Easy Alarm Clock Animation With Blender 2.9 | Dino Bandzovic | Skillshare

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Easy Alarm Clock Animation With Blender 2.9

teacher avatar Dino Bandzovic, 3D Artist and Animator

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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

8 Lessons (1h 20m)
    • 1. Class Introduction

      1:30
    • 2. Alarm Clock Body

      5:37
    • 3. Clock Details

      8:20
    • 4. Adding The Text

      6:51
    • 5. Modeling The Mouse Cursor

      9:18
    • 6. Animation Part 1

      12:38
    • 7. Animation Part 2

      18:00
    • 8. Applying Materials And Final Render Settings

      18:11
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About This Class

Hello guys, welcome back to the new blender course. In this course, we are going to create an interesting alarm clock animation with blender 2.9.

This course is for beginners but if you are an advanced user you can use this course as an exercise and in the end, you will have cool animation that you can share on social media and also include it in your portfolio. In this course, we will create an animation using simple keyframes and we will cover several topics about the blender.

At the end of this course, you will have the knowledge to start animating different objects and you will be able to use a blender to create interesting projects and animation and begin your journey as a 3d artist and animator. First, we will start by modeling the alarm clock, and also we will organize our outliner. While we are modeling we will use modifiers and different types of objects in a blender such as curves and text.

Second, we will use dafont.com to find a digital font that we will include on our alarm clock. Next, we will model our a 3d mouse cursor and you can get from https://gum.co/RmLWc. Later on, we will start animating the button, text, and the mouse cursor to press the button.

At the and we will light up the scene with HDRI and apply materials and we will finish the course with final render settings.

So let's begin and see you in the first video.

Meet Your Teacher

Teacher Profile Image

Dino Bandzovic

3D Artist and Animator

Teacher

Hi, my name is Dino, a graphic designer, and 3D artist. I have a Bachelors's degree from the faculty of Fine Arts department Graphic design. I have done lots of work for a wide variety of businesses over the years.

In 2019. I joined Awesome Tuts (The Ultimate Game Development Academy)where I become a teacher and graphic designer and with my colleagues, together in our academy, we made over 80 courses about game development, graphic design, and 3D art.

I have a passion for art, teaching, and helping students not only learn but have fun while doing so. I've been passionate about art my whole life and look to instill that passion in my students through my teachings.

In addition to teaching, I'm head of design at Cycle (a start-up working on a n... See full profile

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Transcripts

1. Class Introduction: Guys, and welcome back to the new blended course. My name is Dina. In this course we are going to create an interesting walk animation with vendor 2.9. This course is for beginners, but if you're advanced, you're there. You can use discourses and exercise and you will have a colon emissions that you can share on social media and also included in your portfolio. In this course, we will create an animation using simple key frames and we will cover several topics. At the end of this course, you will have analysts to start an imaging different objects. And you will be able to use a blender to create interesting projects, projects and an emission and begin your journey as a 3D artists and animators. Suicide by modelling the alarm clock. And also we will organize our outline that while we are modelling, we will use modifiers and different types of objects implant there such as curves and stacks. Second tool used to fund.com to find our digital fund that we will include on our own block. Next, we'll muddle our activity cursors and you can get a reference image from the description on this course. Later on, we will start an unlimited button, text and mouse cursor to press the button. And the entry of light that the whole scene with the edge derived, which you can get from the eight data haven't dot com. And later on we will work it up materials into a finished the course with the final grander settings. So let's begin and see you in the first video. 2. Alarm Clock Body: Everybody and welcome to our first td and discourse. So before we start working with blunder, we should create a new folder where we are going to save all the necessary file for this project. And as you can see here, I am having this folder. We try name it Alan flock animation. And in this folder I'm going to save all the files for discourse. And does it the best way how you can stay organized value and working can later on you will need to spend time cleaning your computer and searching for files. So now let's open our blender and as you can see currently we are working with bundled 2.9. But if you can get any version about this, should get it. Because it's always the best to work on the latest version because the bug fixes and features as well. So let's open no file under general mirroring actually to creating a file. And here we have our default cube with our default camera. And also we have different point flight and thrill fluid me, I'm going to turn on my screencast evidence. So right here in this left corner, you'll be able to see all the shortcuts that I'm going to use in this course. And now I'm going to select my default cube. I'm going to delete this time. So the next step that I want, I want to muddle out my alarm flux so we can go in edit mode by pressing Tab. And here I will press S and texture scaled on the x axis, like so, so just a little bit. And here I'm going to go in selection instead of vertex selection because I went to Bell, those site address. So first you will need to select them all with shift and left-click. And now with control and B, you will be able to build out. But as you can see, we don't have too much geometry here. And if you scroll your mouse will, you will be able to more segments to your geometry as you wish. So to about here is going to be just fine. So now I will go in edit mode once again, end here, I'll press S y, and I want to make this a little bit dinner here. Now, I want to select this edge here and I will be able to go and if such edge here. But actually let's go and do this in on this front side. So here is going to be where my display screen is going to be and shown. So I press E to insert phase there. And with E I will be able to extrude the disk inside like so. So this is going to be the base of our model. We are going to change it into smart. And here we are having some issue with shading. And that's because we need to turn on this options under object data properties here and these properties menu. So you will be able to find out these normals here and turn on auto smooth efficacy. But still we are having some issue. And that's because this is a low poly here. And if you want to make it better, you will be able to add a subdivision surface. But as you can see here, we are having some issue with with geometry and we need to add a little bit more details and also more supporting edge loops. So next I will go back in edit mode. And here, as you can see, we will need to go in phase elections. We can go and buy all this out by pressing control MB. And here, as you can see, immediately, we will have, I will clean shape here on this backside. And now we need to fix the same issue that we have here on this front side. So here first, I will go and double this out here. So here with M B, we will be able to Pebble out. And now I will go once again in based selection. And actually we can go and add edge loop right here, all the way by pressing control and there. And here we are. Pay selection here. I'll be able to select these fish here. And I will be able to insert it, insert one more phase inside of it. So as you can see here, we are done with the front of the alarm clock. We can maybe scale them, scale this on the 0th location. So here are going to be displayed our numbers. And now I will go and work on website. And here I will select this back edge here, back face actually end here with E. I will be able to extrude it out to about here and here with control campy and when simple to build out. And we are done with modelling and the body of our alum Kwok. So now article in edge selection may be. And here if you want, you can go and clobber this part here down as a small detail of your design of your own flock. And I'm going to rename is here, our block, my div instead of Duke. And that's how you should stay organized with your files. So that's it about this video. Stay tuned because in the next video we are going to finish with the details on our Arne block. So see you there. 3. Clock Details: Everybody and welcome back to our second video. As you can see, we are done with muddling car Alan clock buddy. And now we should focus on some details here. So first, that ad legs to this alarm clock. So with the shifting day, I'm going to search for cube. And this time I will go immediately enter modifier menu here because I want to have mirror, mirror modifier on. And now if you go in and mode by default set to x axis and if you move your site is going to, is going to to mirror the whole cube on the other side. And now you can go and turn it on, on top as well. And here I'm going to go first actually, let's go and motifs in the front to about here. And now let's fit a backdoor cube. And now with this cube, you will be able to select all of them to be in a good position. So here you will be able to press seven to go in topper to revenue and don't forget to turn on x-rays so you can see it true. And here you will be able to position your legs as you want. Social. You also need to turn on a mirror modifier on the x and n Tolson divide because you want to have on four sides, those legs. And here you can go and for example, select one on this phase here. And if you scale down, you'll be able to see that it's happening on all sides as well. And now I will go and move it this face here on the x axis. And next I want to go and apply this modifier. And now I will be able to move here those, those two a little bit further on the back, like so. Maybe now we can go and select this top face and the stop pace. And because we have our lower lower position on the back, actually here, we can go and press just to be sure g And decks to move this, to be inside of our 80 of our alarm clock here. And now we can go and turn off our x-ray. So spin around to see if everything is goes here. Now we can select both to this and the j and z. We can move it to be right on top of our grid. And now with the shifting a less adequate as well. So I will add simple, plain and scaled up a little bit. And now let's move this a little bit even up. And maybe we should go and make this even higher than it is right now. So we are going to go in edit mode and select all of these faces here and fit g and z. We can go ahead and pull this up like so. Okay, so next step is going to add a few buttons and also cable as well. So with a shift and a, we are going to add cylinder storesin less noise on top. I'm going to change shading. But as you can see here, we are having issue with shading. So we need to turn on out to Smoot. And now I will be able to select these top face entered control NPV. We compel this out. And here let's try to add as a subdivision surface modifier and think is that we need to do also babbling on the other side as well. So I will select this blackface here, bottom face. And here with petroleum B, I will be able to vote in test phase out. And now I'm going to scale down all the way. And also less rotated to 90 degrees on the Y N plus position it on the side. Let's make this small button. So I will go in object mode and try cartographic Q. And here we have one button, and now I have another one here. And also we are going to add one simple cube button here on the top. Also antibody. Let's move it here in the front with g and z and y. And now I'm going to go and skill all the way down and down on the y. Let's make it long. And now let's go in front orthographic view with g and z, we can pull this out. And for example, we can go and select this top face here. And let's pebble out. And now we can go and add subdivision sermons modifier on. Actually, let's go back. And let's see. First we will need actually to apply a transform. Vibrating here under object and under apply, we can find out transform and now issue belt out. You will be able to see the effect. So we can go and select the stuff edge loop. And now we can just press control MB and double it out. We can change it into smart end turn on auto smart as well. And I think this is going to be just fine for this. We can go actually in, in edit mode and Skillet upon d y. And now let's pull it even further here. Scale it a little bit more on dx. So now we are going to add cable as well. So it shifted a, we are going to find curve and the curve R curves are the best thing to, to the cables. Obviously, Santa first find vizier. Let's move it up so we can see it. And also, I want always when I'm working with the curves to add little bit bubble here and geometry to it. So now if you go under gird properties, you will be able to find a depth. And now if you increase it, you will be able to see actual geometry here. And now we can switch to edit mode. Let's grab everything M0 it here. Now we are going to select this black vertices here, are struck dated, but select everything and pulled it all the way down here. Let's move it in the front. And right now we can go and motifs of bitten on the z down by rubbing it and coming down. And now we can actually start extruding this out by pressing E. And let's extrude this Lubitsch further. That's interests all geometry a little bit as well. We can go and pull this to lay down on the floor. And here we have our cable. B can go actually and pull this even further back. So and also you can go and increase geometry here. But integral resolution of your occur. And here, as you can see, we have our basic cable. We are going to end it later. And that's it about this video. Stay tuned because in the next video we are going to make this front display of our block. So see you there. 4. Adding The Text: But the end, Welcome to our third video in this course. So here as you can see, we are done with modelling car alarm clock. And the next step is going to create this front font text that is showing the time. And later on we are going to animate that one as well. So first, we are going to open our internet browser. And here I have got this webpage, the font.com. And he will be able to find different fonts that you can use for your projects. And for our own clock, we need to digital funds. So here, for digital, you will be able to find a lot of digital font that you can use and you can get any of this. So for my course, I'm ready to use this DSP digital font. You can press download and you can save it in that folder that you create on the beginning of this course. So now let's open our blender. And here, the way we are adding texts to blended is redshifted day. And here we have text. And now here in this Properties menu here, you can see it right there. Let's move it to the side by pressing G index so we can see it matter. And here we have our, our properties about text. And if you want to edit text and what's written, you will be able to press tab. And here I'm going to write 06, and here I'm going to write 59 minutes. So it is going to be in the morning and we will need another one and f one we can do later. But for now we need this morning time. So the next step is going to be here, adding a different type of font as it's set by default here. But if you go in this text properties menu here under font, you will be able to press this icon here. And here you will be able to navigate through your folders and through that particular follow the folder that you fun too that you got from the font. And here I'm going to use here this font. You can just press open font and you can see that immediately changed the way this font looked on the beginning. So now let's pull this up and here I'm going to rotate it, this one as well for the 90 degrees on the x-axis, soil press X and 90. And now it's rough, rotate toward us. And now we can place it in the front where it should be. And also, for example, you can go and press right-click, can't change ordering to be in the center of mass. So now it's right here. And now if you scale, it is going to be scaled a particular point here, that origin point. And now I'm going to go and position it where it should be. So a little bit to the right. And the reason for that is because I want to duplicate this one with the shift indeed. Actually let's do that later because I want to add a little bit more geometry to this one here. And now, if you go here the same as we had with the curves, we can go and increase depth and also we can just simply extrude this one here. And now I will go in top orthographic view with their x-ray on. And now I'm going to extrude it a little bit more just to be sure that this point is inside of. On clock. So to about here is going to be just fine. And now let's position it a little bit more better. So to about here. And now with the shift in d, I'm going to duplicate this to the side, and now I'll press Tab to edit it. And here I want to write down a m for the morning. And here I will scale it down and now I will position it. Actually, lets go and we need to scale this down. Let's move it to about here. And now I'm going to turn on x-rays so we could see through and you can see that it changes the extrude here. So we need to extrude a little bit more to be the same size as this current one. And now it should be just fine. So let's see a ton of X-ray and that's it. Now it's looking much better than before. And as you can see, we are done with that part. So now I'm going to duplicate this with the shift in D and tau, I will change. I will cancel any movement on this text here. But now if you go in edit mode here, write down 0700. So now it's seven o'clock. And now you can hide the second one, the first text, and you can see that we have different time for our alarm clock. And later on we are going to animate that one as well. And now wish to go and clean up a little bit our outliner. So first I want all of these texts here. I want to move into new collection so we can do it by pressing M. And here you can create a new tech, new collection. And here I'm going to call it text. And here I'm going to rename this Q2 button. And also those two here. So we have this button two, and here we have disturbed button on the side. Button three. So those are legs. And what else we have here? So this is cable and this is back ground plane. And now we can go and move all all essays that belongs to the alarm clock. And so we can go and select all of these Lexis. Well, what else we have? So we don't need camera, empty, we need to hold Alt on a Mac. And if, if you are having windows, I guess you need to hold control and also this body as well. And now we can go and press M column clock here, the new collection. Okay, and now is perfectly organized. So that's it about this video. Stay tuned and see you in the next one. 5. Modeling The Mouse Cursor: But the end, welcome to another video. And as you can see, we are done with muddling our alarm clock, and we also have organized outliner as well. And now we are going to Madame mouse pointers. So here you can see that right here is our 3D cursor. And by holding Shift and right-click, we are going to change the position. And all new objects that we are going to add are going to appear right here on the side. So let's move it away from our scene so it can model it out separately. And now we've shifted day I'm going to serve for image and I will add RF, his image. And you will be able to add this image. It can get, you can get it for the link of the description of discourse. And here I'm going to load to this reference image. So this is going to be a reference image that we need to model it out. And here you can see that it's set. We need actually to open all of this and it's set to collection, which is fine. And also, for example, you can turn on this filter here for selection. Now you can just press on it and you will be, you will not be able to select it anymore. And that's the one of the useful tools that we have on our planner as well. But before that, there is only one thing that I would change. And that one is I didn't want to this to being seen in perspective view. And also I want to decrease a little bit transparency to maybe 0.5 is going to be fine. And here, let's lock down. So now we can not select it anymore. And now with the shifting a here, I'm going to create a new tube. And an let's go and actually we are going to keep it as it is. I will go unnoticed MOOC and change prawn edge to vertex mode. And here I will turn on x-rays so we can see and select all of these. And I'm going to select all of these vertices, as you can see here. I'm, I'm panning on one single line. And for example, we can go and delete it. And now as you can see, we are having only one single vertex here. So now let's go and position is here. And now with e, we are going to extrude a new. And you can see that we had the single line, and now we need to follow all these inner line or this white, white-collar hand. So now I will go and execute this. And follow is vertices here. By the way, don't forget to like it on the axis. So if you see the time always looking on the z when I'm going up and on the x and I'm going to decide. So I'm just pressing key and you can see all shortcuts here. And I'm creating shaved that I'm going to use later on as a base because we will need we will need to exclude those other parts as well. So now we can go and extrude it on the side E, And don't forget, as elderly mentioned, lucky on the z and x. We are not going to move it for now. On d y, we just need to collect the mesh. And by the way, for example, if you want, you can align those here by pressing S, Z, and 0. And now they are both on the same size, on the same height, on the z location, on the z-axis actually. So e here, e. As you can see, we are making that shape or in a hand. And as you can see, we are almost done. You don't need to follow a reference image 100%. And here we need to merge those two. So first I'm going to select this first one and the last one is going to be the second one entity if you press M here, M vendor will ask you from each point to one to nourish those vertices n Taiwan to be from the last n. Now we have this shape here. Now, you can go and select all of these by holding constant left-click. And if you press F2 will be able to fill this hole. To fill this empty space. And now we can go and select this face here and extruded on d y. So let's go and pull it on device. So to about here is going to be just fine. And as you can see here, we need to exclude other, other, other, other phases. So let's go and x2's this and pull it here. Next one is going to be this one here on the side. So cobalt here. Now we need one here. And that's more of this ultimate here. Actually we can go and pull this to go back a few times. So now we need to go Extrude discipline here. Having this one here. Now, we need to exclude the discipline by pressing E. As you can see, this is not very difficult task. And actually here at increment on this one here, that's gone and extrude this one. Don't worry about the despite outline here. You will need to only this black for the pixel, pixel of this coarser. And now I'm going to put this one to about here. This one the same year toolbox here. Now decide our press ie. And there. As I will dimensionally the need to follow the reference image 100%. Now, the next one is this one here. And here and here as well as pull this down. And now let's do a little bit tweaking. We can go in vertex selection. And for example, we can go and align all these vertices here by pressing S, Z, and 0. And now we can go and select all of these edges. Actually faces, ie, we can extrude it to be there. And let's see what else we can align and everything should be just fine. And now we are going to add materials to it. So first, let's go and add a single white material. And here I'm going to press plus, I will create a new material that I'm going to assign to the outline. And here we can go in edit mode. And I'm going to select all these black, black faces that needs to be to have this Blackman and material. So this one here, those, those small it down. Now this one and here, this one here. And now we need to select second material and press assigned. And here you can see that we need to kill this one here with the black material. Let's pan around and see what else we missed. This one here goes on the top. All these black material and everything should be just fine and close to this one here on the bottom side. And let c. And here we have model of the pixel art, mouse cursor. So that's it about this video. Stay tuned. And in the next video we are going to add materials to the radio and it will start soon animating the whole scenes shoe there. 6. Animation Part 1: Everybody and welcome to our fifth video in this course. So as you can see, we are done with muddling our mouse cursor. And as you can see here, we are having some issue with shading and geometry, and we need to fix it right now before we animated. So first, let's go in edit mode and I'm real quickly, I'm going to get rid of my backside because I want to fix the issue that I'm hearing. It all of these double vertices and connecting parts. So first, let's go in edit mode and here I'm going to switch to two vertex selection. As you can see here, we are having double vertices and community because those, so we can select those, those sexually four and I'm going to scale them on the z-axis. So press S, Z and 0 to align them to, to, to, to be perfectly straight in the z location. And now we are having issue here because you can see that the, this part isn't, isn't connect, this sexually vertices isn't connected anywhere does. And we need to fix this. So I'm going to select this face here and with control and there, I'm going to add one edge loop here. And let's move it close to that word there. And now we can go and merge those two by pressing M. And now we can merge those at the center. And also we can go and do the same right here by pressing the M at the center. And now I'm going to align this part now with pressing S, Z, and 0. And actually we need to select also this one here. So everything is done here on this site as well. And to fix this issue. And here we have another issue on this huge phase here, on this huge area. And we need to do to fix it the same way that we picked before. So I'm going to select this face and flood control. And there I'm going to add edge loop there. And now in Arctic selection, now I can merge all this with m as the centre. And as you can see here, we having issue again because this part is connected to anyone and we can simply just add one edge loop on that up. But now we can press here m to merge those vertices. And now we can go and align those by pressing S, z is 0. Now all of this together. Now, I'm also just to make sure that I am having state forward to the stop parcel and v2 skilled this time on the x axis. I will do the same here. Now I can go and align those on the z location. Also those just in case. So we don't see I don't see an issue here on this part. Everything is clear here. And also here we need to fix it. So one more time, I'm going to select this face, both up, up here. Now with vertex selection, merge photos at the center. Let's align them to be perfectly straight. Also this one here. Now, I want to align them on the x axis. Also those and everything is done there. So we are having issues here. One term here, m at the center, scale on the z. Also this month and everything is done here. And now we can go and fix here issue as well. So let's merge those two m scale those. Now this here and at the center, and how we can align those also here we have Merge. Now we need to align them to be straight on the z location. And here as well. I'll say here M at the center or discipline here. So this is the way how you can get cleaned topology on those kind of pixelized objects. Some March here and align those. And here we have also the issue. So porous we can go and merge those two. Actually, we can go on older those two here. Now I can merge those. Let's align them. And here we are having issue with this edge here. So I'm going to press Control and air to create Azure Luke. Now I can go and merge those. And also this one here. I select those two m at the centre, at the centre, and also right here. And here, if we can go and delete at this vertex, Actually, let's go and add, edit two edge loop, M at the center, S, Z and 0. Also here with the center. Actually switch back to OK selection. Now I'm going to scale those. And the z also goes here. So here. And everything should be done. Now we need to align those on the X axis. Also those here. And now everything should be done. So now we can go and inhibit most liked everything locked on the y-axis, extruded on the y-axis. So let's make it ought to be. The inner toolbox here. And now I'm going to position it to be about our alarm clock. So let's rotate it on the x-axis for 180. And now I'm going to scale it down. Actually, we can go and select all of these here. And two, it s, We are going to scale all the salt and also this one here as well. And now we can go and start automating the whole seeds. So first, I'm going to select my camera antidepressant 0 that they're in camera, camera view end also. Let me just go. And so with a shift and create p, you will be able to enter in Flight camera mode. And now I'm going to change my workspace to animation. So right here you will be able to see the camera, and here you will be able to see it the whole scene and threatened. Now, here we can see our Dope Sheet. So first, let's go and select our camera. And here under camera we are going to change. We are going to change this time type of camera from being a perspective towards the graphic. And now we can go in camera view here. And with the shift and end key above tab. We are going to obtain flight and normal mode. And now you can use Sure. You can use your keyboard to navigate your camera as you want. So let's say on our first key frame, we are going to have our camera right here to about here. But if you want to zoom in and you can just go and press shift, shift and Kaikeyi, which is the key above tab, you will not be able to zoom it. And the reason for that is because we are currently working with orthographic returns, the graphic style of camera, and we need to increase the, the graphic scale right here. So let's zoom in all the way to the close-up. And we are going to zoom out. Let's say we want to be right here. Now in this camera, here, in these properties of the camera, in these properties menu here, you will be able to see a lot of things that you can use. So for example, on the viewport display you can turn on compositing guys like thirds and center as well. But as you can see, we need to turn on overlays and also other stuffs like golden ratio and Harmonia as well. For example, it can increase pays part out, which I will often use this. So I can see only and focus on the objects that I'm animating. So let's say we want our camera to be on the 40th frame right here. So I'm going to press IY and while I'm on camera, I'm going to treatment to insert look no location, rotation and scale of the camera. And also because we are working as a little dimension or to graphic scale, we need to insert keyframe on this orthographic scale. But let's actually zoom out a bit to about here. So I'm going to press I here on this 40th frame, and now I'm going to switch back to our first frame. And here, let's say we want to have focus to about here. And now you play animation. You can see that it's actually zooming out. And now you can also press Control and space if you want to increase the size of one of these viewports. So let's play our animation on more time. Actually, we need to decrease the number of give him. So let's say 54 now. And now it's looking much good, much better. Actually, we, we are having custom animation. And I believe this is way too fast. So we need to actually to slow it down. So I'm going to create number of frames to actually let's go and write down 60th 16 frames. Let's move it, and now it's moving slower out. So now I want from the 00 keyframe Francoise 60 frame to having some flickering here going gone, because it soon is going to be seven o'clock and all and clock is going to drink. So actually I want this to zoom, zoom out. And now I'm going to increase the number of key frames. And I will not unmet my camera anymore. So now I can focus on the details like like animating the text and all saw and emitting the mouse cursor as well. So first, let's see our Can, camera movement is done. And as you can see, we need to be sure that we are having with the cable. So right now I can go and extrude it also a little bit further to bought here. Or actually it can go and actually this is going to be, I believe, just fine. And here as you can see, we need to see if everything is correct here and everything is correct. The gable is laying down on the floor of this, on this plane. So that's it about this first part of animation and see you in the next video. 7. Animation Part 2: Everybody and welcome back to second video about animation in discourse. So here as you can see, if you play this animation, you can see that the uncommitted already camera. And now wish animate and discourse or this mouse cursor on this top. So before that I want to change something here on this bottom, bottom part here. Actually top part, but button, button space actually we need to fix it. So first let's switch to solid. You back end right here. I'm going to go and duplicate this with shifting D, and let's move it on the top. And now I'm going to select that this body part. I will apply this subdivision Montfort. And next step that I want to do, I want to add the Boolean modifier because I want to cut the hole for the button. So now I can go and for the object, I can select this bottom part. And here I will be able to go and turn on this button to be visible as buyers. So we will be able to see how it's going to look like. So here under viewport display, instead of displaced texture, we are going to use this as a wire. And now you can go and control the way how it when to look like. And I want to look something like this. Now I'm going to apply this Boolean modifier. And now actually we can go and get rid of that part. And now we can go and focus on this part of the bottom. So I'm going to change my Argent point to the center of the mass. And now we can go and skilled Just a little bit. So it fits perfectly in this button slot. Now, let's go and move it all the way down to about here, so we will be able to address it. And now the two go back. So let's go back. In animation, we workspace, and let's see how everything is looking so far. So here we have this mouse cursor on this top part, and now we are going to position it right on top of this button because it went to press the button here. And let's go and see when it goes to about here, let's switch to look their mode. And now I'm going to scale down. Maybe just so cubic bigger sought to about here going to be just fine. So now if you play this animation, you can see it's going and stopping on the 60th sub-frame. And I want to have a little bit of time before it press the button. So let's say on the 19th frame, I want this to be, let's say right here. And I want this one, this bottom part to be topos here. So I'm going to press, I print sitting location keyframe for the button. And I will go and in certification, rotation and scale for the mouse cursor button. And now we can go and actually let's go and make it onto 100th frame. And also here I will go and press g to move this. This key frame and the man hundreds frame. And now before that, let us say on dated frame, I want this to be out. Our work, our, our camera view. So I'm going to insert the same location, rotation and scale. And this one here, this bottom part, I'm going to press g and z to know it's slightly up to about here. Now I'll press location, rotation and scale. And now if you play this animation, you can see that nothing is happening. So I'm, I'm going to duplicate this keeping with the shifting D until it hits. So you will need to eight. Actually, let's go and get rid of let's see when kits. So this means that we need to wait a little bit longer. So I'm going to sound 100 frame is going to be right there. And so actually toolbox here. So I'm going to zoom in so we can see our better. So we have this street frame. So this is the framing. It should touch and press the down. So for that, we can go and actually pull this back to its original position and now expressing perfectly. So let's play this animation. Let's see how everything is looking so far. Zooming out. And now expressing. And as you can see, it's a little bit slow, so I'm going to decrease the time that it's traveling around the top part. And now I want to copy this keyframe with the shift in D. And I'm going to move it couple of frames back because I want to leave the scene. And let's decrease the number of time, that is Amro number of key frames to 120. So let's play this animation. Coming down. It's pressing button and it stays there. So actually we will, we will need to duplicate this keyframe, couple of key frames. So now is pressing the button, let's see. And it comes and presses down. Then our own cock and lived the whole scene. And actually it's, it's, it's a way to fast song Going to select it. And let's go and increase the number of key frames between touching. And for example, may be here. I'm going to rotate it. A little bit by pressing f z, and let's replace this keyframe. So let's see how everything is looky here. So actually spectating. And instead of coming back like that, we should go and duplicate it. So now it's looking much interesting term before. And let's say we are going to change mode. Let's try linear. So let's say also that we want on this keyframe that our camera is slightly moving toward here. So let's say from this keyframe, we're going to insert keyframe right here on this orthographic scale because you will need to remember this when you're working in autographs K, you will not be able to zoom in camera. And let's say on this keyframe, I want to be zoomed here. And I want immediately zoom out. So let's see, the whole animation is coming down. It's pressing the button. So let's see actually how optimal these keyframe. I should get out of debt. So maybe here I want this to stay a little bit dare. So maybe to keyframes. Actually only one. What's coming down is pressing the button. And here I'm going to, I will need also to, because one keyframe here to stay longer. So let's see this. And this is still BATL best saw whoever needs to increase the time. And let's see. So now it's present Boston and also leaves. And now let's go and animate our camera just a little bit more. So let's say let's copy this keyframe. I want to stay all the way up here. And this is starting from the 19th. Frame. Solvers keep it until here, but maybe actually less Go and Bethmann with backfield keyframes. Now, I'm going to move my camera. And just so COBIT, Actually, let's go and see. Let's pull this up a little bit and now it should indeed, we're going to move it back. So now it's moving up and now it's coming together with this button. So it needs to be hit right here to travel like that. So now we are having a little bit more interesting details. And I believe this is way too fast when events coming up. So we need to increase this time that traveled between. So it's coming up and immediately coming down. Let's say here. And maybe we can go and know this up. Let's insert keyframe here. Now let's play the whole animation and zooming out. And now it's coming down. So let's stop here though. As you can see, when it's coming up, it's not looking so great, so we need to clean this up a little bit. So actually I will go and select my camera first enterprise here it stains on this keyframe here, and I want to cancel any movement of the camera. I want to stay still here. And here we have all sorts of skill. Ftk is fine here, but maybe on this keyframe, when it's pressing, pressing the button, I want to be like to about here. So I will insert keyframe here. And maybe we can go and pull this orthography scaled in the dope sheet, this keyframe. And now it's zooming in. And immediately it should go back to its original position so we can go and duplicate this and before keyframe. And maybe let's go and try something like this. And as you can see, it's a bit slow. So we need to start. So actually we need to replace this keyframe. Ladies, because Hamilton, to have the whole cursor showing in the C7 is pressing the button. So I'm going to duplicate this because I want it to stay one frame longer here. So let's play this animation. And there is also one more thing that I would like to change, and that one is the position of this button here. And also I want to edit just simple color material to it because I want to see it how it's going to look like. And as you can see, it's a little bit way too low. So instead of having it here on, on data.frame, I will go and press g and z to call, pull it out a little bit and our press E to change it to location here. And now I will need to go and duplicate this. And also we will need to remove the last keyframe here. So here it should be over the down. And that one is good. But before that, which is this keyframe, let's go and put it here. And now it's pressing here and here I want to stay a little bit longer here. So we are going to duplicate this keyframe. And now when it's pulling out extra travel, a bit like this. So now let's play the whole animation. Let's press control space here. Let's see how everything is looking. And now is looking much better. And the reason for the four leaving this whole holes HoldTime here. Not that nothing is happening, can't is because I want to animate also this, those two to those two text. So first let's add simple material, do it. Let's say something like this for now. And also for this, I want to share the same material and this one as well. So as you can see, we are having both dirt on NPR and willing to animate those two. So let's say when it's zooming out here until here, when Camera ends. Actually 63, we should have only we should have only visible this 659 minutes. So here I'm going to turn off this vec, which is seven o'clock. And here in this object properties here, under visibility we, we will be able to insert key frames on this renders. So let's say until this frame, I want it to be visible on the keyframe. But immediately on this set 16th First, I want to turn it off. Insert keyframe here. And also we can do the same here for the viewport until six years frame. I want to be visible in the scene. And now on the 60th first string, I want to disappear from the scene. Actually, you will need to uncheck this box and now replace that keyframe. So as you can see, it will disappear after 6868 first frame. And now instead of this, I want this second text to appear here on the 60th first frame. And here I will be able to insert keyframe on both viewports and also renders. And here on the 60th frame, I want to uncheck both of this and insert keyframe here. And as you can see, we are having this alarm clock is changing the way it looks. So let's see how everything is looking so far. Let's play the whole animation and now everything is looking good. So right here in the next video, we are going to animate our materials and we are going to apply materials to our scene. So that's it about those two videos about animation. Stay tuned because in the next video we are going to apply materials and prepared the whole animation for entering counts. So see you there. 8. Applying Materials And Final Render Settings: Everybody and welcome to another blender video. So as you can see, we are done with animating our flock. And now if you press 0, you'll be able to enter in Camera View. And as you can see, B need materials and also lightning to finish the whole rendering scene. So first, I'm going to stop my animation and I will go in layout right here. So for the lightning, I want to use HDI, which you can get from HDR. I haven't dot com. And here if you press AG ration will be able to select a lot of different images that you will be able to use for lighting up the scene. So for mine, I decided to go with some snowy night. Night. But you can any you can get any, any images so DES and try it out. And also you can see the preview on newer materials right here on those balls. So now let's go and open our wonder back. And now we need to insert that image that we got from the HDR. I haven't dot com. So I will go under shading. And here instead of objects, because it's set to object, we need to switch the world. And now with the shifting day, I'm going to search for an environment nodes texture. Now I will connect this to the background of this. And as you can see here, we will need to insert this image that he got from age did I haven't dot com. And I want to go with this one's no, we park. So I'm going to open it up. And now if you go under layout and then on rendering view, you will be able to see the image that you cut. And here we have our default plate, and for now I'm going to leave it as this. So the next step I want to see from my render engine, because I want to have higher quality or the render engine two cycles. And now let's press Zero to see the whole scene. So to stop it right here. And now let's go and add material to our background plane. So I'll create a new material. And for this one, let's go and create some dark, dark, dark blue, green, and green cloud color. So something like this and we can go and decrease roughness on it. So we will have a little bit the reflection right here and also of this front texts as well. Now here, I'm going to real quickly see if I apply all materials. And I did. So for the cable, we are going to insert the basic black material. So we need to insert the black material there. Now we can switch to look their mode. And here I'm going to go and select this, this buddy of these, alan Cook. And now first actually we need to go and we already have actually white material. But now I will go in right orthographic view and I will turn on x-ray in edit mode, and now I will go and select this front part. So let's go and deselect this. And let's see if we select all of these. So I'm going to zoom in and you can see that we need to select also those, those two here. Actually, let's go and switch to faces. And I want also those. To be selected as well and to have a different color here. Some great new material here, plus n also I need to assign it. And for this one, for this front part, I want to have this orange color like this. So maybe a bit darker. Actually. Something like this is going to be just fine. And now we need to have different, different color for this front screen parts so we can go in edit mode. And here with circle selection, we can go, and actually this time I will switch to solid view so we can see it better. And now with circle selection tool, which you can use by pressing c. And if you want, you can scroll up and down your MOSFET. You will be able to select this frontal part. And now we need to select more. So under select, we can go and find select more. And it's right here. So we need to repeat it couple of times, select more. And we are almost done. So you can see that we need to do it two times, maybe more. So, so something like this is going to be just fine. Here I will go and create a new material. And this time I want this to be all black here and I need to assign it. So now if you switch to render it, you, you can see that we have something like this. And for this frontal part, I want to change the color of it. So I want to make this to be something like this. The yellow color here for actually the orange one. So2 Abbas here. And now under shading, I want to insert a mission shader note for this frontal part because I want it to emitted the light and also I want to animate the DATEPART as well. So first I will go and insert the node emission note. And here for this hex code, I will need to copy and I will get rid of this principle, BSD F. And now I can plug in this emission color here to this frontal part. So let's see how everything is looking so far. And let's go and insert that right there. And also you can see that we can go and increase the strength of it and we can animate it. But that one we are going to do it later. We can go and also up at column to the legs here. But I'm going to just black for the legs. And also we have those two buttons here on the site. So we can join those together by pressing control and J n for this color here. Let's go and add some darker material. Or actually we can go and make it black. And also we can go and find different color here for this top part. So maybe something like this dark green color is going to be just fine. So let's see how everything is looking so far. Or maybe we can go and add maybe the same material, that black material for this top part as well. And I think this is going to be just fine for this renter here. So now the last part that I want to add is going to be the animation of this number here. So first I will go and switch to the lockdown mode, and now I can switch my workspace from shading to animation. And now issued press. If you press play an emission, you can see that it is going out. And I want it to be the same here. But on this second one here, I want to animate it all can be defer because I want to start blinking. And when, when my mouse cursor is pressing the button, I want it to stop bubbling gig anymore. So now let's go and do that and animated that actually. So first we can go and select this seven number. And here on this 60th first frame, actually I'm going to need, I need one more, more space here so we can drag it from the cornice. And here I was changed to shading view. So let's find its shit at shader editor. And here I will go and press right-click and add one to insert keyframe here. And let's say maybe few frames here. We can go and increase the, the actually let's see when, when, when we need to stop blinking. So this is the point where we need to copy this key frame actually. So we need to select actually this note here, as you can see, it's showing up now in the dope sheet. So under 60 headfirst frame, we have this. So let's go and select it. And here on the, let's say which frame. So on the 100 frame, we need to insert the same key frame here. And let's go and see. Actually I will go and, and here I want to start blinking, but this time I will need to switch my, I will need to switch here. So let's say on this, every second frame, I want this one to go off. Let's say. And now let's go few frames in the front. I'm going to zoom in Brooklyn. And let's say here, we need this one to go a little bit higher. So maybe 20 is going to be fine. So let's write down 20. And here I want to insert D3. So now I want this one to stop, start blinking. So actually it's going to be two every second frame. So we can shift indeed the second one, all the previous Pfaff until the 100 frame. So next we need this one here. And this one, actually this right here. And this one here. So let's see how everything will look. And as you can see, this, this is a little bit way too fast. So I want to have a little bit to delay here. So we need to scale this up. My pressing s Here in the dope sheet. So something like this. And I think is still blinking great too fast. So we need to select it back, and we need to select this shaded node right here. And actually we can go and delete maybe those two here. And now we need to see how everything is looking. So I want this to stop here and then to turn up. So let's say every, every eighth or ninth, that's more disk to decide. So 61st is going to be the first keyframe. And let's say, I want, It's to go off here on the 60th fourth frame. Or actually I already said that I wanted to have a little bit. So let's see. So on the 60th first frame is going to be something like this. Or actually we can go and I'm going to see right here. And as you can see, we need to increase the value of the emission. Also here on this first keyframe. And B already set it to 24. So lets say 24, actually here is 20. So we need to replace that key frame 1000 up again. So I want to have all, all the time here in Michigan, but maybe this is way too much, so maybe ten is going to be fine. And now we need to replace all these 20 frame here. Actually, I've inserted the wrong keyframe, so I need to select that my, my, my text here and here I will go and actually we can go and start from the beginning. So here on the 64 stream, instead of 20, I want to, I want to write down. Then enter a place keyframe by pressing right-click here and replace. And also we need to have the same keyframe here on the 100 frame because that time is when it's pressed. And now I want this to animate to start blinking. So let's say here is going to be 0. And lets go on every tenth frame and need to duplicate. So here if you press control in space, and I think this is way too fast solving it took speed, mass flow down the hall and mission. Let's see. Now it's changing, is blinky two times and we actually need to delay the way and pressing time of this button here. So I'm going to switch back to the lockdown mode here. And now actually we can go and switch to animation, but this time I will then I don't need this area here, so I will go and lower it down. And now let's go and see. So we need to delay a little bit to discipline here, and we need to make an animation or an emissions bit longer. So here I will go and decrease and increase number of key frames. And now with the g, I'm going to move it all the way here. So let's say to about here. And now also we will need to move this, move our camera back here. So I will pass j and move it. And now everything should be done instead of this blinking. And also, as you can see here, we need to move this also to the site. So I need to see it is solvable in front orthographic q. And I will find out the lowest point here. It should be to about here. And this is the point where we need to focus our keyframe. And also we actually need to focus on our camera right here. So let's move it all the way here. And now it's much better. And also here I will go and duplicate this keyframe here on the 100. It's free. And that are actually does keep em when it's pressing down the button. So this is the 140th frame. And now I can go and duplicate it. This also one more time here. So now this time we will have also, also one more time blinking. And let's go and see the whole animation now. So now is going to be zooming out, is blinking three times. It's pressing buttons, any sat, empty stops blinking. So it means that the oven is turned off. And I also want to increase a little bit keyframe here, number of difference for ten more frames. And now we are done with animating the whole scene out. So now we can go and switch here and see if everything is correct. So for the color management here, for example, it can go and increase in contrast if you want. Here you can see we have a little bit, a lot of different contrasts that you can use for your scene. We have low, low contrast, but this time I want to have, let's go with the medium contrast. And here if you go all the way down, you can use curve to more to set the mood that you like for your scene. And also you increase the number of the value of the exposure gamma. But this time I'm going to turn it off when they're needed. And here you will be able to select number of sampling. Everything is fine here. If you have, if you're working on a Mac, use reduce CPU renting. But if you're working on a window, windows, you should use GPU because that time is going to be much, much faster in the GPU rendering. And now here I'm in doubt oh, setting, you will be able to set the resolution as you want. And also here you will be able to select number of frames, frame rates. So 24 is going to be just fine. And here in this output settings, you will be able to select file format. And usually a Vijay Peck is one of the best here. And also here you will be able to select, vary one to save your scene. So I want mine to save right here. And let's call this animation. We can press Accept and everything should be done here. And now you can press render, Render Animation and you're rendering is going to be in. So that's it about this course. I hope you had fun. I hope you learn something and see you in the next course. Bye.