Blender create AWESOME animations! | David Jaasma | Skillshare

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Blender create AWESOME animations!

teacher avatar David Jaasma, 3D enthousiast and ofcourse teacher.

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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

15 Lessons (4h)
    • 1. Blender skillshare preview

    • 2. Satisfying looping cone animation

    • 3. Create a spooky cloth simulation

    • 4. Hexagonal loop

    • 5. Looping spiral

    • 6. Text animation

    • 7. Marshmallow toothpaste

    • 8. Create Dynamic snow

    • 9. Transform rigid bodies

    • 10. Metaball animation in blender

    • 11. Create a HYPNOTIC looping animation in blender

    • 12. Splitting wood animation

    • 13. Create animate spring blender animation modifier screw tutorial 3d motion graphic 3d

    • 14. Coin zoetrope

    • 15. Triangulated text animation

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About This Class

Learn how to create short animations with Blender.

I will upload multiple short tutorials on how to make the animation seen at the beginning of the lessons.

Your job is to pick the ones that you like, Create what the video shows you (and for extra cool points. throw some of your own imagination in there.)

I would love to see your renders so please share them with me, 

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David Jaasma

3D enthousiast and ofcourse teacher.


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1. Blender skillshare preview: 2. Satisfying looping cone animation: Welcome, and you guys are going to learn how to create this scene. I thought it was very satisfying and yeah, you guys might want to learn it. So if we look at the finished blender scene, you can see this. So yeah, the animation is quite simple. I literally just appended all of these tubes here to a empty and rotate this empty around. And then just it rotates and at the, Yeah, it's quite pleasing to the eyes. The light setups quite AC. This is a light in here, this cone I have here, here and here, and also lied, but I will go into that later. And yet we have this one background and that's it. So let's actually start with a whole new blend. The file biome. Here we are. And refers wants to delete the default cube. I like to add a plane and delete three of these vertices. Now we have one vertex here, and we want to use a modifier on this. So here into modify properties at modifier and we're going to add a screw modifier. So what does the screw modifier do? Well, if you go up in a Screw, you can see that now this vertex is being duplicated in a circular fashion. And then, yeah, we can screw it up. Let's say you can also change the amount of iterations. So you can go up here. She can see, you can still move the screw around, even the angle and all that shebang. We're not gonna play too much with this, but with the screw and iterations, we can change them. The screw, the size of the screw is actually quite important. Because if we look back at our render, it will determine the thickness of these tubes. So if you have very small ones that can also work, or if you want thick ones, you can just change the screw in here. How do you know if you get like fatter or thinner of these tubes? Well, what you're gonna do later on, we'll just grab a little cylinder going to scale down. And what you want to do is you want to scale it. They'll both these ends, like sort of bottom is going to be here and the top is going to be at the other points. So on round here. And now because they are going to be four of these tubes, you want to scale it by 2.5, so 0.25. so skill 0.25. and now this essentially this size we can fit four times in here. So if you like this size, then you should keep this amount. If you don't really like it and you want them to be bigger, you should put a screw size up and maybe use a little bit less iterations. You don't have to really make a decision on this yet, because first we're going to add a cone, okay, so go make sure in the middle, then mesh, add a cone. This cone, we're going to move it up. So g, Z one, so it matches up with this x axis hair. And now I'm going to move this up g, z one. So now our goal is that three of these blender units up. Okay, so now we're going to select the screw modifier at a new modifier. And the modifier is going to be the shrink wrap modifier as targets that we're going to select the cone. So it seems like it's gone. But if we hide the cone right now, you can see that hair, our screw modifies actually just shrink wrapped on top of this cone. So now you can still change the screw to whatever you would like. I'll maybe put it at 0.9 solver like death or 0.85. But I think this is quite good. What we have right here. If you're happy with this, you can go to object and convert this to a curve. So grown forward curve from mesh bam, the modifiers will automatically be accepted and now we have a curve. Okay, so if you go into top, you can see that it's actually follows this curve here. We have these arrows and this is the curve. Very, very easy, very simple. And for this curve, we actually have another tab here. The object data properties of the curve can go into geometry and chains from the bevel, the depth. So this essentially makes it thicker. And yet that is kind of how you get this full Luke, this just makes a nice tube, right? So how can we make this tube? Well, you can do it two ways. You can do it how I showed you first with putting a cube in there and then match this up with it. Or you can just duplicate this. Rotate said 90 degrees. You can see how much of spacing is in between these. So this is still a little bit too much. So I might put the depth a bit more up. Delete the second one and do this over with. It's set at 90 degrees. And now it's getting closer and closer. So I will even make it a bit bigger. Like this. It just playing around with it a little bit. Just sometimes Dad is easier than thinking about it too much. So once you kinda know the size of these and you're happy with it, you want to delete. You want to keep one of them so I will delete the other one. What do I do this? Because I want to make this straight part here. Right now. We don't have that yet, but it is quite easy. And we're going to select this part, the last vertex, x truth, so a0 and then z. And now what you want to do is we want to rotate this. Because you can see here that it is rotated a little bit, right? How do we do this? Well, you might want to start with the r, but you can see that it doesn't really move. So what I wanna do is I want to make sure my 3D cursor is in the middle. So shift c and we'll just jump in the middle. And I'm going to make sure my transform pivot point is a 3D cursor instead of the median point. So 3D cursor. Now if you go in the top, you can see what it's actually doing. If a now rotate this around the z axis, you can see that it rotates around this 3D cursor. So rather that a little bit, it doesn't have to be too much. And if you're happy with this, you want to select both these vertices. Click on w and subdivide it. Let's do it a few times, like three or four. And here we have some subdivisions in here. They're kind of the same length that it has a rounded like anyways, so you want to keep that in mind. And for this last point, I'm just going to move a bit up. So we get amorphous, move falloff itself, this very sharp one that we had before. So what I like to do here as well, make sure I give it as shade smooth. So if w shades move like to add an extra sub deficient surface with maybe the few ports set at two. Awesome. Now we can duplicate this over and over. So shift the rotate 90 degrees, shift the rotated set 90 and another dime shift Eva that's at 90. And here we have multiple of these amazing little tubes. So we have the 3D cursor in the middle. We're going to add an empty plain access. And I want you to select all of these tubes. Then as last, we're going to select this empty, click on entropy and then set parents to object. So now all of these tubes are parented to this empty. The only thing we have to, if the animation is we have to rotate this around the set axis. My animation ends at a 120 frames, so 120. And to set a keyframe, I like to click on I. And then just to rotation. Then at a 120 frames, I want to rotate this for 360 degrees, 360 I rotation. So now you can see that it will just rotate. The problem with this is you will see that it's quite slow in the beginning and the end and starts to speed up around frames 60, right? We don't want that. We want it to be continuous. Because if you make a gif out of this or whatever, you have just a continuous satisfying loop. So how do we do this? It is super, super simple. Let's very quickly go to animation. And instead of having this in the viewport editor type, I'm going to change this to graph editor. And now you want to select your curve here, which has been animated. Click here. And we want to change this from interpolation mode, wget to linear. So now we have an linear interpolation mode. And now if you play it, you will see that it is always constant. There's one very small little thing we need to change, and that is in 0, we are at a rotation of 0 degrees at a 120, we are at 360 degrees, but 0360 degrees are both the same. So in these two frames, it essentially stops for a little bit because those are at the same rotation. So what I like to do is I like to change my end at 119 instead of 120, because then we don't have two of the same frames in here, which makes it look like it stops a little bit. It is very, very small, but yeah, I like to change that. So now it's very smooth. Awesome. So. Let's get to a rendering is quite simple to randomness. I didn't do too much of it. What I'd like to do is refer camera, go to the front. So I'd like to just to go here into few, lock karma too few. So just move around. I think around here, something here with Luke goods during look garments, view off. And I like to put the camera in a better position. So select your camera is going to be 0. Rotation 900, just clean of these upper little bit, 00. It's going to be up. And here we are straight in front. So you can render it like this. There is a lot of empty space here. You can, of course, also just go to hair your output properties and change the resolution to do more of a portrait style. But that is totally up to you. I'm gonna do it for this right now. And we're going to use a nice background. So I'm just going to use a plane, rotate it, move it backwards, scale it up. Oh yeah, our visit points, I'm going to move back to median here. And then we have a nice backgrounds. So the materials are going to be quite simple. It's got two shading. I am going to select this. Yet backgrounds, click on new. I just deleted the principal shader and edit a diffuse shader here and is diffused shader has this hex code. You don't have to copy it, please try some other colors, but I know some of you people really want to copy everything. So yeah, that's the hex code. And yeah, that's easy. Now we can go onto this material. This is going to be a little bit harder, but it's still going to be quite, quite simple. So click on new. And I don't even share what the college jelly or rubber. But let's do jelly. And then orange. So now I'd like to put my principal shade it backwards because I know I'm going to put some extra notes in between here. Here, I want to change my base color. So it's going to be this hex code. It's just going to be an orange. Don't be too worked up about it. Then roughness at 0.4. And I like to put the transmission up. 0.98 worked for me. Now, I'd like to add a mix shader. Here. Here I put a translucent VSD f into the outer part of the mix shader. Distance loosened is going to be this color. But then I like to play a little bit around of the hue and saturation. So put a bit more to yellow and then it less saturated. That's totally up to you. Of course. You can also put it a bit more brides or this one a little bit darker, but that's totally up to you. I don't want this translucency to be too overpowered. So I put this FAQ at 0.2. Now we can check it here with a few pots shading. The problem is we are inside EV. I personally like to run a recycles, so I got the cycles and Yeah, we have a material. It's quite hard to see because we don't really have a light in here. So how do we do this? I personally just selected the cone, and this cone is going to be my lighting. So I'm going to click on new On the cone. Let me actually hydrophilic new principal shader is going to be deleted in here and is going to add an emission node. Emission goes into the surface and we can put strength for a little bit up. I'd like to give this a shade smooth. And we also have to put the cone and little bit down here, just this top vertex because I don't want to see it in my render hair writes, I only wants to light up the inside of these jelly bits. So let's look how that actually looks. And here you can see that we get some awesome lighting in here. It is a bit too much in my opinion, but you can see what the material is doing. So you can just select the cone. You can change the strength to whatever works for you. Display a rounded a little bit, but that is kind of how I did this kind of yeah, lighting. And now I can also see the material a little bit more. I am liking what I'm seeing. But the one thing that we saw in our render is that we also had a few of those small little specs. You can see the specs here, this little glitters. So we're gonna make some Greatest as well. It is actually very, very simple, but this is a fun techniques. So I like to just describe this mixture and just add a diffuse shader just so we can see what we are doing. So this diffuse going through this surface, and then we're going to add a Voronoi for whatever photo neu texture. And this distance is going into the color of the diffuse. And we want to make sure that scale goes a little bit up. But you can see what we're getting right here. So let's put it at 200 thousand for right now. And you can see it. We have yeah, kind of specs, but it's not really as defined as we want. So I'm going to put a color ramp in between here, colorRamp. And I'm going to move these a bit more close to each other. And you can see that we're getting the specs. I personally like to do it the other way around just so I yeah. For some reason we have white. I could see it a bit better. And the more you put it to the left, the smaller and less spectra are getting. You can see here, the more you put them to the right, you get a bit of a bigger glitters, graders or specs. I'm not sure what the column yet. Let's call them glitter sexually. So yeah, I'm quite happy with this. Amato puts a whitepaper left. Yeah, this. And what I like to do is I will make sure it is greatest are actually very shiny. So I'm adding a glossy node in here. Glossy goes down here. Then itself, this diffuse, we're going to add another mix shader, mix shader. We're going to add this whole shader and then add a glossy. Now you will see that this probably looks quite weird, right? But if you're going to add this color ramp and it's fallen one texture into the fact you will see that they will get separated. So the white will only show this glossy parts and the black of the colorRamp will show this shader. So here we have our little specks. Very, very nice. So jelly orange, you can essentially give two of these, the jelly orange material. And for these other ones, I like to select also the jelly orange, but I like to click on here so you duplicate your material. And this is just going to be Jelly breadth or whatever color you choose. And then you just change the base color is going to be a bit more reds. I'll say translucency is going to be a bit more orangey. And here you can see that we can give these to the jelly red. And here's essentially what we want to create. So now if you play your animation here timeline, you can see that we are rotating everything as it should be, and we have our materials for the lighting itself. I literally just did. Yeah. A light here and light hair right here, right here, play a little bit 50 slides. They, of course, every light has to make sense in your scene. Otherwise you just playing around with randomness. You don't really want to copy me. You want to look at the light and see what it does. But I don't think I have to go too much into detail into debt, but this is how we created it. I would love to see some of you ran this. I would love to see what you did. Maybe you used to weigh different materials. Yeah, I'm just very excited. I hope you guys learned something from this. If there are any questions comin down below, and that's it. See you guys. 3. Create a spooky cloth simulation: Okay, guys. So it's time to make this spooky ghost you just saw. And we're just kind of the latest main cube. We're gonna add a plane and hair, and this plane is gonna be our ghosts. So I want to skill the bit up a skill. Times two. Let's get to some Some deficient because the cloth simulation doesn't work without sub deficient. I'm going to give it quite a lot, actually. Um, I think 16,000. It's a lot of baking as well, but it also gives us a bit more quality with the cloth itself, plus the the shapes that they have to put in hair. Um, let's get Let's give this a name ghost. Let's add a new plate in here. We're going to scale this up, and it's gonna be our collision. So I'm gonna move our ghost a little bit up. That's give this bigger playing a collision. So here into physics and at collision. And let's put this on cloth. So this coalition just makes sure that the clock doesn't fall down. What I'm not want to do is I want to add a UV sphere. I'm going to give us a smooth shading of food is a bit down and also scaled down Quite a lot is gonna be the face of the ghost. So I want to animate this at around frame 10. I'm gonna put a 50 a location key frame and then around frame 80. I'll put this fear up so I'm wrong here. E location. So let's play this for around. You'll see that around Frank Dan. Our sphere will start moving and then it goes up. But it doesn't take our cloth with it. And this because this is not the collision yet. So let's also make this a collision. And let's start again from zero. And at Frampton, our balls are sphere starts moving. What happens here is it takes up and we want to make sure it leaves this. If you wanted to make sure it goes high enough, which, in my opinion, it might even go through high, so I might put it a bit lower. She wanted rather just go out frame 5th 80 put it a bit lower and then insert location key for him again that I will just replace the other one and you can select the close simulation give this a smooth shading. And also make sure the coalition also self collides. And now the cloth will collide with itself. This will for sure take longer with rendering. But eventually it will look more realistic. And it doesn't go inside of the charter, which could be quite annoying. So the only thing ever missing are the eyes actually in the mouth. So I'm going here. I'm gonna hide our coalition for a little bit on. Let's look, and I'm gonna add a circle, move the bit up and the circle is gonna be our mouth, and I'm gonna duplicated and also make an I here. So let's mirror this. I going to hear mirror, and we're going to select this this woman, this ghost plane here it's mirrors. So let's go into our plane right now, and we can see what we want to select. So I'm gonna select all the way over here. These foresees, um, minus this and these in hair. And then, of course, also these in hair to lead them, and we want to make them circulars. So going to select this whole loop with all and click go to mesh, transform this fair and Now, whenever you move your mouse, you can see that it turns to a sphere. So this I want to be all of a spherical, And then this match loop around here, I'm also gonna make a spherical, but a little bit less so, mesh, transform sphere and then some around here. Awesome. I'm gonna do the same for these. And instead of every time going to match transformative sphere, you can also use shift. All s so shift all s awesome. So let's take an old age to get everything up and let's play this for a bit. Now you can see that the little Ghostface starts to pull up, so this works great. We want we also want to make a little seen around this. What I did is I am. I just gave this a nice material. So if you go up here on, let's grab a shade editor in here, give us a new material and add an image picture. Gonna put the scholars in the base color and I'm gonna use floor tiles. You can get them down in the description below There for free. Um, get this diffuse. Never gonna add our speculator, our roughness and, of course, our normal map. So just got another image section here. Normal map notes gonna go see the color normal goes into the normal, and we're gonna add our normal on this color space is going to be a non Qala data. So I've gone through a material notes you can if you go into our materials shading. You could see that this squad big if you want to scale this a bit down. If you want the styles to be a bit smaller, you can just do a coordination. No, you can't dispute a texture coordination held in here and a mapping note you fee goes into the factor and we can just apply this factor toe every single one off these imaged lectures . And here you can skill your lecture. So let's give this material name floor and I also want walsum hair. So what I want to do is I'm just gonna grab a cube, skilled a bit up and then delete this Bonaparte here. I'm gonna move these furnaces up, and we, of course, want our camera to be inside of here. So I personally put this a little bit back just so I can put my camera inside, and I will do that hair with the few. You can look Armato Few and go inside of here. Very, very awesome. I don't want any light to shine through the bottom, and we can do it very quickly. Just adding some actual geometry down here and fill this up. This I know it's a little bit ghetto, but this is gonna be good. And these sites I want to separate soapy selection. And that is because I want to give this another material. Okay, Don't Doesn't matter. We're not going to see that this part in the back we're also not going to see, but were, for sure going to see the sides at least one part. So what I want to do is I'm gonna select our floor material and this click on the two, and this is gonna be our wall material. So we duplicated it, and I'm gonna put instead of these tech shares, I'm gonna put different ones, which are gonna be the castle brick. So just put the diffuse. We don't have a speculator in this one, so we're gonna ignore that we are gonna put a roughness now than hair And of course, our normal. And you can see here that it looks a little bit weird. And that's mostly because we did not You ve on rapid. So I'm gonna select this actual appear country a mark seem like f ring you and unwrap And you could see that this is better And this is rotated a bit weird So you can change this a two ways You can change the rotation hair Is that access to 90 degrees before you do it in your your feet Map itself. I think this that excess might were good, but it must be minus 90. And that this Ah yeah, that's birth right now. Okay, So let's give our ghost of material select the ghost hair and Miguel's Give us the name ghost and I just want the sheen to be up. This makes it looks more like a cloth. It's gonna be a very, very, very basic material. Guys put a mixture in between hair and at a translucent shader gonna put it in here and put this fact 2.3. As I said, it's very basic. And for the sphere here gonna added call, it's fear the leader principle Shader and just add a mission. So Mission Shader goes in here and here can choose whatever color you like. So I did a little bit more yellowish orange and put the strength of it up to two. So what happens is this gift life and this underneath hair we gave a translucent cheddar So it also shines true plus a sheen which makes it looks more like cloth. So it's Ah, yeah, very, very basic. But it's fun if you want to, you can make your head a little bit bigger. That's all to you. You can change the size to whatever you want and the only thing that I did is I went in here and added a window this face and you can choose whatever light you want to shine through here because we're gonna render in cycles instead of E V. And if you can see that in cycles, it's quite dark and we want to light up the scene a bit more. So I did it with in two ways. I put this lamp a little bit down here and gave it notes. So now we can changed the fell you off this and you can look in your few appreciating and change these notes. Of course. Don't put it too high. In my opinion, this is way too high. And it depends on your scene because sometimes it's not enough. Sometimes it is enough. So this is a nice I want still want to keep it a little bit dark? I want this has to be the main a mission in the scene. So maybe even loan on this 0.5 and go into the world settings and put an environment mapping hair so environment, texture go color goes into color and you just opened in the moonlit gulf. So here we have light from outside of her scene, you can see that it creates a cool window effect, right, But it just doesn't end up very wanted. We wanted more hair so you can do this a fairly easy with a mapping note. And the texture coordination knows generated goes into the factor. And now you can change your rotation. So display around a little bit. You just got to see what it's doing. So this is going to wrong way seems to go to ride way you can also play a round of auto values because some darkness hair will be cool and also in the back. This is still a little bit too bright for me. So I'm gonna put this at the 0.15 Something like death. Just want a little bit of light. Yeah, this looks very cool. So this is essentially all of you need to do. I'm gonna save it for very quick. And we also have to say fifth because if you go into your ghost here in your cloth simulation, then you can see that we have a cash and you can't bake the cash before you saved it. So let's bake our cash right now. But we do not want to beg at 250 frames, I think around the 150 frames will be enough. And also, Orender can also start with 150 frames. Right? So we can bake this. Okay, spherical. So you can see now that goes from just in our plane towards a ghost. By the way, if you want your face to be a little bit one from than just you can essentially just place this one of it backwards, right? Place this, um, sphere of it backwards. So you need to go to Frank, then g. Why? And then insert location and then the same at frame 80 also moved a bit backwards. This old just put a face My front essentially Also, you can play around with the close. Something's themselves a little bit more like are a little bit less the stiffness. So it all falls down a little bit more, but those are optional. And you can play around with that. How much ever you want. But this is the These are kind of essentials. Um, so we have our lighting. We have our materials. The only thing that we do not really have It's our camera moving with our little ghosts guy . And we, of course, also want to render This is an animation. So the first thing that I want to do is, um I just want to go into our cameras, set things here and go to a few poor display and composition guides. So this help us with the composition, I'm gonna put center, and I just want to center everything a little bit better. So around hair and we're gonna keep friend this at frame one once hero. So look, right, scale. And then and run from 80. We, of course, want to see our whole guy. So I'm gonna move it around here. So I want our camera to end up in this frame e la carte skill, and it will end up at from 80 in this particular location and will stay there. Awesome. So there's one thing, though. If you play this, you can see that it starts moving a bit too early. So you can just move this one a little bit around the case over to frame 40 and that this will just make it move a little bit less so. So, yeah, you can just essentially just change for if you want to skip friend Toby. And if you want to render this go into your output settings hair and choose a folder, I'll personally just create a whole new folder so great a folder, Call this folder ghost animation or whatever, something I death selective and then accept. So now every frame that you render will be put out there Folder so far from a P and G s all the way. Good And if you want to render it, just surrender and rendered animation. That's it. Guys. I hope you guys learn some from it. Please visit my website. I got some cool stuff in their free stuff on and yeah, thank you. 4. Hexagonal loop: Okay, so we're gonna make this scene and yeah, this is kind of how it looks like an end. It was really cool to make. It's quite easy as well. And it's quite different than the park system. We're actually going to use hairs. Late Rome eso Let's just jump into blender and start creating it. So first we're gonna do is is to leave the Cuban the lamb. We're gonna add a plane. Let me also put my screen Koskie's on and we're gonna certified Explain. So you edit mode sub fires up the fights up vote. Still, we have 289 for disease. So we need this because we want to spawn all the hexagons on a particular forsee. So let's get our hexagon in here. We're going to do that with a circle, and we're gonna give the circle six foresees gonna move the circle little bit up skill down and then just x truth around the set Access extra again The night it's right, click It snaps back into place and I click on all m and at centre. So now they're merch there. Cool. So we're going to give this a particle system, which is going to be the hair in this case on, That's the offense. Just because you have also have rotation in here then as well. And first I want to do is we want to give the number the same amount as the first easily behalf, which is 289 289. And we want the source. We want them to admit from our foresees, okay? And we do not really wanted in a random order. So now you can see that it's very yeah, great grift like So let's render here going to render and do the object that we have, which is this, and that's like the rotation. And we're gonna do this at none. So we don't really have any irritation. And if you now look at the top, you can see that Well, we do have our hexagons, but they're not really lined up the way that we would like to. Um, first thing would be the rotation. I want to rotate this from 90 degrees around the set access and you can see that nothing off this moved with it. So if you apply our rotation, then you can see we actually have our rotation. Um, if I skill this up, you can make them touch each other like we want to. It looks very cool, but you can see that every row kind of works. But then in between, it mess up and we need to change this with the first ease off the plane itself. So I'm going to hide off the sparkle settings for night now and we need to play around with this. So I found a way to do this and that is just, well, very easily said. It's just move in this tourist of X axis. So if you now play it, you can see that it moved up. I did a bit far, of course, so we have to find a way to put it perfectly in the middle and the way it's very easy to find, and that is literally just look for this, for to see which is next to the middle going to the item and that is 0.1 to 5 meters. So we Skopje syrup on 1 to 5 and now we're going to select every other. That's loop and move this around the X axis so I'm just gonna based are syrup with 1 to 5, but one toe. Have this in half, right? You want not to move it. One one unit up about half of it. So to find out by two that this 0.6 to 5 and you can check it also, if you just select these, fill them up and then some defied You can see that the middle of it is exactly where the middle off our little foetus. Yes. So, uh, that is good. So now if you play it, you can see that it matches up way, way better. The only thing that it's kind of messed up is that because we move this around, it's not really a square anymore. Eso We just need to scale this around the y xs do. It fits together. So yet this would be good. Awesome. So here are all off our excellence. But if you played, you can see that nothing really happens. And this is why we're gonna use a modifier. We're going to use the displacement modifier here, and we're gonna use a new texture which will end up in this section tap. And we're going to use the type, Ask clouds so we can see that the texture is for sure moving around like it's for sure using the displacement. But our hexagons are not working with it. If we go to the modify step, then we have to put this displacement before the particle settings. So put it up, and now you can see that everything moved. Awesome. So now you can play a little bit around with the strength of this. Yeah, you could put it lower, or you can play around with the cloud picture itself. So if you want if you the size off for a crowd texture, you can see that we have a different kind off displacement in here. But if we play this, you can see that really nothing happens. And this is because we're not moving this displacement modifier with anything. So I'm gonna go and add a empty in here, so shift a empty plane access and if we go into our displacement on the fire, you can actually read texture coordination from local toe object and we can select are empty. So if I now move this empty around, you can see that are hexagons also move around. So now you can still change the cloud texture and all that stuff and just try around some animations, so this is very cool. But how do we make this loop? Because you can see that it might be very hard to do this. And what we're gonna do is we're gonna add a girth in here, which is gonna be the circle. So this circle kerf so I'm gonna hide are playing for a second just so we can focus on our circle. And what we're gonna do is we're gonna make this empty move around this circle because every time it hits this point, it just loops. So it keeps looping around the circle. So, um, yeah, we have empty go into hair object constraints, and we're gonna follow path. So now this empty now. So now we need to seduce a target, which is gonna be the business circle. So now we only have to any made our path. And if animated, you can see that it will just full of the skirt. And every time it will just follow the skirt, you can see that at 100 frames it are already loops so we can essentially make this 100th. But if you go to your curve, you can also change your path animation and do the frames to 200. Ah, I was just gonna do 100 right now, so it's a bit more. Yeah, symbol for us, right? So ever gonna get our plane in here? You can see that we have a looping animation. Very, very, very cool. As I said before now you can also change the size and you can play around with this animation. Right now, it's animation looks a bit faster than what I've made, and that is just because we have less frames. So the way to do that, it's just select our path animation, put France to hundreds and also the end of 200 and now you'll see that it will take a longer time, which will make it looks slower. So let's get a little bit more into the materials for this particular ex agan. First, I'm going to give it also the name Hexagon, and we're gonna make this the black one hex a gram of black, and I will get a new screen here, which will be our shade editor, So I essentially made a very easy material. So let's go in here hex Black and I gave this a quite a dark color. So around the hair, not all the way black, a metallic and the roughness I put all the way up at zero. So this was my black car, and it's already looks way, way better when I also did is actually changed the geometry a little bit. So I gave this some Bethel's. So if it's like everything, so if I select the stop part, control be and just give it three battles, this is good shades move. I used all systems modifiers. I put a bever modifier in here with a little bit more segments and angle I put at 30 degrees, and the with can be a bit smaller somewhere like this, and also a nice subdivision in hair, just to make it a bit more smooth. I duplicated this and gave this duplicates another name, and at this hexagon gold duplicated discolor hair and also renamed its to gold and put this base color too, this hex code, or just watch the yellow orange gold. And if you want to render this you can see that where we can hardly see anything. This is because first of all, I want to be in cycles. You do not have to be in cycles. I just like Cyprus a bit better than iffy. So I jump into cycles and I go into the world's and add an environment map. So environment picture cola goes into the color and we're gonna choose our age dry, which is gonna be our music hall. And right now, if we look, we can see some wait. Nice reflections happening. So let's also put our camera in a better position with number zero Do look, camera view, and I'm gonna move into our scene. Personally, I put the strength off this a little bit lower and let's look at our animation. As you can see, we only have black ones in here right now. So what I have to do is select these both control G and made a group out of them, which is a collection. And this is gonna just be hexagons select are playing again inside off. Our particle settings were gonna render s collection instead of object and choose our hexagons. And now we can use account, so I don't want them to be half half like half gold, have black actually wants for every six black ones. I wanted to be one gold one. So let's look, and this looks way more interesting, in my opinion. But in my end result, you can see that we know we don't really have a lot of reflections in a top off our hexagons. And this is just because I put a huge planing hair so plain move it up here, rotate a little bit. And this plane is gonna also give us a little bit of flighting. So we're gonna make this a limp, go back into the object, and we're going to give this a new material. Um, well, no need to name it right now. You're gonna believe the principal shader and at an admission No than here. And we're gonna put the strength of the lower maybe 0.3 and let's look at our render here and now you can move around or even skill up your plane as needed. This everything that we have and that is how you make the seeing. If you can render this, make sure you put a new mapping out both and render it s a P and G and then just go into render and render animation So every P and G will be out both inside this map that you've chosen. Have you guys learned a lot from this? And let's go into the next part. 5. Looping spiral: Hey, guys, Before I start, I want to give a little bit of a shout out to CG shortcuts. Hey, works mostly with cinema four D. So C 40 and I just loved us videos that you can see this in a lot of inspiration done by this recent video from him. And I actually want to build upon this. This is not just I don't just want to copy what he does. I actually want expend this, but yeah, to be able to expand on this, we need to make this one first, right? So for sure, check him out. He makes also stuff. And let's get into this. So how are they going to do this? And Brenda? Well, let's delete the different cube and that's at a circle. So after we have to circle, we need to add a screw modifier here. So the screw on the fire looks a bit weird right now, and it doesn't really screw or anything. So let me show you what it us in. We're going. If you're going to edit mouth, you can take a tap. Just move this away here. So now it's screwing, but we do not want to screw around this side, actually want to screw it? Well, here, that's very better, right? And with the screw we haven't. Now it's zero. And that's why just goes around. So it's kind of a doughnut right now, but if you screw up, you can see that actually can get this screw going. So if you just do the angle a bit higher angle, you can see that it turns multiple rounds. So it's like 360 times for so now it makes four rounds, right? The steps are obviously nothing off, so I'm gonna make way more steps in them because we want it nice and smooth Friends so steps. You can also go into your by a friend. Multi city, How many steps you are taking and I read 1/2 a little bit too much. So, uh, 20 steps from you spray. So I'm just gonna delete all the furnaces except one, and this seems a little bit counterintuitive, but it will make sense later on, so we can also choose how thick we want this. And this is essentially the inner side. So if I look at the photo shop, this is like this inner in a one here. Okay? So choose how big you want it, and you can just go into edit both and move it around in certain access. Okay, so I think somewhere around hair with the cool Yeah, that seems OK. And we can also change the height. So if we actually have a certain heights, So let's do five. And then James, everything according that again. So maybe it's a little bit smaller, something like this. So now we know it is five high. So this is five units, right? So let's duplicate this. Never gonna call the 1st 1 The inner spiral and the duplicates, the outer spiral. How do we make this out of spiral to go more out? Well, it's quite easy, actually. And that is we need to add a make sure you in the middle but away and add lettuce. And this Let this is gonna move around our our spiral. Okay, so I'm gonna move this around the set access for 2.5. She's at five, and now it's perfectly in the middle, and I'm gonna skilled up. So just so everything fits inside a skill around the set Access also, everything fits inside. Okay, Doesn't have to be specific. Just make sure everything fits awesome. So this is a lettuce, and if we select our outer spiral and I'm gonna hide off my inspire for right now, But if we're constructing artist Spiral, we can also give this a lettuce, deform a mother fire and select the letters. Now, if we move this letter, surround someone selected, you can see that everything inside will move with it, okay? And we want the inner wants to move out, but you can see that we cannot move it. So if you actually go into hair, you have a new little step get with the resolution up. So I'm gonna put the resolution up for every access here and now we are to have the ability to select the middle one and scale it up. But if you screw for a top, you can see that also gets squished to get. It's quite hard to see, but I think it's very every select off the outers ones, like in the middle, and then skill them up a little bit. So just so we have more of a wrong impression, and if you want to be very sure. You can always add a ceiling in here and just use Eustis s are? Yeah, just our as our reference. Don't get nice and round again because it did make it a little bit less round, which is, um, yeah, less desirable, in my opinion, Hell did made sense. Gonna lead us again? It's round for us right now, so it's perfect. And so if we are gonna make our inner spiral active again, you can see that. Yeah, we have two different ones, right? And I think I'm gonna make the outer spiral a little bit bigger cell. So we just select off this skilled up a little bit like this I want I want to do is I want a merchant together. But there is one big difference here, and that iss are and had this for a second are out of spiral. Should go the other way around right now, it just goes the same way around, and we don't want that. So if you go actually into our modifiers, you can change the screw instead of minus or in set off 1440 to minus 1000 for 40. So just do minus in here, and it will go the other way around. Awesome. So now we want to match these upright. But they are, Yeah, they're too far away from a charter. So if you accept, if you go to your lettuce again and if you're gonna and let's select a top and a bottom plane, nothing, they don't. Then skill and shift set. Okay, Bill shifts up. It doesn't really show it for some reason. But I'm going Skill chef shot because I don't want them to move around the set access. That's the only reason. And now I wanted to move until they touch charter and you can see that the touch each other quite weird, but around this is good. Awesome. So now, for outer spiral can apply the screw and the lettuce. And also for the anyone I can apply a screw. Okay. So I can go about the lead this letters for right now and join us two together. So I've sect on both of the control J. So right now I want to merchant together. Right? So what we want to do now is I'm just gonna select these two hair and you could do the vibe from other insect in both the same time all and merch at center. And also here at the bottom is to the same state of my friend moat. Select involved all merch at center. So you can see that they obviously make a sharp point downwards and we don't want that. So now just selected the top one on the bottom one and just skill them around the set excess for a little bit. So now this one's skills down on this one skills up so they above go in the right way. Awesome. So let's say this is what we want. Then we can go here, and we need to give it some thickness. Well, if you said like this and go toe object, you can actually go to confer toe and we can confers a curve from a mesh. So now we have a curve instead of a mesh, and we have to have needed to hair and that IHS we can give this curve a thickness. So you've got the geometry you can actually give the bevel and some death and here and show you what it us. This gets off the bus, The death that we want I was gonna get with smooth shading. But here we have our forms. So I want to make the bit thicker. And I will do that Points 18. Awesome. So if we make this at Michigan object and then comfort mesh from kerf now you can see that they have a Michigan. And if we go to our front few fiscal to side few and select the lowest point taken going through a and mark seem make sure when you're markets seem you hold all to select the whole edge loop and I want to give this a seem and also this born in one country mark seem and weaken Go slide this out and get a UV editor and hair select everything with a you unwrap and conceded they have a nice on rap hair. Awesome. So why did I want this? Well, if you're going to shade editor, you can add a material and we don't want just a regular material. We want toe with a Kola ram, and we need to teach this to show the scholar ramp on which access we need to go. So we knew a technical ordinate note in here. And I all also always like to do a mapping notes in between hair. Just so have a little bit more control. Put this factor in the fact here and remember we had the texture coordinates. We did you fees. So the EU fees going here? So now what you can see is it goes from black dark here, Still white. So it just goes all the way over. And that is our goal, Aram. So we don't want black. Of course. Let's start with a nice read. So I'm just gonna go here. Aren't you being put the red all the way up? I also want to end this on breath. Okay, so I'm gonna put this also to breath. Okay? So I'm gonna add another one, put this toe points future to tree, to tree and at another mouth and put this before in succession. And let's get the 1st 1 a color. I'm gonna do this green, and the 2nd 1 is gonna be blue, OK? But you see that it ends already at green here and we don't want that so you can do this a multiple ways. You can change his multiple ways on the way that I like to do it. It's just changed Scale off your your fee maps. So right now it's red again. But there is one problem. We have a lot of rep now in our scene which might not be desirable. And if you put a red at this point where it just always a bit higher now you can skill your mother live it down, and you can see that both sides go towards this point here. Where are you ve ISS? It's a bit hard to explain, but it's just playing around this red fell, you see. So if I play around the for the little bit, you can see that now I kind of fix it. And if you want more rats, you can just put the eggs a little bit lower. I can see that I had some troubles. Explain this about editing. Just the thing that you need to do is in the bottom. There s a seem and you want to make it all right. So the scene disappears. Awesome. So I personally like this, and the only thing that I want to do is I want the Russians to be all the way up, and that's kind of it for the material. So now I would like to go into cycles and I want to add an age your eye because right now it was okay, but it doesn't look the best. So the first thing I want to do a someone of lead, this light And now it's all dark and I want at an eight year I So if you go to the world and do an environment action here that you open the azure, I I'm gonna open our studio small. And now let's put the camera in a little bit of a better position. So I will be, is gonna put that 00000 and now rotated and move it wherever I want the sun around here. Okay, so now we can check it for of seconds. This looks decent. There's one thing that I want to change and that IHS, I want this to be a little bit brighter. And also when I rented this, I want to give this transparent shader because I'm just gonna put put a nice black background in their energies that do that on both shop, and also we want to give this a animation. So if you go toe the timeline slide on out hair, go the timeline and let's start our animation at frame zero. So let's look into our model hair. And if I click on A can, insert a key frame and we'll do the rotation. And then if I wrote that this So let's say it's a frame 60. I want to have to rotate it for 360 degrees. So if you go to item, you can also do it here. Rotation e an insert key frame. So there's one thing. It's very cool, because if I know what that 60 it will just keep repeating itself so it will go rotate it and rotate bus. There's run thing. In the beginning, you can see that it goes from slow, and then it goes fast hair and then so's down again here around 60. So how we change that is if we go into hair and grab a graph editor, you can see that we have our graph here and let me make this craft a little bit slower. Smaller was with control. You can see that this is the graph of the animation. It goes from slow and then let go stable for a bit and then dims off again, as we saw right goes from slow and this is a normal speed, and then it's slow here. So if you select involved for just A, you construct them, both go into key and changed into relation mouth from beige linear. Now you can see that it's a linear line. So if I play this, it will go the same speed all the time. And because frame 60 and frame zero are exactly the same, it seems it stop. It seems like a status a bit because it has the same frame. So if you start with that frame one or ended at frame 59 then you can see that it just keeps repeating itself the whole time. Awesome. So that's busted for this little tutorial. I have way more free stuff on my website right away, so police check it out. It's critical. Um, I'm making also paid courses that I put a lot of time in the fall into So you guys next time and Pooh's 6. Text animation: Okay, guys. So you will learn how to cut out this letters out of this shape. Awesome. Right. So let's just start with shape. First, I'm gonna take on X on, delete this, and that's gonna shape in here. So I like to do it with a mesh and reduce the cylinder on the role Davis around the X axis for 90 degrees. And now I want to lead this these faces hair and then this in the bottom, and I'll just expand this with control, plus still around here. And that's the ladies awesome. So I'm also gonna delete these hair and that will make us able to use a mirror on the fire . As you can see up with clipping on. I'm just gonna extra with this part here. And this just has to go as far, like not as far as possible, but just to let us need to fit inside here. Right? So I'm gonna click on seven to go into our top few and scale this around the Y axis for a bit around here will be good. And now my next goal is to create some extra etch loops. And this is because we're gonna cut out our letters and they didn't some edge loops to actually work like otherwise. They're gonna look very weird. So let's get some exception here. And I'd like to do a lot. Just tried to make this a little bit square. Okay, here is well around the same size and this seems OK. So now we can apply our mirror mollifying. Make sure the clipping is on the I like to do a shades moving here and add a text. So when you add a text, it's just with shift. You have a text hair. And when you add the stacks to have a new option here, which is the object, the other, but especially as you can see the AIDS for the text so he can change a lot of stuff that's first put a text in. So I personally did happy. We cannot see it. So I'm gonna move the bit up so we can actually see it. Happy blender Day. Awesome. So, as you can see, this is not really what the end result looked like. So the first thing I want to do is put the alignment from left to center and the centers everything. And now we're actually already very far. We just need some thickness in here, right? So if you go to the geometry, you could extrude the geometry, see, So this gives us on thickness. You can also give this and offset if he wants to make it a bit thicker. But you can see that some lettuce, it will create some problems, so I'm not gonna do it right now. And if you do want and not a phone thing here, you can always click on the formed option and open another form. You are also able to create a devil in here if you like to, but it's how optional. Just like the spacing. You can also space everything. So let's kill this a little bit down. I'm gonna move this. What's the bottom? And my goal is that these letters go through this whole plane. Okay, so you can see that it goes through here. If it is, if it doesn't go true on your model, just extremely, a bit further. So what we want to do now is we want to cut this out off the plane. So let's like our plane and we go to modifier and we're gonna add a 1,000,000,000 modifier . So a 1,000,000,000 modifier makes you cut out things or at stuff extra on top of your already exist in geometry. You can see that the object is not even. We can see the object also with the two, it will not select our text. This is because the Texas not the mess yet. If we click on the text and goto object, you can actually go into here comfort too. And then vicar comforts to mesh from girth made a surf or text, which we have. So let's kick that. And now it's going to top. You can see that this is just all a mesh now. Awesome. So let's go back to our plane and we're gonna select our text. You can see that some weird stuff happened here. If I actually hide off my text for now, you can see that we cut all the true. This is good, but we don't have one of these holes in here, so I'm actually gonna go into edit mouth, select all the furnace, ease extra this a little bit down around the set access and then the skill set zero just to make it flat. So now you can see that we don't have holes, but it's actually still geometry down here. Another thing that I do not really like is that Yeah, we have these weird forms around here and we can fix that with two things. First thing we go into the object data and we're gonna change normal toe out smooth. This will already make it look for a way cleaner. But we still have some weird things happening here, right? We go back to our modifier and add a sub deficient surface. I want to make sure that the sub deficient surface goes in front off the 1,000,000,000 and now we have a way cleaner mesh so you can see that some letters are missing. Now, with just moving this up or down or making this text a bit thicker could change a lot. So skills that zero and sometimes moving it right or left will also work. If that doesn't work, you can always put the subdivision service a little bit higher because it could be that the program justice annoyed with that. So move it to whatever you like, and I personally like this our faith. Our letters are Karl's perfectly, and we can see all of them. So now we just have to give this a color. I like to do this hair going to shade editor and I personally just did in new material base color off course orange because blenders, orange and the roughness. I think I kept at 0.5, but you can change the whole do however you want. I like to delete this light hair. I don't like it and I want to add an environment mapping here. So if you stay into the shade editor but go from objects the world, you can have a environment picture in here, violent that share. And we add this musical texture in here, and you can get this texture if you look down in the subscription. So here it is, and the only thing we have to do is put a camera up toe wherever we want. So I like to go to zero, which makes us jump into a camera. If you click on few and actually do look karma too few. This creates all these red little lines off the adults around the camera and this. Make sure that wherever we look. Now, our camera move with us. So I would like it to go from here. And the only thing we have to do now is animate this. So So at frame one, our animation begins. We're gonna move this over here, and I want my plane to be all the way inside. Still So inside the camera for you, and then I'm gonna take on e inserts key frame to location, and at the last frame from 50 we're going to move this around again. So g x, what's around here? Still want this whole plan to be in few? Hey, instead of your frame and location Very cool. So if you rendered now, you can see that are lever still end up in our scene, right? We don't want them to be feasible. So I'm gonna do the text here, And if you're going to object that then you can see in the fizz ability you can show inventors and turn it off. So what will happen now is they will not show the readiness, and you will, just to your got out very, very cool. So this animation and it is very easy. I hope you guys are gonna love from it. And I'll see you guys in the next part 7. Marshmallow toothpaste: So we're going to make this scene and we're actually going to use quite a lot off modifiers . If your total beginner, I think you can still follow it, but it will think you're a bit longer. So this might be a little bit more cater to people who already understand at least all the modifiers and just gun model out of themselves. A few basic stuff. So the first thing we're gonna do is we're gonna model the toothpaste tube here. I'm going to use a different end here on you can see it in video. See, it's very, very basic. So it's not the heart and this a texture you can download underneath. So let's get us to the side. And first thing we're gonna do is let's just create a cylinder on. I'm gonna get rid off this face and this face and just extra this to the top, skilled up a little bit and on skill of rounds of the X access to make more flat she can't see. And let's give this subdivision surface here and also a smooth modifier just so we can get the first shape down, right? Um, I might put them a little more together, and I'm gonna fill this up so and I'll keep these ends apart. Okay? Don't fill them up yet. So I'm gonna fill thes until here. Then I'm gonna create another loop. I'm off, the better the tops of Giza. And I'm just gonna fill these up with triangles on the evidence get for triangles. But it's not that now. It's a very basic model. Very, very cool. Um, so now you can change the size that you want. We're not going to see it anyways like this, And so don't too much time in it. But you can always add an extra edge loop and just scaled a little bit to make it more full . Maybe skill. This one a bit down, you know? So it's more off the kind of shape that we want. Very, very cool. I will personally also going to hear. And then just skill this one once up around the y Axis Beth Skill. Why? Maybe it's one of, Well, not too much. Just a little bit. I don't. So let's just say that's done. I'm gonna make our bottle top hair so shifty and then be on selection. So this will separate your selection she saw. And now we can. I just broke off this separated selection extrude Seth Extra and skill, but down extra is that extra skill down Extra upset skill down And, um, create an ash loop here in the middle and you killed him down so you can see that this kind of creation we can make very easily we're going to give this a solidify more the fire. We're gonna put it above the sub deficient, okay? And you can change the thickness that you want, So I would look in here and look at the thickness that we're gonna create, so it's hard to see, but if you actually going to get this and not edge loop, you can see a guy off The things that were going for this is not too important in this case . It's just a little side piece, so there will be good. And this creates extra loops around these edges to make them more sharp here. And you can change this one here to whatever you want so around hair will be good, in my opinion. Then I'll skilled this one also. So something like this is OK, if you want to go really more elaborate in tow, how it really looks like in real life than you should take some reference pictures, but yeah, I'm not going into that too much, because otherwise this material is going to be Wait long. So let's give this song texture size. So I'm gonna expect this one, and I'm gonna select this side. We will start with all of its for here, but I'm actually gonna hide off these last few foresees here. So if an hour ago on control E, I can mark seem and select everything in you on rep. So what happens is if you go into R u fi editor, you can see that we have unwrapped this and you can see that are you? Fees are being shown here in the fee editor. We can open a texture which will be this one. You can see that the U feast is Don't line up with picture and I want, like, the whole texture to fit in. Are you fees? But let's give this tube a material. Let's go into shade editor, create a new material at a image texture and we're just gonna open the want to be open and hair. What also is happening here is that the fees are just not straight. And this happens a lot, especially with girth models or cylinders. The way you do this is just gonna select off these here on the skill X zero. You can see that they all match up, right? So not only thing you have to do is select the next row and then just shift are on. What shift are does. It just repeats your last action. And now you should do this top. So, as you can see, you can also click on all and select it. What is thus it's elects the whole absolute. It doesn't work for the top because the actual keeps going. Okay, so this click the one underneath skill. Why zero enter now? You can do this for all the ornaments. Shift our shoes. And for the last ones, we just need to select them by themselves. So this select, um here, death And this one a swell. Very, very cool. So now you can skill this toe wherever it fits. You gotta be careful, because these are letters and numbers and stuff. Um, that if you skilled around the why access, it could change a little bit off the thickness off them. This is not our centerpiece. Anyways, we're gonna move this to the side. That's first finished these materials. So this will be the toothpaste. Um, chew. And this will be the toothpaste. Let I guess, toothpaste. It's gonna be really easy for the toothpaste tube. I'm just gonna put the roughness down to appoint one. Um, that's literally it on for the length. I'm also gonna do a very, very is material that's just put the Russians were down 0.2 and the base color you complete a little bit around with that, you can make it a bit more relied or whatever. It doesn't really matter. So this is our troop it's for used to make, and we can get this in collection the best. Put them in the hair, and now we can hide it and work on our marshmallow. So as you could see our marshmallow waas twisted right so I could maybe get this up here again, conceded its twists around, and it's not that hard to make, but we need a little bit of preparation. So we first look at how many sides it has, and I'm gonna get my other fellow up here and it actually has four off these service and we're gonna create a plane, and this is gonna be where these will be spawned. Okay, so I want our cylinders to respond on those spots, but we're not going to do with with cylinders. Were actually going to do it with another played OK, so that's going to top. Going to select the point here, click on shift s and onlookers to selected. So now, with every place here, it will be placed on the curse. Right? So shift a mash and plain. So here is our first plane. Now we go back into this main main plane, select this hair shaved s goes to selected and add another plane. Go back here, shift escorts to selected on another plane in the last one shift as playing first of selected and plain. So we can kind of believe this this little plane here that were created in the beginning and these can be joined. So Contra J and I will personally just get rid off these faces. So only faces and what is thus is it just gives us these furnaces with lines. If you stack them all, you could extrude them Very cool. So they had this extrusion just depends on how far you wanted and all that stuff. But we're gonna array it anyways, so let's give this a subdivision surface. You can see what it does. It immediately makes it around, right? We're gonna add another modify, which is simple, the form. And here we want to twist it right, and we want to twist it around Zet access. But we can see that if we twisted, it twists around this point. And that is because if you look at the little orange point here, that is our origin. If you shift, see, then we can see that our treaty cursor is perfectly in the middle and we want our origin to be there. So if you go into object, you can actually set the origin to the treaty cursor. So now the origin the orange felt is here. Okay, and you can see that is all rotates Nazi around it. Let's just get this smooth shading. So now we can change with the sympathy for him. We can change the angle that we need. So we, of course, want to give us more foresees because it's not really around this web on it. But I will do with hair. So I'm gonna give each one of thes let's do around 10 new cuts, uh, something on death, and we're gonna do it for all of them. So I'm just gonna click control, are click on them on Bright, take to go away, and then I can type in here. Then it's already way better. So you can see if obviously see that we can see through this and we don't want that. So we want to inflate them and you could go into edit mouth and click on all s. This will just inflate the model hair and just put it to where you think seems fit. You can also change the angle if you don't want it to go this far right. You can just play around if this to be honest. So, yeah, look, whatever you think, it's more realistic or whatever. You seem fit for your mother right now. This is a little bit too short for us, so I'm actually also going to give it an area more the fire. And we're gonna write ads, Does that excess one and merge them together. So with this, you gotta be careful that they match up good. Okay, So there are some fellows that work better than out of values she can see, So I'm just gonna put it all into, right? And if you think it twists too much, you can always scale this a bit up. Okay? That's also a very, very good option. So let's give it a count off three. And now it's time to make this come out off a tube, as we can see here. Right? So out off a toothpaste and that's gonna toothpaste in here, and I'm gonna move this a bit around. So I'm gonna go to my front few row. Tatis. Let's say you wanted to come out of here. Let's put a camera. Also there. So typical zero. So you're going to your camera? Few look, not come out of you. And you just put your camera and whatever you want. So I think around hell of school. Let's keep it here for right now. And we want our marshmallow to come out of that right So we're gonna add a I guess. And I'm just gonna do a bath so a marshmallow will move around this bath. I could see that this rotation is not good. The arrows go this way. I'm gonna wrote that this 480 degrees, Yes. And then I'm gonna go into the front few again, and we want this march metal to come out of hair. And I think it's very good to look at this with your camera fuel so you can see how your marshmallow moves, because we want to fill up the scene a little bit. Right. So we'll probably be something like this. Never mind with this a bit more up. You know, play around. This is a little bit there's no right or wrong. Just play around and you have some fun. And that should be a song. So yeah, our marshmallow will move around this hair right now. So let's get our marshmallow into here and you can see that it's a bit the big. So I'm going to scale down around here, and I'm gonna Adam knew more. The fire, which is gonna be the curve. We want to follow this kerf here so we can see that it doesn't really line up. We can change this girl from all the fire with choosing the access. So does that actually seem to work in my case? And you can see that it moves from here till here, which is very, very cool. I think it's a bit too big, so I'm gonna make it a bit smaller. Maybe it put an extra arian hair because we wanted to go from nothing, which will be here all the way toe. Yeah, So as you can see here, we can see that it gets smaller, right? It goes from small, and then it expense. And you can already see this little case around here. And this is essentially just a lettuce. So I'm gonna ask a letters in here and this letters we can move towards the entrance off our toothpaste lit, and here in the lettuce mode, you can change some stuff so we can give this so more a solution on and we can scale it, Of course. So we're gonna move around here, and if you're going to edit both, you can actually select these points by himself. You can also select them with all the other things that you have. So C b and I want to scale this down around here. And let's just look what this does for right now. Okay? So we're gonna select our marshmallow and then at a new modifier. As I said, we have a lot of modifiers, and we're going to use to let the smaller fire. So this only works if lettuces and we just created that one. You can see that the letters, just like squashes are shape. Right. So, um, doesn't fit in science and not yet. So we can change our letters. Also now rush in real time so we can just skill this down till it fits. Tried to make everything's fit inside the letters, and it's just playing around a little bit. If your forms, um, we can, of course, also just move on toothpaste bought a little bit like it. It's okay like this. So what happens now is if we move this and with me, it's around the set access. We can see that it gets out off the best. You so, um, because our curve modifier minus said of the set. I just have to move this around the set excess. So what happens is this Just get moved. And because we're following the skirt, then it moves around the curve. So that's literally it. And that's also how we're going to animate this. So if you get a timeline up in here, that nine, then our first frame will be without everything aside. Right? So he's that and then e location. So our location off this is zero. It's at frame one. And then let's the black frame 65. We wanted to be at the end, which will be around here and then e location. So in this time, it will just mm. Go around there. Very, very cool. We need to change one or two more. Things were almost on. The first thing is, I don't want these institute like this. So what I'm gonna do is I'm actually gonna apply our air. A mortar fire, you can see that are simple. Modifier works on this way longer, Mother. Right now it's set off it being a rate. So we need to change this angle. So I just put it the angle off the simple on the fire a little bit higher, and now we have the rotation back. But what we can do now is we can essentially just fill these faces up here. So if I feel this one up, this one, this one, this one notes on the top, you can see that we get a nice a smooth shape, which these marshmallows half, of course. So now we have a better shape in the bottom. It's still the animation still works. I think we should put this end also just a 65 because and that's the end of our animation. We just do not want to make it show up here. Right? So if we have a little studio that's at a plane extra this up hair is going to give this a Beffa with going for B and shades move. You will see that it will end up here. Very cool, but we need to get rid of this. So I'm just gonna grade a cube. Gonna skilled up G. Why? And I'm just gonna place it here so you can You can You can make it bake. It doesn't really matter, because biggest this And what happens now is we're gonna bully in this. So we're going to select our marshmallow. We're gonna add a 1,000,000,000 toe. So, Julian, select our cube. And what happens now? But for how to cube? You can see that we don't see our marshmallow underneath because it's been cut off rights. One thing, though. If you now rendered, you will see the Cube. Okay, so you got to select this cube, go into the object up, go to visibility and put showing renders off. Okay, so now it won't show up in the renders. So I personally, I'm going to create the materials right now for the marshmallow. And I'm gonna do this in cycles and let's give you the rent a preview. So yeah, we see that the lighting is not really the best. If I move this to the right, we can see a little bit better. Um, I think we can work with this. So let's select our marshmallow clicking plus, and we just do the pink first. So pink marshmallow. I wrote it wrong, but whatever. So we wanted a pink color around. Hair will be good. Maybe a bit brighter. And I gave us a subsurface. So 0.1 roughness will be a bit up 2.75 in my office. Who gave this machine? This already looks way more like marshmallow. But what I really like to do is give this also some bump detail. So I'm going to get a bump note in here. Normal goes into the normal and a noise texture. So what's gonna happen? Hair iss, this noise texture, This fact if the north section we're going to the height, you can see it. We have all this bump t two already so one from here, it's also already it's stretched. See, all this bomb ditto is just stretched down. So what I want to do is I go into here and create a technical ordinance and gonna do the object into the factor. So this already gives us whaler stretching. So that's already very, very nice. Um, I want to skill to be but op. So maybe around the heart than 40 some of my death so we can see the detail on hair. It's just a bit deep, so I'm gonna add a cooler, rampant hair cola ramp. The school around goes between the noise, texture and the bump. No. And so this is a black fill you and this a white fella, you If it just broke this black failure to a little bit less black, so bit more into the grey area, then they will go less deep. So that's a very easy, nice technique. To do that. I can also want some different kind of bombs in here as well. So now we have thes small bombs. But it would be very nice if we have some randomness in big ones as well. So I'm just going to duplicate this north picture and then, uh, with the object of this factor as well. And let's do this at 12. And I put the detail a little bit obsolete with five. So what's happening here is let's put this into that. That's fucked into the hiding out. You can see that these are way bigger details, right? So we want to make it work way less because this is just too much. So I'm gonna add a call around here as well, and this Colorado is gonna be a little bit brighter here. So of course you can see that it's still too much, but they also need to change this strength anyways, So I'm gonna put this at the 0.2 and now we have, Yeah, some nice randomness in here, but we want to mix these two together writes it's not. We want the small bombs and this big bombs. So I'm just gonna like this all moved a bit back. I'm gonna add a mixed RGB note goes in here, we can mix these colors and we're gonna put on ads. We add them both together, and we have our small detail and maybe put this a little bit more grace. So we have a little bit more off big details in here, and this will be our much metal material. Very cool. So we, of course, also want another material hair, which will be the yellow marshmallow. So just going to duplicate this and you can see that there is no option. That, too, is gone, so I'm just gonna cheat us a little bit. I'm gonna select this back plane. It's like this pink marshmallow. I just take him to now we're going to rename this yellow marshmallow, and the only thing that they have to changes this to a yellow color and when you actually go into a materia tap. You can add an extra material to your already existing moral, so you have multiple materials for a model. And the way to edit this ISS if you select the first is that you need. So I'm just gonna expand this and assign them to this new material, which is gonna be a yellow marshmallow. Assign them to it. Now they will have that material. So, um, we essentially assigns those furnaces to that material. Very, very cool. The only thing that is a bit wrong now is stand this back plane that's just two again. And that's just the ah studio or whatever. I'm gonna delete off this and let's just give this a nice and pink color. And if you look now or rendered quickly and as you can see, we, of course, have to do something. If our lighting it's causing these problems and it just doesn't get good anymore, I will leave you guys to death. And the last thing that will teach you guys that this this toothpaste tube will get squeezed together to get that marshmallow stuff out, right? Yes, you can see it gets squeezed together, so it's quite is to do that. Actually, let's go. A hair. We're going to select our toothpaste tube. We have some nice up the fishes on here. I'm gonna add a displacement on the fire. So with this displacement, if I was just going to create a new texture and the textual end up in hair, right. So this is the texture we're using. And right now, we're just using nothing that's black. That's why it's giving this. If you put this to clouds, you can see some major changes happening. We can move this cloud that you're up brown hair and, of course, make the strength way lower. So, um, around here will be good. So what will happen is over time, we'll just put the strength up, will start at zero, and the strength goes up. The one problem is that the strength also moves this around right, And that just doesn't look good. So what I'm gonna do is I'm actually gonna x truth this and that. Skilled a bit down. Great. Another actually here. So you can see that in the special. The fire we can have a threat. X troop. So this way the Desprez modifier will only work on those foresees. So I'm gonna select all of this and give this a furnished group. So going to hear object at the Creative First Group and assigned this through the group. So this selection will be assigned to it never going here. And we're gonna select this first group, and you can see that this does not move. Okay, so what happens is at frame one, we have a zero strength off zero, and at frame 65 we look a strength that looks nice and doesn't look too much. And we could always go in hair eyes and just change our this skill a little bit. Let's switch between these two to find the perfect way to squeeze this. So that's also taken right click and inside a key from here. And if you play it, you can see that it goes from here. And then the further are marshmallow goes out, the mortise will be squeezed together. So I hope you guys learned a lot from this. Um, yeah, that's it. So be so 8. Create Dynamic snow: Hey, guys. So we're gonna make what you can see right now, I guess. And yeah, it's quite fun to make reusing a rigid body and some dynamic paint. So let's remove this man cube here and add a plane. I also put my screen Koskie's on here. And let's, um, skill displaying a little bit up. So scale times. That's what times 44 And we also need a spare. So mesh, spare you. This fear is good and we're gonna move that No, the X Texas up here and this one we rotates 32 20 degrees around the Y axis. Something like this is OK, and what will happen is let's move this through the rest, bolt. This will become a rigid body, and it will fall down on this coalition for right now. Okay, so I'm gonna skill this a little bit down, move it up off hair, give the smooth shading, and I'm gonna move a little bit. Okay? So let's look what this does. I'm gonna give this a I'm gonna make this a richard body. So Richard body and I'm gonna make this also a rigid body. But this is gonna be a passive fridge body. Okay, so if you play it now are active. Will just Rohan on the passive. We want this to be a little bit more bouncy, because if you saw in the pre for that, I showed you that it bounced a little bit up. I really thought that had, like, something special. So let's select this bottom plane and we're gonna go to surface response. And I put the bounciness, Let's put it a bit, uh, plus 2.5 for it now and let's look what it does, OK, so we just go all the way in the beginning, off the animation and you play this. But you can see that the bounces doesn't work as well as I want to, at least so I'm gonna put about this all the way up and let's look with that. Does still doesn't do a lot. So it could be that the bounciness off this Richard body also needs to be put up a little bit. So let's put that 0.5 and that already. That's the work. OK, so, uh, let's go a little bit higher 0.7. Awesome. So now the bounciness off this this one and this is 10.7. It could be totally different, though. Guys, um when your like. It also depends on the scale. Whatever you have on the mass that you give your rigid body eso display around. A little bit of that could be different for anyone, but I think it's time to also make this plane than in. And we are not actually going to do it with this particular plane we're going to duplicate , explain. Moved a little bit around the cell access. What we're gonna do if this is, we're gonna delete the Richard body constraints out off the top lane. And we could also give it another name. Just so we know what you want is different. And it's going to be our displacements. No. So let's give this are dynamic pains and it's gonna be a canvas. So in this canvas, you have for multiple settings and options, but we're gonna put the four month is at the further expense. Okay, the surface type should be a displacement up. Our ball needs to be also a dynamic pains, but instead of a Memphis, it should be a brush. So it brushes this up so called paint right now. You probably don't see anything happening if you play it. And that is because this particular plane reaction, if the four month for tax, which is OK, but we do not have enough foresees, right? So I'm just going to sub defy this. You can do it like however many times you want. But keep in mind that the more for this issue place here, the longer it will take to calculated. And I actually forgot to add brush here. So you have to add the brush. Of course, that's right again. And now you can see that it works. Great. Very, very cool. So we have to bounce his hair, which is good. Okay. And what else I want to do is I really wanted this animation to start here, so I'm go to frame one and a click on e location, and then when it goes down here, I also want this ball to grow right. I wanted to take snow and growing girl grow so around the frame that we fall here from 40 we're gonna do e and then scaling. And then let's break this all the way again, falls and it rolls around here stops so around frame frame 90. It stops. So here we got a skilled up e scaling. So our animation stops around frame 100th so we can do this at end hundreds. I want to bake the dynamic paid. So the displacement that we see, I should go to the cash you're playing. You can see that we can't really bake anything. Cash is disabled under the file of safe, so we need to save this file. So save it. Okay, So now have to be safe to become bake. This and one reporter thing is, if you select it, you have your end frame also here. So we know that our animation kind of stops at the 100th which also should put this and for him to 100. Otherwise, it's gonna bake all the way to two under the 50. There is no need for dead. And now you can actually just start baking very, very handy. And he gets your bake. There is one thing, though, is that our Richard body is not baked. If this OK, so as you can see, the Richard body is gone now. So we need to also bake this rigid body, and it's actually here. Object Richard Body and baked key frames. So now blenders calculating the physics in tow. Key frames. So they are both baked right now. Very cool. And it's time for our materials. I guess. So let's expand this a little bit and get a shade editor in here. This material is not from myself. I actually found it on a Facebook group, and I just saved the picture. So I don't really remember who made it. If you know who made it or if you heard the one who made it. Please tell me so I can put your name up here. I really like this very cool. And I thought, this will be cool to make with it. So let's go into a material. We're going to go here and call this s No. And let's change these values so they fit our needs. Um, subsurface will be going up, so maybe 0.5. Speculate goes all the way up roughness at 0.8. First of all, our lighting isn't really the way we wanted, so I'm gonna delete this hair. This lamp, I'm gonna put a sunlight and this all not just reacts like a real son, which is school. I'm gonna put my animation a bit further. So let's put this time on its do its hair with sunlight of hair. Very cool. And I'm also gonna go into cycles. And that's because one thing off our material just does not work in TV. And I'll explain which from this later. But you can also see that the material just looks way better already just when we jump into cycles. So I want I first want to add some displacement. Okay, so let's get a text recorded in hair and a mapping note generated goes into the factor. And we're going to use a noise, texture, spectacles to the defector. And now we're gonna put this. We're gonna place this into a factor. Displacement. So this don't does not work in TV. That's why we go to cycles. This displacement goes into displacement off the material output, and you can see a lot of displacement happening here. Very, very cool. So I'm gonna look from here and with the skill, but up to six and detail can also go up. Five makes Look, when we're realistic and this skill goes down so it's less deep, right? This this is just a deep kind of the deepness off this displacement. Very, very cool. So I also want a little bit off the reflective dots on here. Um, I think it's better to just show you instead off trying to explain. So I'm gonna add another noise section here. This north's texture is going to be very high, So 5/100 detail will be at zero, and we're gonna add a brightness and contrast note to off them. So we're going to duplicate this one and to go after each other. So the fact off the noise texture goes into the color k, not the color, because we want a black and white value instead of a color value. And a lot of people might forget about the noise textures. Actually, a colors fell you. So that's what effect. And the fact is, black and white, right? This is a contrast causing the color and this end brightness and contrast goes into our clear coat. And you can already, since you some stuff happening here, which is very cool. And we can change this to whatever are needed. Needs are I have this at minus two. And the contrast at eight brightness is it zero and the conferences at them? So here we can see them again. I think if I zoom in, it's a little better for you guys to see these little dots. There are there. It's nice, reflective thoughts. I'll put this clear. Goes rock roughness a bit up. So 0.25 So if you want them bigger, you just put the skill down. Let's say see, But around 500 looks very, very nice for this particular case. And we want the same material, of course, in our plane here. So I'm just gonna grab the snow material and click on this, too. And we're gonna change his name to Snow Floor for whatever you want to, because this displacement is just way too much for the floor, right? That's just looks looks fake. So I'm gonna put the skill down to two if somebody looks way, way better. And you can always change this skill also, maybe a little bit lower. We do want some differences in them, but no, too much. Our son actually looks good, but I do want to add some extra lighting to the scene and we're gonna use a brill texture and hair. So let's go into a shader editor and Goto World, and we need to add an environment picture from the fireman lecture and open and open this snowy park so you can get it down in description below. This is way too bright for me, though. I'm gonna put this at point to appoint three something like that. And we can always play a little bit around with this son, right? So used notes. And you can put this may be a bit up or not, whatever you feel like. So 30.1 point five. So if you look here, we have a nice scene. We might put our camera a little bit different, but that's all up to you. And if you want to run rich, just click on F 12 and there. Last thing that you can see here is that we are showing our bottom plane which we do not want. So if you select this bottom plane, go here interoffice ability and put show renders off show in render off and now it will not show up in your render and everything will work the way you want it. So I hope you guys doing a lot from this and yeah, good luck. So see you guys in the next one. 9. Transform rigid bodies: Hey, guys. So we're gonna make what you can see right now, obviously, and this is the interest all that we're gonna make and you can see that around frame 20 things start to happen. So these are essentially just Richard bodies and this force of this wind force push them up and with a shape key, we can see here for Shefki, we change the shape from acute form through more fair a spherical form. And in this time, also, our material changes on Let's just jump in the blender. I think that's way easier than explaining it like this. OK, so this will be one of the first time that we actually are gonna use the default cube. So, um yeah, we keep it. And with duplicated So we're gonna duplicate it. And if you just the right click now, it snaps back into place, and it just seems like we have one. Q. But there are actually two on top of each other. So if you do G for grab and then Zet to, we can move it around, that is that access. And then it will be exactly on top, as you can see. So what we're gonna do is we're actually just gonna play around with these two cubes, and then we just duplicate the months. We are happy with the results that we have. So we want this cube to transform into a sphere. Right? So what we're gonna do is we're gonna select it with shift s and curse to select it. You can see that are to the cursor, just snaps into the origin or the middle of our cube. And now, once we add something So let's add and mesh and we do, you face fair. You can see that the UFA sphere gets in the middle of our cube because select the cube and we're going to give this a few more supper efficient. So maybe two. And what happens now is it's still in a cubicle form because we subdivide it in our edit mode instead off ah, subdivision modifier, which Smoothes it out. But it is not a sphere, right? So to transform this into a sphere, we need to Adam all the fire and this motherfucker's gonna be the shrink wrapped all the fire. We can select a target, which is gonna be the sphere. It can see that? Well, it kind of disappears. It's actually just taking the shape off the sphere. So if we got in a cube, we can apply a shaky. So click on there and now it's back to a cube again. But if we go into here, which is our object data, we have our shape keys, and you can see that the basis will be our cube. But the shrink wrap modifier is here, so I'm going at the lead our sphere for right now. And just look at the shrink wrap and it goes to a nice spherical form. So if you give this a shades move, then you can see recognized transition from cube to spare. This cube looks a little bit weird if you give this smooth shading. So what we're gonna do is we're going to give this a bevel here, and we can't with segments a little bit up and put this with down. But if we actually are going to use the shrink wrap, you can see that the Bethel's make it look like they are sharp again, right? Right, Because it does better all of these edges. So if we go into our bathroom modifier and actually do just angle. Then it will change on the angle that you have. So right now, the anguish 30. So if it is a cubicle form than 30 it's enough to make the bevel. So if a chases value, you can see that it won't be better that certain values. So if you look at the shrink wrap you consider we have a nice bath for when it is a cube. But if it goes up, we have no bells anymore because the angle off these edges is just not big enough. Awesome. So I also want to give this a subdivision surface. And this is just If you give it the string, grab that. It looks like a riel. Get sphere eso This form seems good. So now we want to apply some physics to this. So let's go here into our physics and we want to give a rigid body And what you will see us if you play this right now that the rigid body will just fall down This because this one here is no the collision, so it will not lay on top Richest bodies do like only interactive, other rigid bodies or force fields. So let's click on this Cuban bottom and also make this a rigid body, and we're going to do the type two passive. So now it will not be active in our scene but are active. Richard bodies will still interact with it so we can play this and conceded will just lay on top. So it's not moving. It seems like what it's laying on top and mother want to do now is we want a force field to push this up because, as you saw in the video is that those balls seem to float up, right? And so I'm gonna go here and add a force field, which is gonna be wind, and this wind has to be quite strong. So if I play it now, you could see that nothing happens. But let's do hundreds, and this total depends on your scene. Maybe you have different kinds off Richard bodies. Maybe your scale is different. Maybe the like the mass. A few Richard bodies is different, and it can all depend on those values. So this is obviously not enough. Let's put it to 500,000 or 500 and now you can see that the floats up, so if it doesn't work, just put it higher. That's it. And that's not the only force field that I want in here. I also want to add a turbulence force field, so at a turbulence. And let's kill this a bit because out of us it's hard for us to see. And this turbulence also needs some strength threats. So let's put it may be also the 500,000. I will see what happens. So you see that it moved a little bit. Um, I might put it up a bit more. 700,000. I'll put the size also a little bit up and the noise amount that just put it then. And now you can see that it moves not only on the top, but also a bit around. I want the animation to start at frame 21. So let's go to frame 21 we're gonna apply our key frames. Okay, so let's apply the strength off this wind force field strength, right? Click on it and insert key frame. So at frame 20 it has no strength, Right? So I'm gonna put it at zero and then just add another key frame so you can see that as from 21 it starts blowing the air out. Let's say before that they will just stand still and you want to really see it stand still right now because we have another force field, right? So I'm gonna do the same for the other force field. Let's go to frame 21. We're going to select the other force field, and this is the Terminus Force Field, and we're going to give this and inserts key frame. So now we have a key frame and it frame Warney else for this one. Gonna put it to zero and insert key frame. So what? What happened now is if you play this, you can see that it stands still all the way until from 20 or a while until a friend 21 from then on it will be playing very, very cool. So in this time, playing, I wanted also to become a spare instead off a cube. So I'm gonna select a cube, and I'm going to select our object that again and look at our shape. Keys are Shakey's from 20 will be zero. So right, click and insecure frame. And at frame 21 it will become a sphere. That's selective. So what happens now is that it becomes a certain sphere. But it goes a little bit too quick for me. So I'm gonna change this, and you can just move. These been around. Okay, so this shrink wrap here, you can just move the little it relied, right? Order wanted left And you can see it. It will change gradually. See? So let's put the beginning one at frame 15 and then it's the animation ends at 21. Let's go here. And I guess he did it moose quite nicely. And then it goes up. We can kind of duplicate this multiple times right now, and you can do this very easily. We can just select these two here shifty and then g picks and to they're going to do this as multiple times that she wants. So I'm gonna just going to select off these hair 50 x y two. And now I have duplicated at four times I'm just gonna illustrated's right there. So if you play it right now, you can see that it's all ex crab youth. And the funny thing about this rigid bodies is that they interact with each other, so they all move a little bit different. And they also interact a little bit differently on where they are placed in, like the force field. So this is very, very cool. And let's start the gifts this so materials because those are all because those will also be animated. So let's grab a shade editor into here, and we give this an ash material, which will be just This is just black. We make it nice reflective. So 0.1, something like that and that could be our material. So let's keep the death, and we'll just call it a black plastic. So if we rendered right now, you can see that. Yeah. Loose, I guess. Okay. But they will be way better if you also put on Asia Ryan here. So if you go to object here and put the world, you can add an environment deck, share so violent lecture, call or consider color, and we're just gonna pick the the it's a ride that you can get down into the description taken azure I on what should we do. I think there's a political so you can get it done and description. It's already set. And if you run return now, it already looks way, way cooler. So you get essentially just rented this in TV. It will go fairly, very quick, and you don't need to Rendered in cycles like dis takes way longer. And for these kinds of base material, it doesn't make that much of a difference. So I would like this background to be a bit different, though, and you can do it very easily. You can just make it transparent if you go into your vendor settings and going to film and do transparent. So now you don't see this background. So not only that, we want them to move from cubes toe ball, so two spheres. We also want them to change material. So if you go back here into object, we can actually just make another material going to see fee go on top and we're gonna mix thes so mixed note mix shader and we put each one of them in tow. One of the shader inputs and let's just focus on one first so it will be this one if it's all the way to the generals will focus on this Shader. It's all the way to want to go focus on the shader. Okay, we're going to put it zero. We're gonna change this toe metallic, and this will be a bright a color, which will be it starts the yellowish We want a gold color, right? So something like this will be cool. So what happens is we can just animate this fact value. So if you go from 1 to 0 that you can see that the material changes. So we're going to do that and we're going to do at the same time as the shape these chains . So that frame 15 it will be one. So we're going inside a key frame that frame 21. It will be our gold material, which is the fact that zero insert key frame. So right now you can see that it goes from black from our black plastic do our golden metallic material very, very cool. So you can see that they are all messed up right now. It doesn't make any sense. And this has to do with the fact that our Richard bodies are not animated yet, right? So if you play this, you can see that they get animated, right? But if you just start somewhere hair for animation that it might mess up, we're gonna do this a little bit later because first, I want to make this a looping animation. I want this cubes to come up and then make it seem like they transform in our next loop. So what we're gonna do is let's put this to frame hundreds, just to make it a bit simple for us. And we're going to duplicate this cubes here, so shifty and then click on G Zet minus two. And now you can see that we have some extra cubes here in the bottom. And, um, now, what's kind of the time that you can get your camera up? If you look in zero, you're going to your camera few and conclusions few. And look, camel toe capped a few. And what happens is you can now just move around and your camera will move with your few. So let's go to frame zero. And around here we wanted to look, go. Yes, awesome. And what once iss we want to see it, I guess a little bit like this because we still want these Boston tow line up nicely. Hope we want still want to see this. And then around here, we wanted to look right. So how do we achieve this is a loop. Well, let me show you with my other file. And what I'm doing here is these are getting into spheres, right? Which we did before. And what I'm doing then is I just moved these up until the point where these cubes begin. All right? So I moved him up like 22 units and because we just jumped to this 0.20 you can see that in our view, we can see that these are getting at it. But in the fewer scammer a few, which is inside here, you won't see any difference between this. So it just seems like these are gonna be changed into spheres, But it's actually not the case. It's just jumps, backs to here, and the same ones are going to be changed. Okay, so it's quite easy. And for that the work we actually to add another layer here, So shifty g is that minus two and a camera. I like the way our cameras set up right now. And what we're gonna do is we're gonna select all of these cubes here. How? This and around frame 80. We're gonna put a key frame into location and around friend 90. You're gonna move these opportunities Zet to it. Location. So what happened is now they are lining up with the beginning off these cubes, as you can see. And these vaults already evaporated like they're already when? The way. And then we started animation again. So this work amazingly and the only thing I want to change this I want also these to give a little bit of a Bethel. Because if you look here into around first and you can see that there is a major difference between these and these and yeah, there you don't even seen a c m. E seems between them, right? We don't want that. So let's give this a devil modifier. I'm gonna do two segments subdivision surface. Put this with a bit closer. I was gonna give it a shade smooth. And now we just have to duplicate this to all the other ones. So what? I'm gonna do is I'm going to select off these other ones here. Select this one of the changed its last control l and we can duplicate are modifiers. So now they all have the same modifiers. Very, very cool. There is one thing that we don't want, though, and that this we don't want them all to also changed into gold. We only want these balls to change to go, and it's a very easy change. You can just select one off these cubes underneath. You can click on the number here next to the black plastic and now it's a duplicate. So now the only thing you have to do is just get rid off this gold material, slide it into the surface and well, this will actually be the group black plastic. So now you can select all of them again. Only the cubes. It's like this one. It's last with the real material contre l and then do materials. And now you can see that there won't change. Only the balls will change. Very, very cool. The only thing that we need to do now is actually animate this Richard bodies, so select them. Goto object. Richard bodies and then baked two key frames. So now we go to the in favor 100. That's all the way guys and can see that they have key friends right now and they will be animated. And you could just vendor it right now. So this will be a looping animation. I hope you guys learned a lot from this. If you want to run morning, there are always more furious from me. Like I'm keep. I will keep uploading. So I see you guys the next one. 10. Metaball animation in blender: Hey, guys. So you can off course see what we're gonna do. It's, Ah, little fun animation with metal balls and let's go into blender and I'm gonna lead in Maine Cube, and I'm going to show you a little bit of metals. So here we have a metal ball, you just click on shift A can add one, and you can see this line around the metal ball, right? If you add a new medical, so it just click on shift the to duplicate that other one, you can see that I can move around. And when they go inside each other, so when are close enough to each other, you can see that the kind of morphed together, right, and this is the power of method balls. And that is also how we're going to create this fun animation. So, yeah, you don't only have, like, balls you have capsules, planes, lips towards, blah, blah if all that stuff and yeah, that's all great. And then he But we are just going to use a sphere right now. And what we want to do is we want of the smallest fears to kinda, you know, pull out of here, and you can already see that if I use a smallest fair, it just doesn't even look like sphere anymore. If you go into this object that our properties, this has to do with the metal balls. In this case, you can put this resolution lower. And the lower this, the more like better it looks. Make sure your renders also lower. Just be careful, because if you put a very low it can, you know, have some straight on your PC. So let's the lead this wolf right now and what I want to do is I want this small about to pop out, right? So I'm just gonna duplicate of all and skill it down. And it's inside here and what I want to do with this MBA one. I want to use a product system toe, admit these metal balls. So what we're gonna do is we're gonna add a mesh. This is gonna be a UV sphere, and this use fear is gonna be a little bit smaller. And what we're gonna do is we're gonna actually admit those m balls one which we made smaller from this fair. So I'm hit the bigger ball and I'm gonna select our main sphere and I'm gonna add a product system. So going here, they're gonna plus, and we have a product system. We're going to a myth particles, and she can see we just have this particles falling down. Right now, these are rendered as halos. So if you go into render, we can see rented as Halo, we actually want an object. And we want our EMB All right, So, instance, object is going to be embalmed 001 because that is the smaller M ball, and if we play it now, nothing will happen. This is because our first amble has to be also active and here we can see that something is happening. It's very, very small. And this has to do with this scale. Look at the render underneath the object. We have skill. So if you put this higher, we can actually have a a better skill that suited for our animation. So, um, you can put the scale up and you can even do some randomness in there, which is also very cool. And if you play now, you can see that we have a very nice yeah animation going on. There's not really the way that we wanted it. And 1st 4 I want way less like the amount way less So let's do 100 of these bones and I don't want to fall down. So if we go here into our field weights, we can change his grafitti. So we were just with all that zero, and this will make sure it doesn't fall down. So now that will get just a minute into, you know, the and they go too far. As we can see, you can change this in multiple ways. First of all, I think they're going too far, but I also think they will go too fast. So what I want to do is if I'm going here into the philosophy and put this philosophy normal a little bit lower. What is thus it just, um Yet the philosophy is like the speed at which it gets like, thrown out. It's get in, made it. So if I put this at five and will go away first, let's look see and this is why we put it lower, like 0.1 0.1, and then if we played, you can see that it goes very slowly, maybe even to slow. Maybe 0.15 It's more of what we're looking for. Yeah, And if you like it, you can still change the amount off your like how maney you admit? I think in my other one, I did, like 50. So I'm also gonna do hair and the lifetime you can essentially put a bit higher. So what it does is you can see that they die off, right? So here it's alive, and then they just pop out of existence. They essentially, at that point, they die. So if you put this lifetime up, let's say it 80 or 70 you can see that they will stay longer our life, and now this one will pop up, sees how they're just staying a little bit longer. Life which can be good or bad, depending on what you want. Maybe I'm gonna put it at 70 and you can also do our randomness there. In this case, I'm not going to do that. But that's of course, also an option. So this already looks very, very nice. And what we want to do is we want to give this some Yeah, some cool materials, right? So what I want to do is I'm gonna move this up, grab and not on here and get a shade editor. Now I'm gonna select, are met the ball like a big one and click on new material and he ever going to get fit materials. So I also want to be in cycles it also Russian, even by the way. But yeah, I also want some glass material, and that just doesn't work as good. An e v s a dozen cycles. I'm gonna put my device Ah, GPU because manages faster and in performance. I'm gonna put the styles toe to 562 to 56 because that works better with the GPU. If you were a refugee pew, go higher tile sauce. If you were a CPU, go lower and that's all great. So let's say we want to give this so materials. If we go here into our future shading like the material section, we can see that we can already changed our color to whatever we want. Very, very cool. But how do we get a different material on this fair than on these other little small spheres? Right And we need to create a sort of a mask. So let's say I have another color and hair. I'm just going to use a diffuse shader with a mix shader in between these two, you can see that they just get mixed at this point. So at if you put this ah, fact at one, we will have it all the way. White, which is this diffuse. I cannot support a yellow to make it like a little bit more sense. And if I put it all the way at zero, it's gonna be this blue collar 1.5 there will be mixed together as they should be. So how do we create that? These are different materials. It's, um, not too hard. We need a cola, ram, and I'm gonna put this collar ramp the color into the fact off this mix shader, and with the scholar ramp, we can change. It kind of works the same as said this fact, but we can change it a little bit more precisely because we can put both this values together to where we want now. I also wants to use a Grady int picture, and this collar goes into effect. And instead of a linear, we can already see what adults, right? It's, um it's uses our call around, but I don't want to do with linear. I want to do a spherical and yeah, it doesn't really put this fair, like, very wanted, right? Doesn't really do the spherical way that we wanted. So the way to fix this is do a texture coordinates put in hair, and we're gonna put the object into the factor. And yeah, this makes it all the way. Blue and I was gonna like messing around of this and a way around this is actually get a empty in here, Blaine. Access skilled, a bit up. And now we can see that if you go into the text record in it, we can actually select this empty. And I am not hot option? Sure why? But this fixes our problem. So now if it put these together, you have to find the right spot. By the way, um, but you can see that you can match this one's together, and you get this great result, so make sure you put them quite close to each other. So it's like nice and sharp otherwise should get otherwise, they're gonna be way too smooth. And I'm going to use this value so you can see that we have two different colors but actually does not only call us, but these are two different, like shameless people together. So let's say instead of a diffuse, I want a glass shade in here glass. I got put the glass shattered because this is just a like This is our mask. Let's say so. I think for this one, I just did a nice and plastic like a black plastic. So metallic is going to be at zero. It's gonna be a darker blue, like or just the black color. And instead, off this normal roughness that we have here, I'm going to use a image texture with another roughness. You can get all the textures for free. This is my website on Go down here. Create formations. Is blender aan den several and course for free. You only have to put like your email address blah blah. Then you end up in this section and the only thing you have to do is search for the information that you're going to make and then just scroll down and you can download the the H arising All that stuff down here and a structure you can just get them for free on the link below. So ah, the worry about death. And now we go into the plastic. Great. It's gonna be oppressive. Great roughness. I personally do not really like the way this loose. So we have to see it in a few part shading and are few appreciating already. Doesn't have enough light. So I'm also going here into the world and add an environment picture. So this environment picture we can open, I'm gonna open age dry. And this is gonna be our Caylee interior. This one also, you can get for free on the link down below. Here it is. So now we can mess a little bit around with this roughness failure that we have, and I personally, I like the way I like to do that is get a core ramp in between hair and moved to the coal around. But just as we did hair, right, So, um, just move these a little bit around and it doesn't really show up. So what I'm gonna do is I'm going to use a texture coordinate note and then a mapping note . I'm gonna you do the object into the factor and the mapping notes here into the factor. And now you can see that it finally shows some off our details that we want. So I'm gonna put this with here with here. I just want some randomness, like some random scratches on there. That's kind of it. So, um, yeah, I think this is good. And for the other material re actually wants, Like, it's gonna be very easy for everybody. Have this glass. So this is essentially just gonna be a little bit more rough point for and put us this. Ah, I o r 2.1 or 1.3 And why do we do this? That is because the next step I want to put an admission in hair. I'm gonna add another you vis fair. So shift a UV sphere and it's gonna be Let's put it a bit up. We're going to give this a material, and this is just Ah, let's leave this principle, Shader. It's just gonna be an admission. Okay, so a mission goes in here and you can give the nice whatever color you want. I like this color like around hair. And what you can see now is we have this nice admission from these bops bluffs, bubbles, whatever they are right. And that is why I put this. I are so low because if you put it higher for some reason, they all filled up and it looks like it's just this light bubble instead off really being glass and thought, Um, yeah, and if you put it lower, it looks like a more of like a glass layer on top. What about you? Can you can play around with this, however you want course, but yeah, So that is essentially a shading what you also can do ISS. I have this background in here, as you can see, and it's a super super simple. Also, the material is actually very, very simple. We use the same plastic ray and we'll that just very fast quickly show you I first put my camera into the good spot. So let's say if you go into few, you can look camera too few, and you can just move it to what everyone? So let's say this is a sport that we wanted to be. Then I'm gonna create a cube skillet up hair and just gonna delete these two foresees and skill this up like this. It's it's quite messy what I'm doing here. But I just I just needed to be filled. Okay, that's that's likely read only reason. No, I'm selecting this edge loop. So this this edge here control be. And with scrolling up, I'm just creating some extra like ash loops in there. And now I'm giving this a shade smooth. And most of the time, I also give this a few sub deficient. These corners get a little bit softer. If you can see it like that softness in your your camera. Few that you can keep it like that also, why she just add some extra h loops to kind of make it more square. Very cool. And what you want to do is you want to give this a material so new material, and we're gonna do exactly the same thing as before. So text Rick ordinance, a mapping notes and a image picture. So this image texture goes at the roughness defector hair. And then, um, I'm going to do you fee because it's very easily UV unwrap the K and what we want to do now is just select the plastic rated we already had so blessed the grain and let's look at our results for right now. Probably won't look like a lot based color. I also put, like, all the way down someone like hair, and we do have some results. This essentially is not like you can't really see it good. A little bit on the side. You can see what I want to do is I want to apply the scale contra a apply skill and then go into edit mode, select everything you and unwrap. So now the S U V unwrapped it and you can see that this gives us a way better we solve. You can even play around with scale. So let's say you wanted a bit bigger. You can put anything and everything to three. Um, it depends. That's just up to you. And if you look at it now, we have a very, very nice background. It's easy. It gives us nice reflection. That's all because of this roughness map. And this nice line that we have here is all because off the aging writer be pulled around and essentially you can start rendering this. So the way that I like to render this is, um I'm going in hair and your output said Output properties you have here output TMT. I like to get a whole new folder, so if you click on plus like R plus, I mean on the folder, you can make a whole new folder. So let's say we want the metal balls, create a new folder and just call this like animation or something like that animation going here and click on Accept. So now when you click on render animation every renders like every rendered P and G because you're going to run the with PNG, every frame is going to be one p and G that say it's gonna end up in that folder, and by the way, we do P and G. Because if you do a movie file and it gets corrupted like let's say at the frame 100th or whatever, then the whole thing, just like you lost all your progress. But if it's if you do with pictures like being G and it's crushed at Frame 100 that you can just go from there. You can just start your like render from 100 then you go further. Um, to be honest, I think one of 50 better ways to march Let's do ah, 100 or whatever and you only have to go here. Render and ran the animation. That's it. I hope you guys learned a lot. And click likes of cry blah blah Make love to your significant water one and whatever. So have have fun and us, you guys the next one. 11. Create a HYPNOTIC looping animation in blender: Okay, So you guys can see what we're going to make, and yeah, let's just jump straight into blender and use the default cube that we have so skill this up by five are not the set access. Now we want toe believe the stop and bottom face and create some extra troops and hair. So council are. And then I want to create some extra edge loops. You get this little tap down here and you can change. This number goes to 50. Awesome. Now we want to Adam all fire, and it's gonna be the simply form. We wanted the formal around the set access and then change this angle. You can't do 360 degrees. I personally like to do 450 and you can always go higher or lower in this anger amount. Just make sure you do it in increments off 90 degrees. So if I want to go higher, you do plus 90. And if you want to go lower villages with minus 90 right, so let's go and create a kerf circle. We're gonna skill this also five times, and then we're going to select this main cube again. and then use our curve more the fire. We're going to select the skirt and then used to set access so you can see that now follows the curve. If you go here into your object properties, you can change this. You can change the scale so we can do the skill off the set access we can put close to each other. And I would personally just put them so they are almost touching each other like someone I hear Awesome. Now, um, I kind of want to rotate this. So I'm going to select both the curve and the cube and rotate this around the X axis for 90 degrees. So now if you click on this one So now if you click on one, we are in our front few very cool. So, yeah, we want animated right? And if you want to animate it, it's literally just put the rotation off the Y axis. And that is how we get the cool effect, what I personally did and you have the option to do that or not. I added it this cube. So I just hit off these more the fires and I created some extra edge loops. And then I played a round of thes edge loops. So let's say this one. I skilled in words, just make sure you then do not do it around the Y access because you still want to make a nice straight and then I slacked off these edges contribute and created a small bevel. Then I did all s to kind of skill. This baffle up. And one thing that you want to do if you want to make sure you have some more for decision hair because we're going to spawn are like balls on top off, every for to see. So I make sure you keep that in two minds. And, well, if you have something that you like, make sure you put your simple of course, or you can see what's actually happening. I would also do a sub deficient surface, and I will just put the sub deficient serves a little bit up. So, yeah, this is kind of the formerly having right now. Um, I might want to skill this a little bit off so you can literally play around a lot with this. Okay, so that is the shape that we have right now. Very cool. And what we want to do if this is, we want to create off these wooden balls on top. So if we just create a new mash and it's gonna be a you ve sphere, we can select this you this fear and create some theorists. Fourth. So if you go here into your shading, we can leverage just ah, put a new shader imaged lecture to just open it. And that's gonna be the voodoo rough color. Let's look a little closer. This color goes into the speculator open, it's it's gonna be the food rough speculator. I also put it inside the roughness and then just with a color ramp, change the scholars a little bit. So the amount of roughness that we have and it's last I just created a normal map here. Make sure this is a normal cola data and a normal map. Now, what we need in between hair color goes into called our normal normal and I put a step point to 2.3 something like that. Make sure you make a gift. It's a shade smooth. And when you're happy with this, then we can go on into just our modeling again, and we're going to create a particle system. So go here in the apart, existent, clicking plus and we're going to do hair now instead of hair. I wants to render an object which is gonna be our sphere. And what I like to do always is to just put the skill toe one. So everything is the same size as my sphere. So now it's way too big. So select your sphere and just scale it down. You can see that it's not really the same size. And that is because the hair length also has to do with it. So you can put that one as well. Okay, so now if you scale this up and down, you can see it's the same size. Awesome. You can see that this doesn't really look like it's following any geometry. So how do we fix that, though The source we're gonna admit from foresees. So first and then do not do it at the random order. So right now it already looks better, but it still looks a bit weird. Why is that? Well, it's because the number does not fit the number off first is that we have inside this model . If you go in this new model, select everything we can see here. The amount the for disease. So 1300. If we put this hair 1300 we have a very nice amount off foresees. So that a school, we can skill this a bit up, so it fits a bit better. And we can only see something in hair which are duplicates. And you can get some rendering mistakes from death. And you can't really see it now. Yeah, Here. You can see it. You can see that. This just doesn't look right. That is a problem. And you can fix it quite easily. We just select orders front or the back here. Make sure she like the whole that's loop. And what we're gonna do now is we're going to go in here into our object data properties. We're going to create a new for text groups and assign this group to it. So yeah, this is just a group. I'm not going to rename it, but yeah, now we can go back into our particle system and we can click on the FedEx groups as you can see here density and used that group so you can see that it now only uses this and we just want toe inferred that. So if you click on the arrows hair, it gets inferred it. And now we do not have any duplicates in the middle because it just denies those, um, yet foresees. So now if you look a little bit at our material, you can see that we have zero rotation in here like there's almost no randomness, and I like randomness a lot. So if we go here, we have to put it toe offense. And now we have an extra option, which is imitation. Make sure you select this and play around with this randomize face and randomize face. So now we have some randomness in here, which I really like, and yet that's kind of it. Last thing I want to deny their rented to see it's actually the emitter. So if you go into render you have show a mirror and you can turn that off Awesome. So now I put my camera I wanted just in front. So what I'd like to do is just go to few low camera view and then moved a little bit where it should be. So around hair will be OK. That turned us off again so we can zoom in a bit. Goto item, make sure you select the camera and here you can see all the values. So I just put X at 00 at zero than their rotation at 90 then zero and zero. So now it's straight up front and you can of course, changed the y axis a little bit, so it fits inside. Awesome. So that's kind of how I put it in the middle. And now we want to animate this. Of course. So how do we do that? Well, I just grab this go to timeline. By the way, we can see now even also some duplicates. Why is that? Remember returned this off. So now the count is not good anymore. Remember the count number. So if we actually look at these foresees, which are 24 if we so if you just lower this number by the amount that you have, then we should not have that problem anymore. Okay, that seems to be fixed. Let's go back to animating. So you select this Go into your object properties. And then if you wrote it this why access? You can see what it does, and that is exactly what we wanted to do. Right? So we're gonna insert the key frame just when it zero and I'd like frame 120. We are going to put this toe. Let's do three out of the 60 and then insert key frame. So now it looks perfectly the wrong problem is, um, let's put us 220 this end. You can see that it will slow down. But we actually have another big problem here that you guys see that the skill up very big . And that is just if you select this model hair and then kick it going through a and apply the scale, this will not happen. But our next problem is if we play this, you can see that it starts quite slowly. Then it picks up speed and then it and it's like, slows off again. And because of this, it looks like it doesn't really loop. So how do we fix that? I just like to grab another have been here, select our graph editor, and if your graph editor. You can see what the animation does it You can see that it's not really linear. It uses a little bit off a curve. So if we select our fingers A then go to key interpolation mode instead off a base here, we're gonna do linear. So now it's just a linear line. You can see that the line also changed and it will be perfectly looping. Okay, Awesome. So, um yeah, now you just have to render it what I personally did. I like to render all the stuff You can do it in a V. I personally like cycles way more. It just looks more realistic. So I got the cycles, put it into GPU, Um, and let's put the performance because I used GPU. I used make the styles bigger. So 256 but 256 If you CPU, then don't you do with the way bigger? That's not needed. Um, now, I also like to add a background because we don't have it. So what I like to do here is going to the shader editor, make sure I go toe world instead of object at an environment lecture in here. Koehler goes into the cooler. We're gonna open nature. I So, um, yeah, I just select one. I guess I was just like this one here, Kelly Interior. And then look at your render. Looks quite cool. And you can off course move this around the way you want it. So if you want toe use a technique ordinance in hair and a mapping note generated goes into the factor and then this factor goes into this factor, you can essentially rotate this around. So if I rotate the set access for nine degrees, you can see that Now we have a different kind of lighting going on. Um, yeah, you can play around with strength and this is all up to you how you are going to do it. I would love to see a renders. By the way, I personally just also make this transparent and then put a background later on inside. Um, also just want I just put to the side so again just can't see it. And if you want to render it, make sure you put an output map in output folder and hair. So I like to just make a folder inside the same four that you have this safe file vote looping animation and then just animation loop accepted. And now, when you render your animation, it all goes into Death folder. So that's just the way I like to do it. And, uh, yeah, I hope you guys learn from this, and I see you guys in the next one. 12. Splitting wood animation: Welcome to this tutorial. As you can see, this is what we are going to make. We have a tree and then some bark falls off, and then it attaches again from the other side. This is not really to dairy for total beginners. If you're a little bit more fenced or at least know how to work a little bit inside blender than this is great for you. You can probably do this with ease. So let's jump into Blender and Harry FOR default cube, which we do not like. So we're gonna delete it. Now. If shift a, we're going to add a cylinder. And I want to change this a little bit because I want to make sure that the vertices are 36. Now I'm going to scale this up as well, Skill five on the x-axis. Then in the front view I'm gonna move this up G, z, five. So it is nice on top of this x axis. Okay? Now what we want to do is into edit mode. We want to select both the top and the bottom phase, x and the lead. Those phases. Again, I go into the front view and I select just the middle edge here. Then click on plus three times. So I've selected six of these phases. Now click on b and then separate selection. So we can essentially delete this other part here because we have the part that we need. This is going to be our bark. So we can rename this as well. Bark. We need to create some extra edge loops in here, so the bark and actually bend. So click on culture are to create an edge loop. While this little yellow edge loops is still showing, you can scroll up or you can just type in 50. Then click on enter. And then you have 50 of these edge loops, which is a Yep, that works great for this kind of animation. Now, what I want to do is I want to show you the mollify that we need. So go into modifiers. Add modifier is going to be a simple deform. Simply form has a twist, bend, taper and stretch. We're going to use bend. Right now it is bending, but it wants to bend around the origin. And this origin is just not in the right spot. That is why it does not really do what we wanted to do. So what we're going to do is going to stop, going to select this bottom edge loop, shift s, And then cursor to select it. So now our cursor is yet in the middle of the selective Barth. And we go out of the top, go into object mode, which we're in now, shift a and then just add an empty plain access. So now go back to your bark and you can select here an object which is going to be this empty. So what you're doing here is you're essentially using the origin of this empty itself, the origin of the object itself. You could of course, move this object as well. But I did that before and later on in animation, you will get a few problems. That is why I do it like this. So now our bark bends the way that we wanted to bend. Of course it needs to go the other way, but you can easily do this in the form section here. And yeah, that's kind of what we were looking for. If you put it at 0, we just have our normal tree and then it will of course go to minus 50 somewhere. Awesome. So I want to also make sure that we have a solidify modify in here. So click on solidify and we can make this a bit more solid. Choose a thickness. 0.13 might be good, or it went through also, it doesn't really matter which has a certain thickness that you like. Now, I like to click on w and make it shades move. And you can see that it doesn't make it smooth. But we do get some shading artifacts here and here. Because yet those edges should be sharp. Go into your object data properties, normals and then outer smooth, then it o1. And here we have a very nice result. What I want to do here is I want multiple of these. Before I'm actually going to duplicate these, I will apply the solidified modifier and then you unwrap this model. So I'm going to set this, this, this, and this edge loop country Mark scheme because this part is going to be the most important one. And then just every single one of these edges as well. So this, these, and the fourth one will be down here. Contrary. Mark seem very, very easy. Why do I do this now? Well, if I duplicate this, which we need to do, you can see that the duplicate also has the seams, so we don't have to UV and rapid two times. So how are we going to duplicate this in a circular manner? It is going to be super simple. Click on shift C To make sure 3D cursor snaps back to the middle. Then clinical shift a to create a empty. We have another one here, and then select the bark, and we're going to use the modifier. So normally an arrow modifier just arrays next to it, right, with the relative offset and also the constant offset. But now we're going to choose the object of set. So make sure you turn off the relative and the constant term on the object of self and select the empty we've just created. Now, what we want to do is we want to make sure we have a count of six and then rotate this empty around the zed axis for 60 degrees. You can see it does not really work the way that I wanted to work, because it just goes smaller, smaller. So I'm gonna select my empty and my bark, click on control a and apply all transforms. Now, of course need to rotate it again because I applied the transform so rotates at 60. And here we have duplicated are bark. So if you select this, you can see that if we go up or down in count. Three gets yeah, the amount of fog that we need. So we want six. That's it. Now, I can still use my deform. And you can see what this does. Amazing. That's like literally what you want. The problem is we need these parts to be separate from each other. Because if I now just UV unwrap this and show you the material, then you will see that we get seams in between all of these bits and it will not look like one solid tree. Let's actually give the so materials. Go to shading. Click on new governor name is the bark, and add an image texture. Color goes into the base color. And we're going to open our barked lecture. The download link is down below and it's free, so don't worry, and you can just select this one. And you will see here that it doesn't look too bad, but it essentially is duplicated over and over as you can see here. But if little not inherent, right? We don't want that. We want this whole deck shared that we have. So if I've got two texture pains, actually, you can see the whole texture that we have, right? We want this texture. We don't want the, you know, half the statue only this part showing. So how do we do that? Well, it is going to take a little bit of time, which is annoying, but I think it is worth it for sure. What we're going to do is we're going to actually apply the area modifier. And now you can see that we have all of these areas are inside of each other and you want to separate them visa piece. So if you select the middle absolute pair, clicker contour plots, you'll see that everything will be selected from this bark VCE, click on P, and then selection. We're gonna do this for each and every one of these sections. And now I want to UV unwrap them. So I am going to UV Editing. I will select all of these parts, 23456, go into edit mode, click a to select everything you and unwrap. So here you can see that everything is unwrapped. So to make sure that the textures actually fit, we need to look at what our texture map looks like. So if we look here, we can see that these bots are actually the insights and these parts are the ones that need to fill up this whole canvas, for instance. So how do we do this? Well, what I'd like to do is I'd like to select this bottom right vertex, then Shift S curves to selective. And here in pivot points, I want to make sure my fifth is to the 2D cursor. This is not a treaty cursor. This is called the 2D cursor because this is a 2D space, of course. Now I like to select all of these vertices. Then if a scaled up, you'll see that I can just scale up, but this part will stay wherever it is. That is why I put my cursor or 2D cursor there. And I'm going to scale it up until I am at the very, very end here. Because now our texture, essentially it's just seamless, doesn't really matter that the top is over here. We just need to make sure that it is fitting in this axis here. So, is it good though? Well, maybe not, because sometimes these parts, let's go to the first part here. Where is it or not next to each other? So if you look at the texture map, we can see that this one should be here, right? So if I go here, but you can see that it is all the way over there. So it is not really aligned well, as you can also see in the structure just snaps off to another colour. So how do we change this? Well, this is going to be a little bit annoying and whether the scans of the only way that I found to do this. So what I did is I just selected both these and these and then make sure I just select the wrong one in the 2D section and just move it to the right. So moved around the x axis, dx, and then just move it as close to each other as she began. And now these two parts are seamless as you can see, right? So now I select those two and then this one is last. And you can see that also this one is very far away. So I'm going to select this bar and then moved around the x axis. It is as simple as that. You're gonna do this for every single one of them. Some of them like this one is kind of comforted by the other ones. So what you want to do is just select everything and then move this a little bit out of way and dense like the other ones so you can focus upon the desk part here. I know that these kinds of actions make this material way longer. But you can also just use a different material. If you just do like only silver or something like that, you don't really need to do this. But this texture is quite defined, so we really need to do this. And for this other part here, I'll make this a bit bigger as well, just so they match up and have the same size. And it doesn't have to be inside here. So that's no problem. So now you can see that our tree is all the way around. Perfect, the way that we wanted. So what do we need to do now? Well, we need a nice tree in here. So I'm going to just add a, another cylinder. We're gonna use the same as before. So skill Z5, G15, it just needs to be a bit smallest of skill shifts set and around here will be great. This is just yet to show us where the tree essentially is. So just rename this as three. And if we estimate our three-bit here, you can see that we are showing our tree underneath. Ok, so here's our bark. Very, very cool. Now if you select a bark that recreated as first, you can change this angle. And it just works great. The problem is if we're going to select another bar here and just change this angle, it actually wants to join. Yet this one because they are both using the same empty, right? So the origin is not really good because it should bend the other way. So how do we change this? Well, it is actually quite simple. The only thing you need to do is make sure your treaty curses in the middle. Then change your bifid point here to 3D cursor. And we are going to duplicate this empty, okay, so the empty here that we used as first, and we can rename this MDS empty bark, maybe that helps. Then we're going to duplicate it, rotate 60 degrees because we also did that with these duplicates, right? So with this error modifier for the mark, we've got to do this a few more times. So shift the rotate set 60 degrees, shifted 60 until he did every single one of them. So right now we should have six of these barks. So what you're going to do now is we'll keep this one at minus 50 just to see which one is good, then this one is going to be minus 50. And you can see that this one is not good. So we are going to change the origin here too. The empty that we've just giving it. And that's it. So say one for this one and God's minus 50, then chances empty to the empty that is underneath it. Volume. As well as 50. Delete this empty and change it to the empty underneath. And here you can see it is working as intended and it is always rewarded, right? So perfect. So let's start animating right now. Go to animation. And here we can start animating. It's going to be quite, quite simple, but they have to be a few steps. What you have to think about a little bit. The first step we need to do is we need to make sure that everything is at 0 because we want our tree to be just a normal tree stump in the beginning. So I know a little trick though, and you only have to do one of these box, okay, so you can just hide off all the other ones. Just start with the one that is in the front view. So we're going to select this and we're going to make sure our angles at 0. Right-click, insert keyframe. Then at the round key 40, we're going to do minus 50. Right-click insert keyframe. So you can also start to think about how many frames you want this to be. Let's just do a haunted the 64-bit. Now, we might change it in the future. If you play this, you will see that now it will start to open up from frame one till frame 40. Very cool. We not only wanted to open up, we actually also wanted to fall off, right? What I did here is I wanted to lend underneath the camera, but our karmas not set up yet. So let's go into 0, which is the camera view. Then select this, go into fuel and then log gamma two FW going to move this summer weather front view will be somewhere hair. But Now I need to select the camera, of course, go to item and then put it in its place with all the rights rotations. Just so it's nice and straight in front of it. This seems to be OK. You don't have to be too specific with this, but now we at least have something to go up on, going too few and then make sure you log cabin diffuse off so we can't really move it anymore. And what we want to do now is with this animation, because this is going to bend and then fall down. We want to make sure it goes underneath a karma so we cannot see these bark bits anymore. How do we do this though? Well, it's going to be quite simple because we have an empty here, which we do not really have any useful anymore. We can actually use it for something. What we are going to do is we're going to select every single one of these bark MVs. Then select the middle empty, which is not in use anymore, but we can use it now. So then click on entropy and set burned to death, middle empty. Now, if I move this empty, you can see that everything just falls down. I just move it around. The set X is down. She was simple. That is, this frame is quite important because right here everything is nicely connected to the bottom. So what I want to do at frame one, I wanted to make an eye and then location. Now at the round frame, a 160, I want to make sure this one is on top of here. So g, Z then, and it is totally on top. You can see and now i location. So now at least we have these two frames which are very important, the bottom frame and a top frame. Now, what I'd like to do is I want them to fall off, right? So around frame, let's say frame 60, they should be all the way off. So that's frame 60. I want them to fall down here then until I cannot see them anymore in my camera. So i location. So now you'll see that from 0 fall down. Then they're out of the camera at around half of this whole animation. So frame 80, I want to make sure these are instead of like down here, there'll be up hair. How do I do that? It's also very simple. The only thing that we need to do here is select this frame that we just created, frame 60, control C to copy it and then controversy to duplicate it. Now at frame 81, so go one frame up. We're just going to move this all the way on top or we cannot see it on the camera on the top. Then I and then also insert keyframe. So between these 28081 that we'll just snap to the other place. We cannot see them in a camera, so it will not look weird. But yeah, that is how we animate this. And then from there on it will fall down. You can see here, and it will do its thing. But if we want to keep this a little bit symmetrical, we of course need to create a frame around 20 frames away here. So at the frame a 100th, we're gonna duplicate this last frame. Controversy can fee, and then. Only from frame hundreds, these will start to fall down, right? It's just the same as here. And this is how we keep some symmetry in our animation. So go down and then ow distance slowly start to combine. The difference here though is we don't really have an animation for this part here at the end. So if we hide these now, bam, bam, bam, bam, bam, and just focus upon this bark. We can see that it starts to open, fall off, and then it starts to close. But it will never really close because we didn't do this part of the animation, right? This simple deform animation or the nth. So what do we need to do? Well, at the frame 60, we need to make sure it is 0 degrees, insert keyframe and 40 frames before this. So at frame a 120, we need to make sure this is minus 50. Insert keyframe. So now what will happen is if I play it, it will fall off. And then just nice, we put back and that's it. So now it's just a nice looping animation as you can see. Just falls off. And then it will be put back on. Very, very easy, very simple. But we need to make sure this also happens to all of these other parts here, right? How do we do this? It is not hard at all. Actually. We're just going to select each and every single one of them, then the one with the right animation as last Control L, and then animation data. So now what will happen is it will fall. And then they'll be put back all in the same fashion. And that is great. And this is essentially how this animation is made. You can change whatever you want. And you can add as many animations in here to make it even more interesting. That's totally up to you. I think this material already takes waits long if we go way into depth into this. So let's go to the shading and then we can finish this off. If we look at the dexterous that we have here, we of course got this diffuse. We also want a normal specular and the roughness. And they're very simple. You can just duplicate this image texture. Then open the specular color, it goes into the specular. And then of course, the specular rarity is like a non-color data, so changed the SRGB to non-color. That just duplicated over. Again. This is going to be the roughness map. Color goes into the roughness. And then last we have our normal map. Make sure this one is also known colored by the way. And a normal map should also be non-color. So here, normal and its changes for some reason, but put it in one color. And normal map needs a node in between, it's to actually work. So normal map node color goes into colder than normal, goes into the normal. And that is essentially it for this material. And then for this inner part here, I actually deleted the top and the bottom faces well, x phase and then just create a new material which is just a tree. And it's exactly the same story here, image texture. But then we use this plywood material. So plywood, let's look whether grains actually go. I don't like whether grains go. I'd like them to go up and down. Just use a texture coordinate node and a mapping note mapping. Let's do the UAVs factor goes into hair and then I'm going to rotate as Luke, which axis it is z axis actually to 90 degrees and that's more like it. And then do the same for these other ones. So we have a roughness mapping here. Roughness makes sure that factor also goes in here. Roughness don't call a darpa. And as last ofcourse, a norm map. Also this one needs to be connected non-color and we need a normal map node in between here. And that is essentially it. So this is our animation. As you can see. It's fairly, fairly simple, but still quite effective. And the lighting and all that stuff, I think you guys can figure that out in this case. The textures are of course, in the Donald file, as I already told you guys. And that's it. So I hope you guys learned from this. I hope you guys like this. Let me know in the comments down below what you thought about it and see you guys in the next one. 13. Create animate spring blender animation modifier screw tutorial 3d motion graphic 3d: Okay, guys. So we're going to make something like this The biggest thing right here. The thing is, the pre feel like you see, is very, very time consuming, so I'm going to make it a little bit smaller. And for the people who really want to make this after all of the information I've given you , I'm sure you could make it like the undersold that you saw. Um, I will also include this blend file so you can go a little bit more of death and see what I will do for the sake off making this a little bit easier for beginners also understand. I will make this a bit shorter, and we're only gonna make it one. So let's just go into blender and we're gonna delete our main cube and let's add a cylinder . So, this cylinder, I don't want this and guns here because if you go with the wire frame, you can see that this is I'm going. You can already change that. The when you've added a cylinder. So I'm gonna kept feel toe trying fan and the leader bottom just so I don't need to put more Bethel's in there later on at a Not a cylinder. The trying offense already selected here. We're gonna skill this one a bit down. So this is, Let's say, the base. Right. And we want off course to make a spring. So I'm gonna hide these two. I'm gonna add a circle. So this circle is the beginning off our spring. And what is very important now is that when you rotate this, I tried to do with inside of mouth the world that for 90 degrees and then we can move it a little bit outwards. And why don't we do this ended Melt? Well, when we do it and added mouth, you can see that our origin still is in the middle. You can see this orange Dauth. And because of this in the middle are modifier, which is gonna be screw modifier. So what we can do now? We can actually screw it that you can see right, and not only can screw it, we can make it longer with iterations. So we're gonna do like, five federations and the fun thing about this issue can still skill this upward down. So if we get our out of stuff up in here, you can see that. It's of course, wait. A big gonna skilled of it down. And I was to think spring itself is a bit too thick, so you can actually go into edit mode and just skill this down. The only thing you got to be very office that you've got a playoff screw again toe close or open them so very, very cool. And what we're gonna do is let's give this a sub deficient surface and I'm gonna bethel this still part here. So I will select them if all outlast, click and then it's likes the whole batch loop than control be to create a bevel. And I'm just going to give a few more x lopes with, um, scrolling my middle mouse Bottom up. And then we have a nice baffle. Give it also smooth shading, and we can do exactly the same here. I might even do with with a bevel modifier stop deficient surface. But for modifiable the angle and I'm gonna put a few more segments also give the smooth on the fire and then that seems OK. This one has to go a little bit more to the bottom and Now it's time for us to animate this . I'm gonna make it smaller. Just trying to make a local. Yes, some of this will work. OK, so let's animate this selected. We have our warm hair and we can enter the key frame in this crew once we go up. So let's go into 11 frames. We just put the screw on the fire up so you can choose who, however much you want it. 1.47 That's OK. Insert key frame. So what happens around this time? You can see that we get this animated for and off course This one doesn't move with it. So we need to change something here. We also need to give this song that key phrase So e location Never. I'll frame 11. It's reached end again and we got not place. Is there a location? So at this time it will move with our spring. Very, very cool. Now we have, of course, a ball on top, which is gonna be a UV sphere skilled, a bit down, going smooth foresees. And this ball is gonna be animated A swell because this spring goes right. So at frame one, this is the key friend that we need. And we're not only gonna do location, we actually actually gonna do lock Roth, which is location and rotation, because in the animation that you saw, it also rotated and just looks very cool. If you have different materials on the same object, so low growth and then it from 11. It will be at this height, but we wanted to go a bit higher. So let's do with frame 30 G's at, and that's make it bounce a bit up e look block roads. So let's look at our animation and you can see that it doesn't really move the way that we want it. Right. Um, our spring kind of goes true, and then it bumps up, so this has to do with multiple things. First of all, we can maybe changed this hair, but I have a better idea, and that is selecting all of our models. Go into hair and grab aggress at it There, click on a and this makes you select all the animations. So all the key frames that we have and if you go to key, you can see that we have an interpretation. Both and right now our interpretation mode is soft, so it starts with slower and it ends. Also, a soft fall off off and this makes them just This is hard to make them work together. OK, so key insulation mode linear. So now the animation is linear And what will happen now is now we still have to move this one a little bit around. But because of this linear, once we find the good boy, it will just always be the way that we want it. So around frame 32 it will work good for me. One you can see that it moves up and that IHS very, very cool. So we want to give the so materials rights. First thing I'm gonna do is go here and at a shader editor. We can also get rid off this graphite out there right away, and we gonna give some materials. I'm just gonna do it very basic going toe here. And this base will have a guess. A bluish color. And then it will be a little bit more glossy, a little bit more glossy. Um and that is this blue base color. We can also get this blue base color to dis material, and this one will be a metallic color. So metal, this is gonna be a spring and metal all the way up and put it a little bit darker. Also, the closeness can be a little bit more glossies of point to, and then we, of course, have our ball here. I also want to give this a medical or so this go here, we can give this a new name. What's going to be ball and make sure the metals all the way up metallic. I actually want to give us a branch map. So just at an image texture cola goes into the roughness and we're gonna open a grunts map , you can get it down below. It looks like this, by the way, I guess. And this, ah, gives us some nice reflections. We can all of Stacy's reflections with a goal ram in between. So if you want to be a bit more shiny, you could see that we can make it expand. You can even make it less shine if you really go into the scholars because it's a black and white. Now you can play runs of that so this doesn't really look nice yet, right? I'm going into cycles and I want a nice aged your eye in here. This will give us, like, 360 degrees lighting. And it was really, really look realistic. So go into your world tap at an environment texture, Call a goes into the color and we're gonna open an eight year I and I think I did this one . You can also get it down below and here is already looks a little bit more interesting. The only thing I want to do is create a plane in the back plane. Brother, this for a nine degrees and skill this up well with hair. And the thing with this is we want to give this a color. But we don't really want any shadows on here. So if you go into the object, we're going to give this eight nice blue collar. We're gonna do this with an admission knows. OK, so they lied The principal shader at an a mission off a mission. And let's do this a little bit lighter blue. And now if you look at this, there will be no shadows gases from this. There might be some a mission. Like there might be some light cast onto off these models, but that looks okay to me. And I guess we're almost there. So the lesson that we want to do is we want some rotation in here and we also want a new material. So I'm going to select it and add a new material. And I'm gonna go in here and this new material, we're gonna name this as ball blue. I'm gonna delete these mitts here. It will not be metallic roughness, maybe a little bit less around 2.3, and then we're going to give this nice a brutal. So the tow overboard, that's often it is what we call. So now I just get replaced, right? If actually go into a material tap, you can see that we can add another material. And let's make from this material are metallic ball again. So it's just gonna be ball, and this material will make the ball blue. You still can see it this because we have to assign this. So if you go into added mouth, you can see that some options here during up, I'm going to select the bottom first, See here Click on control plus a few times just to expand our selection. And now I'm gonna assign this vault blue. So now it has to materials Very, very cool. The only thing that you might want to change is the rotation a little bit. If you go through friend 30 through, you can change someone's rotation just rotated around a look. So what happens now is if you bounce it up, it will have some nice rotations to it. The last thing that I did is I selected my camera and put all this values at zero. Then I moved it out of here and rotated for 90 degrees around the X axis. So we just point towards our model and then move bit out. We're going to frame one, and we're gonna line this up with our ball. If you want to line it up, you can go in here camera, few poor display composition guides. And we have a center option here. And this will make you give this lines. And now we can actually line it up a bit better. He will be good. So now that this is lined up nicely, we can give us the same animation as our ball here, So e so select our camera. E location. Don't look rough. And then we go up another round frame 32. And with this up some around the middle and then a location. Also, for this one, you can see that it moves a bit weird and that it has the same reason as we had before. So get your graph editor up in hair. Ah, graph editor Selectric camera. Yeah, and I'm also clicking a in this parts to select off animations key in the relation mode and linear. So now it is linear and you can see the moves the way out there we want I hope you guys could show me some of the cool stuff that you live with this and I'll see you guys in the next one 14. Coin zoetrope: In this tutorial, you will learn how to create a zoetrope inside blender. But what is a zoetrope? To easily explain it, I want to show you a flip book. If you look at this flip book, you can see at every next image the animation continues. There are more kinds of Zohar tropes, but the first one was a cylindrical shape where are drawn animation was put on the inside. When the cylinder gets rotated, you can see that the animation starts moving. The animation seems very blurry, and this is why they are slits in the cylinder. If you look through the slits, you can see that the animation gets smoother. 3d zoetrope is made out of 3D models and there are no slits anywhere to make the animation smooth. They actually use a strobe light to break up the blurry animation in separate frames. So we here we are inside blender and I want to show you like the whole process. If you want to use some of the models that have already created, you can of course just import them. Okay? So, yeah, we wanted to create a coin is going to be a cylinder. And I'm just going to scale with down and round the set axis. Ok, so scale down until it's kind of a coin like shape. Now go to the front view, which is going to be, if you click on one, rotate this around the x-axis from 90 degrees and make sure you apply all transformations which has gone through a, by the way. Now we can use this cube hair as I go and slot. Ok, so you want to skill the cube a little bit down around the y-axis, scale why? And then go into wireframe mode because it has to be a little bit bigger than the coin itself, right? The coin has to shoot out of there. So this is going to be the coin slot volume. And then we of course have the coin. These two, we want to move around the y axis. And why do we move them around the Y axis like this? That is because we want to make sure we have a duplicate of the coin slot and we want to make sure that duplicate goes into a circle. The problem is if we just use a area modifier, it does not go in a circular pattern, right? The way that I like to do this is itself the relative objects. I like to rotate it around the object offset. But for that to work, we need to select an object. So click hold shift c, and this makes sure that your 3D cursor jumps to the middle. Now we're going to add an EMT and I'm just gonna do the plane axes. So this is our empty select your coin slot. And then you can do the object of set that's gonna be our empty. So you can see that something weird happens. This is not really what I wanted to do. And that is because we need to apply the transformations of the coin slot to control a all transformations or all transforms. And now if you rotate this empty, you can see that our duplicate, which is the count two, is moving with it. So we want a count of 30, right? And if you rotate this, you can see that it kinda works both. It's hard to line them up in a good way. So how do we essentially do this? Well, we get our Reagan machines, or also called Calculator in English. And we do 360 because a circle is 360 degrees, but going to divide it by the amount of frames that we want. So that's going to be 30. So 12 degrees. If we rotate this empty, rotate sets 12. You can see that we have a nice distribution. If you want your cube and you've gone a little bit further, you can just select them both, move it a little bit outwards. And you can see that a Cohen's faults are kinda acting weird right now. It's not really a circle anymore. That is big enough because we moved it out and this moves the origin. So the only thing you have to do is just select the Cohen's called Country a and do all transformations. Ok, so now I think it's back at what it should be. Awesome. So very, very simple as you can see. And now we need to create a base, okay, so I'm gonna create a base which is just going to be a cylinder. Scales shifts set. And then we need to make sure that the coins fit in here. So I am going to select this bottom phase, move the bid down. And on the top I actually want Cohen's faults to be a little bit above it. And this is because I wanted to make sure I can cut this cone slot out of the base, which we're going to do with a Boolean modifier. So let's start with the modifiers of the base. So the cylinder, we can rename the base and we're going to add a modifier. The first modifier is going to be a bevel modifier. And it just from knowledge, I know that this bevel modify isn't really working the way that it's supposed to be. So I'm going to click a through a and apply all the transformations. So you can see that it changed and this is, yeah, better than before, but it's still wants to bevel every single edge and we only wanted to bevel the top and the bottom edge. So what do we do for this? We put the limit method at angle. Awesome. Now we can start to create some subdivisions to make this a bit more smooth. It's just a bit too smooth and the corners are not really sharp anymore. So just go back to your bevel modifier and make sure you put the segments a little bit up. So two or three with work rate. Now just a lie, the shades move with w. And we can start thinking about our Boolean modifier. So the Boolean modifier just guts out other objects out of this object. So you can just select the coin slots. And if you hide the console right now, you can see that we have holes inside of our base. If you want to get rid of this shading artefacts, go here inside the object data and then click on normals and do outer smooth. Okay, so this makes it nice and clean as we wanted. Awesome. So that is our base. And yeah, those are our coins felt. So now we can start working on the animation of the coins. What I'd like to do here is I go to collection, make a new collection. I'm just going to rename this to coins. This going here. I wanted to animate. So I'm going to click on Shift H and just focus on this going right now. Our animation is going to take 30 frames. So I'm going to put the end at 30. And one good way to do this kind of zoetrope is to actually make the first and the last frame the same. And this makes, makes the animation looping. And you want a nice and looping animation because then it just keeps happening and keeps happening. So let's start with the animation. Select your coin and the first frame is going to be good where it is. So and E then lock broad-scale, saying for the last frame, E, Locke wrote scale. So now it just stays in this position, but let's say at half of these. So at frame 15, We wanted to jump higher. So let's do around here, click on a log scale. So now if we play this, you can see that it jumps up and then jumps down to the same position as the first frame, right? So it is just a looping animation as you can see. So if we look at a base, how does this look? Looks awesome, right? To create a little bit more variety. And here I wanted to also flip. If I start flipping here already, I can show you don't copy this, but I will just show you why I won't do it like this. E. If already start flipping it in this frame, you will see that as we are flipping it, it here, like ghosts through our geometry. We do not want that. So let me click on that a few times. So what I'd like to do is I wanted it to be straight before it actually exits our base. So if you find a frame where it is just like this or is just out of the base, I want to create a keyframe there. So I'm just gonna do it like this. It's a little bit inside, but it's good enough. So e la, cross-scale, we're going to do the same for the other part, the upward skill, right? So at frame nine and at frame 21, I have two more keyframes. So now if I start to actually rotate this going at frame 15, rotate 90 e log-log scale. You can see that because we put an extra key frame at frame nine, it stays straight so it does not go through our geometry. And now it starts to flip. And here we have a nice flip. The problem is that frame 21 doesn't take account the flip anymore, right? It just goes back. So I want to rotate this. So it makes like we have this a 180 degrees flip, right? You can see that it just wants to flip and it goes back, that this doesn't make sense. So at frame 21, I'm going to rotate around the x-axis for a 180 degrees, click on e and the log odd scale. So now you can see that it flips and keeps flipping till it reaches the a 180 degrees that we've just created. Now, you can see that it wants to flip back again. So also for the frame 30, I'm gonna rotate it around the x-axis for a 180 degrees. Log-log scale. So now it just has a decent flip. I know that this last Rehman first-time are not necessarily the same. They do end up in the same spot. But the model, you know, on one side might be a bit different than on the other side. But in this case, I thought this looked cooler, so I just went with it. What do you want to do now is a little bit more time tedious. I would say we want to use the collection that we've just created. And I'm going to duplicate this coin. The coin zeros 01 is going to be in the collection. We can hide our other coin and I keep it just because if something goes wrong, I always have that animation still ready. So for this coin hair, I wanted to go to object animation and bake actions. Click on OK. And now you can see that every single frame is baked. So what do we do now? Well, we want every single frame that we have. Also a little step further. There is no automatic way to do this. We can't really do this with an arrow modifier. So what I like to do now is I want to use this first going as a kind of duplication method. I'm just going to duplicate it. Then I'm going to the next frame, delete all of these keyframes from the duplicate, and then move this around. I want to move it inside of the next slot. To do this in a simple way, we are just going to make sure our 3D cursors in the middle. So you can just click on shift, see if you want to make sure it's in the middle. Then go to the pivot point and make sure the pivot point is around the tree cursor. So as before, you just have to rotate z for 12 degrees. It is that simple. Now for the next one, I want to duplicate this first going again, I'm going to frame three. Now. Delete our keyframes, rotate set 12 n Another time. So this is going to be of all of these 30 coins. So duplicated. Go one frame further. X, delete keyframe, Rotate set 121212. So duplicating it and then a rotating it around the z axis for 12 degrees kinda gets tedious overtime. So there is a very simple way to actually just duplicate your last keystroke, which want to do is duplicate it. Again. Move on keyframe further, x, delete key frames. Now rotate zag 12. And now what you wanna do is you want to just click on shift are. And that was of course the rotation around the z axis. So it's quite simple case. So just duplicate this and rotate set 12, shift, shift, shift arches are it makes it quicker. So you need to do this for every single one of these coins. Okay, so here we have our coins and this animation. So what you want to do is you want to select all the coins. Bam, then select your base, and then take a control P and do set barons object. So all of these coins are now parented to this object. So how are we going to animate this? Just select your base. And then we're going to hear into the object. And we're going to rotate this guy. So the first rotation around the z axis, it's just gonna be 0 around frame 30, we wanted to rotate 360 degrees. Insert keyframe. So as you can see, it does rotate. The problem is it goes quite slow in the beginning, speeds up, and then go slow again in the end. This has to do with the interpolation mode of your animation. So if we actually grab in hair a new editor type, which is going to be the graph editor. We can look at our z axis. Here, z axes, and you can select them both top and bottom. What you want to do here is you want to make sure the interpolation mode is not that big J, but a linear. Ok, so now it's just straight and it will create a looping animation. Okay? So I can, cannot delete this again. And here we can see our loop and animation. So it looks good. I like it. There's one thing that I want to change and that is our base does not really wrote that with it, or essentially the Booleans north. And that's because we did not apply all the modifiers. So just go to your base and apply all of the modifiers that you just created. And now you can see that it moves with it. You can see that this D scoring slots and the coins move. We want them to look like this stands still. So what you want to do here is actually go into rotation. And at frame 30, we should have not 360 degrees, but we're going to do this mind the minus 12348 degrees, okay? And now you can see that they just stand still and we have a nice animation. So this is the way that you can create a zoetrope. And want to be totally honest if you would like to subscribe like or maybe even look up a website. I've amazing courses there. I put a lot of time into them. That will mean a lot to me. And otherwise, I hope you guys learned something and yeah. So you guys in the next one. 15. Triangulated text animation: Welcome to this new material and we're going to create this animation. I got a lot of my inspiration from two people. So let's look here at Cinema 4D by maximum. Jonas builds, created this video here. And yeah, he essentially only shows how you can triangulate your mesh here in cinema 4D. But I really liked the way that he rendered this. And I thought, how can we do this in blender? So this is of course why I created this material because I just liked it. So thanks John speeds for the inspiration. But as many of you know, gemstones and glass do not really work very well in sight blender. This is because the main render engines that we use inside blender don't really have any cost sticks. So I remembered editorial, I watched a long, long time ago. This material is from Tokyo effects. It creates a gemstone material and I just love it. It's just makes the gems Luke way more interesting and we're going to use his setup. Police also check him out, docking effects. Sadly, he doesn't really make any videos anymore. But maybe if we comment enough underneath, there may be like as videos that he will create some more cool stuff for us. Going back to aki, we need you. Let's look at our final scene inside blender. This is essentially what I ended up with. We are going to create one of these meshes. But what does a mesh consists out of? We have gold. Here, we have our outer gemstone, and we have this weird concoction inside. We can thank talk f x for this, of course, but this makes the gemstone Luke way more interesting. The lighting is also quite simple. Life here, a light hair, Latin at top, just to create some reflections on top of the gold and the gemstone. But we have a light here and a BEC, which is very important. If we look at our image, we can see that this gemstone is not the same brightness at every part. Why is this? Because some parts here in the back still have gold over it. And because there's gold, the light will not shine through here and we get a darker kind of gemstone material here. But here the light shines through because we have a light in the back of this model. And that is why they get lit up like this. So that is why you need to put a light in the back. That is essentially it. And we can just start creating right now. Here we are inside a new blender scene and we're going to delete this awful default cube. Now with shift a, we can add a text. And if you just go through the top view and then click on top, we could edit this text. So it doesn't matter what you're gonna do. That is to do a very simple one. I'm just gonna do the and then just go into depth again to go to object mode. And hair is short text. I want to make from this text some geometry. At this point, I can edit my text here if I want. But what I would like to do, go to object. Go here into conferred to, and we're gonna confers a mesh from a text. C, So mesh. Now if we go to the top, you can see at fifth grade a mesh. Select everything ie to extrude food at somewhere around here. And that is essentially our text. This text, of course, needs to be triangulated. And I found it very, very easy technique for this. So just go to sculpting. And here you want to turn off your mirror and it'll turn on Dan topo. So then TOPO essentially triangulate everything. So there's kind of a special technique that I used. I like to use this brush, the inflate, put it a bit bigger the radius, but put a strength a little bit down. So here you can see that we can just triangulate everything with 0s, right? To get rid of these big corners here, you can use your shift rights to smooth everything out or you can just go to smooth and do it like that. If it's too strong, Just make sure it's a bit lower. But that's how you get rid of those edges. And if you wanted to change the size of your triangle's going to done topo and change data size. This size is now set to relative detail. So if I go further away, you see that it's this relative to the distance from my camera to the mesh. So this is essentially the model that we've ended up with. You can see that everything here is triangulated. So we need some duplicates from this. We need our normal gem. We need to duplicate this. This is going to be gem inside because we need to jam materials gem inside. And when it's duplicated again, it is going to be the gold material. Let's hide the gem for right now, and we're just going to focus upon the goal. So create a new collection and a gold is going to be in here. What you want to do if the gold, as she could see in the image, you just want to delete a few parts here. She gets some openings to actually see the gem. So go in here and just delete some random parts. I personally liked that. I got some parts off here. So maybe if I cut this off and get a separate triangle in here, it's not necessary, but I just thought that those are fun. So if I delete this part here, yet, those just look cool. So that's why I did that. So now we need to edit this in a few ways to actually make it look good. What I'd like to do here is select everything with a, then I two times to inset these phases. And you can make it as big as you want. I did them quite small, bam, than if you're happy with it, you can extrude them. Then click on alt S to kinda inflate them inwards. So Alt S, and you will see what it does. Because if you just do S, the, our goal to the middle, if you do alt S the kind of skill down around their own normals, it seems like. So now we have all these nice triangles in hair. It of course also needs some thickness. So I like to select everything, Extrude. Again alt S and just put it a bit inwards. This is not too specific. So this is essentially the goals. Let's get some modifiers in here to make it actually look a bit better. First modifier is going to be a bevel. And you can bevel these, you can choose the offset. But you cannot offset them too much because some of them are very small, as you can see here. And we have a clamp. This clamp, We'll make sure there will be no overlap. You can turn it off and then play a little bit if the overlap, if you want to. Now you can make them look way smoother, but you will get some overlap sometimes. And yeah, it's just a trade off so you can choose for that, but just make sure you understand what is going on. Now, you can add a sufficient surface. And of course I also want to shade smooth is the sufficient surface makes everything nice and smooth. If you have a very shaded detail, then you might also want to put the baffle a bit up to get some extra sharp corners. Awesome. So this essentially already looks good. The one thing that I found though, is a parts like these where you have your triangle, like separate. It just doesn't work that goods because it tries to smooth a finger, you get some problems. Same here. What do you do here? You just separate this part, so just select this whole part here. Make sure you don't to select through much. That should be it then P selection. When you do peace selection, it will keep the modifiers. You can see that now it's separated and they both look good. Now, the same is going on right here. And you can just separate or like split these parts here. Or you can just delete one of these plots. I'm just going to delete it for right now because it's a bit easier, but you can separate them and that works fine as well. And you can see that now it's fixed. Awesome. So this is the gold and we can go on to our gem material and we want to create a new collection for our gem gem. And put both the gem and the gym inside, inside the gem collection. And what we want to do here, we want to make sure that gem is actually smaller than the gold, right? So in this case, I selected both of the gem model's going to top with a select everything and alt S to shrink them down a bit around here. So now we can hide this golds and just focus on the gem. We just first going to focus on the gem outside, not the inside. So just a normal gem. And we're gonna give this a nice Bevel and a sub deficient surface. I would like the baffle to be a bit more sharp. So I'm gonna put the segments up. And maybe if input offset a bit lower Sama around the hair. And this should be totally fine. Now for the jam inside, we essentially want the same. But what I want to do is I want to add one more part. I want to go into top, select everything, click on AI to inset this, and then just do it as small as possible. Some around here. Then electric click on F3 and then merge. By distance. With merge by distance, you want to merge the vertices together that you have. Just inset it. So you have three vertices, then you want to make them one. You probably cannot merge them altogether, but that's totally fine. Just get as many as possible. Now with alt S, it is going to scale this inverts. And here you can see that we get some cool shapes. And this is essentially going to make our gem look way more interesting. I will show you later on what it looks without and with it, but this is very important. Now we also need to get some modifiers in here. Bevel is very important and a sufficient surface. So the bevel, make sure you go to two segments. I think that's for sure needed. And you can also give this a smooth shading, but yeah, this looks totally fine. We do have some artifacts here and there. That is because some of these vertices are probably intersecting. You won't really see this anyways. So don't bother too much, but data scan of it. So here's our gem, and here is our goals. And it's as easy as that. So let's go onto our materials. So let's get into our materials. I'm gonna go to shading. I like to change this to 3D few ports and this into render so we can see what's happening here. Let's look at this light. As we said before, the light and the back is quite important. So I'm gonna move this light down to the bottom. And then I like to create a plane which is just going to be the background here. And maybe some lights in front. So I could duplicate this and move it towards the front. And some here, it doesn't matter too much, just make sure they're not too bright. So you could also give them their notes and then just lower strength a little bit. If you think it's too bright, it doesn't have to be too specific, but we do want to see what we're doing with our shading. So select the goals. We're gonna click on new is going to be gold. And then what? This is basically very easy. This should just be Ghana yellowish orange, and then the metal should be all the way up and you can choose what kind of roughness you want. So 0.1 is way more shiny. Of course, it is a no roughness. And the higher you go up, the more rough it will be either acquired a low amount here. Awesome. So very simple, gold loops goods. Then we go to our gem material. So just click on New. And I'm essentially just copying this from Turkey. And he did not really explain what is happening here. But essentially we have a glass BSD, BSD f goes into the surface. And here we have our glass. And without the gem inside, it looks, it looks like glass. It looks good, but it doesn't really look special, especially later on when we're going to give this some materials. So let's just unhide this jam inside. We're gonna rename this to gem. And then for the German sides, we're going to use the exactly the same material. Okay? So just do the same material. And you can see that this already looks way more interesting. The only thing that is missing. Of course, it's color, so RGB color. Why do we use an RGB? And here, that is because talky likes to use some extra nodes, like the RGB mix note here. And the math note. Volume color goes into the top value of the math node and the value goes into first color, and then the RGB colour will go into the second color. So now make sure this is all the way to white by the way. And then you can change the scholar. So do you want a bluish color or maybe you even want to read or whatever you want. Pink. I think there's light and the back is a bit too bright, so I'm going to tone it down just a little bit so I can see the colors of my Gem a bit more. But yet this essentially is quite good for doing here. You can put this value down and you can see that you had a color, gets a little bit darker. And I think I like it a little bit more like a 0.2 maybe from 0.3 if you wanted a bit more bright, but just play a little bit around with these values. We want to keep this at 0.5, just mixed, but you could change the roughness of the glass as well. All right. So I would personally do not too rough like 0.05. but all the way at 0 is just not really realistic if you just do 0. So you most of the time you want to put a little bit of roughness in there. Then we're going to add a hue and saturation of color goes into the color. We're going to add a RGB-D curves node's color, it goes into the color, and we're going to use a volume. Absorption. Color goes into caller, volume, goes into the volume. So here it is fun to play with a few different colors. So we are using the same colour, but if you just change a bit of the EU may be even the value a little bit. I personally wouldn't really touch the saturation, but the EU and value will be nice to play a little bit around with. And of course, I put a density a bit up, I think located like five. But you can also put it a bit higher or lower depending on what you want. But you can see what this does to your material. Looks really, really nice. And you can also play around with these curves. This is not 100% necessary. You can also do it in here, but yeah, it's just what you want and whatever it looks cool to you. So these are essentially the materials I already showed you. How are rendered this in the beginning of the video. So I will not go over that too much. But you can kind of see what I'm getting at. The animation is very, very simple. So if you go to animation, I literally just did a 120 frames. Bam. Then I select one of these models, go into top to go into edit mode, a to select everything, shifts as to put cursor to select it. So it's in the middle of the model. Now I select all the parts that are in this model. So I have the gem, I have the gold, every golf beast that is somewhere. And then the gem of course, then as last, select the empty contour P and then set barren to object. So now that the EMT is the parents, we can just move it and everything that is parented to it will move with it. So we only have to animate this empty. Go to frame one, click on I, and then just do log broad-scale. And if you want to make this a looping animation, go to frame a 120 and make this the exact same location, rotation and scale. Now at frame 60, I just moved this a bit down here. I log-log scale. You can see that now if we move, it just goes up and down very slowly. This is a bit boring. So that is why at around frame 90, I just rotated this a little bit. I record scale and its frame 30 the same, maybe the other way. Just play a little bit around there, like no rules in here, just play a little bit around. But you can see that if you play a little bit around like this, that you can create some very cool animations. So this is everything you need to know to create this animation. I hope you guys learned from it, and I will see you guys in the next one piece.