Create & Design a Modern 3D House in Blender 2.8 | Stephen Pearson | Skillshare

Create & Design a Modern 3D House in Blender 2.8

Stephen Pearson

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43 Lessons (4h 10m)
    • 1. Introduction

      2:13
    • 2. Downloading Blender

      0:41
    • 3. Blender Basics

      13:36
    • 4. Saving Your Blender File

      1:24
    • 5. Modeling the First Floor

      9:29
    • 6. Modeling the Second Floor

      8:50
    • 7. Modeling the Side Wall

      5:49
    • 8. Creating the Ground and Pool

      9:12
    • 9. Creating the Backwall

      2:32
    • 10. Creating the Pool

      6:00
    • 11. Beveling Everything

      3:43
    • 12. First Floor Materials

      9:26
    • 13. Second Floor Materials

      4:20
    • 14. Brick Concrete and Pool Materials

      10:36
    • 15. HDR and Sun Light

      6:31
    • 16. Pool Lights

      4:17
    • 17. Exterior Lights

      6:16
    • 18. Interior Lights

      5:54
    • 19. Adding Models to the First Floor

      9:05
    • 20. Adding Models to the Second Floor

      4:33
    • 21. Adding the Plants

      4:47
    • 22. Grass Vertex Group

      3:02
    • 23. Creating the Particle System

      3:33
    • 24. Grass Material

      4:35
    • 25. Adding the Final Models

      7:12
    • 26. Adding Stairs to our Scene

      13:10
    • 27. Creating the Blinds

      9:35
    • 28. Render Settings

      3:00
    • 29. Post Processing

      5:19
    • 30. Denoise Node

      4:09
    • 31. Cycles Clay Render

      3:39
    • 32. Workbench Clay Render

      4:07
    • 33. Post Processing in Photoshop

      5:03
    • 34. Modeling the Tree

      7:53
    • 35. Adding the Materials

      10:17
    • 36. Exporting the Tree

      2:18
    • 37. Modeling & Sculpting the Couch

      11:23
    • 38. Base of the Couch

      2:51
    • 39. Materials & Exporting

      6:01
    • 40. Getting Started in Eevee

      3:38
    • 41. Fixing the Materials

      3:27
    • 42. Final Adjustments

      2:28
    • 43. Post Processing

      4:05
45 students are watching this class

About This Class

Do you want to learn how to create stunning photorealistic 3D architectural renders in Blender?  Do you want to be able to digitally recreate your own house in Blender? By the end of this course you will have made a beautiful 3D modern house. The first section of this course will be focused on modeling our modern house. Over the next couple sections we will be adding materials, textures, modelings and lighting to our scene. I will then show you how to render your image and post process it. And because I am nice I will show you how to edit your image in Photoshop as well!

Learning Blender can be very hard when you first start that's why I built this course for all levels beginner to advanced. I will be showing you step by step on what to do and why we do it. From the basics of modeling to advanced techniques like creating grass with particle systems.

I have also included 3 bonus sections in this course. The first one is creating a realistic tree in Blender. We will go through how to create an organic looking tree, apply textures and use particle systems to create the branches. 

The second bonus I will show you how to create a modern couch in Blender. First thing we will do is model and sculpt it. This will add some creases to make it more realistic. Then, of course, the materials and rendering.

The last section of the course we will jump into the real time render engine Eevee and learn how to render our scene.  Eevee is a real time render engine in Blender 2.80 and you will learn how it works, how to set up the render and make the materials look good. 

I will be giving away 13 professionally made models and 5 high resolution textures. You are free to use these models for other scenes but you are not allowed to sell or upload them. By enrolling in this course you agree those conditions. 

What you’ll learn

  • Create their own architectural renders using Blender
  • Texture and make realistic materials for their own scenes.
  • Work comfortably in Blender

Are there any class requirements or prerequisites?

  • Students need to have Blender installed on their computer.
  • It is recommended that you have a computer mouse.
  • Prior knowledge about Blender will be useful but not required. 

Who this course is for:

  • Anyone who wants to learn about Blender, 3d, architectural rendering, or photorealism.
  • We will be using the following programs in this course.

Programs Used in this Class:

  • Blender 3D
  • Photoshop

I hope you are excited to jump into this course! And I can't wait to see your amazing renders!

Thanks

Stephen

Transcripts

1. Introduction: Hello, everyone, and welcome to the course on how to create a modern 30 house in Blender 2.8. Throughout this course, you will learn about three D modeling materials, text oring and how to create photo realistic renders. This is an important skill tohave, especially if you're wanting to get into architecture. The end result will look something like this well. First, start out by modeling and taking the basic three D cube and turning it into a house. Next comes the materials and the texture. In the section. You will know all about applying textures to your models and making them look realistic. After that is the lighting. This is one of the most important parts about creating through the architecture. That is why we will be using the H e R. To get real world accurate lighting, and we will also be creating lights inside and outside to help highlight the house. After that, we will be adding in professionally made models into our scene. This'll make our house look lived in there are 13 different models that I'm giving away in this course. We will also beginning into more advanced techniques, such as creating grass with particle systems, and I'll be showing you step by step on how to do that and how to make the grass look real last. I will show you how to post process your image after you render it. This is the fun part because you get to add some cool lighting effects and color grading to make your image really stand out. This course also includes three bonus sections. The 1st 1 We will create a realistic tree. This section. I will teach you exactly how to make an organic tree, apply textures to it and render it out. I will also show you how to import that tree into other scenes. The second bonus section is how to create a couch in blender. We will learn about modeling, sculpting and adding materials and then also exporting it into other blender files. The last section of this course will be jumping into the real time, render engine TV and learning how to render our modern house that we just created. We will go through how TV works, the lighting, the materials, all that and then we will render out an image. If you're wanting to learn how to create a modern house in blender to born a hit that robot and let's get started. I look forward to seeing your amazing renders. 2. Downloading Blender: in this video, I'll be showing you how to download Blender 2.8. Now what you need to do is go over to blender dot org's and you should see a big down the button right in the middle of your page. Go ahead and click on that button, and it will take you to a download page. You can come over here and change which version that you need. If you need a Lennix Mac windows, all the different versions go ahead and do that. You can also link your steam account if you want it to go to your steam. Once you figure that out, go ahead and click. Download a blender 2.8 and then we'll take you to this page and there should be a download that happens right here, and we can see it download. Once that is done, just go ahead and install it and you'll be ready to go 3. Blender Basics: hell over one and welcome to another video in this one. We're going to learn about Blender 2.8, and I'll be going through the basics of how blender works. If you are completely new to Blender, this is the video for you. Let's first start out by going over to the bright side under the render panel, we'll look at the different render engines. Right now, my render engine is in cycles. If we click on this weekend, switch over to E V or workbench. Workbench is just for sculpting or modeling. Usually this one is not for rendering cycle's right here, which everyone should be already used to. This one is for rendering realistic materials, render lighting and all that stuff. It calculates it very well. And then, of course, TV is the new real time render engine in blender 2.8. In this course, though, we will be focusing on cycles will be learning how that works and rendering our final revenge using cycles. And in the next section. After that, we will render are seen using E V and blender to panicked. But for the main course, we're gonna be using cycles. So the first thing that will do when getting started with 2.8 is we need to open up our preferences, so go over to edit and then click on preferences and then open up the key map underneath came out. We can see that the select with is currently set to right. I think the default is actually left. But since I am used to right click, I'm going to be staying with right click. If you want to change it to left, you can go ahead and do that. But I'm gonna be sticking with right over here on the space bar actions. I have this on play. What if I was to hit Space bar? The timeline will play down here. I think it used to be on search. If you want to go back to that, you can. The new default for search is F three and then over here we want to make sure excruciating pie menu is turned on and I'll show you exactly how this works. So once you have all of your settings the way that you want, you can go ahead and exit out, and then we can start working in blender so to select an object, you can go ahead and right click or left click. Depending on which one you have selected. I have right click selected, so whenever I right click on an object, it will highlight it in the orange outlined so far, right? Click on the camera. You can see it selected right click on my lamp. You have it selected. So to move around the three D space in Blender, you're going to hit the middle mouse button and then click and drag in. This will rotate your view all the way around and so you can look underneath over top and just rotate around the object that you're focused on to change the focus of an object. You can just right click on it and then hit the period key on your number pad, and it will focus in on that object. So now you can see if I rotate the view. It's focused on this object rather than the Cube. I'm going to select the Cube and then press period on my never pad to zoom back anoint. If you don't have a minimal spot, you can go up to edit, go to preferences and underneath input you can turn on emulate a three button mouse if you click on that and hit exit. If you hold down the altar key and left click, it'll act like a middle mouse button. Right now I'm holding Ault and left, click and moving around. I'm not hitting the middle mouse button, and it's rotating the view. Since I have a middle mouse button. I'm gonna go ahead and disabled is, though, So I'm gonna go over to input and then turn off and emulate three button mouse to scale and object in blender. You can go ahead and hit the S key on your keyboard, and it will scale it up. You can see if I bring my mouth in. It'll skillet down. If I bring it up, it'll skillet up. You can also put in different numbers for this. So let's say I wanted to scale this at exactly five times its current current size. I can hit the five key, and it will scale it up five times Now. If I move my mouse, it's not gonna do anything since I put in a manual number, you can also scale down objects by going scale than 0.5, and it will scale down half of what it currently is to rotate and objects. You can hit the R key, and it will rotate to wherever you are looking. So right now I'm looking at this angle and it's gonna rotate at the angle, which I'm looking at. If I was to go into front view by pressing one on the number pad and rotating it this way, you can see it's rotating straight now rather than at an angle to move an object. You can hit the G key on your keyboard, and you can move it to wherever you like. You can also hit the different axes. So let's say I wanted to move it along the y axes, which is the green line right here. If I had G and then why, it'll walk it to that. Why access? So now if I try to move it over along the X, it's not working. It's stuck to that. Why, since I put in the UAE, if I change it to X, I could move it along the X, but that's the only way I can move it. The X is the red line. And then, of course, the Z, which is the blue line, is up and down. If you accidentally move something by accident and you didn't want to move it, you can right click to cancel that movement, and it will snap back to wherever you are wherever it originally. Once so, let's say accidentally clicked are to rotate my object. But I don't want to do that. I can go ahead and right click, and it will snap it back towards the original position. Now, I showed you how to go into front view, which is number pad one on his front view right here to go and do side view, which is on this side of the Cube. I can hit three on my number pad and we are now viewing it from this side to go into top view. I can hit seven on my never pad and now I'm facing the top of our cube right here. You can also hit control seven or command seven and it will go to the bottom view. The same thing works for a number pad one. So if I go into front view, if I hit control one, it will go into the back view. If you don't have a number pad, you can go up to edit, go down to preferences underneath input you can turn on emulate numb pad. What this will do is it will take the top row of your keyboard, which has the numbers, and use those for the views. So if I hit one, you can see it goes into front view. If I hit three, it'll go into side of you, and then seven will go into top you. Since I have a number pad, though, I'm gonna turn this off. So go over to Preferences and then I'm going to turn off emulate Numb pat. Now let's talk about edit Edit mode is the mode that we use to model objects to change in the shape of, UM, toe add geometry and all that to get into edit mode. The shortcut you can do is tab, and that will bring whatever you have selected into edit mode. Or you can come up to this menu here, click on object mode, and then there's in edit mode option here. The only modes that will be going through in this course is object mode, edit mode and wait. Paint all the other ones, such as Vertex sculpt mode. Those are a little bit different. Sculpt mode is for creating characters and molding the mesh. We're not gonna be using that one. The only ones we're gonna be using his edit mode object mode and wait paint select edit mode. And we can see that this is what it looks like on are cute On every corner of our cube, there's going to be a Verdecia or Vertex. Vertex is just a point in three D space on we can see it right there. I can press a G and move the Vertex around and it will go with me and I can also right click to snap it back. There are three different modes to selecting things in edit mode. Verdecia Vertex Select Mode, which is the one that we're on. We can see it up top here. This is Vertex mood and I can select different Virgie Vergis is right here. Just like that edged looked mode will select only the edges. So if I right click on this edge, we can see it selected this edge I can select and just like that. The last one is face select mode. So if I click on the face select mode, I could select the entire face of our cute. So I click on that. I constructed it. I construct this one all the way around from here. We can do a couple things if I extrude this by pressing E weaken. See, it adds some more geometry. Now there are to almost two cubes. We can see that there are faces up top here, and there's also faces down here. If you look on the bottom right, you can see how many Vergis is you have selected. And also how many edges and faces are in the scene. We can see I have four. Vergis is selected out of 12. We can see here. There's one versi right there, there and there. We can see that there are 20 edges on this cube and then 10 faces, and we only have one selected. If I press a once or twice, we can see that now we have all of the verte sees all of the edges and all of the faces selected. You can press tab to go back out of any mode, and now we are in object mode. Now let's talk about the different views. So to change the view to, let's say, wire frame or rendered view, you can go over to the top right corner and click on which only want this one is wire frame . This one is solid view, which is the one we have selected. This one is material view. So let's say we added, in a texture to this material, you'll be able to see that in the material view. And then we also have rendered view, and this will display what will render once we actually produce an image. I'm gonna go back to solid view. Now, the shortcut to change between these is set to Z, So if I process the we can see a pie menu come up. In our view, now we have a couple of different options here. The top corner right is rendered view. So if I just move my mouse over there, it'll change it to the rendered view. If you want to go back to solid Aiken Ghozi and then move my cursor over to the solid view , it will change it Z I can go over to the left, which is wire frame look, Dev and all that. You might be wondering what taco overlays does and toggle extra overlays will toggle the grid. So if I go z talk or relation, we can see that the grid disappears. If I do it again, it re enables the grid. This has changed in Blender 2.8. If I go into rendered view, we can still see the grid in our seen even though we're in rendered view. So if I want to just look at our model without the grid, I can go see talk overlays and it will change it. I'm gonna go back into solid view and then I'm gonna go total or relates to bring the grid back. Toggle X ray will enable us to see through our model. So if I look on the corner and might be hard to see in the video, But I can see that corner right there and I can see through our model and it's a little bit transparent. This can be useful if you have a lot of vergis ease and you're trying to select the ones in the back without selecting the ones in the front and you don't want to go into wire frame. This can be very useful. I'm gonna talk overlays again and get rid of that. To get into the properties panel, you can press the end key and you can see that there's a couple different tabs right here. The item tab shows the dimensions the location of your current selected object so we can see right here are dimensions over Cuba are two meters by two by two. If I change this along the X, it'll scale it up just like that same thing here on the scale. If I want to scale it up along the X, I could just scale it up just like that to add or delete objects. You can do that by hitting the X key to delete, and you can see that the option comes up to delete our cube so quick that the cube will now be deleted to undo something. You can press control Z and it will bring back our cube. You can also press the delete key on your keyboard and that will get rid of it as well. Toe Add in an object you confront shift a and then we can see that there's a lot of different options here, Tad and a mesh object. We could go mesh and then add in, Let's say a UV sphere and weaken crud sphere has now been added to our scene. I can press g X and move it along the X axes and then add in another object surprise shipped A. Maybe I want to add in some text. We can see our text now appears in our scene. I'm gonna go ahead and delete both of these objects, so I'm going to select him, press the X key and delete. Um you can also add different objects by going up to ad and click and on mesh and then adding them from here. And you can also do late objects by going over to object and then going down here and clicking on delete. So there you go, guys. That was a basic overview of blender 2.8. Thank you for watching. In the next video, we will start creating our modern house scene 4. Saving Your Blender File: to save your blender file, you can go up to file and click on Save As or save. If you've already saved your blender file, you can go ahead and click save. But if you are saving a new blender file, go save and it's If you do this, you can save it to wherever you like. You can click on this option here and name your blender file, so I'm just gonna call it saving. And then I can go over here and click on Save as Blender File. Let's say, for example, you want multiple blender files saved to show the progression of your scene. You can do that by hitting control shift s and then hitting the plus sign, and that will add a one next to saving. So if I do that, it'll saving new blender file. If I do it again, I can hit the blessed sign again and we can see it's now at saving to dot blend. So now let's say you did a couple things. You deleted that cube you press shipped, AU added in a sphere, and now you just want to save that blender file all you have to do is hit control s or command s and you can see down here it's saved That blender file lender will also warn you about closing the program if you've done some changes without saving. So let's say at it in a new object and I hit the exit button, we can see that blender says save or discard changes or cancel. If I had saved, it'll save our project, then we can go ahead and close the program. 5. Modeling the First Floor: Hello, everyone. And welcome to a new section in this section. We're going to be modeling the house and creating the first floor of the second floor. The part on the right side, the pool area and all of that other stuff. So the first thing that will do in this video, though, is create the first floor will be modeling this cube right here, setting the dimensions to be perfect, adding in a window and then making sure everything looks good. So let's get started with this. Cute. The first thing that will do, though, is make sure our render engine is set to cycles. Since we're gonna be using cycles throughout this course, you want to make sure that set right here. The next thing that will do is make sure the origin point of our cube. That is where everything scales too. So if I press s, you can see it's scaling from that origin point. I want to make sure that is on the bottom of our cute. So an easy way to do that is to go into edit mode. You can do this by pressing tab, or you can come up to here and clicking on edit mode. So I'm gonna press tab. Then I'm gonna hit G Z toe. Lock it along the easy access. If I hold control or command, Aiken, snap the cube to certain spots. I'm gonna move it up to right there and then left. Click and you'll notice the origin point is now at the bottom of our cube. If we were to scale up this cube now. So if I press us, you'll notice it's scaling upwards and nothing is going down and that is what we want. Also, if you ever get stuck throughout this course, if I press a shortcut that I don't explain, just look at the bottom left right here. And you should see what keyboard, what key I press on the keyboard. So, for example, if I press s, you'll notice there's an s right there and if I right click, you can see it's right clicking. So now with this cube selected, I'm going to press the end key and open up the dimensions here underneath item, you'll notice that the dimensions are two meters by two meters by two meters. We're gonna be setting the Z value to 2.742 point 74 is the average height of a ceiling. So I want to make sure that this number right here matches that because I want this to be a realistic house with the realistic dimensions. So make sure the Z value is set to 2.74 Next, let's scale it along the easy access. So I'm gonna press the S key than the X key and scale it out till it's about 8.5 meters or so. Soldiers go 8.5. You can see the dimensions right here along the Y value. We can set this number to 4.5 and then enter. And there we go. We can see our first floor is now the right size. Next, let's actually cut out a hole in our cube right here to add in a window. To do that, I'm going to go over to this button in clicking on edit mode. Now, if you pressed control or command are we can add in a loop cut around our cube so we can cut out a face. So if you just left click, you can move the loop cut around. I'm probably going to go about here. It doesn't really matter the position at the moment. We will change it in just a second. So just place it like right in the middle, then come up here to face elect emote. If you click on this button, we can see now that we can select faces rather than Vergis is. So select this front face. Then hold the shift key and select this side face. Then press the X key and then click on faces to delete them. Now we can see that there is a hole in our cube. The next thing that will do is add in the window. So to do this, I'm gonna press tab to go back into edit mode. Click on Vergis E Select mode. Right click on this vert asi holding the shift. He I'm going to right click on this vert asi, then press shift s and click on cursor to select it. Once we do that, our cursor will snap to this. These two selected vergis is it's right in the middle. Next we'll be adding in the window to do this will be using an add on that blender already has so If we go up to edit and click on preferences, we can enable this. Add on. If we click on add ons right here, we can type in the search bar arc and then you can turn on our commish. I'm using both of these, but we're not gonna be using ARC Impact. We're gonna be using ARC Mesh. So hit that check box and then hit exit. Now, if we press shift, a go to mess and then arc, mesh, weaken see all sorts of different presets for different things that we can add to our scene . The one that will be using is the panel window. So if I click on this, you'll notice that the panel window is automatically applied and we can see it right here. Now, over in the dimensions. If you accident and close that, just bring press end to bring it back, click on the create tab and then scroll all the way down to you get alone. I'll get rid of that so you get these options down here. These are the ones to change how the window looks if you want to add another window. So if you want four across you can change the horizontal count. I only want three across. So I'm going to set this to three and then the vertical count. Almost. We're gonna leave at one the sill right here. If you want to take that out, just uncheck that still option, and you can see that it disappears. I'm gonna leave it on since I like it, and then scroll down to the dimensions right here. We're gonna be setting the height value. That's this big box right here, 2 to 65. Once you do that, you can see it reaches all the way up to the ceiling. And these options here are for the with. I'm gonna be setting these 2145 1 45 and then 1 45 And there we go. We can see it stretches across. You also might notice that there's a couple of check boxes right here. You can leave these on if you want to. There, there just for the sliding doors. So, for example, I'm just going to uncheck that one. Leave this one on. If I go into edit mode with this window selected and going to face select mode, I'm going to select The space is right here. Hold on. There we go. Then I'm gonna hit control. L go in the back. Make sure this one is also selected. I compress the G key and then the X key and slide it around and you'll notice that this is actually the sliding door. So, for example, if you want your final render to have an open door, you can go ahead and do that and it will look actually pretty cool. For now, though, I'll press controls the to undo that and bring back the full window on Lee. Leave this check box checked just in case. I want to open up the door later in the in the corpse. Now that we've done that, we can go ahead and press end to close off the properties panel. And then we can duplicate this window and place it over on this side. Go into top view, are pressing seven on your number pad, then pressed Dizzy key and go into wire frame. I'm gonna press the Beaky for box. Select now. Whatever I draw the box around, it will select it. So draw a box around the window right here to de select something, you compress the Beaky, holding down the middle mouse button and dragging it Will de select the options that you have. Ah, circled our box. Next, I'm gonna press shift e and move my window over here. Then press are I'm gonna rotate it around. You can also hold control to snap it to 90 degrees and you can see on the top left right there. It's at 75 80 and then 90 and then left click to place it, select the empty right here, and then press the G key and move it into place. I'm going to zoom in here and make sure that this is lined up correctly. So press g and then make sure right about there. So this is the corner. I want to make sure this corner and this corner are lined up. Now, if I come over here, press the ozeki and going to solid view, we can see Looks like we need to go along the x a little bit suppressed G X, bring it out, then press g y and drag it down until these corners intersect. Just like that. There we go was also double check that are Luke. Cut is in the right place. So? So, like your cube going to edit mode. And if we zoom in here, we can see that our look cut is in the right place, and we don't need to move it. If you're Luke, cut is in the wrong spot. You can go ahead and click on Verdecia Select Mode and the top holding down Ault. You can right click along that edge and it will select the entire loop. Then you compress G X and then move it to where you need to. I'm just gonna bring mine right about there. So it's along that edge right here. So there you go, guys. That is our first floor done on our house. In the next video, we'll start working on the second layer. 6. Modeling the Second Floor: in this video, we're going to be modeling the second floor of our modern house. Do you start out with We're gonna place are cursor on the top right here. So there's left. Click right here, and it will place it. Then you Congrats. Shipped a go to mesh And then, Cube, we're gonna be modeling that that support that goes all the way across, up and then over top. Next, go into front view by pressing one on your number pad and zoom it. I'm gonna press s and then Z and scale this down till it's about the size that I want right about there. Looks pretty good. Then you compress G Z and dragon upwards until it is at the top of our ceiling. Maybe a little bit smaller suppressed SZ to scale it down. Then press Jay Z and drag it down till it's right here next. Going to edit mode press Z and going to wire frame mode. Then price a once or twice to make sure everything is selected. Then press B for bak select and draw a box around these vergis ease, Then press egy acts and drag it all the way across until it's hanging over. Actually not tell attaining until it's right here in line with your window. If I do men, we can see that it's in line, which is what we want. Now we want to extruded out, suppress Ito extrude and drag it out. You're gonna want to make sure that this edge right here matches the width of your edge right here. So I think that's a little too much. I might drug it back. Next, press a once or twice to de select everything, Then press B for Bak Select and draw a box around these Vergis ease and then extrude it upwards. Now we want to make sure that the height is also 2.7 meters are 2.74 meters. So to figure that out, I'm going to select our first floor and duplicate it shift d it and then place it right up top just so we can use this as a reference. So if I zoom in, we can see that it's a little bit lower sold. Drag it up slightly then right click on this key of right here, go into edit mode, then press G Z drag these vortices down until it matches the height of our cue. Then press either extreme one more time. Eyeball it to make sure that this thickness is the same as this press aide de select B for Bak Select and draw a box around these Vergis ease, then just extruded all the way back till it reaches the end. We also want to make sure that these Verdecia also extend to the end suppressed a then B draw box and then g x and drag it across. Now that we've done that, we can go ahead and go out of that mode, right click on this cube and then delete it right Click on this cube again. Then we want to make sure that this is a cross as well. Suppress s why and scale it out till it goes across. I'm gonna have a little bit of an overhang, so I'll drag this out, G. Why I'll drag it out till it's hanging over our house just a little bit. Let's also go back into solid view. So breast z go over to solid and we can see what it's looking like. Not too bad I might press Esswein skilled out just a tiny bit more. And I think that's good right here. Okay, now that we've done that, let's create the windows for our second floor. To do that, I'll just duplicate these windows, so go into wire framed by pressing ze wire frame. Press a to de select, then B for Bak select and just draw a box around the window. We also need to de select this suppress beat middle mouse button and drag cross going to front view, progressing one on the number pad and then shift d this window and place it where you need it. So right about here, I'm leaving a little bit of a gap because I'm gonna add another window to this window. So right, click on it, press the end key and then set the horizontal count to four. I'm gonna leave this size at 60 because I only want a small one. Next right, click on the empty and then place it right next to the edge of our house. I'm gonna go back into solid view and we can see what it's looking like. Not too bad. The next thing that will do is duplicate this window and rotate it till it's facing along this edge. To do that, I'm just going to right click on it to select it. Holding shift, right click here and then right click here Next press shift e X and move it along. Then press the R key and then rotate it along the Z. So hold president and then rotated this way I'm gonna hold control and I'm gonna snap it to 90 degrees. Actually, before we do this, I'm gonna press the end key and open up the create tab. Make sure you have your window selected and scroll down till the settings here. One thing to note, if you rotate it manually and then you change something over here, it will automatically snap back to its original rotation. For example, if I change the horizontal account to three, we can see it snaps back to its original rotation. To fix that, you can set the rotation here, so I'm gonna type in the word 90 and then enter. Now, if we were to change something, we can see it stays at this rotation. Next, select the empty, then press G X and drag it till it's right in line with this window, then breast G Y, and dragged backwards till it's at the right position. So right about there looks pretty good. We'll zoom in here in just double check. Dry your back a little bit more right there. Looks good. Then if we come on this side, we can see there is a little bit of a gap. So to fix that, I'll just select the window and change the settings down here. We'll go with 1 50 for each of these 1 50 And actually, that looks good right there. I'll leave only two at 1 50 Then I'll press G y and drag it backwards. And now if we look on this side, we can see it's in line right here. Perfect. The next thing that I will do is add in a wall along this edge. So this place my cursor right here for a shift, a go to mesh and then cube going to front view by pressing one on your number pad and then place the cube along this edge, going to edit mode on this cube, Then press easy, going to wire frame a to de select, then B for Bak Select and draw a box around thes top Vergis. Ease, presage easy and drag it all the way to the ceiling right here and make sure it's in line with the height of this. So I'll go a little bit more right there. That looks even. Now we can zoom back out. I'll press a to de select, then be for box like draw a box around this edge, presage E X drying out to give it some thickness. We also want to make sure it's along this edge as well. So go into face select mode, right click on this face G. Why drag it out till it's the right size weaken? See, it's in line here. Let's do the same thing on the side as well. So right click here, G. Why? And drag it out now. We still have a big hole in the wall along this edge. So to fix that, I'm gonna press control our ad in a loop cut, and I'll just drag it down. Press control are along this edge and in a Luca and drag it all the way across. Then go back into face elect mode, right Click on this face and extrude it all the way to the edge of our window. Now, if we zoom in, let's just make sure it's in line. There's a small gaps. All press g X and drag it right about there. So it's inside the frame and there we go. We have our second floor done. In the next video, we'll start working along this side wall right here. 7. Modeling the Side Wall: in this video, we're going to be creating the side wall along this right side. To do that. I'm going to select this cube that we added in the previous video, Go into edit mode and we're gonna be adding in a couple. Luke cuts The first loop cut that will be adding is a horizontal one. Suppress control are at in a loop cut and dragon upwards. You can put it about halfway inside this frame. The next loop cut is a vertical one, so hit control are added in a low cut and drag it along until it's about right about there . So there was a small gap in between this small and this wall next, going to face select mode, right click on this face holding the shift key. I'm going to right click on this face and then just extruded out suppressed E to extrude and drag it along till it's about here are so it doesn't need to be perfect just about there. Actually, that might be a little too much. Probably around there is good. Next, let's go back into edit mode. I'm gonna press control are at in another look cut and then place it about here. I'm gonna leave a gap along this side. And then this face right here will be a couple more windows. So go into face elect mode, right. Click on this face, then press the X key and delete it. Let's do the same thing that we did over here. So go into Verdecia Select mode. Right? Click on this word, ISI. Right. Click on this vert asi holding down shift. Then I'm gonna press ship s and go cursor to select it. Then go back into object mode. Press shift a go to mess in the ark, Ameche and then panel window. Let's go ahead and right. Click our window. Then open up the properties panel by pressing end, Scroll down until we get these options here and set the rotation to 90. The horizontal account I'm going to set to four. And then for the length of each of these, I'm going to go 1 45 1 45 and then 1 45 There. Go. That looks pretty good. Actually, I want this one to be 60 and then I want this one over here to be 1 45 There we go. So we conceive. This one is 1 45 I'm going to leave these two check boxes on. You can change them if you want to. Maybe you want to add this check box for this one. I'm just gonna be leaving this one. And this one turned on the height of this. We need to set 2 to 65 then enter. Now, if I zoom in here, we can see that there's a couple different gaps along our windows. We can see right through here and right there, here. So to fix that, I'm gonna press G. Why? With that empty selected and drag it along till it's touching this edge. Then right click on our cube, going to edit mode, press a to de select ze wire frame and just drag these vergis ease to the edge of our window. So box elect him that press g x r g y I mean and drag it along till it's touching. I'll go back and do solid view. And if we zoom in, we can see it clipping or here. Perfect. Let's do the same thing for these vergis ease. So hold the Alte and right click and that will select that edge. Actually, I want to make sure everything is selected. So what I'll do is I'll go into front view Z for wire frame, then press a and then box select. These Vergis is here. I'm doing this because I don't want there to be angled. Vergis is I want to make sure every Verdecia is straight and we have clean geometry to make sure that whole Luke cut is selected. Go back into solid view than G Z and drag it down till it's touching the window frame. And there we go. Not too bad. This is a little bit small right here. So I'll go on this side of Arc. You going to ed emote and just make sure this edge is a little bit thicker. So go along here, Adedy. Select ze wire frame. Draw a box around these vergis ease in drag amount, so press g X drag it out. You can give it a little bit more thickness before we end this video. I want to do a little bit of changes to this side wall right here. The first thing I'll do is go into edit mode. I'll go over to face select mode on the top left and then right click on this face holding shift or right click on this one, this one and this one, and I'll just double check. That looks good, and then what we'll do is present G. Why, and drag it out just a little bit. So there's a small gap between this wall and this part right here. Just a little bit, not too much, so I might drag it back. And I think that looks pretty good. Since you did that, though, we need to fix our window. So all right, click on the empty right here, pressing G. Why drag it out till it is on the edge? There we go. And then, all right, click on her cube again. Go into edit mode. Z going to wire frame mode. Press A. Did he select? And then we need to move this part over to the right until it's on the edge of our window. So box select it, dropbox around all of those faces, press G, then press why and drag it out toe. Let's along that edge. We'll zoom in here and just make sure it's good you can go back to solid view by pressing Z and in solid and right there. Perfect. Now that we've done that, we're ready to start making the ground. So in the next video, we will start on that. 8. Creating the Ground and Pool: now would be a good time to save our project. Do that. Go up to file and click on Safe as or press the shortcut Shift control s Once you do that, you can go ahead and navigate where you want to save your blender file. And then you can click on this bar right here and name it whatever you like. I'm just gonna call it Modern House 2.8 and then enter. There we go. Now that we've done that, we can create the ground. So the first thing I'll do is I'll snap my cursor back to the center of the scene. Surprise shift. See to do that, then you could drive, shift a go to mesh and then plane going to top view by pressing seven on your number pad, then presses e and go into wire frame. You can scale up this plane till it's the size of your scene. So place it here, skilled up g to move, and then just plays it right about there. You want a small gap on each of the edges, so this edge is good right there. Actually, I want a little bit bigger than that. So skillet out more and then I'll just place it right about there. That looks pretty good to me. The next thing that will do is add a bunch of Luke cuts to our plane, go back into solid view and then press tab to go into edit mode. The first loop cut that will be adding is along this edge. Suppress control are and add in a blue cut and then move it along to let's right along the edge of our wall. Next, press control are again at another Luke cut right along here. This path right here is going to be a walkway, so make sure you kind of look at it. Make sure it's the right with that. Might be a little bit small. Sold. Drag it along the y a little bit about their next. I'll press control are again and I'll play Solu. Cut and drag it close to the other. Luke cut. But I'll leave about a foot length apart. Control our again, and I'll line it up with the window so you can line it up with this window. And next we'll go this way So press control are at a lute cut drag it along till it's on the edge of the wall right here at another look cut control are and make sure it might be a little bit hard to cease. All go into wire frame. Make sure that these faces this face, this face and this face have the same with all the way across. So if we look at it, that looks pretty good to me. So leave it as it is. And then one more Luke cut in the back. I'll press control are out of Luke. Cut right about here. So it's in line with this wall Perfects. Actually, one more loop cut then we need to do is along this edge. Suppress control are at a lute cut and line it up with the window on the first floor So oppressed e X and light it up right about there. OK, so now let's start extruding out our Luke cuts going to face electrode and I'm going to right click on this face right click on this one and this one and also the one back here, then press e to extrude and just extruded up just slightly suppressed E and drag it up just slightly. There we go. Next. All right, click on this face. And also what I'm going to do is adding one more loop cut and I'll drag it this way till it's along. This edge, right? It lines up with this edge right here, then all right, click on our face will go back to face, elect about right Click on the face, hit the I key to inset and dragon and slightly then press you to extrude and drag it down. Drag it down just about five inches or so, right about their looks. Good. This is going to be a garden to make sure that there is a small wall right here for the plants to be in. And I think that looks good. This is a little bit hard to see. So what we'll do is come up to the right side. Click on this little arrow, Kate, and turn off the floor so we can actually see the loop cuts go back into edit mode and also like this. This face right here and this face and then extrude it down, suppress you to extrude, drank it down slightly. Next press the I key to inset will drug it in and then we'll extrude it one more time. Going down. This will be the depth of the pool. So about like three or four feet or so. I think that will be good right about there. Perfect. If you want to make this pool bigger, all you have to do is going to wire frame press 80 select, go over to Verdecia select mode and just drag all of these vergis ease along this edge. Just drag him over to the right to make the pool bigger. So it might drag it out just a little bit to make the pool slightly bigger. And I think that's good right there. The next thing that will do is create the grass area. So to do that, go back into edit mode and we're going to separate the grass area from the concrete area. To do that, I'm gonna go into face electrode. I'm going to actually, before we do that, I want to make a little bit of a gap between the pool area and the grass. So add in one more loop cut will place it here, suppress control, are dragging across, then add a blue cut along this edge. Place it right about there at another Luke, cut along this edge so press control are at a low cut and drag it across until it matches the edge of this building also added another Luke cut drug it this way till it matches this edge. Now that we've done that, let's like everything outside of the concrete area. So going to face elect mode, you compress the sea key to bring up a circle. And what this will do is if you just click and drag, it will select everything in your circle. So select all of these also like that face. They're dragging it back that face there all the way around, leaving out the concrete area, the pool area in just these faces. We don't need to select the ones in the back, since you won't be able to see that in the camera view. So only select the ones from the camera. Next press P and ghost election. So now we have two different objects. We have the concrete object which has our pool and everything. And then we also have this object here, which is the grass. So with the grand selected. I'm gonna go back into edit mode. We're gonna be adding in some bump to this and giving the ground some unevenness to make it look a little bit more realistic. To do this, though, we need to make sure the Vergis ease are even because right now there's a big chunk right here that has no overseas. And there's these ones are closer. We want to make sure the geometry of our mesh is even so we're gonna be adding in a couple more look, cuts toe, make it a little bit more. Even press control are right here, and you can drag this up. Let's go with about six or seven or left click and then right click to snap it there. Do the same thing on this side show. Drag it up left, click right click over on this side left, click and then right click. Next we'll go along the edge. So go this way. Will drag it out till about five or six left. Click and then right click. We'll do two on right here. So left click right click. This is looking pretty good so far will go along this edge. Suppress control are will add in about five Luke cuts on this said Same thing Care will add about three left click right click. Then along this edge will add in a couple here, left click, right click. Same thing here will drag it up well at about eight or nine along this edge left, click, right click and then last over here, left click and then right click. That looks pretty good, actually, right here. We need to do it as well. So drag it up about 10 or so on this side left, click and then right click. There we go. So now we have a little bit more even geometry. Now we can add a displacement modifier to give it to some bump, go over to the modifier section and then click add modifier and then displacement right here. You're also going to want to make sure you press control a and apply this scale, and that will just fix any weird scaling issues. Then click new on that texture. Go over to the texture panel, and that's the one on the bottom. Open up type and select clouds. Now we can see that there's some bump already happening on our scene that's looking pretty good So far. Boat. I want to make sure the scale of this is way down to go back to the modifier section and turn the strength of this 2.5 then enter. And now we can see there's just a slight amount of bump all throughout our scene, and that's looking pretty good. If you want to add a little bit more detail to your displacement, all you have to do is select your plane, go into edit mode, press a once or twice to make sure everything is selected. Hit W and go subdivide. Now, if we go back, we can see there's a lot more geometry and it's looking a lot better now that we've done that. Click on W and go shade smooth and there we go. We've created the ground, and in the next video we will start creating the back wall 9. Creating the Backwall: Okay, so now let's create the back wall along this edge. So to do that, I'm going to place my cursor right here for a shift. A an ad in a mesh and then cute. With this cube selected, I'm going to go into edit mode, press control are and add in a blue cut left click and then right clicked the snap it to place. Next I'll go face select mode and right click on this face. I'm going to extruded upwards and leave it right about there. I think it's good. Then I'm gonna go back into object mode and drag everything up. Not too bad. I might scale the whole thing down slightly and then make it a little bit thinner. Suppress s why and dragon it. Next. Let's go back into edit mode. We'll right click on these faces back here. So right click here, shift right click and then right click. Then we'll drag it across suppressed g X and drag it all the way back till it's about here . So it doesn't need to go fully back because the camera is gonna be about here and you won't be able to even see that so I think about halfway is good. Then make sure it's along the edge, suppressed G acts and drag it here and there we go. So it's lined up along that edge. Not too bad. Now, to give this a little bit more detail, we can go back into edit mode. You can select this top face hit E to extrude and then right click, then press s and scale the whole thing outwards. One tip that you can do is if you hold the shift key, it will go a lot slower so you can get finer detail, so I'll drag it out just lightly. If we zoom in on this back wall, you might notice that this side right here is a lot longer than the side facing the house. The reason for that is because this is a rectangle and it's killing these proportionally. So to fix that, we need to press s why in scale it out manually until it's the same size right about their looks. Good. Then you compress eater extrude again and drag it up. This just gives it a little bit more detail, and I think it looks pretty cool next to add a little bit more detail to this part. We're gonna go back into edit mode, will right click on this face, hit the I key to inset, and you can also hold shift and I'll drag it in, then a press e to extrude and drag it down. This just gives it a little bit of a wall and in a later lecture will be adding in a couple of trees along this edge. 10. Creating the Pool: in this video, we're going to be creating the pool and also a railing for our second floor. Let's go ahead and create the railing first, and then we'll create the pool after that. So to do this, we're going to place the cursor right there, Then press shift a and go mesh and then plane rotate the plane till it's 90 degrees, suppress our X in type in 90 and then enter. Drag this plane up till it's out of the floor, then press s busy and skill it down. Drag it down until it's right inside of it, just a little bit right inside the floor right here. Then we can scale it along the X till it matches suppress S X and drag it out until it hits the window frame and then also is inside the our house frame right here. Zoom in and make sure it's hitting it. So I'll go g X, and I'll move it this way. Then do you? Why don't drag it back right about there. Let's just take it, step back and make sure it looks good and also just double check that it's not peeking through this way. It's not doing anything like that. It's not going too far into the house right about there is perfect. Next, we're going to be adding in a solidify modifier to give this this railing a little bit of thickness. So right click on it, click and modifier, and over here in the modifier tab, click and modifier and then solidify whenever you added a modifier. Are you add a texture or anything like that? You want to make sure you apply this scale of your mesh to do that Press control A. Include on scale. The reason for this is if I press the end key underneath item. We concede the scale is that back to one before. If I drive this out, you can see the X value is 1.5. The reason we applied the scale is because whenever we adding texture, modifier, displacement, map, all that stuff, it'll take this scale into account and distort it along that value. So this X value is really high. It's going to distort it along the X, so it's important whenever you're creating material, are giving something a modifier that you apply the scale so it's even across the whole mesh . Now that we've done that, let's zoom in and give this a little bit more thickness. I'll go with about 0.2 meters. I think that's good. Then we're gonna press multi and put it on the other side of our house. Surprise all D. Why? And drag it back will rotate the view around so you can actually see it. Drag it back till it's along the edge. The reason I all did rather than shifted is now. If we change our do anything to our mess right here, it will also apply that to the one over there. For example, if I go into edit mode and I just move it, you can see it's already moving it with me whenever I move this face, it's also going to move that face as well. Now that we've done that, let's go ahead and create the pool. So to do this, I'm going to place my cursor in the pool, press ship day and add in a plane going to top you, repressing seven, then presidency and going to wire frame view. Press s to scale, and we'll drag it out till it's crossing. Both of these lines. So drag it out a little bit more and then place it right in the middle. Perfect, then press s X and drag it along till it's the size of our pool. We can see here that it fits on either side. Now let's drag it up, surprised g dizzy and drag it up till it's right there above the step that we created in the previous video. So now if I go back into solid view, we can see our plane in the middle. Now, let's give this some displacement to actually make it look like water. To do this, go into edit mode and then add in one Luke cut in the middle. The reason I put a loo cut in the middle is because I want square faces throughout this plane. Once we add a displacement modifier, it'll take those square faces and make them even if they're rectangle faces, the displacement map will look a little bit off to make sure you add a blue cut in the middle, then repress a once or twice click W and go subdivide. If we come down here and open up this menu, we can set the number of cuts to a value of 10. Actually, let's go. One more subdivision Salt Press a once or twice w and go subdivide. Perfect. Now let's add in a modifier. So click add modifier and this place. Make sure you apply the scale of this as well. Suppressed control a and click on scale hit new on that texture and then changed the strength of this to a value of 0.0. Actually, 0.1. Let's go 0.1 for now. Then open up the texture panel set the type of this two clouds and there we can see what our displacement maps is doing. That's looking pretty cool so far, but I want a little bit more geometry to do this. I'm gonna cook at a modifier and subdivision surface. We can set the render to one and the View port as well to one click W and go shade smooth so we'll just move out the surface and maybe it will go with a value 0.15 for the strength of the displacement. And there we can see it working pretty well. If you want more displacement, just turn this up and it'll create bigger waves. But I think a value of 0.15 works perfectly. And there we go. We've created the pool in the next video. We'll just do a little bit of detail work and then we'll be able to create the materials. 11. Beveling Everything: in the last video of this section, we're gonna be giving our house a little bit of bevel and given it some more detail. The reason we're gonna be adding bevel is if we zoom in here, you'll notice that this edge is really, really sharp. It's a complete 90 degrees, and this does not exist in the real world. There's no edge that is completely nine degrees. There's always a little bit of bevel along each edge. Now there's two ways you can add bevel one. You can do it manually by right clicking on your mesh, going into edit mode and selecting one of these edges and hitting control be. And this is a destructive way to do this. You won't be able to go back once you of applied this this bell right here. So we're gonna be using a modifier so it's less destructive. You also might notice if we press control be again. It's not even along this edge. It's going to the right more than it's going down. And this is because of the scale. Let's open up our properties panel and no notice. The scale along the Y is 2.4 now, if we applied the scale by hitting control or command a and clicking on scale, the scale will be set back to one. Now, if we go back into edit mode and press control, be to apply a bevel, you'll notice that the bevel is now working correctly and it's going even along both sides . That is why is very important to apply the scale whenever you are using modifiers text during just whenever you're doing anything, you should apply the scale to make sure everything is even. So now that we've done that, let's go ahead and add a bevel modifier to this mesh. I'm gonna press end to close up the properties panel, then go over to Adam on fire and then level. It's the 2nd 1 right here. Click on Bevel, and this is what it starts to look like. Right now it's way too strong, so we're gonna be setting the width way lower. Probably a value a 0.2 or so. I go typing in 0.2 and enter. We can see what it's looking like that still might be a little bit strong, so let's go with 8.1 and enter, and I think that looks a little bit better. The segments right here just gives it some more geometry and makes it a little bit smoother . So I'll set this to three and now will do this for the rest of the meshes. First, though, we have to apply the scale. So right, click on the wall, control a scale here, control a scale, select the ground control A and scale. We don't really need to do this wall right here because you won't even be able to see the edges. Some going to leave it as it is next. Select all the meshes. So like the ground. Select the back wall by holding shift in. Select this wall right here. Then lastly, select this second floor. Make sure the second floor is the active object to figure out what the active object is. It has the arms, the lighter orange outline and the non active objects have the darker orange. So make sure the second floor has the active on it. Then hit control L and click on modifiers. Now each of these objects have that same modifier that we applied to the second floor. You can see Each of them have 0.1 bubble just like that. And there we go. We can see that there's no more sharp edges along the walls. Everything is looking a little bit more realistic. So that's gonna be it for this video. In the next section, we will start creating the materials and giving everything some textures and lighting and all that fun stuff, so I'll see you guys in the next section. 12. First Floor Materials: Hello, everyone. And welcome to a new section in the section. We're going to be creating the materials for our modern house. In this video, we'll be focusing on the first floor. Materials will create the concrete for this wall right here. We'll go inside the house and create a wood floor, and then the back will add a white glossing material. So let's go ahead and get started. If you haven't done this already, make sure you download the resource is on this video. It includes all of the textures that will be using in this section. Once you have those downloaded, we're ready to go. So the first material that will create is the concrete material that we see on the front wall right here. So go ahead and select your wall, and then we'll open up a new window to create the material. So come up to this top corner and then click and drag and it will split the view this menu and then click on the Shader editor. And now we can start making the material go ahead and press end to close off the properties panel. Since we're not going to need it, click on new And we can name this material clean, concrete just like that. Next we'll add in the texture. So come over to the side Press shift A go to texture and then image texture Right here. Take the color output and plug it into the base color of the principal Chatur. Then click open. Once you've done load the textures, you should see a couple different folders right here. The one that we're gonna be using right now is the concrete clean. So click on clean concrete. We can see three different maps right here. This middle one is the color one. This one this purple in is for the normal map, which is the bump. And then we also have the speculum app. Click on the color map and then go open Image. Now, if we zoom in here, we can UV unwrap this front face to be able to see it. To do that, go into edit mode, make sure you're on face select mode. Make sure this face is the only one selected. So So like that face. Then go you and then unwrap. Now if we go back into object mode presidency and going to look, Deb, we should be able to see that concrete material. And there we go. We can see it just like that. Now that is looking pretty good. We can see there's a small crack right there. If you want to scale up this map right here to make the texture of bigger, what you can do is go over to this menu. Click on UV Image editor, going to edit mode, then over on this side. Press a and then you can scale up the texture or scale down the texture. Depending on what you want. I think it's actually pretty good at the moment. I might skillet up just just slightly, and there we go. Now let's go back over to the note editor and finish out the material to go to Note editor . Then the next know that will be adding, is another texture. So right or left, click your texture note right here to select it. Then press shift E and move it down here, click on this menu, and then we're gonna be adding in the speculum at, so select that and then go open image, take the color and plug it into the roughness of your principled shader and we can see what this is doing. It's a little hard to see, but if you kind of move around, you might be able to see it. To be able to control this a little bit better. What we'll do is press shift a and go to converter and then Colorado place that right here . Now, if we were to take up the black values, it will become more glossy. You can see the parts over here are a lot more glossy. Now, if you want it to become less glossy, just write this down and then drive the white over this way and it will become less so. I'm probably gonna drag this up just slightly to get a little bit of gloss, like in this corners right there. And I think that looks pretty good. You also want to make sure that the color space is set to non color data, so this will only take in the black and white values rather than the color values. Next, select your texture right here and shifty it one more time. This is going to be the normal map. So I click on this little button and select normal map and then go open image. Next, What you're gonna want to do is press shift, a go to vector and then normal map. Take the color output and plug into the color and then the normal into the normal of the principal Chatur. If you were to just take the color and plug it into the normal map, it's not gonna work. As you can see right here, you need to make sure that it's plugged in this way and it goes through a normal man. And if we zoom in, we can see a little bit of bump on the side. If you want more bump, just turn up the strength and we can see it goes even crazier. Just like that. I think I'm gonna go with just a value of one. I think that will be perfectly fine. Maybe just slightly up. Maybe like 1.2. There we go. I think that looks pretty good. Okay, we're done with the concrete material. Let's go ahead and add in a new material to this object and it will be a white glossy. So go over to the material tab down here and hit the plus sign, Click new in type in white, glossy just like that, and then enter for the principal Chatur. We're gonna go ahead and bring down the roughness to a value of 0.2, and that's all we really need to do. Now let's go into the back right here and make sure this back wall has that white glossy material. Once we do a final render, the camera will be about here and will be able to see inside. And we don't want the concrete material to be there. We just want a white plain wall. So going to edit mode, make sure you're in for a select mode. So, like this face. So like this face, then also inside, we're going to select this face right here, then over on the material, select your white glossy material and then hit a sign. So now we go along the Mac, we can see that the white glossy is now applied. Now let's create the wood material for our modern house. Now the first thing that we need to do is get rid of this concrete that's inside, because at the moment, if I still liked our concrete wall that we have right here is going inside the house and all the way around. So what we need to do is go into edit mode and delete the faces that are inside. So to do that, go into edit mode, make sure you're in face electrode up here, presses e and go into wire frame. Select both of these faces that are inside, then press X and then go faces just like that. So now those faces were gone. We can add the material. Next, select your wall right here, then going to edit mode. We're going to be separating the wood floor from the side wall. So select these two faces at the bottom, then Gopi and go selection. So now we have two different objects. If I go back into object mode, we have the floor right here. This is the floor. And then we also have the walls right here, just like that. Let's select our floor and then get rid of both of these materials. Then add a new material. We're gonna call this wood floor Now let's go ahead and do that same thing that we did for the concrete. Mature. Let's add in the base color, and then we'll add in the other suspect map and normal matter to go to texture and then image texture. Take the color plug into the base and then go open. Navigates where your texture is, which is the wood texture, and then go wood texture dot jpeg and go open image. Let's shifty this and place it down here and then open up the speculum app and it's this map right here and go open image. Take the color and plug it into the roughness and then underneath the color space, set this to known color one more time. Shifty this. Click on this little button and go normal map and open image. Precious Day. Let's go ahead and add a vector and then normal map. Take the color and plug it into the normal map and then the normal map into the normal of the principal shader. And we can already see on the preview right here that there's been some bump that has been at it. Now let's go ahead and zoom in and make sure you're in perspective mode, and if you press five, you can switch from Ortho graphic to perspective and once you're in perspective mode, go inside the house, breath Z and go look dead and we can see what this material looks like. Not too bad. That's looking pretty good. I think I might want to scale up the texture just slightly and also the roughness we can control by using a color rap. It's ago converter and then color ramp and place that here, just like before. If we were to turn up the black values, it'll be more glossy. If we bring up the white values, it'll become less glossy. So probably bring up the black values. Maybe halfway or so, and that gives it a nice shine, as you can see right there and then the normal map. You can play around with this. If you want more bump, just turn this up. But I think a value of one. I'm actually going to leave. All right, there we go. Let's go ahead and open up the UV image editor and scale up our texture to come over here and go UV image editor. Go into edit mode, press A and then scale up your texture just slightly said that so that the grains are a little bit smaller in on this plane, and I think that looks good. So there we go. We've created our first floor materials. In the next video, we will start working on the second floor. 13. Second Floor Materials: in this video, we're going to be creating the materials for our second floor. Let's go ahead and select the frame of our house. So select this object, then over on the material tab, we're just gonna be using that same white, glossy material that we use in the last video. So type in W and select white glossy just like that. The next material that will do is these glass railings. So select your glass railings over in the material tab. Select glass. This is the same material that we use for our windows right here that was automatically applied. So we all we have to do is just make sure that's that same one. And there we go. We can see it working the next material that all add is the concrete material over to this side. So So, like, this object go into edit mode, we're gonna UV unwrap. This suppressed a once or twice to make sure everything is selected. Go you and go smart UV project, then hit. Okay, now, what this will do if we open up the note are the UV image editor. Let's go ahead and split the view one more time come up here and go, you be image editor going to edit mode, and we can see what this looks like. It's already taken all of the parts of our message and chopped it up, and then you be unwrapped it pretty nicely over on the side. Let's go ahead and scale this up pretty big, maybe to about a three or so. Then let's go back over to the node editor down here underneath the material. Select clean concrete and now we can see our concrete material has been added, and it looks pretty good. I think the texture is still a little bit too big. So let's go back over to the UV image editor going to edit mode and will scale this up even more right about 1.5 or so. And that looks good now. If we go over on the other side, though, you'll notice that this wall also has that concrete material, which I don't want, because if we go inside the house, you'll notice that it's applied to this wall and it's applied to this wall. So let's go ahead and fix that. Going to edit mode makes you your own face select mode. So, like this face. So like this face. And let's just double check that we have everything selected, which we do. Then over in the material tab hit that plus button, hit the drop down menu and will select white glossy and then hit a sign. So now the inside of the house has that white glossy, but then on the outside, it still has that concrete material, which is what we want. And there we go. One more material that will do in this video is the ground. So select the ground right here this ground and then over in the material. Click on New. We'll call this material dirt just like that. And then let's go ahead and UV unwrap this going to edit mode, press a once or tries to make sure everything is selected. Go you and then unwrap, and we can see it unwrapped perfectly over on the side. Now we need to really scale of this texture because it's gonna be using a door texture, and we want everything to be pretty, pretty small, so well, scaled up pretty big, something like that. And then we'll go over to the note editor and add in that texture suppressive day. Go to texture and then image. Take the color and plug it into the base color and then go open. Go to the folder that you downloaded the textures and we're gonna be using the ground dot j peg. So select down one go open image. And if we zoom in, we can see what this looks like and that looks perfect. We can see that the ground is looking good. It's just the right size, so we don't need to scale it skillet up at all. I think it's good. One thing that we do need to do, though, is turn up the roughness all the way to one. Because if it was that 0.5 and you can see there some gloss in its on the dirt, which is not very realistic, so I'm gonna turn it up all the way. Maybe just slightly lower than one, maybe like 0.975 So there's just a very, very small amount of loss, but it's mostly just diffuse. Okay, that's gonna be it for this video. In the next one, we will focus on the pool and then the brick materials in the back 14. Brick Concrete and Pool Materials: Let's go ahead and continue making our materials. The 1st 1 that will do is the brick wall in the back, so select your wall and we'll zoom in on it, and this is going to be using a brick texture. So go ahead and click new on that material, and then we'll call this material bricks. And now let's go ahead and add in those textures. Surprise shift aid. Go to texture and then image texture. Take the color and plug it into the base color and then click open. Click on the brick texture folder and then was like the base color and then go open image shifty this in. Place it down here and then click on this little button, and then we'll select the speculum at then go open image, take the color and plug it into the roughness. Then one more time will shift the this click on this button and select the normal map and then go open image, precious day and go to vector and then normal. Now take the color and plug it into the normal map and then the normal into the normal, and we should be able to see the normal map working pretty good. I might turn up the strength of this just slightly, maybe to 1.3. And I think that looks good. Also, if you do not see the the texture, that's because you need to you be unwrapped this. So let's go ahead and do that real quick just to show you if you don't see it, press a once or twice to make sure everything is selected. Go you and then smart, you be project, then hit. Okay, we'll click on this menu and go to the UV image editor. And then we'll scale everything up, actually, double tap a, then skill everything up. It looks like a couple of these textures are rotated the wrong way. So also, like this face press are, Ah, hold control and just snap it to this rotation. Yeah, I think that's good. Make sure you don't have it upside down. If it's all the way like this way, it might look a little bit weird. As you can see there, make sure it's rotated the right way so that the shadows are underneath the bricks rather than on top. There we go. That's select this face and do the same thing. So rotated this way. Let's double check that the shadows are working. Yes, they are. And there we go. That looks pretty good of what you could do if you wanted to, is select both of these faces and then line them up. So press a B for Bak Select and I'll draw a box around this face. And then I'll position it right next to this. This one right here, I'll skillet down slightly. Let's go down right there and just line it up so that these bricks are lined up correctly, which looks like they are. And another thing that will do is all going to an imode holding down Ault all select this ring and it was like the entire loop hold shift and then right, click or left. Click on that top face underneath. You can go ahead and press are hold Ault and shift and then select that ring and it will go all the way around. We're gonna be giving the top of this a new material to come over to the side, hit the plus side and select the clean concrete and then go a sign and there we go. We go into the concrete material has been applied to that top and this just gives it a little bit more detail. One more thing that will do with this model is we'll go into edit mode, will select this face right here, hit the plus sign, drop down menu and select dirt, and then click a sign we're gonna be adding in some trees and stuff later to this part. So I wanna make sure that this has that dirt material. And now that it does weaken, move onto the concrete. So now select this object. This the pool and the concrete mature right here and now we'll go into edit mode, press a once or twice You smart you re project, then hit. Okay, over on this side. Here we go. We can see it will scale up everything until it's pretty big. And then we'll create a new material to come over here, go to the shade or editor and then select new. We'll name this material dirty concrete and then enter. And then let's go ahead and add in all those textures Wilmore time, so shift day will go to texture image. Take the color plug into the base and then go open. The textures that will be using is dirty concrete. So So let that one go to concrete texture and then open image, and we should be able to see it right there, which we do, and it looks pretty good. Let's go ahead, ship. Do this. Take the color plug into the roughness, and then we'll select the speculum app, which is this one. Open image. One more time Ship D. Click on this button and then go normal map open image and make sure both of these are set to known color data so it doesn't take the color. And to effect shift day, go to Victor and then normal map in place that right here, take the color, plug it into the color of the normal map and then the normal into the normal, just like we've done for all the other materials. And now if we zoom in, we can see that there's some bump on the side, and it's starting to look pretty good. I might drive the strength up just slightly, and to play around with the roughness will add in a converter. Colorado Place that here in all drag of the white values over just slightly, so that there's not as much glossy nous. So somewhere around there looks pretty good. Now let's add in the tile material. So to do this, we're going to go into edit mode, go into top view by pressing seven NZ and going to wire frame Press adedy Select, then B for Bak Select and draw a box around these faces right here. So it's just locked in where the pool is, and then we'll give this in new material. So we're on the side, hit the plus sign new, and we'll call this material tiles and then one more time we will add in all the textures, so shift a texture, image, texture, then click open, select the tile texture and then select the base color and then go open. Image shifty this place it here said it to known color data. Click Open and spec Matt Open image and plugged that into the roughness value. Come on, there we go right here. Now we can play around with this a little bit because these are tiles and they're a little bit more glossy. So add in a converter Colorado. Place that here and then I'll press Z and going to look dead. And also, we need to assign this material over on the side. Click a sign for this Colorado. I'm going to drag the black values up so it has a little bit more glossy. You can zoom in. You can see the glossy nous right there. That might be a little too much. So about halfway, I think that would look good. And another one that will be adding so shifty that click on this button and add in the displacement maps. Now the differences for this one is we're gonna be taking the color and plugging it into the displacement of the material up. And, as you can see here, it takes those black lines into account and then adds a bump to it. The normal map are used for more subtle bumps, and if you want the bigger, more, more depth, you'll use a displacement maps, which is the one that we're using right now, so make sure the color is into the displacement. Then shift A will add in a converter Colorado in place that right here set this value to multiply. Now this value now controls how big those bumps are. So if we were to drive this down, will start to notice. Let's go like 0.5 You'll notice that there's not that much bump. But if we go like to one, you can see there's quite a bit, so I might leave it at one or so. So there's a lot of bump, and I think that looks pretty good. Now the tiles are a little bit small. So what I'll do is going to edit mode, open up the UV image editor and then just scale this up so that the tiles are bigger. Are a smaller I mean, so right about here are so another thing that will do is I'll make sure these are lined up properly. So all select both of these faces and over in the UV image editor all press G and then move them so that the black lines are lined up correctly right about there. Not too bad over on this side will do the same things that go into edit mode. So, like that face press G holding down shift, I will just move it just slightly so that those black lines are lined up. You don't really need to do it on this side because the camera won't be able to see them. So we can go ahead and skip that step on this side that we might have to do it. So select that one G, move it just slightly. And there we go. And finally, the last material that will do is the pool water. So select the pool water, which is this plane right here and then over on the material. Click new and set the principal shader to a glass shater instead and said, The roughness all the way to zero i. O. R. Which stands for index of refraction, is basically how light passes through an object. The light rays go through it and it bends a certain way and distorts what you see. In this case, the Iowa are of water is 1.33 so we need to put that in right here now to get that number. There's a lot of different math equations, and it gets quite complicated, but all you really need to do is just Google shirts, the liquid that you're trying to replicate, and then just paste that number in right here. I'll show a picture on screen right now That has a lot of different Iowa. Ours were different liquids like oil, milk and all this other stuff. You go take a look at that if you're trying to create something. So now that all of our materials done if we go into rendered view by pressing Z and go to render view, we can see exactly what this is gonna look like. The water is a little bit too blue. So I might drag this down just a little bit less so it's not as crazy. And there we go. All right, so all the materials are done in the next video, we will set up the lighting and then finally add in the models and render this out. 15. HDR and Sun Light: Hello, Verone. And welcome to a new section in the section We're going to be creating the lights for our modern have seen In this video we will focus on the HDR lighting and the sunlight. So the first thing that you need to do is go download the HDR that will be using and you can find that in the article previous to this video there is a link to a website and I'll go ahead and show that website right here. Once you go to that website, go ahead and download this skatepark HDR. This is the one that will be using. I find that the clouds and the lighting looks pretty good. So go ahead and click on this and it will start to download back in blender. Let's go ahead and add in that hdr. So let's split the view and then added it. So come up to this corner and drive this out. So we have two different windows, come up here and go to the Shader editor and then underneath object Selected world. And so now we're working with the world nodes rather than the material notes. Next thing that will do is press shift a and go to texture and then environment texture. The difference between image and environment environment is the whole 3 60 degrees all the way around the scene. So let's go ahead and add the texture and then environment, texture and place that right here, take the color and plug it into the background and then click open. Once you found the HDR that you downloaded, go ahead and click on the three k dot hdr and then go open image. And now if we come over here and press Z and go into rendered view, we should be able to see the HDR. And there again, we can see it all the way around. Just like that. Let's go ahead and position the camera. So I'm gonna go back into solid view and then place my view port right about here or so and then I'm going to breast control Ault in the num pad zero. This will soon at my camera to view on a Mac. It is command option zero. So go ahead and do that. And let's close this out just a little bit. So we have some more room. All right. Click on my camera press, Aggie Middle mouse button and then dragged back. And then I'll press Jeezy, drag it down a little bit. Double tap are to move it up and then we'll just continually do that. So gene in a mouse button to drive back a little bit more, drag it down GZ and just place it where you want your view to be. So I'm probably going to go with about this angle so we can see the window. Here. We can see the brick wall in the back. Maybe I'll drag it this way, so rz. And then you can rotate it like this. We'll probably go about here or so will be able to see the grass will be able to see the entire pool and then inside the house will look nice. Maybe a little bit lower, and I think that's perfect. Next, let's drag this window back out, and now we'll add in a texture according the node, so we can actually move the HDR to where we want. So to do that, I'm gonna press shift a go to input and then texture co ordinate place that right here, then pressure Day. Go to Victor and then mapping place that here, take the generated up it and plugged it into the vector and then the vector into the vector of the environment texture. Now, if we go back into rendered views toeholds e going to render view, we can now rotate the HDR with this rotation value. So if I drive this along the Z, you'll notice that the HDR is now moving around. So I'm probably going to go with a value of like, negative 30. So we'll type in negative 30 and then enter and we can see some clouds in the distance. And I don't want to be able to see those those metal things right here, those roofs. So I'm going to drag the X up just slightly to get rid of that so we can only see the sky background. So five on the X and the negative 30 on the sea, and we can see it just like that, and that is looking pretty cool. Now the strength is way too high, and so let's go ahead and drag the strength down to a value of 0.3 and then enter, and we'll see how that looks not too bad. We might want to bring this lower. For now, though, we'll leave it at 0.3. What we're creating right now is called the Blue Hour. This is a time of period where it's like the twilight or the morning where the sky is very , very blue and the lights inside have like an orange of warm, warm color. You can still see the outside. You can still see the grass pretty clearly, but it's like at the time of day with the sun is about to set now to get that more blue color. What we're going to do is press shift a at in a color and then hue saturation in place that right here next front next to the environment, texture and the background. Now, if we play around with the saturation, if I drive this up just slightly, you'll notice that the A C. R is now more of a blue color. I'm probably just gonna go with a 1.1, so it's not too crazy. I think 1.2 is just a little much. So let's go with 1.1, and this will just add a little bit more blue to our sky. Next, let's go ahead and add in a sun lamp. Suppress shift, a go to light and then, son, we'll go back into solid views. We can place this and then go into side view by pressing three under. Never had our to rotate, will rotate it up in place it about this angle, then go into top view by pressing. Seven will rotate it this way. So it's coming at this sort of angle and write about their looks pretty good. Now the strength of this we're going to go with a value of 0.2, so it's just a very low strength, and we'll see how that looks to. Now. Let's go back in the camera view. So go ahead and press zero on your number pad to snap to camera view Z and then going to render view, and we can see how this sun lamp looks. There you go. You can see it's casting a nice shadow right here, and it's looking pretty good if you want there to be softer shadows, which I kind of do. You're gonna want to drive the angle up over here. So let's try a value of three and you'll notice that the shadow now has a softer edge. So if you want more, just drive the angle up. If you want a sharper EDS dragged the angle down, I think I'm gonna go with a value of five. So it's a nice soft shadow, and as you can see there, it looks pretty good. I'm gonna go ahead and drag the strength of the background even lower. So let's go with a point to, and I think that will look good. Now that we've done that, we can go ahead and work on the pool lights. 16. Pool Lights: Let's continue making our lights for are seen in this video. We will create the pool lights along this side over here to go ahead and place your cursor and then press shift A will add in a mesh and then circle. Rotate this circle 90 degrees, suppress our X 90 and then enter, then go into edit mode of repressing tab and then fill in a face, suppressed the F key to fill in a face. Just like that, we'll go back into object mode and scale this down next, going to side view by pressing three on your number pad and then we'll position inside inside the pool area. So right about here, go into wire frame by pressing Z and then wire frame. You can move it by pressing G and place it right on the side of our pool. Then go back into edit mode. We're gonna be doing a little bit of modeling, so go ahead and go into Verdecia mode, which is this button right here, and press e to extreme extruded out just a little bit, then left click, then press I to inset well, dragon in just slightly and you can see what it looks like just like that. Then press Ito extrude one more time and dragon backwards. Now that we've done that, let's place our cursor right on this mesh and then add in a lamp so abrupt shift s and go cursor to select it. And you can see our cursor is now right there. Then press shift day and go to lights and then point lamp. The size is a little bit big, So go ahead and drive the signs of it down until it fits the width of that interior. Just like that, we'll go ahead and press period on her number pad to zoom in on it and then all press g. Why? And drag it out until it's in the front. The strength of this I will set to five for now. We might change this later. And then for the color, I'm going to give it a nice blue color. Somewhere around here, let's go into camera view and see how bright this is Surprising zero on your number pad. Then I'm gonna press control, be and draw a box around the light. And now if we press Z and going to render view whatever is inside this box will only render and whatever is outside you can see everything is not rendering. It's only rendering what's inside. So now let's zoom in and see what this looks like. I think that's a pretty good light source. We don't really need to change it, maybe go up to, like, let's go with six, maybe just a little bit brighter. And I think that looks good. Now let's duplicate this and place it along our pool. So go back into wire frame oppressing Z and go into wire frame and then select both the circle that we created and the lamb you can press be middle mouse button to draw Boxer on this to de select it. And now let's position it going to top view repressing seven and we'll zoom out, presage e X and move this just slightly. Then press old D X and place it right in the middle. Then press multi one more time, ex and move it along. You want to make sure that these air spaced out evenly, so maybe this one actually needs to of these like that. Maybe this one needs to move over just a little bit right about there, and I think that is pretty good. Now let's duplicate these and place them on the other side as well. So we'll go into this view presby and draw a box around all of them. You can do you select this, Do you select that one. Now, if we go into the hold on, we need to also select that lamp, right? They're going to top view. Press all d ex, actually, why? And drag it down, then press R and rotated all the way around. If you hold control, you can snap it to 1 80 degrees and then we'll position it to go into this view and make sure it's in line. So going to solve you, g why? And drag it back just so that these are peeking through just like that. Now, if we go back in the camera view and we press controlled B and draw blocks around the entire pool, then ze wire frame, we should be able to see all of the lights, and that is looking pretty good 17. Exterior Lights: Now let's work on the X two year lights. So the first ones that will do are the ones that will be on these plans right here. Once we Adam in a later section, I want some lights to be shining up and cast in a nice, cool shadow right on this wall. So to do that, I'm going to place my cursor right on the edge, press shift a fresh if date, go to light and then spotlight going to front view, actually, side view of our pressing three, then Z and going to wire frame. Well, position this so it's right on that corner and then rotated upwards until it's facing the wall just like that. Now, if you want to, there's an option to show Cone and you'll be able to see what it's actually shining on. And, as you can see there, we'll rotate this down a little bit so it press are X and rotate it down till it's just about there, and then I'll move it just slightly. Now the strength of this, I'm gonna be setting to a value of 50 and then for the color, we're gonna give it a nice, warm color somewhere around here, we'll also duplicate this lamp and place it four times, Suppress all the acts and move it along all the X and then one more time all d x and place it here and then just make sure these air spread out evenly. So right, click or select Um, G X and move on the long right about there, and that looks pretty good to me. The next one that will add is one over here in the back. I'm going to be adding in some trees on this brick wall, and I want there to be a light shining on them. So I'll just place my cursor right their ship day and added another spotlight. Go into front view by pressing one, then press R and rotated up just like this. So it's at an angle going upwards and then go into top view and then rotate it. So it's going right along this wall. The strength of this one. I'm going to go a little bit higher. I'm gonna go with 100 then enter and then also give it a nice warm color as well. The next lights out. We're gonna create are some decorative lightings and that is going to be along this wall. There's gonna be three different lights right here. And so to do this, we're gonna be adding in a cube surprise shift, a go to mesh and then cute scale this cube down just like this, Then scale it along the x axis, suppress s X and scaling out just a little bit. Then press g X and move it along till it's sticking out. Just like that. I think I want to make these a little bit skinnier as well. So breast s why and make him a little bit skinnier, and I think that will look pretty cool. Let's go ahead and give this some bevel to go over to the modifier tab, click add modifier and then bevel press control a and apply of the scale So it makes the bevel even. And the strength of it is way too high. So bring the with all the way down to a value of 0.0 Let's go 007 and then turn up the segments to to next. Let's go underneath, go into edit mode and going to face elect mode and select that bottom face, press I to inset, then press E and drag it up so that there is a little bit of an in debt. Now let's give this a material to go over to the material tab, click on this button and type in the word white and then select white glossy Hit the bus on and give it another material. And this is material is going to be called light for the surface we're gonna go with in a mission shader and then for the color. We're going to give it a nice warm color, just like before and the strength of this. We will set it to 10 go into edit mode, and with that face elected, I'm going to click a sign on that light material. And so now if we go into render views, Abruzzi going to render view, we should be able to see a light just like that. Let's actually drive the strength up to 20 so it's a little bit stronger. There we go. That's starting to look a little bit better. Now let's duplicate this and place it along, so go back into the solid view and actually, before we do that. I want to add one more thing on the top right here. We're gonna do that same thing, right? Click on this face, Ida inset and then drag it down, Then place your cursor right on that face. Go back into object mode. Press shift A will add in another spot, land to goto light and then spot, and then we'll rotate this up to go in the front of you. Rotate it all the way up, so it's on the wall just like that. That's actually a little bit too much to go back into front view and then rotate it up a little bit more. Something like that, I think, will look good. Let's go ahead and show cones. We can actually see what we're dealing with. Let's go back, Rotate it this way. There we go. I think that will look good. Then the strength of this weaken set to let's go with 30 and then enter and then also the same color to strike it down till it's a nice orange and now go back into rendered view. So Z rendered. We'll go into tog overlays and just let it render for a second and I think that looks pretty cool. Let's go back into solid view and then we'll duplicate this object three times, going across to go into wire frame click Z going to taco overlays and we'll select the lamp and then also select that cube. We'll move it right into the center, then all d. Why and drag it over this way all d Why and then drag it over this way. So now we have three different objects. Along are Wall. And now if we go back into the interview and then president taco overlays, we can see what it looks like. Not too bad. I think that looks pretty cool. Let's go into camera view and see what it looks like. They're sober, Ozzie. And then also, if you want to get rid of this press control, be and just draw box outside the camera and that will get rid of it. And there we can see there's some light casting some light on our frame right there, and we can see some lie underneath, and I think that looks really cool. 18. Interior Lights: before we continue on with this course I want to organize are seen just a little bit. I want to put all the lights in a collection. So to do that, I'm going to come over to the side, right click and collect on new double tap to name this collection and Wilders. Call it lights. Now we need to select all of our lights and place them in this collection. Now, an easy way to do this is to come up to this button and then turn off all of the meshes in our scene so quick on this little eye icon and it will get rid of all the meshes but leave all the other all the other stuff. So now we can easily select all of our lights and are seen on. It's like about one. This one here. This this light up here is not what we want. So let's go ahead and delete that land. This is just the default lamp. Suppress X and delete it. Now if we select everything, most like these ones down here looks like the pool lights as well. And then we'll move them all to this lights layer. Make sure that when it selected, then press the M key and then move it to lights. Now, if we press one on our keyboard and then we can turn on the Michigan, we have two different collections or layers if you want to call them. So this is layer one, which has all of our meshes and then layer to which has all of our lights. If we go back to layer one, we also need to move this sun lamp, suppress the M key and then click on lights. Now we have two collections that are pretty organized, layer one and then layer to which has our lights. Let's go back to layer one and then hold shift and then press two. And now it will bring back our second layer. Let's go ahead and create the into your lights. So now what I'm gonna do is enter the house. Let's go ahead and come inside, and actually these spot lamps are getting quite annoying. So I'll just select him and then turn off the cone to go over to the settings and then turn off show comes. Do the same thing for this one is also turn off show calm And there we go. This will be a little bit better now if we go inside the house, we can actually see what we're doing. Place your cursor on the ceiling and then press shift a go to mesh and then cylinder scaled the cylinder down. And also keep in mind whatever collection you have selected, that is the collection that will be that your mesh will be attitude. So you can see I have the lights collection selected and you can see that the cylinder is now in this collection. So now with this all scale it down even further press s z and make it really thin right about there. Then go into edit mode and then right click on this face. I'm gonna press the period key to zoom in on it and then I'll hit the aikido and set and all Dragon and slightly. Then I'll press you to extrude and drag it up. So we have a little bit of an in debt now all press shift a and go over to light and then point the size of this point lamp. I'm going to bring down until it's inside. Dental press a g Z and drag it down, then also give this the same color that we did for all the other lamps sewing nice orange, yellowish color and the strength of this I will set to a value of four. Let's just make sure that this is the right strength. So zoom out a little bit, press Izzy and going to rendered view and just give it a second to render, and that looks pretty good to me. The strength might be a little bit high, so let's go with a value of three instead, and I think that looks a little bit better. Let's go back into cell abuse z solid view. We'll select both the lamp and this object, and then we'll drag everything down. So, Jeezy, drag it down just like that now, going to top view repressing seven and will position a bunch of these across our house, so go into wire frame. I'll position it right about here, then press all D X and move it along, then also like both of them. So it's like the lab and select that mesh all d. Why? And drag it down. So now we have four lights across our house a little bit lower. Actually, There we go. Let's do the same thing for the second floor, so I'll go ahead and select the mesh and the light, press all d Z and drag them up. And then I'll go into front view. Imposition this right on the ceiling of our patio. So right about there, I'll just zoom and make sure it's in the ceiling. And then one more time I'll go into top view by pressing seven all d, move it along, our to rotate, and then I'll position it here. And just like that double check that this is inside. So going inside the house going to solid view and you can see that it's clipping inside, which is what we want. Now remember, I pressed all D instead of shifty. So now if we make any changes to any of these lamps, it'll affect every single one. For example, if I select this lamp and I give it a strength of six and now it's like this lamp, you can see this one also has a strength of six. I'm gonna move these back to three, though, and now let's give this a material so select the mesh. There we go. Go over to them, Cheryl Tab, and we'll just give it the white glossy. So type in W white glossy, just like that. And now, since we all need it, every single one of these should have that glossy material, which it does. Let's go into camera view for pressing zero and then Ghozi and going to render view to see how our lights are looking like. I think the strength of the world is a still a little bit too strong. So what we'll do is go over to the world settings and then just drive this down just slightly so that everything is just a little bit darker and then go back into solid view. 19. Adding Models to the First Floor: well over one. And welcome to a new section in this section. We're going to be adding in all of the different models to our house right here and making it look like someone is actually living inside. Now this image that you see right now, I rendered with 500 samples and this is our seen so far. I really like the lights on the side. And here I think this gives it a cool effect. All the materials are looking pretty good. We can see that there's the brick wall in the back and has some bump, and it looks pretty nice. The one thing I do want to change, though, is the world. Right now it's a little bit too grey and it doesn't look that good. So what I'm going to do is just bring the hue saturation up just slightly. So it has the more blue color to do that. I'm going to exit out of here and then go over to the world settings, open up the hue saturation, and then turn up the saturation to 1.2. So I'll just trying this up once and then one point to you. I think that will look a little bit better now that we've done that, we can go ahead and add in our three D models. Now some people might think that adding three D models to your scene is cheating up, but it's really not. Adding 30 models saves a ton of time. When you're doing architectural renders, there is a lot of models that you need to add to your seem to make it look realistic. Now, if you were to create every single one of those models, every scene that you do will take a very, very long time. And with an artist, time is a big issue. You need to have projects done at a certain deadline, and there's all these different factors that come into it. So adding three D models will save a ton of time now. One thing that you should keep in mind, though. For example, if you added in a couch to this scene, if you've never created a couch before, it would be a great learning experience for you to create a couch that will teach you exactly how it's done, how to sculpt and all this other stuff, and that would be a good learning experience. But if you've already created a couple couches, there is no need for you to create another one. You're not learning anything. All you do is just taking time away from actually creating the scene. So keep that in mind when you're adding in different models. If you've never created something for, go ahead and create that and that will be a good learning experience. Okay, so what we're going to do to add in all of our different models is come over here and then right, click and create a new collection. We're gonna double tap on this collection and call it models. And now, when we whenever we import a model into or seen, it's gonna go into this collection, let's go ahead and press three on her keyboard to go to this collection. And now let's import a couch model. So go to file and click on a pinch. There's also link, and what link will do is it will link in that that collection or that blender file and you won't be able to edit the model It all you won't be able to go into edit mode and change anything or the material. It will just be linked in and you won't be able to do anything with it upend. You'll be able to append something and you'll be able to change the material. Change the model a little bit. Do whatever you want for this scene. We're gonna go a pen so we can change a couple things if we need to. Now all of these models are in the resource is so make sure you go download them. And once you have them, you'll see all of these blender files right here. The one that we're gonna be adding in first is the modern couch. So go ahead and click on this. Go to collection and then click on couch and then append from library and you should see it come up right here. Now this empty controls every single object on this model. So if I press g, you'll see every single object moves and it follows this empty. You can see there's multiple objects here. So if I was to try to grab all of them and we just be annoying to make sure you select the empty if you're moving it now, let's press shift and click on one and two to bring back everything. Now it's position are our object right here inside our house, so going to top you and then all press Z and going to wire frame in the press G and then move it into place skillet up just slightly and then position it right next to the wall right here. I think that's good. And now let's go inside the house and make sure it's not floating. So go inside a president going to solve you, and then I'll press G Z and then just make sure it's in place or write about their looks. Good. Next, let's go back to collection three. Suppress three under number pad and then we'll add in another model. Go up to file, click on append, then go back a couple times and then click on modern table collection. Modern table upend from labour and the old pub up in our scene. Make sure this has a material suppresses E and going to look dead, and you should be able to see the wood texture and the concrete texture, which is good. If you don't see these textures, you can go download them there is a link in the article in the previous lecture. So go ahead and make sure you have Those will go back into solid view. And then we'll select the empty going to top view and then opposition this right next to the couch and then I'll scale it down right about there. Looks good. Let's bring back layer one and two and then we'll go inside of the house. I'm gonna press Aggie dizzy and drag this up until it's right on the floor. And then I'll rotate around and just make sure it looks good. Maybe scale it down just a little bit more and then drag it down right about their looks. Good. Okay, let's move it over to the side just slightly. And now it's at in the next model suppressed three. And then we'll go up to file append. Go back a couple times, and the next one that will be adding is the black glossy lamp. So So, like that blender file. Go to collections lot glossy lamp and upend from library. So, like the empty, then press shift one to bring back your scene and then go into top. You crazy going to wire fame and will position this right next to the couch, right on the corner. So right about their looks. Good. Go inside the house and just make sure it's not floating. So drag it down just slightly right there. Next, what would do is select it and then duplicated. So going to top of you again, going to wire friend, then Presby and drag a box around the entire model de select anything that you've selected . So do select the Empty. And then we're gonna press all d and place it on the other side, suppress all D. Then why and drag it down till it's right here. Going to camera view, oppressing zero on your number bed and we'll see how this looks. I might want to drag it just slightly over along the X. So it's kind of hidden right about their looks good. And there we go. The next thing that will add is a little plant. So go back to collection three. Go to file and then append right here. Go back a couple times, then click on bush lite dot blend. Go to collection, then click on both of these holding shift. I'm going to select both of their collections and then go a pen from library. And here we can see it in our scene. And currently it's way too big. Select the empty and then scale down totally appropriate size right about there. Next Press G. Why? And drag it over and you can rotate this whichever way you want. I'm probably going to go with that rotation drug it a little bit closer to you. The couch in that looks good right there. So now let's bring back all of our layers, press shift one and then shift to and then go into camera view. And then we'll zoom back and make sure everything's in frame. And that looks pretty good. The last model that will add is a canvas suppress three. Go to file, upend and then go back a couple times and then click on Earth glare, canvas dot blend collection, earth glare and a pen from library double. Check that. This also has the texture. So go president going to look death, and there you can see the texture, which is good. Now let's position this in front of the couch and then position it right there. Scale down just slightly and then press three to go into side view and we'll drag it back. Bring black layer once you can actually see the wall. So shift one. Then move your view port over to the side, press G. Why? And bring it back till it's just slightly peeking through the back wall. So right there looks good. Now, if we go back into camera view z going to wire frame, we should be able to see the canvas, which we do. We can see the lamp here looks good. The plant in the background looks good as well. I might want to select the empty press G acts and move it over slightly so you can see it just a little bit better. And there we go. Not too bad. I'm going to save my project or hitting control s. And that's gonna do it for this video. In the next video, we will add the models to the second floor 20. Adding Models to the Second Floor: Let's go ahead and continue adding the models to our house, so go to layer three and then we'll add in a modern bed to add to the second floor. To do this, go up to file, click on append, navigate to where you downloaded the files and click on modern Bet. Go to collection and then go modern bed and then add a pen from Limerick and we should see it pop up just like that. Go ahead and select the empty so we could move it all at once and then bring back layer one by pressing shift and then one going to front view by pressing Z. Go into wire frames and press Z and go into wire frame and then press G and move the empty till it's inside the second floor and then scale this up till the size that you want. Probably around there looks pretty good, then go into top view and will position it in the back. And maybe that's a little bit too big. So on my skull, down just slightly and then drag it down, go into camera view and then we'll see where the bed is sitting because right now, if this was to touch the ground, we might not be able to see it that good. So I might make it float just a tiny bit right about there, and you won't be able to see the bottom of it anyways, So it doesn't matter. Going to solid view. And most elect the window right here and press the H key to hide it. And there we can see our bed a little bit better. I'll drag it down slightly about their looks pretty good and then also double check that it's in the middle of the room. You don't want it to be on one side or the other. Make sure it's in the middle, just like that. All right, that looks good. Let's go back to layer three. And also you might notice I collapsed all of the layers right here, so everything is a little bit more organized. You can do that by hitting this little arrow, and that will hide the empty. And now these air very organized and look really nice. So now that we're on Layer three, let's go ahead and add in another model, so go up to file. Click on upend. Go back a couple times and then select the bed side table collection, bedside table opinion from library. And now let's position this. So going to front view holding shift. I'm going to select one and then drive this up till it's on the second floor, presages why and drive it back till it's next to the bed and make sure it's not floating so right about their looks. Good. Next. What I'll do is go into wire frame, go back to Layer three and then all box. Select everything right here. Do you select that and then we'll just duplicate it and place it on the other side. So press all d x and then move it along until it's on the other side of the bed. Just like that. Go back into solid view and there we go. Now, these already have materials, so if I select it, I could go to the material tab and check out the material. You can see it has the nice white material. This one has a great material. The covers right here have a nice ah fabric material with the tan color. If you want to, you can change this to maybe a blue color or something like that, but I find the tan looks pretty nice. Let's go ahead and collapse this collection so everything is organized, and now we'll add in another model and put it on the deck. Go up to file, click on upend, go back a couple times, and the model that will be adding is the beach pool chair. So click on that collections and then a pendant from library holding shift. Click on one and then going to front view and then position this up top right here. We'll scale it up just slightly, so it's a little bit bigger, and then we'll position it. So going to top view, oppressing seven go into wire frame and then all press G rotated this way a little bit. Then I'll press multi X and then I'll rotate it over here just like this, and we're just position these so that they're facing outwards thing that looks good. Go to solid you and we'll select both of the empties. So select that empty right there and select the other empty and will make sure that these are not inside the ground, that they're sitting right on top just like that. There we go. We'll go into camera view and check out how that looks and then proceed going wire frame and we can see the chairs are sitting there just like that. And that looks pretty good. Okay, there we go. To bring back the windows, you can hit, alter or option H and that will bring it back. Just like that. In the next video, we'll finish out adding in our models. 21. Adding the Plants: in this video, we're gonna be adding in the plants to the front of the house, the brick wall, and then we'll be adding some trees in the background. So let's first go ahead and create a new collection with all of those plants. So over in the collections panel, right click and click on New. We'll call this collection plants to make it simple, and then we'll go to that collection by pressing four on our keyboard. Now we'll add that it go up to file, click on append, go back a couple times, and then the 1st 1 that will be adding, is the bush, the regular Bush right here so quick on this collection here and then Bush and upend from leverage and we can see it in our scene. Press shift one to bring back our house and then we'll position this suppressed G. Why, and drag it forward, skilled up slightly and design mitt on it. You compress the period, keep to zoom in, and it will take us right to it. And then we'll put it right in this bed that we created in the previous section. So right about here will drag it this way, and we're gonna be creating four of these. So this will be the 1st 1 Now press all d x and move it along and then rotate it by pressing rz and will rotate it around, maybe skillet up slightly, just like that old d again. Press XT and lock into the x axis Rotated even more And you can press s Z and skillet up along the Z to make a taller and then one more time all d x move it along rz rotated. Maybe you'll make this one a little bit fatter. My crossing s ex skeletal on the X and skillet the whole thing down just slightly And there we go. What's going to camera view? Oppressing zero and we can see what that looks like. Not too bad. I think I want to drag every one of these down so you can select all the empties down here . Press G Z and will drag everything down just slightly. All right, that looks pretty good. Let's go ahead and go back to layer our collection for president four on our keyboard. And now we'll add in the pine trees, so go up to file click on append, go back a couple times, and the model that will be adding is the pine tree. So select that country collection and then a pent, scale it up slightly and then press shift one to bring back our first layer going to front view. And then we'll place this over on the Burke wall suppressor G, and then we'll place it right here. That's actually probably a little bit too big. Small. Scale it down and then we'll put it inside this bed that we made Suppressor G. Why dragged backwards and right about there looks pretty good and drag it down till it's inside. Just like that. Go into camera view by pressing zero and we can see what it looks like and can't even see it. So what I'll do is I'll press egy X and this move it right about there. Looks good. Then I will duplicate it, suppress all D X and moving along. Then we'll rotate it just like we did before. So our and then Z will rotate it this way, scale it up slightly all d x and move it over here. Then we'll rotate it even more and then I might scale it down a little bit, make it a little bit fatter. So s ex and scout out just like that, just to give some more variations so they don't look all the same, and I think that's pretty good. You can collapse these collections by just clicking on that era, and now what I'll do is I will add in the trees to go to layer for again, go up to file upend, go back a couple times, and then the one that will be adding is the big tree dot blend. So select that one collection big tree and a pent. So let the empty then bring back our first layer and opposition it in the back suppressor G . Why we're moving over here, go into camera view and then make sure it's in frame so crazy going to wire frame and I'll probably place it right about here. So it's on this side and there's a little bit on this side as well. I think that looks pretty good. Then we'll duplicate it and place it on the other side. So box selected by pressing B and just drawing a box, go back into camera view all d and then I'll place it on this side. So right about there and then rotate this around. So you're viewing at a different angle. So R z and then maybe like this angle, something like this, I think we'll look pretty good. And there we go. So now we have two different trees in two different spots, and I think that looks pretty cool. Okay, that's gonna be it for this section. In the next one, we will start creating the grass. 22. Grass Vertex Group: Hello, rolling and welcome to a new section in this section. We're going to be creating the grass using a particle system in blender. The first thing that will do, though in this video is create a Vertex group and we're gonna be using this Vertex group to set the density for the particles. Basically, what that means is closer to the camera. There's going to be more particles and then further away from the camera, there's going to be less particles. This will help with saving memory and also improving render time. So the first thing that will do is make sure you have your grass plains selected, which is this object right here. So select it, then come up to object and change it to wait paint node. The next thing that will do is set a radiant effect. And you can do this by clicking on this Grady and tool right here. So so, like that great and tool. Then go to seven into top you. Now all you have to do to use this is just click and track. So starting out from the bottom right here, I'm just going to click and then drag all the way across. Do we get a nice Grady in effect now? If this isn't working, make sure you right click and make sure the weight is always toe one. If it's at 20 it's not gonna work. It'll just do that. I'm gonna controls the that to make sure the weight is set to one. Now that we've done that, we concede that closer to the camera there's more red, and then it slowly fades out till it's the blue and the blue means that there's no particles and the red means that there's the most particles. The next thing that will do is get rid of the particles outside of the camera view. So if we go zero on our number pad, we don't need any of the grass to be rendered over here or underneath or on the side. This will just take up more memory. So what we're going to do is go back into object mode, go into edit mode and select all of the faces that are outside of the camera. So go and do face elect mode, presses E and going to wire frame, then press a once or twice to make sure nothing is selected and then press C on your keyboard. This is the circle selection. So we're going to select the faces in the back right there behind the house. We're going to select the faces right here, Coming underneath, going along just like this. Make sure you don't select any inside the camera just on the outside, just like this. I'm gonna hold shift in pan my view, see one more time and just keep drawing until all of the faces are selected. Then also liked all these back here just like that. Next. If you come over to the object data panel, we can select this vortex group and click remove from this Varitek trip. Now, if we go back into weight paint mode and going to solid view, you'll notice that all of the outside is now blue. And only the inside where the camera is has that color, and that is what we want. So now, once we add in a particle system and we select the density to match this Vertex group that we created, it'll be what we want. In the next video, we will start creating the particles 23. Creating the Particle System: Now let's create the particle system. So with the plan selected, click on the particle tab and then select the plus sign, and it will create a new particle system. Since this is grass, we're gonna be using the hair. So make sure you said it to hair and then turn on advanced. The hair length right here determines how long the hair is, so we're going to drive this down until about 0.0 seven points. Your find something like this actually can't see it at all. Let's go 70.5 and then enter. And there we go. We can see the length. We might change this later. For now, though, will set at that. Now let's open up the physics tab and change the brownie. In effect, What this will do is it will take the particles and make them look crazy. So if I turn this up, you'll see the effect that it's going for. We're just going to bring this up slightly. So about 8.15 or so about their looks pretty good, and the next thing that will do is open up the Children section. If we look at a blade of grass, and I put a picture on screen. Right now, the blades are kind of clump together, so we're going to replicate that underneath the Children, sex in turn on simple And what this will do is it will take one particle and then multiply that by the number that you display right here. Currently, the render amount is set to 100. So for everyone particle, there's going to be 100 of them. We don't need that many. We only need a value of 20 Saul said. The render amount to 20 and I'll set the View port 20 as well. Now, currently, the length is too high, so we'll bring down that length. You can change that right here. I'll bring it down to a value of point to maybe a little higher 0.0.3 or so. The radius value right here determines how big are how close those particles are, so the parent particle will be in the middle and then the radius. If you bring this out, the particles will spread out, so I think we'll leave it as it is may be dragged. That's lower just a tiny bit. So 0.16 and the roundness. You can change that if you want to. You can see the effect that it's going for. I might drag this up just slightly. The clumping value this is determines how a clump they are together. We're gonna be bringing this down so that their closer right about there looked pretty good . The shape you can see, the effect that is going forward right there. I might drive this up just slightly underneath that. We have the roughness, and you can mess with these settings. Most of these you don't really need to change. You can just see what they're doing. The endpoint. I might just leave the randomness. This will just give it a random rotation. I'm not gonna miss it that either. And finally, the kink if you want to, you can set this to, like, curl, for example, and it will give it a crazy effect. Ah, Spiral will do something crazy. I'm just gonna leave it at nothing. You can mess with that if you want to, but I'm not going to now. Since we change these settings, we might need to set the hair length to be just a little bit bigger. so I might go 0.0 seven. Justo, make that a little bit taller. They're ago. And the number of particles that will be using We're gonna be using 20,000 So type Tony than 123 and then enter. And we can see all the particles right here. Now they are on the outside. So what we're gonna do is select that Vertex Group that we created in the last video and set that as the density. So scroll down to you see the vortex troops, open that up and underneath Density Select group. And once you do that, all of the particles will be confined to the Vertex group that we created in the next video , we will create the material. 24. Grass Material: Now, let's great the material to go over to the material tab and hit the plus sign with this plane selected and hit new, we're gonna be calling this material grass. So just happened. Grass right there. And now let's open up the node editor and changed some settings over there. So come up to the corner, click and drag, then hovering over this window. I'm gonna press shift F three, and that will bring up the note editor. You might have to press it one or two times to make sure it goes to the note editor just like this. Then you can press end to close off that panel. The first note that will be adding is a Colorado surprise shift. A go to converter and color ramp. Place that right here. Take the color up it and plug it into the base color. Now, with this cholera, um, we're gonna be setting what the color is for the grass. So at the bottom of the grass, we're going to give it a black color. Then it's going to turn into a grain color so we'll drag this over close to the black. Will set this to a nice green color, something, something like this. And if you want this exact color that I'm using, I'll show what it is in just a second. I think that looks good. If you want to copy this, there's the hex code right there. Then hit the plus sign one more time will drag this close to the white and then we'll give this just a lighter green. Something like that, I think, will look pretty good now to see what this is looking like over in the material tab. You can set it to the Strand and you can see what this is going for right now. You don't really see too much. And that's because we need to press shift a go to input and then hair info note with this hair info note. We're gonna be taking the intercept value and plugging that into the Colorado. And now, once we do that, it will take the particle info and then apply it to their And there you can see that the bottom is black and at the top it's white. And that is looking pretty cool over in the principal. Chatur, we're gonna drag this down to a value of 0.3. The next thing that will do is all add in a mix shader. So select your mature output and move it around so we get some space. Then Pressure day will go to Shader and mix shader and place that here, then pressure if they go to Shader and translucent place that right here, take the output and plug it into the bottom in part of the mix Shader. And now if we go over to the material tab, you'll see that our grass now has a translucent effect. So if I turn this all the way up is white, I turn it all down. It does nothing. What this is doing is it's enabling light to pass through of the grass. And this is realistic, cause grass is not fully diffused. It has a little bit of transparency, so we're using a translation shader to get this effect. The factor, though, is currently too strong, so I'm going to drive this down to a value of 0.3, maybe even lower. Let's go 0.27 just like that and you can see the effect that it's going for. You can also take the color and plug it into the translucence. And actually, I don't really like that. I might just drag this to be a darker color, just slightly. There we go. I think that looks pretty good. Now, if we were to render this and I'm gonna go ahead and press control, be draw a box around this corner and then press Z and going to render view. You'll notice that the grass is once it renders. It has a brown color. It's not using the grass material, and that is because we need to go over to the particle system underneath the render tab. And that's underneath the physics have underneath. Here, we're gonna be setting the material to grass. Once we do that, it will take the grass material into account and use that as the particle that is looking pretty good of This might be slightly too strong. So let's go with 0.18 or so. Let's go, president and go back into solid view and let's do a quick render to see how our grasses looking. So I'm gonna press control, be one more time and draw a box around the whole grass plane right here. Then I'm going to go up to render and click on Render image. Now, this is just going to take a little bit of time. So I'm gonna pause a video here and we'll take a look at it once it's done. Okay, our grasses done, and I think it looks pretty good over here. You can't even barely tell that there's some grass that's peeking through right there. It's really hard to tell, so I don't think that's a too big of a deal. But that's gonna be it for this section. In the next section, we will just do a couple more tweaks to our house, adding some curtains at in some stairs and a couple more details, and then we'll finish out with compositing our render. 25. Adding the Final Models: Hello, everybody. Welcome to the last section of this course where we are creating the modern house in the section we're going to be adding in. Some models will be making the blind some stairs and finishing out the render. In this video, we will focus on adding in the rest of the models. To our seen. The models that will be adding in this video are a table on this side where the sidewalk is will be adding a grill right here and a canvas on the top floor. Let's go ahead and add in that table so we'll go to collection, for which our collection three, which is our models. So you compress 300 keyboard to go to that collection. Next, go up to file, click on upend and then navigate to where your models are. Once you found your models, the one that will be adding is the outside table to go ahead and click on this. Go to collection outside table and a pen from library. You can select the big empty that's in the middle right here, and you can move the entire thing then per shift one to bring back your first collection which is the house. Go to the top view by pressing seven, and then we'll position this model along the sidewalk, surprised GE to move and will place it right here. You compress are to rotate, will rotate it around this way and just place it right about there are, so bring it in just a little bit. Not too bad. I might want to scale this in just slightly, so it's a little bit smaller. And what you're also gonna want to do is select the empties for the chairs and just rotate them a little wet a little bit. So it's not perfectly straight. So I wrote him this way. Maybe we'll grab this one will drag it back, Rotate it slightly just like this, making it look not as perfect. There we go. If you want to move the table, there's a circle empty, which you can select and move the table. I might rotate it just slightly. The next model that will add is the grill to go ahead and go to layer three and then go up to file and upend from library. Go back a couple times and then so like your grill dot blend. Go to collection grill and a pen from library. Once you have it in your scene, you can go ahead and select that grill right there and press shift one to bring in the rest of the scene, going to top view and then just move it into place. So we'll move it on to this corner, scale it down a little bit just to make it even with the rest of the scene and then also double check that it's not floating. So right there looks good right about there. Not too bad. I think this table is a little bit small. I'm going to go into a wire frame and just see Yeah, it looks a little bit small. So what? I'm going to dio it. Just select the entire thing and scale it up. I also think right here is a little too tight. So what we'll do is also like the sidewalk, go into edit mode and then go into face select mode. Select that face right there, holding shift, also like this face. And then I'll just drag it out to give it some more room. So drugged up just slightly. And now we can position this table a little bit further This way. There we go. Let's go in a camera view and see how that looks. It's not too bad. I think that looks a little bit better. There's a little bit more room. If we zoom in on this table right here, you'll notice that the grass is peeking through the concrete, which is not very realistic. So let's go ahead and delete those faces that are underneath. Go into edit mode presidency and go into wire frame. And then you can press C on your keyboard and just select all of those faces that are underneath. So just go along all the way to the end here and then see and also like the rest of, um, de select that face, then press X and click on faces. So now if we go back into object mode president going to wire frame, that helps just a little bit. There is still a couple more grass that is peeking through, but I don't think it's gonna be too noticeable in the camera. The next model that will be adding is a canvas on the second floor, so let's go ahead and go to layer three and then add that in, we're going to be enabling and add on to help us while we add in the image to enable this go up to edit and click on preferences underneath add ons. You're gonna type in the word image, and you should see an ad on right here and then just click on that check box and then go ahead and exit. Now if we brush. If a you can see that there's an option to add in an image and then in images as planes click on this button and then navigate tour the images. And this image is linked in the article to this previous to this video, and the image right here is from pics of A is just a mountain range, and I think it looks pretty good. Go ahead and select that, and then go import images as planes. Once we do that, this image will appear and it's the exact size and dimensions that we need. You can press G and then why and drag it forward so it's in front so we can see it a little bit better and now go into edit mode by pressing tap go into Verdecia select mode up here and then we're just going to extrude this backwards suppressed eat of extrude and drag it back just slightly while this faces selected, I'm gonna press the X key and delete it. So now it's just an empty frame just like this. Then go into Verdecia select mode. If we go into texture view by pressing Z and going into look dead, you'll notice that the sides right here are completely stretched out. And that is because we extruded this out without UV unwrapping it properly. So we're gonna fix that. So go ahead and select this edge right here, holding shift also like this one underneath, going to the other side and select those ones over there too. Then press control e and go mark seem basically what this is doing is it's taking those edges and cutting them up. So then when we UV unwrap this, it'll properly UV unwrap. So then press a once or twice to make sure everything is selected. Go you and unwrapped. We're gonna have to go and open up the ubi image editor to unwrap this properly. So split the view. Come up here and go to the UV image editor. And with this selected, I'm gonna press a than are to rotate and I'll rotate it this way. Then Gina move and I'll place it in the middle of our seen also skillet up right about there until it fits the frame and that looks pretty good. So now we look on the side, you can see the image is now properly going over just like a canvas would in real life. Now that we've done that, we can go ahead and close off this tab and go to the first layer by holding shift and then one, I'm gonna place this canvas on the second floor so crazy and go into wire frame one, and then we'll position it right up top here. I'll scale it down and then I'll rotate it So it's facing on this wall, so going to top view are to rotate and will rotate it this way G to move and will place it right on this wall. So right about there looks pretty good. Make sure that it's against the wall, so go inside the house, presses e and go back into solid view. and then I'll press G Y r g x. I mean and just drag it back right about there. Looks pretty good going to camera view and make sure that you can see it, which we can, and there we go. 26. Adding Stairs to our Scene: Hello, everyone. And in this video, we're going to be adding in some stairs to our modern house. Currently, there is no way to get from the first floor over to the 2nd 1 So we're gonna be adding in some stairs to give our house some more detail. We will be positioned in it over on this right side. So let's go ahead and extend out this wall just slightly. So we have a little bit more room to work with. So select your wall right here and go into edit mode, press aide de select and then going to face elect mode and select all of the faces on this side. You knew that by pressing C and then just clicking over all of the faces right here. Make sure you select these faces in the back as well. Then it press G acts and just drag it out just a little bit. So we have some more room. The next thing that will do is go to a new collection and start modeling of the stairs. I'm going to collapse all of these collections just to make it a little bit more organized . Then I'm going to right click and go new double tap and name this collection stairs and then go to collection. Is that five? Go to collection five. And now we can start modeling our stairs. So go ahead and add in a cube Super shift a go to mesh. And then Cube. We'll zoom in on this cube pressing period and it will zoom in right on it. And now what we'll do is press s X and scale it out to the assize that you think stairs would be probably around there. I'm also going to enable our grid Flores, we can see our model just a little bit better to do that. Come up here and click on four. Now, our stairs are a little bit too tall, so I'll press S and Z and scale them down. And the next thing I'll do is add in a top to our stairs. To do that, go into edit mode, make sure you're in face always mode and then select this top face press ito extrude and then right click press s to scale and scale it out just a little bit and you'll notice that is skilling along the X A lot more than its skilling along the Y. And that is because this is a long queue bright here, So it's stealing it proportionately to fix this. We're gonna press s and then why? And scale along the wire to make it a little bit more even. Right about there looks pretty good, and you can zoom in and double check that this length is the same as this, which it looks pretty good right now. Then we'll press either extrude and just drag it up just a little bit in there. We can see we have a nice top to our stairs. I think it's a little bit too tall still, So press s and Z and just scale it down just slightly. Next, let's add a material to this. So over on the material tab, I'm going to click on this drop down menu and type in the word white, and we should see a white glossy. So select that, then hit the plus sign. Click on the drop down many and type in black, and you should see the black glossy. So select that and then go into edit mode on our cube. We're gonna be applying this black glossy to this top bit right here. So go into front of you president and go into wire frame and then box select this top suppressed B for Bak Select and just draw a box around the entire thing and then go a sign over on this side. So now if we go back into solid view, we should see the block right there, which we do not too bad. Now let's add in a ray modifier to make this go up at an angle. To do this, go over to the modifier tab, click and modifier and array. Right now it is set to the X access. So if I bring this up, you'll notice going along the X. I don't want it to go along. The X I wanted to go along the Y and the Z So said the X value to zero and the Y value to one. And this devalue to one as well. It was in men. We can see the effect that is going for, and I think I want to bring this down 2.9 on both of these. There we go, so you can see that it's inside just like that. Now, if we turn this up, you'll notice that it's going up just like that, and that is looking pretty cool. Not too bad, I think. Well, said the count to a value of 12. Okay, so that is looking good. And now let's add a railing. Because right now, if somebody was to walk up and they trip and fall, the probably just go over the side. So we need a railing to prevent that. The railing that will be adding is a glass one going all the way up, and then we'll add a hand railing as well. So Precious Day and we'll add in a mesh and then plane with this plane I'm gonna press are then why in 90 and enter, then go into side of you by pressing three and will position this accordingly. So scale this up and then press G and will move it right about there. Looks pretty good, and now what we're gonna do is go halfway up and then we'll add in another plane going the rest of the way because if you have a single plane going all the way up, it's not that safe. It could break really easily. So we're gonna be splitting the glass into two different planes. Going up, going to edit mode on this first plane going to Verdecia Select Mode will select with this Versi holding shift also like this for to see and then I'll go halfway up. We can see that theory count is currently set to 12. So we need to go up six stairs and then stop, so we'll count. 123456 So right here is where we need to stop. So now it will go to our plane again, go back and edit mode in the No press G. And then I'll move this right here on that corner of that sixth stare and I'll zoom in and just place this right on that corner and drug back a little bit. So we have a small gap. You also might notice that it's not even. It starts on the bottom stair right here, and then it goes like halfway into this last year. That is because we need to select these Vergis ease press G and why, and dragged them back till it's right on this corner. And now it's an even going all the way up, and it's right on those corners on the end. Right here, I press you to extrude. Then why? And I'll just drag it out until the end of the stair. The next thing that will do is go back into face elect mode, select this face press shift D. So all position it right about here are so I'll leave a small gap from this plane to this plane and then at the top right here. I'll go back into face locked mode also like these faces, and I'll just drive them the rest of the way up right about their looks. Good. Now we can see we have two different planes right here and let's move them to the side suppressor G, then acts and then move it along till it reaches the end. Then, with this plane's elected, I'm going to go to the modifier tab, click, add modifier and solidified. To give this some thickness. Will drag this solidify up just a little bit until we have a nice thickness right there, and I think that looks pretty good. So about 0.0 to 7 meters and that looks good. The next thing that will add is a railing to go along. So what we're gonna do is go to our cursor and then placed our cursor right on Tough right there. Then we'll go back to the selection, then press shift. Eight will add in a cylinder press three on your number pad to go to side view, and then we'll rotate this cylinder along its site. Subjects are to rotate. I'll hold control and I'll snap it to 90 degrees. Scale this down and then place it right on that edge. And I think that's a good size. Maybe just a tiny bit bigger right about their looks. Good. Then go into edit mode holding Ault. I'm going to select that ring right there, and it will select the entire thing option on a Mac. Then all press egy. Then why? And drag it over. Next, press Ito extrude and then left. Click and then we'll drag this going up all the way to the top so we'll go right about their looks good and out there. Then we'll ship the this place it here and we'll go the rest of the way up. Suppress Peter Extrude, then G to move, and we'll move it all the way up to the top. Once you zoom in right here, place it along the edge and that looks pretty good. Go into top view and make sure it's in the center of the plane so you can zoom in, press dizzy and go into a wire frame. And if we so left our plane, where is our plane? Right here. We'll go back into top view. You can see that it's a little bit to the left, so also like this and move it over to the right. And there were ghosts and have to go back into solid view. We can see our glass planes are railing. Is looking pretty good now for the material. For this, I'll just select it. Go over to the material tab and then underneath the drop down many I'll just type in the word glass, and we'll be using that same glass material that we were using for the windows. So selective loss for the railing I'm going to click on the drop down menu type in the word white and just like the white glossy just like that. Now, one more thing that will be adding to our stairs are some supports, especially on the bottom. Right here. I want to make sure they're connected to the stairs. So go to your cursor quote right there to snap are cursor to that position. Then Oprah shift a and click on cylinder going to front view and will rotate this cylinder 90 degrees. So rotated 90 degrees. Holding control will snap it right there and all Scale it down. Press G X and this dragon over to the right. So it's inside, but also peeking out of the glass and then also double check that it's in the middle of our stairs. Surprise, Easy going to wire frame. And I'll position this right in the middle of our stairs, right about their looks. Good. And what we're gonna do to duplicate this going all the way up is we're going to select the cylinder holding shift, also like the stairs and then press control J. And that will join that objects. So now every single one of these stairs has a support, and I think this is using the white glossy material which it is, and I think that's fine. And finally, we'll add in some bevel to our stairs to make it look a little bit more realistic. And then we'll position it in the house, so select it. Go over to the modifier tab. We'll click, add modifier and devil, and we can see the bubble working. But if we look on the side, it's a little stretched out, and that is because we need to apply the scale, suppress control, a click on the scale, and then the segments will drag up to two. Perfect. We'll do the same thing for the glass right here. So select it. Go at modifier, bevel control A and scale. And it looks like since we applied the scale, we also need to fix the modifier right here, so we'll drag that out. Then, for the double modifier. I'll drive this down right about their 0.0 to 2, and then I'll turn up the segments to two as well. Select a railing and then right click and do shade smooth. If you have the right click for selection, you'll have to hit W. But if you're using left click for this election, you can right click and then go shade smooth, then also added a modifier and head split and weaken. See, that gives it a nice crisp edge and it has a smoosh eating going up. And there we go. Now it's position it in our house. So bright shift one. Well, we can see our house comes in and we need to make sure that this is scale because currently it's way too big. So also like this. So, like this one, this one and I think those are all the objects. Yes, it is. And then press s to scale and we'll drag it way down. Press seven on your number pad. And then we'll position this on this side of the house so right about their looks good. And then press g dizzy and drag it inside, scale it down even further. And then we'll go into side view and then we'll position it going up, suppressed g. Then why? And drag it over this way. Gz to drag it up right about their looks. Good. Then we'll also position it along the wall, suppressed G, then acts and then move it along until it's right resting on the wall right there. Go back in the camera view and just double check one more time, which we can. We can see it perfectly now. Let's duplicate the lights. Surprise, shift to and bring back the rest of the scene and the lights that will be duplicating are the ones sitting up top. So select the light, then also selected mesh that is attached to it. Then go back into top view and then press all the and then we'll move it along, position it there and then press all the position it right along all d one more time, right about their looks. Good. Then select all of them. So box, select every one of them and drive them down, suppress G Benzie and drag him down till they're inside. Go back into camera view and to see these lights and action. What I'll do is I'll press control, be draw box and then Z and going to rendered view. Once we do that, we can see the stairs and we can see the glass and everything, and that is looking pretty good. Let's go back into solid view. So they're ago. We've added in some stairs to are seen in the next video, we will create the curtains 27. Creating the Blinds: Hello, everybody. And in this video, we're going to be creating the blinds for our second floor. We'll be using the cloth simulation and some other modifiers to get this effect. So let's go ahead and get started. The first thing that will do is add in a new collection and then go to that collection and add in the cloth. So come over here to the right side, right click and go new. You can name this collection blinds and then if you press six on your keyboard, it'll go to that collection. Then brush if they will go mesh and claim with this plane I'm gonna press are than x 90 and enter. Then go in to front view. We're going to scale and move this plane up to the second floor to get the proportions correct surprise shift and then one then press G and will move this plane up to the second floor. You're gonna want to make sure it's about the size of one of these glass planes, suppress s, then acts and scale this inwards until about that size than s Z and scale it up. You're also going to want to make sure that it's a little bit lower than the ground or the floor right here. So we'll position it right about there. Looks pretty good. Then press s Z and skill it out. I'll press Izzy and go into wire frames. You can see the exact dimensions, so it's right at the ceiling and then it goes down underneath the floor. Right about there. Go to layer six and now will enable the cloth simulation to do this, though I'm gonna add in one more plane. And this is the plane that will be moving and making the cloth land on, so I'll skillet up and place it right underneath. Then we'll select the clock, go into edit mode and will subdivide this a couple times so all press control or command are and add in a couple Luke Cuts will go with about four Luke cuts left. Click and then right click. Then I'll add in one look cut down the middle, so left, click and then right click. The reason I did this is because I want there to be square faces the route of the mesh. If there are rectangle faces, the classy Malaysian won't look as good so I want to make sure that these faces are square . And now if we press a once or twice that select everything we can right click and click subdivide. If you're using right click to select, you can hit W and then click subdivide so subbed by this. And we'll do this couple times, so right Click Subdivide and right about there looks pretty good. So about three times, then what we'll do is we'll select the loops going down and will select every other one. So to do this, I'm gonna hold Ault and then select that loop, holding, shift and alter also like this loop, and we'll go every other one going down the mesh. Then we'll go into top view by pressing seven, and we'll move these vortices back just a little bit, suppress G. Then why? And we'll drag them back till it's about that length or so. So about one grid unit back and that looks pretty good now will enable the clause in relation to go over to the cloth settings and go cloth. Now, if we were to play this right now, you'll see it falls straight down and I don't want it to fall straight out. I wanted to stay where it's and so to do this, I'm gonna go into edit mode holding Ault. I'm going to select that top blue right there, go over to the Vertex panel and then hit that plus sign and go a sign. What this is doing is it's going to go into weight paint and a sign this top to have a vert expert. So now we're going to assign this vortex group to the pinning in the cloth simulation. So I'm going to go back into object mode, go down to the physics panel, and underneath the shape, you'll notice that there's an option for a PIN group. If we select that group that we just created and we press the space bar a choo play, you'll notice that it's stained where it's at. And that's because up here is holding all the other cloth in place over on the right side. I'm going to click on this button right here and change the preset to silk. What this will do is it'll just change the clot to act more like silk and move and bend a little bit more, and another thing that will do is just change these values down here, to to the tension, compression and shear. I'll change all these two to in this year's means that the cloth will bend even more now that we've done that, let's select the plane underneath here and add a collision modifier to this so it can actually interact with this plane right here. So now if we press the space bar and then G to move this plane, we can move and position the cloth how we want. So what I'll do is I'll go back and all press space bar to play it and all. Just press G, and I'll move it just slightly so that the the cloth kind of wraps down at the bottom. Right about there looks pretty good, and you can see it's kind of wrapping underneath, and that doesn't look too bad. Now what we're going to do is just select the cloth right here, and we're going to apply the modifiers so that the cloth stays where it's at. Before we do that, though I always like to duplicate my objects so that if we ever need to go back, we can and it's not destructive. So I'm gonna prop shifty on this plane right here and then I'll just hide it from the render and the view. So just click on those two buttons right there, and it will hide it. Then select your cloth right here. Go over to the modifier section and apply that cloth. So now we can move and position the cloth how we want and it will stay where it is. The next modifier that will add is a subdivision service so quick and modifier and subdivision surface and will set both the view and the render to to And if we zoom in down here, we can see it looks a lot better. Let's go ahead and right. Click and go shade smooth or press w and go shades move. Another thing I want to do is scale this inward so that the creases are a little bit stronger. So all press s then acts and skill in than s and why, and scale it back right about there. It looks pretty good. You also might notice that this is paper thin, and so we need to add a solidify modifier to make sure it has a little bit of thickness, so breast control a will apply the scale so it applies it properly. Thing go and modifier and solidify set the thickness down here to be a little bit lower. Probably around a 0.1 or so a 0.1 right about there looks pretty good. Now let's delete this plan, since we're not going to need it any more, and we'll go back to Layer one in position to this so press shift and then one, and that will bring back our first layer. And then we'll select airplane by just clicking over here and then more position it. So going to front view next, all presi and go into wire frame and then I'll zoom it and make sure that it's not going inside the floor. Surprise s then Z and scale it down and then present Jeezy. Drag it up. Just make sure that it's just right resting on top of that floor. Now that we've done that, let's move it over to the left. So it's right against that wall and then we'll duplicate it in place. It on the other side suppressed all D, then acts and move it along pills resting on the side of the wall. Then we'll do the same thing on the left side. So going to top view, all press all d and we'll actually before we do this, let's go ahead and move these into place. So selecting both G why and drag them close to the window, then all select this one all d. The art of rotate and I'll snap it to 90 degrees and I'll place it right there, then press all day again. Why, and drag it over till it's on the other side. Press dizzy and go into solid view and make sure that it's not going through the windows, which it isn't. And that looks pretty good. Let's go ahead and give this blind a material, so select it. Go over to the material tab and select new. We'll call this material blinds and then we'll open up the note editor. So come over here and drag this out. So, like this menu and go shader editor, then press end to close off that toolbar. The first thing that will be adding is a trans Lucien Shader. So far, shift a go to Shader and translucent place that right here, then Project Day will go to Shader and then mix shader right here. Take the output of the principal plugged into the top and then plug the transition into the bottom, then the shader into the surface of the material output. Now, this factor now controls how strong this translucency effect is. So all the way up, you can see the effect that is going for will probably go with a value of 0.6. Now what this transition Shader is doing, it is allowing light to pass through it, just like we can see right here. For the color of this, I might go with just a slight tan color. So right about there and the translucency. I'll also give it a slight tan color. Now for the roughness, I'm going to brush it a add in a input and then for a Nel note and place that here. Then take the pronoun and plug it into the roughness. And what I'll do to control this is opera shift a go to converter and then math note and place that here then, for this multiple, I note I will set the value to four and we can see the effect that it's doing. We can see that the glossy nous is on the edges, and it's not so glossy in the middle, and that is what the hell does. It takes the edges of your mesh and applies it to whatever you specified, and there we go. So now that we've done that, it should apply to the rest of the blind. Since we pressed oldie instead of shifty and it looks like a dit, let's go ahead and close that off, and in the next video, we'll start doing the render settings. 28. Render Settings: in this video, we're going to be setting up the render settings. The first thing that will do is set the focus object in our camera. To do this, I'm going to switch to the cursor tool, and I'm gonna place my cursor right there in the middle of our scene. And then I will add in an empty. So for a shift, a will go to empty and then playing axes. And if we look at the name of this weaken, see over here on the top left, it's empty 0.0 26. So now if we select camera and go over to the camera settings, which is this this panel right here, turn on depth of field and the focal object will type in 26 then select empty 260.0 26 and the F stop. If you turn this lower, it'll be a lot more blurred out. If you turn it higher, it will be a lot more in focus, so I value of 2.8 is actually pretty good. We'll leave it as it is next. Let's go over to the render settings and underneath color management and underneath. Look, we're gonna be setting this to medium high contrast. But this will do is it'll take the overall scene and just give it a little bit more contrast. And that is what we want. I think this looks pretty good, so we'll leave it at medium high. If you want more contrast, you can turn it too high or very high. But I'm gonna leave it at medium and underneath the samples. I'm gonna set this to a pretty high number. We're gonna go with 1000 samples after you've done that, open up the light paths and then turn off reflective and refractive cost checks. And this will discover it of some of the fireflies in your scene. Another thing that we're gonna want to do is enabled the noise ing for our render. What this will do is it will help get rid of any noise that is in our scene. So especially in the shadows, it'll help kind of smooth it out. To do this, go over to the view layer scene right here, and then scroll down to you. Get the noisy. Just check that box in years and you should be good to go. The settings underneath here If you turn off the radius, it will be a little bit stronger. And then the strength you can leave everything, as is developed settings I found that is the best. And now that we've done that, we can go ahead and render out our image. So save your project and then I'm going to enable the rest of our layers. Surprise shift 2345 and then six to bring back all of our layers. I went ahead and did a test render and the lighting was not as good as I wanted it to be. So here are some changes that I did. First off, I deleted the sun lamp in the scene that was over on the right side to go ahead and delete that. And inside the house, I changed the lighting, the ones that I have selected right here, I change them to an area lamp and I set the strength to a value of six for the world. I went ahead and brought up the strength to a value of 0.2 and finally inside the house, I selected the black glossy lamps and I set the strength of those 22 and I also gave it a warmer color. And then to render in Blender 2.8, you need to go up to render and click on Render Image or the shortcut is F 12. So once you do that, a window will pop up and it'll start to render in the next video we'll post process are render. 29. Post Processing: Okay. Our render has finished, and this is our result. I think this lighting looks a lot better than before. As you can see, if I press one, I went ahead and stop the render halfway through. This lighting looks not as good. The shadows are weird, and the sun lamp is making some weird shadows. So this lighting looks a lot better. Now, in this video we're going to composite are render to do that, I'm going to hit that exit and then open up the compositing tab, which is at the top right here. You can press end to close off that panel and then also closed this off because we're not gonna need it. Next. Select this runner layer and move it over to the left. So we have some space to bring in a viewer notes. We can actually see what we're doing. I'm gonna hit control shift and then left click. And that would bring in a viewer note You compress it V to zoom out or ault V to zoom back it. The first note that will be adding is a glare note. So go ahead and press shift. A go to filter and then glare. Place that right here. Take the image and plug it into the composite as well, and set this to fall glow, and we can see the effect that it's going forward. We can see the pool lights have a nice glow. The lights inside also have a glow on the side looks pretty good. You can bring the threshold down and now will increase the glow, and you can also bring up the size to nine. And there we go. The next note that all add is a color and then color balance note, and we'll do some color grading. You can plug that into the composite, and for this this left side is the shadows. This one is the mid tones, and then the gain is the highlights for the shadows. I'm going to give them just a very, very slight blue color, so just drag it up just a tiny bit. If you overdo it, you can see the effect everything in terms blue, so make sure you keep this at a very low blue color for the highlights. I'm going to drive them up so everything is just a little bit brighter. Maybe even a little bit more than that, that looks pretty good. And then I will give them in orange reddish hue. I think that looked pretty good. And finally, I'll change the brightness a little bit to go over to color and add in a gamma note who plays that here, and to increase the brightness, we need to turn this it down. So want to do that? We can see everything is a little bit brighter, and I think that's too much. So also do is go 0.95 We'll see how that looks and to figure out exactly what your note is doing. You can hit the M key to mute it and then the M key to a mute it, and I think that looks pretty cool. The next thing that will do is press shift day, go to color and then mix and place that here. Then take the mix and plug it into the composite, and we're gonna be adding a vignette, suppress shift, a go to distort and then lens distortion. Place that here, then shift a go to filter and blur. Then take the image and plug it into the image of the blur. and set the distort value to one over in the blur. Change this too fast and click on relative, then plug this into the mix note and set this value to multiply. Right now we can see what these two nodes air doing. It's making the corners of our image black. And if we go over to the UAE and set the X and Y value to 20 it will blur out those corners and make him look pretty nice, as you can see there. If you want a sharper shadow, go ahead and drive these down to, like 15 or so, and you can see there we go. I think that looks pretty good. And to get rid of the white values, go ahead and set this to multiply. And there we go. It will bring back our image. This controls how much of that shadow will be in our scene, and I think a value of 0.6 is pretty good. So not too much. But it's just a subtle change, and I think it helps. The Gamma on might go a little bit lower. Let's go 94 just two brain up or seeing a little bit and then the highlights. I'll drag up even more. If you really want the highlights to stand out, you can drag this up even further, and we'll see how that looks. Actually, I kind of like how that's looking. That might be a little too much, though, so bring the highlights all the way to their and that will give some nice contrast from the bright and the shadows. Now let's go ahead and check a before and after. So I'm gonna hold control Shift left. Click on this that is our raw render. And then here is the composite and you can see it looks a lot better to save this image. You can press F 11 to bring up that window, and then in this menu, type in the word viewer select viewer, and now you can go up to image and then save as image. So there you go, guys. That is the final video of creating of the modern house. If you're wanting to learn how to composite your render in Photoshop, go ahead and view that next lecture. If you're interested in learning about how to create this couch or the tree in the background, There are a couple more sections in this course, and you can go ahead and view those and learn how toe do that if you are interested. But that's gonna be it. Thank you for making it all the way to the end of this course. If you created a really cool image, I would love to see it. So make sure to post it in the assignment after this video. Thanks again, and I'll see you guys in the next one. 30. Denoise Node: Hello, everybody. And welcome back to another video. In this video, I'll be showing you how to use the new D noise node in Blender 2.81 That version of blender just came out recently, so make sure you go download it. This course was recorded in Blender to 18 But in this video, we'll be using Blunder 2.81 Now, the new D noise feature is very powerful and it can take some very noisy images and just completely change it and make it look like it was rendered at, like 5000 samples. It is extremely powerful. It is much better than the currently noise that we have in Blender 2.8. So I highly recommend you go update your version of blender to actually use this feature. It's in the compositing note after you do Orender. So what we're gonna do is set the render samples over here in the scene panel to 200. This will produce a very noisy render and then we will be able to use the D noise note. Another thing that I'm going to do is go over to the scene panel right here in the view layers and turn on D noisy and data. What this will do is it will enable us to take certain passes like the normal pass and then the diffuse pass and then combine them with the D noise note, and that will produce even better results. So make sure underneath the passes right here that you turned on D noisy and data. Now that we've done that, we can go ahead and do a render. So I'm gonna go up to render and click on Orender image. Now, since we rendering at 200 samples, this should go pretty fast. All right, the render is done. And as you can see, there is a lot of noise in our scene, especially in the upstairs, right here in the window downstairs by the stairs over here. And, of course, in the pool, there is a lot of noise. So now let's go over to the compositing tab and fix this render. So I'm gonna exit out of that window, click on compositing, and here we can see what our current compositing looks like. What I'm gonna do is scroll over to the render layers and you'll notice we have Dino, easy, normal Alvito, death shadowing and all these other different values. What I'm gonna do is press shift a and go over to filter, and then you'll notice a D noise note right here all place that in between the render layer and the glare. Once we do that, we can see that this is a huge improvement already. It looks extremely good. All of the noise is gone upstairs and downstairs in the pool and everything. But you might notice that it is a little bit blurred, especially in the upstairs corner. So that is where the D noise normal comes in. If we take this and plug it into the normal of the D noise note and then we take the albedo , plug that into the albedo, it should fix up that corner. And as you can see, it did work a little bit better. You can see that corner is a little bit more sharp downstairs looks a little bit better, and this is a very, very good image at only 200 samples, the high dynamic range. What this will do is it will just take the HDR and kind of helped to figure out where the D noise needs to work. It's a little bit complicated, but you should always have this turned on. If we take a look at the D noise normal by hitting control shift and left clicking, this adds a navy or node right here. We can see this is what aren't past looks like. So it's taking the normals and trying to figure out exactly where the faces are pointing. And so that helps figure out where the corners and the edges are. If I hold control, shift and left click one more time. This is the albedo past, which is just the diffuse, and this also tells blender where the different faces are and exactly where to put in the D noise. So whenever you're using the D noise note, you should always try to play these in. And then if we take the multiple I note and control shift left, click on that and then we can see our whole image right here. And as you can see, it looks very, very good. Then, to save your render, just press F 11 to bring up that window, click on this menu here and type in the word viewer viewer node. Then you'll be able to breast shift s and save that image. So there you go, guys. That is how you use the new D noise note in blender 2.81 Thank you for watching. And if you created your own image, I would love to see it, to make sure descended to me. 31. Cycles Clay Render: when doing architectural renders and presenting your images to clients. Sometimes it's good to include a clay version of the render. A clay version is just a blank render with no materials or textures, just the models itself. There is a very easy way to do this in cycles, and today I'll be showing you how that works reverse need to create the material that we want to present over all the other materials. To do this, we can just add in an object and then assign a new material to that. So I'm gonna press shift a and then add in a mesh and then cube and dr this over to the left and down. So it's out of the way, then jumping over to the material tap. We can give this a new material. Let's call this material Clay, and this is important. We need to remember this later and then for the default settings. Just the principal Shader, with a roughness at 2.5 is perfectly fine. From there, we can jump over to the layers panel, which is this button right here, and then scroll down to you see override. If we open up this panel you will see and material override option. What this will do is it will override every single material in your seen to the one that you assign. So if I type in the word clay, we can assign that claim material to everything. Now, if we were express Z and going to render view, you will notice that every single material is now that clean material that we assigned right here. Now, this looks pretty good, but you might notice that the glass material is now gone and replaced with the clay and we can't see inside the house anymore. There is a pretty easy way to fix this and I'll show you exactly how to do that. So let's president and go back into solid view. I'm going to select every single one of these windows. So hold sauce like this one holding ships like this one. This one, this one and then finally this one right here. Now, if we go into edit mode, we can select Onley those glass materials. So I'm gonna press a to de select everything, go over to the material tab and then make sure you have the glass material selected and then click on the select button right there. And as you can see, it selected all of those glass materials. Now, what we can do is press G Z negative 10. Make sure you do a number that you will remember and then enter. And there we go. You can see the glasses now at the bottom. And now if you're crazy and go into rendered view, we will be able to see inside the house. And there we go. That looks pretty good. Now let's go ahead and render this out. So I'm going to go back into solid view and going over to the render samples. I'm going to set the sample amount to a value of 400. Then all you have to do is go over to render and click on render image. This will bring up a new window and it will start to render out your image. The render has finished and this is our results. And as you can see, that looks really nice with the lights inside. And every material is now that claim material that we assigned to save this image, you can go over to image and then save as image. Then if you want to go back to your original image, you can just go out of this window here, go into edit mode with all of these windows selected. And as you can see, we already have the windows down here selected then since we minus it by 10 Weaken Gogi Z and then regular 10. And that will snap the windows back to its original position. And there we go. Now we have our regular seen, then Weaken, Jump over to the view layers panel, which is this panel right here, and uncheck this clay material. And now everything will be back to the original material with all of the textures. If you want to learn how to render this in TV, go ahead and view the next video. 32. Workbench Clay Render: Hello, everyone. And in this video I'll be showing you how to get a view. Port Clay render using workbench. Now workbench is a new render engine that is mostly used for modelling our sculpting, and I'll be showing you exactly how it works. Unfortunately, you can't really do a clay render using a B. There's no option to override all of the materials. So what we're gonna do is switch over to the work bench and get a very cool render using that. So what we first need to do is go over to the Render engine right here and switch over to workbench. And here is what our current scene looks like. If we brought Z, we are in rendered view and over in the settings weaken. Tweak this to be exactly what we want. So it's first president and go tog overlays, so we don't see any of the lamps, just the basic scene. The first thing that we have here is the runner samples, and if I zoom in a little bit, you can see that the edges not very smooth. It's a little bit jittery now. That is what the render samples does. If I bring this all the way up to 32. It will smooth out all the edges and it will look a lot better. So let's go with the render sample of 32. Underneath that we have the lighting. Here is where you can get some interesting results. We have a bunch of different presets for the studio lighting. You can enable a madcap, which I'm gonna do. And I'm going to select this one right here. I think this one looks pretty nice. And then underneath that we have the color. Here is where you can change every single object to be exactly one color. So if I select single, it'll change everything to this white color that we select right here. Or you can change this to be what you want. You can also select object will which will display the object color. Random will select random colors, vertex texture, all of this other things. I like just using single because we're going for a clay version. So let's select single and underneath that we have options for back face cooling, which will enable the the back face of an object to be transparent in this case. Since all of our meshes are usually closed. We don't really see this, So we're gonna leave it off. X ray will enable us to see through the mesh, and you won't see anything until we render it. So I'm gonna press that in little press F 12 to render out an image. And here we can see it's all transparent. I'm gonna go ahead and uncheck x ray because I don't want that in the final render and I'm gonna turn on a shadow. This will enable stab shadows in our scene. And the direction of the lighting is coming down this way so you can see a small shadow right there and then cavity. Here is where you can get some interesting results. The world space. You can change these values, so if you want more of a dark color in the corners, you can turn that up or down The valley will do the exact same thing as you can see there, up or down, you can just play run these values. Usually the default values were perfectly fine. You can enable depth of field, so whatever your camera is focused on, that will have an effect and then outline. Here is where you can get some interesting results. If I turn that on and I consult the color by changing this if you change it over to a blue color, it will give you this effect. I'm just gonna leave it as black for now because I think that looks the best and then underneath film. If you want a transparent background, you can go ahead and turn that on and you can see the background is now transparent and then finally, underneath color management. All of these options are right there if you want to. So if you wanted medium high contrast something like that, those options are there for you. And now that we've set up our settings, we can go ahead and hit F 12 to render out an image. And there we go. We now have a view port render of are seen. Now, since we are using the composite, he knows we might want to tweak those just a little bit, so we don't have that glare right in the middle. But that is basically how you render a clay version using TV or workbench. Let's go ahead and go over to slot one by hitting one on the number pad, and then we can switch over to the review Ranger engine. But switching over here to E V and all of our settings are still there. And we compress F 12 to render out an image. And there we go. So this is our render using TV, and this is a render using workbench. So there you go. That is how you render out a clay vers and using cycles and e v and workbench. 33. Post Processing in Photoshop: In this video, you will learn how to composite your render in photo shop. Right now, though, we're in Blender and we're going to save this render result. This is just the raw render. To do that, go up to image and then click it saved as once you view that, go ahead and jump into photo shop and we can import that. Image it. Once you have the image open in Photoshop, the first thing that will do is convert this to a smart object. So once we apply a filter, it'll be nondestructive, and we will always be able to go back. To do that right, click on your layer right here and then go convert to smart objects. Now we can go up to filter and then camera raw filter. Now what we can do is change the temperature, the exposure and mess with the highlights and all this stuff pretty easily with the sliders , the de mature. I'll drive this over to the blue just a tiny bit. Let's go with a value of negative nine. The exposure I'll drag up so everything is just slightly brighter. The contrast all drugged up just a little bit the highlights as well. And the shadows. You can mess with things if you want to you it might drag them down just a tiny bit to give everything some contrast and the clarity. This will make everything pretty clear. You want to be careful with this. If you go too much, you can see the effect. I'm probably going to go with a value of plus 20 and the vibrance the difference between vibrance and saturation Vibrance is a little bit more subtle, and saturation makes everything a little bit more saturated. And vibrance only focuses on the already saturated colors. So I'm going to turn up the vibrance and then slightly turn up the saturation. Next, go over to the sharpening and we'll bring up the sharpening amount to a value of about 20. And we don't really need to mess with the noise reduction at all. If we bring this up, you can see our texture kind of disappears. So we're gonna leave that off for the Hugh. I'm gonna bring the yellows a little bit closer to the oranges and then the oranges. I'm gonna bring over to the yellows just a little bit to balance out the lighting inside, the saturation will turn up the yellows and also turn up the oranges. I think that looks pretty good. And finally, for the FX, I'm going to bring the post crop vignette lower. And what this is doing is it's taking the outside corners and then darkening them up the feathering with controls. How much of a feather has you can see this? You can totally see the sharpness of it. I'll drive that up and the mid point, which is where it is in the scene, all dragged backwards so it's closer to the edges. Once you do that, you can hit okay in that will post process. And then this is our results and you can see it looks pretty good. The next thing that will do is just add some glows around are seen. To do this, I will add in a new layer and then zoom in on the pool. You can press be for your brush tool, and then you can hold Ault and click and drag to size up the brush, and then up and down will change the hardness. So go with the hardness of zero and then bring the size up to about 1 40 Next holding. Ault, I'm going to sample that color that is in the pool, and then I'm just gonna click right there for the blend mode. I'm gonna set this too soft blend, and you can see that it adds kind of like a glow effect. I'm going to do the same thing over here. So all you have to do is click and that will add in a glow. Come over here, click and then inside the house, I will sample this light up here it right about there looks good, and I will bring our brush smaller and then just click right there. Same thing there. Click. And just like that, that looks pretty good. Inside where the black glossy lamp is. I'll do the same thing, so just click right there and there we go over on this side all size up the brush and do a couple quicks going across, and then I'll also click right there for inside the house. I'm going to set the opacity quite low to a value of 30 or so, and then I'll click right there just to add a very subtle glow Now we can see the effect if we turn this layer often on, that's before and that's after and that gives it a cool effect. If you want to change the filter, you can go ahead and double click on this camera raw filter, and that will bring up our view window here and we can go ahead and change the settings. I might bring up this exposure a little bit more and bring the temperature down and then hit OK? And I think that would look a little bit better. And as you can see here it does. So this is the before and then this is the after with the filter. To save this image, you can go up to file and click on to save as and then save it as whatever file type you want. You can also save this Photoshopped filed by hitting control shift s and setting this to a Photoshopped document and we can just call this modern house. So there you go, guys. That is how you composite your render in photo shop 34. Modeling the Tree: Hello, everybody. And welcome to a new section in this section. We're going to be creating a tree in Blender 2.8 will be using an add on called the sapling and on, and we will start creating the tree with some different settings and getting it looking just right, and then we'll move on to the material, the leaves, and then we'll render it out. The first thing that will do in this video, though, is enable that add on, so go up to edit down to preferences and then in the search bar underneath the add ons. You're just going to type in the word sapling, and you should see a sampling. Add on right there. Go ahead and check that box, and then you're good to go. Next, go ahead and delete this cube and then per shift a and underneath curb. You should see a sapling tree generation out on right there. If you click on this, you'll see a tree pop into your scene, then over on the left. Here, you'll notice that this loads up with a bunch of different settings and values that weaken tweet to get our tree looking just right keep in mind, though, If you do anything like for example, if you select a lamp and you try to go back to those settings, they will disappear and he won't be able to change your treat. So make sure before you do anything else in your scene is you get your tree settings correct, and then you move on. So the first settings right here are the geometry settings and this 1st 1 is the bevel. This controls if you want bevel in your scene. So if I turn that off, you can see that the entire tree just becomes lines and curves. If I turn it back on, it has a three d effect. You can change the bevel resolution if you want to. I'm actually going to go up to two right there, and I'll leave this one at four. You want to be careful with this value because if you add a lot of branches, this will really slow down your computer. Then under meet the shape, you have a couple different presets for the different shapes that you want. If you want a spherical shape, you can change that. They're the one that will be using, though, is the 10 flame. So go ahead and select that one underneath that we have this value here. And if you turn this down, the branches will go closer to the bottom. If you turn it up, the branches will go higher. And so on. The value, though at 1.5 is actually perfect. So I'll leave it as it is. The branch rings controls How many rings are on your branches? And since we don't have a ton of branches in the scene, we don't really see this doing too much the random seed. This will just give a random variation, and sometimes you can get lucky and find a cool preset. We're gonna leave it at zero, though, because I want to do it myself. The scale of this, we're gonna be setting this to a value of six to bring that up just slightly. Also underneath here you have a bunch of different presets as well, and the one that will be playing with is the small able to go ahead and select that one, and we can see those settings change. I'm gonna set this back to six. Okay, Now that we're done with the geometry, we can go ahead and move onto the next one, which is the brands radius. And this controls how thick the branches are and how big the trunk is. If I turn up the ratio here, you can see what it's doing. It's really making the branches a lot bigger. I'm gonna leave it at a 10.2 the ratio scale. You can change this if you want to. This just controls how it basically does the same thing as a ratio except in a smaller version. So you can see here it just changes of the size of the branches. You can go ahead and turn on closed tip and this will just make sure all of the branches here have a closed off tip and there's no holes in the branches. So make sure you do that if you want to, you can change the roof layer, and this will just make your trunk right here. Flare up. I'm gonna leave it at a one, though, because I don't want that to happen next. Underneath the branch splitting, we can change some of these values and this is where we get into the angle of the branches , how tall they are on big and where they're positioned on the tree. The first setting that we have is the levels in this controls. If I turn that up to three, you'll notice that the branches now have a lot more branches. So it's taking the number of levels and then just adding to it. So this trunk is the first level, and then these branches here is the second level. And then if we change it to three, the branches will also have branches. This value is for how maney splits you have in your tree. Right now we have one. I'm gonna said that 20 and we can see it closes that up the trunk height. This controls where the branches are on your tree. I'm gonna leave it as it is, a hand that's a pretty good value. And the split height controls where the split is on our tree, and I'm just gonna leave it at its default settings. Here is where you can set how many branches you want in your scene. And for this tree, I'm going to go with a value of 60 branches. Actually, let's go with 70. I think that would be a little bit better, so we'll set that to 70. The split angle here just controls where the split is on your branches. As you can see, if I zoom in right here, you'll notice if I turn this up, those branches spread further apart. If I bring him in closer, they become closer. I just like it as the default of 18. I'll just leave it right there. You can move the branches around your tree if you want to. And you might notice there's four different values here, and these are for the levels up here. So you see, if I change the third level, nothing happens. If we were going to set this to three, then those branches would be affected. So the only options that we have right now since there's only two levels are the first to you can see this one doesn't do anything. This one does. And this one does as well. Once we're done editing our tree, I'm going to set the levels 23 But for announces, we're changing the values. I wanted to move a little smoother, so I'm gonna leave it at two and will change that in just a little bit. The next one that will go to is the branch growth. And here is where you can set the size of the branches and the angle of them. And for this you can see if I drag this up, you can see the angle of the first branch and hear those will grow if I want to, I'm gonna leave him at the default settings, and the one value that I will change is the down angle right here. I'll just drag that up slightly and the curvature. I'm also going to drag this down so that the branches are angled up a little bit more. I'm liking how our tree is looking so far. I might change the length of this first value to be about a 0.9, so it's just a little shorter, and I think that looks pretty good. Now that we've done that. Let's go ahead and switch back over to the branch, splitting and change the levels 23 And as you can see there, we have a lot more branches in our scene and that is looking pretty good. You can change it to four if you want to. But keep in mind, it will slow down your rendered time, and it will slow down when you're adding the material. Next, go over to the leaves and here is where we can add in the leaves. So what we'll do is we'll click on show leaves and then you can see all of our lives pop in our scene. And the next thing that I'm gonna do is come over here changing from a hexagon over to a rectangle, And there we go. We can see what this is doing to our leaves. Now you might be wondering why we're doing this, and that is because we will be adding in a texture. And it's a lot easier to UV unwrap a rectangle than it is a hexagon. So we're gonna switch it over to rectangle and for the number of leaves, we're gonna be setting this value to 64. Once we do that, we can see that there are a lot more leaves in our scene. And you know what? What I'll do actually is go back to the branch splitting and I am going to change it up to a level of four. And there we go. We can see it looks a lot more dense, and I actually like that a little bit better. Okay, so now we're done messing with the branch settings. You can if you want to change the angle of the leaves. But I'm just gonna leave them at the default settings. I think that looks pretty good. In the next video, we will start you be unwrapping and adding the materials. 35. Adding the Materials: in this video, we're going to be applying the material to our tree. Let's first do the wood materials to go ahead and select the trunk of your tree. And if you were to go into edit mode to try to you be unwrapped this, you'll notice that this is a curve. It's not a mezzo trying to UV unwrap. This would not be good. So what we need to do is convert this to a mess. To do that, you can right click or present W. And then there's an option to convert to mess. Once you click on that, we could go into edit mode, and now we have Vergis ease. The next thing that will do is create a material, so let's go ahead and open up this shade or editor and apply a texture. So come appear and change this to shade or editor. Then press end to close off that toolbar. Hit the new button and we'll call this material bark right there. And now let's add in the texture. The texture that will be using is linked in the article of the section or in the project miles. So once you have that, we can continue. Go ahead and press shift and added a image texture note right here and take the color and plug it into the base color of the principal Chatur and then hit open. Once you found the texture, go ahead and cook on it and go open image. Then what I'll do is I'll add some bumps. Surprise shift A will go to vector and then bump take the color up it and plug into the height and the normal into the normal of the principal Chatur. I'm gonna be setting the value of this 2.8. And for the roughness of the principal Chatur, I'm gonna drive that all the way up to a value of 0.9 and I'll drive the speculator down just a little bit. Once we do that, our material is done and we can go ahead and move on to UV unwrapping this. To do that, I'm gonna go over to the U B image editor And if we go into textured view right here, go A president going to looked up. We should see our texture right here, but it's really stretched out, so we need to UV unwrap this so going to edit mode, impress a to select everything and go you and what we're gonna be using its smart UV project and then hit. Okay, now, this will probably take a couple minutes to figure out. You can see Blender is not responding already. So I'm going to be back in just a couple minutes once this has figured it out. Okay. Has finally UV unwrap that took a little bit of time. And if you don't want to wait for it to you be unwrapped. What you can do is just select one of these vortices and hit control l and that will select that whole tree trunk right there. You can hold shift. So, like this one control l and then go you and just smart UV. Unwrap those two trunks and you should be OK. You can't even really see the branches, so you'll be unwrapping everything isn't really necessary. So if your computer can't really handle that, you can go ahead and just do those trunks right there and maybe that one up their control. L and that will select it. Now that we've done that, though, we can press a once or twice to make sure everything is selected. Then I'll press s over in this window. Type in 15 and enter. Once we do that, we can zoom in and we can see our tree trunk right there. And that is looking pretty good. You can also right click and go shade smooth just to smooth out those corners. And that's it. The next material that will do is the leaf material. And to do this, I'm gonna add in an image as planes. If you don't have that add on enabled, go up to edit and then preferences right here and then just type in the word image and you should see an ad on images as planes. Once you have that enabled you compress shipped a go under image and then images as planes . I want to do that. Go over to the texture that you've downloaded and the image that will be using Is this right here before you imported in? Make sure you scroll down here and check Use Alfa with its set to straight because this is a PNG and it has some awful values, so make sure that is turned on, then hit import image as planes Let's go ahead and bring this over to the right. Suppose g X and move it over. Then we'll rotate it, suppress our then why 90 and then enter, go into taught view and then rotate this around so we can actually see it straight on. And then we'll go into edit mode. We're gonna be cutting this image in half and only using this side. So hit control are then left, click and then right click. So it snaps right to the middle, then go into face select mode, select this face right here, then hit X and then delete it. Then go over to the object data panel, which is this one right here. Then go underneath UV maps and then add in a new UV map. We're gonna be calling this UV map back, so just double click on it and type in back. Then, with this one's elected, I'll press a G, then why? And I'll drag it up till it's under the other leaf right there. We're doing this because I want one side of the leaf to have this texture and the other side to have this one. We're gonna be doing this in the Shader editor with a quick, pretty easy set up. So let's go ahead and do that real quick. Go over to the Shader editor and then with all of these notes selected box, select everything and then move it over to the left. So we have some more room. The first thing that will do is add in a trans Lucien Shader and what this will do is it will just have light be able to pass through the leaf. So to do that, I'm gonna go into Shader and then mix Shader and place that right here next to that if you shader then per shift, they will go to Shader and translucent right here. Take the output and plug it into the bottom Input of the mix Shader. And then set the factor of this to a value of 0.1 for the color. I'm gonna drag this down to be about halfway So right about there. It has a nice gray color and you can kind of see it in the Beaufort right here. But light will be able to see through that. The next thing that will do is just add in some color variation so that some parts of the tree have some different colors and this will just give it some more variation. And it won't look as uniform to do this. I'm gonna press ship day at in a converter, and Colorado will place that right here. Next will brush it day and add in a texture and a magic texture and will place that right here. Then take the color and plug it into the Colorado. And to plug this into this shader right here, I'm gonna add in a color and mixed RGB and will place that here, take the color output and plug it into the color of the mix. Shader then said this to color. Now, here is where we set up the color for our for our leaves. So for this 1st 1 I'm just going to changes to a dark green color. So right about here are so dark green, and then I'll hit. The plus sign will change this one to a kind of like a less saturated, darker green. Somewhere around there looks pretty good. Hit the blessing again. We'll bring it over here. This one will be a light green. So something like that. And finally, this woman will have, like a kind of brownish kind of dead leave looking color somewhere around here. Or so at the moment, you won't really see too much of a difference, and that's because we need to apply it to our tree. But before we do that, we need to set up the back of the material. And to do this, I'm going to box, select everything, press shift D and move it up. And over here I'm gonna press shift a go to input and then attribute. And since we created this UV map, all we need to do is take the vector, plug it into the image and set this to back and make sure you spell it correctly with the capitals. And then all we have to do to plug this in is come over here, select this mix shader and duplicate it. Place that here. Then take this, mix shader and plug it into the bottom input of this one. Then we'll brush if they go to input at an a geometry node, and then there's an option for back facing, and you're gonna want to plug that into the factor. Once you do that? If we look underneath, you can see that texture. If we look over top, you can see this texture. And that is what we want. And that looks pretty good. Now that material is done, we need to know. Apply this to all of the leaves over here. So how we're going to do this is we're going to hold shift. So, like this one, then select this one last. So this is our active object. Hit control L. And then go transfer UV maps. Once we do that, we can go ahead and go over to the material for these leaves. Add in that texture right here, and we should see all the leaves now have a leaf texture, which we can see it right there. And that is looking pretty good. I think it is rotated the wrong way, though, So let's go over into the UV map and see how that looks will go into edit mode. And the UV map did not seem to transfer. So we're going to have to do that manually now to line up the UV map properly. I'm going to come over to this window, make sure everything is selected by pressing a. Then I'm gonna hit are and I'm gonna hold control and rotate it 90 degrees. There we go and you can see the stems. Now line up with the branches right here. Let's go ahead and bring in that image. So come up here and select that leaf image, and then we'll line it up again. Then what we need to do is press G. Then why? And drag it up right about here and then press s why and scale it in words until it fits the UV map. And it's going very slow because it's trying to calculate every single one of these leaves . G. Why will drag it up now that that one is lined up correctly? Let's go ahead and add in a new UV map so that plus sign type in the word back and then enter. Make sure you spell it correctly. Then, with this UV map selected, I'm gonna hit G. Why? Negative 0.5 and enter. And there we go. So now if we look underneath, we should be able to see that other texture and I think we can see up. We can see it right there. Okay, so there we go. The materials are done. I know that was quite a bit, but hopefully you guys followed along and we can see that there are some different colors and it's looking pretty good. 36. Exporting the Tree: Okay, here is our tree. And as you can see, I just set up a quick seen within HDR and some lighting, and we can see our tree pretty well, and I think it looks pretty good. And in this video, I'll be showing you how to group your tree together and then exported and bring it into other scenes. Let's go ahead and exit out of that, and I'm gonna delete the rest of the scene. So I'm going to delete the camera and everything else. Also delete this leaf texture that we added in the previous video so I could get rid of that. And now we can bring this into one big collection. So with this selected, I'm gonna move it to this collection that we have up here and also move the leaves to there and I'll call this collection Big tree. There we go. Now, if we save our blender file and jump over to a new one to do that, go open up a fresh version of blender. I'm going to delete the queue. Then I'll go up to file Click on append. Once you have found your blender file, click on it and go to collection, and you should see the collection big tree. Once you select it, you can go a pen from library and there we go. We can see it in our scene, and we compress Z and go into rendered view, and we should see the leaves right there. Talk overlays, and we can. We can also see the wood texture. Keep in mind, though, if you were to upload this to a website or give it to a friend to download or something like that, and they don't have that texture, the leaves and the wood will show up as pink. To avoid that, we could go back to our original blend file, which is this one, and you can go up to file external data and then pack into blend. And what this will do is it will take those images, the wood texture and the leaf texture and pack it into this blender file. So once anybody opens up this the blender file, it will automatically have those textures applied, and they don't need to go download them. If I click on this, you'll see a thing down there that says packed three files and now we can save our project and then exit and give it to a friend in every single file in this scene will have that in . So there you go, guys. That is how you create a tree in blender. I hope you enjoy. If you created something cool, I would love to see it, to make sure to posted in the assignment after this video. Thanks again. And also you guys in the next section. 37. Modeling & Sculpting the Couch: Hello, everybody, and welcome to a new section in the section. We're going to be creating the modern couch that you see in our scene to do this will be using this cube right here and adding in a modifier, doing a little bit of modeling. And then also we will be sculpting to add in some of the creases on the couch and making it look pretty good to start out with. Let's go ahead and scale down this cubes and make sure you have it selected, then press s. Then why? And I'll scale it down to be about this size. This is going to be the back rest of our couch. The next thing we'll do is going to edit mode and also like both of these bottom Vergis ease. Then I'll hit G. Then why? And I'll drag amount to. It's at an angle. Something like that looks pretty good. Then I'll add in one Luke cut down the middle so control are at in a loop, cut there and then right click to snap it to the center. Then also add in one Luke cut down the middle so left, click and then right click and there we go. The next thing I'll do is I'll add in a multi resolution modifier. And what this modifier does is it will enable us to sculpt non destructively. Basically, that means if we do some sculpting, we can always go back to what the mesh originally looked like. So if we ever do too much sculpting or we don't like how it looks, we can always go back to what it originally wants. With this modifier, you can see it. It's right here. We can go ahead and subdivide this a couple times and you'll notice that it adds some geometry to our to our couch right here. Currently, though, I don't like how smooth it is. So what I'm gonna do is I'll go into edit mode and all select the edges around so all click there and just click all the way around here. Make sure you're in intellect, emote, then go on the other side and I'll just do that same thing. So to select all the edges around here. So, like this one and there we go. So we have all of the edges around our Cube. Then I'll press end and said Amy increase over here in the item, I'll set the me increase up to a value of 0.8. So now if we go out of that emote, you'll notice that our or corners are now a little bit sharper and they're not a smooth. So now, if we subbed by this again, we can see what it's looking like, and that is looking pretty good. All right, so now we're ready to do some sculpting. With a preview set to four and a sculpt mode set to four, we can go ahead and go over here and click on sculpt mode, and you might notice down at the bottom we have a object is non uniforms scale, so we need to go back into object mode, hit control A and apply the scale. Now that we've done that, let's go ahead and go back into sculpt mode, and now we can add in some some sculpting increases and wrinkles and all that stuff. You might notice that when you move around the scene, it changes back to its original form, and this does not look that good. It's really hard to sculpt and navigate at the same time, and to fix that, you need to go over to the tool panel and underneath the options, turn off fast navigation. With that turned off, we can see that if we move around the scene, it stays the way it is right now. I am using the draw brush with a strength. I'll turn that down to a value of, like, 0.1 or so. So roughly around there. And now if I just paint, you can see that it adds some geometry to our mess right here. I'm gonna controls the that, and I'm also gonna turn off cemetery. Because if we were to let me turn up the strength, you can see it a little bit better. If I paint here, you'll notice it paints it on the other side as well. I don't want that. I want it to be kind of random, So I'm gonna turn off cemetery along the X With that turned off, I'm going to set the strength of a little bit lower. Then I'm gonna hold control and click right here, and we can add in some geometry. You can see it is a little bit indented right there. You can kind of see it, and I'm gonna make this look like it's been used quite a bit that there's a little bit of an in debt right here. So control just kind of click something like that. There we go. Just making it look kind of random. Doesn't have to be perfect. That looks pretty good. And if you ever do too much, you can always go to your smooth brush, which is this one right here and then kind of smooth that out. Now that we've done that, I'm going to subdivide this one more time. So we go to five subdivisions rather than four. So hit, subdivide. And make sure the preview is set to five as well. And you might notice that the edges look a little bit weird. And to fix that, I'm gonna use the smooth brush and just kind of smooth out those edges and that wolf help make it look a little bit better somewhere around there. Looks good. Okay, All the edges are now smooth. And now what I'm going to do is selected my draw brush, and I'm going to set the strength to a value of point to and then I'll just zoom in here and you can press to size up and size down the brush. And I'm just going to zoom in on the corner right here and just give this increases of something like this. It doesn't have to be perfect is kind of something like that. Looks pretty good just to give it some creases like that. You can hold control to take away, and there we go. That looks pretty good. We'll go underneath here and do the same thing. So just add in some creases holding control you can take away and then left Click Teoh to draw. Okay, that looks pretty good. And what I'll do now is just kind of smooth it out. I mean, I selected the smooth brush and I'll just kind of smooth out, so they're not as crazy. Once you're happy with how it looks, you can go ahead and go back into object mode, and then we'll duplicate this a couple times and move it along. So going to front view and also right click and go shade smooth or press w and go shaped smooth. So once you do that, hit old d X and move it along and I'll place it right there. Hit multi again X, Move it along right there. Looks pretty good. Zoom in and just make sure there we go. And the next thing we'll do is going to side view, suppress three on your number pad and then all shifty this press are to rotate off, rotated 90 degrees and all position it right here, going to an emote and then praise E and go into wire frame. I'm going to box select these top faces right here, then press s Z zero and then enter. And then I'll press Jeezy and I'll drag it down till it's about there are so and this is going to be where they sit down, something that, like that, looks pretty good. And the next thing we'll do is go into edit mode box, select these verses than press G. Then why? And I'll drag him out until they're about here. Are so this is going to be like a longer, a longer seat. Something like that. Maybe a little bit longer. And there we go. Not too bad. And then I'll just duplicate this a couple times and place it over here. Surprise, shifty then X and move it along and I'll place it there. Then I'll go into edit mode, and I'll drag these faces back to run about their or so then all d X and move it along. Make sure you shifty this one to hear, or it will copy the object data and make this one short as well. And now we'll add in some arm rest. So going to top view and all add in a cube, so make sure you place your cursor right there and then press shift a all adding a mesh and then cute scale this cube down and then scale it along the y suppress s why it will scale it out a little bit and will place it right about there. The next thing I'll do is I'll cut out a hole in this cube. So go into top view, go into edit mode and press control are, and we'll just add in a couple who cuts right where the arm rest is right about there, then president going to wire frame, and then we'll go into Verdecia Select mode, and then we'll just selected both of these two. Vergis is back here press X and then deleted. Then we can see what this is doing. It adds a big hole in our couch. Now I'll go into edit mode and all add in some faces. So So, like, this Vergis e going to wire frame will select all of these ones here and then press F to fill in the face. We'll do this a couple more times, too. We get all of them in their F then Alz right click, and that will select that loop and then f and that will fill in the face. And you can see it kind of messed up the sculpt mode, and it makes it look really weird. So to fix that, I'm gonna go into top. You go into edit mode and I'll just box select all of these. Vergis is right here, and then I'll give them a me increase of a value of 0.8. So that should sharpen it up just a little bit. And then we need to go into a sculptor mode and just smooth it out. So make sure you have your smooth breast will smooth out this corner right here. Gol smooth out underneath along the edges here, and this cube is kind of in the way something is going to select it and then hide it by pressing H. Then I'll go back into sculpt mode and fix the rest of the issues. Once you fix that, you can go ahead and press alter option age to bring back your cube, then go into side view, progressing three. And then we'll make this cube the right side. So go into wire frame will go into face select mode, and then I'll drag this face down. I'll drag this face up about there, and then I'll add in a blue. Cards or hit control are well and in Lucca will place it here, select this face on this side and then press you to extrude and we'll extra adapt. And there we go. We can see what that is doing, and that looks pretty good. And the next thing we'll do is all. Make sure this is pretty smooth as well. So quick and modifier and then bevel hit Control A and apply the scale. And then I'll set the segment's up to about four and then will drag this down to about there, or so And then I'll right click and go shade smooth. And there we go. We have our arm rest. So now what we need to do is do that exact same thing over on this side. So going to top view, we'll select the Cube. And I think this cube is a little bit too far. So I'll go into edit mode and I'll just drag this face back till it lines up with this edge of of our seat right here. So there looks good. And then I'll press all d x and move it along until it's on the other side. Do that exact same thing that we did over here on this couch. So go ahead, emote and then just cut out a whole. And since I all did this rather than shifty is going to do the exact same thing on this middle one. I don't want that. So I'm going to delete this seat and then shifty this so we can actually change it without messing up this middle one. So now that we've done that, let's go ahead and cut out a whole. Okay, there we go. We've finished our sculpting and our modeling for this video. In the next video, we will add in the base of our couch right here and just finish out the modeling, and then we can move on to the materials. 38. Base of the Couch: in this video, we'll be adding in a base to our couch. To do this, I'm going to add in a cube suppress shift. Eight go to mesh and then cute. And then we'll position this cube underneath the couch so it has some support to go into the front view by pressing one. And then I'll press G and I'll move this cube underneath and then we'll scale this down, suppress S Z, scale it down and drag it up till it's right next to the bottom of the catch. There we go, then go into top view and will position this so press G y will dry, get forward right about there, then go into edit mode. I'm going to go into wire frames who can see it, and then I'll box select these top ver. Tee's press G Y, and we'll move him up. Next. I'll go select these side overseas and move them all the way across the couch, suppress G and then acts. Move it all the way over, and then we'll add in a loop. Cut hit control are out in the loop, cut and we'll move it over to the right, and then we'll finish out by extruding this down to about there, and that looks pretty good. Let's go ahead and move everything back just slightly and not too bad. Now we're going to be adding in a bevel modifier to this so hit control A and we'll apply the scale. Then go over to the modifier tab and go bevel. Bring this down to a value of Let's go 0.2, I think somewhere around there and then we'll turn up the segments to a value of two as well. Now let's create the feet of our couch to do this. I'm just going to be adding in a cube at the bottom of our couch. So place your cursor there, then press shift. They will add in a mesh and then cube scale acute down until it's about this size. And I'm also going to make it pretty pretty thin to press S and Z skillet down somewhere around there and then just place it right on the corner. So something like that looks pretty good. Next, we'll add in a bevel modifier, so go over to your modifiers tab and click bevel, and also make sure you apply the scale and the bevel is way too high. Still, to drag it up to about a 0.0 13 somewhere on there. And then we'll turn. The segment's up to two next. Duplicate this in place in on each of the corners. So all press all d and why drag it over this way? And then I'll press all the X over here. And you, why will move it up to this corner than all D and X and will move it to the other side and then finally will place it at the back corner. So all the why and we'll drag it all the way back to about there. Perfect. Okay, so there we go. The modeling is done, and in the next video, we can start creating the materials. 39. Materials & Exporting: Now let's create the materials for our couch. To do this, I'm going to select one of the objects and then go over to the material tab. You can name this material fabric or couch fabric, whatever you want, and then we'll open up the node editor. So drag out a window, come up to this menu, includes on a shader editor, then press and to close off that panel. The first thing will add is a mixed note to go ahead and go color and then mixed note and will place that here and for this first color, this is going to be a white color. So dragged the color up. And for the second color, weaken, drag this down to about here or so and how we're going to mix these together is using a friend. L note suppressed ship Day will go to input and for now, right here, take the factor. Hold on, take the factor and plug it into the mix shader, and then take the color and plug it into here. So basically what this is doing is it's taking the gray values and applying that to the edges of our spear right here or in this case, our couch. I might make this just a little bit darker and the roughness on the principle Chatur. I'll drag this up to a value of 0.9. Let's go ahead and go into rendered view on our couch right here to see what it looks like . And I think all of these have that fabric material. Yes, they do. Let's go ahead and apply that to this. This frame right here. So go here and click on fabric, and I'll duplicate this material and we'll just call it of base. So we know that this material is the base of the couch, and what I'll do is I'll just get rid of both of these and just change the base color to be a darker gray Somewhere around there are, so I think that would look pretty good, and I'll drag the roughness down to a value of 0.6. Now, let's go ahead and apply that material to our stands right here, so so like that. Click on this and apply it to the base, and there we go. So we have a good looking materialist to see if we want to do anything else. If you want to, you could add a little bit of bump to this. And to do that I'll be adding in a texture and noise texture. Then brush. If they will go to Vector and then bump, take the color plug into the height and the normal into the normal of the principal shader , and you can kind of see what this is doing. So this is looking pretty terrible. What we need to do is change up the scale. So probably for this couch I'll go with a scale of 1500 and we'll see how that looks. You can zoom in and that's still too big. So all go with 2500. Let's try that. And there you go. You can see that looks a little bit better and actually kind of like how that looks. I think that looks pretty interesting. Let's turn off the detail and there we go play around with the strength of you. Get something that you like. I'm probably going to go with a value of 0.3. Let's actually go point to and the distance we could go to a value of 0.5 now that we've done that. Let's go ahead and set up a quick scene and then render this out. Okay? I have set up a quick scene right here with a sun lamp with the strength of two, and I set up a plane right here with a black colors. We can see the couch pretty clearly in camera view. If we go into rendered, we can see what this is looking like. I'll go ahead and talk, go overlays to get rid of the grid. And there we go. We can see it that is looking pretty good. Let's go ahead and render this out. So come up here and click on Render Image. Our render has finished and this is our results, and I think it looks pretty good now. What we need to do to import this into different blender files is we need to group all of the objects for our couch together. So let's go ahead and crazy, go into solid view and I'll go talk over late so we can see what we're doing. And what I'll do is I'll select this plane right here also like the lamp and the camera, then a breast em and move them to a new collection. And I'll just call this collection old because that's all the old stuff. And now if we press one, we should only see our couch, which we did next. What we'll do is all had in an empty and then parent all of these objects to that empty. To do that, I'm gonna press shift a go over to empty and playing axes, going to front view by pressing one and all position. That's right in the middle of our couch right here, and I'll scale it up and then going to top view and just make sure it's right in the middle . So about their looks. Good next box. Select everything in your scene and make sure the empty is the active object. And the active object is the one that has the letter orange. Then press control P and go parent. So now if we press G on this empty right here, you'll notice it moves all of the objects together. Next. Let's go ahead and name this collection. Modern couch. Now we have to do is save this blunder file, so hit control s and I'll call it Modern House recorded and then go State blunder file. So now if we open up a new blender file, we can go ahead and import this into the scene. And once it opens, I'll go up to file hit append. Once you have found your blender file, just go ahead and click on it. Go to collections and you should see the old and the modern house collection click on the modern couch and go a pen from library. And there we go. We can see it in our scene. So there you go, guys. That is how you create a modern couch in blender. If you enjoy this section or you created something cool, I would love to see it, to make sure to post it in the assignment after this video. Also, if you are interested in learning about how to render your modern housing in E. V, go ahead and view the next section to learn about that. Thanks again for watching and also you guys in the next one 40. Getting Started in Eevee: Hello, everyone, and welcome to a new section in this section, we will be rendering out our modern house. Seen using the real time render engine E V in blender. She 0.8. When I recorded these videos, I was using the blender 2.8 beta, and back then, when he wanted to switch from 2.7922 point eight, you needed to copy all the objects and paste them in a fresh blender file. If you did it, your menus would be in different places, and it might be hard to find something. That is why at the moment you don't see an HDR background. But if you've already created your house scene in 2.8, you don't have to worry about that. Now that that's out of the way, let's go ahead and jump into this section and learn how to render your seen in TV. Over on the right. In the Render panel on the Render Seen panel, we can change our render engine from cycles over to E V, and now we're in the new render engine. Let's see what happens if we presidency and go into rendered view, and this will just take a second. I'll start loading in all the textures. Let's talk overlays and see what this looks like. Suppresses e Otago overlays. And here is our scene right now. It doesn't look that good. That's because there's no HDR the glass we need to mess with a little bit. So let's go ahead and fix those options. The first thing that will do is add in the HDR environment, so go over to the world settings underneath color, weaken, go environment, texture. Click open and navigate to where that is. This is the one that will be using the Athens Park Center eight k this click on that and go open image. The strength of this in our original scene was point to, so let's go ahead and set that here point to. And now let's go back into rendered view, and we should see our HDR working perfectly. That's starting to look pretty good. Let's go over to the scene panel and turn on Ambien. Inclusion in the redder sent render settings, and this will just give our corners some shadows, and it will just look a little bit better. Let's also turn on bloom and As you can see there it adds a glow effect to where all the light sources are. Another option you're gonna want to check is screen space reflections. What this will do is it will just make sure that the reflections air working properly, that the glass is working and the reflection in the water is working correctly. This is very important to make sure you turn that on another option, you're gonna want to check underneath screen space. Reflections is refraction. This will enable the glass to be able that you'll be able to see through it. Because right now we can't see inside our house. It's only showing the environment. Make sure that's turned on, and it will work properly in just a second half rose trace. You can turn that off. Basically, what this option does is it just takes the rays in our scene and the light rays and just cuts them in half to save render time. But since I want this to be a high quality render, I'm going to use the full raise to make sure that these this option is turned off. Another thing that we can do is scroll down to the shadows and turn on soft shadows. This will just make sure that some of our shadows air soft. Some of them are hard, depending on the light source, so make sure that's turned on and we can close that panel. The last thing will do in this video is open up the color management and set the look from none too high. Contrast. This will just give are seen a little bit more contrast. And as you can see here, it looks a lot better. In the next video, we'll start messing around with the materials. 41. Fixing the Materials: in this video. We're going to fix the glass materials in our scene. So let's go ahead and select our plane right here. I'm gonna presa sea and go toggle overlays so we can see what I have selected. Now that we have that, let's go over to the material tab that's down at the bottom. This little red icon. Select the glass material and scroll down until you get the settings right here for the blend mode. You're gonna want to set this to Alfa blend. This will enable us to be able to see through our glass. You're also gonna want to turn on screen space refraction. And once you do that, there we go. We can see inside our house now, and that's looking pretty cool. You can also do the same thing for the pool right here. So go ahead and select the water underneath. Here you can turn on Alfa blend and then turn on screen space refraction. Once that's turned on, we can see the light underneath here. It's starting to shine through, and it's looking pretty good. One thing to note that with using glass and TV some of the time, you can even see the glass, for example, Up here on the deck. If I zoom in, you'll notice that the glass right here is just barely visible. So to help with this railing so people can actually see what this is, I'm going to select it. I'm gonna press period on my number pad to zoom in on it. I'm also gonna go into solid view, suppresses, even go to solid view. So just runs faster, going to add a mode. We can select these two vergis ease, then press e busy and drag up a little bit. Go into face select mode by clicking on this option here and right clicking on your face over in the material town I'm gonna add in a white glossy So hit that plus sign Get this menu and you can type in the word white and then select white glossy hit a sign right there and that will give it a white glossy material. Now, if we go back into camera view by pressing zero and then presses e going to rendered view, this will make it so that people know that this is a railing rather than just an empty space where they can just walk off and break their legs by falling down or something like that to make sure that's there and you're good to go. Another thing I want to fix is if we come over here and look at this wall, you might notice that there's a little bit of a scene here. So to fix that, let's go into solid view first. Going to edit mode, make sure you're on face elect mode than right. Click on all of these faces right here and then open up the UV image editor. So open up a new window. I did that by just dragging out the corner of this top corner right here. Click on this menu and go UV image editor, or you can press shift 10. Now, with this open, I'm gonna press edgy and move. Our Vergis is in the middle of our texture and just skill them up a little bit over on the left. Here, let's go in press Z and going to look Debs, we can see what our materials looking like, and there we go. We can see that there's no seem now and it looks a lot better. I'm gonna close this off are seen is starting to come together. But there's a couple more things that we need to do to fix this and make it look really good, and we'll do that in the next video. 42. Final Adjustments: in this video, we're gonna be doing a little bit of touch ups to are seen to get it ready to render. The first thing that will do is right. Click on one of these lamps right here and then go over to the lamp settings. I'm gonna be turning up the blend to a value of light 10.7, and I think that will look a little bit better and it will blend in on the wall. You can also do the same thing with this lamp over here so you can right click on it over in the blood. Just turn it up 2.7. The next thing that will fix is the particle system. Let's go ahead and right click on our ground right here and go over to the modifier tab. Let's turn on the particle system. If we were to render this right now, you would notice that there's a lot of gaps between the grass strands and you can see the dirt underneath. The reason for this is if we go over to the particle system and open up the view port settings. I think Blender is taking this 10% amount and actually using that as the rendered view. So what you need to do is set this amount to 100 then press enter and you can see there it fills up our scene and just to do a little bit more toe, have a little bit more particles. I'm going to be setting the hair of length to a value of 0.8 and then enter. And I'm also going to open up the Children section and setting the render amount to a value of 30 and that will just give us some more particles as well. Once you do that, you'll be good to go before we render, though. Let's save our project because the blender beta is a little bit unstable and it might crash , so press control s and you can save it to wherever you like. I'm going to call this evening tutorial, and then we're going to save the blender file. Now that we've done that, we can go ahead and render so to render and 2.8, you can go up to render and click on render image, or you can see the shortcut is F 12. So I'm gonna hit F 12 and it will bring up a new window. And this should only take a couple seconds to render. Okay, the Brenner has finished, and if we go up to the time, we can see this on Lee took 27 seconds to render this whole scene in cycles. This will probably take in about, like, an hour, an hour and 1/2 to render this full seen using about 1000 1500 samples. And this on this did it in 27 seconds, which is pretty crazy. In the next video, we will start compositing our image and making it really stand out. 43. Post Processing: In this last video, we will start compositing our image and making it really stand out. You can go ahead and exit out of this window and there's a compositing tab that we can click on right here, and it will bring up this scene. I'm gonna close this window down here, then press end to close off that window. I'm gonna write Look on the composite node. There we go and move it over to the right so we have a little bit more space. Let's add in a viewer note so you can do that by head and control. Shift left, click on the render layer and it will bring in a viewer note. I'll place that over here you can press it be a couple times to drag out the render, and all TV will zoom in the verse. No, that will be adding is a filter and then glare Note will place that right here. Take the image and plug it into the composite and then change this from streaks to fog globe. I'm going to place it over here. The threshold amount. I'm gonna be set into two, so it just kind of clamps down on the glow, and the next note that will add is a color and then color balance note. You can place that right here with this color balance note. I'm going to change the lift value, which is the shadows. I'm gonna darken it up. So with this value right here, I'm going to go 0.97 and this will just darken up the shadows just the tiniest bit over in the mid tones. I'm gonna drag this over to the orange so it gives the overall image a little bit of orange and the highlights I'm going to drag up to brighten them and make the scene have a little bit more contrast. Another know that all add is a color, and then brightness contrast. Note will place that here, take the image, plug it into the composite and set the brightness to a value of 0.3. The contrast you can also drag up to maybe point through as well, maybe 0.0.4. I think that would look pretty good. Then you can press shift a and we'll go color and then color mix will place that here, take the mix, plug it into the composite and set this value to multiply, then press shift. A will go distort lens distortion. I'm adding a vignette right now. The next note, I'll add, is a filter blur. I'll place that here, take the image into the image, then said the distort value to one. Let's go ahead and plug this in, and we can see the effect that it's doing right now with this drop down menu. Weaken. Set this too fast in turn on relative click on why, and this is the percentage of how much blur they'll be. So I'm gonna be setting this value to 20% on both of the X and the Y. Now, this factor right here in the mixed note controls how strong that been yet is. So I'm probably going to set this value 2.6 because I just want a little bit of a vignette , Not a lot. And there we go. So now let's see what our before and after is so I'm gonna hit control shipped left, click, and we can see what this looks like. Then, with all of our nodes, control, shift, left, click weaken CR effect. And that's looking pretty cool. Let's go back to the layout and then press F 11 to view your render. This is the render results. But if we cook on the straw down menu and type in the word viewer and click on viewer node , this is our results from the viewer. Note. You can save this image by going up to image and go save as, and you can save it wherever you like. But there you go, guys. That is how you render your seen using the new Render Engine E V and Blender 2.8. And make sure you post what you created in the assignment after this video. If you have any questions, just leave it in the Q and A and I'll be sure to answer it. That's gonna be it. Thank you for watching and I'll see you guys in the next video.