Concept Art Masterclass 1 - 3D Drafring | Kemane Bâ | Skillshare

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Concept Art Masterclass 1 - 3D Drafring

teacher avatar Kemane Bâ, Thinker Songwriter

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

20 Lessons (2h 27m)
    • 1. Introduction

    • 2. Class overview CE II

    • 3. Displacement Modifier

    • 4. Adding a Texture

    • 5. The Node Editor

    • 6. Gradient Map

    • 7. Ambient Occlusion

    • 8. Screen Space Reflections

    • 9. Volumetric Lighting

    • 10. Procedual Textures

    • 11. Subsurface Scattering

    • 12. Camera Setup

    • 13. Adding Sandbanks

    • 14. Light and Composition

    • 15. Modelling Houses

    • 16. Story Elements

    • 17. Modelling the Boat

    • 18. Foreground & Details

    • 19. Rendering & Saving

    • 20. Conclusion & Overview

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About This Class

Concept Art Masterclass 1 is a complete guide to become highly efficient in creating powerful conceptual artworks. The most direct way to boost your portfolio. From 3D drafting, all the way to creating a complete conceptual artwork, this class covers the full process of a technique used by professionals to reach the maximum efficiency during a concept phase.

This class got you covered with a highly intuitive learning approach from start to finish in 100% Realtime! No time-lapses, no parts skipped.
We will go through all steps in the creation of a 3D scene in Blender that serves as a powerful basis for our final painting. You will playfully learn the basics of 3D-modelling, texturing, shading, lighting, rendering and advanced digital painting.


  • Computer or laptop
  • A working copy of Photoshop (or 30-day trial)
  • A working version of Blender
  • Graphics Tablet & Pressure sensitive Pen
  • Basic understanding of Photoshop

Who this course is for

  • Digital artists that want to deepen their understanding of concept art

What you'll learn

  • Core aspects of 3D modeling
  • Core aspects of digital painting
  • Creating a full Conceptual artwork from scratch

All learning material is included:
Custom Brushes 
Photoshop & Blender Files 

This is the first part of a second masterclass!

When Finishing this class you can join Concept Art Masterclass 2 | 2D Rendering


If you're not familiar with 3D at all you can do my Blender-Beginners class!

Meet Your Teacher

Teacher Profile Image

Kemane Bâ

Thinker Songwriter


I love teaching things.

See full profile

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In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

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1. Introduction: welcome to the intermediate concept Art Essentials class. In this class, you will learn how to create a complete conceptual artwork from scratch. By using the highly efficient combination of three D drafting and digital painting, we cover the full spectrum of the creation process three D modeling, shading, lighting, composition, aesthetics all the way to the complete panting process and 100% real time. No time lips is no part. Skip Class comes with all three D and two D working files and includes the whole collection of custom pressures we used during our lectures. The moment you enrolled, you will have private access to the active support channel whenever you need some help. If you already have a basic understanding of digital art and want to extend your portfolio to show that you're capable of incorporating three D assets in your work, then this is the right class for you and you're ready to roll. See you there 2. Class overview CE II: Hello and welcome to the class overview of our intermediate concept Art Essentials Class class consists of two major sections. In the first section, we focus on creating a three D concept of blender. In the second section we use are created rendering to create a fully conceptual artwork using photo shop. The whole curriculum comes with a free 1.5 hour blender introduction place. So once you finish that you're more than ready to go into the creation of our three d concept. The first part of our three D section is creating the overall scene set up and having our first look at displacement lips. In the second part, we dive right into notes and into the creation of procedural textures. And the third part we look at shading and how to make three D objects look nice. In the fourth part, we will choose our perspective and have a strong focus on composition and aesthetics of a three D layout. In Part five, we're going to model our own assets and props for the scene. In Part six. We render the whole picture and have a little overview on what we've learned when this is said. We enter the two D riel, in which we create a full conceptual artwork with photo shop. In the first part of the section, we're going to paint the elements that are key to the overall color and shape composition of our picture. In the second part, I will show you super simple techniques for actually at two D materials and texture objects and photo shop. In the third part, we're going to have a look at some supercool advanced masking techniques, but no worries there, not advanced in terms that they're difficult to handle. It's just that they're basically used by professionals and super efficient. On the fourth part, we're going to paint some flora and look at how custom brushes come in super handy at this process. In the fifth part, we're going to add our own props, and this is probably one of the hardest parts because we have to start thinking three dimensionally, and yet it's a beautiful practice to get your painting skills to the next level. In Part six, we're adding story elements and see how we can change the narrative of a picture just by adding little details in the seventh part We're going to look at some nice polishing methods that are very efficient and also very quick to apply and a liar to really present a concept in a beautiful way. And in Part eight, we're going to have a conclusion in an overview on what we've learned. So let's not waste any time and dive right into it, see in the class. 3. Displacement Modifier: Hello. Welcome back. Toe the second section of the intermediate concept Art Essentials Class. I hope you had a nice introduction to Blender because now we're really going Teoh to take a little bit deeper and go straight into the class. So again we have our Q Pier, which we want to delete in this case right away. So we just press X And now we have our scene, and in this case, we start in a similar way in which we started our first terrain. We're going toe at a plane, so we just press shift a and at a plane and no, In this case, we want to have a look at our transformations before we do the scaling because there are different ways off scaling up on object. Now, in this case, when I just press s and scale the object up, you can see how in this corner right here how our transformation actually changes the object transformation. And actually, we don't really want us. We want our object to be on on scale one and on rotational position zero all the time so we can reposition our object always back to the center When, when we make any modifications now to do so, We just press step, make sure all our points are selected and scale it in this mode and you can see how we're literally only changing the vergis ease off the object. But the actual transformations in object mode are not affected. And now this is also the time in which we can work with a new window which is the like transform. Well, no, I would say so. We just press in and we see how this this window here basically appears and allows us to make some quick changes on the fly. So it's basically, um it is Ah, it is like a menu which takes some like settings from our from our edit window and places them here, so we just have them more accessible. And it's it's nothing else than than that we can access all these settings, um, through through this menu here, too. Um, yeah. So that's basically the the whole user interface accessibility thing we can We can decide on how we personally want to use it. I usually have closed because I mainly use shortcuts, and I would also encourage you to do so too. Okay, now we want to subdivide are a plane. So we just press tap again. And with w we have the option to subdivide in both directions so we can see we just Actually, it's quite hard to see because it exactly on the access. But let me move this up a little bit, and then you can see it better when they're going to edit more de select everything by pressing a And here you go, you can see that all our oh are like, eh? Just got just subdivided. And we want to do this again. We just want to press w and subdivide. And let's do this like one more time, Okay? No, this should do it. What we're doing now is pressing tap. I move it back to the center and now you can see why I did not move it anywhere in edit mode so I can press alter g and move it back toe the center toe where it belongs right now And now we can at a subdivision modifier. So basically, what we will see is, um when I just click on this little tool, I can hear and at modifier and click on Where is it? I usually use the shortcut, but just so you get used to working with modifiers there we go sub to surface and you will see that our, um, corners get a little bit round. And this is basically an indicator that we subdivided subdivided the mission just one time . In our view, more now this is this is basically the most simple and also the first modifier we've been also using in the introductory class. And now we actually want toe take a little bit a little step further and use a modifier which is called a displaced modifier. Now, when we use this, it will be also in the um So where's section? Well, really usedto, There we go in the deformed tap. It's the fourth modifier with with these little triangles, I helped the icon stone changing in your version. I'm, like, totally fine with them. And right now we won't see anything. Really. Um, it might be actually that our Yeah, now we don't see anything because the displaced modifier really works together with a texture. And we have basically something that is a tool. There is taking a two dimensional picture and depending on its brightness, values on it's black and white values. It will take the individual polygons and pushes them up or pushes them down. So this is something we Yeah, we want toe try. And so another that you managed toe basically, activate the displacement modifier We're going toe make the texture in our next class So few there. 4. Adding a Texture: all right in this section in this part, we want to add a texture. And I'm kind of saying this with great care because there's so many ways to add a texture and yeah, I would just want to add this little disclaimer and I decided to make an individual video part about it because this is just one approach on how we're adding a texture right now. And now we just click on this little button right here, which says texture. And we click on new and we just edit a texture. Now, like right now, we don't see where this texture texture actually is. We don't know where, like what really happened, and now we want to actually go to the texture settings off our object. And to do so. We click on this little checker Aiken right here, and we can see that there's this displace menu. There we go, and we edit a texture that is currently empty, like there's no actual texture assigned to it. And what we want to do is we want to give it a noise texture. So here at the type section we click on currently, there's image or a movie selected, but there's no actual image or movie selected. Now we click on this drop down menu here, and we choose the distorted noise texture and you will immediately see Boom. How are surface? Starts toe to change. Now let's let's look at this. Let's look what just happened. Okay, we can see that that now our are police got our individual verses are being moved up or down, depending on the brightness value off. This destroyed it moist texture. And now going Victor, our modifier. We can actually change the strength off the texture by moving this parameter right here bringing up and you can see how this works, like immediately. And this is the perfect time, actually, to put up the resolution off our subdivision modifier. And to do so, we just click on basically, click on this little arrow on a review menu right here in the subdivision modifier plus and plus again, and you can see how the resolution changed. But the scale of the texture is so small that we have this little spikes. So let's go to our checker menu here that we go to the texture menu and change the size. Just change make it bigger. Put it up. Let's type in numerically, maybe a Let's give it Ah, four. That's good. That should be fine. There we go. Look at this. So this this is something quite interesting here and now we want toe Put the resolution off our, um, subdivision. Modify even higher. Let's put it toe. Let's put all the way up to five. There we go. And now we want to do the same thing with our smooth shading. Just keep the object selected, press w and click on shades more. And look at this. This is quite interesting. So we're getting some very interesting shapes here, and we put the strength down a little bit. And like from from actually looking at our finished pieces, you can already get a very clear idea on what direction we're going. So let's just have a look at this. Now we're going to do now is basically where we can already paint a picture in our head by thinking that thes Parsi is simply like stylized mountains. And when we think in terms of ah, pretty cartoony style, this is something. There's already something very cool toe work with. Actually now let's put this whole layer up a little bit. Or, in other words, we can actually change the mid level. We can put it all the way to zero so that the texture only moves up and the ground plane is actually just a zero. And OK, now this is This is basically this should be it for now, with with working with a texture and let's let's continue creating a nice material in the next part, so see you in the next part. 5. The Node Editor: Hello. Welcome back. Now, to create a material, we click on our material tap again and click on New. And now for the base color We want to have some like, nice and last green. So let's just take that And we can already see nothing's happening. Why? Because we are in our in our flesh aid and mode. Onda. Um, solid. I'm sorry. It's called solid. Straight it more, Um, and we want to change toe are rendered mode. There we go. You know, we can see our material. I want to make it a little bit less rough. So we just turned down the roughness value right here. Turn it up. I'm sorry. Um, so, yeah, we want to make it even more rough. Like, that's what what I had in mind. And we definitely want to have our light to be a directional light to So we just click. We select our light and click on son right here. And now we have this This Yeah, light coming from only one direction. Make it a little bit more flat. Just like that. It's nice. And put down the energy a little bit. There we go. And now When we look at our object, we can see it looks very fled. There's not a lot off texture variation and not many things are happening. So let's just select our object and see like this. Is this our material? And just like we did in our introductory class, we couldn't now select all these little, um, extra options here and at certain images or textures are things like like in this view. But this does not give us a nice overview for our actual material. And there is a wonderful solution for that. And the solution is basically called a note system and note system is is an extremely powerful tool, which gives you the possibility off editing, um, assistance in a non linear way. Now let's just open our material editor and have a look at it. So we click on our little Well, First of all, we drank up our time line right here. Just hover over this button and you will see we just can freely change our you. I we can do this with every parts off blender, which is absolutely amazing. And now we click on this little I can hear where it shows us those little clock and click on Shader editor just right there. And you can see this is basically this is basically the same set up we have right here. Just that it's giving us another little window, which says material output. And that is basically all that we see in this window goes toe the surface input right here . And, um so right now we having our principal changer, which is just like in the introductory class, we used the same shadows, basically a A like like it's a It's a material that tries to emulate a large variety off different materials so you could do glass with it our last day, or wood or stone, depending on how the settings are and the depending on what textures do you use. So it's basically ah, physically based shader, and it's very accurate and also very intuitive, actually, to youth. No like, why is this note set up even even so powerful Now we can see when I'm when I just disconnect this, just click on the little button here and let go of it. It just gets black, so it means like there's no information in this material. Nothing it's reconnected so we can just see how this is actually the real time and very interactive. And now we know we wonder. Like wise. Like like, what is What is all this about? Let's let's, for example, see how we can very intuitively create a texture here and plug it into our different settings. Now let's just create a texture by pressing shift a and go to texture. And then let's select a Let's give it a checker texture Just a very clear checker. Make one of these fields green and the other fields maybe give it a bit of an orange and no one that dragged us into color. I can't see Wow, something is happening. And it looks quite interesting as we're having like a like ah, almost, Planner, uh, projection here. And so you can see how this Texas actually actually like procedurally um napped on our on our plane. So it's we were not having, ah, UV map, which will Which will we look at later on? Now? For now, this, um, this is, uh it's good for the purpose off explaining. And you can see how you can clearly have an overview on what textures are plucked into the material, and and now the cool thing is what you can do. I could, for example, use the same texture, the exact same source, basically, and put this into the roughness value. And now that it's here, you can see how all the darker fields are less rough because less bright means less rough and the brighter field a much rougher. So this is a super cool way off really efficiently, like changing the material and making something that is really complex within a very short amount of time. Now, yeah, that's basically that's the note editor. And we're going to spend some time in this editor and get get one with it and get used to it because it's it's really, really powerful. So, yeah, see you in the next last 6. Gradient Map: all right, I know this looks fancy, but we want to create an actual texture here. And the first thing we will actually do is to delete this checker texture and there's very cool way off, actually. Unlinked king the note connections here we just by contrasting control by present control. Andi just clicking and dragging in this empty field here and just you can see this little knife disappearing and it separates basically this connection, which is just quite nice. We're thinking or checking texture and delete it. 03 There we go. And now what we want to do when we when we look at this terrain you that us, let us try something. And the thing I would love to do is basically, when I look at this, I wanna have a gray jinde that goes from the the top pirate here, all the way down to the bottom and starting from a green color down to a more brownish grayish color, basically signifying that there's some type off rock or something that's that's beginning down here. Now again, there are many ways to do one and the same thing, and our approach will be by basically reading the geometry of our object. Now, there's a very cool note which allows us toe put out geometry information. So they're so it allows us to to ask. Okay, What point is very high in our scene on Z excess? And what point is very low in our scene? And to do so, we just go into our note editor press shift a and go toe input and that we have geometry. There we go. And now we have many, many different, um, options on what? What I would say What questions we want to ask our geometry. Do we want to have it? You wanna know what in what directions the normals are facing or basically just the position. And in this case, we just want toe. We want to use our position value here, and, um and we want toe add another note because, like this by itself, is actually not doing anything. Um, we can Let's just try it. I don't love this. Anything happen? Yeah. So, basically, yeah, we just having our position values mapped out in color right now, and it's quite interesting to see. As you can see, there's already some some similar thing happening that we have, like a Grady int that is going all the way down here and, yeah, our our four directions. Actually, it's three and the positive and negative value. So, yeah, let's not go too deep into this as we're still in our intermediate, um, riel. It's just couples connection. And now what we want to do is actually we want to have a Grady and where we can actually define those two colors that we that we have in our mind and just press shift a goto, um, converter and create our color ramp just like this. Here we go. And now our color am actually goes from black to white. Now let's let us just let me just see what happens. Let us just put our color right into our base color. And you see, it's just great because it's basically not having any Quote Co ordinance. It's just like it's just one. Um, it's just displaying one slice of the spectrum here now when we put our position value into our Fechter right there. Hey, we can't see something's happening. That's very cool. Now we can see that it's the Grady in its is just making a very, um, I don't know if it's exactly like four or five, um, degrees. It's actually not, but it's basically just going straight through our mesh. Now, how do we actually control what position are radiant is actually having on our measure right now? Um, is basically it's by using a mapping note and just follow along. Don't get too brainy about it because, especially when using knows, you really get the hang of it when using them multiple times and using them very often. So you will, after sometimes get warm with it and get in an overall idea of it. Now the mapping note goes right here, both before our radiant it's it still defines where, like all the special stuff that is happening, so we just press shift a goto. Where is it to Victor? Are vectors basically just means that as a location or a point with more than one dimension . So in this case, it's actually a three dimensional vector. Um, yeah, but again, let's not get too brainy on it and create our mapping here. There we go, a mapping victor, and the cool thing is also with notes when you have her over this field right here, and you just click. It will get this note in between. And now that we have our point, Victor, we can actually define that. We don't want any events on the X excess norther y Xs. We just want to have have the whole thing happening on the Z excess. So we put these both excess here 20 this one, too. And we can see what's happening Way have our desire to Grady int. But the colors aren't quite right. So we just click on these little arrows here and depending on what side we are, we just select this the green over here, just like this. And right here we left clicked. Come on and select our race brown, gray color. And look at this. This is much more interesting then the version we had before and, yeah, that there was quite a big chunk off information so far. But if you manage to just get this, um, this little, um, array of notes together can be can be very proud of you because, yeah, it's a lot of information and you don't have toe understand everything right away in a step , but I really want to give you an idea of how powerful the North editor is, So this might be in advance topic already, but it's it's important in this case of that. You basically that you take it serious that you that you become aware off. Yeah, that it's ah, it's a wonderful tool to use. And yeah, I hope you got even more curious now. And I see you in the next part. 7. Ambient Occlusion: All right, Welcome back. Now let's let's go right into playing with our values here a little bit. So just that we can get a little better feeling off what a Grady Int map actually is or how it behaves. Now I'm sure that many of you already have. I have some experience with this type. Um, off use interface. I would have to say, because this is basically a very common Grady in map, and you can see as soon as I change this how the actual Grady int on the objects changes and how it actually behaves. And it's it's just wonderful toe have this real time feedback and and see how how things are connected and yeah, And when you just play around with these valuables, ITT's basically it's a wonderful practice and gives you a little bit of a feeling or makes it a bit more intuitive and easier to understand. Where were we had, for example, I would just drink this down a little bit, a little more of a lush green that we go make this one a little bit brighter, So just feel free to play around with. Yeah, with all these settings and yeah, Really experiment? No, let us, actually, Um, yeah, let us work on our style. Ready in and no NARAL seen lighting. Now, when we look at the shadows, I'm sure you have noticed that we kind of have our like. Our scene is just half shadowed, basically. So the rest of it is kind of unlit. And we can avoid that by actually moving our son. Um, back So the whole like this this line basically defines Where are actual spectrum of with with which gets properly shaded? I should say no. Let's just move the Sun Bank right here and you can see it like you can see how we have our limited room here, but let's move it all the way back and no, in the settings right here, we should have it still selected from before. We can open this little drop down menu and basically define our end right here the clip end and then define how long. Actually, the shadows are rendered. So it's just a basically a performance limitation. But we wanna have it yet as as much as we need and as large as we need. So it should work fine. so far. And now there's another setting which we can observe, um, in scenarios where the light is actually very even when well, for example, we have a clouded sky, which is called ambient occlusion. Now, ambient occlusion is basically doing nothing else than checking the distance between the polygons. And if if police are very close to each other, it it's going to render them a little bit darker, creating the illusion off year off ambient occlusion of a shadow that's being created from a very, very diffused light source. Let us, um, select our object and just temporarily remove our texture right here that we created. So let's just cut through this thing and just click on this little button over here just right here. So our whole like do I, um, heads up, display disappears, and we just have, like, you know, overlays, clean view, and we can see that there's no actual information in the shadows. It's really hard to grasp, like what geometry is actually happening here. And to avoid that, we could, for example, use and the conclusion and to do so, we go toe are seen Tep, like our world sittings, which is this little, um, blow right here. We just click on it. And, um, I'm sorry. It's the It's the settings. It's not the Globe settings like we get to that later. Ah, it's the render settings. There we go. And the render settings are basically for evey for a real time. Render, which which is set up a set, the default render for the 2.8 and right here we can see already it's it's unchecked iss ambient occlusion and we want toe check that, of course. And we can already see like this very subtle change, just like right here in this area. And here you can already see what's happening Now we have to make some further changes as our object is quite large. So we opened this this menu here and instead of instead of having the distance at one meter , we're going to put it all the way up to yeah, depending on on how how we want our look. Actually, we shouldn't define it by this the meters here, So that should be It should be fine. Let's make it like five meters and we can already see how this really clearly describes the shape. So let's put it off and on, and you can definitely see how this effects the whole, the whole thing here and now is actually the time to go into our well, tep just down here and what we see is, um, basically our background color, the background color of the whole scene. And right now it's set to this dark gray, and usually you have kind of a sky color that reflects in the shadow. So the shadows are like bluish. And you also have this when when painting, especially you, put a strong emphasis on what the shadows are because they describe a lot off the color and the mood off the the surrounding. Basically, they're reveal a lot about it. And to do so, we just click on color and change our change of color right here. And you can already see what it's doing this to make it a little bit brighter and a little bit lure to there. We go slowly into this, and you can see how this that really changes the whole feel of the scene just by changing these two things, like the ambient occlusion and the shadow color. And now we can pluck back in our texture and have a really nice overview off. Yeah, off. Like what direction? This is going. And so, yeah, these are some very basic scene changes, and it's actually quite a quite a simple approach. But we're going to spend more time and this one over here in our next part, so see you there. 8. Screen Space Reflections: all right. Now we have this funky mountain scape set up. Let's give it a some type of lake or sometimes off. See, that is just running through through this whole thing. And to do so, we turn on, turn back on our overlays so we can actually see our like cursor right here and the grid. And we create another plane. So we press shift a go to mesh plane and goingto edit moat again. We don't want toe like transform the object and object more to keep our transforms. Zero. So we scale up the individual points, almost the same size is over mesh right here our mountains and just press tap again. And now we want to move this whole thing up a little bit. Actually, an object, Mort pressing G and Z. And now we can move that something up. There we go. Look at this. No. Is this this is interesting. Now we have, um we have a surface, and we actually want to who make make it look a little bit more like water, actually. And we want to make it a reflective surface. So we're still in a very stylized real here. We were far from being realistic in any way. But it's for for what we want to do it. It works perfectly. No, we just click on or a material tap right here and creating new material. And now when we scroll down, we put down the roughness a little bit and we can even try toe. It's definitely give it a bluish color, something like this. And now we can actually try toe give it a metallic color. So it actually will. Well, yeah, it will look. Look like um yeah, like a very, very glossy, reflective surface, but roughness down even more. And now we can see that actually, nothing is really reflecting Onda to change this. We go back to our scene settings, our render settings and click on activates green space reflection and what this is doing. Boom. You will see that. Actually, it basically, um, calculates the reflections from from our perspective. So it's basically emulating. Ah, an actual ray traced reflection. So it's for what we want to do. It works fine, but it gives you a very nice idea off. Yeah, off how toe that off. What we actually want to do in terms off like we just turned it off. Um, that we go, let's just put this back toe back to white, not blue, because it's just too much. And now it gives you a very nice idea off. Yeah, how TV works and how it's really, really powerful when it comes to Yeah, basically displaying or demonstrating certain visuals very quick. No, this is This is quite interesting. We can already see. Yeah, quite some some results here, and yeah, let's leave it. Let's leave it flat. Maybe we can put the roughness up a little bit. Yeah, Let's just go back to blue even a little bit more. It was a little bit undersides of here. You can see how, like the metallic factor changes. This whole thing can actually put it all the way up to one. Andi? Yeah. Just look at this. This is already quite an interesting landscape, and I can already see that tons off different. Yeah, like approaches on how to how to sketch over this, and we're actually not done yet, But you're you're slowly getting the idea off where we're heading. And yeah, like this is like we were constantly switching between the material and the scene settings just so you can see that were gradually growing into into our functions here and you And I hope you you slowly starting toe, connect the dots a little bit and figure out how. Yeah, blenders is very deep in percent. And yep, that's basically it. That's our screen space reflections that we just activated. And now it's times for some for some nice atmospheric effects, So it's you in the next part. 9. Volumetric Lighting: all right now, to create an actual atmospheric illusion, I should say we need an object that basically carries a certain Faulk or a certain density . And to do so, we create a cube by pressing shift A and just clicking on Cube and Prison Tep and scaling it all the way up door to the size of our books. Here we go. And, um, let's make it just a little bit larger than our on the scene. And now we want to give the Cube a new material new, and we go back to our note editor and actually delete this principle Cheddar pressing X and it's gone. And now with shift A, we click on shader and create a principled volume Shader. And this change does not go into the surface input right here but into the volume input. And right now, um, we won't see anything because we need to change one more parameter in our scene settings. So we click on this little icon right here again, render settings and turn on Here. Right Here are a volumetric lighting. Click on this and you see something something's happening. Something mysterious is happening when we go a little bit closer. Can see how. Oh, interesting. Okay, now we have this type of density. We have this cube that is displaying a certain dense air density in a certain way. Now we want to We want this density to start a little bit later. We won't have it. Uh, starting, Maybe from, let's say, some meters, some more meters away. Right now it's set to Let's just open this little drop down menu and turned this up. It set to 0.1 meter and we wanna have it start at two meters. There we go. That's quite interesting. And you can already see what's happening. This is quite cool, Like the sun is making these these rays here. But now, actually, we want to change the density of this thing. Now we do this in the material off the coop itself by actually, either we can do it here in the material tap, or we can do it right in our notes. So we click on density and let's make 0.1, and that looks much better. And it's quite interesting and we want to actually give it a bluish color, so really reflects the this guy and look at this. Definitely make it bright all the way up here. This is very interesting on We can clearly see how. Yeah, things are really, really drastically changing here and the whole mood and the atmosphere is changing. And let's turn back up the sun a little bit and see what's happening. There we go. So the overall look of this thing also gets brighter. That's much better on we can see, see right away. Oh, those changes. But you can already clearly see how this gifts a certain mood and the whole like It makes everything very, very mystical. And let's that's just try around with with a value, see and go down a little bit more. Maybe 0.5 There we go much better so you can see a little bit further and make it a bit more situated. Much better, really, like really stylized environment on. We can see how we get these cool little islands here and some very nice looking sun rays. We can't actually, um, turn up the distance a little bit more so that when we simply click all our scene settings here, we just goto our minimize this one or start distant and just play around with it. Just turn it up so we can actually see where we're going. And you can have this. Cool. You can already see this. Cool sun rays. See that? This It's a little thing here. Something that is really like desired. In this case looks It looks really nice. It has a very special feel to it. Andi, maybe we can make the sun come, come in. Even little bit letter. So we can just It's just outside the Cube, isn't it? No, it's inside. Okay, now I can select it. Sometimes you really have to see where where you are, but you can already see Like, this is so cool. Like all these things different race this the sun gives up now by pressing are two times one time and again, we can really, like, play around with all these settings and and make the sun come in Quite, um, quite flat, actually. And can see right away what this is doing with our scene. And what, like how cool these effects look. So just Yeah, just already tried to to exaggerate a little bit and and get a get a feeling off the whole scene and what you want to what you want to create, because this will yet this really be the solid foundation for our for ah, artwork later on. So let's put this back a little, but it was too harsh. Okay, Now there is another very cool effect that we can play with either in the very end or just toe just to get a little bit more of mood or a feeling right here, which is basically the bloom effect. When you turn this on, we can see how how the very bright parts actually overdrive live, but they shine a little bit stronger. And we can actually that make our son a little bit. Give it a little bit warmer color by going to our light settings that we go. Yeah, this is good. This is very nice. And yeah, I think you get the idea right away. Like off how you can really start almost painting with these settings just in just by Yeah , very carefully changing the individual, the individual shade, er's and making all these things work together. Now we can try to go even lower with a density maybe in three. There we go. I prefer this actually much better. And now there's one very cool thing you can try toe and that is basically working with the commission. So that means the the whole fog itself is also kind off emitting its own light. And we can definitely make this blue color another emission strength with shift can slowly turn this up like this already very strong and very fast. But you can see right away what what happens. And this gives you also like a great control to to just stylized this whole thing on and experiment. It's basically it's still some something that is a lot off experimenting given 0.5 just like this, a little bit more bluish. And yeah, that's that's basically it. That's our atmospheric lighting, and we can do some some pretty cool stuff with it. And I think you already get the get the idea. And yet now we can make some final adjustments for our ground and yeah, do that, actually, in our next part, So see you over there 10. Procedual Textures: All right. Welcome back. No. Let's make sure we make our terrain look like really, really sweet before we go into are a concept face or in our actual painting phase. And to do that, I would love to incorporate some off some of the procedural textures that we also used for our, um, terrain height. And it's it's basically ah, very annoyed texture that we're going to use toe create the illusion off little off some flora here off maybe little trees or something that grows on these mountains, but in a very stylised form. So whatever they were, just press. Um, basically who? We We have to start with a bump map. So I will actually, um uh, try to explain it in a way that you can actually kind of understand that you have to do two things, um, to incorporate the desired effect. So let's start up with a bump meant by pressing shift a, um, creating a vector. So we click on Victor and click on Bump. And now we can already see that this map basically gives a gives us a normal output, and this normal output goes straight into the normals off our mesh on this material right here and right now there's nothing happening. There's no actual texture being input. And that's why I said I yeah, I will try to explain it in a way that we can actually just follow along and just see that by, um adding the texture into our height. We we see how the normal start to give the illusion of, ah, of an actual shape that's being created. So let's just try that out by a pressing shift. A on create a texture right here? No, we creative or annoy texture and the color goes into our height. There we go. And now we have 11 major problem and that is that our normals are our U V's are actually they're basically generated from the scale of our object, but we want to have the the texture coordinates eso, the U visa, basically the text record, and we want them to be evenly distributed and procedurally distributed. So to do that, we have toe create another input, and that is basically, um, accessing the texture co ordinates of our object. By doing so, we just press shift a and, um, where is it? Where is it? Go to input and, um, click on texture card. And there we go. Andi Yes, other things. But by doing so, we decide, um which which actually input we want to take from our object and in this case, it's the actual actual object coordinates. So when we put this into our vector off the texture, you will see that there we go. We haven't even distribution of our of our texture. It's basically a three dimensional texture that it's being casted through the object. Eso toe give you an example off what a two dimensional texture would look like. We even have the possibility toe cast the texture from our view port until the object to do so, we will just take the window property right here and put it into our vector. And then when I moved the camera, you can actually see how this weird effect is happening, that the texture stays on the exact same place but generates a bump map on our Ramesh. So this is just one example off how to how to use procedural textures on just to give you maybe a little bit more of playful understanding on how things work here and how it's actually very efficient and we can see now that are textures actually inverted. So the these little bumps O r would call them trees now, actually concave and we want we want them to be convicts. Now we just press invert for that on our bumper, upsetting right here. Convert. And there we go. I can see how this whole thing just flipped. And now we put down the strength Definitely, because it's just it's way too much And yeah, so we can also start from zero and faded in slowly. We see where we are on Look at this. This is so cool is like a very stylized version and way can also actually scale down the trees a little bit on this case. Scale up the relative scale of the object. So, yeah, it just gets a little bit more detailed. And this looks so cool already and is like, this is the super cool base for yeah, for drawing over it and really just going crazy. Like I already have so many ideas on what to do. And this also looks like it already looks like a nice perspective here and now. we know we want toe. Make sure that the trees are the structure does not go all the way down to the bottom. Maybe it could fade out here too. So So what we want to do is we somehow want to work with the strength factor here. And we somehow want to have a texture that goes right in here that says Okay, like the lower you go here, the less intensity I want off my bump. And I I want to give you a little hint here. We already did. So with our very first texture that is doing the colored radiant. And when you now know that the strength is possible to be manipulated by a black and white image White meaning it's very strong black meaning it's it's not present at all. And then then you can already guess how we're going to implement this. And this might be a nice little um, um yeah, challenge for you to try out by yourself to actually create this little effect that our trees are visible on the top and fade out on the bottom. And yeah, I I will give you the solution on how to do that in the next class. So see you there 11. Subsurface Scattering: No. Congratulations. If you manage to achieve the desired effect now, we're going to walk through it together and have a look at our Grady in Memphis. So basically what we can do to be really efficient, we can just duplicate Argh! Radiant map as we have set all our settings with with on how we want the map to be mapped. And so we just click on the color I am here and press 50. Now we have duplicated it, and then we connect our vector into a defector and our color into the strength. Now we will see that we don't actually have the color set up, and there's a very cool shortcut to actually reset note. And by having its elected, we just press backspace. And there it's going to be set on its default value, and you can already see how don't hear it gets dark and slowly the bump met disappears. And up here it's just way too high. So we just want to select this perimeter here and make it a little bit darker, just like this. There we go. Yeah, and that's that's basically it. It's as simple as that. Maybe make sure that it starts a little bit higher. And look at this. This is so cool. Now let's make some modifications on our atmosphere to because I feel like it could be a little bit brighter. So I just to like the atmosphere and actually, let's turn back down or emission strength. Like this thing right here, it's toe. Um, I don't want to change the overall brightness, so I sent it back to zero. There we go. And I make the color a bit more bluish here and actually changed the the intensity of the sun. So I just turned it up a little bit. And this is Yeah, this is much, much better. So yeah, so we have some nice, um, you look at these nice light streaks that are appearing here Quite cool. And that's basically that's basically the idea for the whole, for the whole texture. And we can get even one more feature to make it to make this whole style eyes thing. Just just taking it to the to the next level. And I just select this, um, this makes right here, and I go toe my material step and there I want toe activate subsurface scattering. No, I don't want to go too much into detail, but subsurface scattering is basically making an object. Very, very diffused Lee translucent on on a surface level, just like skin or wax or jade. So there are many materials in which we have this effect, which is basically a type of translucent sea, but a very diffused one. And we can activate this by just turning this little slider up subsurface. And we won't see anything so far because same thing here, we have to activate it for evey in our scene settings and for in our render settings. I keep getting this wrong, but however these buttons might change. I hope they stay because they're actually like because I found my overview now with it, and I like it. No, I mean, just you just go to the scene settings and activate subsurface getting There we go. And you can already see how this looks kind of waxy and very interesting. And we actually want to change the color off the actual, um, surface that's beneath. So we go back tro material and select a Yeah, let's elect a yellowish color and look at this. This looks so cool. It's literally like the If this would be trees, it would be really like the light that is just breaking through the trees. So this gives a very nice, nice effect and a very nice base for for our painting. No, it's time to think that would be a nice time toe here to find kind of ah perspective and slowly sneak our way into into finding a motive. And I already see some very nice perspective here. Look at this with this little nice lake here. And then there's like these. These two reigns. Just it's, I think it's just a nice perspective. And also, let's let's see if we can actually change our camera angle and to do so, Um, let us let us do this not by selecting the camera but actually in a very efficient way just by pressing N and, um Then we have a review Port cameras. So it's the camera were like our, um basically, How can I call it like a fictitious camera it's the camera were using to navigate right now , and this camera can be can be edited by changing this value. These values here and we want to change the focal length. So we want toe put the focal length down so it gets a bit more of wide angle view and look at this is kind of cool. There we go. And, yeah, that's that's about it. I like this, this perspective here and this is already some some good, a good chunk off of information here, So let's give it, Let's give it a little break and see you in the next part. 12. Camera Setup: Welcome back. No, we've been constantly moving around the scene and saw this little thing over here, which I still like now with right? Like And actually we didn't touch it yet. Um, not yet. And this thing is actually the camera. It's the It's a steady camera that allows us to render pictures from, from the perspective, that is that it is in. And we actually want to have the camera on a perspective that we choose. Now I choose etches this perspective right here you can you can choose the same one. It depends on the procedural texture and these settings actually exactly the same, so you could choose the exact same part. But yeah, of course, is also a wonderful occasion to just find your own little niche or whatever part you think is cool toe paint over. And now when you found your part, there is actually a very cool chart cut off how you can snap your camera into the position off where your current view port cameras. Let me just expand this view a little bit ago. And the shortcut is by pressing control old and zero on the number number pet, and then you can see how the camera just flipped into this position. However, the the, uh, come on focal length with the focal length is just different from the one we chose before. And in this case, we have to actually. OK, nice. It's already selected. We actually click on this camera icon right here while having the camera selected. And there we have the option to change the focal length. So I'm just going to put this all the way down to maybe having ah yeah, like there's a nice 20 millimeter. I think they I don't know what the sensor sizes but must be. Must be quite a big on a 20 millimeter. There we go. It's kind of cool. And now I can, depending on what object I have selected. No, in this case, I have to select the camera. I can do so by right clicking on this little frame here. It's a bit sneaky toe, but when I pressed G, I can actually move the camera around or an oppressed are I can, like tilt the camera When a press are two times. They have this kind of like, um first person feel because I'm basically rotating, rotating the camera just this north directions at the same time? No. Yeah, Let's just make some any adjustments here with G and pressing Z, I press it on the vertical axis and pressing Z again, actually. Move the camera like I dolly the camera in or out in the halls of quite a cool effect. Okay, Yeah. I want to have some, like, nice foreground events here. Maybe going a little bit closer. Here we go. Let's make it even small. Omeri. Given an 18 millimeter, that's that's much better. Here we go. This is I think we can We can work with this, Really have some four grounds happening here. Maybe you can. We can at some nice grass letter here or whatever. Whatever happens, I don't want to be too tight on this. Yeah, but that's basically setting up our camera. And you can you can see that this is like a very, very big decision, like the whole composition and camera and everything. It's it's a big part off the design process. Actually, no, we we might notice that there some, uh, some parts that are not, like, not shaded properly, I would say or they're not really readable. And I would like to at a some sent banks. I don't know if they're called like this in English, but basically just little tiny beaches that are like flowing around our mountains. And this will give a much greater readability and make some final adjustments on our shadows. So but for now, this should be good for this part, like just adding the camera. And let's keep this this fun stuff for the next part, So see you in the next part. 13. Adding Sandbanks: all right now, we're already pretty far ahead with our progress here. And and let's let's just see how we can. We can really, at some, some more natural elements right now. Now, first, I would like to change the surface off the water a little bit, as it's like Very um, it's nice, David, reflective and very stylized. However, if we take it back a notch and see what happens, we can actually see that we have these nice water surface shadows. And when we give the water like a darker, more bluish color, it's super. It's super nice to see that it's actually it looks just more realistic and and a bit more balance because we actually have, like, shadows on the water surface. So the water is not all not all gone. And yeah, no to at some some sandbanks. We follow the same method off, adding a procedural texture, um, off, basically adding a plane this way around, ending procedural texture afterwards as a displacement maps. And instead of just going through this whole process again, which is actually nice practice and I can also recommend this at times. However, right now we want a pretty similar setting like these mountains. So we can just select our mountain scape here and duplicate this whole this whole plane. So we just zoom out a little bit and with shifty, we duplicate the soul thing. And look at this. It's quite cool when you move it up, you have your your texture becoming all the way. Like Flora. It's quite quite interesting. And now we we actually, when we press right click, it snaps back toe where it is before, and we won't see anything. So just for the sake off, um, off seeing what we're working on, let's move it up in the Z excess. It's a little bit and now remove our actual material from this one. So I click on this material tap and press on this little X here, but the materials boom and we have a neutral material and we want to add a new one right away. There we go and just give it a yeah, sandy color. Just make it a little bit more yellowish. Brownish, go with brighter. It's it and definitely give it a very rough color. Um, rough shader. And now we have to do for the actual displacement men right here. We have to do a similar thing because when we look at this texture right here now we can see there's this little to appearing. And the two means there to users using the textures there to objects using the same reference. Basically. And if we click on this tool, it disappears and makes this texture individually assigned to this object. So the texture we had before it split now. And when we look at our drop down menu, we can here see the texture 0.1 is our new texture. We can also rename this, um, to basically send despite oops and so it's a bit we have a bit better over you. And now if we modify this our other texture in my remains untouched basically. Ah, I click on my modifier and definitely go down with the strength here. I just don and we can see right away what happens. It's quite cool and I want to give it another. Where is it? Here's the texture. I want to give it maybe, maybe another distortion modifier. So let's go for the foreign. Oy, there we go. It already gives us a different type off feel. And now when I moved back the plane with old G No, no. You know why? It's important to keep the center active so it can really flip back to the to the zero point and our ground is a zero. Now you can see I think you can get an idea off what direction we're heading in. You know, I just put down the hole the overall strength off the displacement. Modify again and you can see how we have this nice little send banks in place. Let's see what happens to remove this up. A little bit of this was too much. Just like that, G and Z and with shift can move this up very slowly. Here we go. And this is this is so cool. I mean, look at this. There's so many possibilities off. Really? Yeah. Adding cool stuff and maybe little buildings. And we're definitely do this and you just be creative and and see what what nice little random areas are just appearing here that that you can play with and that you can really create some some beautiful concept with I mean, just look at this perspective here I mean, okay, I don't even start because I just have 1000 ideas off what to do with us. So let's stick to this cover of perspective here. It's good to have one camera and one decision and, um yeah, start modifying our, um, sent terrain. So I go back to the texture and just play around with the different with a different, um, noise, distortions and destruction textures and see what What comes up? I'm just selecting them. Random the and really, just intuitively see what? It feels nice. Okay, Still nice. Definitely not. Um Perlin. That's quite interesting. I prefer this one, actually. You know, that's just play around with a size, maybe make it a little bit smaller or the larger you'll notice lips five. Okay, thank you. One knows this is Aziz. You see, it's really just experimenting and and figuring out what you would you like what feels what if it is nice for you? Put down the amount of little bit. It's actually also quite cool. Do not have a too strong. I actually really love these very simple shapes. I mean, look at this. This is awesome, too. Yeah, that's let's just go with this. I love this little Aha, The mountain. Just the little hill basically just goes into this area. And remember, we can always add stuff while painting. We can always ed at more sand and and more perspective and think so. Let's just put down the displacement a little bit. Maybe two, 15 even one. Yeah, that's that's fine. That should be. It should be enough. I wasn't nice, I think. Okay, keep it at 17 So we have some some volume here that's actually quite cool. And yeah, you can you can see right away what this is doing with our seed and how really it's more life to it and really feels, um yes, was more more naturalistic, I would say, because our eyes are usedto to these combinations to the color combination. Seeing this beach type of scenario, Sand sent banks. So, yeah, that's about it for this part. And see in the next one 14. Light and Composition: all right now that we have set up our camera and our sent bangs and our whole scene, basically, it's time to actually work on the composition off the chosen perspective. And the first thing I would like to start with is actually the light. No, in this case, we want to select our son just like this prison right click on the sun. And when we go back into a camera mode by pressing zero on the num pet and perspire, we can see that we can rotate the sun. But it's very limited when we are again. It's kind of like it's kind of it looks cool, but it's difficult to actually get the sun toe, do what what we want in a more accurate rate. And now what we want to do is actually we want to split our window. Now, this is a very nice practice to to get a bit more used to the user interface. So we just either go to the top bar or to the lower bar here. So this little double aero appears. Press right click and split the area and click, and they have to windows and now to go into into the shaded mode here. Also, we have to put press Ault and drag this whole bar to the site. So we have our options here again. Click on this and now I can never have a second window in which I can basically, yeah, just rotate the the sun from from the desired angle and have a much better overview off this whole thing. Now there's an even more accurate way. If I say, for example, I want to just rotated on the Z excess and have my view from from the Top. And that would be if I press Z for example, and again I'm saying, for example, because there many different ways to do this and the other way is to use the shortcut. No, let's just go back to our normal more tear. The shortcut would be seven on the num pet to look from the top and one to look from the front and three to look from the side. No, you see, like these are these are all just work flows there many, many options that you can basically implement in your own momentum. And in this case, we want Toe press seven to look from the top. And then when you rotate the light, we can actually see how really changed our whole feeling off the scene. And I really like these shadows, these these the shadows that are just coming in from from the side. Here, look at this Look. So cool. And now maybe from the side, it can try to make it a little bit more flat or just experiment with what we're meant here . Well, this already looks pretty fine, actually. Maybe from the front side. I'm just really just trying around. Keep this all in the shade. Maybe. Yeah, this is kind of cool. So, no, I'm actually I'm quite happy with this. And then we want to join our windows. So I go to this little vertical bar here, press right. Click you go and say, join area. And then I have this little area arrow appearing. And depending on what window we want, toe make the chosen one. We just click on that side. And in this case, I want this window to go here and fill the screen. And there we go. We have our full window back. No, there's another thing that I want to actually change in the Shader off the environment, because now everything has the subsurface gathering shader on it. And I just want to shader Toby on on the tree parts here on the green parts and also make this whole thing a little bit darker and actually down here, I wanna have it more, more solid. I don't want the subsurface scattering anymore. And to do so, I can simply duplicate my color ramp here and do the exact same thing with subsurface scattering intensity. So I just direct the factor back into the vector into the factor. And now I take the color of the Colorado and put it into the subsurface intensity right here. And we can immediately see how this part is. Actually, we just intensify this just for the purpose of demonstration. You see this hard edge right here? We just pull this down a little bit more. There we go. Now you can see how this hard edge appears not even flipped. But you can clearly see artists on the top. It gets more lush and green and down here really gets a great out almost. And this is actually really what we want here. Maybe make this a little bit more intensive, intends, And just click on this one discolored and make it a little bit more. A little bit darker. There you go. Same with the subsurface. A little bit darker. Here we go. This looks nice and colorful. And then also the atmosphere. Ah, I I would actually like to make it a little bit more dense. So I clicked on this on this very background here to have the atmospheric Cube selected indirectly, Chris Foreign. And it's it it's much, much better. And just make try to make intuitive decision here, and you gradually, like, ease into the painterly mindset. Ah, and just you try toe think really visual and try to really make artistic decisions from here because we have one static image and now we can make all the light and all the composition and the different things revolve around this image here and benefit this composition right here. So, yeah, let's let's actually create some some houses in the next part. So see you there 15. Modelling Houses: Okay, Welcome back. Now it's time for a little modelling exercise as we're going toe at some cool little houses just right here. I can already kind of see, like, what? What I want to make. And hopefully you also have Ah, you have a vision or an idea off of where you want to go. And now I'm going to start with a cylinder. I want to make a round house with with kind of straw roof Appointee one and I started with a cylinder, so I just click somewhere here we're so that's so left Leak. So the cursor is placed there, then press shift a and go to cylinder in the messed up boom. That's a message cylinder that's very big. And let's just switch to our camera view. So we have an idea of where we want to move this thing and just going to move it down a little bit, scale it down and just just make the house first and position it later on. It should be fine. Now I'm going to frame it, pressing delete on the num pet, and now I want to smooth strained at first, So I just pressed W and shades move. This is something like you have to get used to that smooth trading really tries to emulate a very smooth curve between the edges. And as we don't have any edges in between, it really looks like it's there. There is no edge. Almost. And to avoid this, we actually just have to ADM or edges on this on this corner point here to do so. We just goingto edit mode oppressed a to two D selectees. All of it and press control are to create an edge loop just like we did in the introductory class. And ah, click and wreck this whole thing up. Not all the way, but just so it It brakes this edge a little bit and do the same thing below press control are and drag this thing down here just But there should be fine yet. And now we want to at a roof because this pirate is something we can actually paint over. This should be okay, and I just select this impressing Ault and hovering over the edge with right, like and now I pressed Ito extrude the solving and scale it down. So we have our very pointy roof here and maybe move it up a little bit more pressing G and Z to just move it on the Z excess And no one a press, Um Ault and click on like this edge here, I can actually separate this whole thing from from the from the rest of the mesh by pressing V and with V, we just cut it. This this whole edge, um, from from the whole edge loop. And it's now a separate island. It's not a separate object, but a separate polygon island. And now there's a very cool shortcut to select the vergis is that I connected with each other, and that is by pressing l and be sure that you hover over the desired island. Because when I press l here, for example, it actually, it's this, um, this polygon island. I actually have to hover exactly over over a vergis e toe to make this to actually apply the selection. Now let's press a again to de select everything and l while hovering on the stop because there many vergis is gathering and now I have the roof selected, and I'm going to scale it up a little bit. there we go. And to give it a little bit off thickness, I simply extruded just pressing e. And there we go having a nice, nice little Etch here. This is already going exactly in the direction I want to. And, um, now we actually want to give the roof another material. So I go into the material tap, click on new and just okay. Now, this was basically for the whole object because it didn't have a material so far. And let's just first of all, put the roughness up a little bit. So it's not too doesn't look too polished. And now we add a new material and let's make this brown we go and we don't see anything because we do not have it assigned. So oppressed. Tap press l t to make sure that all the polygons off this island here selected. And now I press a sign while having this material selected Boom. And this is our material. This is our little house little roof. No, let's go back toe the camera view to see where yet? Ok, interesting. Now this is quite large. Let's move this in years and well, this is kind of cool. I was telling it. Yeah, somehow here, maybe make the roof a little bit smaller. I'm just going to go into edit mode and scale it down a little bit. Here we go. And now duplicate this whole thing. Move it up and scale it down again. Give it a little bit more of an interesting architecture. Look at this. Yeah, this is actually much cooler, just like it. So And you try to think very, very painterly. And that does not mean you have to be a painter or something. It just means you really have to have to get into the feel and mood of your scene and actually see how things overlap. For example, I would try to avoid to just cut out this little island here, this rock, because I think it looks quite cool. We don't know what happens in the painting process. Maybe like we throw this over and at some details on the roof. But so far, I really like feel This is kind of a nice position here to actually have still some some parts of the background visible, and we could even actually, this is quite quite a cool situation. because we could really tell the story here with how we could actually end boats and make this kind of a high tide, low tide situation that you can only enter when there's like high tide and and basically visualized this by doing a you know what? Let's let's talk. Let's just do it right away. So first I want to take some sort of this glossy material out of the roofs and, uh, put down put up the roughness and we go, and definitely this is a wonderful occasion to give the roof some texture. Now, as this is a follow along class, really feel free to pause right here because I'm going through the texture, creation process, nor really quick. So watch out, I'm going to add a texture, which is a noise texture. In this case, we should not always use the very annoyed texture. Kind of gets boring after some time, and now we want to add a actual input where we say how the mapping is, and in this case, we're using a object mapping again. So we just go to geometry and make sure the, um oh, I'm sorry. Um, it's actually the texture coordinate that we go and use the object co ordinates and put this into our vector. And no, When we put this in here, we can actually see some cool noise. Now, this noise is not really doing anything right now. We actually have to stretch it a little bit to give Give the illusion off some cool streaks . Eso that is maybe like, a straw roof or something. So I am just going toe at another mapping note that we go also in the victors edit in here just like this. And now when I look at this texture, no worries, it just looks weird for now, we're going to change this in the second when I go to normal right here. Come on that we go and stretch the Z access up, stretch it all the way out. We can see how we actually stretching the whole texture in one dimension. And this gifts are some nice little streaks here. So this is also a very quick method off doing this. There are many, many other ways off having this effect. This is just one. And now what I'm doing is I'm just adding a mixer, not a color mixing out, which combines two colors. So I'm going toe color and mix RGB Put this in here, but we don't want to have this as a color, so it cuts us off. We actually now want to have the noise texture defined, the factor off, how strong the colors blend. Now we will see when I do one color, give one color the like more brownish tone and the other color very, very dark one just like this, you can see right away what happens here and this is quite cool is actually exactly what we want toe. And it's also very nice when we look at you for the perspective to see how the streets are actually going for the father painting later on. Now let's scale scale is texture up, actually, to make it a little bit more detailed, and now we can even at a color ramp Now, this is pretty advanced already. We're just going toe a, um, converter right here and at a color m. There we go. Put it just here and with this color Ram, we can actually define the contrast off this whole thing make it really contrast e so the streaks really come out. Look at this, This kind of cool. And as as if this would not be enough, we we can really like, take it to the next level by putting this whole thing into a bump map. Now let's just do this by pressing shift a vector and adding a bump. And and I say I say this is really optional because this is something you can really do for the routine to keep getting a bit more used to the shade er's and more one with them. But it's really optional. It's nothing that I say you have to absolutely learn in the intermediate class, although it's nice if you can say like, you know when applying. Hey, I know how to work with notes and these are things that come in really handy. Now let's just pluck our, um, color into the height of our bump map and black the bump map, the normal into our normal right here and whoa, that's intends. You can see right away how this is. This is a pretty strong effect, and this should already do it so far, so we could we could actually go and cut our colors right here because the texture look at this. The texture by itself is already so strong that we don't really need any of the of these other colors. Or at least we can. We can actually really make it more decent because the contrast is just too high. It's very, very intends, actually. OK, no, that's that's quite Ah, quite a big chunk off work we did here. And congratulations. If you could follow along on the North part and also congratulations that you could follow along with the models. And you just try to repeat these processes as often as possible, because when you just learn the very basics, you can, as you see, create like a fun stuff in a very short amount of time. Now let's add some nice story elements in the next part. See you there. 16. Story Elements: All right, let's go in at some nice story elements to the scene. And before we do that, let's just see how this this edge here looks a bit. Yeah, looks of a phony, and I know just very, very unknown, attractive. And there's one setting, um, that we can actually change in our render menu here to know. I'm sorry that we can change in the settings of our lamp, and that is the context shadows. So we just click in this case, we use the outline. Er, let's not try to select it here. We just think on light right here and just go onto our land settings and on the shadow tap we can actually see. There's another option that has contact channels. We activate this and we can see how these shadows are actually giving a much nicer like preview and also the roof and everything is just It's just much, much better for for what we want to do. So we just turned up the distance a little bit. Let's go toe 1.5 meters here, and when we turn it often on, we can actually see there some glitches happening. We're actually they're not rich is. Actually it's accurate because it's self shadowing or contact shadows. But in this case, because the resolution is pretty low for a mesh, we can actually see these streets, which again are in this case not even bad, because they give us a little bit of a hint when we're painting off how the geometry of the object looks like. And in this case, it's is almost preferred. No. From here we can actually start adding our elements. And first, I would like to start with a little type off, Um, with a little type of wooden like, um, elevated level here that indicates that this this area is basically accessible on high tight. So I just select this area right here with left click putting the curse of there and then with shift A, I create a circle, and before doing anything or moving anything, you will notice that this circle in your situation might actually be empty. There might be nothing in it. And we want to actually, um, open this little drop down menu right here. And instead of having the nothing option selected, we want to add a triangle fan and what is the trying of fan doing now. When we go into edit mode, our menu will be gone. But we can actually start everything. The object we see that there's these trying triangular polygons created, and yet they're basically a better shape toe. Continue with modeling. Now, let's just move this whole object more into the center here. If nicer terrain that we go and this is Yeah, this is much cooler. It's just move this in here around and look, you can move this over there for school. Go. Okay? Yeah, that should do it. Now I want to give it some thickness. So I go toe edit mode and extruded up a little bit. Go. No, I have some some thickness at it. And give it another material. Just less glossy toe just like this. What? The Russians up. And now from here, I can actually press step again. Select just these four polygons and try to just extrude a just this little playing here. There we go. Maybe another one here. This is kind of cool. Indicate that there's actually it's actually much higher than the rest of the the terrain here. And then we want toe. Add more cylinders to actually, or we can actually make it with cubes toe. We just select this part here and do some some Yes, I'm nice stabilizing. It's a nice tabulating rot. So I just press shift a create a cube. This is a very big cube and, um, I a actually, it can select the material first. So I just click on this little eye candy. I do not create a new material in this case. I just click on the ball and I select the material six, the last ministerial re selected. Of course, we were very proficient and consistent and actually not naming her materials, which is not such a good idea. But so far it works, and we just press tap and scale down. This whole thing you hear and remember does absolutely not have to be detailed in any way. Um, it's just for it's really just like a sketch. It's really just a rough umm orientation. Almost so. I'm going out of edit mode and just toe have the cube toe a za base to continue working. When it later on, I'm just going to duplicate it, Move it over here and now I can actually start modifying this one. Let's go here with G NZ. I'm going to move these police up even more. No scale this whole thing down, even more jeans. He moved to the center going to out of edit mode and I can already see Okay, there's much more scale actually needed, So I press g and I'm sorry scale. So it s and Z to scale it vertically. And now this is this is what I want to hear. Very cool. I can actually rotated a little bit, make it a little bit more s symmetrical, and then I have my we go Look at this. That's kind of cool. So it's just duplicate ease. Remember, we can't later on at so much stuff Onda painting. So it's really something that is just for the purpose off orientation and some rough sketching way go. Same thing here at some stuff, I'm sure like we'll definitely it's so much more in the painting in terms off like these, all these planks and things. But this is definitely something we can already Yeah, we can already used to just just have been a rough idea or off orientation. Move this one up a little bit. We go perfect time for some elevator music, but I want to keep it real time. So you don't miss out on any little step. We can really keep it here and then definitely at some. So crates of something here. Uh, patients E There we go. Look at this. Here we go. No, this is kind of cool. This is really like it's already going into an interesting direction. And also, it's interesting that is getting really dark ID. I think it has something grew with the ambient occlusion to that. It just, like, adds these stupid, dark areas. But it's fine for the painting. I mean, that's in this case. It's just TV doing some funky stuff. Let's just copy. Use this whole craze here, move them over to this side. Uh, just like this. So what? I just did. I just pressed our NZ to just move them on. Um, one excess basically rotate them in one excess when that's it. Andi. Yeah. This should work fine. No, this is this is quiet. Quite a big chunk. And let's let's just, like finish this marathon, actually, with with some boats here, So I'm what I'm going to do. I'm going to select a crate duplicated, and I want to move it exactly on the surface level here. Now, the best way to actually do this is just to click on the surface level, depending on where wanna have it. Now, the cursor is actually exactly on surface level. And now with shift s, I get this menu off basically, having doing different actions in combination with the cursor. And in this case, I want Toe. Where is it selecting to Kirsten? There we go. It's the top top thing. Move the cube to the person and there you go. You see how simple it is? And in edit mode, I just press scale and X two times so actually locally scale this boat. Not yet. This cube in one excess. There you go. And now this gives us a nice end on Perspectively. How harvesting actually lies in this in this little bay now? Yeah, that's that's basically it on. We can we can maybe at a little bit more detail to you. But we keep that for the next class. Just give yourself a little break. This was quite a big chunk and see over there 17. Modelling the Boat: all right. No. Let's extend our modeling exercise a little bit and come continue working on that boat here . So what I will do, I will just move this boat out of the water. Yeah, come on. There we go. And go into edit mode and subdivide this time it's not about Q. I was up. Divide this cube. Um, pressing control are hovering over this edge. And before pressing, I scroll down a little bit to create more Etch loops. And then I pressed, enter and press enter again are basically press right click. So the etch loops just, um, are placed in the center. Now I select the lower loops off my mesh. And with shift and out, I select the other loop. And no, I just scale them down a little bit. And now I just want to scale them on the X axis. I'm sorry. On the white access only person s and two times oppressed. What is happening on the English keyboard again? There we go. Just scale that down just like this. And now I take the front part right here and a big part and scale down these two also just on the y axis and that's our boat. Just it's that easy. It's not a not a big deal, not a special thing. And now we want to extraordinary little bit give it a little edge, then extruded again or actually not extradite. But let's just set it in. So we just I And now you can see how. Actually, this whole thing is bowing being moved inwards just like this. So no, that is being moved. And was we just press e again and move the solving own words and same thing here. I want to scale it in the Z excess. I'm sorry in the UAE access just like this and this is a nice base for a boat. So back in the water, here we go. Make it a little bit more around center part scaling along. Why look at this so you can see how it's really, really easy to just make these rough mock ups. Ah, oops. Going toe. Ok, now I'm going to switch the German keyboard. There we go. And to actually move this boat on Lee on the X and, uh, why plane so just moves on the horizontal plane I can press after a press g a campus shift z. So the vertical access is actually excluded from any movement. And it's also quiet, quite efficient. So let's place one board right here and then, um, duplicate this boat and I duplicated by pressing shifty. So I do not make an instant, actually, because that this there's one thing I want to mention when duplicating. So let's just leave that I can actually duplicate objects by pressing all TGI and when I do so I actually have an instance off the object. So let us let us see how how there's actually behaves and what things what things are doing . So I'm just going to de liters and rename this, actually. So let's see where we are in our outlining here that we go. It's cute to anyone. I am clicking on it and on the object tap right here. I just call it Boat Presenter and no one look at the actual mesh right here. I can see that it's it has this cube mesh inside, and when I click on it, it actually goes straight into edit mode, as you see. But we don't want that. We want to get out of edit mode. And now, when I press shift G like, duplicating and regularly, we have Boat number one and a new cube that is created. It's cute Number 23 and in opposite when a press old de to make an instant but an instance I have, ah, duplicate of the boat off the object, but the actual mesh, the reference mush is exactly the same, so we can see here we have the Cube 21 as the exact same reference. Now, when I go into edit mode here, you can see the other borders also going into edit mode. I can just not select any Vergis is here. But when I'm making any changes on this bold, for example uh, making kind of, ah, school thing here, you can see how it's also immediately made on the other boat. And that's quite cool. We want that. No, let's just let's just play around with this and go back into a camera view, duplicate the boat with duplicate the boat with all G. Come on, Of course not ology, but with all the d and with Shift Z, you just moving on that one. Access for here R Z for rotating it and again all d and shift Z and rotating it again on this one. Access. There we go. I know it's kind of ah, shortcut frenzy here, but it's really, really, really good to know the shortcut and getting used to them. Um, definitely want to have this more straightened this. Same here. Okay, that's kind of cool. No, this Yeah, I think we're actually getting there. Look at this. It was more like, Yeah, it was much more alive. And I'm sure who will definitely change some of these boats here, but that's fine. So, yeah, I think I think we're pretty close. Actually, it looks Looks like we're we're almost there. And for this part, let's let's just leave it for now and make some final finishes in the next one, So we'll see you over there. 18. Foreground & Details: all right. No. Let us at some final foreground elements and actually want to duplicate this whole layer here with shifty in this case, rotator around a little bit and move it up to this hill right here. So I'm just going to G and put it, Put it somewhere in here and no one a rotated back. I have this kind of kind of this cool looking looking shape, and I actually want toe want to shorten these these areas here a little bit. Select them from here. And there's one cool way off actually selecting the whole points. Because when I move now, I can see that the point that is not visible, it's actually not selected. So I click on this, um, show whole scene, transparent button and select all my, um my radisys here. So that works very fine. And now, with pressing G and why I can actually move this thing along the desired excess, and I don't know if it's actually moving it on the normal know now I can actually, if I want to move it exactly along along the normal of the face. So I think we didn't talk about this yet. actual normals. Now, the normals are basically the the directions in which the faces are looking. So in this case, the normal, actually Ah, an illusionary ah, line that faces up 90 degree from the face in a vertical angle. So this is something that you can can keep in mind when transforming or we're moving. Now there's a very cool option on actually making this a bit more, Um, but more visible. And that was just grab our gizmo here that we go and we can see that we actually, um we're actually on a global global transform right now. That might not be the best example. Let me choose that one. Here we go. Now we see that our gizmo was not actually having the rotation of our plane here, and that is because it's using a globally centered and fix according to a system. We're just basically old zero right now. So they're just facing the global directions off the X y and Z coordinates. And now, when I actually switch this to either local or normal, I can see that this normalised facing up the Z direction that's facing up is actually the exactly the direction of this face here that I have selected. And this is very cool when I actually want to do some more accurate modelling or do something like just scaling down this face. So same with this one here. Can just select this and scale this down a little bit. Now, that's a very, very efficient way off. Yeah, just working with with the Normans that already there on the face and OK, that's that's that with normal so far, that's just remove Argues more here because we want to get used to working with shortcuts. Very important. Press step. Go back to our camera and look at this. This looks This looks quite nice now that at some of these the sticks right here. No, come on. Doesn't let me select. Here we go. I'm just going to copy that. Appear on, make this kind of Ah, a little construction. There we go. This is kind of cool. Just like this. Same with this one here. I think it down a little bit and moving it into that thing. This is so cool. Yeah, Go. So let's see if this makes sense. Maybe moving in, worried a little bit, duplicating it? Yes, and really just make it a very, very rough thing. I don't want to get lost and too much details here. Just just see what looks good in two. D. Actually just tried to figure out that would really, like, make sense here. 12 dimensional space. And this is quite cool. Actually, I like this. Maybe add one more. Just here and one more over here. Yes, there's even in there. That's too much. There we go. Okay, now, now, actually, when I see that now, it would be nice to add another little the edge of another building here So we can have kind of the illusion that there's another here. Hopes, another complex of buildings. It starts over there, and you can already see that by turning Rice, changing all these perspectives. It's so cool on how many different versions you can actually make of this of this one scene and this one sketch and and even like almost telling a story just by selecting different year parts and playing around with us. So it's really it's like working with three D, so, like, ridiculously efficient, that's that's crazy. So this was quite nice having even the roof in there. So incorporating all this. This is very interesting. Okay, however, are it was much smaller right now. Let's see if this works still, it should be fine. So now we can actually make some camera adjustments here because I feel like the camera can be slightly tilted up. So we see. But more of the sky, so repressed are and X and yeah, that's basically it. I have the local. The local cover irritation are an X and can turn it up a little bit. There we go, and then move. It may be a bit more to this side here. Yeah, So you see a little more of this house? Actually, that's quite cool. Okay. No, this is it. I think I think we're done so far. This press controlled space and look at the whole scene a little bit bigger. And this is this is kind of Ah, interesting scenario, him. I'm curious on what we will do with it, and yeah, let's just, um, experiment with that and go into our rendering off this whole thing. So see, in the next part, 19. Rendering & Saving: All right, now, before we go into rendering just for the sake off consistency, I actually want toe duplicate this house over here and just put this down a little bit. Ah, move this up. Duplication and scale it down Mr. Tani of it. So we kind of have the same architectural language here? No. Okay, that's that's done. Actually, it's per central space to go back to our menu. And now, before we before we can actually render the subdivision, we have to do some modifications. Um, let's But let's first test the error. So we have an idea off how Blender actually works with this. Let us click on this. I can hear. I don't know if this is supposed to be a printer. Yeah, it looks like this. It's our output. I can menu and on their we can actually change our resolution. Let's keep the resolution so far and see everything is fine and a set, and it's just the way we want it. And now we can either render by going on this menu up here and click on render or, um, local render here, render image, or, as you see right there, press F 12th and to keep it to keep the tradition. Just let's press f 12th and depending on your computer and might be that you have your yeah key assigned to a different function. So now we see this also looks kind of cool, but it's actually not what we want. Now we see that our mountains don't have any type off subdivision at it. Actually, now, why is that? So it is because when we look when we just select the mountains here, goto our modifiers and look at what happens in our Orender view here we see that this render settings actually just set to to while our view setting set to five. Now, when we set our view setting down toe to, we will have the exact same result, like in the rendering. So let's just reverse that and put it all the way up to. But we can't even put it up to six, but we don't want that. It's fine at five. Still, it's just a just a concept art class. It's another modeling class, so let's keep it down to Earth. Same with, um, sand. Here we select the sand and same thing. Let's put it all the way up to five. There we go. And that's it. Now we can go for a rendering. And before we render, we want toe put this all the way up to, like, 3200 pixels. And let's put this one up toe Vertical scale. 2880 pickles. So that's bake. And that's much better. No, this is something we can work with, actually. And now we press f 12. Wait. Wow. Very nice. That's pretty big. Okay. Yeah, this is This will be our foundation. That is That is kind of exciting. I'm a little bit excited. No. What do I want to do now? Now we actually want to save the image somewhere. So we just click on image right here and think on Save s. And now you can choose any folder that you want and just it's name it. Let's give it a proper name. Call it low tide. Version one, Version one. In case we have any other Ah, spontaneous ideas are creative inputs to just make more renders a different perspectives, encourage you to do so and then save as image. And in the best case, we will find it in our folder. There we go. I just saved it to all the other blend files. This is cool. Okay, Now we can't actually move over to photo shop and start the painting process. Awesome. Congratulations. If you made it up to this point and see this image Not exactly this image, but your version of it. And see you in the next last in the next part. I'm sorry. 20. Conclusion & Overview: All right. We'll come back. No. Before we go into our second segment of the class, I went toe, um, make this little conclusion here, and there's little time lapse, um, to just reiterate on what what we actually learn and what what process we went through. And I'm not going to go through every scene, but, well, this is actually the introductory scene, but I'm just going toe, take the course scenes, basically. And, um, yeah, uh, let's just have a look at the first senior right away. Um, the first thing, uh, we actually did was having a look on. I would have to say procedural textures because the displacement modifier here is actually , um, it's actually basically just changing the modeling, the model itself. So we didn't do any real modeling. We just looked at you, I and and I think you got an idea in off how blender things and how blender works. And basically, what I want to emphasize here a lot is that we we just scratched the surface off blender and textures and this whole really off three d, it's It goes so deep because it gets constantly like, um um, yeah, further developed and and it's it's in constant change. And what we what we just did was really just the absolute surface. And I think to have this mindset really helps toe not only to stay humble but actually toe stay open toe experiment more and toe go more routes. Because this is just, like one tiny possibility off, like 1000 others. So, yeah, let's go Due to our next part here, um, here we okay, it's actually three. We go. So in this part, we actually looked at the textures and say anything here. It's just we didn't do anything, really. It's just such a, um a tiny part that we just explored Andi there like, for example, like you ve mapping and and like, different ways of how to project the texture on, like from different objects or even the camera. And I mean, we like I made a little demonstration, but this is also like a large field on, and you can really? Yeah. To some crazy, crazy stuff with us. And yeah, it helps toe to stay open there to, and this is just 11 tiny approach. So basically, we were just looking at Yeah, how object texture works and how it's basically a special texture that works in the entire three dimensional real, not only on the flat surface, all right. No, it's just really quickly go through this here. We actually edit some fog, and also we advanced are textures with a radiant map. So there's also another thing. It's really hard in the beginning to actually read your head around radiance. I like to actually, really they make it an intuitive thing, or two referenda head around like the whole the illusory. It's not illusory, it's there. It's Victor's, but it's something that you have to repeat it 1000 times to just make it an intuition intuitive understanding, because right now it might be more rational understanding, at least for me. It was like this when it started that I had a very yeah, like a very rational feel about this. And yeah, it's something you can really get usedto the more often you do it on. Ben. Needless to say, right, it's with everything. It's like this. Um, yeah, however, here the funky things that you actually don't see any coordinates or anythings anything special and especially when you work with procedurals and stuff. You really have to do it a few times until it gets more experimental or until you bring things to use. Actually. All right. And of course, we checked out E v a little bit further. We implemented these reflections right here and this whole surface and yeah, that is something that is just absolutely phenomena. I mean, what what the developers just did at, like, blended foundation. It's ridiculous. I mean, this this stuff here saves so much time, and it's, I mean, you can't save time, but you can actually accelerate things. And I think you you just noticed by now that this is something very I don't know if it's it's like too far fetched defense saying something a little bit revolutionary, but it definitely feels like this. And yeah, I really enjoy being a part of this. It's it's Yeah, it's just beautiful. Now let's move on to our next part before I get too sentimental here. So what did we do here? Oh, yeah, right. We just edit our texture. So again, like in this case, it's it's something where we we can actually see that this ties like strongly into our concept art thinking because we really learned that we can do a lot with just a paranoid texture. So and of aural texture is I mean, it's powerful by itself, but it's not that much. You know, it's you can do a lot with a little, And this is something that definitely, um yeah, it's it. Apply service to the situation here so much on you can see how we're we're just getting were sneaking. Oh, it's almost like sneaking or painting process in here already. So this is definitely if one approach and very, very applicable toe all kinds off like concepts are related scenarios in case you're really continuing your endeavours on using three D for Yeah, for your concept, I'd all right now we can't actually almost skipped the final scene. This is where we, um, started toe. Yeah, look for our first perspective, and yeah, actually, this is quite important because this was the first part where we really took Ah, um, yeah, our first jump into making composite Terry decisions and composite Terry, Is it like, does this make sense? Well, however, it's it's something that is really, really, really important. It's a big field, and it's something that you can, um, actually used as a playground. It's something you can really make a um Yeah, like like your little It could be like a little workout, actually. So just try to, like, you know, pick some. Some area are some fields or spaces where you say they look nice and they resonate with you . I think I even, like, chose this perspective from one painting here. Yeah, however, it's it's something you can you can totally apply, like in a very practical way here and make make this practice by its own. And I really encourage you to do so. It will strengthen your artistic muscle like crazy. You you really make You can make very have a steep learning curve or have no, that's not the term. Like have a very, um, accelerated, um, growth in skills. When when you really use this and take it serious. So, yeah, let's let's jump into our final scene. Actually, because this is where we, um, got into modeling. I mean, we we did some modeling in our introductory class to, but the boats are already there, not advanced, but but they're already they Yeah, it's It's some some things that that that tie into a very regular workflow and that that is an actual yeah, demonstration off. How? Yeah, how ah, modeler could would work. So it's nothing on a very, very, very beginner level here it's, Yeah, some decision making involved. Definitely. So, um, this is actually very interesting part, because when we look at this, we can see that we did not only create one perspective or one rendering of a nice scene that we want to paint on, we actually created a functional, um, conceptual narrative. I would have to say it's a whole narrative, this thing here, it's it's a whole. It's capable of really explaining certain things, really in depth and what I'm saying. There's let let me give you this little example. Um, just by selecting these boats here and just parenting them to this ocean floor when we spoke about making, uh, this may be like a pathway that works on high tides only. Let's just jump into our camera view. And now, when I actually move this thing up, ups run, things elected. Let me just see if I can. There we go. That's easier now when I move this thing up, Like, just look at what happens here. This is so cool. I mean, we can just totally, like, explain what were what we were, like thinking and, you know, only thinking it. But we actually like bringing across, like, really what? We mean you No, this is something that is very, very valuable. Um, not only in a production, and like like being a superstrong like chain part in your pipeline, but also, like for personal project and your personal Yeah. Like like work in general is something that you can really they put some weight on and and just contemplate on how powerful is actually is. And I hope you Yeah, you You're as excited as me because yeah, the moment you just realize, um, off what a strong tool is, actually is you started thinking in different ways, and you start approaching things in different ways, and that makes yeah, that makes room for a lot of new and cool things. No. Yeah. Thats it basically with our conclusion. And now we can finally go into our painting process. So see you in the next section.