How to Model Anything - Blender 3D Modelling Fundamentals | Tom Hanssens | Skillshare

How to Model Anything - Blender 3D Modelling Fundamentals

Tom Hanssens, 3D Environment Artist

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8 Lessons (1h 33m) View My Notes
    • 1. Introduction

      0:46
    • 2. Navigating Blender

      7:02
    • 3. Selection Modes and Tools

      11:48
    • 4. Manipulating Objects

      16:00
    • 5. Blender's Modifiers

      17:32
    • 6. Mesh Clean Up

      8:56
    • 7. Puting it All Together - Part 01

      21:00
    • 8. Putting it All Together - Part 02

      9:57
24 students are watching this class

About This Class

Hello everyone! In this class, I will take you through the basics of 3D modelling in Blender to get you well on your way to creating beautiful props and scenes.

Within this class, we will cover a multitude of modelling topics. These are:

  • Navigating┬áBlender
  • Selection modes and tools
  • Modelling tools and how to use them
  • Modifiers (Blender specific)
  • Mesh Clean-up
  • Putting it all together

This class is aimed towards beginners with Blender or 3D modelling in general, so there won't be any super complex models being created throughout the lesson. The tools I will teach you, however, will allow you to create said complex models with some time and effort - and a lot of practice of course!

Transcripts

1. Introduction: Hello. My name is Tom and I'm a three d environment artist from Australia. In this class, I'm gonna take you through the basics of modeling in blended 2.8. And by the end of this lesson, you'll have gained the skills to create a key little die Rama such as this son. And then you'll be well on your way to modeling anything. Your imagination can contrast with some practice, of course. So it in this lesson will be covering blenders, layer selecting objects, manipulating them, even covering blenders, unique, modify it, tools mesh clean up. And then finally will put it all together and create a lovely little die Rama that you can show off to your friends and family. So I hope you enjoy the lessons in this class. And I look forward to seeing what you guys create. 2. Navigating Blender: all right. And hello, everyone. Welcome to the first lesson of the blender modeling fundamentals. Um, in this one, we're just gonna learn a bit about how to navigate the program itself. So these first few lessons that it's gonna show you the basics of the program, and then we get into the actual modeling all the good stuff. So to start with, we just need to learn how to move the actual camera inside of blender. Sonia, open the program will be graded with this scene. And now we wouldn't worry about all this stuff yet. We just learned about how to move around. So to start with, the main camera moves. Ah, um, orbiting, panning and zooming. So it or rose around the middle mouse button, middle mass and quick. We can orbit around middle Mass and shift ikan pen, and then you can scroll to zoom in or hold control and middle masculine contract. Is it? So this is all in perspective. You to switch to an author graphic for you. You can press five on the number head. You can see we're now in an Ortho graphic for you. You can also snap to the different planes like the front, the back left and right Wall Street Photographic few by holding bolt on the keyboard, middle massive drag. And then up here you can see which one you're in. So front left back, right bottom top. And you can also press one through nine on the num pad to swap between Then we got so we'll just go back into perspective mode. And now a common problem that beginners have is they might get lost in the scene. So, um, they might accidently pan away from the object like this and just I go for a wonder in the avoid hump. So the way we get back if you can't find your way home is Teoh. Just press home on the cable and it will bring a rise back. Alternatively, we can press shift see to send to yourself, and another way is to select. If you already have an object selected, you can press the decimal point on the num pet, and it'll focusing on the object. This one's also especially useful because you're motors fight drag this object over here just pressing G to grab it and then impressing ex to move it on the X axis. So you noticed the camera still orbits around the world? Origin this center point here. But what if I want it toe orbit around this cube? Well, I can focus in on it with the numbered decimal point. And then, pan, there we go. That's why this President, Charles, that a few times to bring us back to normal. Okay, I said, now you notice we have a few different, um, layouts up here, These air just tabs. And they just stop around the layout of the view ports. They were just in the normal default layout. At the moment, we consult between modelling sculpting, evey editing, shading, animation, a bunch of different things. But we're just gonna stick with layout for now. Um, it's got everything we need. And even though we will be doing modeling, it really doesn't change that much. It just gets rid of this little animation timeline, which we don't need but takes upside little room. We don't need it. I really need to worry about it. Okay, so, um, a few hot keys to get a started pressing t it ah brings up and hides the tool. And you So this changes depending on your it, whether it whether you're in object mode or edit mode, and I'll go into more depth in that, um, in the next lesson. But just selecting an object would left click impressing tab, bring it into edit mode. And you can see we have all these tools here to manipulate it. And we can hide these tools with teeth. And you can also bring up um, so you can also bring up the number panel with N and this will have the other side. And this will give you things like, um, the location, rotation scale, etcetera, um, and a few other and a few other options that might be useful to you at the time. And next. We have these little, um, tabs here. So the main ones were going to be looking at throughout this lesson is the modifiers tab. Now this has a bunch of different ways to modify object. Big surprise there. Um, and we also have the, um, I think it's object settings Tab. That's just like a triangle with some little circles on it. Um, and this can help us fix any problems or change just some subtle ways out object looks, and then we also have in materials, Ted. But we're just modeling for now is that we don't really need to worry about that one. But, um, when you're creating objects in blender those three, these little three here, these are the main ones you're gonna be looking at. Ah, we don't really need to worry too much about the rest. So with that done, um, I just want you to get comfortable moving around in a three D space If you're still a beginner to a three D um, like work. So you can be a bit hard to orient yourself sometimes. So just get used. Teoh Middle Mass clicking on shift Middle mass clicking, moving around, an object zooming in And then, you know, remembering the hockey's focusing in on the object, getting lost, coming home with home. And then now we can move on to next lesson where I'll show you, um, had a select things And, um, the different uses that that would have when we come to mumbling. All right, I see in the next one. Thank you. 3. Selection Modes and Tools: Hello, everyone. Welcome to the next lesson. And in this one, we're going to be looking at selection. So, uh, selecting verses, edges, faces, individual objects and, ah, even sort of special selection modes on how they can be useful. So first of all, obviously, object selection just left click on an object. So if we have to objects Ah, left clicking, you can see an orange highlight films around one, whichever one we have selected. So next we can enter edit mode with Tab So selecting on an object pressing tab, you'll notice it looks a bit different. So we have all these points here. These gold vergis ease. We can individually manipulate those as well. So if you don't want to manipulate the verdict sees and you want to manipulate edges or the faces, you can press two for the edges. This is just not on the num pad just on the keyboard. So one is vergis. Ease to his edges, threes faces. So you can also click on these buttons up here, and that will do the same thing. But I would recommend getting used to the keys, cause that will help speed up. You work for in the long room. So what if you want to select multiple things so it's gonna bring up the tool, man, you would t. You can see we have a selection box here so we compress B, which is the short cut for it, and then just drag and you can see it selects everything. And, um, just quick off to de select. It ignores the press. See to have, like, a circle drag selection. But you'll notice the back side of that object isn't selected. What if we want to select? That is well, so we can press shift Zed to enter wife Rate mode, and now, if we book select, then it will select the back as well, Schiff said again, to go back into normal object mode and you'll see everything is selected dental y frame, and you can also click on this button up here. There's also some other modes, like looked of and rendering, but they are not really gonna help us when we're modeling that much. It's mainly wife frame mode and solar mode that we're interested in. So the Ortho graphic view that we learned in the previous lesson is really useful for selecting, um, specific faces of objects that ah, on the same plane. Um, What I mean by that, um, might be better if I just show you summer is gonna duplicate these objects a bit. I'm just gonna press shift B and then present to duplicate them. So shifty duplicates said, looks it to an access that is left click Teoh, Except it self select them all. And then I will press tub didn't and to edit mode. And then I'll just click off today, select it, press five to go into all the graphic mode. And now we're going to go to a bottom view, and then we can press shift said to get into a wife frame mode, and now you can see if we press be clear, drag. We've selected all of these front faces and that just saved this, um, doing like clicking on all of the faces individually. And if you have a ton of cubes and stuff that you want to edit the same time, this could be really helpful. So going back into perspective mode Now, Now we're going to learn about a selection. So a selection, um, to may A stands for all suppressing a selects everything even in object mode suppressing tab to go back to object mode A selects everything and you can double tap a to de select everything say, a selects everything Double tap A D selects everything so we can also select multiple things at the same time. So clicking on a cube and then holding shift, clicking on another keep that will select too keeps. And we can just hold, shift and keep clicking. Do we have whatever you want? And this same principle also works in edit mode. So if I click on this going to edit mode, maybe I want to select um, a few edges. I can click, hold, shift, click, hold, shift and just select whichever edges I want. So now we're going to get into a bit more of, um, nuanced and advanced selection. So, um, to demonstrate that first I'm going to press control are toe add. Cem rings around a cube, and I'm just scrolling with the mouse to ADM. Or, and I'm left clicking to accept it now. Then left clicking, I'll right click to cancel this move so I go into more depth about these tools that I'm using just for demonstrative purposes in the future lessons. I'm just using them now, too. Show off. Some of the selections weaken due in blender. So the 1st 1 If we press to Teoh, make sure in edge select mood they can hold instead of just holding shift and clicking on individual edges. If we wanted to select this whole ring around the Cube, we can hold old and click on the edge, and then it selects the ringer end. You can do that with either of these, and we can also hold shift in old at the same time and then select multiple. This is a very swollen You'll be using this on very often, so we can also select what he's called on edge ring, and it will select like, Ah, if you hold control old, it will select the ring around the object, say, like all of the edges here killing around the object. So not quite a loop that's going injuring. So one other important selection technique is inverting selections. So what if we want to sit select every single face of this, um, Cube set for the top face? But of course we can hold old and shift to select the rings or weaken. Press a shift today, select it before we can use Ah inverts elections say we can click on the face that we don't want and press control high and it'll flip this election and leave us with an UN selected top face SE selects for of course objects as well. Selecting one object control I select so all the other objects, the next will learn about a few ah situational selections you might want to use, but they come in handy you use and more often than you think you would. So 1st 1 is growing and shrinking selections. So pressing control and then plus on the numbered will grow this selection by one on each side like this. And if you do it again, it will keep growing and growing and growing until the whole object is selected. So we can also press control minus to shrink the selection. I really like this one. I use it cut off, and I just find it more easy than say, If I wanted half of this keep selected, I could select the rings, select the top for I could go into photographic mode y frame mod box. Select this and go back. But that's just seems like a hassle to me. I could just press on this control plus plus, and then, you know, I have what I want. And then finally, last but not least, we have this select menu up here. So with this weekend, select random. This is good for organic stuff, like rocks. You can select random faces and push them out and pull with me and all that sort of stuff. Um, and then select. Ah, similar. This son is quite useful as well. Say, if we click on a face like, let's say this one. If you do select similar and then we g 02 area, it should select all the faces with a similar area to it. So, um really should select ola faces except the top of the bottom one. And it's done exactly that. So you might find situations where you need to select faces that are only oriented the same way or face Is that on the exact same plane and you'll find, um, it might be the easiest way to do it is to go into this select menu and then going to select similar and find what you want. So the last useful selection tool, um, that we have in this select menu is clicking on a face and we go to select loops and then banri loop and not actually going to eight edge mood and select. Ah, this loop here. So it might be better stem in straight it on a face like this. So what it will do is select the bhandari of the selected, um area. So do again Select loops, Banri loop. And you can see that video selected this edge. So just practice. Um, the main things Teoh Ferguson are object mode is for leaving whole objects. Edit mode is for manipulating inside, manipulating individual objects. Um, and then you'll 123 selections And then finally your wife, right mood. So that's just a small recap. Um, do your best to remember those and, um, when we actually enter the modeling, um oh, show you how all of these techniques sort of fall into play and how they're quite useful. So in the next lesson, we're actually going to learn some modeling. Say we're going to stop manipulating the objects. Start um, using all of these tools on the side and seeing what they do and how they can achieve certain shapes. So I hope you enjoy this lesson and I'll see you in the next one. 4. Manipulating Objects: hello and welcome to the third lesson where we're going to learn about ah, actually manipulating the objects and the bulk of how we're going to model things. So, first of all, what we're going to do is get rid of everything in this scene. Say what you learned before press A to select everything, and then X is what we used to dilate stuff. So press X and then you ask, do you want delete it? A is click and everything's gone. So the way we muddle things is we look at an object and determine what is the easiest shape to start from to create this. So, for example, a pipe, obviously a cylinder. So press shift a and then in mesh here we have a range of different, um, objects we can choose from. So if we choose the cylinder, then we get a cylinder. And then down here, we can change. Have any vergis is it has and its radius. And it's dip, sir. Of course, you can press other things like a plane, a cube sphere or that stuff. So, um, the main, um, the main ones that we do use our cylinders, cubes and planes. And from those objects you can pretty much model whatever you want. So let's get started in learning how to manipulate the subjects. Firstly, the most important ones to remember is a moving, rotating and scaling. So you'll be pressing these a 1,000,000 times. I want any but link. So moving is G se. You can move pressing G movie a mouse, and the object will movement with it so you can cancel by right clicking or accept it by left clicking. Um, so down the bottom Ah, you also have some sort of tool tips as you're doing that. So if you ever get stuck, just have a look down there will help you so you can see left. Click Confirm. Right click cancel. And we also have the X axis looks to the x axis. Why look to the wife, of course that to the dead. Um, and you can press shift x to keep it on the explain shame for why? And ST Phys ed. The way that I like to think of it is, um, it's excluding the Zet access. So it's moving left and right, but no nothing down. So just cancel that move okay, so we can also rotate by pressing our. So the way I remember these is G for grabbing an object and then are, of course, for rotating. So same principles apply with access. Decompress said, um, Beacon Press. Why? And you know the press X and then finally scaling. So, of course, is pertains to the same rules. So scaling is s and ah, we can remember that, because scale start with this. So, of course, um, if you want to edit mode with Tab press three, select a face. You can scale the face. You can move the face and rotated. Of course. So this is how we manipulate objects to get ah, certain specific shapes. So now we're gonna have a look at the modeling. Ah, toolbar. Remember that we hide it and show it with tea and the corresponding hot keys that go with them. So festival adding a cube We've already looked at that pressing shift a and then you can add a a primitive, like a plane or a cube cylinder. Next. Extrude. So what this does If you have a face elected, it'll push it out. Say, click on extreme. When we drag this. They extruded this face Click on this face extrude. We've extruded that face so control said Controls Ed Control said, Just go back to our selection mode and we don't want to be clicking on a face clicking on here, going back and forth between all the tool buzz and tools. I just want to learn the hot keys. So pressing a on the keyboard Easy one to remember he for extrude press a boom up and down if you want a specific measurement, so like if you want to be exactly two meters long, press two on the keyboard and it'll move it to teenagers. Compressed, delete impressed. 10. If you want to delete that 0.1 If you want and then press enter and it will accept it. Here you can also, if you change your mind, change how much of extremes and on which access and all that good stuff, said Controls head controls that controls it. Next is in setting faces, so this is basically the same is extruding it and then scaling at dem so you can see it's in set this face. But, um, you can click on insect faces, of course, and then click on the face and drag if you want to use these buttons. But I would encourage you to just press I for inset. There we go. Now, this is quite useful creating tapered sort of shapes and then, you know, extruding them out have sort of, uh, rocketship knows can shape there. But so me in set, we also have options here, like a depth and whether we want an individual offset or not. So there's the main things they're looking at. Um, so with the depth, if I inset again and then push it at to be flush with the sides and hold control and then this old is the death said it can push inwards. But we can also and was like this in woods. Atwood's just shifting it like if you hold control, it will push it up and down without control. It will push it in and out. Okay, so then individual, that is, if we select multiple faces and we want to inset them, it'll either in set them like this like a window or individual. It'll inset them like this. So just give you that level of control there. So just controls that'll that next we have bevel. This is very useful one, um, quite self explanatory. It Bev als and edge. So just clicking and dragging if you choose to use this But of course we don't. We want to press control, be to bevel and then dragging a mouse out. And with this one, you can actually scroll. Teoh, Um, change. How many leaps around it will bevel. So of course, you have all of these same, um, options here, and you can change the profile of it to you the devil inwards or outwards. So you might say a lot of Victorian sort of furniture and stuff might have please sort of shapes like in words. And in fighting off like this just control, Sad said. And so loop cut. This is what I did in the early lesson that I didn't really explain. Um, so we pressed control are for the lute cut, and so we just hold it over an edge. We can hold it up here every here every year, and it will add more loops for us to manipulate a object with. So, for example, if you wanted this cylinder to bulge out at the sides like a barrel. We can't really do that now because it doesn't have any edges for us toe scale up. So what we do is we control our and then we can scroll toe, add more, and then we can left click to accept it, and then it gives us an option to move it up in town. But we don't really want to move it up. And Dan, we want it equal separation. So it just right click Teoh, cancel them. Move. And now, if we wanted to bolt it out breast too old click to select the edge loop like we went before and then we can press as to scale it up. And now we have a little bulge in a cell in the So next we have the knife to So this is used for creating specific edges on. So if I wanted an edge to go from this corner to this corner, actually, I'll do it on the top. So if I wanted this ah, soon to face to be cut in half like impress K suppressing K, go over here, wait for it to be highlighted. Green click cover here is highlighted. Click and then I compress entered to accept that. Now I have an edge here. So this knife to is really useful when you're cleaning up objects and I'll show you what I mean by cleaning up in a future lesson. So we don't wanna overwhelm you with that Too much information moment. So phase Are they pretty much the ones that you going to use 90% of the time? These poly build, spin smooth all that stuff, it's not as common. Um, I will show you spin, though, because it comes in very handy. So, for example, we click on spin and then, ah, it will do some weird stuff now. But if we change this access Teoh, I think the y axis and then change the said 20 we can move this up, maybe to cross, but, um, you can see if we make the angle minus 90. It creates a perfect curve, and this is kind of hard to create. Um, just with brute Fels, we'd like extruding and rotating and extruding and rotating. Um, this will definitely the useful if you need to create stuff like pipe. So, um, ropes and stuff. Alright, So back to our selection. Um, just Control said that we can delete certain faces of objects pressing X. You can delete verities, edges, faces, dissolving edges so the main ones meet want to look at is deleting faces. So just press X and I go to faces. Do it the face. And now we have a hole in our cylinder. All right. Next is dissolving edges. So pressing, too, holding else clicking X and then dissolve edge. And then that will get rid of the loop that we made earlier. You don't want to do eggs and then edges because you'll see it creates a bit of a weird effect here. So just remember to dissolve the edge. So next is, um, hiding parts of objects or objects is the whole. So if I duplicate the subject control, I mean shifty said. And, ah, if I'm trying to work on this subject here on the top, but this object keeps getting in the way, I can click on it and press each and that will hide it. So it's no longer in view, say, I'm free to work on this. But Barbara and then I compress old H and it's back this, of course, works with faces and stuff. Pressing age and then old h A reveals and eyes things. So on the side here, this is our hierarchy and this is you can see out Main collection. We have out cylinder and out of a Celinda. We can actually separate these into the own collections by pressing M to move to a new collection. I just do a new collection, will cool it cool, Phil Under. And then we'll grab this on maybe to a new collection and Kolet Lane Silva and say we can actually hide these entire collections. We can also make some of the selections un selectable say clicking on this makes it say that I can't click on the cool cylinder, have to click on the lame Sylhet there. And this is just helpful for organizing your seen into manageable parts. So then finally, the last thing we're going to look at is applying transforms. Now, what I mean by this is, um, they might select an object, and you might want this cylinder to be a bit longer suppressing s and in scaling it on the set, access makes it a bit longer. But now you'll notice if we enter edit mode and select this edge here and we want to bevel it, you'll notice it's a bit weird. It's no beveling nicely and evenly along the edge. So it's doing that because blender things that we've just sort of stretched this object and so internal bevel has become stretched. So to make this object like to set it, Teoh apply its transforms. Um, we can go tap object mode, object, apply rotation and scale. Now, if any of your tools or modifies, which will cover in the next lesson, are acting strange, Um, do this first apply rotation and scale and then try it again, and 90% of time it should fix the problem. So free. Bevel it now nice. And even so, those other main tools that we're going to be using to model our object. Um, so I'll just be covering the modifiers in the next lesson and then cleaning up any errors and stuff that you might run into, and then we'll put it all together into creating a small dia rama with a bunch of little objects in there That'll get, um, you familiar with all the tools that we've learned how to use so seeing the next one 5. Blender's Modifiers: 123 Hello, everyone. And welcome to the lesson on modifies. So modifies. They're just special little tools that perform a specific job that we can use to get certain shapes women want when we're modeling. So the modifies a fan in this little spanner tab on the side and then just click on add modify and then difficult wide plethora of stuff to choose from. Um, but will most likely be using only a few of those, um, a few of these at a time because some of them can start to get into, like, very specific sort of toss that you need to complete. Um, all right, so I just go through the 1st 1 here. 1st 1 will look at his solidify. And what solidify does is it makes a a non watertight object. Um, it gives it form. So by non watertight, I mean, like, if water would be able to stay inside of it if he shook it around. So if I delete this face, then obviously water could fall out of the top here. So in the case of this plane, if I click on add mortar fire, then I click on solidify you can see it starts to give it thickness and I can change how much thickness I want. And I can also change if it's ah, even on all sides, which doesn't affect the plane. Because it's only one thing that it's pushing out from. But Frieden, since if I wanted to make a bowl, I could hide, um, not hide. I could travel these faces press X and elite Um and then I can add See, this is no watertight. Merkel's water would splash out of it. I can add a mortar fire, solidify. And now that's a really quick and easy bowl that we've made. There you go. So, um, the solidify is really, um, really good for getting, like, complex, little tubular sort of shape. So that just means you don't have toe model like, you know, to make the bowl and then make it again smaller and then connected up around the lips and then make sure this is all flush. She just make the outside solidify sorted. Oh, and if you're wondering about these are hard faces. Easy way to get rid of that. Is that a mode control? A not control? A just press a control F for the face context menu and then shade smooth and it looks a bit weird, but you can go into the object data. Ted normals order smooth, and then it will automatically figure out what needs to be smooth and what needs to be shop . So moving on to the next modifier. Ah, it will be the bevel modifier. So we're We've already learned to be out doing devils manually, but we can also do them through a modifier so clicking on add mortar fire at a bevel. Nancy. It's beveled, all the edges, and we have the same options as if we were to do it normally. Now we can add segments and add how much of a bevel it has. But we could also limit the angle. Um, now, since dangles of all the edges America, Cuba, 90 degrees. Ah, we can show it off on a cylinder. So if we add more fire devil, you can see it's still babbles everything. But if we live it it to the angle at Ainley bubbles the top edges. So if I love the width and increase the segments, you might be out of see it a bit better, so that was everything. Constrains it to an angle. So also, the thing about modifies is that you can stack them. So, for example, with this plane, we've added a solidify. Maybe after it solidified, we want to bevel it. Then after we devil it, we want toe make in ah, array of it, which is the next one I'll go into which just creates, um, more off the object. So, um and it does matter the order that they're in seeking bevel it first and solidify, Solidify it, then double. You know, um and you can move them up and down as you go, and then you will have to apply them otherwise. Like when you go into edit mode here, you can see this is still just a plane, Really, Until you apply it and then you'll be able to grab these voter season, do what you want with them. Okay, So actually, we look at a few more before we get into in a gray. Um, so we're gonna look at Boolean next obu lean. I likes a bully, and just it's because that is what I say. So, um, to do this Ah, click on the object that we want to effect. I admire fire and then boo lean and then usually the way that we use this is to cut a hole through something. Um, but you can join objects or, um so, yeah, it's usually used to join or cut a hole through something. So if we select the object that we want to use as the hole punch, just like the cylinder and I can see it's doing some weird stuff, so we want to do is click on difference, and now it looks like it's doing nothing. But if we apply this and then we grab the cylinder and we'll disputed away and see that we now have a whole through L Cube, you can see where this is useful as doing this manually would be near impossible to be accurate. But the thing is, if you pressed, obviously we got some really strange faces here, like faces with like, 20 sides. That's not really a polygon, um, most at least game objects comprised of three sided and four sided polygons. Like these, you can see 1234 sides, but these have 12345 plus 20 more sides, and we can learn how to fix that in the upcoming lessons, which would be covering cleanup. So, uh, I'll cover it soon. But just take note that if you do choose to do like a bull in ah workflow, you will most likely have to clean up your mess a little bit afterwards. That's our next we're gonna look at mirroring. So if you're making a symmetrical object, sometimes it's easier to just make half of it and then mirror it to the other side. So, for example, if I want to make a simple desk, um, I've just made half of it here just by making it keep shrinking, it, adding a cut and then extruding it out and deleting this face. So if we mirror it now, it's not going to work out the way we want. So that more of fire Neera. And he said it doesn't relax doing anything, but we want the correct access, someone to mirror it on the y axis, but it's not marrying where we want it. So what we need to do is going to edit mode and you see this orange dot This is called the object's origin or pivot point, and we need to move it to this face will. Where this face waas so we can do is just click on this for two X So press one to go in the verdicts mode. Click on this. Alternatively, you pressed to into edge mode old click to cook toe, um, highlight the surrounding where the face was then she said, And then we're gonna shift yes, cursor to selected. So actually there is custody selected. And what that does moves this little three d care so that you've probably been wondering, What the heck is that being that's always on my screen? It's gonna move it to this location and then exit edit made with tab object set origin. And then we set origin to three D curso and you'll see after we do that, um, the little orange dot will move to the three D cursor and out mirrored side will be whether we want it. There we go. So now if you want your cursor back in the center, um, so the curse is also useful because it makes objects where the cursor is. So if I was to shift a mesh Cube makes it whether cursors. But if you just want them back in the center, just press shift, see? And it puts it back in the middle. The world origin que next we're going to look at Ah, well, due a raise now, actually. So if I just make a cube the rise of pretty self explanatory. But I'll show you a really simple practical, useful some strings to get down with s and then s ex drinking, uh, increasing its size and then making another one shift d Why then and then duplicate this shift d Why then are said 90 10 at 90 degrees? Yes. Said drink it down. That's why. Shrink it down. So you might be I'll see where I'm going here, alluding to make just a simple train track. So we've got ah, one slat, and it might be a bit of a painstaking chilled to duplicate this 100 times across a long train track. Um, so we can do is using array. So we add a modifier, add Marais, and then it's going in the wrong direction. So we want Teoh. Ah, these correspond to how far it is away from the normal. Um from the original object and on which access. So we don't want it any on the x axis we wanted on the why So, Dio Maybe 1.5 I would do maybe three, actually three. And then we just add more. And then though the perfectly spaced along the train track There you go. And then, of course, um where raised, um, modifies in general. Sorry. Quite powerful is that you don't need Teoh. Apply them until you absolutely need to. So, for instance, if I wanted toe, maybe make my, um, slats a little bit wonky, I can just, like, rotate these a little bit and then you can see it applies it across every single one. So that's the same for battling, solidifying and everything. You don't need to apply it until you're certain you want to. You can still edit it, and then the edits will filter down through all the modifies and it'll it'll just work, like jump, Right. So lastly, we're going to look at, um, what's called the latter's and also simple defamation. That'll be the last one. So lattice, Um, actually, we'll look at simple defamation first. So if I had a modify simple reform. It's doing some weird stuff. So if we this is useful, like generally bending things like leaves and, um, other stuff that needs to be bent a sofa click on Bend see, it's is abandoned. But it's doing it in a strange way, and we can increase like how much it's bending in all that stuff. So to get this to bend, um, without it being so weird, what we need to do is, um, so first will shift s cursor to selected, and then we'll shift a mesh. Another mesh will create an empty plane axis, and then so you can't really see it, but it's in there. See, here it is this highlighted yellow thing. So you click on this access origin click on the empty, and now it's to forming, like you would expect something to bend like a little macaroni little noodle. And I think the twisting and all that stuff will also perform a lot better than if you just did it without any empty there. Okay, so now we'll get rid of this on and we'll shift a at a letters and then we'll click on the Object daughter, which is the lattice, and we can edit it to encompass our cylinder. Give it some more cuts. So now if we click on the cylinder, I had a motive file, not a lattice. When we we have to select the lattice first, when we edit this lattice, it's going to move the cylinder. So if I crab this, um, for text or something and I pull it, you can see it's pulling the cylinder like a piece of clay. So one selection mode that I didn't cover is soft selection. And if you press O on your keyboard and you try and move something, you're going to get this ah radius. Now you can scroll to increase. Well, decrease it. What this does is like it's a soft Grady int to how much the vert Verdecia around the selected Vergis. He's a getting manipulated. So this sort of stuff is really useful for just like cloths and, um, mountains, or just stuff you need to pull around. Precisely. Um, even like the sort of Japanese style rooms with the subtle curves. You can use this for that, Um and yes, it These are the main one. So it got solidify devils billions there is. And then now a raise and al symbol to form. And lattice says we probably went to use every single one of these in the practical exercise where we're going to make a small dia Rama with some little props and stuff in there. But it's good to know about them because I'll definitely come in handy depending on what you're creating. All right, so that should cover blenders. Modifiers. Um, just remember, if the modifies are doing what you're expecting, select your object and then apply rotation schedule that should fix, um, most of your problems. And, of course, contact me if you have any problems. All right, so next we're gonna cover mesh cleanup, Um, which will be useful if you're into using Boolean. And after that, we'll get in to putting it all into practice. So I look forward to seeing you in the next lesson. Um, good luck, and I'll see you later. 6. Mesh Clean Up: hello and welcome to the mesh cleanup section of class. Um, so just a bit about what mesh cleanup is says you're mumbling. Sometimes you'll find that Ah, you might run into some strange problems with your model, like these faces being dark. Or are some of your faces a split off like this? And like, no matter how careful you are, usually you'll find some problems. A start up, up, up. And so Teoh learn toe what to look out for and how to fix it. Um will be an important skill to have as your modeling. So as you can see, we've got some faces that a split off like this. And, um, we've got extroverted sees like this, and, ah, safe. We wanted to add another loop around here. Oh, it's not working wise. That's, um, and we can inspected. And I looks like, Oh, I've got overlapping. Vergis is eso I've uploaded this. Ah, as one of the race ALS is that you can, um, use this to practice cleaning up a pretty, uh, every field miche A swell. So first things first. If you run into any dark faces like this on your model or like this entire ring. This is what's called a flipped normal. So if you were toe upload this into a game or try and render it out, um, these faces would actually turn up invisible because they are back faces. They have flipped around. So if you ever played a game and you've, like, smushed the camera up against the wall and you can sort of see through the wall, that's because on the other side of the wall is the back face and that doesn't get rendered . So what we need to do? Um, I'll show you two ways so we can either select the face, go into mesh, think air into normals and then flip normals and you can see that's fixed that here. Alternatively, you can press a to select all the faces remembering face mode here and impress Shift N to re calculate the normals. So shift n and it's like make normals consistent. You could make it consistent inside that makes everything flipped or outside, and that is what we want. So now with that out of the way, we're going to learn how to merge. Vergis, ease. Um, so there are quite a few ways to go about this. So on these faces here, where the vergis ease have been split off like this, we can either go up here where the magnet is. You can press shift tab to activate it or click it. And what? This is this snapping. So if we click on what ah, our verses of snapping to and go into Vertex So now when we move stuff around, it will snapped over titties. So, for example, I have this fantasy selected. If I press it g and move it over here, it'll snap to this snap to this one step to this one. But we can snap it to this one and then left click to accept that move. Now, the problem still is that, um, it's still not connected, so we'll have to We'll do that together. And to do that, you press a make sure you're in Vertex mode, right? Click, and then you can remove double the disease so that all removed courtesies that are directly on top of each other. Several remove the warm. That was like someone around here is Well, that was overlapping. Um, and that's good. So we can right click remove double verses and then you have a threshold here, so removed to Vergis is total. What we can also do is weld this way so we can click on one vertex and then shift click on another one, then press bolt em to merge. We can either choose at the 1st 1 we selected the last one or at the center. And since this one here, the last one we selected is in line with L ah topology a top, a logical flow. I guess you could kill it. We can just press out eminent at the last one, and then then then it's connected. Now that is pretty much it. However, we have another Vertex here, which is making this face that looks like it's four edges 1234 which makes a nice, clean polling on. And generally when we model, we want to strive for polygons and tries so only faces that of four sides or three sides. At generally a trance stick to one of the other four sites is definitely easier to try and model in. So if I press one to go into Vertex mode, we can see it's actually five edges which is what we call an end on. So any face more than four sides that called on end gun. So if you're working on something small like this, it's quite easy to find the errors. But if you're working on a more complex object, um, or multiple objects at a time finding these little areas that may, like start to cause problems and renders or in your animations or games or whatever. Um, okay, it can be hard to find, so we can use one of those select options to help us find thes faces so we can do a second , do select old by trait and then faces by sides. And then if we, ah, do greater than four sides, it will highlight our problem area. So say, if we're working on a giant house or some sort of mecca or something like that, Ah, easy way to find where the problem areas are is depressed, Shift said. And then it will select everything with more than four sites that we could just hone in. Look at this and we see old. Both of these faces have more than four sides because of this one Vertex. So what we can do instead of clicking on this and then clicking on this and ult em at last , Um, that will work fine. We can either click this press X for Toussie's or we could dissolve the vert sees. Or we can also double tap G. So G moves Presti again and it slides along the edge and weaken, slide it all the way over to the other Vertex click, and then we can, of course, press a one right click and removed the double various ease. So now, just to double check if we do the select well by trait faces by sides and then greater than four, you'll notice that nothing has been selected. So it looks like and moral is pretty good to go. So just to double check, um, what to look out for If you're trying to add loops like this and they're like stopping halfway through Ah, that usually means you have a the same overlapping vergis ease or some faces that accidentally five, not four. So it looks like we're pretty good, sir. Just download that resource and get used to those tools because they'll actually come quite in handy when you're modeling because, especially the edge slide like you can either even select a whole loop like this and double tap g and slide it along here. Um, and of course, the snapping really comes in handy when you're trying to line stuff up correctly. All right, so now, with all of this stuff that we've learned, we're going to put it all together and create a small dia rama. So as I'm creating it, I'll do a few of the props and some of the main room bits in real time with real time commentary. And then, as I start to flesh out the room ill speeded up into a sort of time lapse and just talk over what I'm doing and then maybe slow it down in parts where you could get some useful information, Right? So I'll see you in the next lesson. 7. Puting it All Together - Part 01: 123 12 Hello. Um, in this lesson, we're gonna finally start putting it all together. So all the things we've learned, we're gonna put into a small die Arana. So the reason I chose something like Piers is because you can personalize it to yourself pretty well, And, um, the range of objects you can put in there they all very in shape, pretty much so. I'm like, if you have a bedroom, for example, your bed's gonna have a lot of, um, shapes driving from cubes. And then maybe if you have a bottle beside your bed that's gonna derived from a cylinder, etcetera. So I'm just gonna start off ah, walking through the actual base of the room and show you how I would tackle that. Of course, there's always a 1,000,000 different ways to model the same thing. Um, so a zoo, long as you get to the end result, it doesn't matter how you do it. Sometimes it's just fast to do it a certain way or makes more sense in a someone's brain to do it that Okay, So, um, so I'm just going to sort of freestyle a bit here. I don't really have any concept that I'm working from, but when we start to get to the props would definitely have a look at some reference. So it would just start off with a cube. You know, I just make it a bit larger too. Actually, we want yet, um, so make sure snapping Zaun snapping an increment, Just move it up a bit. Just so it's flush with the grid, and then we can change our scale in point to be the three d cursor so that when we scale it up, it scales it from the world origin. So just colonel snapping and scale it up a bit. Now I'm going Teoh press tab and just delete these faces because we like toe, look into the room. Something. I grabbed these walls. Move them down a bit. Just say everything isn't so tall. Now, if we talked about normals before, you'll notice that these faces woodshop invisible in a real time program like sketch fab or unreal engine or something, and these faces would show up. Ah, we don't want that. Ah, we would probably ideally want both sides to show up. So what we can do is used that lovely solidified tool. Um, but before we do that, I'll just add some windows and possibly a door, so it start off. Um, I just flip the normals for use of you, and then we go shift end to clicking on inside. Now we can add some cuts, would control control, are and then clicking. And I think we want a window right about here. So when I say you can model it a 1,000,000 different ways say, I've decided to go with these loop cuts. But of course, what you can do also is click the face in, said it and then scale the face. Teoh the sites of the window you may want, and we'll just change this back to median. Point said then will just delete this ex faces. Okay, Onda, we might make it a bit smaller. Get higher up. Yeah, Okay, that's good. So then we can solidify our more rain there, and we don't need to accept it yet. Some before we do that object, apply rotation and scale just to make sure that we don't get any weed action going on and will make sure to have even thickness on a solidify so that we don't get any other weird action as well. So it is increased the thickness to be out the thickness of a standard wall, I guess, um, if you work into real measurements, of course you can use the measurements in blender so you can actually model Teoh to a scale so you can model in meters or centimeters set, which is useful for games to get your scale right to a character. But, ah, we're not modeling very game at the moment. So it's OK. So now, um, started out a bit more detail to the room to looking a bit plane on may be a window friend . No, some skirting and ah, probably at a door here is Well, maybe on this side, we'll see. We'll see. So the way I would create the window frame, I would shift a make a new mesh making cube, and when you create a mesh, make sure that you're not in edit mode in another object, because when you create the mesh, they will be joined together as the same object. For example, shift Day Cube and now if I press tab to exit a mode, you'll see that these objects that now intertwined. So if you accidentally do that no hassle, he need a undo. It controls Ed. Or you can have the object selected. Easy waited to select The whole object is hover over it and in face mode and press l. And that selects all the linked faces. So all of these are linked together p two separate and separate by selection. There we go. So now I'll just move this over here and ah, scale it. And here's where we can use L snapping. Now if you're finding your pivot point to be a bit weird, but you can do is make sure you go to object, said Origin, an origin to geometry that sets your pivot point to the center of your object. So now, uh, it has a bit more expected results. So okay, so now going to edit mode? Got the face, Turn on snapping. Grab the Texas No, she's said. Damn! And then g x org. Why? Actually moving on the y axis, she's said, and then grab this one and g wise and how this box is just a wider their window and would do G X. How did she x and then who gravel the faces and will scale it forwards a bit on the x axis . I just have to get a bit of a lift. And then, Ah, crab, These faces object. Apply rotation scale before we in septum inset with I. Now, I have a sort of thin window frame like this, and we compress X on the faces and you see where we're going here. Okay, so now we need to join up this face and this face, I mean descent. Ginny said so one way you can do that. If she can select both of these edges Edge loop. Sorry. And you compress control e to bring up the edge context menu. And he Kenbrell the edge loops. Oh, hasn't worked. So if you do it one at a time like this, and then you press control e and bridge them. Yeah. Where is a bridge? Judge loops. Ah, I see. So the raisin, um, this weird stuff is happening is because when we created the object inside the room and then we separated, it carried on this solidify, modify it with it s o to get rid of that, we just press the X on there. And now when we click and click, um, and then try and Bridget, we get a bit more of an expected result. So what that's done is added a face in between the edges that we've selected. What I like to do, though, isn't so that I just press f and that fills the gap in between two edges you've selected. And now if I just click on this edge and press F, it'll fill in. Ah, these two edges up here as well, and I press f again and then f again. And then it's I got a whole window frame. It's now describe this and I'll scale it down a bit. Um, just so it's not exactly the same ah area as the hole in the wall, just in case you get any clipping at. So just scale it down. And then I press shift X to make sure that I'm not scaling at any on the X axis, so it remains flush. Cool. It's now you start to get a window frame here and we can add maybe some ah slats or something. Circles shift a mish Keep bring it over here. Smaller Actually, he's a way might be to, um object Said origin, origin to geometry. And then we can shift s costa to selected. And now when we create, the cubes will be in the center of the window frame, and it will be easier to place our slats. So scale them down, down, down, She said, on a scale it off a bit and ah, we can probably use an array here. So d why I want a fired an array and we'll move it on this access and zero on the x axis. Um, they would a bit more. Yeah, and then one more we just go to, um, or the graphic mode might be easier toe Aibel. Um, like, ah, even measurements said there was spaced apart. Um, evenly. It's not just create another keep. We just duplicate this one, actually shifty, then right click to the cancel the move, get rid of the array and are to rotate on the X axis and in 90 degrees G. Why she's said and then we'll scale it down So that what this is called easy fighting. And that means that two faces on the exact same plane and it doesn't know which one to render first. So we just scale it down on the X axis a little bit so that they're not overlapping. Then we can And a mode. Grab that face, G Y bring it across here. Now we have a pretty simple window. Nice. So exit, um, Ortho graphic mood. And we can makes him skirting here so we can do is we can and to object mode, get our room. And so I think of the easiest way to go about this much is to be to create another object, like a cube, and yeah, so we don't need these faces here or this bottom face, and then we'll bring it across. Ah, Shrink it down. Bring it down here, drink it down and we just shift tab. She Why? Just to snap it? Um, yeah, okay. Of this edge. Hello? Got the edge. She's said snap it and then g x and snap it to the corner. There we go. I was just looking a tad toll at the moment, so just push it down a little bit. Cool that So just grab this edge. And then she ah, why And this corner and they start to get some skirting here for a room. Now it's these, like, small details, like the skirting. And maybe if we added some, like cool devils and stuff on these window frame, it's that sort of stuff that really brings out the detail at, um, you can add, like, 100 different props. But ah, this stuff sort of really makes a cohesive room. Ah, case. And now it would just grab this control are and then click and then bring it over here. Um, just press shift tab Teoh, make it stop snapping. And then we just eyeball Ah, unequal equal with they will grab this face, press A to extrude it and then impress shift tab to enter snapping again g X. Now we've got some basic basic skirting, but we might want to make it a bit more interesting. So to do that, the first of all, no, if knows, we gotta face here in a face here that we don't need so we can delete is let's isolate this object first. So it was selected control I to select everything else and hide it and ah, well, press period on the num pad to focus in on this object. Okay, So what I want to do is ah, world. These 30 sees to this on. So I've selected the middle one last bolt em at last. When there we go. So that was just a bit redundant. The other two suppressing to tender edge mode. Select this edge with bolt and click. And now I want to add a bevel to it like this. But I might make the profile like this, and I think that would create for a more interesting, um, very file. Ah ah. We can go into our object outta will, press tab, select everything control F and shade smooth. And then in our object out there, we go to normals and order smooth and then say I've has been trying to make this curve not so sharp. So I just changed the angle here until it's meets out. There we go. So if you remember from a mesh cleanup Ah, class, where no mento have faces that are more than four sites. But here we have a face that is probably about seven sides, which is not good, the easiest and, um, laziest way like clean that up is just just to triangulate it. Um, that's exactly what I'm gonna do. So you can press control t to triangulate a face. And what that does is just adds a bunch of cuts and lines. Teoh make it old triangles. No, of course you could press Kate and bring out the knife tool and, like, drag it down like this. And so you have, like, lines, uh, running down. But I'm lazy, so I'll just say triangulated, signify and subject mode and press old h You can see we've got a nice little skirting here with a nice window frame. Now, it might be a cool idea to add the same, um, devil to this window frame to control be. And then we can, of course, control a control or not control a just a troll. F shades smooth. And then we grab the orders, moved option as well, and then increase it till the the devil is smith out. Well, it's pretty cool. So now that we have l basic room set up, um, we can start. Ah, add props and I'll be doing that in the next episode. Ah, so probably at a desk, maybe chair. Ah, maybe like a quickie pro black a houseplant or something like that. Um, of course, I can also add, like, shelves and bookcases like it's quite limitless. Um, every time when you start to build up the props he consulted, created quite an interesting room, maybe had some rugs in there and such. So when you're thinking about which props that you want to add into your level, definitely most of them make sure that they're quite simple in shape. So, you know, coasters. Ah, wakame tablets. Ah, even monitors on that. Ah, like, too difficult to model stuff like that. But, um, then have one object that is a bit more complex. So most objects that are quite simple, you can really derived them from one simple shape. So, like, ah, a speaker, you can probably make it out of a cube or a bottle out of cylinder, etcetera. So try and pick something that's a bit more complex, where it's not so obvious which shape you will create it from. So like, uh, something like an Xbox controller? Um, it's got quiet, a unique shape. Ah, and it will be quite a challenge to figure out how to create that. But Ah, challenging yourself is good. Just don't pick something to ah, difficult. Um, Kazan, you just get frustrated and will be quite difficult for you to progress. We wanna make sure we're having fun when we're modeling, um, and modeling stuff they were interested in because that's when we'll get the most out of it . Right? So seeing the next one where I continue to model out this Dia Rama 8. Putting it All Together - Part 02: however, on and welcome to the last lesson. Where will be creating a bunch of props to flesh out the room and we just gonna jump straight into it. So I just hidden the room that we've made last time, and I'm starting on creating a simple desk. So most of the shapes just derived from cubes, a bit of moving the edges around and just extruding it down did create this table leg and then see what I do here. Um, I need to marry this table leg on the other side. So instead of moving it across and then trying to send to the pivot again, what I do is I select it'll in edit mode and move it across and then mirrored. Now this is because when you move an object in edit mode, its pivot stays in the same place. And since I created the queue, but the world origin, its pivot stayed in the center so that simple death done just resize it a little bit and put it where I want it in the room. Some of the legs went, um, the size that I like, so I just bit of re sizing quite easy. So moving on now to a chair, I believe so. Starting out just with the that frame, I guess. A friend of the chair adding a little bevel so that the curve isn't so harsh. And then I just duplicate the long back side, um, over and delete the top of it so that my front legs are the same sort of diameter as the back ones. Now, just adding in a few more of these wooden slats, the chair is quite easy to do just because it's mostly a bunch of cubes just mushed together. So a useful tip here, Um, I need to scale my kids on a certain access, but it's rotated. So if I just scaled it, um, normally it would skew it. But if you double tap, uh, the access, like double tap X or double tap said it will scale it on its local axis, so it will scale it as if as if it was perfectly upright. So what I do here is I make sure my snapping is set to face, and I also check the option to align it to the angle. And so when I make a new object and snap it to the face of the rotated object. It gets the same rotation. Saves me trying to figure out, um, trying to line up the rotation exactly of that back chair there. So then just adding an array to get those last few slats in. And then, um two, since we have multiple, um, modifies on Teoh, accept them all. Just select everything, go up to ah, object and then down the bottom should have, um, convert to and then the option is convert to mesh from metadata or something like that. Um then he had just created Coaster and then make a mug for the coaster out of simple cylinder extra the face down. And then I'm making a handle just out of a plane and then shrinking it down going into author graphic view. And then I just grabbed this edge here and just spend a and, ah, drawer around a handle for the mug and in just with self select, push it in a bit. Skew the shape a bit until I get what I want. It is slightly Ah, it's not the best handle you have seen, but I figured that the mug was Ah, like a minor problem. The scene. So I didn't need to spend too much time on its pop it on the coast of their on the desk. So next I believe we're making a shelf so simple, kid. Drink it down and then we just add a few simple supports underneath it as well. And that's all just basic stuff that we've learned already. Okay, so now after that, I believe we're making a rug. So I just make a simple cube and then bevel the edges that are visible. And then I'll go back in later and skew it up a bit so that it's not so perfectly rectangular that's now moving on to a bit more difficult of a prop. And that is the ah house plant in the scene. So I'm just making the pot first out of a cylinder. Um, creasing some of the edges so bold is out of it, adding a bevel on the top looked more like a pot. No, stop with the plans with creating a stem, and then this plane up here is going to be the actual leafy part of the plant. So I just had a bunch of cuts and then scale it in words and move it around just on the that access until I get, um, the shape that I'm looking for. And then I add a cut in the middle and pushed the sides out to get a sort of leaf shape at and solidify It said that its visible on both sides. So now I joined them both together by selecting both the objects and pressing controlled J um, and that joins the objects, said that the actors one. And now I'm just using the simple perform modifier and adding a few variations here. Um, if you need some help with simple defamation modifier, then just refer back to the previous video using the exact same technique there. So the reason I just made a few variances that so do all the leaves that look exactly the same. I could have made various actual leafy parts of the plan and maybe like him different shaped leaves and stuff, but, um, I decided not to. So so I just duplicate them around and rotate them around until I I'm happy with the way that the plant is sitting and then pop it in the corner there, scale it a bit, and then I just repurpose it. A smaller version of it, just on the shelf and then on the shelf. I thought it looked a bit there. I'll make some books just out of a simple cube, and then I select those three faces where the pages would be in. Set them once, and then I in set them again and hold down control Teoh. Push them in. So I just made a few different sizes there to get some variation said. Then it'll exactly the same. Pop some on the desk as well and rotate them around. So now the book's done. We're almost getting there. So we're just making some posters now, just out of a plane at some cuts in there so we can bend it around, and then I just use soft, Select and select the center, um 30 C and push it back a bit to get some curb it, you're going on in the paper. So once that's done, I'm just making a simple dustbin now sort of the same ah idea as the plant port. Just a slightly different shape, I said. I'm just pushing this, uh, rogue around said that it's not as, um, perfectly rectangular and then duplicating some of the posters. Teoh actors like bits of litter around the been They didn't actually show up too well in the final projects in Sketch Fab, But, uh, the signer that, uh um once that's done to save your actual finished room, select everything or press shift said to make sure you have absolutely everything selected , get export, then go to go to FB X Export. And then once that's done, you can upload it to sketch Bob. Mess ran with some of the lighting settings and you'll have your lovely room completed. So I may have gone through that a bit quickly. But all off the, um, principles that we've learned, Um, all of the modelling techniques is nothing really new here of them, maybe a few things like joining like pressing control, J um oh, that sort of stuff. Uh, but with enough practice, you'll be able to do this. Um, shouldn't take your only nine minutes after the recording is a bit sped up, But, um, yeah, with enough practice, you'll be able to do it, so I look forward to seeing what you guys create Andi. Be sure to let me know if you need a hand with anything. And I look forward to seeing you in the next close that create, so thank you very much for watching hope you enjoyed it.