls it again until we bring out geometry back. What happens here is that again all of the edges off the face are deleted, but this time, because we believe the edges the vergis ease at the corners survived, and therefore those edges also survive because they still had all their birth disease. However, the faces on the outside did not survive because the edges that make up middle face were deleted on. Therefore, there was no space for the faces in between. Two exists bird. If we go and delete faces much better. So now it's deleted only the face. It hasn't deleted any of the other two season edges that made up that face on. Therefore, we keep away off the non selected geometry. Excellent. But what about the only options? So if I was to go X and select only edges and faces, the same thing happens again, which is a bit we'd if we go controls it here, The X key and select Army faces again. Same thing happens as we've just deleting the faces. So what's the difference between only edges and faces? On edge is what's the difference between these ones on these wants? Well, that can depend on your geometry. Suck. For example, if I was to select two parts of geometry by pressing the shift key and then selecting. And then I was to go X on delete faces. Then what happens is those spaces get deleted. But the edge that connected those two faces has also been deleted because it's no longer required. If I go control Z hit the X key again and then select only faces, then you'll actually see that the age that connected them has now survived. So that's one thing to know and that shoes form, or for when you're deleting multiple faces or edges over disease. So basically to some of always there, if we used the X key, we can't delete faces on its elites marble faces. Then it would really any geometry that connects those selected faces. All we elites only faces in this example. It will delete those spaces, but it keeps any geometry that originally connected them, which is a very useful tool. So there we go, guys. That's the basics. The fundamentals in how we can delete geometry, form our mesh in blender as a summary. If we go back to the delete key once more, make sure that you know exactly what you want to delete again. If you delete, Vergis is when you only want to lead the face. Then you can end up deleting a lot more than originally intended. Thanks, guys. And I will see you in the next lecture. 8. Dissolve geometry: in its lecture, We're going to be learning about resolving geometry similar to deleting on. Also found in the delete menu. Dissolving is used when we want to get rid off geometry to reduce the number of polygons for the shape rather than changing the shape completely. So obviously, when you delete geometry, then you're actually changing what that's object is going to look like. Whether it be an object mogul edit, mild dissolving gets rid off selected geometry on, then mergers. Any connected geometry together, so basically dissolving can be used when you have geometry is not being used. For example, if you have more lived cuts and what you need, then you can actually dissolve those new cuts without changing anything in terms of your actual mesh appearance. So let's use that as an example. I'm gonna go into Blender on what guns do is this. Q. Is no longer suitable for our purposes. So what I'm gonna do is I'm gonna delete it'll. So the easiest way to do that is to hit the tab key to go into object mode hidden XK on delete. So in object mode, we only get one option to delete which is the lead, the entire object. Then I'm gonna go shift and I on my keyboard. I'm gonna add a key now one guns do isn't going to hit tabs. Going to edit mode, hit the A key to de select everything on, then control and are to activate my loot cuts notice how on in face selects you can tell him in face. Let's because we have the little spots at the middle of the faces, but I'm still able to use the loo cuts feature. So why am guns do is I'm going to select here. I'm going to add a few segments, so let's do five segments. Doesn't really matter where we position it. So I'm going to right click. Okay, so now I'm going to delete this So normally you can just undo allude can't slide. But imagine if you just wanted to delete and dissolve it, see, huge selected later, Warn on. Then you had to get rid of it. So if we press the X key, we can select edges, for example. But if we do that, we lose or with those faces, so that doesn't work for us. It's all. So let's go control said to go back if we were so extent, only edges and faces. Exactly the same thing happens. So we have an issue here where we've got geometry. And if we get rid off our lead carts, we're now getting word off what we had before. So much for some until you were different. They destroy dissolving so we can dissolve earth, sees dissolve edges or dissolved faces. So we dissolve the seas. For example, we get an error message, so we gon invalid boundary region to join the faces so it doesn't exactly work for us. In this example. Let's try to dissolve the faces. It hasn't dissolved any faces, but wise, that happened well, very simply because faces are selected week or edges selected so that feature hasn't worked . Driver. Now let's try to zone the edges on Douala. All of the seven, all of those Luke huts that we created earlier have now disappeared completely. And now we freed up all of our geometry. Once again, this could be very useful if you just wanted to end up selecting just the one do cuts, maybe holding the shift key to select that Luca and then just get rid off that single Luke cut, so I'll just do that. Now It's an example. Some go control are I will go free segments left, click, then wanted. They're not for us, I to the selector. We think, and we want Click on Panel out and hold the shift key. We can select that middle. It cuts. Okay, so now one guns do is when I hear the X key on this old PSG's. And now we've gotten rid off that middle blue cut, so we only have the two above and below. And that is how we can use the dissolve feature in edit mode to help the juice the geometry off our object. So to summarize, deleting involves getting rid off geometry, but will always change the appearance off your mesh. As a result, whether you're delete, inverted, sees edges or faces, you always end up changing the look of your object by the leasing. Geometry are dissolving geometry. You can actually get reet off unwanted courtesies or edges all the human faces if you have to and not change the look off your object. That said, though, if you dissolve faces, then you might actually end up making a few changes. So let's try that now. Less actually, add in a couple of blue cuts control are I would 82 segments and likely. So now we've got some faces to use here. So I'm gonna go into face elect and select this middle face now gonna go x And let's see what happens if we dissolve this face. Nothing seems to have happened, which is interesting. Why does that happen? Well, less actually trying select multiple faces. So if I select this one hit the X key and dissolved faces now some things have. So when we dissolved of faces, what's happened here is it's basically merged along the selective basis together. So now, in this example we had to face is that was selected on when we dissolved them. We basically got rid of the edge that was connecting them on. They connected together to form a large edge. If I hold the shift key again on select this face here, we've got to selected faces. Oh, hit the XK dissolved faces and now they have also merged together. So we've now got one face here on this side of the Cube with free above and free below. Thanks, guys. Andi, I will see you in the next lecture. 9. Subdivide: in this lecture, we're going to be learning about the sub. The vital This is basically the extreme version of Luke cuts. Subdividing involves taking a face on dividing it up into a number of solar faces. The more subdivisions that we have, the more geometry is going to be created. We can also smooth out our object. With this tall, we can subdivide by bringing up the specials menu with the double u. K. So there are once again, as with all tools, a couple of ways in which we can do this. So with our cube, we're going to go into edit mode by pressing the tab key and then scroll up on our scroll will resume in. So one way that we haven't looked at yet is why coming down to the Info bar on selecting Mish. This will allow us to do pretty much any of the actions that we have learned so far in the modeling course, including things such as the ability to extrude on delete as well as dissolving. So it's pretty much all here under mish, but we normally use either a tall shelf or the hockey's because it's more accessible this way. What I'm going to do first is I'm going to use the tool shelf over here. Let's drag it out just a little bit on. We're gonna go down to the ads subsection on it. We have a look below the extrusion options we've got, subdivide. So I'm going to left click and that basically divides my object up into smaller faces but does not change the actual look off the mesh. So it still looks like a cube. It just has smaller faces that make up the bigger ones. If we're not drug up the subdivide panel that we have here, we have a series of options. Now we have options down here. Such a tractor along normal in random seed but similar to what we saw with insect faces. Thes all do relatively minor things that we don't have to worry about is what is the called . Call the type. So as with the insect faces lecture, I encourage you to test these out as well as the ones above. But the ones you really need to know are the number of cuts and smoothness. It's the first of all number of cuts. Well, currently we have one cuts on the formula that is used to determine how many faces that you have per cuts is. You take the number of cuts, which in this case is one you plus one, which in this case equals two. And then you square that number. So two squared equals four, which is why we have four faces per side off our cube. If we increase the number of cuts to two, then it's going to be two plus one, which equals free. Free squared equals nine, which we can see that are now nine faces her side. Thirdly, if we go to free free plus one is four foursquare to 16 16 squares her side So fairly simple stuff. We can increase the number of cuts by left clicking and holding left. Click on, then just moving our mouths so we can move it up to 10 or down to one. But it's not restricted to 10. If we left click, we can type in any number that we want, such as 15 Chris Sensor on it gives us 15 cuts, which is 16 by 16 squares. Next, we have the smoothness auction. Now, instead of showing you the smoothest option straight away. I'm actually going to show you it using the hockey, so I'm gonna hit control and said to get rid of the supper Ford. And then I'm going to hit the double Yuki, which brings up our specials menus. And now we've got a special menu, which brings up a series of options at the top of the specials menu we have subdivide on subdivide Smooth. These basically do the same thing, and they'll basically bring up the same operator panel in a the tool shelf. But there is one minor difference. So if I go subdivide smooth, our object shaped object shape has now changed. It now looks a little bit more like a spherical shape, and the reason why is when we go to subdivide smooth. It sets this smoothness value toe 1.0 instead of Ciro. If we left click on drug that back to zero, we conceded it's now a cube again, so this value could go anywhere between Ciro and one. Zero means that you're retaining the shape as it was on one means that you're trying to make your shape into a spherical shape as much as possible. You'll see this in more detail if we increase the number of cuts. So every time I increase my number of cuts, the object becomes more and more in the shape, often actual spear until we get to 10 cuts and we can actually see it's a very, very spherical shape on those are the two basic one is that you need to know. We've subdivide. So we have quote in Troy mode on, and basically what this means is, if you have any faces that have more than four sides on your object, then by taking this box what that basically does is it tries to reconstruct any off those faces that have more than four sides so that they end up with over four free sides instead . But we'll get more into that at a further points. Just so you know, if you see any faces like that where you have, like, say, five edges for one face that is known as an end gone. But for now, all we need's worry about is the fact that we have the subdivide toll, which has a number of cuts, and this room is we don't have to worry about whether or no, our faces, our end guns. At this point, the court corner type is basically related to use in the quarter and dry moat. So we have different options here. But because we don't have any end guns as such, this option doesn't really matter in this example. Finally, we have the free at the bottom. You know, these are the ones that I encourage you to play about with the fractal. Let's test it. We left click. What this will do is it will just move. Our verte sees in a random shape, so I increase this fractal we can actually see. It's almost as if like you have a glass, all that shattering into all these different pieces. So it's basically a reformer. It the forms alot of the edges and faces by shifting the verte sees around. We also have the along normal option on this is basically used as sort of a go between, So the along no normal option is basically used alongside fact. Also, no matter what our normal value is, if the fractal value is Ciro, it's not gonna do anything to our object. However, the normal value, basically what is doing is it's trying to keep the faces the same size as they were with the original shapes that we have a look here with a normal value off one. All of the faces still look like they're pretty much knew enough the same size each other. But if we turn that value down to zero, we can actually see that they're a little bit more random in their size and shape. So the long normal speech her is a good way off. You being able to create these sort of uneven effects, but maintaining the base shape. Finally, we have random seed on. All this is is a random number generator. That means that it basically takes what the factory is doing on. Basically, we creates that in a different shape. So by choosing your seed, you can actually look and try and find a shape that you like The look off and you can also play about with that fractal value. Make it higher or lower and changing the seed until you find something that you'd like to look off and something that suits your purpose. So these are free options that all basically work together on their main purpose is to make any perfect looking object Messi, or look deformed in some way, shape or form on. That could be really useful for creating more realistic objects. So there we go, guys. That's our guide in how the subject vital works on. I'll see you. 10. Inset faces: in this lecture, where guns be in setting faces, a face can be divided into multiple faces while in setting that face in setting is actually a form extrusion on is a great way for creating objects such as roofs and windows. The hockey for in setting is the I key on our keyboard. So what were we doing is I'll be using the hue that we were using from the last lecture, but you might notice it's a little bit. So if I continue to control said, What I'm going to be doing is I'm going to be undoing it constantly until I'm left with the elation shoot. So I'm gonna keep hitting Control Z. And still eventually, I have my original key just to make things nice and simple. Next, I'm gonna go into face select mode and select a face. So let's select the talk face. There are a couple of ways in which we can in sets. The first way is fire the tourist hap. So what we have is we have the ability to inset face. So if I click here for the insect face, then what happens is if I move my mouse cursor in and out. We can see that we have the original selected face, but it's scaling in and out, depending on our mouse cursor. But in addition to the scaling off the face, we actually have new geometry that has been created. If we left click. Basically, what has happened is when we inset ID our new face. It took the original face on, quite literally, ripped it off off the edges that made it up off it. It then filled in the gaps with new edges for disease and faces, allowing us to scale the original face down to whatever size we want. Now that we've done this, we can actually move on, manipulates the inset to create our own. Freedy it yet. So if you look now, it looks something a little bit like a roof off a house, A very interesting asshole. If I select another face, then another way in which we can inset our objects is by hockey. So if I press the I key on my keyboard, then it actually creates an insect. So I consume in to create my insect or assume out by moving my mouse cursor in. I can't make the insect war extreme and make the central face much smaller. So let's actually make it quite large. And then once we're happy with it, we can left click to confirm. If I just bring up this box here in the corner, then we can see once again that we have a Siri's or options again. For now, don't worry about too many of these, especially the tick boxes. They're basically just ways or changing the insects ever so slightly. But in general, these are only sort the sort things you need to learn when you're really into blender on when you really go on the hang of things. So you're really looking for those point of these? Hells, But for now, we're gonna folks on in setting in general on. Therefore, we're only going to focus on the fitness and depth values since we can manipulate them. The thickness value basically continues on from what the actual inset left off. So we decrease this value. We actually find that we are increasing the size off that central face. If we increase the fitness, then we actually decrease the size of the face in the center. Death does something slightly different it starts with a value of Ciro. And if we increase this value, it actually brings our face out very similar to what we did manually up here on the roof. So we can't continue to going this out to make the bulge more visible. At the same time, we can decrease the debt. And so we hit the minus values where it starts to push in on itself. So the fitness and debt are basically things that we would have already been able to do before. But we just have a actual value in which, if we want, we can type in. So 0.5 boy point forward to get exactly the type of insect that we're looking for once again, we do have numerous different options here in which we can tick on antic. But these all do different things on. We don't really need to get into too much these hell at this point. What you do need to know that in this example, for example, boundary doesn't really do anything because it's focused on what's already dead so inset face boundaries, which is exactly what it does offset. Even basically, when ticks evens out the actual insect value based on the sickness and death offset relative in this example actually manages to conf urged Alvar faces together. Basically what this means is because you got value of went five on 0.5, it converges right into the center. So we decrease that thickness, we get a larger face. So what you're seeing here basically is with these 1st 4 tick boxes, they basically influence how the thickness and depth are operated. So a value of 0.5 for death or value point by fitness will be different and have a different effect on our insects, depending on which off these boxes are ticks. Okay. And finally we have these four the bones. So we have outset, which basically creates a reverse inset. Hence the name outset on. That's a slightly difficult or to use, as you can see, because it basically reverses what you were doing in the first place. So it brings the face out and actually scales it up, rather done in. So I'm going to take that on. That's just until offset relative here just so we can get a good inset. We have select outer, So this basically reverses thesis election on the inset. So obviously, when you insert the central face is the one that selected by default. By selecting Alfa, we select the inverse. So we actually end up selecting a with the faces in between the original edges on the original face, we go individual. It basically does something pretty similar to what we had before as inter Pilates. So in this example, these two aren't really having any off on effects. If we hover over them, we can see that it basically says individual face insert ons blending face data across the insects. These are more for use when you are in setting multiple faces at the same time. But again, there we go, guys. So that's an introduction into using the unsettle. My challenge for you is, since we have all of these different options, I would advise that you just in your spare time practice, did the insect all for bits. So have a look at different ways in which you can get this toe work because there are loads of different ways in which we can get in set to work. Most of them are quite subtle, but also at the same time very affected to learn. Thanks guys on I'll see you in the next lecture 11. Using the spacebar: in its lecture. We're going to be using this space ball on our keyboard. The space bar is actually the search menu of blender, which allows us to locate holes that we can't find in the interface. The space bar will also remember the previous tool that you search for so that used the space bar to find a couple of tools in a blender. So say, for example, I wanted to delete a with the Verte sees in my objects. Why do you know if you want to delete the object itself? Now we already know that we compress the X key and the Levert sees. But what if I did not know how to do that? Well, I could click on the space bar on my keyboard and it brings up a search. Many now this already has an option Topple edit mode on it will do so with me. But not with you. The reason why is because the last time I used the space bar I was searching for a way off move from object mode to edit mode. So I'm going to do is we're gonna backspace to free up on by default. You actually have a Siri's or options that you can choose. These are here because they are the most common options that people search for in a blender when using the space bar. So they're here by default. But if I want to delete, say the objects I could top in deletes. And now I have a series or options so normal daily yuks. Good. If we left, Click Uh, and now we've got the delete menu that has allowed the daily options so I can go 30 sees. And now all the third season. What objects have been deleted? So what if I wanted to say on an object, but I didn't know how to Haddon objects elsewhere? Well, again, I could hit the space bar and you can see that the elites has been remembered. So always remember, if you're gonna surgery, something tells to press the backspace on. What we want to do is we want to add a spheres. We're gonna add a perfect sphere. So I'll just dio is I'm going to be a day which is ad sequences with ease at options. So we've got Aiko Sphere here, right at the top by item wants an Aiko Spear because that's made of triangles. What I want is a UV speed, so I'm going to go space bar You they And now I've got two options are GV map a juvie sphere left click. And now I've got a you ve sphere. Whereas before I had another objects and I Donald that just by using the space ball So let's try and actual tall. Now, how about we try to suck the vital So I'm gonna go space, bar that space and let's type in sub and we've got a series of subdivide options. So let's go suck the void on we can see. Now that are you. The sphere has been subdivided, Andi, as before we can use now. Uh, same operated panel for sub defied as we did before. Also note though you as a bonus of this lecture, if you have a look at the operator panel, you will actually see that even though we've said provided a U V sphere instead of hours, your pube. Actually, we look the values for being such as the fractal normals and seed have all being remembered from the previous time. We used to supper vital because blender will think that those are the options that we still require. So just keep that in mind when you're going to be using one tall, such souther vital mobile times that these values will often remain the same as they were before. But that's how the space bar works in Blender. My challenge for you now is I would like you to use the space bar to try and find pretty much all the tools evil Would he learn to you so far. So that's just a really good way of you getting used to using the space bar, because at some point you're going to need it because you're not going to know where certain tall is that you really need to use. So you can wishes Go space bar and then type in what you needs. Thanks, guys, and I will see you in the next lecture. 12. Reset the view: in this lecture were guys. Be looking at how we can reset the view in Afridi View Court. When you navigate the Freedy View porno, you're using all of the different features that allow you to navigate Afridi World. Sometimes you can actually lose the ability to navigate around the center off the blender interface, which can actually make things a little bit awkward if we are still modeling an object that it studies positioned at the center. So there were two things we can do for resetting the view. We can set the view to a selected object by pressing the four start button on our number pad on what this will do is it will assume in on at that selected object. Now. The one thing that I would like to be included in terms of Blender itself is that when it Sumed in its assumes, will write in, so you do end up having to see him out a little bit. Thesis unde type of reset is the ability to send to the view to make a wall objects in our seen visible by pressing the home button that is located just above the number pad so If you have a look at your keyboard now, then hopefully you should see a button on the top floor of buttons above your number. Part that says home or hate chair more something like that. So that's the button you're going to be using in this lecture. Sudden, Let's look at these two ways of your setting the view. So as usual, we continue form the previous lecture. Say, if I assumed out on what I'm just gonna do is we're gonna hold down my shift key or my keyboard. I'm just gonna pan my view, some holding down the shift key and then I'm just moving to the side. Okay, so at this point, I'm moving around my scene and it just looks very awkward. What I can do is I compress the full stop button that is located on my number pad, not the full stop button that's on your keyboard near a love your letters. They do two very different things, so we want to press the full stocky on our number Pad on that soon's us in on our selected object said. Now I can rotate around my selected object in the centre, the second thing you can do is you compress the home of button on. This will center the view so that you can see all three objects notes. This will not sensitive you around the middle off the brilliant and agreed it focuses on the objects themselves. So I'm going to press the home of button on my keyboard on that basically makes the free objects in our seen visible on. When we move around, we aren't moving around based on the middle point between those free objects. So there you go just to summarize the full stocky on our number pad Soon Sassen on a selected object on the home button Seems us in so that we can see all of the objects in our scene. Thanks, guys on. I'll see you in the next lecture. 13. Numpad for zooming: in this lecture where guys be using the number pads to zoom in and out of our objects. So at this point, you should already know how to use the home button on the top of your number power to be sick or view as well as the four stop key on and you probably know what the numbers are for . But what about the plus and minus buttons? Will these are soon tools. So if we go into blender then as a summary or what the num Parken do, we can use the number one key to go into front of you the number freaky to go into right view the number seven key to go into top You on the number nine key reverses the previous action. So in this case, because for seven before pressing, nine went to the bomb. But if we push one, then nine, it takes us to the back. If we press the number five key, we change our few type form perspective to offer graphic on it. We used the even numbers so too full six on eight. Then we navigate around our few ports. We can also hold down the control key on by holy down the control key and pressing one is the same as pressing one at that nine. So it goes to the back control and free ghost that left control and seven goes to the bottom. We also know that the home key will make all of our objects visible on the full stocky Well , assuming on the selected objects. So what I'm gonna do now it's a minute Preston number one key on my keyboard to go into funnel for graphic. And now I'm going to assume out of mild jets. But I'm not going to use my mouth's. I'm going to use the number pad. So I'm gonna press the minus key on my number pad once, and then it just sues out our objects in increments. So go 12345 And we've seen that Objects. If we hit the plus button, we begin to assume in so pressing the plus button on a number pads allows us to move in two wards our objects on. We can obviously combine this with the number keys, such as to in six too soon mean out so that we confuse certain parts of our objects. So there we go, guys. We now know how to use the plus and minus keys on the number. Part two, See in amount off our selected object. Those guys. And I'll see you in the next lecture. 14. Zoom to Border: in this lecture we're going to learn about assumes a border feature. This is a tool that allows us to manually create a square on R two D screen that we want used to become our new view ports, giving us the ability to zoom in on a part of our seen without actually playing around with regular assuming the hockey for this is shift on B. So what will Day is equal, as seen here, and say, for example, I only wanted to view the camera on the key. I didn't want to view the lamp. Why I could do is I could do shift and be on. That basically creates this little point thing where we've got sort of like an interception , my mouse cursor. We left, click and hold, and then we're gonna drag that out to create a box off the sides he wants. Once we're happy with the size of the box, we can't release the left leg on its assumes in making that box basically the center off screen. So this isn't completely accurate to the box itself. The reason why is because the dimensions of the box can change in terms of his X and Y axes . So, for example, we can't view exactly what's in this box because of its letterbox style, which is very different to the people. So we release left click. It simply assumes in and makes that part the middle off the object. This picture actually works better when the boxes are very small. So, for example, if I wanted to subin specifically on our Cube here, I can go shift and be will make a small box, will focus on one of these verses. Ease release, and it assumes in on where that box was created. So you can see here that assuming to borders actually works more effectively. The small at the border actually is. So once again, I'm just going to see him out with the scroll will shifting and be and that's try focusing on this Vertex. Now that's at the back here. So I'm going to create my border with left click release, and it zooms in on that vertex. And that's basically how we can use assumes of border feature to assume in on a specific object or a specific part, Often object. Once again, I can go assuming even fervor by in Shipton. They create my walks and assumes in even further. Like so. Thanks, guys. On. I will see you in the next lecture. 15. Repeat last action: in this lecture, we're going to be looking at the ability to repeat our previous action. Very handy, tall for when we want form the same action multiple times in a low The hockey, for this is shift on our. So we'll go through a couple of examples of how this works. Let's start with object mode and grab rotate in scale. Let's say if I open up scenes hap on, we go up and we're gonna change the location on the zero axis form zero to to now. What I can do is I can go shift and on my keyboard, But nothing happens on the reason why is because we can't undo actions in which we actually talk in the numerical values. If I how, with a grab and move up this way in the three D people itself and then go shift in our we can actually see that it replicates that's previous action. If I go shift again, it does the same thing. So notes that in object mode, if you use numerical values in the scenes, have to change your values, then you cannot use shift and are to replicate that feature order that was interesting what happened there. I don't happen. There is that value? No worries. Okay, so that's basically loaded occasion. Does it work with rotation scale? Well, obviously we know it. We wrote hated along the Z axis and then hit the shift in our keys. Not much would happen. Now, bear in mind that what it's doing is repeating my previous action for location. That's why it's been moved down. So it might get a bit confusing if I was to hit the R key locked desert axis and rotated regularly and left it and then go shift our It just does the rotation, and it just repeats that rotation. Finally, if we zoom in, we're gonna scale in that are so gonna hit the s key to scale. And if we scale it by value of tubes, we're gonna type in a value of two and answer the question. Now is, is it going to allow us to repeat the action because we have used a new medical value to increase the scale, but we haven't used to seen, So if we go shift in all, we can actually see that it has indeed worked. It's scaled again. So shift in our and it's scare was brought to you again. So from this we know that actually, we can scale based on numerical values as long as they're not quite in to the scenes up. So I'm gonna do now is someone's gonna go Control said a couple of times just to make our square keep smaller. Let's try a couple off edit mode examples. So, for example, if we was go into edit mode on, we were to grab a face, we're gonna go and you face select, select a face on Let's extrude it. So we're going to hear the IKI to extrude on drug it up. Lefkowitz confirm now if we go shift and are it repeats that extrusion and also copies the length of which we increase the exclusion by So as a result, these faces are off similar values. But they are proportional. What does that mean? Well, if I go shift our again, what's happened here is that we the extruded out from a different face. So actually what's happening is the extrusion itself occurs, but it doesn't necessarily occur in the same direction. It basically occurs based on where we select so If I go like, click the top and shift in all we get the exclusion again shift in our again extrusion again. So what we know is here is the ability to actually continue a certain path in terms of our exclusions, thanks to D repeatable. So let's do controls that a few times now and just bring us back to our Basic Cube. Let's try another tall so I'm going to select everything with the A key, so I'm gonna take the A key twice to ensure everything is selected. Then I'm gonna hit a double you tee and select subdivide. So now we've subdivided our objects. Now, normally we can just increase the number of cuts. But if I go shift and are we actually subdivided again? But it does it slightly differently now. So we got our four by four grids. If we go shift our again, we now goats it working in a slightly different manner. So what's the difference between this method on just increasing the number of cuts? What if you remember, when we increase the number of cuts, it uses a specific formula, so we go subdivide on it Will, based on the number of cuts plus one squared, which in this case is two squared, which is for on then to cuts is two plus one. It was free, free squared. It was not simple us. However, if I was to undo this, we're gonna subdivided against subdivide and then a hit of a peaky. Then it's not focusing on the number of cuts anymore. It's taking those subdivided faces as individual faces on it applies a single cuts to each of those faces, so we would pee again. What we should find is, while we've got four by four now we should find if we repeat, this action will get a 16 by 60 Ingrid or eight white eight soy. Do it again and I'll be 16 by 16 very to buy 32 etcetera. So it's always times in boy, too, each time going vertical and horizontal because that was the action that was previously created. So I hope that's a bit clearer to you guys. Now just summarize. In general, the shift on our key is the repeat, or which allows us to repeat our last action. This involves basically any actions that we do in either objects mode or edit mode. However, one restriction is that if you use the scenes happen the side for your new milk values, you cannot replicate them with the shift. Darky. Thanks, guys. And I will see in the next lecture in. 16. Repeat History: in this lecture, we're going to be looking at repeat history. This is a tall It's very similar it'd of a Pete last action feature. But instead of repeating the absolute last action, it actually brings up a box or previous actions for us to choose wrong the hockey, for this is actually going to be the f freaky that will be located on top of your keyboard . Now, this is for a Windows PC for a mark, it won't be something slightly different. Suck. We're gonna go into blender, and if you're using a mark on you don't have the relevant keys for the actions went for going along with this course, then the best thing to do is go to file user preferences input on. Basically, if you twi pin broadly the name off the let shot, then you should get the hockey that it's related to. So if I go repeat, then we can actually see that we have the repeat history option, which for my Windows computer is f free. So I'm going to close that on. What I'm gonna do now is I'm going to perform a series of actions in object mode and edit mode, and then I'm gonna bring up the repeat history so we'll start by it moving our cue up slightly on the Xev access. I'm then going to scale it on the waxes, not using any specific numerical values. And then I'm gonna go into edit modes, going to face elects, grab my talk face on extruded, and then I'm gonna press the A key a couple times to select we think hit the W key to bring up the specials menu and click subdivide. So I've now performed a series of actions varying in both object mode on edit modes. So what I'm going to do now is I'm gonna bring up my repeat history feature. So do that. I'm gonna press the f free key on my keyboard, making sure that I press the correct key on it brings up our repeat history, which comes up. We're pretty much all of the features that I've just done so I can select one of these to use. So, for example, I can select the d selectable on at the selects everything now. Oh, for example, selective face hit the f freaky again. And this time I'll go with is extrude region and move, but notice how the order has now changed. So if I was to go extrude region and move extrude my selected face in a similar manner to as it did when it used that feature Originally, if I hit the air freaky again, we can actually see that the extrude region and move has now been moved up to the top because it was the most recent action used. So we have the translate, which is the first action moved, then the resize, then talking edit mode, etcetera. So what we can do? For example, we can hit total edit mode and then eh, free again resource on its scales based on the scaling that we performed previously. So that's pretty much it for a P history. That's a very useful tool if you are working in terms off things like specific measurements . So if you're creating different parts of an object that you want those different parts to be of similar size, for example, then you can combine the repeat history feature with the extruded supper fire tools to create a perfectly measured model in a very short amount of time. Thanks, guys, and I will see you in the next lecture 17. Redo: in this lecture, we're going to be talking about redus. Sometimes we can end up undoing mistakes that were not actually mistakes. Fortunately, there is a way to undo the undo. This is called the reader feature, and the hockey for the reedy feature is either shift Control said on Windows or Shift Command said on Mac. So, for example, for my previous lecture, we had this manipulated object that was created for the repeat history feature. And the last thing we did was we scaled our objects out to say, if my accident hit control and said on it undid that scaling and that was a mistake. So the undue was the mistake. If I go shift control and said it read, does that error? So it we does Thea undo. So, Control said, is standard undo. But to cancel that, I can go shift controls it and Walla. Let's have a look at another example. So if we go into edit mode and say if we extrude out a new face, we can hit control and said to undo, but we didn't want to undo it, we did it by accident, which believe you may can certainly happen you know you're going to get used to using the undo feature a lot, and sometimes you might end up using it at a point when you didn't mean to. So in this example again, shift controlled aun said, Well, we do the under. It's also works in terms of multiples. So let's create the covered exclusions one to and Free said that Freak foods, Let's undo several times. So 1234 What? So can we? We do all those undoes. That's a big question. So we try it. We can go shift control on DSI. That seems to work. Excellent. So if we go to file, then user preferences, if we go to the editing subsection, you'll see that we have the number of steps that we can undo our work, and this is for me set to 64. That means that I can undo my actions 64 times in a low before the memory is used up. But it also means that I can redo a with those steps so I can redo up to 64 steps. If I've undone 64 steps. If you know I mean so that's pretty much it and that can be used again for any feature. So anything that you can undo, you can also Redux. However, let's say if we were to do an exclusion here, tap to go into object mode and then stated to say we were to hit control and see here. So it's undone scaling, and it's actually ended up undoing the entire top or our Cube because that was all a part of one process process of extruding. We extruded it without doing anything. Help. So we excluded multiple times on what the undo feature has done here is, even though we've extruded multiple times from multiple faces because we didn't do anything else in between, it's ended up because we're in object mode, undoing that entire process. So what we need to do here, prime example, shift control and said, and there we go, we've now got it back said. Now we can go into edit mode, hit control and said, and now nothing's happening. So what's happening here now? It seems to be undone. If we go back into object mode and go control, see eventually it all gets deleted. So this is an important thing to note when you're modeling is that the undo feature, along with the redo feature, can sometimes get a bit. Let's say confused when you constantly switch between object mode and edit mode. Because once you go to object modes, basically everything that you did in edit mode in terms of the exclusions became a single action. And therefore when we undid done on, we did the action. It no longer works when we go back into edit mode so we can go into object mode, and now we can bring it back again. We even go into another mobile accident so can shoot, Control said. Nothing seems to be happening. Control Z The Scaling Storm. So that's one thing to keep in mind the undo and redo features like they are not fullness. You can have occasions where, by going between object mode and edit mode, you can lose the opportunity to restore some off your data. So to finalize the up redo feature is basically the ability to redo on undo so example extrude control set by mistake, Shift Control said to redo the undue Thanks guys, and I will see you in the next lecture 18. Full Screen Area: in this lecture, I'm gonna show you how to make a panel full screen. If the blender interface appears to congested for the task that you are doing, for example, clearly modeling, then it might be a good idea to actually maximize your panel so that you're working on a full screen love it than just part of the screen and having other parts of the screen deal with panels that are being used. The hockey for this is the control. Andi, up our buttons. So on your keyboard towards the bottom, off your P board near the number pads, you should be able to see four buttons for up, down, left and right arrows. These are the keys that can be used for tasks such as maximizing the full screen in blender . So, for example, we're gonna go into Glenda. Andi, I want to make my Freedy you ports for size. So to do that, I'm gonna make sure that my mouse cursor is in the free DVD boards. And then I'm gonna go control on my keyboard and press the up arrow on. Now what that's done is it's basically made my Afridi few ports near ball size I say near four size because when you do this, you actually keep the info bar that is at the top off the blender interface. Despite the fact that this is in fact, its own panel. The reason why is because when you do this, you get a new button which says, back to previous, which in itself will allow you to return back to the original set up with panels so once again over over the panel that he wants control and up our to maximize it. And if you go control on up our again, you can actually minimize it back to the way it was before. You can also used it down, out. So we used the down arrow to maximize on the arrow to a store or vice versa so we can go control up our to maximize down out to the store on. This doesn't just work with the Freedy few port. It works with any panels. So, for example, if I hold in my mouth over the outline er and go control up our then it maximizes the on outlaw enough. If I hold that the properties panel control up arrow, it maximizes the Properties panel. You have a hold over the timeline control up arrow and maximizes the timeline. So now you should know how to use the arrow keys on your keyboard in conjunction with your control or command keys to maximize panels in the blender interface. Thank you. And see in the next lecture. 19. Appending files: in this lecture where guns be talking about at pending models from other files. Now, this lecture is actually one of the reasons why I love to use blender. Major projects may require you to imports previous work from other blend files. This is better than creating a model from scratch, especially when you already own that mortal on your computer. So, for example, if you were to create the base model for human character in one of your blend files, then blend is very clever in that it gives you the opportunity to transfer that base model , form one blend file to the one your company working on on also by a pending it you're able to edit. That's objects, Freedy. So I'm gonna go food process where I'm gonna create two different blend files and then I'm going to bring on object from one blend file into another via the A pending method. So let's go into blender and we'll start this from scratch. So we're gonna go file new. We don't start file. What I'm gonna do now is I'm gonna go into edit mode going to face select, and then I'm gonna press the number one and five keys on my number. Part on all I'm gonna do is I'm just going to extrude. Well, basically be, like very poor example off the top of the over body. So create shoulders and arms without the body here, and then we go other side as well. Doesn't have to be exactly the same length. Just an example. Okay, So basically, imagine this is the top half of a Minecraft character. Probably the worst Minecraft character that you've ever seen in your life. So what we're gonna dio is on those, and we gonna go to file save as, and I'm gonna save it somewhere. So I'm just gonna save it in, Y know, blender file. And I'm gonna name this eyes we name as append. Just so we know exactly what is going to be used for savers Blender, foil. Okay, now I'm gonna go file new we load startup file on. Let's say, let's just move this to one side. So let's I'm editing my scene and I want to bring that object in, but I don't actually want to recreate it. I want to burn the exact objects in. So what could do is I'll go file on our godowns where it says upend, which allows me to a pen from the library adult land file. So I'm going to find the file that I want, which I believe was under models. And there is so go upend Gotland. Once I open that up, we actually have a Siri's off many folders as a part of that blend file, and we can actually bring pretty much anything. Inform thes olders. Now the place to go is can be objects or can be mesh. But if we go object, for example on Go Cube Fantastic. So now we've got our object in our scene. We can move it about up and down. We can load Hey, week in scale on we can even at it fantastic. So that's a really powerful tool to use. But it's not just limited to your objects or is not just limited your mesh objects, for example, so what we can do is if I just moved this to the side, we can go file upend and we've got other objects here too. So we've got a camera so we can click then from the library ons. We can grab it and movie abouts. And now we've got a second camera in our scene, and that guy's is basically how we can upend files into each other so we can import creations from one blend of file into another on it's not just restricted to objects. If we go back to file a pen one more time, we can go up. So we basically have a lot of thes options. So we have the world layout. We have textures. We have seen layouts, etcetera. If we go seen layout, for example, on bringing in our scene, we actually don't get anything. So we go to our scenes up. All we have is a base camera, so we don't really have anything there. So you can. This only really works if you actually have something with these folders. So, for example, you got the object, or if you go to mesh, you've got the Cube. But again, nothing appears to happen. So let's try one more time. But this time again object and he There we go. So again, you just gotta make sure that when you're going to bring in a model that you going in the correct data type and in general, you want to select your object folder in this case, lover Don, your mesh folder. The big reason The object folder contains the object as a whole. But the mesh folder will contain only the mesh data, so it won't bring the actual object in. So there we go, guys. That is how we can upend files into our current projects. Thanks, guys. And I'll see you in the next lecture. 20. Linking Files: in the previous lecture, we looked at how we can upend models form other files. In this lecture, we're going to look at linking models from these files to link a model is a very similar process to a pending models. However, there's one major catch. When we link models from other files, they cannot be edited in any way they exist in your scene, and that's it. So this is useful for when you want to bring in a model form another blender file. But you're happy with that model as it is, and you don't really want to do anything with it. So, for example, we go into blender, we've got our file. I'm just going to move my cube to decide here and now we're gonna go file, and instead of going to append, we're going to link. Now we can see that upend and link both have shortcut keys. However, these are, for example, control old oh, shift F one. They're not hockey's that you really need to use that often, so that there if you want to use them. But to be honest, I normally four things that involve the talk menus. I normally just go to those menus and click. Sometimes you click on Link and then I'm gonna find a filed I want to bring in. So I'm gonna go blender 2.0, for May Models on will go with the upend model that we had in a previous lecture. Once again, we get the same sort of stuff available. So we've got a lot of the folders that we had when a pending So let's go object and that's bringing in our keep object. And now we've got our cube in our scene. However, we have one little issue and that's the facts that we can't actually move it. We can't do anything with it. If we go to the menu bar below, we can actually see that ALOF The menus have been great out. So basically, when you link files together and you bring those models into your scene, you have to accept the fact that you're not going to be able to do anything with those models they are in as they have been brought in and they cannot be edited. You can still edit everything else in your scene, but you can't edit your linked models. In fact, you can't even do anything in object mode so we can't scale. We can't grab. We can't rotate. It's fixed, therefore, it stays fixed on. That's really the big difference between linking on depending files in general. Most of the time, you're just gonna want to upend your files. The only times when you will choose the link file is if you already had it pretty created, really textured and placed specifically in your seen before you link in so that you don't have to edit it. Another good reason is when you're a pending fire, which you obviously bringing more models into your scene on. If if they're already complete and they're already in the position that you want when you bring them in, then you're not kind to want to accidentally move them will edit them in any way which can happen. So in this instance, linking a file can be ideal because even if you accidentally click on that file, if you click on that mobile quite by accident, nothing's gonna happen. You just select it and that's that. Thanks, guys, and I will see in the next lecture 21. Parenting objects: in this lecture, we're going to be learning about parenting objects. Parenting involves making one object the key objects, but those that surround it the objects that are not the parents object are known as the Children. So you have parents on. Do you have Children When the poem is manipulated in object mode, the Children are also manipulated. But they used the parents origin points. So, for example, when they are rotated with the parents object, they rotates around the parents origin Point RAV up down at their own. However, when a child is manipulated, it has no impact whatsoever on it. The parents object. So, for example, we go into blend out. We've got a single object at the moment on what I'm going to do to set this up. I'm just going to make our outline a panel a bit bigger just so we can see what's going on . So what I'm going to do now is I'm going to left click to move my Freedy cursor. Oh, shift and I mesh on And TV sphere now I'm going to do isn't gonna parent one object to another. So I've got my UV sphere selected. I'm gonna hold the shift key on my keyboard and then likely to select my cube. The cube is now the active objects because it commonly has a yellow highlights, whereas the UV sphere has a red highlights. What I'm going to do is I'm going to make one object, a parent's off the other. So in this example, we're going to try and make the cube the parents on D E V sphere the child. I also want you to keep an eye on the outline. A panel here So company we have the cheap which we dropped down. We can see we have the best day of the the Cube. On we have the sphere where we have the mesta for this fear object. So to make her parents, we can go to, For example, if we go to objects on we have a search up. We concede we have apparent feature on DWI can parent many different things, and we can also clear the parents. But the quick way is to use the hockey which is going to be controlled and pee on Windows on command and pee on a Mac. So I'm gonna go control on P on my keyboard, I get a shortened Siri's options and I'm going to select objects. So now what that should have done is it should have parented our UV sphere to our keep. Now, it doesn't actually look like anything's happened here, but if we look in the outrun a panel, we can actually see. The UV sphere has disappeared, but it hasn't disappeared entirely because we can still see it. What has happened is it has been moved, so we click on this little plus button next to Cube. We actually now see that we have the cube mess data under KEEB on. We also have the sphere object on the cube on it. We go further. We have the mesh date up for the keep. So basically what that means is that by parenting objects, we can actually help clean up our hierarchy in the outline. Er, like connects in these objects, so buy clothes that obviously we conceded it's a little bit cleaner than having the UV sphere below the lamp. If we subin on our objects, then it's very faint at the moment, but you might be able to see a thin, dotted black line to show that we have a connection between these two objects. So what I'm gonna do is I'm not going to right click sit up. Only our she is selected. Don't worry. If you can't see the line between the objects, we know it works. Even I'm struggling to see the line at the moment because we have the dark background. So what I'm gonna do now is if I pound my view, you should actually see a little bit burner so I can see it much more clearly. Eggs. I've been able to pan my view so we can see that line between the UV sphere Andi the Cube, Select Troy location, rotation and scale with parents. So if I hit the tree key to go up, then we've grabbed the queue. But we can actually see the UV sphere is moving with it. As I said at the start of the lecturer, anything that we do in object mode to our keep we also due to the UV sphere. So the location values are equal. So I'm going to want click that next one glance, do scaling. So we're going to leave rotation to last. I'm just going to assume out by using my scroll wheel. And if I hit the s key to Zoom, then it's one increases the scale off both the Cube Andi, you be sphere. And two. It keeps the proportional distance between the two the same. So, for example, if we were using numerical values, so say if the distance to the staining between the scaling of the cubes one scaling off the you VE spirit is one. So we bring our scenes have up, so both of them have a scale of one. Say, if just for argument's sake, the distance between the two was one meter. If we were to scale our parent up to two, then the distance between the two would be something clot roughly two meters. Broadly speaking, it's no probably know exactly like that, but that's the kind of formula that is used so the distance between the two is kept consistent, depending on the scale. So I'm going to white pick to cancel that finally, we have rotation. Sudden. This is probably the most interesting one off the free when it comes to parents and Children because we are using the origin points off the parents objects when we're rotating , scaling Andi moving. So if I had the R key to rotate our cube Low Tate but doesn't change its location, but the you Be Sphere is rotating based on the origin point off the Cube, so it's actually orbiting our key. Now you might remember if you've done a previous volume that we touched on parenting in one of our lectures in a previous volume on we've also done this is part of challenge. So basically, the way this is working is the origin point of the parents becomes the origin point of the Children when the parents is selected. And that's probably the absolute key thing about parents and Children in Blender. If you forget everything else about the parent child relationship, that's the one thing you should remember that when you're manipulating the parent, the trial, what is manipulated based on the origin off the parents. But what about edit mode? There's anything happened edit mode. I mean, after all, they're two completely different objects. Well, we hit a tab key to go into edit mode, and we can grab a vertex. Obviously we can see very clearly that nothing happens to Are you the sphere. They're different objects. At this point, we're editing a single object. So the parent sold relationship is commonly not in effect. But if we were to select the entire object on grab and move about again, we can see that nothing is happening to the UV sphere. The reason why? Well, you might have already guessed based on what we just discussed. If I move my cube over here on left, clips confirmed in edit mode. When you move your objects around, especially if you've moved a with the objects around, you might notice that the origin point does not move in edit mode. The audition point stays exactly where it is. So we go back into object mode. We can now see that our origin point is well outside off our keep so we can glub Uh huh objects around and it still works the same as before, cause they're both being moved based on the location of the origin points. It was soon mountain scale, Then something slightly different occurs. So now the formula is a little bit different in terms of the difference between the U B sphere Andi Cube, but basically what you have to remember is that's the distance is still based on a The origin points off the cube on a child objects, regardless of where the actual mesh is rotating, finally, again, we can see that it appears to work differently because we've got the tube in a different position. But actually UV sphere is behaving in the exact same way as it did before when we rotated it where the she was in the middle off the blender. Good. The reason why is because in both scenarios, the evey sphere goes around the origin point on, not the object itself. So finally, what if we were to move about our shoulder object? So if I, like, click to select the child, we connect the geeky to grab, and we can actually see that we're moving about and nothing's happening to al pair and objects. So I'm gonna like it to council, and I'm just gonna assume in and pan of you slightly so just so we can get a good view off that line to see what it's doing, we can see we can't see the origin point off the parent objects, but we can see where it should be because that's where the line is going to. It would blab it. We can actually see that the line continues to move based on where the child object is. But the starting point remains at that same point in the blender grid because that's where the origin point of the parent lies again. We can rotate it on its own without impacting the parent on. We can also scale it without impacting the parent. So, guys, in this lecture, we've covered the parent troll relationship in more detail. We've looked at how the parent child relationship works in terms of both object mode and edit mode. On also how it can affect the hierarchy in the outline a panel. Thanks, guys, and I'll see you in the next lecture. 22. Assign location, rotation and scale: in this lecture, we are going to be assigning the location. Rotation and scale often objects the values of your transforms, but they're polite. The location, rotation and scale can affect the functionality of some of blenders tools such as the Devil Tool, which will be covered later on in the course. So the best thing to do is tow. Learn the solution right now, which is how to apply it. Transforms of the model. In most cases, this tends to solve any issues with tools such as the Bev Intell. For example, if you scaled your model up to a value of 1.4, then applying Walsh reset the value back toe one without resetting the scale itself. So the new size off your object becomes the default size. The hockey that is used for a signing location. Rotation in scale is control or command. So, for example, we have our keep on which is kind to open up. The scenes have in the free de Vieux port. If I scroll up currently, I've got scales sets 1.0. Well, I'm gonna do now is I'm going to scale it to make it nice and big to this roughly roughly free. And there we go. So now I've got a bigger que to work with. However, this can actually cause problems further down the line for when you want to actually edited in edit mode. Therefore, I'm gonna want to apply at my scale on your guns who want to get used to this habit. Once you have your correct location, rotation and scale of your objects, especially scale location doesn't matter too much. All rotation. That scale certainly does. Then you want to apply that scale before editing. So what I'm gonna do is I'm going to go and hit control and a on a keyboard, and that brings up the apply menu. So now we have a series of options. So we have official transform, a duplicate real location, rotation scale and rotation step. So for now, because we've changed the scale only less, just click on scale and watch what happens to the scenes have values. So the scale has now changed from just over free to one on each axes, but the dimensions remained the same. This is exactly the sort of thing that you should be looking for, get making the dimensions the correct size and then applying the scale when you're modeling objects in blender, the size of the object should not be based on the scale, but based on the dimensions. And this is something that a lot of new blender artists born into the trap. They used the scale values to determine the size of the object when in reality they should be using the dimensions. The scale should always be one before editing. So if you stay of scale up your objects on the value is not one, then you should ideally look to apply that scale for argument's sake. I'm now going to rotate our objects. I'm glad and movie to now we've changed the values, the location on rotation. So what do we do? Well, now we're going to apply the values for both location on rotation. So to do that, I'm going to show you the other way, which is to go to objects in the info ball of the three d View Port Goats, where it says apply. And now we've got the options to applaud at location rotation in scale. Now these free options are separate, and at the moment, the only one that allows us to do two more is the rotation and scale option. So we're gonna have to do this twice once, each for location and scape on rotation soy. So I'm gonna go location, and it sets the values back to zero. Now, this actually does something that can have a slightly negative effects and can be slightly confusing. Have a look. Have a close look at our scene. No, is how the origin point has now being reverted back to sent up. The big issue here is that when you apply it location, the origin point is moved back to that location if we want to, though, shift s on and go cursor or selection to grid, we can move it down on the location remains the same. If we were to go with the Freedy curse up because that's in the senate as well, she s selections a cursor again. Nothing seems to be happening because at this point, the location has now being applied and is now at the appropriate points. And now we call it quite work out what's happening with our cube that this can be quite a problem, Especially if you're gonna stay or after this point because you often scale form the origin quint a Zwelling rotation. So if we set the origin on, we set the origins of geometry. It moves our origin into the correct position, but it's also changes our location values. So, to be honest, in a lot of cases, you're not really gonna want to worry about applying your location value. It's not as important as scaling on. There are drawbacks to doing so next, we're gonna look at rotation, so we're going Teoh. Apply it this rotation. So we're gonna go to objects, a ploy and let's apply the rotation. So now we've applied the rotation. It's always 000 degrees hit the R key to rotate on. It rotates, so this probably has the lowest effects off the free, because now it's set to zero, and we can apparently rotate it as normal. However, if you're rotating along specific axes, bear in mind that the axes will change slightly based on the new positioning. So now, if we hit, rotate with the R key and said on a keyboard, we conceded that Blue Line is in no longer completely vertical. It's slightly diagonal based on the rotation off the objects. And that's one thing to keep in mind when low Tate ing after you have applied your rotation . Today we go, guys, to summarize, we now know how to apply location, rotation and scale. The advice is to actually, in most cases, not worry about applying the location, order rotation in our seeing, because it doesn't really have too many benefits to it. But the number one thing to remember here is that when you're going to apply it scaling, which is very useful for when you're going to be working with certain tools in blender, make sure that you apply that scaling before you do any editing. Thanks, guys, and I will see you in the next lecture. 23. Clear location, rotation and scale: in this lecture, we're going to be talking about clearing, location, rotation and scale. Like the ability to assign our transformations clearing, location, rotation and scale. We will revert the transforms back to their default values. However, there is a big difference on that is that the objects will also be reverted as well as the values the hockey's for each off. These are old G holds our or cult s, depending on what whenever you want to revert the location, rotation and scale. So unlike the assigning off location, rotation and scale, the hockey's he are separate. So, for example, we at this point already noted it. We stay in objects and left click. We can assign the scaling by pressing, say, the object menu apps know why and sky and that reverse the values back to one. However, we can instead clear values. So if I was to scale again, I've scaled my shoe pop, even server. And if we go to objects, we have the clear options, and here we have the ability to clear location, rotation, scale on and orgy. Let's not worry about the origin. For now, let's just focus on location, rotation and scale since those are the main ones that will be looking to clear. So let's clear the scale person foremost as soon as we do that the scale reverts to one but notes that in this example the dimensions are still the same as they were at the previous scaling. So the trick here is that if you are signed, your scaling that becomes the default value so that when you end up clearing it, it's reverted to that value. So enough, For example, if we drag that to decide left click so that my Freedy cursor goes roughly in the center, it doesn't have to be in the center. Exactly shift I mesh on. Did he? So I got my default. Keep here Sinaga. He s key to scale it up. And now this time I'm going to clear the scale with the hockey. So the hockey for scaling is going to be. If we have another look is going to be bolt on, then whatever the let's up normally is. So we're going to go out and s on. That reverts to scaling back to the default values. This works as well with location on rotation on Remember that once you assign some think so , If you scale and then we go se control a assign scale, then that becomes the new value. So even if we were to go old and s to clear scale, it doesn't revert it back because we now have those new values as defaults. So there we go. Go as we now know, how we can clear rotation, location and scale in blender. So as a final point, let's say we did all three. So gonna moves to grab and move lo tight and scale. So now I'm going to clear all three or those using hockey's so we'll start with the location. So we're going to press Bolt and G. They're more clear that rotation, which is cult and are and then we'll clear this scale, which is cult on s. And there we got Thanks, guys. And I'll see you in the next lecture. 24. Select multiple geometry: in this lecture, we're going to be expanding our knowledge in terms off geometry selection while in edit mode with Blender, we are actually capable of selecting multi parts of our mesh at the same time, rather than selecting a single vertex edge or face. As we already know, we can use the shift key to select individual parts on. By holding down the shift key, we can select more parts one by one. But there are also numerous other methods that we can use for selection. For example, we can use the control or command keys to create links selections on. We can also use the control and command keys in conjunction with the plus and minus keys on a number pad for expanding selection. So let's have a look at what each of these looks like in a blender. So before time I took the position to subdivide our cue because our standard que didn't really have enough for disease to display this. So as we know, if we right click on a Vertex, we select that vertex. But if we want click on another Vertex, it selects that vertex, but he selects the previous so we're only ever selecting a single Vertex at any one time. If we hold down the shift key while selecting, though, we can select multiple for disease across our entire scene on, they don't have to be connected in any way if we don't want them to be. But then sometimes we can connect that sees together to create selected edges. But this we already know. What we probably don't know at this point is the ability to use the control or command keys . This will be used to create links selections, for example, I'll get a navigate the few so that we can see this top face say, if I wanted to make a selection going for less Vertex down to this for ticks. What I can do is I can hit the control key after ice, let my verse vertex hit the control key and then select my end Vertex. And what it does is it will create a link selection off courtesies in between the start and end points. Note, though, that when your guns we changing directions, such as this example here, it will look for what it thinks is joys, path. So if I want to make sort of like a reverse L shape here, going from this for text of this one. Then what have to do is I select my first Vertex, hold down the control key and select this Vertex here and then with the control key still being held, select the end. Vertex on that creates the selection that I want. So that's how we can use the control key. Thirdly, we have the ability to expand selections for a single point. So, for example, I have this for text selected but say if I wanted to select a with the Virgin sees that were connected to it by edges. So basically, this square guy neurons, I want to do that. I would hold down. Why control key and then press the plus button boy at mine number pats. When I do that, it selects ALOF the verses that well connected that the original If I do it again, so control and plus it plans to sell again. So it branches out each time I press the button, which can be a fantastic soul, such as in this example here, we can also reverse this process by using control and minus to go in the opposite direction and seal were left without a single Vertex note that we do again with a single Vertex. It's basically a D selector. We can also combine some of these. So, for example, I could go Andi, create my l shape here with the control K. But then I could perhaps move around on. Maybe we could go shift and likely on begin selecting our next set of third disease. No, if I hit control as well. So shift in control. We don't get the loop that we want. So it's a little bit of playing around here so I can shift, select their if I just hold the control key and then select this for Tex then. Actually, it maintains the previous selection, so blend is quite clever here. So what's happened is if we go back to square one, we select the first vertex on. We create that first selection or vor theses. Then we hold down the shift key and select this for text on this face, which begins a new selection while keeping previous selection applied. Now I can hold down the control key and create my selection on this face as well So now we've got two different parts of our object that have a c Siri's off selected verte sees. So there we go. Now that we've complete this lecture, we should know how to select al geometry, how to select multiple parts of geometry with the shift key with the control key on with number part, as well as selecting geometry, using these efforts on different parts off our objects. Thanks, guys on I will see you in the next lecture. 25. Select loops: in its lecture, where guns be learning about selecting loops. Loops are a Siri's off for disease edges or faces that can surround or loot our entire object. There are free, different techniques that we're going to be focusing on in this lecture for selecting loops . The standard way of selecting a loop is by using the okay, we can select multiple of these loops. With the shift on Gulke's on, we can select. What are known is edge rings with the control key when used in conjunction with outs. So let's select some loops around our cube. So we have our key with are subdivided squares there. Now I'm just gonna go back into Vertex Select so we can see nice and clearly on. I'm gonna press the A key. Toothy selects that nothing is selected, So the standard way of selecting a loop is the whole down the cult on. Then it click. But when we're selecting, Verte sees you don't want to actually hover your mouse over the Vertex because EJ loops or in this case, for text loops, they can go in basically any the direction where there's a loop and at this point for every Vertex. There are always two different directions that it can go. So what you want to do is you actually want to harbor your mouse cursor over the line that you want the lead to go around. So I'm going to hold me over this age. Hold down the okey, Andi want tick. And what that does is it? We just move around our cube. It has selected every single Vertex in that loop. If we move on. So we hold down the shift key and then bolt, we can select multiple off these loops. Note that if we are in a Vertex selects on we select two loops that are next to each other . When this case is going to be free, then the faces themselves get highlighted. And the reason why is because at this point, a LA off the vert disease that make up these faces are selected. So we go into Faysal. It's all cedar, the faces themselves and are selected. So let's go back into the text mode on the next way we're going to show you is the age wings. So we know how to select edge loops. We know how to select multiple wedge loops. Edge rings basically works slightly differently. It's basically very similar to a loop where we go around the entire Siri's off third season diesel faces with the Cube, but instead it works slightly differently. Now, to really get a good view of this, we're gonna go into edge Select smiled where we can select our troops. So if I go out on click, his selection actually shift Bolt click and its selection overage sleep and so on. If I hit control old and click, he actually creates on edge ring, where, in this example, we have all of these edges that are basically on the same level of the Cube. But they're going in the same direction, which is vertical and not actually touching each other. Stay ALS. Share a certain property on as a result of that property they've bean selected. And of course, we can select multiple worthies, but we can't select together without shifty. So if I select one go control olt click. I would have to go shift control old and click to select multiples off these red rings. So if we go back into first sex mode, will this work in Vertex Elect so well for control bolt on click. So what it does is slightly different. So because we're not using edges here, the rings that are created are basically the face is in between two sets off loops. So we use this line, for example, what we go control adults and click. Then wait does is it selects the selected edge loop, and it selects the one next to it. So again, if I was to vote on along this age like Click, it selects that entire age group going around. But if I was to press the a key to de select and hit control boat on with my mouse cursor in exactly the same place like Click, it actually selects the edge loops that go in the opposite direction, in this case, in a vertical direction. And it does so by selecting the loops either side off where my mouse was positioned, which creates our face ring. Finally, we go into face selects mode again. Similar things can happen so we can go bolt and click to select a face loop, shift bolt and click to select multiple ones. If we go control bolt and click, we actually know is that it's still selecting Hey sloops as they were for text loose. So the one thing to note here with Faith Select is the control key doesn't actually do anything that isn't already being done by just using the old ski on its owns who got the okay on control? Okey, which basically do the exact same thing in face elects. So to summarize, we have normal edge loops while holding down the bulky selecting multiple age loops by going shift on adult on selecting edge wings by hitting control. Olt. Click. Thanks guys on I will see in the next lecture. 26. Bevel tool: in this lecture, we're going to be talking about the devil tool. In the real world, away objects are bevel to certain extents. Even sharp objects in blender leveling involves splitting an edge into two or more edges to create a smoother shape. This effects can be either subtle or extravagant, the pending on your knees and how the devil tall is set up. The hockey to bevel is control on they. So let's Bevil R Q in blender. Now, for this lecture, I actually have two examples. So I've got my default cube and I've also got you that we can see has Bean scaled and you're going to learn while than this in a couple of minutes time. What we're gonna do is we're gonna select our regular cube and sumit on it. So I'm gonna move in on my regular key. I'm gonna go into edit mode on with everything selected. I'm gonna bevel a love my edges. So the first method of beveling our edges, we're gonna go to mesh, and then we're gonna go to Reggie's and select a level. Now if we move our mouse cursor such wars, the edge of our screen, we get a bevel created where all of our edges have bean split so that we have a new looking cute. So we've now got the wagon alleges that connected diagonal faces where before we just had those edges. We can increase the number of segments that being the number of edges that are created when beveling to help create an even smoother effects. To do that, all we have to do is stroll up on our scroll wheel, so it's called up on my scroll wheel in each time we do. So it adds a new segment, a new series of edges to make the devil smoother. Once we're happy with what we've got, we can left clicks confirm if we have a look in at the tall panel for the operation, we have the devil panel come up on. We have a series of options. We're going to focus in discourse on the amounts, hype, amount, segments and profile, and I'm also going to quickly showed the for Tex on your shoe. So by default we got it set to offset the amounts haunt. No matter what we change it to, doesn't really change the actual way it works it just changes what this value means. So the amount value so we changed is toe width. We can see that it's still beveled with the same number of segments, but it's just a smooth size death on this sense in general, you might want to be looking to use the percent option most of all because it creates the smallest pebble type, and it's basically designed to allow you to level hard edges. So say, if you're creating a Freedy model off a desk, you might want to use the percent type to bevel alot of your edges off your fruity desk ever so slightly just to give it that little realistic look. But now we're gonna go back to offset the amount value basically changes, how much we actually bevel the objects, and we can increase this anywhere between a value of Ciro on one. In this example, a value of Ciro is practically no bever whatsoever on the value of one actually helps us to create a perfect all shape just by using the devil's hole. We also have the segments e which allow us to increase or decrease the number of seconds that we have in terms of the scroll, we can only go up to eight, but if we left click and type in a number, we can further increase the number of segments. Finally, we have the profile on. This is the option that actually changes what the devil does, so it basically creates. We have a look at it, formed this view here. It basically creates that that curves that goes around the side of the object. So let's just reduce the amount so we can see a little bit more clearly that curve in effect. If we increase the profile, he actually reduces the curve until we reach a value of one were actually the curve no longer insists on. All this happened is that we just added that extra geometry. The only thing here that supply is because we have an odd number of segments. We actually do have a little bit of a bevel, but it's a sharp therefore based on two edges. If I reduce that value downs at six, we now get our points back. So it's now the exact same shape as it was to start with, but it just has more geometry. If we reversed Issa go below 0.5, then the curve actually goes inwards rather than outwards, so we can begin to see the curve going inwards. We can reduce this value on the scroll to as low as 0.15 which want talking in the value of sight 0.1. It doesn't work. It doesn't allow us to go anywhere below points 1/4. So that's the lowest that we can go for the bevel. So I'm just going to increase that once again on the last thing regains it Look at In terms off this panel are the Vertex only options. So 30 X only basically ignores the edges themselves on just levels divert disease. So we click that and we can see that the edges are ignored and the focus is purely on the third theses themselves. This can create quite a weird shape, as you can see. But you can look Teoh used being such the profile on the amount to change how this looks as well as being, such as the number of segments. So let's move on there so we can see very clearly that weaken bevel our entire objects. But I'm gonna get rid of that level and I'm going to try and bevel a single edge. So now we're gonna use the whole key. So I'm going to use the hockey for the bevel tool, which is controlled on they. And once again, we can now bevel our objects. Note that it does remember a lengthy options from the previous bevel. So we've still got our multiple segments. So I'm just gonna do is I'm gonna scroll down on my scroll wheel until we've got only those two edges on. We can see here, they removed them out. They go away to the other, edges off the faces that are connected so we can actually create a ramp with the use of this pebble tool. So I'm just gonna create that level left, click. And there we go. And you can see that it actually were members Certain things such as the profile for our level options. But now does. What I'm gonna do is I'm gonna move on and I'm gonna move on to our objects here, so I'm gonna go into object mode, and that selects our tower cues. We got tower keep here. And now I'm gonna go into edit mode, so Let's the edge that I want consuming on it. And now we're gonna level this search, So gonna go control on Bay on Bevel the Edge. But you know, if something looks a bit weeds so as it goes down, the Grady in my seem a little bit off. And that's because since he's been scaled, it will still try Andi reach the ends off both the connected faces at the same time. So if I right click to cancel, it's trying to reach this edge on this edge at the same time, despite the fact that the distance between them is clearly different in a lot of cases, this is exactly the sort of thing that you want. Once you're gonna want a clean a level where the angle off the devil will remain the same on either side. So the solution here is to go into tab for object mode on. We're going to apply to scale, so we're gonna go to objects, apply and apply scale. Now we go back into edit mode on, we're going to hit control and be again. We actually have a much better bevel where the angle remains the same until we reach the first age, then it's only once we reached out first edge that the angle begins to change. This is exactly the sort of functionality that you should be looking for with the bevel tall. If you're not getting this, then it could very well be a result of the fact that you have no applied your news stating So now I've got exactly what I'm looking for. I can scroll up on my scroll wheel to create many segments is I want left Click And there we go an excellent Google for our tower. So there we go, guys. That is how we can use the bevel tall to create smooth edges on our object in blender That's guys, and I'll see you in the next lecture. 27. Challenge one: Okay, guys. So it's now time for the first off your free challenges for the bird volume of the blender modeling series. In your first challenge, I would like you guys to create a robot. So first and foremost, don't worry about the quality. This is a matter. Off practice makes progress. The more we practice, the better we get, since robots are tend to be quite humanoid in shape but also tend to be, especially the old models back in the day. Like decades ago, where we watched him on side fire TV shows, etcetera, they tended to be very simple looking. The vice is very simple looking objects made or simple, primitive objects, so it's a really good idea to start practicing, creating things such to wear. What? Because even if you're still getting used to something like Glenda, you can still create a pretty decent looking robot with the basic tools that you now have in your possession. You can use any tools that you've learned so far, so there's no restrictions in terms of what you can use. You can involve tools such as joining subdividing on insect, but remember, it's completely up to you, which tools you used to create your robot on. Also, you don't have to make it look human. You could make a robot off any shape and size. It's entirely up to you. The one thing that I will say, though, is get into the habit off, applying your location, rotation and scale values, especially your scale value, to make sure that your tours will work well, especially if you plan to use tools such as the bevel toe. Do that now guys on, then we can move on to challenge number two. 28. Challenge two: it's time for change. Number two off the lender. Morning Siri's volume free. This challenge is our whole inspiration. Challenge. Basically, for this challenge, I want you to have a look of and your house for objects that you think you might be able to create more goals. Four. I want you to select three of these objects on, then model them in blender. Use any tours that you want or any tools that you think you might need and remember to keep it simple. Select simple objects such as chairs, tables or TV's instead of more complex objects such as clothing or musical instruments. Keep it simple. Keep it fun. Keeping enjoyable on When you've done that, we can move on to the third and final challenge off the course. Thanks, guys, and I'll see you in challenge number free. 29. Challenge three: my guys and welcome to the final challenge off volume free of the blender. Modeling Siris In this challenge, you're going to create your first car, so I want you to create the car and you're going to be using your cube as your default objects on. I want you to model a car with the help of the extrude toll. I'd also like you to try and use the insect all to help create your windows on your car on to make things nice and easy, create the wheels separate, then joined them to the car. Ever fear joining or the A parenting, depending on the method that you want to use? My advice is when you are going to be connecting parts together, where you're going to have one part that you might actually impute shirt, move the animation and then the rest doesn't such as the wheels on a car. It's actually advisable to perhaps go parenting. Who are that Bannon? Joining parenting would be the more acceptable form off connecting the wheels to the car since, after all, they are technically two different parts off a single object, and you have one that can affect the other. So, for example, the movement of the wheels they can actually act is the parent. And then the car goes along with the wheels. You can also do other things. For example, you can bevel the edges of the car to make it nice and crisp and clean. But again, try and be as creative as you can when creating this. Thank you for taking the blend up. Modeling course volume free. I hope you guys have enjoyed it on. I'll see you in the next lecture. 30. Thank you: thank you guys on Congratulations Bore. Completing volume free off the blend up Modeling Siri's. So what can you try next? Well, you can choose any off other forces. If you would like to continue with the lender modeling Siri's, then you could try Blend up Morning Siri's volume for where we look more in debt into some of the additional tools that we can use when modelling in edit modes. Or perhaps you'd like to try our Blender Freedy Project course, where we learn how to use Blender more efficiently by actually doing long term projects so actually creating models for a purpose. So, for example, in the blend of free deported course, we have a project where we create an indoor scene for a popular robots. Thanks, guys on. I'll see you next time.