Blender modelling series - volume two | Joe Baily | Skillshare

Blender modelling series - volume two

Joe Baily

Blender modelling series - volume two

Joe Baily

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21 Lessons (1h 39m)
    • 1. Introduction

    • 2. Snapping in increments

    • 3. Snapping to other objects

    • 4. Appended Duplicates

    • 5. Linked Duplicates

    • 6. Joining Objects

    • 7. The Quad View

    • 8. Locking Transform

    • 9. Hiding the gizmo

    • 10. Proportional Editing

    • 11. Positioning the 3D cursor

    • 12. Adjusting the grid size

    • 13. Setting origins

    • 14. Smooth and flat shading

    • 15. Transform Orientations

    • 16. Hiding and unhiding

    • 17. Making multiple layers visible

    • 18. Using the object data tab

    • 19. Challenge one

    • 20. Challenge two

    • 21. Thank you

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About This Class

The second volume of our modelling series that focuses on all of the modelling tools that are used to create a wide variety of different assets for animations and video games. This volume focuses on perfecting your ability to use all of the main tools in blenders object mode such as the used of snapping, duplicates and proportional editing.

Meet Your Teacher

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Joe Baily


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

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

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1. Introduction: Hello and welcome to Volume two off the blend up free D modeling Siri's. So what are you going to be learning in this volume? Off the modeling Siri's well, the following will be covered in this volume. We're going to be learning about snapping and how to snap objects in increments to the blender grid as well as snapping objects to each other. We've also going to be learning about creating links. Stupid cuts, Onda upended do pickers. We're going to learn how to join objects and how to use the court. Few in the free de Vieux port we're going to be locking, it transforms. This means preventing us from moving, rotating or skating and object when we don't want to. Proportional editing in edit mode. Hiding the gizmo, positioning the Freedy cursor, adjusting the size off the blender. Good setting, Theo. Origins for our objects. The difference between smooth and flat shading, the different transform orientations. Hiding and unhygienic objects. Moving objects to different liars making multiple layers visible and using the object data tap for location, rotation and scale bullet that is coming in this volume off the course 2. Snapping in increments: in this lecture where guns be learning how we can snap our objects to blend agreed in increments. This is going to allow us to further control the positioning off. How objects, by using the snapping tall to create precise distances, note that there are different types of snapping on in all the. For this to work, we must ensure that the snapping tall is set to increments. So let me show you what snapping in increments looks like. So we have our key p in the center of our C and to enable snapping, we have to come down to the info bar off the free de vieux port ons. You'll see an icon that looks like a magnet, but it should be faded out initially. If you'd left click, then that activates the icon, and it should become both white and red. So it looks a little bit more like a magnet on. This tells you that snapping is now engaged. You can see there. It's nap, drawing, transform. We can also see it has a short cut key, which he shift on tap. So if we go shift and tab, then we can see that it's turned snapping off shift and tab again turns you on. So that's the quick way to enable and disable snapping next to it. We have the elements hype. So if we left click, we can see that we have different snapping elements by default it set to increment, which is exactly what we want. So left click for increment. And now what I'm gonna do is I'm just gonna hit the cheeky to grab, and I'm just going to begin positioning it elsewhere. And as I do, you can actually see that it's not a smooth transition anymore. It's actually going in blender units, so it's actually going in units off one blending unit. Each time on this happens in all three directions. Even if we lock it to a single axis, say the zero axis, it's still snapping up in increments of one on. This is very useful. If you want to get some precise measurements in between different objects, you can do this with any form off transform. If we were to try, it is with rotation. It also works, and basically, if I bring up the scenes have here, if we move the X value up, we can actually see that snapping is not engaged because it's going up as it normally would . So I'm gonna set out to CEO. If we look at transform, the same applies. So you wheat transform our object for scenes have then it ignores the fact that snapping is turned on. However, if we use the hockey's in the free de Vieux port, then it works in increments. So if you have a look at the bottom corner here, as soon as I press the ark it you're going to see a value. So when I pressed the R key and you'll see a value that says rotation, it should be Ciro dot c 00 Now when I low Tate it around, he actually rotates in degrees or five. No, it's is, well, dough that in the actual scenes have this is not the case. And the reason why is because even though I'm road tasting it 2025 30 degrees, it's being rotated in free directions, so that's something to keep in mind. However, if we lock it to an axis, so are they said. Then you should see that we're actually wrote tasting it in increments or five degrees each time. And of course, scaling also works the same. So this scales in increments or 0.1. So every time I move, my mouse cuts out slightly. It will increase the scale by 0.1. And we can also lock this again to a specific axis. So that is how we can use thesis snapping tool to help improve our measurements and how help improve our transformations using the free de Vieux Port. Thanks, guys. And I will see you in the next lecture. 3. Snapping to other objects: in this lecture, we're going to be talking about the ability to snap to other objects. So not only can we used a snapping tour to move in increments around a blender grid, but we can also use it to snap to objects together. That's the position off a face edge. Or for Tex notes, that's off thes free for tech. Snapping is the most reliable. So you might find this a little bit tricky to start out with Andi. I recommend using for tech snapping mode because I've found it to be the most reliable free . But also we will basically do the exact same thing, and that is to join two objects together at a certain point. So, for example, what we're going to do is I'm gonna move my Freedy cursor over to about here. That looks good to May, and now I'm just gonna go shift I, but I'm gonna add myself. Another keep so drops a second few beer on its positioning because of Afridi cursor, we conceded dimensions of slightly off. So let's see how this is going to work. I've got snapping enable, but it's currently in the long mode, so I'm going to set it two for Tex Mo. So now it's naps to do for Tex. There are also snapping targets, so we have closest center, medium on active. A little bit of a tip here you might find that certain targets work better with certain snapping elements. So, for example, center Target might work better with the face snap element. But for now, let's keep it at for Tex and closest. So I'm going to grab my original here with the geeky. And as soon as I hover over Vertex, they instantly snaps to that for ticks. So we've all these for Tex here, or Berta sees for approval, and we can see how Blender works to snap objects together so I can hover over Vertex left. Click on. Now those two cubes are placed quite literally, directly next to each other. And also, if we assume in, we can see that the new heights and a new location matches on the X Y and Z axes, or at least on the X and Z axes, to our hope he keeps. So the only difference now because they've been snapped should be that wire value. So this is 5.8 and this is free points your rights. Let's Troy h select this time, so I'm going to grab and we hope us you on edge. We can see that it does snap Judah h, but it's a little bit more free flowing on that can actually cause more issues than not so Thoratec snapping against the first example where Vertex snapping might be a walk. More reliable option. Done age? Nothing. Finally, we have place nothing now this could be the trickiest hope to free, but we can grab our object and snap it to a face, but notice it's actually very difficult to line them up properly. So basically, if you're looking to snap to objects together and you're looking to line up the dimensions , then the safest bet is always snapping diversities. However, you can use all free on. Also, you can use the snapping targets. So, for example, let's see what happens if we changed a snap target to sent up for face snap Ellemann. So we go clap and hover over than what we can actually see is the center off. The selected object is now snapping to the face off the object that were hovering over. So that's one thing to note there. We also have medium. So again, if we grow up in this example, it does the same thing. So what it means by median is basically the origin points in this case because we're using the origin point is the medium point by default? This basically does the exact same thing as the center. Finally, we have the active So snap active onto a target. No, in this case, once again, pretty much the exact same thing. But basically all you need to know he's for snap elements. You ideally want Vertex on That way you'll be able to snap onto Verte sees on. As you can see, he we've actually got a pretty neat little effect where it's all crossing over by 1/4 on. The reason why it's doing that is because we've set a snap target too active, which means the Vertex that we hop over is meeting with the middle off our selected key. Of course, we can always go two closest lap and then position it. However, now you can see that no matter what we do, we seem to be snapping it in different increments. So that's another thing to keep in mind. So there we go. Guys. It's a little bit tricky to get used to this. But basically, if you're having problems, don't forget. You can always hit the undo key, which is controlling, said Andi. Also, don't forget that where you snapped onto your target the pens from where you're moving your pube form. So, for example, I've got increment turns of Vertex. Closest. We grab it this time. There we go. It snaps back into place. Very noise. Thanks, guys. And I'll see you in the next lecture. 4. Appended Duplicates: in the previous lecture, we looked at Lynch do pickers in this lecture. We're going to be looking at upended Do because upended duplicates become their own objects once they are placed in the scene. This means that they can be edited without changing the original the hockey to create upended duplicates. If shift on the So let's go into lender on from the previous lecture. We have our linked into cuts. One guns do is I'm gonna go into edit mode on Let's Selects the Original Que and we're gonna go shift on the on. That creates a new duplicates that we can use now to position it. I'm just going across the X key to lock it to the X Axis Andres position. Now I'm going to select my original key once again on we're going to go from object mode into edit mold. Now you notice that the link duplicates are still connected and so are still able to be edited with the original. But the A painter duplicates, which is on its own at the back. There is not being edited at all, and that's because it is now a completely separate object that has no relation to the original or any off the links do pickers. Here we go on, select the upended duplicates and then go into edit mode. We can edit that duplicates as normals. We can move around its for disease, but this has no effect on the other cues. So this way, what we can do here is a method where we use the pendant. Duplicates would be where we want to create the base of an object that is similar to another. And then we create upended duplicates so that we can create different objects on example. With this would be a dining cut reset so you would create the base off a fork, and then you would create a pendant group. Put duplicate sigh off that base. And then from that base you could create fork a spoon, the knife etcetera on a that will come out from that one base model that you created upended duplicates from. And that's pretty much how we used do because in blender, both in terms off upended duplicates. Andi, of course, linked. Thanks, guys. And I will see you in the next lecture 5. Linked Duplicates: in this lecture, we're going to be talking about linked duplicates. We are able in blender to create exact copies off our object on, Then place the copy somewhere else in the scene. Blooms duplicates are related to each other. Inform on act as twins. This means that's when we edit one in edit mode. The other one will change as well. The hockey for Linz duplicates is old and day, so let's create a limped do cuts on the bones of this lecture. We're actually going to be introducing edit mode a little bit for the first time. So in blend out, we've got our default cube ons. We can actually come over here to the tourist, have on used the Dubica puns. However, I recommend not using these buttons because once we click on the button, it creates the duplicate. But then we'd have to hopefully along without mouse, and it's a little bit awkward. I'm gonna give you an example of that's required. Hit a normal do the cut and you can see the distance before between duplicate on the mouse . Now, for some, that might not be a problem, but for others it might be just to walk with a handle. I know I can't stand using this method personally. It just doesn't look forward to May. So what I'll do is I'll just left Click, then controls it to undo that on. Now I'm just going to use the hockey, which for Lindt duplicates is Ault on day now, I'm just going to position more duplicates elsewhere on left Click on. Also got to make sure it's snapping is turned off. So I'm just gonna go shift in top to turn off snapping because that was on in a previous lecture. And now I have two objects and you'll notice in the objects have a properties that the new object has been given a name or cube dot c 001 So whenever we duplicated object, that duplicate is given a number on the end of the abridgement nine. This is to distinguish it from the original now in terms off, using our objects in object mode. If I grab the original, nothing happens to the duplicate. If I grab the Duker and nothing happens to the original, the same with rotation and scaling, so in this sense they are completely separate where they are the same does is in edit mode . So we're gonna go into edit mode and we're gonna go object mode, select edit mode. And now what you'll see he used both of our objects have been highlighted on. What I'm gonna do is I'm just gonna call from my mouse over a corner and I'm gonna want thick. Now I've selected that corner off that object, but notes that it's also selected to do Pickard's. If I was to grab this for Tex this corner and grab it upwards, it copies that change over onto the duplicated cube on disease. What link do because are basically four. So the idea he is to have a base model to make duplicates of that base model, but then edit the original. So that's ALOF the do because follow the same pattern on. That's basically how we used the linked Ducasse feature. Now, in most cases, when you create duplicates, you'll actually want to use upended duplicates which will be using in the next lecture. However, there are certain scenarios where you might want to create identical duplicates on not have to change each one individually, in which case you want to link them together so that you could edit one on it would be fought. Eddie, it's all off the do Pickard's associated with it. Before we finish, I'm just gonna go back into object mode. We're going to create one more duplicate. So Olten day a movie over here. And now if we go into edit mode, we can see that allow free can be edited at the same time. If I was to go into object mode on Select one of the Duke A cook cubes and go into edit mode again is the exact same thing. All free duplicates can be edited because they are all linked together with the original cube in the center. Thanks, guys on I will see you in the next lecture. 6. Joining Objects: in this lecture, we're going to be talking about how we can join objects together. Models in blender can often be made up off individual parts, such as a suit of armor. Or if you're going to make a complete model or, say, a car or a train. Then instead of modeling, it's all as a single object from the start. You might want to be creating different parts of that object as different objects ons, then joined them all together. So basically, once these parts have been completed as individuals and then positioned so that it looks like we formed a single object, that's when we look to join them together into a single object. There's a special hockey that we use for this, which is control on D. J. So on guys give you a little bit of an example. Now we're gonna go into Blender and I've got my default cube. I'm just going to set up my screen cast keys so that you can see nice and big. So now we're guys. Do, is I. I'm going to go shift and high, Meesh, I'm gonna go with cylinder delicious dragged out for the moment. So we caught a cylinder on. We got a cute. What I'm going to do here is I'm going to mix a few techniques together. I'm going to enable snapping, and then we're going to snap. So that takes. I'm going to drunk out. He outlined which, as you can see company, we have a que onda cylinder. Now I'm gonna glad the cylinder until I hope for over a Vertex and that's going to snap the cylinder onto that top face. Then I'm going to left click and now our cylinder he's unofficially connected to our cube. Of course, if we move on over one, then we break that link. So what we need to do? He's we conniver parents, one object to another. But this is only really useful when they're not actually going to be the same object. We want these two to become the same object. So what we're going to do, he's We're going to select the cylinder, hold the shift key and select the queue on this makes both objects selected. Now this is where the use off the active object comes into play. In this instance, the active object is the last objects we selected which is the key. The idea is when we joined these two objects together, then cylinder should disappear. Form our out, milana and we should just have the Cube. So to do that, we can I have a press this joint button here to join the objects. Well, we can use the hockey, which is control on J. And as soon as we do that, you'll know is that this shading is different and you'll also notice that only Cube is visible in our outline. A panel. Even if we open up the key, we can see that it's only one object on. That's how we can join objects together in a blender. Thanks, guys. And I will see you in the next lecture. 7. The Quad View: in this lecture, we're going to be talking about the war view. The court of you is a very useful tool for modeling on a single selected object. The reason why is it allows us to view the same object from four different angles at the same time. How does it work? Well, what we have to do is we have to open up the scene, tap with the N key, and then we have to find a section called Display. Now, this may be minimized to start with C my after click on the arrow on That brings all of the display options up. The bottom option is a button that says Total Quarter view. Once we click, we actually find that our free de Vieux Port splits into four mini few court. And from here we concede that we've got one for a top off a graphic view, one for a front view, one for a rights view on one. For a user perspective. You said this was the same view that we had to start with. So now we conglomerate our objects on. We can select the objects in any one off these four views and then we can move them, bounce on. It's the same few Kal, if the same space. So you're seeing the same thing happen, but from different angles. When you move on to editing objects, this convict come an extremely powerful tall, knowing what an object will look like from multiple angles as you change its shape and form also notes that if you want to change any off the actual views, so let's test that now. Who pressed the number one on our number pad? Then that's gone into front perspective. But if we press free, it's going to write perspective. What we know is for only the one in this top corner changes. So this seen he This is our traditional view. The other free are locked, which means we can actually change the topple for graphic. We can't change fun or the right side views, but we can change this view in this corner to whatever we want. Thanks, guys. And I will see you in the next lecture 8. Locking Transform: in this lecture, we're going to be looking at locking transforms to prevent unwanted changes in object mode . We can look transform options that we no longer want to be altered. For example, we can prevent the ability or rotating on the X axis. We can look, however, feared a scene tap in the fruity Vieux Port or the objects have in the Properties panel. So what we'll do is we'll start the scenes up. So if I woke up the scenes help with the letter n on my keyboard and we moved to the top, well, no. Is that a lot of the different transform options are couple with a open lock. This is the signifier that we are able to change that transformation. So, for example, let's take the rotation see value. That's the moment if I hit on my keyboard and then said we can see that we can rotate it on the set Access, if I just pressed, are to rotate. We can see all free axes are being changed. If we look in this scenes, have over here, What if I only wanted to rotate on the x and y, Or maybe I was just completely happy with the rotation on Desert Accident. Didn't want it to rotate it all well, what we can do is we can take this box on now. If we want, I will actually find that were rotating on two axes on. That's actually quite difficult to do in Blender. It's quite difficult to rotate on two axes and not the third, so that's a useful tip to keep in line. We can also look as many of these as we want, so we fight. Look, the wire axes as well. Then when we rotate, we only won't take along the X axis because that's the only one that we're allowed to rotate along. And you can apply these to any set or combinations that you wish. So, for example, if we got the X transformed blocks Y rotation, said X and Y scale would have said unlocked. Then we can club along the war and said axes. We can rotate along the X and said axes, and we can scale along the Z axis well, that objects on. There we go. That is how we can use these mock buttons to prevent unnecessary transforms. Now the second method is fired a properties panel. And if we go, objects will actually have a subsection court transform locks on. This does exactly the same thing. So we've just got the locks in there only two area here, and we can either unlock Oh, look whichever ones we want. So, for example, it was set everything back to zero Teoh on make sure the scale was set toe one Nazi Roker's . Otherwise your he will disappear on. We would to sigh, look on the X axis for free. Then we would be able to grow up lo tight in scale in only two off the free dimensions on. That's how we can use the transform locks. Thanks, guys on I'll see you in the next to toil. 9. Hiding the gizmo: in this lecture, we're going to be learning how we can hide the Freedy gizmo. So sometimes the gizmo it's Selcan get in our way, especially if we're not really going to be using it that much. Remember, even though the gizmos designed to help us grab, rotate and scale objects, there are so many ways in which to do those tasks that we don't really need the gizmo, especially when it comes to rotating and scaling. Personally, I don't used against volatile when I work for rotating in skating my objects, so we need to hide it. And it's very simple. We can do this are simply clicking on the gizmo icon in the Freedy three Imports info bar. So where is this located? Well, it's the info bar at the bottom of the Free de Fuego, and you can see that we've got a blue red on green icon, and if we click on that, like on the gizmo disappears, flick on it again, the gizmo reappears. Simple is that also notes that because the gizmo is not in operation, the free gives my buttons that allow us to choose between translate, rotate and scale are hidden because they they serve no purpose as long as the gizmo itself is not being used. In this lecture with 10. Proportional Editing: in this lecture, we're going to introduce proportional editing. This allows us to influence multiple objects at the same time, we can determine the strength off the proportion on. As a result of that, we can influence multiple objects depending on their proximity or how close they are to the selected object. So what this means is that when, like Glavine object with proportional editing applied, if there are other objects that are close to it, then when I move that selected object, those other objects will move as well. So let's have a look at this in Blender on to get a really good idea of how this works, we're gonna add several objects, so we're going to be used our Freedy cursor. So what position are freely, cursor anywhere we like And I'm going to click on this button, add mesh on for now. We'll just add some keys would also scale them. So we're going to hit the S key on a keyboard which will allow us to scale, and we'll just make them a little bit smaller. So let's add a couple of these objects and then hit the s key to scale on the idea here is for us to get a pretty good look of how poor from where everything is going to work so again at mesh, keep and scale down. So as we know at this point, we can grab on objects using the G key. If we want to on, we can move on that object around, but it has no bearing on any off the other objects in our scene. To enable proportional editing, we have to click on this faded out button he that is located next to the snapping button, which is the magnet. If we left click enable portion everything and also gives us a new drop down walks. This basically allows us to choose the type of fall off that we want now. This is very useful in editing mode, but doesn't really have any significant impact in object mode. Proportional editing itself is more suited to object to edit mode soy, but can be used in object mode as well. So how do we activate it? Well, for example, if we hit the G key, we can move our objects around, and still nothing's happening, But you might know is that in the center there's now a white circle on This is the strength off our proportional editing. If we scroll up on our scroll, will we actually make the circle smaller? This would juices our strength for proportional editing. If we scroll down on, ask or will, we will make the circle bigger and bigger until it finds a good size. And you might notice that some of the objects are beginning to move a little bit. So if we have are served with this size and move our objects around now we can see that some of the other cubes are following along with our selected key, but they won't be moving at the exact same pace, but I will be moving in the same direction. We can increase the strength fervor until it reaches a point where a wealthy objects will in fact be moving around in the same direction on the same pace as the selective one on. This is a really useful way off, very quickly moving multiple objects in our scene without actually having to select them all one by one. So let's scroll down to adduce that on what I'm just going to do is let's move it about a bit. And then for the sake of it, let's left clicks confirm. So now we've changed, positioning off all of our objects all of our mesh objects. Because of the size of the proportional edits in tow, all of these objects have now been changed in their location. The big question is, does this work for rotation and scale? Well, let's have a look. If we hit the r key to rotate, we can indeed see a circle to represent proportional editing. If we try to rotate. Ah, so now we can actually see that our objects within that proportional editing field are now low Tate ing. However, this is the big thing to note with flotation is that they're not just rotating within themselves, that actually rotating. I've just what clicks the council there. So I'm gonna hit our again. You can see that they're rotating around the selected objects of the selected objects actually becomes the origin point, the point at which or influenced objects wall rotate around so they won't rotate around their own origins at this point. But as you can see, the answer is yes. We can use proportional editing to rotate multiple objects. So we're going to like, click now to cancel. And finally can we scale our objects? So let's try it. We're gonna hear the s key to scale on it. We scale out, we can see. Indeed that are all of our objects here they are increasing in scale. But also important to note is the fact that their location is also being changed too much the new scale. So the distance, the relative distance between the influenced objects on the selected objects appears to remain the same in a lot that to compensate for the increased size off ALOF the influenced objects. So we can see here how proportional editing can influence our seen in terms, off location, rotation and scale On also, does this trick work when we select specific axes? Well, let's find out. We're currently using general scale. But if I was disco on the Zed axes yes, we can see that even though we've locked it to a single axes, the same effect applies. So the scale off all objects inside of the proportional editing field is being influenced, as well as the location which is looking to comp insight for that additional or minimal size on. That's how we can use proportional editing in objects mode off blender. Thanks, guys. And I will see you in the next lecture. 11. Positioning the 3D cursor: in its lecture. Will guns be looking at positioning the Freedy cursor when we want to add new objects to our scene? We may also want to place them instantly, so we don't have do this later on. So when we position our Freedy cursor, then when we create our new objects, it is placed exactly where we need it to be, so we don't have to play around with the location value later on. And we can achieve this by simply typing in the coordinates for the Freedy cursor in the scene. Tub off the three D U port to the freely cursor. We can basically move it anywhere around our Freedy space just by left clicking. However, we can never really get an exact coordinator, so we might think that we have the relatively correct area simply by left clicking here. If we rotate the view, then we might see that it's not quite where we want it to be. A. So I may have wanted it to be in line with the Y axes, so in line with this green line, but we can see quite clearly that that isn't the case, and then I'd have to keep feeling around until eventually I find the sweet spot, so that looks like it's a little bit closer, but again, not quite on the green line. So what I would need to do is I would need to use new medical values to position my freely curse to exactly where I wanted. So, for example, let's say if I wanted to create a son for an outdoor scene on, I was gonna use an actual object to create my son. I once hit quite lap on DFA meal. I would like it along that war axes. So what I would do is I would open the scene tab by pressing the N key on my keyboard, and I would basically scroll down until we come to the Freedy cursor. Now you might think that the scene tab is missing. A few things on Did you would be right? The scene tub. He is missing the transformed values because at this moment no objects are selected in our seen. Therefore, in the scene tap, the transform option is not available because it's only available when the object is selected. However, everything helps will be in the exact same place as it would be otherwise. So you can locate the Freedy cursor directly below the few option aunt to below the grease pencil. The Freedy curse that will simply have the X Y and said coordinates off the curse. Who itself. So if I want it along that green line folks sampled and I actually want it at a value of Ciro along that X axis. So the first thing I'm gonna do is select the X value with the left, click and type in CEO and enter. Now. If I pan my view, then we can see very comfortably that the freely cursor hovers very nicely over the green line, which is exactly what we want next. We want a position. It's sort of it's pretty much on the edge off our blend. Agreed. So along the war axes, for example, I'm going to use a value 07 And now we conceded Afridi Cursor is what on the edge of that blend? Agreed. Finally, I would like it to be up here somewhere. Now if I left click from he, we can see straight way that that changes all three values. So this where you've got to be careful with your values for the Freedy curse on, make sure that they are a little correct right using numerical values. So we have to once again changed that. Solidarity is Ciro and seven along the X and Y, respectively. On that is pretty good. But I wanted a tiny bit lower, lets users said Value off nine and perfect. And now that's Freedy Cursor is in the perfect position for me to add my primitive object, which is going to be my UV sphere, which represents my son objects in one outdoor scene, and that's just one example of how we can use our Freedy cursor to create new objects exactly where we want. Also, when you create that objects at the first instance, you'll know is that the transform option becomes visible. On that the UAE on said values is what is the X value our ally identical to the coordinates off the Freedy cursor Banks guys and I will see you in the next lecture 12. Adjusting the grid size: in this lecture, we're going to be learning how to adjust the size of the blend. Agreed. The blender grid is two dimensional along the X and Y axes and represents the blender world in terms off blending units, which is the default full or measurements in blender. It also represents the very center or that world. Andi can be both increased on decreased in size with the help of the scenes have in Afridi Vieux Port. So this may be something that would interest you as a free the artist if you wanted to ever expand the scope of the blender grid so that you could create a much largest seen by using its help, or you could get rid of it all together. To do that, we're going to open up the scene tab by pressing the N key on a keyboard. Andi, underneath where it has the Freedy cursor. We have the display option now for you display, Maybe minimize so left click to bring up A with the display options. We're not going to worry about any of thes right now, but we are going to worry about the grid floor. So the good floor we can see has actually free axes X y and see Si is not currently activated, but we do activate it. Then we actually get a blue line that shows us the Z axes. We can also talk off the war on ex lines so that we can no longer see the green, all red lines in our scene so we can talk all which ones of those we want to use. We also have free options lines, scale and subdivision use lines is basically the number of good lines that are displayed to company. There are 16 now. What that means is that if you treat each square as one line in length in any direction, there are eight squares either side off the axes lines. So we have 12345678 going one way and then a going the other totaling 16. We can decrease this value to his lows we need. So for example, we could go really is love Ciro, which would get rid off the grid floor entirely. We could increase it till we eventually get a barely visible map. Or we could increase it even further so however much we need. So, for example, we could use the value off 100. And now we concede we have a huge blend. Agreed. That looks a little bit like what we would see in other software platforms such as unity, which is a game engine. We also have scale. This is the distance between the Freedy lines on this basically increases that scale. So why be, for the scale of one means that the grid lines represent one lending units each. If I increase the scale to to that, it doubles the length off along the lines on. Therefore, each square now represents to blending units in length. We can increase this on decrease it as much as we want. Finally, if I sit that back to one, we have the number of subdivisions, so we can increase or decrease this depending on what we want. And basically, what subdivisions does is it allows us to go further in with the lender grid lines. So, for example, if I was a press one on five on my number pad, this is our front off a graphic view on were actually given the blend, agreed with it. Now, if we zoom in then it was going to about here. We can actually see that our cube is free squares in length in either direction when starting for one of the axes lines. So in total, in one direction, it the length is one to free 456 squares on. That's because we have free subdivisions. If I increase, that's a full, then it changes so that now the squares in this instance become smaller, which means it goes 12 free four 5678 on. We can increase that as far as we want to. You can go five, and that leaves five squares per half length. We could even go se upto important if we want to Orian Fervor. But of course we'd have to zoom in a lot more to see those squares because we've subdivided them up so much, in fact, that this one even I cannot see the squares at boys subdivisions. So let's turn that back down to five for now. And there we go. So that's how the blender greed works. And that's how we can change how many lines it has the scale off those lines on the number off subdivisions for each square. Thanks, guys on I will see you in the next lecture 13. Setting origins: in this lecture, we're going to be talking about how we can set our origin points for object. The origin is the primary influence off any transformations that we want to apply to our objects. By transformations, I mean the ability to change its location. It's rotation and its scale. For example, when we rotating objects, we are rotating it around the origin point. There is a hockey to set the origin on. This is shift control, bolt and see on this is one or the very few tools in blend up where I actually recommend just pressing the button rather than using the hockey. Because shift control Olson sea or shift command old and see if you're using a Mac, that's a very long hockey to use. So it might be better off Chris pressing the button and I'm gonna show you with her is now so in Blender we've got sake on its origin. Point by default will always be in the center of the objects, so we're going to first of all, used the button method. So if you look in your tours tab, you can see a drop down box under the Edit section, which says sets origin. We can left Click that and it gives us four options. She only treat origin origin to geometry origin. It's Afridi cursor on origin it to center of mass Now because of the positioning off the Q on the positioning of the Freedy cursor, none of these would do anything at this point. So what do we have to do to get this working? Well, let's start off with manipulating our freely cursor so safe I positioned my Freedy cursor on that used the scenes have for this. So I'm going to press the end key to bring up the scenes up. And so if I wanted to bring my Freedy cursor along with one axis So let's use a value of five on the Y axis. So that's where the Freedy cursor is now. And now I'm gonna dio is as you can see at the moment week we hit the R key on a keyboard. Now I know that I've still what proportional editing applied from a previous lecture. So I got turned off, which was pressed this button here. So now I can freely press the R key, which allows me to rotate on. We can see it rotates around the Origin Point, which is located in the center. So the R Key and then I'll just right click to cancel that. Now let's set the origin to the Freedy cursor. We can see that the yellow dot as well as the gizmo have now Bean transported to the Freedy cursor. But this is still the origin for the Q. If we wrote heightened now by pressing the R K, we can actually see that the entire object is rotating very differently. So what it was before it is actually at this point orbiting the origin, which is located at the Freedy cursor, he said. I'm just going to want click to cancel. If we were to grab our objects, however, then the origin actually doesn't really make much difference in terms off moving. The object is the object is acts as itself in disrespect, so setting the origin here doesn't have any real impact. It just looks a little bit weird. Additionally, weaken scale Now scaling here like rotation is interesting because if we hit the s key on a keyboard to scale, it will get bigger and smaller. But when we scale the size of an object. The scale is in relevance to the origin point, which means as we scale in the dimensions off, the objects will converge on the origin. When we when we move our mouse cursor out and make the object bigger, a lot of the edges and thirties are being pushed away from the origin. That's how scaling works. So by having the origin points outside all the objects, we actually get this little scenario where, as we decrease the scale off the objects, it actually comes closer and closer to wars. The origin point on the opposite applies when we increase the size. So that's a very important thing to know about how the origin works in terms of scaling. So I'm going to right click now to cancel. And if we have a look, we have several different options here, including the origins Freedy Cursor Origin to Center of Mass is basically the center off mass for the objects. It's pretty self explanatory. So we had a more complex objects on. We set the origin to the center off Mass. It would find the point in the object where you could balance the weight evenly, like on a seesaw. The difference this is to the geometry is when we would select origin to geometry that the origin would go to the center off the object, not necessarily where the weight is equal, but lava, where the actual object is directly central to the origin. So in this scenario, if we would go origins center of mass origin Citterio Mitory, they would do the same thing. So, for example, if I go always into center of Mass, it brings the origin back to the center of our cube and we scale. We can see it works normally. Let's just go back to the Freedy cursor. So origin, back to the free D cursor. And now which tribe or region to geometry? And once again that does the exact same thing. Why does it do the exact same thing? Well, because the center of mass is exactly the same position as the center or the object itself on. Of course, this isn't the same for every single object in the real world. The center of mass is actually not always going to be at the centre off the object. In fact, very rarely is that the case finally we have geometry to origin. So for example, this is actually another way off us being able to move our objects around our scene. So if I go origins Afridi cursor, the origin is now where are Freedy? Curse is. And now what we're going to do is we're going to move the entire object toe where the Freedy curses. To do that, simply click sets origin and select geometry to origin. Now, I'm not gonna use that method this time. I'm going to use the hockey, which we don't recommend. I do recommend using the bus invidious one, but I'm just going to show you anyway. So shift control out on D. C. And that brings up our origin box. And now I'm just going to select you. You're much Rita origin left click. And now we can see that's the object itself is positioned where the Freedy curse Aries with the origin and that's how we can influence our objects in our scene. All right, setting three origin. Thanks, guys. And I will see you in the next to toil 14. Smooth and flat shading: I got as in this lecture, I'm going to show you the difference between smooth Andi flat shading flat shading is what we have as the default set up when creating objects in blender on is used mainly for editing as this allows us to see every single individual face so we can see the entire geometry off our object. Smooth shading, on the other hand, uses a trick of the lights to make the individual face isn't the impossible to see on for 99% off objects that you will create him blender. You will want to apply a smooth shading because you're going to want to make sure that the individual faces are not visible, especially on objects where you're not using a lot off geometry because those faces are gonna be much larger on. If you have flat shading to them then and they're going to be very easy to spot on, it's not gonna look realistic. Shat transitioning from smooth, flat shading is very simple. So we're going to look at a couple of examples of a couple or primitive objects now because we have such a low amount of geometry for our cube. We're not really going to see that much often effects on our objects spun. We're gonna scroll up on the scroll, will to assume in You'll notice that we don't have the screen cast keys activated for this . That's because we're not going to be using any hot keys on. What we're going to do is we're gonna go over to the tall shelf on underneath sets origin we have the shading we can choose between smooth and flat flat is the current shading, and smooth is the shading that will use for renders. Now you can see straight way that this has a profound effect on the look off our cube on the surface. And basically what it's trying to do is it's trying to make any edges and for to seize more difficult to spot. Which is why we can still see the edges that have been highlighted as a bright white color because blender is trying to get out, get those to become invisible. However, with a cube, that's not exactly ideal, because by definition, our cube is a flat object. So I'm gonna do is I'm just gonna click to go back into flat shading, which looks much better on now. What I'm going to do is I'm gonna press the X, kill my keyboard. I'm gonna delete my kids on that. We're going to use a better example. So I'm gonna go toothy, add button in the menu bar, select mesh, and then you ve spirit so we can see here that the Hubie Sphere has a lot more geometry. Has a lot more faces than our pew. So it should be better Are to have a look at how shading works company. We aren't set to flat shading. And if I assume in just a little bit more, what you're looking at is the way blender works with flat shading is every single face is given its own unique color shade. So we have a couple of lights lee colored shades here, but each face has its owner tempo its own amount of black and whites. This way, we're able to easily distinguish the faces from each other. Smooth shading eliminates this effects completely on it Smoothes over the lighting across all of the faces, which means we get a more realistic look on our UV spheres of the lights is just beginning to reflects more naturally off our objects note once again that this effect is much longer and much more beneficial on objects that have more geometry. So he conceded this UV sphere at top, we concede it has 482 3rd sees or 512 faces. If we increase those numbers, then the effects off smooth shading will look even better. That's the Now we can still see that there is a substantial difference between flat shading and smooth shading. Now I'm gonna delete it, and we're just going to look at one more example. So we're gonna go X and sleep, and then I'm gonna go add mesh and this time will select tourists. So the tourists is basically a doughnut on. Once again, it has a lot of geometry. In fact, it has more 30 season faces than beauties feared. So as we can see once again a world off, the faces have their own unique shades. Some of the shades are the same, but the big thing to know is that the shows will never be the same as the face next to them . So we can see this face here. This really dark one. All of the faces around it are all the different shades, so it's easy to distinguish that face from all the others. Now, when we go into smooth shading once again, we get that wonderful trick of the light and you can see a little bit of that effect here, where the law is hitting the object directly. We have that wonderful trick of the light, which just almost literally makes our objects smoother than what it was before. But the beauty of this is that even though smooth shading makes it appear as though more faces have been added, if we look up here, we can see that the number or further sees and faces has remained exactly the same. So choosing your shading has absolutely no effect on the amount off geometry, the amount of faces that your object possesses, and that is a fantastic tool tohave. Thanks, guys, and I will see you in the next lecture 15. Transform Orientations: in this lecture, I'm going to be talking about transform orientation in Blender. There are different ways in which we can influence the location, rotation and scale off the object. Each orientation basically does the same thing on a different type of access. There are five orientations on these are global local. You're low, give hope on view. So let's have a quick look at what each of these does in blender. So we've got our default set up here, and by default we are in global orientation. How do we notice if we look at the menu bar will see the word global next to the Freedy. He's my buttons. If we click will realize that it's a drop down box which allows us to ship check between the different transform orientations. Global uses the axes off the blender world itself. So the blender world has a fixed direction for its war access its X axis on its said access on weaken. See this very clearly. We've been working in global for this whole time, so we already know how global works. Next we have local, but before I change, note that for some of these it will look exactly the same with the cube as it is. The reason why is because at the moment, for the Q the top face is facing upwards. The front face is facing forwards. The side faces are facing to the site. So some of these orientations for our cube as it is will actually end up doing the exact same thing. So I'm gonna dio is I'm gonna hit the r key on my keyboard. I'm just gonna rotate it and doesn't matter how far I will take you Just so it's visibly rotated left, Let's confirm And now when we change our orientations, we will find that the effect changes Now with each time we do this, I would like you to keep an eye on the Freedy gizmo. This is the one that you're looking at. The Freedy gives more itself. So we've got global. Let's turn it to a local and straight away You've seen that the gizmo has been tilted So global orientation focuses on the axes off the blender world itself. Local orientation focuses on the axes or the object. That means that evened always rotated out top face. The orientation has also been rotated so that when we move up and down, gazette axes were moving up and down the set axes not off the blender world, but off our objects. So this is basically our object moving up and down on its own axis because it's already tilted. And, of course, the same effect applies for the white Andi X axes. Local and global are by far and away the two most common audience Haitians to use. But it's also handy to note what the other free day. So normally we just read a description aligned to transformation axes to average normal off selected elements. Now that sounds like a lot off jibber jabber on. This is mainly very, very similar to the local transformation because it involves using the local space, the object itself on as we can see here, nothing really has changed with our gizmo and deleted more is at this point in edit mode. The normal orientation is the same as the local, basically to keep it short. Normals are something that all Freedy objects have in blender on any freely. Software on each normal has its own direction, so the normal orientation changes the orientation based on the direction that these normals are pointing in In the case of a simple que these normals will be pointing in the same directions as the faces, which is why the low court and normal orientations in this scenario are pretty much the same. Next we have gimble So what is Gimble? Well, we can see once again that the axes have changed on We can now see once again that thesis evac seizes pointing up. But the you are on the X axes are not pointing in the direction off the axes lines. So once again, this orientation does not relate to the blender world in fact relates to your screen. So what we have is imagine you were actually in the three D world and you were looking at the object from this distance from this heart. So basically we could move it from sight. Aside from your perspective, up and down from your perspective on Ford's on Backwards from your perspective. But of course, because of the direction that the que is facing form your view when we bring it forwards actually been Sit down below your view on it we bring it away vice versa. Don't worry too much. If you don't quite understand this. As I've mentioned before, local and global are the common orientations ons you will be using. Basically, you'll be using Global 90% of the time. You'll be using local 8% of the time and then the other free You'll be using combined for beat 2% of the time. So it's not that big of a deal. If you don't quite understand eatery, but basically the gimbal. It uses your few of the object for that point to move in those directions. Of course, if you pan of you, the gizmo will not change its direction. Finally, we have a few now. Few does indeed use your two D screen. So as we panic around, we can actually see that the gizmo doesn't change. And we can also know is that's number one, the said axes has gone, and number two the Y axes has actually replaced the positioning off the set axes on. The exact sees seems to have put place the positioning or the why. This is because on a two D screen there are only two axes. War is the up and down on a two D screen on X is the left and right, the side to side on a two D screen. We don't actually have three dimensional viewing. So in this few in this orientation, we are quite literally working in two dimensions on in order for us to work in three dimensions. With this orientation, we would actually have to be consistently moving our view off the objects in Aled. That's a movie in three dimensions in this method. But there we go. So we've got global like home, normal gin bowl on views, all of these orientations which are all great to learn. But the most important thing is the fact that you will be using global most of the time. Andi, occasionally using local that ferry. Rarely will you expect to use few gimble or normal as o v ent a tions. Thanks, guys. And I will see you in the next lecture 16. Hiding and unhiding: in this lecture, we're going to be looking at how we can hide on unhygienic objects in blender. We can hide objects from view without having to the elite or move them from the current location by using the height feature. So we only want to work on one objects and we have multiple objects in our scene. We can hide the objects that we don't want to get in a way so that we can maneuver around the scene and edit their objects as we see fit. We use Haughey's to hide on unharmed. The hockey to hide an object is the letter H to unharmed and objects is Altach. Note that the hay truck he will hide all selected objects, but we can also hide objects as individuals. But when we unhygienic, we are going to resurface away. Hidden objects is the house. So what does that mean exactly? Well, we have our Q, which is still rotated from the previous lecture, and we also have our lamp on our camera. Now we select our Q. We can hide it. Why pressing the hate key? Now we have hidden the que object. We can't select the Q object it's gone completely invisible, but it hasn't been deleted. If we have a look in the outline a panel, we just try it out. We can actually see that the Cube is still there, and technically we can select our cube using the outline of panel. But we just can't see it. We also know is that we have this. I Let's close these icons and the one thing Q is closed, which tells us that the Q is currently hidden from view. In order to unhygienic Out Cube, we can use the hockey, which is cult on page on. Now the object is once again visible. We can also hide multiple objects at the same time by selecting multiple objects and then placing the H key. So, for example, if I hold down the shift key on likely on the lamp on camera, all free of selected, and if I pressed the hate key all free and now hidden, if I then press bolt on page on my keyboard, it brings awfully back. But what if I hide them all individually? Well, let's give that a try were gonna hit the hate key to hide the key, then select the lamp hit the hay Chiquita, hide the lamp, then select the cama and hit the hay ski tow hide camera. So all three objects, even though selected at different points, are now hidden from view that because of the way blend works when we press old on hate, old objects that have been hidden at one point to another. Well, the turn at that one instance. So now, by pressing often H, we've got all three of our objects back again, which we can then edit, and that is how hiding on unhygienic works in a blender. 17. Making multiple layers visible: in the previous lecture, we looked at how the layout management system works In this lecture up, we're going to go one step further by making multiple layers visible at the same time on we can do this by holding down the shift key while we are selecting different layers. So basically the way blender works in terms of layers is that it's been described it. It's a matter of stacking layers on top of each other, but this isn't technically how it works. Basically, how it works is each layer is its own world, but you don't stack worlds on top of one another. They are converged in at the same space. Now you don't need to know too much about the specifics of how the layers system works. Well, you do need to know is that if you want to make multiple layers visible or you have to do is hold the shift key when you are selecting your layer on. What that will do is that will select the new layer but also keep the previous layers selected now without holding the shift key. If we go through the 1st 6 lays, you'll see that we have a different object on each layer. Now these are or just primitive objects that I've just created on positioned in different parts off the layers on plan to quit. So now I'm going to make them visible on. I'm gonna do that by holding down the shift key while in the first loyal I could be in any lower it doesn't matter and also like the second layer. And now we can see the bottom that both the first and second layers have bean grade in, which means that they are both selected, which means we can see both the cube. Andi, this ICoast bit. If we continue to hold down the shift key, then each layer that we press becomes visible while any previous layers also remain visible . And now we got a lot six layers currently available commonly visible. And because of that, we can actually work in any objects that's involved in any old thesixties layers. So it doesn't matter if you started off in the first layer and then you started added in other layers. As long as there is an object in your scene that is a part or one of these selected liars, you can edit that objects. You can do anything that you like with any object that you have on that guy's is how you can use the layout management system to make multiple layers visible at the exact same time . The one last thing to note is that when you have multiple layers visible, then you basically have the nor blender effect. If two objects costs over one another, so basically the bigger objects will basically engulfed the smaller one. But there's no special science behind this. So just in case you're wondering with the whole parallel Whoa, things blender, one layer again does not stack on top of another, so you can edit these in exactly the same way as if he was just using a single layer. Thanks, guys on I will see you in the next lecture. 18. Using the object data tab: in this electric guys we're going to using. The objects have for location, rotation and scale. Now what do I mean, body object up? Well, the object tab is going to be located in the properties panel, As you will see in a moment on it. Contains most of the primary data bore a selected object, for example in the object have we can at its basic data such as location, rotation and scale. Now the first question you're going to ask these What's the point of the object tap when there are already so many different ways in which we can edit rotation, location and scale? Well, the simple point ease. Yeah, you might want to use the properties panel frequently for multiple things, So the body's panel is probably the second most used panel in blender on. If you want to really improving your skills on blender, one thing that you would have to do is mass that the properties panel now that being said, Master of the Objects have isn't necessity since 90% off the things you ca ndu in the object up, you can do elsewhere, but then again, that's just a part of the blend of blueprint pretty much any action that you can do in Blender. There is an alternate way of performed their action, so it's no uncommon. So, for example, first of all, let's locate the object up. So we're going to Blender on. I've got my six objects here that are all in multiple layers. So let's select our cube on our watches on our first layer. The objects have is located in our properties panel, so I'm just gonna drag out the properties panel here. On at the top, we can see a Siri's off icons. Each of these takes us to a different set off data. The one that we want is the icon that looks like a cube. This is the object happy. When we select it, we get a Siri's off different functions in which we can before some of them or many of them , especially the early ones you can use in other parts off blender and you can manipulate in other parts of blender. But the ones towards the bottom are actually unique to the objects have such as, for example, the display subsection Ronaldo, lest you spoken on the transform subsection. This is pretty much identical to the scenes haps transform, which you can see. We open it up, you can see here, so this is pretty much for location down to scale. This is pretty much identical to what we have here. It's just another location, and you can also see that A, with the values for location, rotation and scale are identical in both the scenes have the Freedy Vieux Port on the objects have off the properties panel. Therefore, if we change one of these values in the objects have, for example, will move X two free for the location, then the cue ball move forward by free blend the units on the value in the scenes. Hap will also change to match the value in the object up. So that's basically all you need to know because you already know how to use location rotation scale. This is basically just another means off being able to access that later. Thanks guys on I will see you in the next lecture 19. Challenge one: our guys in this lecture. We're going to be giving you your first off your two challenges for this volume. So for this challenge, your guns be creating a bridge by using primitive objects by primitive objects. I mean, you're going to be using the free created objects that blender already has for you, such as the Cuban, the UV sphere. I want you to use a combination off objects snapping on joining features to create the parts off your bridge duplicates any parts that need to be used multiple times, such as the pillars which provide the foundation for the breach. Extra things that you can do you are. You can try using quarter view to construct and position your parts so that you can get used to using that type of you courts. You can try to complete this without the freely gizmo being visible because we've all different ways in which you can use. I manipulate the location, rotation and scale of your objects. You won't need the fruity gizmo to be there on and one more bit. See if you can do smooth shading with some of your object part just to make it look a little bit nicer, so I'm going to give you a bit of an example. So I have 1/2 completed bridge that I've constructed on are basically constructed the four pillars. So from this point, what I would do is I would basically create a cube and skate out, and that would act my road, which would fit in between these pillars. But you can see with the pills themselves that they are each a combination off free primitive objects. The bottom off each pillar is a que on attached to it. For earthy snapping. Tool is a scaled cylinder and on top of their is a comb on. All three of these have bean joined together thanks to the joining tool. And then the entire object is duplicated on positions on our blender grid. So if I have a look at this, formed the top off a graphic view by pressing seven on my number pad, then if we just pan all of you, you can see who assume in slightly. You can see that these objects are specific distances apart. So we have these two objects. They are the same distance apart of each other. As these two And that's thanks to using new medical values in the object top to create the perfect dimensions for us to be able to fit our road in between our what, four pillars. Now you don't have to do it exactly this way. You can create your bridge whatever way you want, but this is interesting. An example off. Some of the things that you can do also know is that I haven't used for view to show you this. But I did use quite few to create it. So we have a look at it by a court of you which is located under display trouble court you here. We can see that we have in talk ULFA graphic front, Ortho Graphic and write off a graphic. Aziz Well, as our basic use of you on, that's a great way off. Giving us an idea of where we can place our duplicates in are seen to help construct our object. So do that challenge. Now, guys on I'll see you in the next lecture 20. Challenge two: Hi, guys. It's time for your second challenge off the course. So in this challenge, I would like you to create any object that you want. Why? Using primitive objects on, then joining them together. So basically the same method that we used to create the bridge in our previous challenge, I want you to try and create a different objects for each layer that you have now. You can go into his much depth as you want with this, you conniver. Just create two objects, one for each layer, or you could create 20 objects, one for each of the 20 different layers. Once you created your objects, I want you to position your objects white using the objects have in the properties panel or the snapping tall, it's up to you which one you use. But once again, it's good practice to get used to using those tools. Then you're going to make your life is visible when, if layers that you want visible so that all of your objects that you've created would also become visible in the same free TV imports do that. Now guys on. Then you will be finished with this volume off the modeling blender. Siri's Thanks guys on, and I'll see you next time 21. Thank you: Thank you, Aunt. Congratulations for completing the blend up. Modeling Siri's Volume two. I hope you guys have enjoyed this volume off the modeling Siri's on. We have a few suggestions that you contrite for your next course. If you want to continue, we've learning about how to use blender. You could move on to volume free off the blender modeling Siri's Well, perhaps you'd like to try your hand at something slightly different with our blender animation. Siri's well, perhaps take on one off arm or in debt for courses such as Learned Lee, foot lender Freedy. How to create Freedy Models. What you do next is always up to you, but make sure to keep practicing to keep your skills sharp on. I'll see you next time.