Create Your First 3D Food In Blender - Make Realistic chips from scratch! | Harshavardhan Saravanan | Skillshare

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Create Your First 3D Food In Blender - Make Realistic chips from scratch!

teacher avatar Harshavardhan Saravanan, Co-founder | CGI Artist | Author

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

Watch this class and thousands more

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

Lessons in This Class

12 Lessons (1h 3m)
    • 1. Introduction

    • 2. 01 chips details study

    • 3. 02 creating base mesh

    • 4. 03 adding displacement

    • 5. 04 lighting and camera

    • 6. 05 Adding base color

    • 7. 06 Adding bumps and roughness

    • 8. 07 Creating Translucence

    • 9. 08 Adding Powder Effect

    • 10. 09 Adding Particles

    • 11. 10 tips and best practices

    • 12. Rendering and Conclusion

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About This Class

3D Modelling food can be an exciting and rewarding experience. Due to the complexities in the organic form and texture of foods, it can look intimidating to render a realistic food.

Today we are going to apply my best approaches to render realistic chips from scratch. The lessons are aimed to be short and beginner friendly and so you can get the best results as fast as possible. We will be using blender throughout the course, with lessons involving the core concepts of creating CGI food like displacement maps, geometry nodes, procedural texturing and shader creation, finally easy lighting and rendering. Lets learn these concepts in the easiest and quickest way!

Come. Let’s get started!

Meet Your Teacher

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Harshavardhan Saravanan

Co-founder | CGI Artist | Author


I am a CG Artist with a passion towards creating high quality 3D images. I specialize in photo realistic 3D content. I have worked with various brands and creative agencies to create visually compelling images for brand communications, brand strategy, packaging, product, advertising and promotional images.

I am always keen to learn new skills and develop myself along with my connections throughout my journey. Through CGI I look forward to serve brands, businesses and creative individuals with stunning visuals that create impact in this visually cluttered world.

I love to make meaningful connections in the creative community. Currently with my partner Cloudia, we run an independent consultancy for creating great visuals.

Our Website - www.harshandcloudia.comSee full profile

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1. Introduction: 3d modeling tool can be an exciting and rewarding experience due to the complexities involved in the organic nature of foods, it can be a little intimidating to create realistic food vicious. We're going to learn my best techniques and approaches to create a photorealistic chips from scratch. The lessons are aimed to be sharp and beginner friendly so you can get the best results as fast as possible. We will be using Blender throughout the course with lessons involving the core concepts of creating CGI food, like displacement maps, geometry nodes, procedural texturing and shader creation. Finally, easy lighting and rendering. Let's learn these concepts in the easiest and quickest way. Come, let's get started. 2. 01 chips details study: Hey, so before we get inside and model this chip inside of Blender, Let's go ahead and study some of the details. Because studying the details before going inside will help us understand the shape, form, and proportions better and thereby when we do it, it'll give us definitely good results. Let's go ahead and study the details. So here you can see my final render over here. And here you can see that the things that we're going to study in this lesson is going to be the shape and form. As in like the proportions, the overall dimensions, how it's going to look. And then we'll see about the texture though. What I mean by texture is that we can see that there is a corrugated kind of a texture going on all over the chips. And then we have some color information. We have some yellow and red patches like that and some primary and secondary details. Let's see what are those? And yes, the shape and form the first one. And you can see that that top view is it's kind of like a distorted circle and it kind of elongated. And you can see how this side view looks. And this is typically saddle gov, if you know what a saddle means, it has got curves on both the sides and you can see that there is a perspective view how this has lined up. And for your understanding, I have given different views so that you can understand and digest perform better. This is what we're going to get. And let's see the next one. And let's go to the texture. Here you can see how the textures are behaving. And on the layer 1, we have that corrugated texture which gives that zigzag and that chips look. And then we also have another layer of texture, which is going to be that fried kind of field. You can see over here how those bumps are appearing on the surface of our chips. So that'll be second texture. And when we combine those together, we have those corrugated effect plus added those little bumps which are a result of trying. And you can see how those bumps distort our lines and how they give little drama and enhances the look of our zips. And here you can see those without these small dense and they are looking straight. And here we have got those ten and it gives us those nice patterns. All right, so there's our desired output and this is a mad cap render. We haven't gone to the colloid and this is just, you can assume it like a black and white grayscale version, right? Let's now study the colors. And you can see that there are two main colors here, which is like that yellow shade and when those orange one, and we are making a fresh chips, that's why we have those two colors here. And this is a mix of light yellow and a deep orange. And this is mixed in a very, very organic way and we can see a lot of organic textures that's going on. And we'll see how we can do this procedurally in Blender. And I'll go inside the primary surface. Let's talk about the surface, how this looks when we touch, or how this looks when it interacts with light. This what I mean by primary self-esteem did. Here you can see that the pores effect are all over the surface. And there are, if you closely observe, we can see that there are small pores or dots, little bit on top of that surface. This is of course with the effect of oil and frying and all those stuff. And you can also see there are some roughness. It's not really smooth, right? There are some roughness on that. And also an important point is that this has some subsurface scattering effect. Now what I mean by subsurface scattering is like this behaves like a little bit of translucence is there. And wherever the chips is really thin there you can see that it has got some effect of light passing through and scattering all around. And yes, if you haven't sits at home, you can observe it, how it reacts with light. And that's how we're going to make that subsurface look to get that shader. And let's go to the secondary details, which are the last details here. And you can see that there are some details. There are some of the patches or powder like effect. And this mainly happens due to adding of salt or adding extra spices are hubs on top of our chips. Here you can see these colors are, some are in red, like a spice, maybe a chilly. And then we have got some little bit of green kind of where it is like some herbs that are being sprinkled 0. And then of course, let's make some small yellow powders which mimics salt. And so basically this is how details are going to work. And when we all put this detail and we're going to get this kind of result when we properly light and render it up. All right, so now for this and let's get started and let's dive straight into Blender. 3. 02 creating base mesh: All right, so in this lesson, Let's get started with the modelling and via right here instead of Blender. And before we go ahead and put a plane and start modeling, I wish to set up some basic units so that we get kind of some physically accurate results. So for which I am using my unit system as metric. You can set this units and you're here and our scene properties. And instead of which I have kept my units asymmetric and I have kept my unit scale to 0.01, which means I'm working in centimeters and I've also changed my length two centimeters. Now you can go ahead and set these same parameters so that you get my dimensions correct. And all my settings applies to you as well. And I've also changed my grid to match my match my dimensions. And our viewport or list I have get my scale of my grid to 0.01. So each block represents a centimeter, and that's it. So let's get started with modelling. I'll go ahead and start with a plane. So I'll go ahead and Shift a and get into mesh and blame. And we've got that clean. I'll go to the top view and I'll press N on my keyboard to show my dimensions of the subject. And the chips that I measure roughly had around six by force. I'll keep on the x to six centimeters. And on my way, I'll keep something around 4.5. So we get some kind of a plane like that. And now our skin has changed like this. Whenever I change the dimensions here, I usually apply my scale. Well, which I'll go into an object and apply and say skin. And we've got our scale back to one, right? So let's go ahead and subdivide this ones and right-click and say subdivide it. So we have got that divisions. Now I'm just going to catch all those corner vertices here. And I'll scale this down to somewhat like this. So this matches are elongated, circular form. I'll go ahead and give this some subdivisions and get inside our modifier properties and add modifier and say subdivision surface. And I'll keep this to 24 now. Alright, so we have got the flagship from the top view right now. Let's go ahead and create that saddle go. So I'll catch the points along the x and push them down like that. And now I'll catch the middle points here and push this up. So we get somewhat similar to saddle gov along my front orthographic view, you can see the shape. And on my right I have this kind of ship. So we have a curve that's like, like a saddle. So we have done that and go and right-click and say sheets. We've got that shape. And now to keep things fine, I'm going to just insert it and select all and press I once on my keyboard and push it to somewhere like that. Now this gives me proper topology. When I switch off the optimal display, you can see how that topology is distributed. I like to keep things clean, so I've done that and we've got that apology. I'll turn that up. Human destiny on and move this up a little bit. All right, so let's go ahead and unwrap this. I'll open a new report here, and I'll change this to UV editor. So we have gone, Thank you. We eat it up, go to the top, you'll select all and see you and unwrap. And we have got that unwrapped here. So with this we have models, the basic shape, we've got the dimensions right, and we have got the proportions right? And we have also modeled that saddle gov. Let's go ahead and make that corrugated texture in our next lesson. 4. 03 adding displacement: Alright, so in this lecture, let us give that corrugated texture. To give that the most simplest and easiest way is to use a displacement map. So I'll select this and I'll go inside the add modifier. And I'll say under the form and let us say displace. And this is our displacement map. And now I'll rename this displacement as lines because this is going to be corrugated texture. And I'm going to say new here. And we've got a texture slot there. And this lecture is also going to be renamed. I'll call this as lines. And another texture properties. I say that I don't want an image or movie. I will set the type to be because this will be our appropriate one to get this. And we are immediately seeing some jag at results, but don't worry, it get it fine. Since we're using a displacement map, the resolution of our mesh is really important. And the resolution that we have kept as two is really, really less for a displacement map to work with. I'll go ahead and bump this up to five. Now if you have a little slower computer, you can go set the viewport or solutions to four or something. But if you set it to phi, you get the clean themselves to be seen on reports. I'll kick like that. And I'll say in the coordinates to UV. And yes, we are seeing our texture on our UV coordinates. And immediately you can see that there are only four kinds of corrugation only for the exact, we need lot more, right? And this is on our UV space, which is really good. We can go ahead and scale that up so that we get more textures here. Select this plane. I'll get inside the tap. And immediately when I get inside the edit mode, you can see that that texture is no longer there. To fix this, you just need to switch this on. And now you can see how that looks. And I'll select my visa, select them all and scale that up by pressing S. And we are seeing that there are more textures going on. And now I want to reduce that strength. Now the strength is to one. Let us make it really small. Something around 0.08. And you can see immediately that we get slips kind of a texture. And let's go ahead and scale this up still more to something like that. And notice those edges, I want to keep that edge is smooth. So something like that. Yeah, So we've got that, those textures if you want, you can increase that height a little bit, but I'm okay with this as of now. Let us go ahead and give the next lecture, which is going to be those fry on our, on our chips. So I'll add another displacement map and get inside modifier and say displays once again. And we've got another displacement map created as new. And this time I'm going to name this as Fry and the school fry. And let's create a new texture for this SN2. And instead of lines, I'll call this three. And let's get inside our texture properties and make sure you're in the displacement Friday. So I'll select that displacement flag. So instead of wood, I don't want it anymore. I'll go ahead and see clouds. Severe insight into clouds. And you can see that there are a lot of things happening. So I'll again go ahead and reduce those strengths. And I'll say in the coordinates to UV and this r uv coordinates. And let's reduce this by 0.08. And you can see how that's looking. And we'll go ahead and modify this a little bit in our texture properties. And you can see the preview of our texture, how that is looking. And we don't want these many. The phrase our bit here and there, not everywhere like that. So the texture that we are seeing here has those blacks everywhere. So we need to adjust that and we can use a ramp and we can also change the size of our clouds. So I wish to increase this up so I keep somewhere around 0.7 or something like that. Alright? Okay, so I've kept my size of my clouds to around 0.7. And it seems to work for me. And I wish to further chains or further modify my pattern here, which I'll go inside my colors and then switch on the colorRamp. And immediately you are getting more contrast. These columns are used to play around with the contrast so you get more control over your procedurally generated displacement map. So I'll go ahead and simply push this to my right. And you can see how this texture changes and you can see its behavior right here on our viewport. And this is what we have. And this increasing the contrast. And it's making the whites more weight. And I'm not leaving Greece much. So we have something like that. Immediately you can see how this is affecting our lines. And if you don't want this much of height, you can always go ahead and select this, the white or black and simply pour those white values and little less to adjust those height. So I am just going to make it a little gray, something like that. So we have those head. So immediately you can see our the line sludge we had made earlier on, not the same as it was. This texture has interfered with that texture and as we have got more sharper looking line step. So I don't want to do that. I'll get inside our modifiers Properties, and I will simply move this fry displacement on top of our lines displacement. So I'll just move this up. And yes, so now you can see that we have got our initial displacement back, right? So we have got our decent looking displacement. Now let us go ahead and give this a little bit of thickness so that it looks much more realistic and right now it looks more like a paper. So I'll go ahead and add solidify. I'll get inside add modifier and get inside the get into these solidify. And this has given me some thickness over here and I'll keep this to 0.02. And of course, the real ships may be a little thicker than this. But for look, to be visually pleasing, I wish to keep it to 0.02. And that's it we have applied at displacement and we have basically model hardships. And we've also got some solidified running and this displacement has some Fry and it has also got those corrugated effect. Let us go ahead and set our angles so that we can work with lighting and also set our materials later. So let's set up lighting and camera in our next lecture. 5. 04 lighting and camera: Okay, So we've got here, let us set up our lighting and camera. So I'll get inside my 3D view port and I no longer need this UV. So I'll go ahead and join areas back. We've got that full viewport. And I'll set up my camera on from the top and say, shift a camera. We've got a camera there. Push this up and get inside the camera by pressing Control Zero. Can also do this inside our view. And get inside cameras and say Actually object as camera. And we've got this inside. And now I wish to compose our short, so I'll get inside n and go inside the View tab and say camera to View. And we can zoom out and use our camera just like a regular view port cameras and setup something like that. And I wish to change the perspective a bit and said 65 millimeters. Somewhat like that. You can change the resolution or you can see in the aspect ratio of your camera inside our object properties. And right now it's 1920 by 1080, which is HD. And that's fine for now. I compose your shot to something like that. Alright, so I'll switch off my camera to view and we've got that. Now. Let's go ahead and set up the lights. So the easiest method of setting on blades would be to use an HDRI. And yes, we're using a HGRI from poly haven't dot com and you can go ahead and use your own HER, I bought this HDRI feel that it works very well with our scene. So I'll go ahead and get that. Now. I'll split our report from the top and set this as my shader editor and change the object to world so that we can work with NHGRI here. So I'll go ahead and search for an environment texture, shift a and searched call an environment lecture. And this will be our environment texture and connect this inside our background. And say Open. And in our exercise files. You can open that photo studio loft dot HDR and open that. And we've got that HER here. And I wish to change my render engine two cycles because we are entering with cycles and seen that and my device and put it to GPU. Let's see how this looks and render. This is the Render that we immediately get. And you can see that this HDR is colored and we will get those color information on our chips. And we are not going to compose this trips on this background. We just need the lighting and not the color information for this. So let's go ahead and make this HDR black and white or grayscale value. In order to do that, I'll go ahead and search for RGB to BW, which changes this to grayscale. I'll put this in the middle of here. So we immediately get those grayscale values. Now, the color information will no longer be costed on chips over here. We just get the lighting right. So I'll keep the strength more. Keep it almost three, something like that. And let's keep it to two for now. And now I wish to rotate this HGL as little bit so that I can get more control on lighting. And generally when we talk about lighting food, the food looks better when you light it from the back on. The reason why we do this is because generally food has a lot of texture on the surface. And when you light the food from the back, you're going to get a lot of shadows in front of the camera, and that enhances the texture of the food. And so let's go ahead and do that. I'll add a mapping. Alkynes get the mapping here. And let's add a texture coordinate. And let's connect to the generated inside the vector. And we have got that. And I can simply go ahead and rotate this HDR to something around 240 because we can see the light that's coming from the back and we are seeing the camera and the light is exactly over there. And this light being a bigger source of light, acts as a great way to enhance the food that we're trying to do. And I will also rotate our HDR on the y of t like that. And now simply what has happened is that the HDR has simply moved a little bit up this way. So we're seeing these light as a little more of a top light also set this and put this to almost 35. And so you can see right away that we have still not yet made materials for this, but the lighting looks good. We can see how those lighting touches our surface and you can already see those dense or those small shadows on our zips. It's looking good. So we've got the lighting setup right now. This headshot is kind of confusing and it's little difficult to work with ourselves because of all those distractions here. Let's go ahead and get rid of it by getting inside our render properties and inside of film. I'll say transparent. So now we no longer are able to see that HDR and we can work just with our content and our color management. I wish to give more contrast to my loop. And I wish to put this inside the look to very high contrast. Now this boost up the contrast and it's really great for food visuals. So with that little minimalistic setup, we have got a really good-looking lighting for our food. So I wish to thank Polly, haven't dot com for prior providing this HDR. And you can go ahead and browse through their catalog of HGS and they've got really good HGS. And if you like them, please go ahead and donate so that they continue to make awesome HER for us to be able to use in our 3D projects. So let's go ahead and create the materials, and let's start with the base color in our next lecture. 6. 05 Adding base color: Okay. So we've got the lighting and cameras setup now let's go ahead and save the file. Again. File and Save and give it a name and save it somewhere. So we've got that saved. Now let's go ahead and put the materials. I will start with the base color. It's just going to look at the color information of our chips. So I'll just select that chips and get inside our material properties and give it a new material and alcohol. This has ships gotten training and seen that world to our object. So the object materials are visible. And over here, I will start giving this by a procedural texture. And we have already discussed how those orange and yellow is in a very organic way. So let's give that by using a procedural texture. So for this, I'll call a Musgrave. So I'll search for a mass grave texture. And we've got that. And I'll connect this. And since we are using node here, will be mostly using these loans and we'll connect different nodes to preview. The makes things easier for us. I'll go ahead and enable an add-on called Node Wrangler. So I'll get inside our preference and get inside my add-ons and call Node Wrangler here. Now this is a really useful add-on because we'll be using nodes altogether right now. I'll select my mask layer of texture and say Control Shift and click. We can see that muscular textures preview how that looks on a surface. And you can see that this is a more blobby kind of an effect, but we are looking for more fried spices kind of an effect. So this one does. We can go ahead and change this Muslim texture. And before I do that, I wish to connect some more nodes to this, like mapping and pixel coordinate. I'm going to select my Musgrave and press Control T. Since I've got my Node Wrangler enabled, pressing Control D on a textual will bring up this texture coordinate and mapping. And I'll connect the U visa. And immediately you can see that there are a lot of lot of different cells going on here. Let's go ahead and change some of these values. So I need to have a little lesser values, 0.4, somewhere around that. And I'll increase the details. The details are all way up to almost 15. And let's reduce the dimension so we get more of those discontinuous form. So my dimension would be to 0.30.35, somewhere around that. And my lacuna charity, I want to reduce it to 1.3. All right, We've got that now you can see that there are some weird results happening here. Now nothing to worry that Soviet got this mapping here and we can go ahead and chin this value so we can get rid of those weird lines. So I set my mapping like that and you can send it somewhere. The idea is to get some discontinuous discontinuous little white cells via something bad. Yeah. So we can keep it around somewhere there. All right, so we've got those Musgrave texture now let's feed this in with some colors. So I'll add a mix RGB. Now here we can set the colors that we require for us. So the first color here would be my yellow sheet, which will be our chips set, something like that. And for the color to red, Let's make it a little reddish like spices somewhere around there. Okay, So we have time to tweak this around. I'm just going to connect this. So let's see how that looks. I'll get inside our view and already you can see how those spices are affecting. Look and get rid of this. So we've got the basement, Alright, so we can treat this later. I mean, for now, this is more than enough for us to get to the next step where we'll be adding a little more of a surface details. And then let's tweak all those together in our next lecture. 7. 06 Adding bumps and roughness: Okay, so in this lecture, Let's give it some surface bumps so that our highlights are a little bit and it gives us more realism. So I'll go ahead and add a bump here. So Icon Search and get to bump. And this will be our bump map. And now to give those disturbance on surface, I'll call a Voronoi texture. Let's search for Warren. I connect the distance to our height and connect the normal in normal. And immediately you can see that we are getting some weird kind of look, which is because we need to change this texture a little bit. And you can see the weird textures happening because of this, it's not properly laid out. I will again connect my UVs here, get my urine, and connect it back in there. And we've got that and let us adjust those scale a little bit. So this is going to be really, really tiny. So I want to bump up the scale and really a lot. So we can make it almost 80 or 70, something like that, keep it to 75. And yes, we are getting those really small greening kind of look. And to adjust this texture, disconnect and see how this looks first. And it's looking, It's totally an okay. Like there are a lot of bumps and we don't need this much. I'll go ahead and change the distance to a single point. And it still looks a lot. So 0.01. And we've got those small dense happening, but I was to further reduce it. And the way we do this is by you can see we've got black and white clearly, so we can play around with the contrast and make this a little bit lesser contrast while add color ramp and May Lawford and put the color ramp here. And the way what it does is you can see those black which is represented by this and white, which is that. So I'm going to change this black value to white. So I'm not going to get that much of a bump over there. So let's keep it level of gray. Let's connect and see how that looks. And if you're having trouble rendering, you can go ahead and press Control B and this render one area, so that renders faster. And you can see how those bumps are affecting our surface. Yeah, nice and neat. And now we can see that the bumps are overall, which is fine. But still we have to give that oil shining effect where some parts of our lives are getting shinier. And to achieve that, we need to have something called as a roughness map. So let us create that again and all. Let's create the roughness map. Where we do it is again by using a warm I texture and call another one. I'd actually here. I'll put it there and let us connect the same UVs there. And for roughness, I wish to keep it further smaller than our bumps so that we get a lot of small greenie as shiny areas. So I'll connect and distance to our roughness. And let us check how this looks. And right away, it looks really big. Let's change that. And previously we had get around 75 right now I wish to keep this at least twice, or maybe even 200, somewhere around that. So we have really, really small greens that are happening over there. And we can always control this roughness using our color ramp. And I'll go ahead and call a ramp and put a RAM over here. And we have got the same values, just like how we changed our bump, we can also change it. And the way this works is the black being the most shiny area and the white being the most rougher areas. So I don't want anything to be completely shiny or completely rough. So we have to play around in between. Well, that means that both the values cannot be extreme, white or black. So let's go ahead and change that quickly. I think the black too little gray. And I'll change the white to green. And by doing this, we are seeing blender that none of the areas that are a 100 percent shining or a 100 percent rough. Just like how real things behave in the real world. And you can set something like that. And I wish to bump up the roughness a little more. So we have something like that. And this will be our roughness map. And when I connect this, you can barter and say, I'm pressing Control B to render only some areas. And yes, Here you can see that how some of the areas are getting that getting that reflectance like oil being absorbed by the chips like that. Alright, so we have put our roughness and our bump map. Now the next step would be to give this a little more edge by giving it some translucent looks here and there now the translucent is not everywhere, just happens to be some places. Let's give that translucent effect in our next lesson. 8. 07 Creating Translucence: Okay, So we have got those roughness and let's give that translucence. And the way we do it first, we need to understand that the translucence can't be everywhere, so we need to make a mask and we need to mix two shaders to get our translucent effect. I'll demonstrate what I mean and go ahead and push this material output a little far. And we can call shaded called as translucence, Shift a and search for translucence. And you've got that transition shader here. And we can set this color to almost a yellow. So we need something like the famed L0. They're more towards right, but a little yellow. So we have those nice looking transposons. And to mix these two shaders together, I'll call it something called as mixed shader. So I'll go and Shift a and call for a mix shader. And we have got that mix shader. And I'll connect this with the state. And let's connect to the material output. And when I push this to one, you can see how we are getting a completely translucent chips. And when I put this to 0, you can see that that translucence is no longer there. And we have got this slider to adjust this. But we want those translucence to be in a batch like this is going to simulate the chips and even little thickness here and there. So to do that, I'm going to call another procedural detection. Let us call a Musgrave texture here, Shift a and search for Musgrave. Musgrave lecture there. And you connect the UVs again and put the UV inside my vector. And I'll connect the height to factor. And let's see how this texture looks. And immediately you can see that there are a lot of patches. We don't need this much of translucence. Now this generally works like this kind of translucence is here and there. It's blobby, it's not that detailed. So we'll create that by going ahead and changing the scale to really small value so that we get big blobs of big patches of white. Now, how this works is you remember that we have gone to factor and whatever values are white are going to stay translucent. Or what are values That's a white are going to be one. And whatever this black is going to be 0. And we've got that and we'll connect this height to our factor. So this value will be used for our translucent. And we can go ahead and see in the detail and dimension and rationality. So I'll play with the details. I'll reduce it a bit. So I will see you on 125 and we can change the dimension to 0. So I won't little more organic looking blocks. And then I have the lacunae arity, which I can bump up three, something like that. And I wish to move this a little bit so we need another mapping. Note, the reason why we cannot connect this mapping is because this is currently moving our Musgrave lecture, which is driving our base color. I don't want to disturb that and call another mapping. And put this mapping between this. And I'll change this x to move those translucence. We can set something like that. Now you can also do this moment a little later, but for now we can keep something like that. Let's connect to see what happens. Let's get inside camera. And even here, we notice that it's black and white, so something's completely translucent on it's completely opaque. So I don't want to do that the intensive SAS to have some kind of translucent. So to do that for you guessed it right. It's again, ramp recolor amulets connected in between it. And let's basically it's in these values and reduce the contrast. Push this to agree. And this is going to be a little more lighter. Green to somewhere around there. Let's connect this and see, and this is how it has affected our shader. And we've got this like that and let's go ahead and increase the lighting a little bit. So I'll get inside our object and world. And I'll bump up the strength. And yes, Now you can see that some patches where they were white. You can see how those light kinda shows through ships, just like how it would in the real world. And wherever this translucence is happening, we are immediately not able to see that bumps. So we need to add that as well. Get inside the object again. And I'll connect the same bump inside the translucence. Not by doing this, we get our bumps back and get inside. You can see how that altogether it looks. Alright, so grid, so we have completed giving our details here. In the next lesson. Let's add more details like those spices that are being sprinkled on. 9. 08 Adding Powder Effect: All right, so we have got a nice-looking chips that let's talk about little more detailing, and let's add those boundary effect or sprinkle salt on spices, etc.. And this we are going to do with blenders. Relatively new feature, geometry notes. Geometry notes is a little different from Blender 2.3 and just follow along how I do and I'll show you how this would look in Blender do coin nine if you are using blender to 0.9 as of now. All right, so without further ado, let's go ahead and create those. Look. So before I do that, I want to create the object that is going to be scattered all over. So to create that object, Let's create an ecosphere and Shift a and get inside Mesh and call our ecosphere there. This is our ecosphere. And let us set the subdivisions to one because it's going to be scattered really allover. And then I don't need that much of divisions. And I'll set this to 0.1 has its radius. Now, don't worry, this is not the size that's going to be replicated all across. We'll see in the size and the geometry notes. As of now, let's keep it like that. This is going to replicate the salt kind of an effect. Mainly. I select this and I'll add geometry nodes and modifier and say Geometry notes. We've got that. And I quickly Geometry notes before this only five because I don't want the other side, this one, the top to be like that. Let us go inside our geometry Node Editor and we have got that. Right. Okay, So to scatter this on top of chips, we have to call something called as distribute points on faces, which is going to be the first thing that we're going to call search for distributed points on faces. I'll set the geometry to mesh and immediately we have got chips are gone. And this is the point distribution which we get on our chips. So to enable that again, I call something called joint geometry. As connected directly in the geometry and the points and connect. And we've got adjuncts back. Great. So we've got this scattering happening, which already looks great. But the issue that we're facing is there are crowding in some places and you can see those overlaps, which is because of our distributed points on faces. And this is set as a random, we need to set this to twice on disk because this would allow us to adjust the density and this gives us distance on each lines and that would avoid this overlaps. And we'll go ahead and change the numbers a bit. So I'll set the density and then somewhere around 400. So yes, we have got a lot, but don't worry, we need to scale the splines down, the density max and the minimum to 0. This can be one, something like that. All right, so let's distribute our instances on this end, not right now you can see just the points rate. So we need our Instance, which is our ecosphere to be on that. So I'll call instance on points and connected there. And we've got the point there, but we don't have an instance here. So do call this instance, I call spear here. I'm going to add another node called as an object info, which is going to feed my ecosphere. So I'll choose my ecosphere here and connected geometry to incidence. And immediately we can see those microspheres being instance. I know it's overlapping because it's a lot and we need to scale this down. And when I change this scale here, everything scales at once and everything has the same scale, which we don't want. So right now, I'll add a random value. And this is a random value and we're going to connect this inside our vector for scale. And immediately we can see how the scale is affecting. And we can see the minimum and maximum input there. And the minimum can be 0 and the maximum, I don't want to be this much. I'll say 0.04 or something like that. And we are seeing a lot of tiny spots like that. Could even be 0.5. It's a little bit more. So we can reduce the distance. It can actually be really small, so you have more speckles of salt. There we go. So let's give some material to our ecosphere. Select our ecosphere did and get inside our shader editor and give this new. So let's call this slices. And we're going to create tools. So I'll say 0, 1, 1. So let's give this a color. Right now it's white. Let's get inside our camera view and see how this looks good to render. And then that only certain part. And yes, you can see that there are white dots on the decimal just like salt. But here, I wish to change some of those white dots to read so that it looks a little more like chili powder. And I wish to keep the salts also the same. So the way you, how we do this is by using an object info in our material. So I'll search for an object info. And you can see that there is something called as random. And let us add our mixed RGB. And we can change one color of unmixed RGB to a little pale looking white like that. And our next color can be read a little deeper. It reduce that value. And let's connect the color like that. And you can connect these random value inside of that. Now what this does is this will give some of it the white and some of those particles will be white and some of those particles will be red because this gives a random value based on the object info. And that gives us a nice looking realistic salt and chili powder like that. All right, so that looks great. Now let's see how geometry nodes varies on a little lower version of Blender, which is 2.93. And let's discuss how it's different. All right, so now let's discuss how the geometry nodes are a little bit different on the older version, which is 2.9. So I'll open that. And I have got the same file here as well. And you can see how this is being different. So right now the first note that we are going to create here is the point distribute. Of course this distributes your points along your mesh. And similarly, we need to connect this into a joint geometry, just like how we did before. And this is a little different because this is that it is point distribute instead of distributed point on faces. And then we are connecting this geometry into another node which is called as attribute randomized. Now what this does is it will randomize any attribute that you have. It maybe your location, your rotation, or scale. Basically this used to be empty here, so you need to type in scale for this to work. And you can find something called as point scale, which is a float value. I'll click that to kinda randomize my attribute. This is just like that random number. It has got that minimum to maximum value. And I have said that values here, for example, you can see how this changes our skin. All right, so next what we're doing is we're creating the instance. We are the same blender that what needs to be instance on these points, which is of course called Point instance. And this is a little different than our latest geometry node. So here we have got the object and collection backed up in one, nor would say subject and collection. You can pick a collection here or you can simply get on the object. And I have called the ecosphere here. And that's why we are getting this replicated. And this simply gets into the joint geometry and that gets our output. And that's it. So this is the fundamental difference between the node setup's in the geometry nodes. So if you are using a blender to 0.93, you can go ahead and follow this URL. 10. 09 Adding Particles: All right, That was fun with Geometry notes. And let's again use those geometry knowns to create a little more detail, which is the second layer of detail, which will have more hubs kind of look to our chips. There will be adding some green particles and also some bigger size of Chile. Again, for this, we'll be using geometry notes. Let's see how that's done. And to do that, I'm going to instance a collection instead of an object. So let's create a new collection that I see new collection and call this as spices underscore two. And select our dubstep and get inside our geometry. And we've got the same. So keeping the same geometry nodes will add another here and two incidence something. We need some geometry in our collection. So I'll search of our collection first and start creating some of the shapes that we are looking for. So I'll mesh and set a plane. And inside of this scale is really done. Now this scale really doesn't matter because we are going to scale on the geometry known, but still to keep things for my understanding and the scaling it up a little down and I'm creating random looking particles there, but make sure that you stick our origins by the middle of the particle. So I'll say object set origin to geometry. This really helps in distribution and I'll create our next sum and again mesh and scale this down. So this, I joined it there at last. And this is a particle. And again, I'll set object, set origin to geometry. Now let's put this both at the origin. So I'll say RG to snap this to the store word centered. Again, all G, two slashes to z. So we have got two particles are there. Let's give this a medieval get inside our shader editor. And I will copy the same material, spices one, and duplicate that. And let's call this crisis and the school too. And this time we're going to set this color to green. This looks like some something like that. So let's see how that looks. And give this the same material space too. And you can see how those colors are changing. I'll reduce our specular. So we have more of those color. Okay, so now let us go ahead and duplicate this on our geometry nodes. So each of us spices and open our collection. And get to my camera view and go to Geometry nodes. Let us go ahead and create another distributor points. Search for distributed points on faces. I connect the same geometry here. And I'll put this to joint geometry. And we've got those new points that are coming up. Again, this can be Poisson disk, and this doesn't need to be that lunch, but let's call our collection here. I've searched for collection info. This is just like object and phobia calling the collection NFO and connect the, connect this to our instance. Speaking of incidence, we need to create one instance. So I'll say instance on points. Put it there. And here you can connect the geometry to our instance. And in our collection, let us set that collection to space is two. And we are getting those collection there. But you can see all of this has those two planes which we created and we don't need that. This needs to be completely random and not the entire two has to be distributed like that. So to change this, we need to say that we can pick instance here. And also we need to enable one more check box, which is separate children over here immediately that separates both of it and shows a different way like that. And you can see all of this is oriented towards the top. All of those are facing the Z, which is more planar and which is not looking real. We need this to be completely random and this also needs to be lined up with the face normal. Corrugated texture older. So the way how we do that is by using our distributed points on faces. Notice we have got one for the normal and there is one vector for the rotation. And this vector can be connected inside our patient. And now we can see how that's being aligned with our current detection. Nice. Okay, so now let us change the scale and make it more random. This is the same way how we did random value. The value in here and change the max to really a smaller number. I'll send this to a really small numbers, 0.6. Yes, we are seeing those small triangles that we created like it's like the pieces of Chile and other spices. So let's see how that looks. Go ahead and render this area. And yeah, you can see how we're getting those triangle over there. Okay, and we have got one over here, which has those green look. So nice. That was simple and fun. So we made those final secondary particles using geometry loads. Alright, that was fun with geometry nodes with used twice to create our secondary details. And the most fun part here is you can go ahead and see this according to your wish. And you can see the sea by playing the seed. This will change the way how we distributed our nodes. And immediately you can see how this changes. And you can see in this according to your camera angle and your preference, and not only that, we have created materials for, for our distributed instances, right? So that's according to flavor. We created one as red and green. You can go ahead and create as per your wish, you can create a garlic flavor or whatever that you wish, and seeing the colors accordingly. So that's really fun to do. And you can also go ahead and increase the particles. I mean, increase these flakes a little bit. For me, this looks better for myself, but based on your preference, you can easily go ahead and change the density to get a completely different look what you're expecting. And also not just that, when you see your chips, we can see how we are getting those fried areas and that is also being changed. Right now we can go ahead and get inside our shader editor. And when you see your colors are still easy, easily changeable. You can make it darker or the way who really want. And you can go ahead and change the x and y values so you get completely different kind of book. But how will you take advantage of this? By, you can go ahead and make copies easily. When I have two tips. And when I render that completely change the look of 16 by simply adding one more material to this and changing this value and I completely get another kind of widget. Now this is really helpful and handy while creating variations or when you're creating a shot that involves composition of those trips. And that's the power of procedural texturing. And now you can see that we can change the colors and the scattering on that. But you can also change the fundamental shape of your chips because everything is just laid out on the UEs and the model is actually made by non-destructive modifiers. Thereby, we have kept the model to, as a procedural model. You can go ahead and seeing the strength and completely have different shapes. Or you may also go ahead and scan your UVs. Like I can get It's neither edit mode and scale this down or up to have chips that has more density of those conjugation. So these are the, some of the advantages why we are keeping a procedural approach. And we are also modeling procedural by using nondestructive modifiers thereby increases your chances for creating a completely organic and completely different looking instances are completely different looking objects with very similar and very minute effort. 11. 10 tips and best practices: Observation is the key to get your food renders looking right? So the first thing, what you need to observe is to identify your shape of that foot. And you need to identify details like the shape, the proportion, and the form, how it is made above. Forget the colors in this stage and you just need to identify these things. Then next step would be to identify the colors. First, you need to check how many colors are present in the full. Some may be simple, like to are, some may be many like four or five. That entirely depends upon before and make notes of the colors that are used. Next one is to identify how it looks when we touch, are to identify the texture. Is it bumpy? Is it smooth? And you can also make note of how it reflects with light, isn't reflective or it's non-reflective, its roughness, details, etc. Last step would be to closely observe the details. And in this case we observe the details in the last step, right? We just put those sprinkles of salt in the last step and we didn't put it in the front because having those details later really helps you to focus on the main and major looking content. And then later on focus on details because your artwork might be really detailed, but it may still lack the realism because you wouldn't have given much attention to the farm on the basic color, etc. So the forms, the basic color and the basic texture comes first and all the other retailing. You can take your own time and do it at the last of your process. 12. Rendering and Conclusion: All right, so we have done enough or flagships. So let's go ahead and render this out. So I make sure that you are in your camera view. And if you can adjust your composition at this time if you want. And I'll get inside our end up properties and it's in cycles. And we can see that there are little different settings. This is what a blender three, but that's fine. You can go ahead and change the samples here. Now, the maximum samples for the render is 4096, which I don't want. I'll keep this to almost 500. And there we go. So I'll go ahead and hit F1 on say render and render image. All right, so we've got this render. Now let's take a closer look and the textures that we have given has really come out nice. And you can see that the roughness map, which is lacking really cool. We're seeing those oily little splotches of those reflectance. And we have also given those triangles, which is the sprinkled of on top of chips, which is our spices and herbs. You can see those green little patches over there. And we can also see the entire look of the chips. And there is some subsurface scattering which we have done. And I think this is a really good point where we can stop 3D. And if you want to take this further, you can use the compositor or you can go ahead and take this into post-production in your own piece of software. And so with this, let's conclude this class. We have come to an end of our class. So I hope you enjoyed and learned something new. Please share your works here and I will be really happy to go through them. Thank you for taking this class. Goodbye.