Blender materials and texture series - Volume one | Joe Baily | Skillshare

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Blender materials and texture series - Volume one

teacher avatar Joe Baily

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

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

Lessons in This Class

23 Lessons (2h 31m)
    • 1. What will you learn

      2:56
    • 2. What are materials and textures in blender

      5:45
    • 3. Viewport shading modes

      8:14
    • 4. Naming a material

      4:36
    • 5. Adding material slots

      3:53
    • 6. Adding a material

      5:19
    • 7. Adding a material to an object

      4:27
    • 8. Adding a material to a new object

      8:13
    • 9. Deleting materials

      3:59
    • 10. Deleting the material slot

      5:18
    • 11. Fake User

      4:50
    • 12. Changing the diffuse color

      12:10
    • 13. Diffuse intensity

      5:09
    • 14. The preview box

      3:43
    • 15. Shader models

      12:39
    • 16. The color ramp

      11:12
    • 17. Color ramp factor

      4:11
    • 18. Alpha value

      9:57
    • 19. Input and Blend

      12:07
    • 20. Interpolation

      11:05
    • 21. Specular color

      8:11
    • 22. Challenge

      1:56
    • 23. Thank you

      1:39
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About This Class

Blender materials and texture series - Volume one

Welcome to volume one of the Blender material and texture series. This series of courses is designed to guide students from being beginners in material application for blender towards mastering the ability of creating any materials the student wants to create for any purpose whether that be for Pixar style animation or creating PBR materials for lifelike scenes.

Volume one will provide students with the perfect foundation in being able to apply different materials to the objects in our scene. No matter how good your modelling skills maybe, the final product wont look good unless it has a great texture applied to it, which is why we have created this series with following one as that all important first stepping stone.

Meet Your Teacher

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Joe Baily

Teacher

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

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

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Transcripts

1. What will you learn: Hello, guys, and welcome to the blend up texture. Siri's. This is Volume one of the texture Siri's where we're gonna be introducing you to the very basics in materials and how blend up uses materials. So let's get to it on. Let's have a look at what you will be learning in this volume off the blender texture. Siri's. So, as I've just mentioned, we're going to be looking at the fundamental so being able to set up your materials tap So we're going to be looking at the following. We're going to discuss what a material is in blender. What is a texture in blender and how it's different to a material. We're going to be looking at a few port Shader modes, which each mode is going to show you your material in a different format. How to name your material. Very simple but very crucial, adding what we call material slots, which would allow us to add new materials objects. We'll also look at how to add materials to new objects in our scenes. So once we created a new object for a scene, how we're going to create new material was for it. We could then gonna reverse that by learning how to delete materials on material slots. Aunt. How to add what we call fake users to ensure that materials that are not being used Our kit in blender and not deleted when we exit will then be moving on to the fundamentals off. Basic. Blend our color arrangements So we'll be looking at how we can change diffuse color, which is the base cut off any objects that you'll be creating in blender. How to change the diffuse, its intensity, which is basically how much of that color comes through the objects Shader models Using the color around. Now we're going to be covering the color, ramping quite a lot of detail because of just how powerful tall it is. The preview box, which is going to be a fantastic tall for previewing how the material effects different objects hypes without actually having to create those objects. Different blending methods that will be using with the color ramps adding color nodes to the ramp. Learning about what color interpolation is in blender on also the special effects and how it's used to create a certain type of reflection off our objects or that is coming up in this volume off the blender texture Siri's. So let's get to it 2. What are materials and textures in blender: so the first thing we need to know is what exactly are materials and textures in blender? They're two slightly different things, but they are used to work together to really create that realistic looking object. Every objects in blender should at least have its own material attached. If you actually want it, toe work in your seen your animation or your game. The material is used to determine how the objects responds to a light source again. Every single thing that you will do in blender for the purposes or things such as animation or video game design or even just simple faux seem creation. These will allow require light sources, and therefore your objects are going to require materials that are going to respond to those light sources correctly. So a material is going to do certain things, such as it's going to tell blender what's color the object is going to display, or how soft or sharp a reflection is going to be. When that light hits the object, a texture, on the other hand, ease slightly different. To put it simply, we put textures, honor our materials, so the texture is what gives the material. It's level of detail. The texture is basically a pattern on that material to make it look more like a real world material. For example, a wood texture is needed for wood, the simplest method of doing this in blender or any free D modeling software that requires you to create materials used to simply import a wood texture, or simply an image to the image off would into blender. And you can use that and project that on top or your objects now in always get that realistic effect. It obviously goes much d deeper than that, but we won't worry too much about that now. All we need to know here is that the basic principle for texture is to bring in on image textures. We call it from an external source, such as Google, and then apply it on top off our material to give us that effect. It is not an absolute requirement for every material to have textures in order for them to look good, because in real life many materials will not actually have patterns to them. For example, golds, silver's aluminium, all these different metal objects were met materials. They don't have much in terms of patterns. They have things. What we called overlay lays things like scratches and dust. But there aren't really any patterns to them by the fault, which is different to what would has. Would, you can tell. Wood is wood boy how it looks, boys texture for metal, Sutters, gold, silver or copper. You can tell that it's gold, silver or copper based on its color and its reflexive properties over which are found when applying the material. Not exactly the texture. It is still strongly recommended, though toe have subtle textures to add realism. So as I just mentioned, you can create things such as scratches or fingerprints or dust to go on top off your gold or silver material to give it a more realistic effect. But this is amore advanced technique that will be looking at in eight later volume off the blend up material, Siri's. So to summarize, what we've looked at in this lecture, we now know that materials are applied to objects. Teoh give them the function off. Being able to respond to light textures are used on top of our materials to alter the appearance off that material to make it look like it's real world counterpart. So an example would be again without wood texture is that we would create a material on that material will tell blender how the object is going to be responding to light so we can manipulate that side of it. Responds to live in the same way that would responds to light. And then we can add a wood texture on top of that to give it the appearance or would so as a result, we end up with a wood texture that will respond to lights, as would should. So there we go that easy on introduction to materials and textures in blender. And now what we're guys do is we're going to be moving into blender where we're going to be learning about how we can add on delete materials, form our objects. So that's gonna be the first step here, learning how to actually create basic materials. Those guys on I will see you in the next lecture 3. Viewport shading modes: in this lecture, we're going to be looking at a few port shading modes. So before we can begin giving our objects some materials, we need to know how we're going to be able to few those materials in the free de Vieux port . Now, there are most for ways in which blender can view our objects on. Throughout this series, we're going to be switching between these four modes. So I'm gonna give you a brief description of each and then I'm gonna show you them in blender. The's solid few is where we do most of the modeling work. When we're using the blender vendor engine, sort of you will display the base color off the material only in a text of you will be able to see both the base color off the object and also detects track that has bean applied to the object. The material view will display the material, and it will show how the material is going to respond to light sources. The render few will show us how the final scene will look when it comes to the object itself. The lender few combines the dates out from the text of you and the material view to give us the final results. So I'm just going to very quickly show you each of these modes and how we can access thes modes in blender. So I'd like you now to just open up blender if you don't company have blender opened up on . I want you to make sure that you are set to the blender render engine. For now, it doesn't actually make any difference. But this electric in particular. But that this volume, of course, we will be working in blend Orender only. So we come up to the top. We can select our render engine and we can change between these free by the fault blend Orender blender game and cycles gender. But that this volume, we're going to keep things simple with the internal engine that is the blend Orender engine . So just make sure that that one is selected now so that you don't have to worry about it later on. Now, to change our view, port shading methods. We have to come down to the info bar that is located just below the free de Vieux port On, we have to find a button that has an icon of a White Bowl. This would allow us to change our shading. So if I left click we can see that we have six options bounding box, wire frame, solid texture material and rendered. But the purpose is off applying materials and textures to objects. We don't need to worry about wire frame or bounding box. Eventually, we won't really have to worry about the solid few, Iver. But for now, because we use in Blenda Renda, we're just gonna have look at the difference between these four. So this is solid fuel and we've got our basic cube objects here in the center. Now solid few basically displays the object and its base color. Now, by default, our first object will have a material applied to it, which is going to be a simple white material, which is what we can see here. We can just see this grayish color, and I saw that's available in at this mold Sex review will actually see that the shading has changed. Now the color is still the same. But now we're actually viewing the texture that's applied on top the object as well as the base color on how the texture is responding to the light source. Now this is defaults on. Remember that in order for us to be able to manipulate how the texture responds to light sources, we require a material to go with it. But as you can see, we swap between two. We've got solid few. Now we've got text review and you can actually see quite clear difference in how it's displaying the objects. But basically, all you need to know is that this is the few that you're gonna be in when you want to have a look. That's the texture that you've applied. At this point, no texture has been applied to our cute. Next we have material so material again, we can see the change again and this will basically display the material. Only Andi will focus on how that material responds to light sources. Now you're going to see in a minute that even doh texture view. We can see it apparently respond to light. I'm just gonna pan Why've you and you could just see little glimmers Little shine sweet pan over the top and we can see that's responding to light. We can see that quite clearly But this is not how it responds to light in the final scene. This is just a based market so that we can view detection. The material view that we can see here is actually more accurate in terms of how the light is affecting the object. So what, we can see here with the shading so we can see a very dark square here where the light is not affecting us. The light, by the way, is up here. This is our light source and we can actually see how the material is responding at each face teach angle. And this is a lot more accurate to our rendered few. So here in render few, all we get is the base objects in the scene on this shows us exactly how blend that is going to look when we render our image for animation on a sui can compare between two. The material shading on the rendered shading are pretty much identical. So when it comes to getting an idea of how light hits an object, we're gonna want to be in material view rather than the texture of you, the texture of you as we can see between these two is basically a brought a variation so that we can get a better look at the texture itself. But the material view is used for how lights affects the object. So there we go. The final thing, I will say, is that normally you'll be very tempted to just keep looking in the rendered view to see the final result. But I recommend, especially if you don't have a very powerful computer using material and texture abuse until you want to look at the final result in rendered view. Because if we keep going to blended view on your computer isn't the most powerful. Then you might risk a few issues. You might have blender slowing down or even crushing all together, my computers quite powerful. Yet it still crashes now and again. So there we go, guys. That is our introduction to the few port shading modes in blender, what each of them are going to be used for and how we can change between them. Thanks, guys, and I will see you in the next lecture 4. Naming a material: in this lecture, we're going to be naming of material so again to be naming the default material that is automatically applied to our cube objects when we open up a new blender scene. Now, in our projects, objects are likely to have multiple materials or we may need to transfer material over to other objects. Therefore, name materials is going to be crucial for us to create a lien on defective work flight. That means that we have to make sure that every material is named what it is. For example, if we're gonna create our wood material, then we're going to need to name. It is would like the fault blender will name all created materials as material and then assign a number to the end off the world material. But this is going to create confusion as to what materials are. What therefore, naming becomes a very important process on is something that you should do as soon as you create your material. Naming a material is very simple on ever to places to do it, although they are right next to each other. So we're going to go into blender on what you'll probably have when you open up Blender is you'll probably have this exact screen on over here. We have the properties panel. Now, this is where in blender end up we do probably 90% off our work when it comes to materials and techs. Trees is going to be in at the properties panel on. Then we're going to be able to view those results in real time in the Freedy view ports. So what would guys do is in the properties panel at the top, we have a series of different taps that we can open up. We want to select the one that looks like a reddish fall. This is how, what material date? It's up. So we're gonna left click, and it opens up the material data tab with all the options that we need for manipulating our material By the fault, we already have a material applied to our keep. We can see the name of the material in this box up here. If I extend the size of our properties panel, we can also see just below it that we have the name off the same material he now in both of these locations, we can change the name off that material as I highlights over here. It just tells me that in order to rename its all I have to do is double left click. So 12 and that highlights the word material. And then I can name it. So, for example, we were creating a wood material. I would simply type in wood and press pencil. I assume it's like, dude up. It is now confirmed that this is my material so equal. Would he it's automatically changed, would down here. This is our data block option and we've also got the name to selected material up here. What is would We can also change the name in this data block as well. So this has plenty off different options that we have now in blender. Each material uses what we call data blocks to store all of the information off what that material actually is included in. This is the name off that material. So he always needs do is single click who are with double click. It will highlights the word again. And if instead of doing would I wanted to make a brick material I can type in brick on and on, we can see that's the name has changed. Brooke here. It's also changed to name to brick up here and up here on it really is a simple was that to change the name off your material? Thanks, guys. And I will see you in the next lecture. 5. Adding material slots: in this lecture, we're going to show you how you can add material slots. Each objects in your scene has material slots that you can use to swap materials that she will be using for your object. It even gives you the ability to add different materials to different parts of an object. So basically, what this means is that you're not restricted to using a single material on your object. Nor is that material going to be restricted to just that object. What this is going to allow us to do is adds thes slots on within these slots or these data links, if you will, these data links will allow us the ability to create new materials, even if we're not going to be using those materials directly onto that object at any one time. It gives us the ability to add materials later on. And then we can off the creating all these different materials swap between them in real time to have a look and see which material works best without object. But first things first. We need to know where on how we're going to add the's material slots. So gonna go into blender and we have our wonderfully named Blick material. To add a material slot is very easy. So you'll notice when we did the naming lecture that there were two places in which we could name and objects here, which is our data link menu on. We also have this up here that this is the material slot table when, as we can see, we've only got one material at the moment. This is our brick material, however, to the side you'll see plus on minus buttons. So for now, let's just worry about this plus button. If we left click on the plus button, the entire table expands, and we also get a blank material. Now, this is, um, a two slot. So what's happened here is we haven't created a new material, but what we've done is we've told Blender that we might want to new material, and therefore it's created a new slot for us. Now, the number of slots that you can have on any one object is pretty much as many issued like so I keep pressing the plus button on. We have a lot of these different material slots that we can use now 99 times out of 100 you're probably not going to have that many material slots. In fact, with most objects, you're probably looking at free, maybe four for the most complex objects. But that's pretty much all there is to it. You'll also note that the data block menu has also been simplified as well, because there is no date. Eight says he to add a new material, which will be doing in the next lecture. So, basically to sum up, we know how we can add material slots. And in the next lecture, we're going to be adding materials to each of these slots. Well, not with them, but a few of them. And then we're gonna name each these interior of yours and so that you can get an idea of what the workflow more look like. Thanks, guys. And I will see you in the next lecture. 6. Adding a material: so we know how to add a material slot to our objects. Now we just need to add them to you now. Adding in a material is now very, very easy. Now that we've got that material slot, all we're going to need to do is select on empty material slot and then click the new button in the dough data block menu below It. Always remember, though, to name your materials as soon as you create them. So let's add some new materials for our object tohave. And then we're going to Lehman. So we have he a lot of these data blocks, but only one days of Brock is being used, and that is the top one, which is a brick material. So long Guns Dio is going to expand this seal. You'll get about. I'm going to select the second material slot on Well, no, now that there's a major difference between the Data block menu here on when we have bricks selected. So we have several more options when we actually have a material. We have this expert in this plus button on this F button here, but we're going to select a new material slot I'm going to click new Now we can just left click on. We're going to name this new material, so let's name it would. And now I have a clip material on a wood material, so let's do a few more. So select the next to slot click new Click in the Day of Block and will name this one glass . Now I have free materials that we can choose role. Let's do two more just so we can get a good idea off how this all works. So now we can go material Nuba to was been added on Let's name this one concrete and then let's just do one more for the fun of it. So no left click on this time. I think I'll go metal. So now we have five materials that we can choose between. Of course, we haven't done any editing of these materials, so their properties, which you can see below all exactly the same. But we'll horse that bridge when we come to it. For now, all we need to know is that we now have the ability to admit to slots, adding materials in those slots. Andi, naming those materials on that last part is always going to be very important. You're gonna want to know exactly what each material is, especially when you haven't edited it at all. Because we might just keep all these materials as they are when they're naming conventions that will be called cereal. And then we might get them mixed up. So we might start, say, for example, if we hadn't renamed the Wood Material. So we started editing would material. And then when we come back later, we might have started editing the glass material, thinking that it was the wood one. Mistakes like that can happen, so naming conventions are very important. Very quickly, though, let's see what happens if I add a multiple off thes materials. So what I'm going to do? These are guys. You add free materials but not name them. So we're gonna click clack, click left a note, and it's called material. I'm going to sleep with one blow it new on. We can see it's called material got CEO 01 and then one more Get new material. Got CEO 02 So this is the way blender works. If you do not name your materials yourself the 1st 1 you add will be called material unless you already have a material named Objects port material named material as it were. And then everyone after that will have a number beside it. So dot seriously will one about Syria 0 to 00 free, etcetera. And of course, these names are not only very, very similar, the only difference between each one being one number, But also it can get, of course, very confusing because of that similarity between those materials. And you have no idea which one is which. Because obviously material not serious 01 If this was, say, a glass material, you are gonna find it difficult to know that's a glass material just by that night. So there we go, guys. That is how we can add our new materials in our material slots. Thanks, guys. And I'll see in the next lecture 7. Adding a material to an object: In the last lecture, we looked at adding materials to material slots. However, now we're going to look at adding materials to the object itself. By the fault, only the first material is assigned to the object. Now we can change the order off the materials in the slot list, but this will not change. Which would? Cereal is selected 40 objects. In order for us to change the chosen material, we're going to have to select the object in edit mode in the free de Vieux Port and then click on a sign button, which only appears in the data block menu below the list when you are in edit mode. So let's add a another material to our object other than it before one someone to go into blender on. What I'm going to do very quickly is I'm just gonna go up to the top now. Currently, our brick texture is the default texture that is being applied to our objects. Now I'm gonna do one thing here very easy to follow along, but we will be covering it in a little bit more. D's Hail play a role in this volume. Well, I'm just gonna do isn't gonna come down to this diffuse section and click on this white bar . It I'm going to left click, and we're just going to select any color form this well here. This is our color wheel. So I'm gonna select a I think that would do. That's a nice color for Brick. Maybe slight. You ever actually that looks better for wood dozens it. So let's make hay. Where there we go. That looks really good. So now what we've got here is we've got a way off distinguishing between two or more of our materials. So if I click on wood, we can see that it hasn't changed the color off them at cereal in the object itself. So the entire object is the same. Color is the first material because that's the only one has been applied to it. So for now, we're just gonna worry between brick and wood. So what I'm going to do is why I have to do first is selects would as my material of choice , that doesn't change anything. He But then I'm gonna go down here click object mode, then into edit mode on when you go into edit mode. for the first time on objects, you should have it all selected. If you're not sure if the entire object is selected, press the a key once and then a second time until every think you can see is highlighted. Now, where we had that the data But before we also have some options just above the days of block Sigh. This will allow us to select the select or a sign materials to our objects. For now, let's just worry about this sign key. So what I'm gonna do is I'm gonna click, sign and straight away. We can see that the color has reverted to the wood color, which is a slightly grey white color, so I can go into object mode. And there we see, that's the color has basically returns what it was before. But that's because this is the same color as the wood for two. So now, without object, the wood material has been assigned to it, not our brick material. We want to go back to our put material. We just select the book material going to edit mode, make sure everything is selected, which is on I'm just gonna click the sign And there we go. So now, ladies and gentlemen, we know how we can assign different materials to our object in a blender. Thanks, guys. And I will see you in the next lecture. 8. Adding a material to a new object: In the last lecture, we looked at how we can change between existing materials for a single object. So we learned how we could change the base material that the objects is using. This time we're actually going to be creating a completely separate objects and then adding materials to that new object. The reason why we're doing this is because unlike our defense objects, any objects that we create afterwards do not get their own Batou assigned to them. So we have to use the familiar process off adding a material stop, then adding material and named the material. Now, there's also an added bonus that we can also select materials that are being used by other objects in our projects. So I'm gonna show you an example off each of these. So adding a new material with a new object and also adding on old material that is used by another objects for our new object. So in blend up, we've got our default objects here. This is our cube, and we've got a lot of our lovely materials. Well, I'm just going to do now is I'm gonna open up one of the side tops in the free DV court. I'm going to scroll down to the Freedy cursor on. I'm just gonna change the location. I mean, I don't really have to do this, but just to make it look nicer, I'm just gonna change the location across the Y axis. That looks like it will do nicely on now. I'm gonna add a new objects, so I'm gonna go ads and we're going to select Weaken, do anyone we want. So let's go with a UV spear. So now we've got ourselves a UV sphere are, But I've made a mistake. Can you tell what that mistake is? So if you can tell without mistake is I have added a new object in edit mode. That means that this object is actually a part of this one. However, if we do used this method, then if I go into object mode will actually signed. See that it has the same properties as the original in terms of its material. So it still has a lot of the material slot and all the materials as the cube. So that's interesting to note if you're looking for different objects, but they're going to be connected to each other, then this is a really good way of being able to basically immediately transfer materials. And of course, if you really wanted to what we could do, he going to edit mode, and we could then select our would and click a sign. And now, if I just press the a key, we can see that each of these two objects, even though they're technically under the same names that are technically under the Cube name, they both have assigned different materials. So that went a little bit too quickly for you all. Just recap. So what's happened here? We just need to I'm going to select this, you ve sphere by pressing the lk and just a signing that So what's happened here? Just to recap is, we've created a UV sphere while still in edit mode, which is why it treats the UV sphere is part of the cube object. But with that, you be speak selected. We can select a different material and then assign it to that You ve spear. But that's not exactly what we want to do. He So what we want to do now is I'm gonna delete this UV sphere by pressing the X key and deleting all of its first sees. And that just leaves us with the Standard Cube. Then we're going to go into object mode. And now we can go. Adds mish, you ve sphere, and that creates a completely separate object to the cubes. And now we can select between the two. And note what material panel here, where we've got a with the materials for the cube, but nothing for the UV sphere. So this is where we need to add our materials. Now the first material that you are will actually create number two slot first by default. So we have to do is press this new button and that creates a new material slot on, then place a new material in it. Also, have a look at the lane here. It's not 00 free. So because this this stain project is the Cube, it's using the same naming convention. So because we've got material material one ATM attuned to when we created our new material for our new object, we get material got Ciro zero free. So what we can also do is we can do exactly the same thing is we did over here. If we want to add more materials, we could just don't plus for new material slot and then click new and then basically the exact same things with old material. But there's a little bit of an extra here. So I'm gonna do is we'll add one more material slots. But instead of cooking new, we're gonna come over to this icon next to it and left Click. And when you do that, you'll come up with a lot off the materials that are present in your current project across a lot objects that you're using. So, for example, I could click on the brick texture and now the blitz. Hoekstra is available to be used with my UBC, and if I want to use it with my ubi sphere, then all we would have to go to is edit mode, make sure everything's selected and click a sign, and now both of my objects even know their sexual objects. They are now using the exact same material. One final thing to note is that even though these are separate objects, the data block for this material is the exact same. Therefore, if I was to change the color. Where would be on the UV spirit? Water Cube. Then both objects would change color as we can see that. So if I change the color one objects material, it changes the color off the other because the material is not strictly linked to the object. It's a data block within itself, which is what it could be used across multiple objects. So there we go. We now know how to create materials for new objects that we bring into our seen on. We also know how to bring existing materials across multiple objects. Thanks, guys, and I'll see you in the next lecture. In the last lecture, we looked at how we can change between existing materials for a single object. So we learned how we could change the base material that the objects is using. This time, we're actually going to be creating a completely separate objects and then adding materials to that new object. The reason why we're doing this is because, unlike our defaults, 9. Deleting materials: So we've spent quite a bit of time looking on all the salt ways in which we can add material slots at materials, Adam to new objects, etcetera. Now we can reverse that. Now we're gonna look at the leading materials. So we delete a material. We no longer want to use that material so that we can save more memory with our renders. Because when we render, it's still trying to take a Laure. The information that it can to delete the material is pretty easy. All we have to do is just press the X button that we find in the data block menu. So let's delete some of our unwanted materials. So for this, which is kinds, he used our UV spear. So we've got free materials. I like the brick one. I don't like material free or material for I want to get rid of these. So what I'm gonna do, very simply is in the state of brought menu. There is on X button on this. Deletes the material from here, but won't get rid off the data block. So gonna press X. Another data block has been freed up. We could do the same here material got serious zero for four breast X And now these two material slots have both been freed up. If we have a look, he where we can prowess the materials, note that we can still see material dot c 00 free material got 004 Now, this is very important here. When you delete a material which is two unlinked it form its data block. What you are doing is not permanently deleting that material. You're just taking it away from that object on. When you do that, your finds If you look in places like this where you can see all of your materials, you'll find they have Ciro's next to them. What this means is that as long as you keep blender open, you can always add these materials back in to any objects that you want. And once you do that, the CEO has disappeared because now those materials have bean given on object to be linked with whenever material does not have a linked object, even if it that material is not being used. So material not serious therefore, for example, is not being used at all in our scene. Even though This is the case. It still survives. It still is maintained as a result of it being linked to the object. So just remember that when you are the leading or I'm linking the data blocks for your materials, your not permanently deleting them until you close blender. So if I was to close blender now, which I'm not going to. But if I was to close blender now and then open up this same file again. Material 00 free and material 004 would be gone. So there we go, guys. We now know how we can unlinked our materials format motive, which slots? Effectively deleting them. But as long as we keep the blender file open, we could always bring back materials that we accidentally deleted. Thanks, guys. And I will see you in the next lecture. 10. Deleting the material slot: in this lecture where guns be deleting material slots. So we already know how to delete a material. But as we also know, the material block is left alone, allowing us to quickly add a new material into that same data block or yeah, we deleted the material by accident. We could always bring it back to that material slow. The leading material slot is just a Z Z is the leading material. All we need to do is use the minus button that is located below the plus button. So let's do it. What we've got here is we've got our ubi sphere with two material slots. Now I've made a decision, That's all I'm gonna have an SUV sphere is the grip material, which is interesting because I don't think I ever seen a ball made out before, But nonetheless, we don't want these tomb tools lots and to get rid of them is very simple. Before I do that, though, I just want to note that from the previous lecture I closed and open blender again. So as you may remember, if you watched the previous lecture, we hade material what? Seriously, we're free and got seriously before deleted but not permanently deleted so we could go here and we could view them with a serum next to them bring them back. But now, because I closed it and opened it up again. If we go back to this, they're gone. So those have now being permanently deleted. So what we're gonna do now is we're gonna add the material or deletes the material slot. And we're gonna do that by coming over here and pressing this minus Kate. And then we can get rid of the 2nd 1 with the mono ski. And there we go. So now we're left with a single material with a single material spot slot. One question you may ask is, Can you delete a material slot while you have the material inside of it? So, for example, let's Adomah too slow and then out of new material. So let's odds a glass material. Now the question is, can we get rid off this class material? Well, we noted, we press the X button, we get rid off the data in the data slot, but we can always been that back. If we click on this minus button, then not only does it get rid of the material, but it gets rid off the material slot as well. So to summarize, we actually have two ways of getting rid of materials. But perhaps the more common way would be to actually use the minus key, which would get rid off the material slot itself notes that we press the plus button one more time and then it click weaken seal. Still see that the glass material is available. Now, if we were to add another new material so material got C 00 for Easter reports 00 free back again and then get rid of the material and the material slot. What do you think would happen? He do you think we would still have material got seriously refree is it is Now, Do you think that we would get a C zero next to the material? Or do you think that it will just disappear entirely? So just have a think about that for a second. Think about what could happen next. Okay, so let's press this mine escape and see what happens. So we've gotten rid of the material in a material slot. We add a new material and then click. We can actually see it. It was the second option. So once again, even older material and the material slot were taken away. The data from that data block, which is material seriously we're free is still available to be selective, but does have that Ciro next to it. That means that we close down blender now we would lose that material. Okay, guys. So we now know how to add materials, how to add them to multiple objects, how to add material slots and how to delete materials on deleting material slots. So it cuts covered quite a bit of ground so far, but a lot of it just very basic stuff. So now, which just kinds be edging our way towards the biggest star, which is actually being able to work on the materials themselves. Thanks, guys. And I will see you in the next lecture. 11. Fake User: Unisys lecture. We're going to be talking about fake users. Sometimes we may have materials that we want to keep, but we don't want to attach them to any existing objects. We may want to save them future objects, and so we may have a material that not only has not been applied to an object but also is not in any of that objects material slots. The problem here is that if you exit blender, that material is going to be deleted. We remember these materials because they're the ones where when we go to the menu, they have a CEO next to them. That's tells us that there's no users applied. However, we can solve this issue by adding a fake user by adding a fake user were basically tricking Blender into telling it that its needed foreign objects, even though it's not being used for one. So, for example, we're going to go into a blender Now we've got our objects here on. We've got plenty off different materials. For example, I'm gonna tilly basement cereal. I'm gonna do that by pressing this minus key, and it gets rid of the material as well as the material slop. Yeah, we have a look at this drop down menu. Now we'll see that we still have that material, but it has a zero next to it. Now, if I close blend up, some gonna close blender now. So just go far and save just in case and then close blender. Now I'm gonna open Blend are up again. And when I to I'm going to select my safe, I'll and we can see that that material has been permanently deleted. So what we need to do is we need to assign materials fake users before we delete them. So we'll take material dot c 001 through some. We're gonna assign a fake use up by pressing this F key. So this will save this state of rock even if it has no users. So I'm going to Presti f k. And if we look here, we can now see that it has on f next to it. Now we're going to get rid off this material we're gonna get rid of seriously were one. So I'm gonna press this minus key, and if we have a look, we can actually see that material 0.1 still has that F market next to it. Water down the Ciro one. We can see clearly that it's not what with the other materials on this object yet. We can also see that it has an F marker next to it. He instead of the C of O. So we're gonna close down Blender again, making sure to save Close down blender again. And now we're gonna open up again. And then when we go to click, we can see that it's not there, but we check here. There is. So it's Bean kept its been saved material seriously. One. We can see it quite clearly and we can bring it back in. There is Teoh got CEO Seo one. So the one thing, though, that I have just done wrong there, and I've just done on purpose. He's I selected it while I was on material or seriously were, too. So it's over, written up, and now what's happened is even though that's still what that fake use of it. Now we are using the material 0.2 on its A number zero, so it doesn't have any fake uses attached to it. Remember that you can only really attach fake users to materials. Wildey are in material slots. You can't delete the material first and then give it a fake user. But now we know how to ensure that blender will keep any materials that we want, even when they are not being used by any of the objects in our scene. And then when we need to, we can always bring them back, son. Thanks, guys. And I will see you in the next lecture. 12. Changing the diffuse color: in this lecture. Would guns be looking at how we can change the diffuse color off the object? Now? We've already done this. We've already changed a diffuse cut off the objects in previous lectures to make it look like a sort of brick color. But what exactly is fuse? Well diffuse is where the object in question gives off a color whenever light hits that objects. To put it another way, lights is used like has a spectrum, and we have different colors on that spectrum. For example, with seven colors of the rainbow, Andi, whenever on object is hit by lights. Then, depending on the properties of the object, it gives off a specific color. This, in most cases, is the diffuse Carthy actual color that the object gives off. All objects have defused to some extent, with the exception off metals, so metals are 100% reflexive. They are completely reflective and gesture. You might argue that you obviously have golden seal, but which both look like they put very different colors. Obviously, Goldenseal work very different, but these are just different tints or reflection on actually metal objects. Pure metal objects do not have any diffuse, but pretty much everything else does have the fuse. What we're going to be doing in this lecture is learning how we can use the color wheel to choose exactly what color we want. So let's go into blender. Andi, I've got a new scene here with a default cube set up, so I'm just gonna bring this out. Andi, go to the materials tab as normal on we're gonna name this material. Let's name it. Let's just name it Carl Afanah. So this is our color material on what we're going to do is we're gonna change to defuse color. Now I shall know by now to change refuse color. All you have to do is just click on this white bar here and that will bring up the color wheel. So the quickest way to change the color is very simply to left. Click anywhere on the color wheel that you want for that color, for example, we have blue here pink than here, orange or brown yellow, and we can go pretty much anywhere we want. But there are more ways in which we can control this next to the color ramp. We have a black and white, a grey stale bar and this grayscale ball will allow us to determine how white or black our object is. So we have it 100% rights. Then we get the color, but it's sort shines through quite easily. It's not completely white. It still has that color there, but we can see that color very, very clearly. So the color that comes through on our Qala ramp is 100% representative. He when we have that maximum brightness deployed the dark hole we go, the more of a dark tints our color receives until we get to a point where the object can become completely black. Also note that as we increase or decrease our brightness, the color ramp would also changes well in its own blindness properties so we can includes the point is here to give more color in the color man. If we make the grayscale very dark, then we can actually see that we get to the point where the entire color lamp is just completely black as well. So that's just something for you to just play around with. Up next we have these free options here, so the standard is red, green and blue. We have huge saturation and value and we have hex. So first of all, RGB is red, green and blue. So we have free values here, each between zero and one, so we can determine what carnal we want by manipulating each off these free values. And as you can see, whenever we manipulate these revalues here, the white dots on our current ramp changes its position as well. So we maximize that reds value toe one. It just leans towards the red color that we move it towards Cirillo. Then it will push it as far away from red as possible. And then, of course, we have been such as to green value, which is we can see Ah, higher green value will push the white dot towards the green on a lot of green value will push it towards the opposite color on the spectrum, which is pink and of course, a blue with the same sort of effects. So you get the idea of how this works with red, green and blue, so you can actually find specific RGB values, perhaps on unit. Or perhaps you're just playing about with it and you really like the look of some values and then you can just note down then, Okay, you've now got that color which you can use for other objects up next. We have huge saturation on value, so this is a little bit more complex. But while do for stars is I'll just put a with these 20 and what we get is seriously review CEO a completely black object. I'm going to start from the bottom first. So the value note this value is our brightness of this is our great gray scale bar in the form off value. So see, a vote is completely black. One is completely what's simple enough situations that we started changed. A saturation eventually becomes completely red, in this example Very interesting. So with a saturation value or Ciro, we have a pure white image or pure white color, I should say on with valuable one, we get a pure red material. But why is it pure red? Y snip your blue where that relied to our huge value. He Salamone the hue value is off, Ciro. But if we increase it well, actually no. Is that the white dots on the color vamp increases. Or rather, it rotates around our I kind of am. And still it goes all the way around again, back to one. So that way you can work. This is the value node will determine your brightness. The saturation node determines how much color is applied to your objects. So, for example, a low saturation value of ran 0.2 gives a subtle tint off color, whereas ah, high saturation value gives a much stronger color on then the huge value is the color itself, said Hugh, is where you choose what color you want. So you got the brightness, the intensity which is saturation on the hue, which is the actual color so that guys, is how you can. 13. Diffuse intensity: in this collection, I'm going to introduce you to diffuse intensity tall. This tool will allow us to control how much diffuse color is reflected back out once the lights hits the object. This basically means that the higher the intensity value on the material, the more the chosen color is going to be a parent on that material. If the intensity value is lower, then it will eventually lose its color and become black in its appearance. Because there is no light that is being reflected when you have no intensity. For example, we have our keep from the previous lecture where we have our color that we got from our color picker here. Now I'm gonna show you a couple of examples with a couple of different colors, so we have our diffuse color, but directly below it, we also have the intensity value which by default is 0.8. So 80% of the intensity if I increase that upto one, the color becomes slightly brighter, and that's because it's now using the absolute color that was chosen for this material. If I would use the intensity down to zero, we can see that there is no reflection whatsoever. And in fact, I'm just gonna assume in just a little bit when we have on objects. We have a diffuse intensity of Ciro. No, only is it not giving off any color, but it's not going to give off any shine, however, so, yes, you can have very dark objects in blender, but they can still have a decent, reflective properties. But when you have no intensity with the diffuse value, you won't get any sort of lights. But all coming from that object. That means that in this example, it's very, very difficult to make out the edges and the verte sees on the object unless they're creating the outline so we can increase on decreased intensity to determine how much color actually reflex from the objects. I want to show you enough, for example, using another color. So I'm gonna go, Hey, just be here because really the Value node, he is actually quite similar in its effects. So the value note he does ultimately change the base color. But if value notice of Ciro, then the brightness value is obscure and we get the same effect as an object with no diffuse intensity. But they're different in the facts that the value node changes the brightness of the color itself. So the color that the object gives off is changed when you change that value note. But this color he remains the same regardless of the chosen intensity. The only difference is that the intensity determines how much off that color is reflected. So I know that sounds a little bit confusing, but I'll just repeat one more time. The value note here has a very similar effect to the intensity node in the fact that if it has a lower value, it loses. That reflexive ability of reflecting lights on becomes completely dark. However, the big difference between the two is that the value node will change the base color or your objects. The intensity will not change the base color. It will simply change how much of that color reflects from the object, so they show another color as an example. Let's show this bluish color with will go with a higher value of one here, and if we increase that brightness up to one, we get the full color through on our objects, so this color is now pretty much right in school due to the one in here. We can, of course, decrease that intensity, which decreases the amount off the few slight that reflects off the objects. Until eventually, we can no longer see any off that the few slight. So there we go. That is how we can change the intensity value to change. How much color is reflected off of our objects in blender. Thanks pies, and I'll see in the next lecture. 14. The preview box: in this lecture on guns to introduce you to the preview box that is found inthe e material section off the properties panel. The preview box allow shoes is the view held? A material was applied to different objects in real time, so let's not waste any more time than that. Let's just have a look at the preview box, which is right here. So it's the first little tab that we have when we create new materials. This preview box is very, very useful when using the blender under engine as it gives you an idea off how lights effects of your material when it's applied to different object types. So we have several different types that we can choose from, and basically you get this screen checkerboard background and then you'll get your objects of choice and you'll be able to see what happens when the light hits that object. How would the object will reflect on the shadow in which will be created by the part of the object that I'm no hit by the light source? So starting from the top, we have this basic flats preview. She shows us how light reflects off of a flat surface. We have the spear preview, which is probably one of the more useful options because it's more organic in its shape the cube option, which is perfect for us here because we've got our cube to look hat the monkey options. So this isn't an actual higher geometry object, and you can see here this is a great one and probably the best ones get an idea off how, like is going to effect on objects because this one is most like on object that you might use in your scene. So it's an actual face, and you can actually see here the way the light hits certain parts of the face and how the shadows are formed by other parts off the model. Then we have the hair preview, which shows us how the material would look on hair particles on. Finally, we have the world sphere, which is very similar in a lot ways. That normal sphere, it's no, it's basically with background writing in addition to the original. So you've got like, a background here that's providing a light source in addition to the traditional right source, and that's hitting the spherical object. But it really doesn't have to go anywhere beyond that. I mean, you have all of these options and you pick whichever option that you need. That mostly resembles your objects. As I said, in most cases, you'll probably want to choose this one. It gives the most accurate. It's visual description off what you object is going to do when it's applied with this material. And of course, we was your change the color, for example. We would be able to change the color in real time, and it would be able to get a view of how that works within the preview box itself. Thanks, guys, and I will see you in the next lecture. 15. Shader models: in this lecture, I'm going to be talking to you about shader models. These are methods in which each method calculates color reflection in its own way. What that means is, when you choose a shade of model, you are deciding how you want. Blend up to calculate light reflecting off of your objects. So each of these models will reflect that same light source in its own way. On this could be really useful if you're looking to create scenes such as in images, animations or video games that have a certain twice off aesthetic effect. Notes that these aren't physically accurate. Onda. Ultimately, the blend Orender engine is not physically accurate. So we need to make that very clear now that if you're looking for ultra realism, pretty much none of these models really going to help you achieve that because the blender renter engine itself does not really focused on realism, but rather on simplicity. But they are used for creating specific effects that you're looking for. So, for example, the models in question are Lamberts Owen layer to my knots on DFO now. So, for example, by Standard Lambert is probably the stand bare. It's be used more often than not. But that's probably more to do with the facts that people don't really bother changing the models. But they do all have their own unique effects. But most people will use Lambert because it is the fault or in a out, which is actually in a lot ways similar to Lambert but tends to have a slightly darker effects when you objects. Tune should be self explanatory, very useful for potentially for Pixar style in terms off the color reflection. Very. How would I describe it? I'd probably say it's when you don't really need me to explain too much. I mean, you can just watch home. You can see how the colors were applied there, especially with CG cartoons nowadays. Then you have mine arts on. Finally, for Nell now off the five, I'd actually say the most. Physically accurate is the final option, because in the real world, every single objects has for now. But blender does not give materials for now by default. So by choosing the final model, if you're looking for that most realistic material in the blender vendor engine, that even though Lampa is used the most, I would probably recommend for now. But in addition to that, each of these options will have their own tools in which you can use to determine the effectiveness or that model. So, for example, let's go through these models fish Alina. So we've got our very bright green here on. We come over to the materials tab on a refuge subsection. We see that it's set to Lambert by default. Now note. That's in the sordid few, as we mentioned earlier on in the course, we only really get to view the base color. So if we start changing the color model, we're not going to see any changes whatsoever on our objects because we've been sorted view . But we have a look in our preview box. We can see that each time we change, we get a very different effect. The color is exactly the same. Nothing else changes. But by changing the shade up model, we're changing how the light is calculated off off our objects. So, for example, we can see here that we changed it so for now, and it's actually very, very bright at the moment. So what we can do is we can reduce that intensity to get a more desirable effect. But let me go back to Lambert for a second here, and I'm gonna show you how you confuse this in your freely. Newport's so obviously to start the course. We looked at solid texture material and render, so it would go to texture, for example, and begin changing days again. We're not seeing any changes in the Freedy View ports, because texture view applies the base color on the texture on top of it, not how the lights is reflecting off of the object. And ultimately, that's the point of Shader Models Day. Determine how the light is going to reflect off of the objects. If we go to material view now and then look to begin changing things up, then we start to see differences in how it's going to be applied to our model. So now we can see a lot more clearly how each of these models are going to effect our objects. And obviously we get Fornell effect there, which actually in this example here with the Q. Because it's got hard edges makes it quite difficult to see the edges themselves. So as I mentioned earlier, I recommend for Nell for quite a few objects. In particular, organic objects work very well in the blender Mentor engine when you use for now like the tools, but you got to make sure that you get the values correct. Otherwise, they can be a little bit weird. Finally, we have wind if you which gives us an idea off how the final image is going to look. So obviously we have for now, my knots tune. Oh, and I, uh, on Lamberts. Finally, I'm just going to show you the different options that each of these shade of models have Now lumber is the default and doesn't have any additional options. But we moved overnight. For example, it's basically the Lamberts Shada model, but with the ability to determine the roughness what the lights. So here minus set to 3.14 which, weirdly enough, is the maximum, which is a bit weird, but we can reduce that an increase it at the same time, on what that basically does is the higher the roughness value, the smoother the light is going to reflect off of a single face, so it's more uniform in its reflection across the face. So that's how roughness works for all in there. To put very simplistically to is a very fun one toe work with actually in the blender under engine. We can see with my settings here that it creates a really noyce a shade change on this single face. Here we can increase or decrease the size off the tune area. So we decreased that then it's almost like turning off the intensity. But we can see here in the preview that it doesn't completely turn off. It just shows that if we were to find that correct area where the light is hitting the object directly, that would be where we'd have to go to actually get that color. But of course, even here with a value of Syria, we're not getting any color whatsoever. But as we begin to increase this source folly, the tune it the fusefx begins to expand across our object on the higher the value he eventually it spoils down to the other side's or our cube, which is very useful. You can create some really good effects by combining this size value with this smoothness value here. So I'm with that down to zero, we can see that refuse color. It's very sharp in the drop off the contrast on a single face, depending on where the light is hitting, it is actually very severe, with a very low smoothness value. But if we increase that Waldo out toe one, then we can even see color begin to show on faces that were just completely back before. So we decrease that smoothness value again. That becomes a very dark color again because the light isn't hitting it from that angle. But by increasing that smoothness value, we spreading the shader more strongly across along the faces. Next we have my knots, which has a based darkness value. So as we move around off you, we can actually see home. You can see that how it just very quickly becomes light on darker. As we move around the EU ports on, we can change how strong this effect is by increasing the darkness value. So I increased it there to 2.0 on. We can now see that it's basically the same color, just a lot darker, so it's actually quite similar in a lot of ways to how the value node works in the color. And finally, we have fun. L for now itself has to two different options. The Finnell effects, which is the power of from now on the factor. So how much for Nell is blended into the default color? So we decrease this down to zero, for example, doesn't seem to have too much fun effects. And if we increase up to fire again, not really that much effect on dwarf. For Nell in particular, you really have to play about with the values, particularly the factor value. So basically what you need to know here, he's this Fornell value here doesn't have that much effect on the objects when you're changing it up and down, if the factor value is very low. So the fact of value is zero on. We begin changing this funnel effect up between its value to zero and five were actually getting practically no change in the appearance of the objects. Even if we includes that factor, value 2.5 was still not getting any real change. So you got to try and find the correct combination between the two, starting with the factor value. So we move that up to say 1.5. Now we're beginning to get major changes in Alphen. L is being reflected off off our objects and how, exactly the light is being reflected off the object so that we go guys, that is a pretty fake guides on how the different Shader moguls work. But this is certainly something where you basically learn with each project. What type off shade of model that you want to choose for my personal experience. I tend to use the phone l one most, but it's probably at the same time, the most difficult to get used to. So for now, I would say Stick to Lambert because it doesn't offer any additional options, which just makes it easier overall. And then maybe expanded some of the shade of a Shader models over time. Thanks, guys. And I will see you in the next lecture. 16. The color ramp: in this lecture on guns, be introducing you to the Kalorama. This is a very popular tall from those who used blender render on a regular basis because of the flexibility that it offers when determining the color off your material. Basically, it allows us to fervor, manipulates how the object is going to display its color on also gives the added ability to add multiple colors to a single material. But how does that work? You might ask, How can you possibly have multiple different colors? Surely they just blend together. Well, let's have a look and see exactly how the color vamp works in blender. So I have more the Faults Cube here with a nice green material. I'm just going to up that intensity to about the standard point. I roughly that should do pretty nicely and you'll see that there's a button here that says Ramp. So I'm gonna take that box on. What we get here is a color on and assumes we include it. We actually get a notable change with our objects. I'm just gonna untech that box. So here we can see it's actually very green on the top and green here where we can also see the material assume is like Click it though the color vamp is applied on. It starts to get a little bit Graha if we were, if we want to put it simply so. Basically, we are using these markers here at either end, and they're determining how the color is reflecting out from the material. So let's play about with these. For example. Let's change this value here to make it nice and low. What's happened there? Well, what's happened is we've basically given this color here a higher priority because of how the Colorado works. If you can see here, where is when we had the color? But here you can see these checkerboards across that this resembles transparency. Checker boarding in free D modeling software resembles transparent objects or scenes, So this material here is almost transparent on top off our diffuse color. As we move this markup back, we get more the white come true, which is the base color off. This marker hit on bats basically becomes the dominant color for the diffuse objects, so we can change that. However, we want to creates that effect. What about we removed this market here, though, so I'm gonna select it by left clicking and just move up on what we get there is we actually end up getting a little bit like we had before because this marker here basically is reducing the shrink. All this one. So we move them close together here again, look of the effect that it's made very, very interesting. So if I move that back, they should show that again. So basically, we've got this very interesting effects, this very faded green. As a result of the color on being applied, we can move this market back to increase the whiteness, which is the color that's been selected. But by moving this marker here, we can actually reduce the area off which this market is being applied to. So I can move this marker up close to the other marker, and then we can see that the light is being restricted to just that single face. And that's very, very interesting in how it works, because now you have a way off the term inning. How the light is not only reflecting off of the object is a whole, but also in how it reflects off of these different faces, depending on the angle, which the face is to delight. Source. But let's add a little bit more to this. Surely there must be more to it than that. So what I'll do the stars is Let's try on change the color off this marker here. So I'm going to go left, click and this change it to a red color, and straight away we get the very red tints. So we're providing a special tint here on top off our green diffuse material. And we can see that even more clearly with our preview image, where the light that hits the object directly is actually being given more. This reddish tint and that again is very powerful, and you can create some very powerful looking scenes by using the color ramp on your objects again. We can manipulate the positioning all these two markers here to determine both the intensity off the color tin and also the area in which to Cullerton is applied to my movies up really close. We get to the point where the Khartoum isn't even applied to an entire face, but it's very, very strong where it is supplied again. we can move this away back here and then moved this a way forward. Then we actually basically gets a red cube rather than a green one, because so much priority is being given to that red marker on. That's the very basics in which we can use the cholera amp in blender. But let's go into a little bit more D's Hail just to finish off this lecture, we have here these free options here the plus minus onda flip options. The flip option, first of all, will actually flip the positions of these two markers, effectively creating the complete opposite effect to our model. So if I click on this flip color ramp button, we now get where the light is hitting the objects, the very green diffuse on then, in the areas where the light doesn't affect the object as much we begin to see that red tints because now we have reversed the positioning off the two markers. So I'm just gonna flip that back again on what we can also do is we can add a new color stop. So that's basically what these are. These are known as color stops. I just call it markers because it's just easier to remember, and I'm gonna click this plus bond, And what that has done is it has now created a new marker of third marker in which we can use for our object. And by the fault, this bird marker is given a color that is roughly hard way between the markets are either side of it, so it's basically a dark red. So let's change the color off this middle market to a very distinguishable color. Let's try a bluish color, and it might be a little bit difficult to spot in the moment. But what you should soon be able to see is very bluish tints on certain faces. So we still got green on this face here and read on this space here, but on the green, one in particular, I could just see that ever so slight lutin. But can we make that stronger? So let's see if we can make that effects even stronger. Let's try moving about this blue marker if I move it all the way here. Yeah, we seem to be getting much more often effect on this face, he, but not so much at the top if we move the marker closer to the red. Oh, that's very interesting. So now what we've got, he is. We've got that blue tin on top. But we've also got to get wrecked in in the corner. Almost. So now what we are able to do is we are able to manipulate each of these markers around, or these color picks on. We are able to determine exactly how each of these markers are applied to each face. So let's Michael really strong effects. I'm gonna bring this one up. I will just bring this one down on this one as well. So there. We've now got this very interesting effects where we have a big edge tin on top face. But we also have this bluish green face here. And of course, we can continue to manipulate Thies to our heart's content. So thanks a lot, guys. I hope you've enjoyed learning about the basics of how the color ramp works. I just have a little with a challenge for you here because obviously with a lot of these tools, it's basically more about you putting in the practice than just me showing you. So oh, boy advised that you just play around with ease as much as you can change the colors, see what different effects you can get and also at s'more color stops. You know, you can add as many of these as you like, and then you can begin changing each of their colors to begin getting different effects. Depending on what you're looking force, you might actually be looking to create a rainbow material which you can do with the help of the Karam. So it thanks a lot, guys, and I hope to see you in the next lecture. 17. Color ramp factor: in this lecture on guns, be introducing you to the Kalorama. This is a very popular tall from those who used blender render on a regular basis because of the flexibility that it offers when determining the color off your material. Basically, it allows us to fervor, manipulates how the object is going to display its color on also gives the added ability to add multiple colors to a single material. But how does that work? You might ask, How can you possibly have multiple different colors? Surely they just blend together. Well, let's have a look and see exactly how the color vamp works in blender. So I have more the Faults Cube here with a nice green material. I'm just going to up that intensity to about the standard point. I roughly that should do pretty nicely and you'll see that there's a button here that says Ramp. So I'm gonna take that box on. What we get here is a color man and assumes we include it. We actually get a notable change with our objects. I'm just gonna untech that box so here we can see it's actually very green on the top and green here where we can also see the material assume is like Click it though the color vamp is applied on. It starts to get a little bit Graha if we were, if we want to put it simply so. Basically, we are using these markers here at either end, and they're determining how the color is reflecting out from the material. So let's play about with these. For example. Let's change this value here to make it nice and low. What's happened there? Well, what's happened is we've basically given this color here a higher priority because of how the Colorado works. If you can see here, where is when we had the color? But here you can see these checkerboards across that this resembles transparency. Checker boarding in free D modeling software resembles transparent objects or scenes. So this material here is almost transparent on top off our diffuse color. As we move this markup back, we get more the white come through, which is the base color off. This marker hit on bats basically becomes the dominant color for the diffuse objects, so we can change that. However, we want to creates that effect. What about we removed this market here, though, so I'm gonna select it by left clicking and just move up on what we get there is we actually end up getting a little bit like we had before because this marker here basically is reducing the shrink. All this one. So we move them close together here again, look of the effect that it's made very, very interesting. So if I move that back, they should show that again. So basically, we've got this very interesting effects, this very faded green. As a result of the color on being applied, we can move this market back to increase the whiteness, which is the color that's been selected. But by moving this marker here, we can actually reduce the area off which 18. Alpha value: in this lecture, I'm going to show you how we can change the Alfa values to increase the strength off. Some of the color stops our on our color mom. So we already know how the color vamp works. We basically have this ramp in which we can inserts color stops into to change the effects off, how lights hits the object and what color is reflected, the pending on the angle which the lights hits the objects. But if we have a closer look at our color ramp, we can see that only the red car restore completely shades the background off the ram, the other colors. In this example, he they provide color tints to the bar behind. But we can still see that checkerboard in effect. This is because thes other colors still have lower alfa values. So how do we change these out for values? Well, let's start by selecting this yellow color. Stop here Now. Here we can see that this part directly beneath fits is divided into two parts. We have one part of it, which is just a pure yellow on then the other half is a checkerboard effect. This displays how much Alfa is being applied to our object or rather, how much is not sure if I left click. We get all of our colorant values as normal. But there's one more here. This is an Alfa value on Dhere. In this example, it's set 2.4. If I said that 2.0, then it makes the other half the checkerboard half completely checkable would know yella tin whatsoever. This means that the transparency of the collar is set to its maximum value. If we were to click here again and increase that value away upto one, then the color that comes through this color stop is given minimum transparency, which means it is fairly visible. So if I just move up here and assuming on this face, if we decrease the stand to zero, we can begin to see the base color shining through. Because the yellow color stop. He is not really providing too much of an impact on the face of the object. But if we increase that out value, then we can actually see a much smoother blend going from red to yellow to green. And that is a result off simply changing the Alfa values so that we're basically it's similar to the intensity value for the diffuse shader. But the big difference between the intensity value here and the Alfa value here is that when you have a very low intensity value, it just projects no lights so that you get a black objects. But with the Alfa value here, it makes the color itself invisible. The color is still visible when intensity value is set to zero, but it's just that it's not reflecting any light whatsoever, whereas with the outfit value, you're determining how much off that particular light is going to be visible to the human eye. So by reducing that value, we reduced the impact that color stop has on the objects because less of that color is being made visible, which is why we can see more of the green. So let's see what happens if we increase the ALP values of A with these color stops. So I'm gonna increase that to one select blue increase. That's one Select the green increase. That's one, and then we just select this one here, increased that. So, yeah, we're getting a little bit more now off a very unique effect here. So as we can see, he as we move across our faces, we can see major changes in color. So let me just reduce that value again. The lost two here. So juice toes and then we begin once again to see that color shining through. We do that finally, with the blue here. Okay, so you get the idea off how the Alfa values are working to manipulate the strength off each color stop on that gives us the ability to do quite a few things. So let's try and push diesel up. Someone push this one up here. Well, just make it a little bit more intense, actually, so she's a little bit more visible. So we move these down, actually should be about. And if we move that up to on a free and then would increase the Alfa values and all have a look at that while see, that's a major change there in darkness. Then we can increase the output value. He get it more that green colors, shining fruit. Then give that blue color and then we begin to get a with ease, different effects that we can create with this color on on that is down to just the sheer flexibility off the Colorado is actually quite incredible. So we can move these down over here just to give it a bit more of a blue sin. We could, even as you can see, there were just moving that yellow tint down just by manipulating where the yellow color stop is. And then we can if we want you to say If I wanted to move this red car lot in thousands of this face, let's see if we can do that by manipulating this just a little bit more and then we just begin to get it to come through their selection. See if we can accomplish that by just manipulating Alcala ramp. There we go. Excellent. So there you can just see that was just a live example of just me just playing about with the color markers and just trying to get the sort of vegetation that I'm looking for. So there I was, trying to get an edge Tin, where we have the red file, you just coming down onto this front face here on it's actually, once you get used to it, it's actually pretty easy to do that on asked just all down to the power and the flexibility that the color and provides because remember all of these different colors They're basically reflections there. Spectrum reflections based on the base lights of the base color is still this yellowish green color But we've got a with ease different tints that reflects offer the object when light hits it thanks to the power off the color on So what I'd like you guys to do now is again, as I gave you the change in the previous lecture just manipulates thes alfa values If you can see if you can get even mawr call effects and even try this with different objects. So, for example, left for with our Suzanne up object might be really interesting to have a look there. So for this part, I'm actually gonna change what object were using. So we'll choose our monkey object, and we're gonna give it a new material. And what I'll just do isn't gonna do a couple of things just to set it up. So gonna low take that along. The said access so we can see it. And then I just want to get that this smooth shading. Okay, so now what we can do here, let's give it a base material. So let's give it a reddish material. Add in the column, adding a couple color notes on Let's Begin experimenting. So this is just what the sort of thing that I'd like you guys did it to do. Now just go away, have some fun with manipulating. Just walk you can. Do you use in the color that moment. Look at the effect that that is having already on our red object. Let's change that color, for example, and just see how much of an impact that has on the objects. And now we've got this green reflection. But we've also got to refuse color shining fruit where the light doesn't hit it as much. And all with that is it's so powerful in It's so fantastic to use when you really know what you're doing. So just experiment with that. Just practice with it because I guarantee you the more that you practice with things like this color ram, the more comfortable you're going to be when you are manipulating your colors and manipulating your materials to do to perform the effects that you want them to perform. Thanks, guys, and I will see you in the next lecture 19. Input and Blend: in this lecture, we're going to further expand on knowledge and monastary off the color on by looking at two tools. These are the input on blend options when we change the input type of the cholera. Um, what will be doing is determining how the color rams effect his guns be mapped onto the object itself. When we're changing the blends hype, we're going to be determining how the color of ample mix with the base diffuse color. So these are two slightly different things, but they both have their own benefits. So let's start with input. First of all, so this is what we've got. We've got our base objects here. Well, it's not really a base anymore, is it? But what I'm gonna do just to see this effect in full view, we're gonna turn a value back, huts one off the factor value. I'm going to start this input option here. So this is what we got on. If we have a look, it's selected as Shader. So it's Matt as a shader. But we have a few other options. We have energy normal on results. Each of these will map the Kala ram differently onto our objects. So, for example, energy, we can see very, very different because it's now almost purely diffuse action here. Andi, For me, I could just see this subtle distance here, but really not that much changing this factor value. We can see that subtle change, but really the biggest area here is the preview. That's where you can see how the input is changing. Here, Most of all, now remembers well that these Alfa values have a bit of a parts play as well. In how the inputs are ply, it's less just for now, includes thes Alfa values all the way, and here we begin to get that. That's much more apartments here, so we would use that value. We can see it's like an energy field most that's being applied, but it's like a uniform color as a result of the inputs heart. If we change that to normal, then we get something very, very different. What we get. He is basically almost like her Mueller effects where the color is dependent on the view that you're looking at the objects from so I can look from this side and we can see that we get that purple effects come fruit. But if I rotate my view, the purple color actually rotates with us. So when we're looking at our object dead on were always seen that color as the dominant one . And then we have the result value, which actually works in a very similar way to the energy value. But I suppose the major thing here with the result value, is that it in most cases almost completely neglects any additional color stops. So here the big difference here is really only between these two color stops here. So the end one and the great one, so I can move that further down to increase that color. What moving up here to make it more diffuse intensive on. When I placed the yellow one inside, that one becomes the priority. So this one he it removed this about now it has almost no impact whatsoever on the results . It's just really calculating these two stops here. But once they're closest to this side of the column, and then we can just determine exactly which of these we want to use. But just remember that when we using results, it's only really applying to them at the same time so we can move this up a lot, basically makes a darker, more intensive right there. We can basically play about with these to our heart's content. That's serving which inputs hype is useful for what we want Now the two most common inputs hypes that you're probably use will be shader because that's the standard on normal for very reflective objects, which will be very useful in the future when you're creating any reflective mirror like objects in your scenes. So that's the import value. So again, play about with them, see what results you come up with on Remember that values like these are dependent on each other. So what we have in the Kala Ram is affected very heavily by what we choose is our inputs, On the other hand, what we choose as our input, the effect is very, very strongly linked to what we're doing elsewhere. So it's all about finding the right combination. Next, we're gonna do the blend values, which is probably even more fun. In my opinion, one shouldn't do Here's gonna turn that factor value back to one and assume our little bit . Let's just move this one down. Excellent. We'll move that one up a bit so that we get a little bit more yellow coming through. So the blends option is basically our ability to mix our color bam with our diffuse color. Now, as we can see here when we have a fax of value of one, it's just completely overpowering the basic diffuse. But we also know that we can reduce that. Then the peace begins to come through becomes dominant. So for now, I'm gonna choose a value. Let's go Points heights on the reason why I'm gonna go points hates because this is probably the best way off seeing how the blend failures can change if we just have it at 1.0, then we're just still having it as the bomb and one. But if I click on this button, we get a lot of different options on each of these will work in a slightly different way. Sit by the phone. We have the mix. If we have got, we are adding the colors off the column to the few Shader. If we go subtract, then we take them away, which is basically invert. Now that looks like we're basically using the diffuse cut up. But really, that's because our first color here is blue on, but the result in color from a sub track blend it tends to the opposite. So if I was to go with a yellowish color, we actually get a much darker effects because we're subtracting this yellow color for red. So basically, we go here. We're actually taking way a lot off the saturation form our objects because of the type of car that we are subtracting on. Also, remember that different blends auctions we'll use the color stops in different ways. For example, this subtracts value trial. The ties is this color stop here, whereas the mix value doesn't require it was any of them mixes them all together? Precisely. So what I'll just do now is just changed out. Let's change that to pinkish color on. Then let's go back to subtract and there we go. And again it's very dark because the color that we've chosen is very similar to read. If we go to a bluish color, we actually see that effects is very much diminished because we're not actually taking much away form the red because it's blue it's completely the opposite anyway. It's like saying that with blue, you're taking one away from 10 society. If the abuse body was a value of 10 because it's red, the blue value would be a value of one. See you eat mine, which means you still red color, for the most part. But if we chose rates to subtract, then it's like taking 10 away from 10 and then we end up with a very dark color. But that's, Ah, what slightly points, I'd say. But you just gives you an idea of how which trying to calculate your colors when that changing your walk blends type. So that's just change. That again will change. That's a green this time, and that's mitts a few up. So let's try things like screen where we actually have it over laying on top or our base material we can just go through. So I'm not gonna go through them all. You know he needs help. I'm just going to show you help. Each one is affected and you guys can see for yourselves, said Isa Division. We call difference darker, which basically uses thes colors to actually dark in the base diffusion. Tear your Latin, which, as you can guess, that's the opposite effect overlay, which place it on top off our diffuse color. Very similar to screen Dauch then and then. We have been such a huge saturation value. These ones basically calculates the new Carla exclusively dependant on those values. So, for example, a blend of hue means that the color value is only working to manipulate the huge value. Instead of the saturation on the point. This etcetera. And of course, we all have the other ones as well as we have saturation value. Can a base color a soft light on a linear light? Andi. Pretty much that's it. So again, very powerful tool to blend one in particular, which allows us to really change the base functionality, or how what color am on, how it's gonna affect that diffuse color on? Don't forget, we can also change that input value, and we can begin to mix them up together so we can go with a normal input along. So I'd say the vibe input, which gives us a very almost neon like effects here. And yeah, we can just change it however we want. But forget as well. We can always change those factor values to determine just how much fun effects the color lamp is going to have on our place into you. Thanks, guys. And I will see you in the next lecture. 20. Interpolation: in this lecture, we're going to be talking about color interpolation. This is how the color ramp is going to transition from one Carla to the next. On the objects, there are different color modes on each with its own set off interpellation methods. So to summarize this, it's basically the Colorado has obviously those color stops. Interpellation is how those color of stops are going to transition to each other. So let's see how this works with the color ram. So by default, we have the RGB option with this linear option. So RGB is one off our free color modes were rgb HSV on H s l hatreds fee, for example, stands for hue saturation on value. RGB stands for Red Queen on Blue Andi I'm pretty sure that's huge saturation on lights are not really entirely sure with that one, but it's extremely similar to HSV, which is hue, saturation value some pretty certain. Those are hue and saturation. So what we've got here we've got different mo types and by default we use RGB and then they'll have their interpellation options side. I'm just going Teoh visually show you how this works. So what I'll do here is we have the RGB and linear options here, so let's mix and play about with These are jeebies. So these interpolations determine how the colors will transition from one to the next. So if I go to ease, for example, you might have noticed the very subtle change over here with between these two markers. Now, with a lot of thes, there really isn't gonna be that much of an effects, especially between these cardinal linear B spline. It's all very subtle constant here. We'll do now because that's the obvious one. If I do constant, then you see, we have a very, very immediately noticeable change here. So these colors are basically constant variables. They don't transition to each other at all, and we get to see that result here on our model. So if I just bring that up to here, then we can see a lot more clearly now just how this is affecting. So we switched between that and linear. We obviously get with linear a much more blended effect, but with constant. It's basically one color stops the next begins, so that s made up more visible. Lift has changed that layer to a Noyce bluish color. And then this one here, we're gonna change up to it. Pinkish color will make that quite bright so that we can see it. So here we can get a really good idea off how this interpellation basically works so we can change between each of these two have ferrying effects. Now for most of these, you only see more severe effects if you bring your color nodes closer together like this one, for example. So it goes very quickly here for that greens of that yellow. Because we've got these two close together. It's actually quite a sharp changes, No blended as such. Even if we go into linear, which is pretty standard, it's quite er sharp. That's quite sharp change. If we move that away, we can see it's a lot more blended, if you will. And we can do that with multiple off thes notes so we can create these very sharp effects just by manipulating the option off interpellation. Now, as I said before, ah, lot of thes will be quite similar. Mean B spline, for example, is a much more subtle effect. As you can see, he is, we boom close together now on That's amore. Subtle effects of what be spine is doing here is it's again pretty sharp, going from one color to the next. But then it instantly begins to fade into that next color, which is that blue color. And we don't really need toe go too much into exactly what each of these air doing. But it's just nice to know what is genuinely going on when we are changing and playing about with ease interpellation options. But of course, we're not just limited to these options. We can also change to, for example, hue, saturation and value. And as soon as we do that, we see a mind change with regards to the model itself on. We also see a change with the number off interpellation options. So now we have the options of near far clockwise Andi counterclockwise on this is because we are now using a different set of values to determine our color. We are using the huge saturation on value options so near, for example, we can see clearly we go far. Then all of a sudden, Wow, that is quite a change, so we can see how these are instantly affecting the way in which the car is hit in the object. And actually, the effect that it has been the color ramp itself is quite substantial here. So, for example, we just moved these back. We're going with this far option, the close up. We've ring too knows together to matching stops together. The more off a strong effects that we get here with the basically, we'll call it the Rainbow Effect. But if I was to move this one away, it would creates a bit more respect from here on. Basically, allow us you have a slightly MAWR consistent transition, so there's not as many colors that are immediately visible. We move these together again. Then we get certain colors become stronger. They sort pushing a little bit more on the green value. But again, as I've just mentioned, we don't really need to know exactly how it works. As Freedy artists, we just need to know what it's doing on. We can see quite clearly what it does each time we change our interpellation type. So there we go. That's basically it counterclockwise again. It does pretty much the opposite to the clockwise effect, so it's basically if you want to flip it ons hatred, sale these and I'll be honest. Hate your cell. I find new enough in most cases identical to the high HSV in premarket has to save interpolation methods. I've actually found in most cases that it has pretty much identical effects when you're playing about with color modes, etcetera. So really don't worry about you know, whether wanting scoping this one or this one doesn't really mind, they're both pretty much the same. But they do have different effects to what RGB does. But there we go. At this point, guys, we've put much done. Every think we've relates to the Kala Ram, we know how to change the color nodes here. We know how to change the interpellation. Now, the factor value the important blend values help to add on deletes how, uh, color stops. By the way, we haven't actually deleted one year halfway. So, for example, if I was to select this one and then click on this minus key, it would get rid off that note, and we can actually see that it's made a minor change to the model. And of course, we can always flip so we know how to flip. Our colors are to Adam, etcetera. The final two things I'm gonna show you before we finish on color ramps. Are these two boxes here? So this is the position off any selected color. Stop. So we got this pink one selected here on this goes between the value of Sierra one. So if you want to find a specific value for each of your color stops, you can just type it in here. And if we hold down the left click on move that we can move that down zero. Well, we can move it away upto one, and we can do that with any selected stops that we have. Like, so Okay, so the final thing is also another way of selecting the stops, which can be a little bits. It's actually behaving itself quite well at the moment, but sometimes you control in select on a color stop, and it just doesn't I want to be selected. An easy thing to do is to just go to this little box here and choose the active color stops or who moved up in town. We can actually change between our free color stops. also notes that the first color stop is color. Stop Ciro, not scholar start one. As you would think so Seo one on day two so that we go Guys, I hope you're enjoying things. So far. I hope that you've been able to really expand on your knowledge off using that a few shader in particular in the blender render engine. We've now pretty much covered everything to do with the diffuse color when using Blend, Orender said. Now it's time to move on. Thanks, guys on. I'll see you in the next lecture. 21. Specular color: in this lecture will be looking at the speculum affect. The speculator effect is the color that the light emits when it bounces off the surface of the objects. Now this my sound quite familiar, you might ask. This sounds a bit like the diffuse color, but it's different. The fuse color is where the light will penetrate. The surface of the object on will go through a process known as refraction, where it basically moves around below the surface of the objects, and then some of it eventually escapes the surface. This escaped light is what gives an object. It's diffuse color. The speculator color, though, is the lights that fails to penetrate on objects and just bounces straight back off of its surface. As a result of this, in most cases, the color off the speculum light will tend to be the same as the color off the actual light that hits it. This tends to be whites. However, we can actually change the speculator color in blender to create mawr extravagant looking effects. So let's have an introduction now to the speculator effect, so we already know how to use the defect you shade in our we know how to do this. We pretty much mastered everything here at this point. So what I'm gonna do now isn't just going to move down and we're going to start looking at speculum now. We're not going to go through things like the shade of model or the ramps because they work in pretty much the exact same way as the diffuse options do. So we have these different types Shader models. We also have the ramp that gives us the ability to make a lot of these changes. But we all recognize thes now, so it's basically the same sort of stuff here, so we don't really need to cover it. But of course, if you want to practice it later on your more than welcome to do so So what we have here, we're gonna look at free options. We're gonna look at the color. We're gonna look at the intensity again, and we're also going to look at the hardness value. This is the new one that's specific to speculate reflection. So I'm gonna assume in slightly on our objects, and you might see certain bits off our objects which are water down the rest of the objects . This is where the light hits the object directly on DSO. The light doesn't penetrate, but his wife up reflected along these veggies. We can change the color off this speculative flexion here on we can do it. Using the exact same tools is with our diffuse color social example. We could give this the sky blue tripe reflection. We could give this a pinkish reflection and you can just about see there We've no reddish reflection, which you could obviously even more clearly. So, yeah, we can actually change the color that the reflected light produces. Note, however, that the actual brightness value he works a little bit differently. Previously on the few shader. If we decrease the blindness value, we would eventually lose a lot off the color beneath here. Obviously, that effect isn't taking place. He because we have the color and that's effectively over the top. We reduce that factor value. There we go. We can see more clearly the effect that that diffuse that point this value is having on the object. However, it works a bit differently with a speculum value with the speculum value. If we decrease the brightness, then we're basically decreasing the amount of lights that is reflected its not going darker , which is getting less off its until we get no reflection on our object. What so ever. So that's the big difference between determining the color off the speculum light compared to the few slots. Obviously, we also have the intensity which basically does the same thing as the brightness value in this case, by reducing that intensity were basically getting rid off the reflection. So these two in this case are basically doing the exact same thing. But the big difference here for the speculum one is the hardness value. Why the fault? It's set to 50. This is the sharpness off your reflection, the sharper the hardness off your speculum reflection, the smaller the area that is going to be reflective in any given angle. But the brighter the reflection will be. The lower the hardness, the more off the objects the speculum will be applied to. But the less intense it will be. For example, if I was to left click and reduced this town to harness value of one, watch what happens to the objects. See, that is a major change because now The speculative color has been spread pretty much across the entire objects and now it's become very, very reflective. But the intensity of that reflection is very, very low, despite the fact that it's given a value of one here. If we would use that value, we actually gets the abuse color coming fruit. But of course we can also increase this that each time we inclusive here we can begin to see the basically the area off, the spectral, a shade up being reduced. So the more we go up to, say, 16 we can see that speculate area has been reduced quite a bit. If we increase this harness value to, say 200 then it's very almost difficult to spot. But we can actually see We have these little spots here where the reflection has been concentrated to the spots on basically who panel view. We can just see it a bit more clearly that on we can play about with this hardness value to try and get the type off reflection that we are looking for. But there we go, guys, that's pretty much all you need to know about the speculator option with blend Orender Of course, we also have the different shader models, which you're going to create slightly different effects with how withy speculum reflection is supplied on. We also have that color lamp which are again encourage you to play with Troy and see if you can get any interesting looking effects on your model. But there we go, guys. So we now know how to use the diffuse option on house used the spectral option to creates on interesting based material for our object. Thanks, guys on I'll see you in the next lecture. 22. Challenge: So guys, we have now covered A with the content that we wanted to in for you one off the blender texture Siri's. So at the end of each bar, you. What we like to do is we like to finish with a little bit of a challenge. Now this one. Since it's the first volume of the Siri's, it's not gonna be anything that's really gonna be in any way difficult. What I want you to do is I want you to create 10 different fantasy materials, using a lot of skills that you have learned in this course while fantasy materials while there wherever you want them to bay. So there's no we're not looking for really sitting tools are not asking you to create glass or wood or anything like that because they actually require actually, textures. I want you to create your own different color patterns. So throughout this sport, we've been looking at many playing the color vamp in particular to create different effects with our actual refuse color on. I want you to practice with that getting used that all this change really is, is your opportunity to practice making different materials and really ultimately getting use using all of these tools. That's the whole purpose of this challenge is, by the end of it, you might not have create something that you would think looks old. Absolutely fantastic. The point of the challenge is that you are practicing those skills that you have been learning. So I really encourage you to do that. Now, on who knows, you probably will actually end up creating some really fantastic materials that you could use for basically anything that you want to use them for. But thanks a lot, guys. On I will see you in the final video off this value. See you next time. 23. Thank you: Thank you guys. And congratulations on completing Volume one off the blend that texture course. At this point, we now have our basic understanding on the fundamentals to creating any material in blend up. Using the blender render engine, we now know how to add multiple materials to our objects and how to create and the leading table slots, as well as mastering the power off the Defu shader in the blender and the engine. We now know how to change the color off our objects, as well as changing the speculum effects on how to use color ramps to really give us some fantastic looking, colorful materials in the next volume off the blender texture, Siri's will be diving even deeper into some of the more powerful tools, but also slightly more complex tools that will make our objects truly spectacular. Using the blend up, render engine will be looking at things such as the reflectivity options, on also introducing a very important process for more complex materials, which is thebe. Process off you, the mapping, all that coming up in Volume two off the blender texture. Siri's Thank you once again for completing this volume on. We'll see you next time