Learn Blender 3D - Create New Assets For Your Projects While Learning Blender | Joe Baily | Skillshare

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Learn Blender 3D - Create New Assets For Your Projects While Learning Blender

teacher avatar Joe Baily

Watch this class and thousands more

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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

55 Lessons (12h 11m)
    • 1. Welcome To The Class

      3:34
    • 2. The Class Project

      1:51
    • 3. The Blender Interface

      10:39
    • 4. Navigating 3D Space

      13:29
    • 5. Cardboard box

      17:45
    • 6. Sword

      9:53
    • 7. Pencil

      13:05
    • 8. Basic House one

      20:30
    • 9. Basic house two

      15:12
    • 10. Mayan Pyramid

      18:02
    • 11. Mayan part two

      22:22
    • 12. Mayan Three

      12:28
    • 13. Basic table one

      18:52
    • 14. Basic table two

      4:19
    • 15. Round table

      13:16
    • 16. Drinking glass

      12:19
    • 17. Wine glass

      14:34
    • 18. Cocktail glass

      11:52
    • 19. Cutlery fork

      19:54
    • 20. Cutlery fork two

      13:10
    • 21. Cutlery knife

      21:00
    • 22. Spoon

      19:52
    • 23. Dinner plate

      13:26
    • 24. Square plate

      12:31
    • 25. Cereal bowl

      11:22
    • 26. Coffee cup one

      17:12
    • 27. Coffee cup two

      8:35
    • 28. Vase

      12:07
    • 29. Lampost part one

      11:22
    • 30. Lampost part two

      13:15
    • 31. Roads

      10:56
    • 32. Necklace

      15:42
    • 33. Chain

      14:17
    • 34. Rope

      14:14
    • 35. Words

      8:33
    • 36. Pillow

      11:57
    • 37. Duvet

      20:39
    • 38. Mattrees

      16:14
    • 39. Bed frame one

      14:12
    • 40. Bed frame part two

      13:22
    • 41. Flag

      12:06
    • 42. Picket fence

      11:24
    • 43. Building with archimesh

      22:35
    • 44. Building with archimesh two

      18:43
    • 45. Building with archimesh three

      20:23
    • 46. Building with archimesh and grease pencil

      8:41
    • 47. Top hat one

      11:28
    • 48. Top hat two

      10:58
    • 49. Weights Part One

      11:34
    • 50. Weights part two

      16:56
    • 51. Stairs

      9:06
    • 52. Tunnel

      15:47
    • 53. Camp fire

      15:38
    • 54. Fur Ball

      13:26
    • 55. Export to unity with FBX

      8:38
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About This Class

Learn Blender 3D - The Asset creation course

Welcome to the blender asset creation course (version two) an upgraded version of the original blender asset creation course designed to give students an enjoyable experience of not only learning to use blender but also getting the most out of the program as well.

This course focuses on enhancing modelling skills using blender 3D by taking a learn by doing approach. Lectures focus on modelling assets that can then instantly be used outside of the course for whatever purpose you desire if its to use in games, animations and 3d printing.

If you have a basic understanding blender 3d, then this is the perfect course to begin creating your own 3D models for your own personal use. Even though we will dive in at the deep end for 3d modelling, every step of the modelling process will be explained for every model that you create.

Meet Your Teacher

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Joe Baily

Teacher

My name is Joe Baily and I am an instructor for 2D and 3D design. I specialise in 3D modelling using software platforms such as blender and 3DS max to create virtual models and assets for video games and animations.

My alternative job involves teaching sport and PE in schools and so I have 1000's of hours teaching experience in multiple various fields. My goal here is that I always find great instructors in websites like youtube who are great but never give out enough content to really satisfy my own hunger for learning. Therefore, my goal on skillshare is to provide comprehensive quality teaching on any subjects that I cover, such as blender 3D.

See full profile

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Transcripts

1. Welcome To The Class: Hi, guys. My name is Joe Bailey, and I will be your instructor for the Blender Asset creation course. So the first thing we're gonna discuss here is what you're going to need four discourse. Well, the first thing you're gonna need obviously is a PC or laptop that can use the free D modeling software blender. Therefore, in terms of operating systems, you can have even Windows, UNIX or Mac. Any of the free will do absolutely fine because blend up works near identically on all free operating systems. In addition to that, you will require, or at least its would be a really good idea to get a hold off a free button mouse. Because if you have a laptop and you are going to be following this course on a laptop, then using the track pad on that laptop is not going to be adds responsive as using a free button mouse. In addition to that, you should also try and have a keyboard that possesses a number part. The number part is a very good tall for moving different perspectives in the free de Vieux port for blend up. Because we're looking at Freedy modeling, you're looking at a program in which you edit Freedy objects in a Freedy space on a two dimensional screen. Therefore, one of the more common blender techniques is to go into to the views on. This is often done with the number part. Now, with regards to both the free button mouse on also the number parts. Both of these have workarounds. However, it is still recommended that you have a number part and that you have a free gone mouth. Just make life easier while we were using blender so up. Next, How is the course structured? Well, the course is designed as a guide to using blend up in almost any way possible for the purpose off creating assets on. We do this not just by showing you a certain tools, such as the ability to create devils around edges of a cube, but rather to actually create assets in every lecture. So all of the letters in this course beyond this one will be dedicated to creating assets that you can use for video games and animations that has two advantages. The first advantage is that you body and at that lecture will have a free T model that you can use for any purpose. And the 2nd 1 is that you would have had the opportunity to actually learn not only how to create that object, but also how the tools used for that objects were used on the ability to apply it. Those tools to other creations that you might want to look at in the future, whether it be on your own or further down the line in the blender asset creation course. So you know what you need. You know how the course is structured for you. So up next, let's get to it. 2. The Class Project: Hi guys. In this video we're going to be talking about the class projects for our asset creates a course. Now, throughout this course you're going to be creating a wide variety of objects. The whole point of this course is to learn 3D modeling by actually creating 3D assets. So this is what I'd like you to do for your class projects. You're going to be effectively creating your own library of 3D models. But it's very important to get feedback on the models that you create so that you know what you can improve upon in the future. Because of this, I want you guys to do the following. Every single time you create your own 3D assets as a part of this course, I want you to, I want you to publish it on the projects page. That way, you'll be able to get some feedback on your latest creations, to publish your projects onto the class. Go to the class itself and then come to projects and resources located here. Left-click and then select the green button labeled as create projects. That will take you to a new page where you will be able to type in a project's title, project description, and also upload an image. This image can either be a screenshots of your current projects, whatever object that may be, or an actual rendered image. Don't forget that you can't render images using blender itself. When you're ready to publish, your work, just click on the Publish button to complete the process. 3. The Blender Interface: In this video, we're going to be taking a look at the blender interface. When you open up blend up 41st time, you will be welcomed with this. So we have our interface in the background, but we also have what is known as a splash screen in the center that appears whenever you open up a new instance of Blender. When you see the splash screen, you will notice the top half is an image. This image represents the current version of Blender that SHE we're using. For example, in this video, I'm using Blender version 2.92. Below that, you will have access to several different templates. These are different methods of setting up the blender interface depending on its purpose. For example, general is used for 3D modeling, sculpting issues. The sculpting. You can also access your most recent files from the splash screen as well. This would typically be the last five dot blend files that you saved in blender. You will be able to open earlier projects using the open option in the bottom corner. And you will also be able to recover previous sessions if you forgot to save them. Finally, you have two external links to the release notes of your current version and the development fund of blender.org. If you want to close the splash screen, simply left-click anywhere away from the splash screen itself. If you want to bring it back, come over to the blender icon in the top corner of your interface. Open up the menu and select splash screen to bring it back. Let's now move on to the interface itself. Blend out uses workspaces to store various sets of tools for different purposes. You can find the different workspaces up here, individual tabs we are currently using the layout workspace. But if we want to change something else, like the modelling workspace, or we have to do is click on the tab. You can see that the interface has changed slightly. We can also go with sculpting, UV Editing, texture painting, and so on. Each of these workspaces is used for a specific purpose. For example, if you want to begin painting three-dimensional texture, it is you want to use the texture paint workspace. The now Let's go back to the layout workspace. Each of these workspaces represents a different layout or a different setup for the Blender interface. However, the general structure remains to sign. Each of these workspaces is constructed from a series of panels, and each panel stores what is known as an editor type. In the layout workspace, for example, we have four panels, each storing a different editor type. The first panel is the 3D view port, where we can create objects for our sins. We can organize those scenes in the outliner panel located here. We can apply additional tools and functions with the help of the properties panel located underneath the outliner and underneath the 3D view port, we have a timeline for playing and previewing our animations when we create them. Each of AML workspaces uses different panels in different forms. We can edit the shape of our panels by manipulating the intersection. The intersection is any line that you see in between two editors. So here we have the intersection between the outliner and the Properties panel. You will see that the mouse cursor will change as we hover over this line. If we click and drag, we can resize the two panels either side of this intersection. We can do the same down here between our 3D view port and our timeline. So this is a good way, or very quickly restructuring your comments layout or your current workspace to suit your needs. If you want to change the editor type being used in a specific panel, there will always be a button in the top corner. So we have our timeline, for example, we have a button here in the header for our timeline itself. If we left-click on this button, it brings us to a series of different editors that we can use. For example, I might want to change the compositor. So I left-click on compositor and it changes the enterocyte used in this panel from the timeline to the compositor. I can always change back by going to the statement menu. So now let's go back to the timeline located here and left-click. The buttons in the top corner always represent the same menu that the icon changes, depending on which ever of these are active. At the present time. We can do other things as well with the panels and editors. For example, if I hover over the intersection and right-click, we get the area options menu. From here, we can split a single panel into two. If I wanted to, I could create a horizontal split, which is basically a line going across here. And I could position it he in my Properties panel. If I left-click, then it splits the single Properties panel into two, then I can change one of these panels to something else. For example, I might want to use detection node editor. We can also do a Phred score split as well if we want by going to the area options and selecting vertical split, this creates a line going from top to bottom. So I can position this in my 3D viewports left-click, and it divides that single panel into two. I could then change the currently selected editor for one of these panels. I could change the way that the current edits works. For example, in this panel, I can just see the solid base of our object. But if I wanted to get an idea of how my lighting setup affects this object, I can change the view type in one of these panels. I can do so up here in this corner of the 3D viewports. So here we have different methods or pupil shading. The one at the end is the rendered view. If I left-click, it changes form solid view to render view. And you'll notice that the shading appears slightly different. This is because we are now taking this light source into account. So if I grab and move this, you can see the way the light hits the surfaces of the object in this panel. But for the adjacent panel, it doesn't appear to be doing anything could talk to the surface of our cube. And that's because in this editor, we are focusing on Solid View, which is basically for the creation of the objects. And then rendered view, which is a preview of the effect that any lighting will have on those objects. In the case where you have too many different panels, you can join some of these panels together so long as they are the same size on a specific intersection. For example, for our current setup, we have two 3D viewports now vertically going from top to bottom, they are the same size. This means that if we right-click over the intersection, we can choose this join areas option. We can left-click. And now we'll see an arrow, a p in one of the panels, depending on where our cursor is positioned, whichever panel has the arrow inside of it, that panel will be deleted and it's space will be taken up by the adjacent panel. So for example, let's delete the panel where we are in solid view in the 3D viewports. Hover your cursor over that panel and left-click. Now all we're left with is the 3D view ports that had at the rendered view mode. Notice that if the panels adjacent to a specific intersection are not the same size, you will not get the join option. So if I hover my cursor over this intersection and right-click, you will not see the join areas option he because we cannot join this outline a panel to the 3D viewports because it would create a shape that is not rectangular. Another thing that we can do is we can swap areas. So for example, if I right-click here, we get the option to swap areas. If I do this, it will swap my outliner with my Properties panel without doing anything to the panel sizes themselves. I can always swap again to go back. Finally, if we want to create a new workspace that we can't manipulate how we see fit. Simply click on this plus button here to add a new workspace. You can choose from many preexisting workspaces in Blender, or you could duplicates your currents workspace. This is normally used with the layout workspace. So we're going to duplicate current. And then we get layout.css 0001. We can double left-click to rename this. So I'm going to rename it as test. And then we can edit this workspace independently of the others. That covers the basics of manipulating the blender interface. 4. Navigating 3D Space: In this video, we are going to be taking a look at how we can navigate around 3D space. You will notice that the blender interface is back to its default setup. The quickest way to do this is to just go to the File menu in the top corner, then go to New and select general. You should end up with your interface looking like this. Now when it comes to navigating in our 3D view port, there are three main methods. These are orbiting, zooming, and panning. There are also additional tools on top of these, such as the ability to go into 2D views. But let's focus on the main free just for the moment. It becomes a lot easier to navigate 3D space when you have a physical mouse to navigate. So it is recommended when using blender to have a free button mouse. To orbit around our scene. Press down on the middle mouse button, which will probably also be your scroll wheel, and then move your mouse. This will allow you to orbit around your scene. As you move your mouse. Orbiting focuses on a point of reference to orbit around. The default points of reference is the coordinate value of 000. These are the values of the x, y, and z axes, the free dimensions of 3D space. At the moment, we are able to orbit around the center of our scene, which is also where the cube is located. By the way, if you want to know which buttons I am pressing, simply look down here. And whenever I use a specific button, such as the middle mouse button, you will be able to see that in the bottom corner of the 3D view port. Now in addition to using the middle mouse button, you can also use the interactive axes. These are located up here, so you have these different colored dots and you also have these x, y, and c Ghats as well. And this is located inside and access generator. So if we left-click and drag on anywhere in this gray space, we will be able to orbit our view. And that's without using the middle mouse button on our mouse. So the traditional method of orbiting requires the middle mouse button in the 3D view ports. And the alternative method is to use the left mouse button and then move around with your interactive access. The next method of navigating around our free space is to use, assuming. This also uses a point of reference, in this case, 000, 000, 000, and allows you to zoom in and out of that points of weapons. If you scroll up on your scroll wheel. You'll be able to zoom in towards the center of the scene. If you scroll down on your scroll wheel, you'll be able to zoom out. There is also a secondary method known as the Dadi zoom. The dolly zoom can be activated by holding down the control key on your keyboard, then holding down at the middle mouse button, then moving up to zoom in. And that's to move your mouse up, not to scroll up. So move up to zoom in and move down with your mouse to zoom out. So we have traditional zooming with the scroll wheel. And then we have the dolly zoom, which is Control, press down on the middle mouse and move your mouse up or down. Alternatively, you can also use the zoom tool located here. So this is a zoom button that looks like a magnifying glass with a plus symbol inside. And if we left-click and then move up, we can zoom in and down to zoom out. We also have the ability to pan of u, which is moving our few form left, right, up and down. If we hold down on the Shift key, then hold down the middle mouse button and move our mouse up. We end up moving the view down. If we move our mouse down, the view goes up. So these controls are inverted. If we go left with our mouths, our view pounds to devise. And if we go light with our mouse, the view pounds to the left. And this is all done in a 2D perspective. So we move left, right, up and down. We can do the same thing by using the Move tool located here. So we can left-click and drag to pan of you in different directions. Note that this will change the points of reference for orbiting and zooming. So for example, if we were to pan all of you all the way to decide here and then orbit our view. You can see that we are no longer orbiting around the center of our scene. If we attempt to zoom, zoom in to this blank space over here, and not the cube itself. Now if this is something that you did not want to do, then you can reset your view using several different methods. For example, you can go to the View menu located up here, left-click to open this up. And then you can go to Align View. There are many different options here to choose from. A good option is to sense of you to cursor. So in the 3D view port we have a cursor, and it's basically a circle that is both white and red. If we were to center our view to this cursor, you can see it snaps back into place. So now we can zoom in. Zoom out and orbits at the positioning the cursor, which is also at the center of our free the world. Alternatively, you can also frame a selected objects. So you can focus on a specific object somewhere in your scene and orbits around that object. So let's say for example, we wanted to orbit and zoom around this object here, which is our camera object. We can go to View and we can't select frame selected. Or we could use the hotkey numpad period. If we left-click here for frame selected, it snaps the view to the camera. Now we can orbits and zoom on to our camera and notice it seems to a specific point. So this point here, this yellow dots, this is referred to as the object of a gene. It is used to define the positioning of an object in 3D space. If I want to use this tool to focus on y cube object, I can select my cube objects, which by the way is done by left clicking. And then I could either go back to my view menu and select the appropriate option, or I could use the period key on my numpad to zoom in on my objects, allowing me to orbit and zoom on that keep. Even though we're working in 3D space, we can always make the view today. To do this, we can either go to the View menu, then go to where it says few ports. And we can change to top, bottom, front, back, right, and left. So for example, if we go to the top view, this will take us into what is known as top orthographic view, a bird's-eye view of our scene. If we were to go to the viewport and go front of you, it will take us to the funds over graphic scene. Note here that we can only ever see two colored lines depending on the type of you. Also note the direction of the buttons in the interactive axis as we change between these views. So again, we could go live you to go into our white orthographic view. And we see this green line and this blue line. The x, y, and z axes are color-coded in Blender. So as we orbit our view, we have the red line, which represents the x-axis, the green line, which represents the y axis. And if we go into our fonts orthographic view, we will be able to see a blue line which represents the z axis. We can also use the interactive axes to go into these 2D views as well. So for example, if we click on this C button here, it will take us into top orthographic view. If I click on this X button here in the interactive axis, it takes us to white orthographic view. The buttons without any letters are effectively the opposite to the x, y, and z buttons. So for example, we have. This blue button here, this represents the opposite to the Z button. So if C goes into the top orthographic view, then this blue button down here, we'll go to the bottom orthographic view. Instead. We can also use hot keys on our keyboard to go into 2D views as well. If I press 1 on my number pad, I can go into funds orthographic view. If I press F3, I can go into white few. If I press seven, I can go into top view. And if I press nine, I can't reverse the previous view. So 19, be tobacco for graphic free and nine, the left orthographic, and 7 and 9 for bottom over graphic. I can also access these views by holding down the control key and pressing the same buttons. So control and one will take us to the back view. Control and free will take us to the left view control. And 7 will take us to bottom orthographic view. The even numbers 2468 allow us to orbit around our scene. We can use 28 to orbit around our scene or form one rotation, as well as 4 and 6 to orbit around another. Finally, the number 5 key or your number pad or switch between perspective and orthographic views. The main difference between these two few types is that with perspective, objects that are positioned further in the distance will become smaller. And the closer they are, they will get bigger. So in this example, very quickly, I'm going to press F5 to go into user perspective. And I'm just going to activate this tool here. So left-click to activate this move tool. If I just move this object into the distance, you can see it gets smaller. This is while we're in user perspective. If we bring it closer, it appears bigger because it's closer to our screen in the viewports. To cancel this, I'm just going to hit the white mouse button. Alternatively, if we go into our user orthographic view and move our objects on the same axis, which is the y-axis. You can see on the screen that it doesn't get any bigger or smaller. That's the main difference between perspective and orthographic. With perspective, it's like viewing your scene as you would in the real world. Objects that are further off into the distance will appear smaller and get larger as they become closer to your view. This covers all the fundamentals of being able to navigate in three-dimensional space. 5. Cardboard box: up next, guys, we're going to be creating a card or ox asset. So this is just another basic shape. Just a warm us up into the free D modeling pipeline. Not also creation here are going to include the face that elites hole exclusions. He solidified mortar fire the devil modifier on modifying stacking, which you're going to see why is quite important when we get to that point. But for now, let's go straight into the cardboard box. So in a previous lecture, we created a wage, but we spend it a lot of time on just the basics. But now that we've got the basics of what we want here, when it comes to the blender interface, we can just get into it. So I'm gonna start my id'ing my cubes. I'm gonna go at Mitch on t next. I'm gonna open up my operator panel, which would be in a tool shelf, so I'm gonna blowing it up. He on. By the way, the tour shelf is not here. If it's hidden like this and you can't see it, then all you need to do is press the Tiki to bring it into view. But the only thing wouldn't change. Here is the base rotation, the base location. So we're going to go with this said value here, left click, and then we're gonna type in the value off one on What that is going to do for me is it's just gonna sit my object on top old our grid here because by the fault will kind of be half above half below, which I'm not particularly fond off. Personally, I would prefer if, by default, it was just above the blender grid, which you can do if you go file safe, start for you can do that. But that would also involve always having your key involved with the opening off your project. So what we're gonna do now is we're gonna go into edit mode with the tab key, and now we're going to choose the face selection mode. So in a come down here and we're going to select on this icon to enter face select and you'll know you're in face selects because every single face will have a little dots in it . So I'm gonna do now is I'm going to want click on this top face so that only the top faces selects it. So it should look like this. And now I'm going to delete just this face. So how do we do it? Well, when we created the wage, we deleted the cube originally by hitting the X key and then selecting the leak. This time we're gonna select the X key again. But this time we actually have a series of options because we are in head Imode. Now, the option here that we're going to select his face is that each one of these will do something slightly different in relation to your object. But for now, I only want to delete the face. I do not want to delete edges. And I do not want to delete vert disease. Definitely No. So I'm going to select faces and there we go. So now talk off. Our cardboard box is open. So up next, what I'm going to be doing is I'm going to extrude a couple off flaps. Now, Before I do that, I want to get into a good position with the free TV War. So what I'm gonna do is I'm going to press down on my middle mouse button, which is also the scroll bun, and I'm just going to move my amounts around. So what that does is actually allows me to navigate around my scene. And I can only do that by pressing down on that middle mouse button before moving my mouse . So I'm gonna find a good position, and then I'm going to scroll up on my school, will scroll in now, if I find that I am looking at it for a bit of a bad angle, then what I can do is I can pan love you. So I'm gonna hold down the shift key, which is located directly underneath the cap rock ski, and then I'm going to hit the middle button on my mouth again. And this time it allows me to pan my view. So I'm just gonna go up and there we go. So that's a goods starting point for May. Now I can do is I can go into it select, and I can select a single edge. So I'm gonna select this edge here by right clicking on now I'm going to use the extra it'll so the extreme tall is a way off creating new geometry form the positioning off existing geometry the best way to extrude. And there are numerous ways in which you can do this so you can use exclusions, form the tools panel you can come down to mesh on. It will have options for exclusions. But the easiest way, by a long, long way is to just use hockey. And the reason why is if I was to use any of these buttons, it will be Giner. The process with my mouth's over here on that can just make things a bit awkward when you're trying to find the white positioning. So what I'm gonna do is I'm gonna hit the E key with my mouse over the edge, So I'm gonna He e now. Well, that's going to allow me to do is it's going to allow me to pull out some new geometry and I can create my flat for my cardboard box. So I'm gonna position it on. If you're doing this with made in, just position it however you like, So I'm gonna position it down here ons. Now I'm gonna manipulates my view again. Why? Pressing down on the middle mouse button and just moving just a bit to about here. So I get a good idea off what this is starting to look like just by navigating around the vehicle. And now I'm going to select this Such here, and I'm gonna do the same again. So I'm gonna hit the e key to extrude. I'm just gonna move it down to about here. And for now, I don't really care if it's no her effects. If it's not in line with the other flat, it doesn't really matter too much, which is focusing on the basics for now. So I'm gonna left click that to confirm then never gave my views, get a good look and it looks pretty good on Dwight. Now we basically have a cardboard box, but there are one or two things that we might want to look at. The first thing is, this is an object with which you can actually see the inside of your geometry. Now that's in certain situations is a problem. If we were to exports this asset as a cardboard box into a game engine, such is a unity. We would get the problem off back face Carling back face culling. He's where only the outside off a face is made visible, so all faces have normals. You have an outside and an inside to that face. The outside is what could be feud in unity or unreal engine. But the inside is the normals in the long direction. So if the camera in unity, for example, if it sees that then it's not going to richest up those faces. Blender has a way of showing you hardest looks. Now I'm gonna open up a new panel here, located in the Freedy Newport, and to open up that panel, I'm gonna press the end key. So we have a new panel here, which allows us a new set of tools that we can play with. But I'm going to scroll down to where it says shading, and we have the opportunity to turn on back face culling. So if I tick this box, you can now see that we can see food certain faces because we're looking through on the long side of those faces. Now, if I was take this back face, for example, which has come invisible if I was to power, in my view, a way around, almost like magic, we can now see that face. But now this face is invisible. This is what is most likely to happen in unity or unreal engine if you exports on object that is in this condition. So there are different ways from which we can solve this. Mainly they all involve adding new geometry. But the easiest way is to use a modifier. So I'm just gonna keep back face culling on for the moment so you can see how the mortify is going to completely affect this. And I'm gonna go into object mode. So I'm gonna press the tab key, and then I'm gonna go and open up our what mortify allies tap and I'm gonna add mortar fire . Now, the modify we're gonna add is to solidify and what a fire on this will basically maintain at the base shape. But it will actually add geometry so that you don't get this back face culling issue. So we're going to left click and boom. Just like that, we can now see all of our faces and you may even notice the tint off the faces on the inside. Now matches that of the outside. We have effectively here doubled up on our geometry. So all single faces have now been doubled up into two faces with the correct normals on both sides. This is the biggest advantage off the solidify modifier. We also have a Siri's off other options. Now we can flip those normals if it ends up incorrect forever. Reason, although that's very rare. So if we were to flip the normals now, then we can actually see that we're getting minor changes, but it's still actually pretty much correct. In most cases, the only there is where it looks a little bit different, or in fact, the edges. But basically here you would actually want this to be off, because by the phone it will nearly always be correct. When it's off, we can also increase the fitness of this fitness value. Here we can increase that, and that will make our object thick up. Now that's very thick. So I'm gonna do is I'm gonna use a value of Point CEO 15 just so we get a little bit of fitness for our card or box. The last thing we're gonna do here is we're going to add a second modify. So for the first time, we're adding to modifiers to the same object. So we're gonna add our bevel, modify it to give it a little bit of realism around those edges. So we're gonna go out mortar fire and select a level. So we panel view rounds Andi, yet that looks pretty good. So we've got to assume in with scroll will. We've got those extra segments which we can increase. And the more we increased that from watered, it will catch the light. We can increase the whiff if we want to, to make those rebels more parent. But be careful alive. I just be wary that depending on the shape off your objects, the actual shape may offer restrictions. So in this example, no matter how high increase this whip, the Devils will only go out so far, mainly because off what we've got in terms to shape. So the flaps here, where we extruded earlier, these are the reasons why our level here isn't coming out as wide as we may have seen with the wedge. So in that case, we can just use the value of went once a 0.1 seems to do just fine on. I think we're gonna go four segments and that's looks really good as a cardboard box asset with which we can create materials for Andi. If we was, place it in a scene with a light source. We have the devil modifier in effect, so it will be able to catch the light. Once we would be ready, we would apply it thes modifies. But before we do that, when you use two or more modifiers, you want to have a look at the modify it stack. Now the modify it stack determines what modifier is used first for the object. So in particular with this box, have a look at the inside edges. Now I'm assuming a bit and you should be able to see we go couple of dark lines here in a show. Anyone here? Let's have a look at what happens when we change the modifier stack on day. To do that, all we need to do is use the arrow keys on each off these modifiers. So I'm gonna move the solidify mortar fire below the devil on assumes. I do that we get a major change, especially on the inside. So now we can see that the bevel was being stretched out because it's being applied before the solidify modifies. So the bevel was being used first, and then the solidify modified is being used second. Now we can still see that the flaps here are having quite a notable effects on held. A bevel is shaping up, but we can also see how to solidify. Mortify affects The bevel was well, so depending on what you're looking for, you might either go for this smooth cardboard box. But in which case, you would need more segments and perhaps even less with all, you would go with a solidify on top where you would have a very thin bevel. But it would also be very effective one as well. Now, for may it really is. Take your pick. So on the outside, this looks really good, but on the inside, maybe I don't quite like how the light is catching the edges on the inside. It doesn't look quite right to me, So maybe I would have the devil one saw on. Then it would look just a little bit best or not too much difference at this point before have that with increased, then we can determine that shape and it's a really good way of actually changing the shape on the fly. So I would decide good wit so really low, which would be good for May. So point Seriously, we're free. And there we got So that is our card will box time actually often looks a little bit too much. Yet that was good to May. So there we go. Guys, I hope you enjoy this. Let's shut to recap We looked arts deleting faces, the extrude it all. In addition to that, we've also looked at using more than one WaterFire call for foreign object on how to use the mortifying stack system to change the final result. When we're ready, we're going to apply the modifiers now The one thing you should do if you wants the effect to be fully maintained, you should always apply the top mortifying first and then work your way down from there. So we're gonna apply those two and there we got And if we were to go into edit mode now, we would be able to see if we assume in all of that geometry has bean fully applied and can now be edited as part of AM ish. Thanks, guys. And I will see you in the next lecture 6. Sword: my guys in this lecture, we're going to be creating a low Polly sword. So this low police sword assets will be used as a base for different variations off the melee weapon on. We're going to be keeping the tours of creation for this very simple. So what we're gonna do is we're going to set things up in a blender on the 1st 1 we need to do is we need to set up the rights orientation off the few port. So I'm going to go into top for graphic by pressing numbers five and seven on my number Pat . Now I'm gonna assume in on what want to do is we're going to educate it in mind on then make sure everything is thes selective with I and then I'm gonna target the selection. Too visible. So now when I press the Seiki and left click on these Verte sees it would also select the vert sees that were underneath. So now I can hit the s key to scale them on block it toothy x and Y axes so that I can scale them in woods to create the basic shape for the blade. So this is a pretty good start for us, and it's all come from the Cube. But what I want to do now is I want to focus on the top. Now, if I was to try and going to face select on subdivide this. So I'm gonna go press the double Yuki, I'm kick subdivide. We can see there's a problem with how it sub divides up that top face. So an easier method he would actually be to undo this on, then just delete this face on. And what we're going to do is we're gonna go back into Vertex Select, select these two for disease on hit the F kids create the face and then we can subdivide that age, take these two birth disease plus this one here and hit the F key to make a face on. What I'm doing now isn't just by using this shift key on be selecting 1 36 selecting another and then using that to create these other faces as quickly as possible. So just we want a video. If you felt that I was a bit too quick, but now we're just going to drag this up, and now we have the tip off our blade, which is excellent. So we can make that as high as we want. One thing that I like to do to create a nice event. So, like to grab these who oversees and just drag him down on the set Access. I think that's a little bit more of an accurate representation or what the tip off a sword looks like. So now that we've got the tip done, we can now begin to focus on the bottom. So we're going to scale this down with the s key because I just want to get it to a nice size for now. And then we can assume in Azaz much as we can and just try. Get up. Now I'm gonna go into edit mode on. We want to select just the bottom verte sees. So I'm gonna here, I then see Then select the bottom vert disease and drag down on the zed access. This allows us to determine the length off the sword so we can decide here how long we want the sword to bay, and we can always change that later on. So it's starting to look pretty good here we've got the blade itself. So pretty soon we'll be able to start focusing on the handle. Now, we're going to keep the handle just a short in terms off the approach as we are the blades , which gonna drag that down to make it a bit longer. Andi, up next. What we need to do is what you're gonna power in my view. And I'm just gonna add a keeb. So we're gonna use the Cube Is the start of our handle here. I'm gonna come over here and we have this radius value. I'm just going to make that quite low 0.1 80. Resume in. That looks pretty good, actually. So we're gonna scale that now on the zed axis, so s and said to lock it to the third axis and we won't try and find the right value there . And if we just assume in just panel of you, we just want to make sure that it's going to fits. Now we are guns being rotating eventually, but we're going to scale this cube on the X axis just to give it that little bit off with which we would expect form this part off the handle. Now, I must use a value of 2.5 here, cause that's seems like a good value, too. May. And if we pan all of you yet that looks pretty goods. And I'm going to select the blade itself on by pressing seven on a number. Part on gun is a top new for graphic. We can hit the r key on it rotates without us having to lock to a specific access. And I'm gonna use 45 degrees and typing in 45 enter to get it to that point. Now I'm going to scale the cube on the war axis by half of its sewage and also 0.5 on it. We just have a look. We panel of you. Yeah, that looks pretty good. And now we can just drag this down so that it's overlapping with the top off our handle. So bit by bit, we're getting closer and closer to creating are low Polly sword. Andi for me. I want to keep the handle separate form the the blade blade as much as possible. But for now, we're going to add a cylinder on. We're going to change number of for Toussie's from 32 to 16. Change that, radi Stan to a much lower values. So 0.11 and change that depth value down two will has changed at the Badlands one. And I feel I'm gonna need to work on a little bit more. So we're gonna reduce the radius, the Vasa 0.7 That looks much better to may. And then now we can look at positioning it by grabbing on the zero axis and just moving it down. Now, we're starting to make a lot more progress here, so this is starting to look good. But it's also keep in mind the number abilities that we're using here. It's very low amount of overseas at this point, which is what makes it for such a good base model. So now we're going to edit mode for this cylinder. I'm gonna press, see and select these bottom Burgess sees. I'm just going to scale them in woods on the X and y axes by hitting, shift said. And that just creates that little bit off Ah, sort of scaling effect going down the handle. Now we're gonna add ourselves a UV sphere, and I'm just going to be positioning the shoe V sphere on the ferry bottom just to complete this shape. So I'm gonna have 16 segments on what do is. I'll keep her 16 segments and 16 wings and just drag it down, he. But we're going to reduce the size, said It's much lower. So 0.1 looks good and then we're going to drag it into position. And if we assume in, we can actually see that the geometry lines up perfectly with the cylinder because off the number of segments that we use, we used 16 segments and it lines up perfectly with the cylinders, 16 segments as well. So now we've got the base shape. We're just going to add smooth shading in certain places, and that just gives us that perfect base model that we can use to create more complex swords in the future. Now, we don't join these together yet because off applying materials later on. But I'm just going to grab this and Scalea on the X axis just to try and refine at the shape. You can always refine things later on. There's no reason why you shouldn't look to do that, But if we have. Look up here. We can see just how Maney Vert sees and triangles we've used, and that really isn't a lot at all. So that's a really good starting point for creating what is, in fact, a very common asset. And we've done that by just using four, basically four primitive objects. 7. Pencil: guys in this lecture, we're going to be creating a pencil. We're going to be using very basic tools for this, But what we're gonna be doing is we're gonna be creating a pencil, which will have a little rubber on the end of it. So we're going to eat the pencil. We're gonna need the base that's gonna hold. Depends on the rubber on the rubber itself on. We're gonna be doing with this just by using the cylinder up. Primitive object. So I wanna go into blender Now on. This is gonna be one of our speed electorate, so I'm gonna go Food is at pace because there's not really much to follow here. So what I'm gonna do is gonna go shift. I add mesh cylinder, Sukar cylinder. We're going to manipulate its properties in the operator panel here on what we're gonna do is because it's a pencil. It has a few flat sides visible. Anyways, we're gonna reduce the number of verte sees down from 32 2 12 Might seem like a movie low number, But believe me for pencil, that's absolutely fine. Next we've got the radius. So the radius funny that we're going to use. He is a radius value of 0.1 and then the depth value we're gonna use a value off 2.15 so that this asset, I believe these dimensions are really good as a starting point. So I'm just gonna assume in here so we can get a bit of use. We've got 12. Oerter sees a radius of 0.1 on a depth of 2.15 Capital type is going to be very important because we need to be able to bring the top on, grab it up so that we can create the sharp end off the pencil. So we're going to change the cat feel type from n gone, which does not allow us to do that to the triangle fan type, which will, You can see. Nothing has changed yet, but if we would go into edit mode, you would actually see difference. So yet that looks so good to may. I think we're just about ready to go with that. So I am gonna go into edit mode, and I'm gonna do that by hitting tap on my keyboard, and you can actually see that we now have our triangle find at the top. So I'm gonna do is I'm gonna right click on that middle Vertex We're gonna pan off you a little bit by holding the shift key and middle mouths fun. I'm going to grab this blue owl and I'm gonna drag you up so looks like out to that he and seem out and we can see that we've basically got a pencil. Fantastic. So what we're going to do now is we're going to add a Luke up around he And the reason why is because with a pencil, you have the graphite part at the very top and then you have a bit of wood shaving just below it. And then you got the rest of the pencil. Now the gap between the wood shaving on the rest of the pencil that's there. But we're gonna have a problem here. If I go control in our which is to create a Luke up, then we'll see. Did it work here cause we get the purple sphere turning up. But it won't work up here because of the fact that it's all going to a single Vertex. So it's struggling to find the loop. There are a couple of ways we can do this, but the quick y is to just create Lute cut here for left taking, dragging it up to round about he and then we're gonna assume in and panel of you. And we're going to select this actually now, by holding out and then what? Click on what I'm gonna do is I'm just gonna slide it up here, and I'm gonna do that by tapping the G key twice. So this is gonna be an edge slide tall, But we're gonna use going G to move Iran's then G again T h slide. And now I can slide that up without losing too much off the base shape. So all of them there is a big G twice on. I can slide it up too. Well, one left click and there we go. So that looks really good to May said. Now what I can do is I can assume out again on we can actually focus on the bottom part, so I'm gonna go hits happy to go into object mode. I'm just gonna drag out pencil up above where the Freedy curse it is on now I'm gonna do is I'm gonna add a Navarre cylinder. Us. So we're gonna go shift, I mesh and cylinder. Now, this sedan that will maintain a with the properties, all the one we just created. So we're still what the 12 earth sees? We've still got the 120.1 of radius, and we still got 2.15 dead. So I'm gonna do first of all, this is gonna be the base, and I'm gonna increase the number of thirties from 12 to 32 which I believe was the default anyway. But we want this bit to be smoother because it's gonna be made off metal. So we're gonna want it to be smoother if you want to go even smoother than that and not have to use something like this subdivision surface modifier, which would add a lot of geometry, Then we can go up 2 48 and that should do nicely. The lady is ongoing to increase ever so slightly. So it's currently 0.1. But we're gonna use when 105 So it's ever so slightly increased because we want it. We want it to be bigger than the pencil, but We don't want there to be a major gap between it. We want it to be pressing against the pencil itself. Now we're gonna decrease the death until we get something that we like to look up. So I like the look off 0.25 That looks good to May on. We're gonna change the cat field type from triangle Fan to nothing. Because we don't want geometry to be overlapping here where it doesn't need to should turn out to nothing, and then I'm gonna come down, and we actually have the option in the operator panel to change the location. So I'm just gonna move that up to round about he now, assuming I can see that looks pretty good. Okay, so now I can ads the rubber at the end. So to do that again, I'm gonna add another city. Not so shift. I mesh and then, cylinder, we're gonna reduce the radius back down to 0.1. We're gonna decrease the debt. So half of what? The metal. It's gonna be a So we're gonna go 0.1 to 5 and enter. Then we're gonna change the cat feel type from nothing to end gone So we've actually used all free field types in this one lecture. And now I'm just gonna move it up until it's just about in side off. That based it. Okay, Now I'm just going to increase the thirties of bitten walks. I don't wanna have to use a subdivision service late one. So we're going to increase that up to 60 and there we got. So now that's looking really good. A couple of things I'm gonna do here. First of all, let's give a little bit of detail to the metal bit. So I'm gonna hit white click to select. Now what? Metal base. We're gonna hit Tab Key to go into edit mode, and I'm gonna add to loot cuts. So I'm gonna go control and are toe at the luk up. Scroll up once to get two wings and left. Click. Then I'm going to want click to confirm I'm going to select the top off the two Blue cuts by home by selecting I two d selects everything and then holding down the old key right click to select that loop. Then I'm gonna hit the G key than the key. Then 0.5 So I'm using numerical values here to make sure it's all nice, inaccurate, and then press enter. And then I'm gonna do the same with this one, but in reverse. So I'm gonna go. Holt, right. Click Grab said minus 0.5 and enter. Excellent. Now I can do is I'm gonna give it a little bit of substance. So I'm gonna select everything, hit the e key to extrude, and then, without pressing anything, call my mouth. I'm gonna press the SK to scale. And then shift said so that was e to extrude s to scale. And then shift said, Well, without pressing anything on my mouse and that will allow me to get a little bit of substance for this metal base. So I'm gonna use a value over one point c 05 and answer. Then I'm gonna use these flu cuts to get a little bit more detail. So I'm gonna go into face, select. We're gonna select this face Lee Peace. We can go out. What? Click on? We're gonna slept this face Sleep here. Shift cult, right click, then regards to e. Then s then shift said then one 0.8 then and so? And there we go. We hit Tab que we can see now that we've got that little bit more detail. Now what we can do here is we can go smooth now. Smooth shading create a little bit of an issue here. And there are a couple of ways weaken soul. This lighting issue we can either absolute cuts or my per third way is to have a modifier. So get over here adding a mortar fire on I like to use the edge split on that does the trick very nicely when it comes to delighting. Finally, we're going Teoh, just finish up the rubber. So going to select the rubber with first forward, Just going to do a bevel here because the rubber shouldn't be that shark at the bomb. So gonna hit tacky. Let's go into edit mode. Then edge selects here so that he select everything with I I'm just gonna assume in a little bit so we can see a bit there. I won't likely to select that bottom edge loop and then control and be on our keyboard to create the bevel. So I'm gonna create a nice pebble here and I'm going to scroll up on my mouse, scroll up on the scroll wheel one to free. And I should give me enough of the curve. So I'm gonna left click to confirm, and then it's happy to go into object mode. And now I'm happy with that. I can go smooth shading. We looks pretty good, too. May kind of get a little bit often. Issue with the lighting here, but it's not too much. But if you want to, you can always go here with the edge anyway. And that should solve your corporal. Um, very nicely. So there we go, guys, as quick as we could, we managed to go through and creates a pencil pretty much using just based cylinders on a few basic tools. Thanks, guys. On. I'll see you in the next lecture. 8. Basic House one: guys in this Let's show we're going to be creating our first basic house. So this is gonna be a traditional two storey house that's going to have a roof windows on doors. We're not gonna go beyond any of that, which is gonna look hats. A typical basic construction off a house in blender. So certain tools that we would probably want to use for an asset like this We obviously want to use scaling. Why to be, especially when we get to the roof. The subject Fire tall is gonna be particularly useful when we guys be creating the windows and doors face deleting as well for windows and doors. The ability to extrude and scale also will be looking at creating a few frames for things like the windows and doors just to get a little bit more detail in extrusion and scaling off the roof on also Vertex merging. So we're gonna show you how we're gonna do that. So what we're gonna do now is we're gonna go into blend up on Let's begin creating this basic house. Now what I'm gonna do here because this is a building, I'm gonna want it to lie on a pretty that flat plane. So I'm gonna press the five key a couple of times to make sure I mean user or for graphic. Then I'm gonna press one on my keyboard to go into front or photographic. Next, I'm going to hit the G key, lock it to the said access Wieting said next and then pressing too. But that's too far. I'm gonna press one. So it's always one blending unit below for the bottom off the key. So now we've got that we get a look at what's the dimension should be for our house now, because this is a basic house. We're not gonna go on worry too much about getting things absolutely right. But we know it's rectangular. So what we're gonna do is we're gonna open up a side panel here on we're gonna be working on these dimensions. I'm not worried about the scale. I'm gonna be working with the dimensions. So the stars, if I look at it form above, if we say we press one so that's the front, and they were close. So the width he is going to be along the X axis while the debts off the house, which is going from the front door towards the back door. The depth is gonna be along the warmer access. So for the X, let's try something close like six to start with. Now, that looks pretty good. And then let's try something like free for the water. Okay, so that doesn't look too bad. Now, we're gonna do the said access on Bear in mind. I'm doing this in scale. So dimensions are being doubled here if we go to visit. Okay, that looks pretty good. But notice what's happened when I changed the scale here, Well, actually ended up dipping below the line once again. So if I press one, then you could just about see, we dip below the red line. So just as quick correction grab said one answer. Okay, Now we can actually see from that view that it's too wide for its heights. So why much they're gonna do is we're going to increase that to six, and then we gains who grab Said one. Okay, Now, that looks good enough for May. Now going back to front. Now, I think we can go a little bit more backwards in terms of the Why. So let's increase the war dimension toe. There we go. I think that is suitable for our house. Gift is a starting. Remember, you can always change these dimensions later on as you're dealing with the object as a whole. So what's next? Well, what I'm gonna do now is armbands, dude, the roof. But I'm gonna do the roof as a separate object. This is because later on, we're gonna be subdividing up our house in particular, and then we're gonna be cussing in windows and doors. So we're going to for the sake of simplicity, keep the rectangular box that is the house separate, at least for now from the roof itself. So what I'm gonna do is I'm gonna take this top face here, so I'm gonna go into edit mode by pressing the tab key. Gonna go into face elect and select that top face on. Then we're gonna do is I'm gonna go shift and d to duplicate. So there we go. Move your mouths around to make sure it's worked on Dwight click again. It simmers when we did the Mayan pyramids With regards to the room, we separate the room from the base off the pyramid because we wanted to keep things like subdividing and Luke cut simpler later on. So the same thing applies here. Now I'm gonna do is I'm gonna take that selected vice. I'm gonna hit the s key. I'm going to scale it up a bit now. I don't want to scale this up too much, so let's go. Something like 1.5 that looks pretty good to May. So I've got no problem with that. And then we're gonna do is I'm just gonna extruded up Onda we extrude this to about he. So that's a good starting point. Then what I'm gonna do is I'm gonna extrude it one more time, so I'm gonna hit the e key to extrude on. Let's test a few nomis a list wife free. It's a bit too. Marchers try to bit too little, 2.5. OK, so I'm gonna percent to now on at the moment. It doesn't really look that much. Like a house actually looks a bit like shoot box, actually. So her first sake a little bit misshapen for shoe box, but yeah, kind of looks like a shoe box, but What I want to do now is I want to merge a couple of eighties together. Now, the easiest way to do that would actually be food Vertex merging. But what I can do is I can go X select, select one age slipped the other go Bolton em. And then we go at center, they'll come together on label form. What house? Here Now we can ever do in this design, or we can do it in a different design. So Well, I'm actually gonna do is I'm gonna go back one step. It's up, Kay. And then I'm just gonna duplicate this temporary duplicate the whole objects. I'm gonna hit X to knock it along the X axis and just pop it over here. Sigh. Two different ways that I could do. This is depending on what type of room by one. I could merge them as they are. So Colton em keeping in mind that emerges the vergis ease. So it brings together with such as this the method I would use because this is how my house is shaping in real life. He's a little goats happen. Third texts elects, and we can see that those four birds. These are all selected. That's why we've had this merging effective. And then why can do is I go one shift to Oh, Tim, um, merge. And then one and two Holt, I m a much. And then we have two buildings with two different ruth types. Now that one we're going to be working with here, or at least the one that I'm gonna be working was gonna be This one here is currently selected, but I'll keep that in the background for now. Just as a reference point. Just give you an idea that you don't have to follow along exactly with me. For these assets you can always like, follow me up to a point and then move on and then make a few changes depending on what you're looking to do right away. Enough A little thing that you could know if you could always move se this topic around to different places. So if you wanted to say create chimneys or things like that, it might be worth your while to look into perhaps reshaping this depending on what you're looking for. So I'm gonna select this one again. I'm just gonna pan my view so that with looking at our main house here on, we've pretty much now done the roof. It's very low geometry at this point, but that's good enough for me. So I can do now is I can press the tab Key is going to edit mode and then hit the L. Kate Select my roof. So the roof is selective, but not the house itself. That's absolutely fine. What I can do is I can hide the roof, and now I can just focus on working on the house itself. So what I'm gonna do is I'm gonna make sure edit Miley with tryem on what I'm gonna do. Somebody used to stop the fight. So I'm gonna press I to select everything, hit the W key to bring up the specials menu and select subdivide notes that as long as an object is hidden such as my roof, it's cannot be edited by any off these tools. So don't worry about that, said Now we're gonna go subdivide. And that basically cuts up every face into a series of smaller faces without changing the oval shape off the objects. It's just a way of adding a lots of uniforms, geometry very quickly. So what I'm gonna do is I'm gonna increase the number of cuts. So I'm gonna drag this panel out because as soon as we do subdivide, you'll get this panel here that comes up on the first option we have is number of cuts. So let's press this arrow here to increase the number of cuts each time until we get a value that we like to look, hold now, this is a big city. Do you notice that a lot of these faces are very rectangular? Well, that can actually be a bit of a problem when you're creating or cutting up geometry. What's you can do is if I were to basically undo this is what I could do to start with is I can go control and are and had a lute cut in the center. Then I could what kicks confirmed on what that will do for me, hopefully is when I suck the fired this objects up again, it's going to create bets are squares rather than those long rectangles. So I can select everything again, hit the w key and then go subdivide. And if I look at it. Face on, we can actually see. That's a lot more like a square. And it was before. So now I can increase the number of cuts on for me. I'm gonna go to six, but I think five will do nicely. Probably seven. Most of between five and seven cops. I'm gonna go six. So I want to make sure that I get a pretty decent amount of veto on, and that will do me nicely. So this is the fun. Because if we press the one, that's where we end up front, Infographic. And now what we could do is we can start adding in some doors and windows. So I'm going to going to face select on whether you want your doors and windows to go. You can put them wherever you want. But for me, I'm just gonna go one and then hold down the shift key. 23456 That's good for me. I'm gonna go ons. Delete these. Now, Make sure that when we go 123456 when we go to delete if I go delete from three faces, it'll delete all the faces on the CI on a tree in between them sort of birth season edges in between them without getting rid of any UN selected faces. If we were to do this a different way, so delete edges, we might come across a few problems because it will start the leading faces energies that we didn't want it to the league. So make sure we do this. We are deleting the faces. So there we go. So that's the door. Now let's do some windows. So I'm gonna go 12 34 and then it's also do one over here, so we're gonna go 1234 on 1234 So now what we'll do is we're gonna go X delete faces. Okay, That looks pretty good with Starnes. Get something called a house. Now it's starting to look a little bit more like a house. The one thing I will do is I'm just going to expand this spot window. I quite like having wider windows on the bottom floors, and then we're pretty much gonna do the same process at the back. So we're gonna go one, 23456 and then what we'll do is we'll go. 1234 1234 And let's do a proper ward window going out into the back garden. These I That looks pretty good. Hit the XK and delete the faces. Excellent said. Now what we have here, he's We have pretty much a basic house aunt. From here on, we completely much used this as a building block. If we like for pretty much any house that we want to create, which is absolutely fantastic. Now we can do different things from here. We can start adding in the modifiers to make things better. So, for example, I can go to this wrenched up here, go on mortar fire on. Maybe we could you solidify, and that just makes it look a little bit better. So this is actually good way of adding the frames as well. So if I increased the thickness, if you could just about see that we're getting a few of the frames coming in. Uh, and that's really good. So that's a really quick, quite off just creating that well structure. So it looks a lot more like a house now, just by using that one mortar fire, it's got a bit of me will be of substance to it. I'm just gonna press the one key on the now I'm just going to get read or the soil of solidify mortar fire on. What we'll do next is we're just going to look at creating a couple of frames. So what I mean by this is if I go into edit mode, I can go, So we'll start with balls. 12345678 On what? I'm just gonna dio He's just going to hit the shifty to duplicate this frame. So it's gonna be a bit separate. Form the rest of the mesh on the reason why is because when you apply textures and materials that a frame is gonna be very different materials to the rest of the house, something like it's confirmed. And then I'm gonna hit the e key. So extra routes and then we'll do is just like click. And if I was to scaled, it's I could scale this in, and it would actually scale it for me. But I have to be careful here. So one thing that I would do actually is I'm just gonna go to the side fuse. I'm gonna press free. Doesn't matter, Can see at the moment he's gonna assume in on pan y view on. We can sell where it is because of the gizmo. I'm just gonna hear the e key, and that's just gonna allow me to screwed out. I'm just gonna extrude out just a tiny bit just a tiny bit. So maybe point CEO, too, But I'm gonna make sure that's intruding out and not in woods. So let's just grab that yet. So that's going in the minus direction, actually, because if you look, if you look down there, you can actually see it's going in the minus direction. So I'm just gonna undo that on what we'll do is with the E key again goods. Why? And then we just do minus 0.2 and enter. And that's one too far. I meant to do Seo Sierra two. So that's a mistake. Controls its go back. And then what wouldn't gonna do is gonna grab Why, minus point CEO, too Excellent. And there we go. So now we've got a little bit of a frame just being forms. One thing that I can do he he's I can select the tops here. Onda. We can Gs, however, just bring him down. We can create all different little effects here. But what were just doing? The next lecture is we're just going to using this method. Just create the rest off the frames four our house just to give it that little bit more substance. And then we can create the windows within those frames. Thanks, guys. I don't see you in the neck. 9. Basic house two: Okay, so let's continue with the creation off our door frames. Now we're going to do here is I'm just kinds go vote to select our door finds consuming just to make sure that the correct geometry is selected. That's good. So then I'm gonna go press one on number pants to make sure in fun or for graphic few on one thing does indeed. IKI to extrude right click announced this scale in. So we're gonna get that effect here. And I'm just as a test just for the moment, I'm gonna go, Let's go point nine size and answer. And I just make sure this is works. I'm gonna pan around and we can just see that little bit of a frame there. Now, if you finding this difficult is too thin, just take a few steps back and just increased. So increase the debt for the frame just to make it easier for you to select. Or you could just simply he selected select the entire house and hide it with the HQ if you wanted to. I'm not gonna press the h G because then it hides and they want to bring it back. Bring the roof back as well. Algo if I go hate to hide it, don't think it will make too much of a difference at this point. But obviously here we've got just the door that we can model. But I don't have the house. There myself is the reference point. So I'm gonna go Owen Ph just to bring it back. So we've got that and it's coming along quite nicely. The only problem here is that we have a look at the bottom. So I just pound my few to the bottom. We can actually see that we have thes edges here that are not quite what I should say. Now the best thing here is to actually going to Vertex select select the bottom face and see where it is on a certain axis. So it's minus one. So then what we can do is we can select this for Tex and then change its value on the set access to minus one as well. So the best way to do that is just to come over to where we have the value left, click and go minus one. And that way we can position it precisely where it needs to pay. Let's do the same over here. So we'll select this Vertex and then go minus one. An answer. Excellent. Now, what we can do finally is we can select that edge loop. So I'm gonna go into its select he owns and just select that absolute excellent. And then what I'm gonna do is I'm just going to go and we're gonna press E and then we're gonna bring in. So it's gonna be point CEO too, along the war axis. There we go. That's pretty good too. May know that you can always press what access you access you want? Sorry. After you've done the numerical value, as long as you haven't pressed. Enter. So I'm gonna pressing any key. Now on. Now, if I have a look, I've got my door. Fine. Excellent. That's perfect. So what I can do now is because I don't want this to be a revolving door on opening door that opens and closes. I don't really care about that at this point. So what? I'm gonna dio he's I'm just going to make sure that but truth is selective, which it is, I'm gonna hit there, and that creates my door with its store. Fine. Simple. Is that now? Of course, you can always go into more detail on this If you want. While means do so. But considering the stage of which we are at, I'm just gonna leave it as it is. So up. Next, let's create the back door on Will do a similar process, but will go a little bit quicker. So I'm gonna go oats and click the whole thing. But I'm gonna make sure that the bottom is not selected here. So I'm gonna go shift on the selectees because of anything they need to be selected to make door fight. So go shift day to make super cut and like, Click. Then we're going to hit E then one. And because this is going the other direction, it's a positive value for its come out. So it's gonna be 0.2 an answer. Just checking to see if that's correct, which it is, which assume in yet. Then we're gonna go scale. No, yet we're gonna extrude first. Gonna get e to extrude on Dwight Click then scale 0.95 and then so next will come down here and still got the bottom bits. So we'll go into Vertex Select on. Let's select him both because they're both with the same set value. And then we're gonna go select minus one. We love. Let's canceled out his double check yet minus one and in. So they're going out. Let's have another look because that looks a bit off to May. Or is that just the view? Let's check that one. That's good. That's good. Okay, it's fully the angle, which I'm looking at it, But I saw is the sort of thing that you need to be constantly checking. Don't just leave something. If you ever not sure of something, always make sure that you're just looking up just to make sure there's nothing wrong. So what we can do now again is Weaken. Select that H with Colton White. Click, and then what we'll do is go E. Then minus 0.2 but on the war axis presente and then hit the F K. Now, the one thing I'm gonna do here that we could have easily done with the door at the front is again make it safer objects, or what could do here instead is Aiken go shifting day. So we got a new objects again, likely And then it's best and that creates our door. So in facts, let's do that at the front. So I'm gonna go and delete the fun ex, delete the face, then select the appropriate geometries kinds edge select colts Select fifth day so that we duplicate it on Dwight Click, then hit the F k. Excellent. So now we're really starting to get somewhere with this house. We're pretty much almost done. We now just have to do a similar process with Windows. Now, this is gonna be a little bit easier, because with the window frames, we don't have to worry about taking a bit off the bottom. So let's create the windows. So what we're gonna do is we're gonna start with this window here and we're gonna select it by hitting Bolt on Dwight. Click on. What would you do, though, is simply is we're gonna have the e key to extrude look into the war. On what ways? That guy that's going positive directions, we're gonna go 0.2 Aanenson, Miss check. See, that's works yet. That's work nicely. Excellent. And now what? We're gonna do this time is going to scale it. Now. This scare scales a fair bit better than doorframe. So gonna go 0.9? Lava? Have you noticed the mistake of Done right? I forgot to extrude. So I've got to cancel that here the extrude button again and then hit the escape so that I could bring in And then I'll go 0.9 five and answer much better Now I can extrude along the y axis again. We're gonna go in a negative direction this time. So it's minus of 0.2 and answer. And just as I did with the door just now, I'm going to hit shift day to duplicate and like, Click. Then I'm gonna hit the f k. And that creates my face. Fantastic. So now let's just repeat that process for the remaining windows, and that will be it. So I'm not gonna do as much talking now because maybe this is just a bit of her repetitive part where we're just making sure that everything is going to pay exactly how it should be . So pretty much everything come doing after his remaining windows is the exact same process that I did for this window here. So if you are following along with the lecture itself, now is a really good time to just focus on your own house. Rather than having to just pause this video, just focus on your home house while I am just finishing these off here again. As I said in a previous lecture, actually, don't like to just skip these. I know it's repetitive, but I know that when I was learning to use things like three D modeling software, I even want to see these bits because she never know when a mistake's going to pop up. So mistake pops up for me doing this video. Then you guys can see first hand how to deal with it. So that's just it's true that once you want to a little one, it's true. Stale 0.95 extrude more minus 0.2 and then we're going to shift deeds duplicates. Always remember to do cake Shoe, preferably wants your glass to be a separate object to your fine right click, and he the F K and now for me to Pakistan. Also, another thing to know. While I've been doing these glass windows have noticed in the use of the long white vans. So just make sure you fix that. Why? Just going to where it says shading newbies and just flipped the direction. So for me, I'm just gonna select these two now, just so we get out away fit collection where we got much better. So now we can go to the back or the front liable. Yet it's still the front on. We can do the windows here. So for May to select the appropriate parts off our when nodes create the window frame on, let's create that flame. So this one is minus, I believe. Delicious double check that's and make sure Always double check if you're not 100% sure you And if you 95% sure always double check, you should never know. So e to extrude s to scale and then 0.95 and then we're gonna extrude the other way. So e y 0.2 answer Shift day to do the kite and f to fill in the face flip direction If the normal little on my rounds Simple two more left. So Olt select extrude white minus 0.2 extrude. It's and then 0.95 extrude one 0.2 50. Make sure you duplicated it, right? Click then after face on, we're almost done. That's been done perfectly there. Now we've got one more window to do so oats and click and I'm gonna go e to extrude y minus 0.2 and enter e to extrude Esther scale 0.95 and answer E to extrude. Want to look into the X to the Y axis and then go 0.0 to an entire, then shifting to duplicate like click on here the f k. And there we go, guys. Congratulations. We now have a basic model is pretty low police geometry for a house. But we now have basic mobile off a house that we can use for an unlimited number of things . My challenge to you. Now Can you go away and repeat this same process with this house here? Thanks, guys. And I will see you in the neck 10. Mayan Pyramid: theme in this lecture, we're going to be creating a Mayan pyramid now. Mind style. Purim. It's a little bit different to Egyptian style ones. On by default, we're going to have considerably more detail. So this type of asset can obviously be used Eire via in historical scenes for image creation or adventure type games. So what we'll be doing here is we're going to be using a certain set of common tools once again. So here we're going to be introducing the insect. All as well as Theobald 82 duplicates bits of geometry in edit mode. We're gonna be using Luke cut and slide, and it's true. Told us well, to create this object. Now the thing to know he is that especially for tours one free and four. I used these for the majority of objects that I create as well. Most blender artists. The abilities Dupree in edit mode is more like a trick than actual tall. But I'm gonna show you exactly why that's trick is so useful. So let's get on to creating the Mayan Pyramid Asset. So we're gonna go into blender and I've got my screen cast keys active. I've also got the scene in use Alpha graphic, which is absolutely fine on. I'm going to start with our tea for sheep once again. Now, what I want to do is I want to create a base for this Mayan pyramid first and foremost. So I'm going to change my few. So I'm gonna press one on my number pad to go into front orographic on what I'm gonna do just to make things easier. So I'm just gonna lift our cube up so that it's sitting nicely on the red line, which is the line that represents the X access. Now, I could just grab my blue line here, which allows me to drag it up and down. But then I wouldn't be able to get it exactly right. It would look right. But I'm a bit of a perfectionist, so I want to get this flush order into that red line. So I'm gonna do here and, you know, right click on my mouth to cancel on what? I'm gonna do these. I'm going to grab my entire objects by pressing the geeky, which allows me to grab it, and we've Durant. Then I'm gonna lock it to the zed access by hitting the key on my keyboard. And now we can't get moving up. And I saw me the up and down. If we just I just hover over here. Can you see in this corner here, my mouth is just gonna disappear off the screen for sex. But can you see the coordinates here? These are the sea coordinates. So I can use that as a reference to see if I can find roughly or exactly where it's going to go now for me, He I think the value of one will be exactly what I want. So I'm just gonna do instead of just left clicking to confirm my positioning. I'm just gonna type in one. But I'm not gonna hit one on the number part. I'm gonna hit one only be talked off the keyboard itself. So I'm gonna press one on that. Positions the cube nicely on the x axis notes that you won't quite be able to do this if you have the num part emulator enabled because with the number had emulator enabled, you will pretty much override the ability to use numbers to position. You're objects, so I'm going to let click, and now it's in a perfect position to make sure that it's in the perfect position. I'm gonna open up one of my side panels, so I'm just gonna come up here. So where there's a new plus and I'm going to left click now, I'm just gonna scroll to the talk. But I gotta make sure that my mouse cursor is within the confines of this side or bar. Because if it's not, I'm gonna end up assuming in and I instead And I said, Come to the top. I should be able to see that the location value off my Cube is at 1.0 perfect. So now what I want Teoh is I want to scale our Q alone the X on y axes. But no, the bed axes. So I want to minute, like this value on this value now I'm gonna do here is I could easily do this and ever several ways. You could do this so I could easily just scale It's five. You in the really report. But instead I'm gonna do a numerical value. Now I'm gonna want excellent want to be the same because of my own pyramid It's basically cubes stacked one on top of another. So I'm gonna Dewey's I'm gonna do reference first I'm gonna go x left, click with my mouth Curse it down until it highlights the war access and release that allows me to change both of these values at the same time. So I'm gonna change them into 10. Impress Bente. Now we can see that it's made a major change here. And if I just hand my few by holding down the middle mouse button, I could get a good few off the result. So that looks pretty good. However, I think it's a little bit too bulky cause I'm looking to create multiple these, and each one is gonna be smaller than the previous. So I think I don't want to change this their value, because that's gonna be more a reference point for skating. But I'm just going to have to increase the X and y go. So let's increase them both. Now, toe 15% up on that looks pretty good. Let's try 20. Okay, so 20 might be and will be on the big side for May. But we're going to keep that as it is. I think that will do nicely. So up next, we're going to begin actually editing the pyramid. Now, to do that, I'm going to just close off. Actually, no. I'm gonna keep this open on. What we're gonna do is we're gonna go into edit mode, so I'm gonna go object mode down here and select any mode. Now I'm gonna go into face elects. I don't want to select this top face with the top face selected. We're not gonna use the inset tool so up to use the insect. All the quickest way is to press the R key on your keyboard. Someone impressed the RK and that uses the insect all. And now what it's done is it's created a new face, and I can scale the size of the face by moving my mouse. Now, I'm not just gonna play this by I because I want things to be quite uniforms in how they're going to be scaled with each level. So if I type in a new medical value, say 0.9, for example, then it basically reduces the thickness by that amounts and 9/10 Now that's not good at, so I want to be much, much bigger than that. So I'm gonna backspace once and then place one. Now, that looks a lot better to me. So I think that's gonna be a great starting point. I'm going to left Click, and there we go. So now I've got a new face. So what's next? Well, now we're going to extrude it. Now we know for my reference earlier we go back into object mode. We know that this first level has a said value or one when it comes to scaling. That's perfect. Because now I can scale it up along visit access by that amount to create the new levels, someone to go back into edit mode on we can see that that face is still selected. I hit the geeky to extrude, and then I'm gonna talk one. Now I'm gonna press enter on. It actually looks a lot smaller. So what's the problem here? Well, the problem is that what I've done is it's a purpose form. Steak is I've purposely misinterpreted what the one value in object mode actually meant. The one value in scale is the actual scale off the original cube. But here we have the mentions now I've done he is. When I extruded this top face, I basically increased through dimensions along the Z axis from two to free. So if I just hit control when said once we can see it has the mentions of 40 40 and two which are Aled double scale because the queue used the mentions all to to to not 111 So what we need to do he is, if we want to make sure the levels of the saying, we need to make sure that we are adding the same amount of the dimensions each time. So the correct method would be to go into edit mode again, extrude. And this time we're gonna type in the value of two and present. And now if we hit one to go to find few, we can actually see that the two levels are justice towards each other. On that said access per se said. Now we've got the building blocks of our Mayan pyramid. Now we can start to accelerate this process a bit, so it's basically a repetition. Now we're gonna hit the insect key and I 0.1 bonanza. Now if I press the number seven key on my number parts and seem out bit. We should see an alpha graphic mode that these look pretty much the same thing. That should be good. So that's what we really should be looking for when we're looking at it from above, said, Now I'm just going to Pan. Why've you, Andi? What we can do now is we can once again go e to extrude and talk to left click to confirm. And now we're gonna be a business here. So let's do it again in set 0.1 answer extrude two ends up in set 0.1 Penta extrude to answer. And now we're starting to get our mind Pyramid. We can collect Former Top Yet that all looks fantastic too May. So that looks exactly the way that it should be constructed. If we go into object mode, we can see that the location values have remained the same. Rotation values have remained the same on the scale. Values have remained the same, so that's pretty important here. When we were editing for someone like a Mayan pyramids, it's actually a good idea to focus on your dimension values, Robert, than the scale values, and that's a common mistake of law. Beginners tend to make So at the moment, we can I go a Z value of 10 because we've got five levels now, what I want to do, so I'm gonna add two more levels here. So we're going to go back into edit mode and we're going to go in set 0.1 Answer extrude two ends up inset 0.1. Answer extrude too. Okay, so this now is going to be at top level. So what I want to do festival is I want to create a room at the top of this pyramid. So to do that, I'm going to hits the R Key one more time. And this time I'm gonna type in 0.2. But that looks much, much thinner. So I should go 0.1, OK? Because now we've gotten to the point where the top is so much smaller than the bottom that even though the same values as we've always been using are the same values, they're still not as much space to work in. But that's OK, so I'm gonna left. Let's confirm, and that's what we got. Now what? I'm gonna do now ease. I'm going to have my top room at the top of the mine pyramids. So we're going to be creating legal with a room at the top. Now, I'm gonna want it separate from the rest of the pyramid on the reason why it very simply is because the room is going to have slightly different geometry. So because of that, it can sometimes be difficult when you have to part of the same object. But they are shaped so differently. So we're creating a room on top off all of the's, basically steps. So what I'm gonna do is I'm gonna duplicates this selective face I'm gonna hit shifty to duplicate ons. Now, we've got that new face, but he's not gonna go anywhere. What I'm gonna do isn't gonna, like click so that it ends up in exactly the same places it was Excellent said Now I can do is I'm gonna hit the e key to extrude it up. I'm gonna want this to be considerably high up, done the actual levels, but not too much higher. So let's try four. First of all, looks to be on the thin side. Let's go. Five be careful there. Make sure we press the backspace, So let's go follow Hons. Okay, so that was pretty good. We're gonna press left. Clicks confirm that is gonna be quiet. A big room at the top of this morning. Pyramid on. I think one of the denies I'm gonna extrude it two more times by value. Once we're gonna hit the E key by value of one and left leg, then I'm gonna do it one more time. I'm gonna heat to extrude value of one left click. Not a reason why done that is because I actually want this middle edge here to come out with it. So I'm gonna scale out. So I'm gonna go to edge Select. I'm going to select an Edgeley and just let the edge loop. What we have to do is we have hold down the old ski on a keyboard, Andi Logic and that will select the entire edge loop going a little wildlands. Now I'm going to scale it as I Scalea. I could bring out taking a close eye on the values in the bottom corner off the screen, as always, doing earlier on Let's try value of 1.2. That looks a little bit much for me. I'm gonna go one point 15 on that. Looks good. So now compress enter. Excellent. So now I've got myself a room at the top. All this Mayan pyramids. In the next lecture, we're gonna finish off creating the door to our own as well as constructing a little bit off a staircase that we can use for the Mayan pyramids. Thanks, guys. And I'll see you in the next lecture. 11. Mayan part two: Okay, guys, it's time we completed our mind. Pyramid. So, what we have so far, we've got the basic shape of our pyramid. We've got the base on the room on top. Now. The way we've done it is these are effectively two parts of the same object. So if I go into edit modes at the moment, I've actually got the chops selected. Now I can be select that by pressing the A k so that I can show you exactly what we've done . So we've actually selected and created two separate objects within one or parts or islands . So in blender there technically called islands. But if you were creating, say, a call different car parts, he just Corbyn parts. So what we have here is we've got two separate parts. We've got the base which we can select by hitting the L key on a keyboard and that will select whatever island we are hovering over. We could select the top room once again by pressing the L key, but notes that's pressing. The Elke does not be select previous islands, so it just adds to what's been selected. So what we'd have to do is we have to press the key and then he the l key on top off the room. So we've got these two different parts and that means that we can select a part like this room here on Weaken Grabem. We can manipulate it completely separate off the base below it. So it's gonna white pick that to cancel. Now, what I want to do now is I want to create a door. Now, there are several different methods in several different ways of going about this. There are two in particular that I like to use. Each has an advantage and a disadvantage. So the 1st 1 is the one that we're actually not going to do. But I'm just going to show you it now anyway, just so you know, you can do it. He's known as the knife told someone hit the one key to go into funnel for graphic because actually, we want to be in the front to start with so that we can see which face is actually gonna be the front of our pyramids. So we can put the front door there. Now the knife told, actually involves us cutting geometry manually. So I have to do here. For example, ese, I'd have to actually, Pan, why've you said I could get a view off the bottom edge here so that I can actually use the knife tour? And what have to do is I have to press the K key on my keyboard, which changes the curse out so that it looks a bit like a knife with a green dot, and now it has a whole lot more I cursor over on age, left, click, and I can start cutting lines now. There is another problem here, so I can move this across left, click each time, and you can see that's that shouldn't be quite right. It seemed to be disappearing, but not when we're just hoping over. So I could left click each time, and it's always creating new geometry. But as I come down here to the edge itself, it disappears. Now The reason why that is in this scenario is because we have geometry on top of one another. So this edge is actually on top off another age for the base pyramid, and that's presenting a problem. So here we have to do is we'd have to hit the Elke on our people on. We could drag the entire cube up, but we don't want to track it up randomly. So I'm just gonna cancelled out by right clicking. I want to use a numerical value, just so I know absolutely sure where to move it back to. So at the moment, this entire island has a zed value or 17.5. So what I'm gonna do is I'm gonna make that 18.5 and first enter, and it just brings it all up by one Blend the unit now what I can do you so I can press one on my keyboard and making sure I'm in front over graphic is when you in the using the knife tall. You will want to be in a to d view to get the best results. Now, if I hit the K key on my keyboard, I can start creating my door so I can go one to free. And then when I'm ready, I can press enter to confirm. And now I have my new geometry, which I wanted to I'm going to face select select that new geometry here the XK on delete that face, and now we've got the door, so that's one way of doing it. But the disadvantage here is it's no completely accurate. We haven't got perfect positioning here on. That's a bit of a problem. We also would have the problem if we wanted to apply textures to this. We've created what we called an end gone. So an end gone is basically shape that has more than four edges. Now blender is a lot better with n guns than it used to be. But you might still get a few situations with Blender, where it doesn't like any guns when you are creating textures and materials for that specific face. So that's something just to beware you'll. So instead what we're gonna dio, I've shown you that purely to show you how to do it on, yes, we will be using the knife tall at certain points for of our assets. But right now, it's not the best tool to use, or at least that's what I believe. So what I'm gonna do is I'm gonna hit control and said numerous times, and soon we get rid of the new geometry on place, our blue back to where it was before. Now I'm gonna do is I'm gonna hit the lib cut tool, which is controlled and are When I do that, we can see that we get these purple lines purple wedges on what I'm gonna do Cinemascope scroll up on my scroll wheel once so that we have two edges. Now I'm gonna left click. I'm white news. I can move the second position them anywhere I want along this line. But I wanted to be nice in the middle, so I'm gonna right click to confirm. And now we have extra geometry. The disadvantage here is the fact that we'll end up with geometry in places where we don't need the extra geometry. But the advantage to that is that because it's done in a uniform manner, it does help make texturizing materials easier later on down the line. Now, I don't want the actual water encompass this entire front faces. It's doing right now from top to bottom. So I'm gonna add a second lieut Cup. We're gonna go control and are, and I just want the one some going to hope for our U s. So it's about here. Said it's gonna go vertically left, click And now I can drag it up and down So I just want a bit of space between the top of the door on where we begin to Ruth So this time I'm just gonna play by I on I think there will be So I'm gonna left click And there we got Excellent said Now what I can do is I can go face Let once again select that face here the XK and the leader face And now we've got a door Nothing stores a bit big but I'm just gonna leave it But what you could have done is we could just go control and said Go back into say edge Select on We could go bolt on Dwight click to select one edge loop And then what we could do is weaken go shift cult right click to select the other Edgeley And then what we could do is we could hit the s key to scale, but being careful not to manipulate it too much. If we go Essen and X, what we can do is we can just scale those two along the X axis. So I just scaling in something that's a bit more suitable. Like so. And then what I can do is I can just reduce the height, the doors Well, so I can go out. And why click on all that have to do here because it's just one loop cart. Not the to is instead of scaling, I can just get this blue arrow here and just drag it down to about here. So now I can just go face select again, select the face until e and that looks bad. Okay, so now I'd say at this point, we're not gonna do anything more off the top. Let's focus on the stairs. Now, this is the main reason why I decided for this asset that I would have to separate islands . So what we've got now is we're going to create a bit of a staircase. But the problem here would have been if I used blue cuts. He we would have had a few minor issues with the shape on connecting things up together. So we kept things simple. We kept them separate. What I'm gonna do now is I'm gonna hit the l key on the top room. I'm gonna hide it. I'm gonna hide it by pressing the hate each key on my keyboard. So now we've gotten rid of it from view. It's not been completed. I've just hidden it. And that's fine, because what I can do now, we're just gonna press I to select again to the select Make sure everything is these selected I don't want to do is want to create to Luke cuts Seth ago controlled all. So what do here is create that Luca on scroll up one. But there's a problem there because that doesn't quite Look what I want the stairs to go down straights as if it was just the one. So the best way to do this is to actually create the one left click, and then I should concede you movie. It follows the tree on a tree off the actual pyramid, which isn't what we wanted to do. So I'm gonna do here, so I'm actually going to right click, and then I'm just gonna move the old by grabbing it. I'm hitting the X key. That way it will move across our objects without altering the geometry. Because if I don't press that XK so if I cancelled up and grab again. If I don't press the X key as I move it around, we can see how much it manipulates the object. So it's very important that we lock it to the correct axis. So I'm gonna do here is let's experiment one or two numerical value. So we press one for example. That looks OK. Let's try to That looks better. Let's were free. Okay, so I like the value of free. So I'm gonna do now is I'm gonna press enter. Okay. Next. What I'm gonna do is I'm going to create another loop cup, so I'm gonna hit control and all, But this time we've got new problem because it's not uniform as it was before. It's not. There's no lying line of symmetry in this direction because now we've got straight lute cut here, but we've got a lot of steps on the other side. So what I'm gonna have to do, he is. I'm gonna have left click and drag it old away up so that the new Luca is pressing against the old Luke up. So I'm gonna left click on Walter here, is gonna grab lock it to the X axis. I'm gonna want it to go in the opposite direction. Now, the value I used last time was free. Now I want this new group cuts to be free units the other side or that middle points. So I'm gonna use the value of minus six, Not minus. Reeks by use minus free. That new Luke cuts goes to the very center. But I want a good line of cemetery for my objects, which is why I use minus six. So both of these blue cuts are free units away from the center, if that makes sense. So if I press enter, we now have something that we can use for a staircase. So now I'm gonna dio he's I'm going to create two more loot cuts. Now, this will be a little bit easier. I can go controlling our scroll up once and left leg. Now I can position it, so I'm gonna keep it in the Senate for the moment. I'm gonna right click, and I'm gonna hit the s key to scale and lock it to the X axis. And I'm gonna dragon both outwards until I find something that I like the look off. So what I'm gonna do now? He's I'm guns. Find out there. That looks pretty good to me. And I'm gonna left click. Excellent. So now we're making a bit of progress. What I want to do now is for reference. I want to bring our room back, so I'm gonna hit I to d select every think and then bolt and hate on my keyboard to bring back the hidden room. Okay, so this now looks pretty good. Why wants do you now is I want to basically bring up some of these so that we actually get something, like a bit of a railing. So I'm gonna go and going to face select, and I want to speak specific faces. So I'm gonna dio ease. I'm just going to go pick this face, and then I'm going to go way down to this face here so we'll do here isn't gonna hold down the control key on my keyboard. Select this face. OK, Excellent. Now gonna hit shift to select this face and shift control to select this face. So now we've got everything that we want selected, but I don't want to extrude all with this, so I'm going to show you a little bit off a trick here that we can do. Let's see if this works. So I'm gonna get dues when go to select, and then I'm going to select check up the select. So if I select check out thesis elects, what it does is it basically selects every other vice. Now, it doesn't quite work. He because it's only really worked on one side. It hasn't worked on the other. Now we can manipulate certain values Detroit on get it right. But it's unfortunately here, it's not quite working on this opposite side. So what we have to do is I'm just going to thes select everything for the moment on, Let's just do one side at a time. So going to select this talk face and then out will love the control, almost pressed the wrong button yet. So control, right Click. And then I'm gonna go select check of the select. Now what I'm gonna do ease. I want it to be the ones that go up. So I'm gonna change the offset value so that we can stop it. Rounds were gonna come over here, and I'm gonna change the offset value from 0 to 1. Excellent. So now I can do is I can hit the e key and drag him up so well, do you know it's just eat drug up on Let's use the value off to and then press answer now, it's not gonna be the best staircase that you've ever seen, but it just so you know, it's early on in the course. I'm just trying to let you know of all of these awesome tools that you can use. So now let's replicate this on the opposite side. I'm gonna select top face control, select the bomb on no. Here. When you're selecting geometry, make sure that you have nothing that's unwanted in your selection. So I'm gonna have to cancel that. And Chris, I press a press, I not once that hold the shift key or the control key select. And then it's done it again. What it doing that again? Well, at the moment, we've got a little bit of a problem with. It's creating a new pathway here. So we try that again. That's definitely not selected control. Select the bottom one. Okay, so something's wrong here, which is a bit Well, it shouldn't quite be doing that, but this is just a bit of trouble shooting. Sometimes blend. Art can do this sort thing where it just does something that is completely unexplained. So what we can do instead is weaken. Just hold the shift cakes. There's not too much geometry and just select the ones we want. Now we're not going to select him all, actually, because we don't need to in this method, but it's just a bit longer overall. So just let alone the top ones and hit the e key to extrude and press two. Excellent push. And so and there we go. So we've got a little bit of a stairwell woops and ratings either side on if you want to, my challenge here would be Can you manipulate this geometry so that it looks a little bit more like a traditional staircase? So things that I might want to do I might want to select these two and extrude amount along the y axis, but then I won't want might want to do something that actually changes the shape and makes it a little bit more straight down. So maybe what I could do he's I could do a face feel so let's see what that looks like. I'm gonna go select edge on a woman Dussan said this edge Hold on shifty. Select this search and hit the F key. And that creates a face. If we assume in we create that face. If we go one hole down ship to F key again creates the face. Now, if I was to be a bit cautious here, I've actually extruded the bottom out quite a long way. So if we pan off you around by pressing free on a number pad, I can actually see that the angle is different. So why needs to now is on its hit one on my numb pat so that I come to the front and parent want you a bit, then control and said, But I mean to do that many times until I get back to about you. So what I'm just gonna do now is I'm just going to hit the e key again to extrude, and this time we're going to do it by the correct value, which I believe is a value off to an answer. Okay, so that looks about now we're going to do is we're going to go back and we're just going to create those faces again. This is optional, but of course it will just make it look a lot better, so let's do it. 12. Mayan Three: way we are going to go into it. Select, select these two edges and he GfK excellent. Now will do the next one. Select these two edges. Make sure we hold down the shift key on selecting the second Age and hit the F K on which is going to continue this process away up to pretty much the top. So 12 on it, making sure that we've hit that f k on. I'm just going to be a little bit quiet now because you don't really need me at this point to just explain every single time because I think we will get the idea in a somebody slipped 12 on. I'm just going to be doing this since here we finish now. There's another thing I'd like to know is that some people, when I do these videos, they like to pause it. But personally, I think it's better for you to receive the entire process, even if it is a bit repetitive just so you can see exactly what's going on there. Okay, statins pretty good now notes that we have a big discoloration here between these faces on the faces up here. Now, first of all that's actually happened because what I was doing these faces, it was bottom first and then top second. And then when I got to hear, I accidentally swapped it lands. But that actually shows us that we may have an issue with normals. Now, normals are something that's very important for you to be aware off, especially if you are going to be creating things for video games. So normals are basically every single face in something like blender has an outward facing side on an inward facing side on. If you have them the opposite way around, then if you export that asset into a video game, then that face actually becomes invisible on. This is an effect called back face Culling. Now we can check to see if this is the case here by activating back face culling in Blender . So making sure week off that side panel opened up, we're gonna come down to where it's a shading and select that face Colin. Now, once I do that, I can actually see that the faces if I see men that were here before, have actually disappeared. Now that's not good. That's one thing I really don't want. So what I actually want to do here, he's I'm just going to sort out the normal issue. So what we can do to even go because they don't aren't too many of them. I'm gonna go one. Hold on, Schicchi one and face Let's to 34 and five, making sure that the correct faces are selected on what we'll do here. He's, If I press controlling and on my keyboard, then I have effectively done what we call making normals consistent. Now that's an actually works perfectly. For some reason, it's done the bomb free, which is good. But these two here are not the lightweight land so far. Activate back, face culling again. Now these two are missing. Now again, it's a little bit weird why Blender has chosen to do that now, but it doesn't matter too much. So what we can do is let's come over here and let's see if we can find some for the normals here. So there's nothing really for correcting almost there. So what we can do is we go options, maybe have a look around our other Look here. We've got normals for shading side there we go. So shading U V's on this side panel here is where we can find the normals. Now we can do one of two things we can offer. We calculate or flip collection. If I week help you like he it doesn't seem to be working, which is fine. But if I flick direction, it does work. Excellent. So I can select the bottom face now and flip Direction Fantasticks. And now all of our normals are facing the correct way, which is perfect. The next thing I want to do just to play safe is make sure that we don't have any doubles. So what I'm gonna do, he's going to go on press the tab key on top again. I'm gonna just panel I'm making sure everything we look for at this common sight go back into edit modes on what you're gonna do years I'm going to select everything I'm gonna do is gonna go back to tools and let's see what happens when we removed doubles because we don't want any geometry that is not needed to basically geometry that's sitting on top of each other where it shouldn't be, so I'm gonna can't tools and I'm gonna go downs where it says removed. Doubles on left, click, and that's removed. 28. 30 sees. Excellent. Now, if we were to have a look as one thing that is very important for us to check, I'm gonna de select everything and hit the Elke on our roof. Okay, minor issue when we do this. So removing the doubles has basically joined the roof on the base together. Now, that can be fine, but when we're applying textures later on, it's actually going to make mapping the textures a bit more tricky than what would be necessary. So I'm gonna do is gonna hit control Zed, hopefully to the point where I can just select the island. Yes, I can. Excellent. And why I just want to do here is I want to hit the l key. Make sure everything's the selected here, the Elke. And again, I'm just gonna drag our room up so that it's not sitting on the base at the crucial moments when hit G said to and ends up next, we're going to hit by a to B, select everything. No, to select you, just the base this time because the base is the only one we want to be focused on. At this point on, we're gonna go removed apples. And this time we've removed 24 30 seats. We moved 24 doubles. Excellent. Next I'm gonna press I than l on the roof and we moved Doubles no overseas removed. That's absolutely fine. Now I can hit the geek eke and then said then minus two, then enter. Just arrested back on our base. Excellent. So we're left with one final task and that used to fill these in here sudden, the process is pretty much the same. We're gonna make sure a little bit of an angle and just assume in as much as we can and I'm gonna do is gonna go into edge, select then one shift to we don't need the bottom one or with do now expressed the f. K. And it creates that face on will just complete this process across the board. So we just do that now, and by the end of it, we will have a much better looking stairwell. Que make sure that you've done it on both sides. So we come over here, we can actually still see now just a little thing to know you might have no is that we can actually see through the objects on this side, even though with on the faces he that's because of the back face culling effects. Remember that if we face will have on inside Andan outside. If I was to turn this off now, we can actually see the insides off the faces. I said, Let's go 12 and start just putting those bases in. If I hit back face culling here, it's just that little bit of a problem with these new faces. So I've got be mindful with that. I want to 12 12 12 and that's getting better. So now if we just used these ones and these ones, the normals look pretty good, actually, So it's just these two of the bomb he that presented a bit of a problem. Actually, that one is well, looks like this presented a problem and I think the normals seem to be a bit. We're depending on which faces you choose. But don't forget. If you ever come across any faces like that, it's actually there's one up here as well. Don't forget you can always go into face select select the faces in question. Go to shading and newbies on just click flip direction. I was actually gone wrong. Why? We should be weird there. We got nah, just to make sure that face culling just to make sure there's no issues whatsoever. Excellent. And there we go guys said, There we have our what? Mayan pyramid. If you want. You can always do finishing touch So we can always perhaps extrude a little bit out here. So what I might do? Hughes and Michael extrude free and top click Extra free answer. And then we got Lee with an entrance. Why? Up to the door for more on Pyramid? So congratulations, guys. That was quite a lot to cover for. Warts. Yes. Still looks like a pretty simple object. But this was actually quite useful for you guys to know about certain concepts, in particular, the whole issue of normals on back face culling on also, perhaps, just as importantly, the usefulness in the strategy off actually having separate parts off the same object rather than making life difficult for yourself. I'm just trying to make a single solid block with Aled. Different shapes around that single object. But thanks, guys. On. I will see you in the next lecture. 13. Basic table one: guys in this lecture, we're going to be creating a very standard table. So this is a typical first objects for many aspiring Freedy artists because it's an object that has multiple lines of symmetry. It's an object that is very easy to create, and it wires some of the most common hall fused in blender to complete. So examples of tools that we may be using in this lecture include the ability to scale the application off. Luke cuts extrusion Z Andi using the levels hold. So let's begin creating our what standard table here. So for this, we are actually going to be using our cube because it's a very good starting point on. What we're going to want to do is we're gonna get a good view off it. So I'm gonna start with a front view, so I'm gonna press one or more at number. But on now, we're just going to position our Cube. Now we're going to do the top first, and then we're going to use the geometry from the top to its crude, the legs. So what I'm gonna do? First of all, it's and guards who expound the outline. A panel up here and then I'm going to right Click on and we name. So I'm gonna rename this as we call it Basic table and press. Enter. So we've got stopped for basic table. Next. I'm actually just gonna go out this along the war said Axis. Just drag it up here on day release. So now, actually, that might be a bit too. I was down a bit. So now what we're gonna do is we're gonna have the base up here, and then we're gonna extrude the legs down so that they rest on this red line. So up next, while in front off a graphic view. I want to scale this now, going to want to scale this. If I'd assume in a little bit, Tom, let you I'm gonna want to scale this sort of It's very thin. So I'm gonna do is my favorite way of scaling is to open up the side panel, move up to the top on. We're just going to influence these values. Sorry. The said value, for example, we decrease that we begin to flatten the chief on that axes. So I think I'm gonna go for value here off 0.1. I think that would be a very good starting value. Now notes that when we changed a scale, we will also change the dimensions. So just keep that in mind and you can actually do to flip side so you could actually change the dimensions of that changes to scale accordingly. So let's resort that back to its original value. Andi. Now what we need to do is we need to press the number seven on our number. Pad on what that does is it brings us into top of graphic few. So we need to do that. We need to expand this base. So we're gonna start with the X axis on for the X axis. Let's test a couple out, so I'm gonna start with a value or fire on. Then we'll use a war value off to now. If I hit the one key, that looks pretty reasonable to me. If anything, it might be a bit too hard up. Well, I'm going to want, so I'm gonna drag it down on, and I think that will do. I think one thing that changes is just gonna make it a little bit thinner on the said access is a little bit too thick for my life. So I'm gonna go Sierra 10.8 and enter. There we go. So we've got these dimensions now, which we can work with. That's excellent on it. We just panel view around. I'd say that's pretty good for a basic table. So I'm modeling this basic table off what you would typically see in a school classroom, since that's the easiest type off table to create here. Now I'm gonna do is I'm going to begin it, creating Luke cuts so that we can extrude Alexe. Now there are, in fact, simple ways or doing this, for example, we can actually create the legs as separate parts of the objects rather than extruding. However, I would like to take this opportunity to look at the use of Luke cuts and extruding with you guys so that you get an idea of how they work was obviously there will be situations where they will be required. So we're gonna go into edit mode by hitting the tab key ons. I'm gonna do this form the top off a graphic view on what I'm gonna do start with isn't to start the loot cuts on all four sides so stood out and hit control in all and then hover my mouse into Garcia Purple line, left click, and that just allows me to drag it. Now, what I'm gonna do if I want to get this, actually, I'm actually going to drag it away to one side. So it's pressing against the age off the objects and then left. Let's confirm, then one guns do is I'm going to hit the G key without pressing anything else. So I'm still grabbing that Luke up the X key to lock it to the X axis. And then I'm gonna type in a value to move it across the X axis numerically. So, for example, if I do see your point for life, then it will move the blue cut by that measurement across, form the age off the object. So now I compress Ansel and I've got that good starting point. So now I'm just gonna do that same process, all four sides, So going to go one and then can he grab, then war? Now, you gotta be careful that you make sure that it's the correct value. So where four. It's gonna be positive or negative. So for this one, it's going to be negatives. There's gonna B minus 0.5 and enter, and you can tell whether or not it's gonna be positive or negative form, that's all orographic few by the directions off the Avalos. So obviously the arrow of the exact CC's going in this direction. So any loot cuts they're gonna be traveling in that direction is gonna be positive on any loot cuts that going up the war access would be positive as well. But if they're going down like the blue Cut that we just might, then it would be a negative value. So let's do the other two all the way to the end. Grab X minus 0.5 and then we'll just do one more grab boy points five. Okay, so that's a good start. If you pan all of you, we've got that geometry down there. And now what we want to do is we want to be able to just extrude out some or geometries. We're gonna need a little bit more than this. So let's go again. It's gonna go all the way down. Then we got wrapped. Why this time? I'm gonna go point to and then we're gonna do that away around, So go to the top. Grab Why minus point to now Where's the ends? Grab necks point to and finally grab X minus point to on excellence. And now, if we reverse this so I'm gonna hit control. And seven, let's go toe bottom, all for graphic and then go to Faysal it then I've got a loop of faces here that I'm going to extrude out much geometry form. So I'm gonna start here on If we hope down the old ski, we won't be able to select the loop here because the loops are continuous around the object . So we can't create the loop using that method. So we need to do is we just need to hold on the control key at each 2nd 1 so that we can create that Luke. So I'm just gonna undo that, actually, just so you can see that again just to see how I've done it. Someone. Lisa, Let's everything select our first face here. Then I'm gonna hold down the control key on Dwight. Click on that. Links them together and keeping the control key held down. I'm gonna select every other face in this loop, and here we get the full you selected on. Now, what we can do is we can extrude this out. So I'm gonna hit the one key, and then we're gonna eat to extrude, and that just brings it down. So we're gonna want this to be quite feel so I wanted to be a little bit thinner than the table base itself, So we're gonna go 0.6 point 06 said point CEO six unanswered. And there we go. So now we've got just a little bit more substance of the table on were actually almost done . So just to complete the table itself, we're going to select by holding down the shift key. Those four faces those faces that make up the corners off that loop, hits one on a number pads and then we're gonna hit the e key to extrude. Just extruded these legs down to wear that red line is. Then we're going to left click to confirm now, before I do that, I'm just having a look, and I'm thinking maybe I didn't do it too low. Something's gonna do, so it's gonna go a little bit below the red line. It's, um that I'm gonna hit the tab key and I'm just gonna drag on my table back on the ready line. And there we go. Guys, that's pretty much years. We've now created a pretty basic model off a class you stole table. The final thing that we're gonna do here, it's just going use the bevel home. Now, The reason why we're gonna use the devil's hole here is because in the real world, no objects, not even the really sharp ones, like anything like a sword or a knife. Even they don't have perfectly straight edges, which is what we're seeing in blender so reassuming on this corner, fruits are whole. We can actually see. This is a really straight edge. I have a really strange that really straight edges. This simply does not exist in the real world. So if you want to add realism to your object, then doing something a simple as using a bevel to create curved edges can actually make a really big difference. Now the fifth started. This is if you're using it for things like animations or video games, then it might not be depending on the assets that you're creating. It might not be that visible. And it might not actually be that important for creating the realism in your scene because it all depends on whether or not people are going to be drawn to that object. So this is very much optional. But if you're creating scenes and then you're gonna want to hit Pataki, then you're gonna want to go into edge select hold down the okay on just select the edges around. So because of the German food has been created, we're gonna have to have shifted. Now, we're gonna do that aware hands on what I'm gonna do. He for this talk, I'm actually gonna set the bottom as well. So let's select the bottom. It's a shit out, and we'll see if this works, which it should do. But the devil talk can be a little bit over pain sometimes. And I'm gonna hit Control Bay. You should be able to see kind of but level being created. Now we do have an issue here and that use with the fact that it's not really doing a good job with this so we can see that the devil's crossing away in two wards, the center of the table. And that's a bit of a problem. So what we're going to need to try and do here, he's Let's test a few things, So going to just that move around, see what we can do here. So what we could try and do is to try and do to top one first. So they see it. That words control bay. Now that works a little bit about but the problem we have for the table here ease the fact that gs kind of, you know it does it. But it just doesn't quite do it. So what? We need to ease this scenario. I'm going to scroll up my school, Will. It's a couple of times I'm gonna make it not too sharp. So gonna go back here and enter then we're gonna do isn't just gonna drive select that bottom set there on because we've used the BEVEL tour is actually now allowed us to select a way around again on one. Just gonna do this and you're going to write that down just a little bit. Just a little bit and it's, ah, pretty unorthodox way of doing this. There are simple ways, but this is just a little bit of trouble shooting. I mean, a lot of time you actually won't come across this issued of main reason why we've come across the issue here, where the bevel tool hasn't really worked. The way we wanted it to is simply because off the way in which the geometry was created now this wouldn't be so much for problem if we had created the base separate form the legs. However, it's not that big of a deal on. We can, of course, manipulate the geometry. And now we've got the press. It's happy now. Got just that little bit of a curve. Now my challenge for you ease. Can you go away and just do you the same thing that we did for the top off this table with the bomb and also perhaps the legs as well. Remember, no object is perfectly sharp on. If I was to go to have key on it, we was just select. They said he I could go control, and they and that would create the bevel. Now with the legs, you'll actually find that this is actually a fair bit easier to do than with the bases. Know enough, she almost treats interfere, So I can just go like that's a little bit a couple of segments by scrolling up on my scroll wheel on When I'm ready, I can just let think and confirm. And if we go into object mode, you can already see the impact that that's hard. It's just created like a real with flexion off lights. So he's in fake light sources when in sort of a few in blender and you can see how the lights, you can get an idea of how it would catch those edges, and that's just adding that little bit of extra realism to otherwise basic objects. So your challenge now guys, would be to go away and see if you can bevel as much all your table as possible. Thanks, guys. And I'll see in the next lecture 14. Basic table two: hi guys. So we're gonna go back to the standard table that we create in the previous lecture now, but I wanted to be mad at me for this, but I purposely challenged you to do things in a quite difficult way. So what we did in the previous lecture was we finished with the challenge off using the bevel tool to create levels for our object. Now, the reason why I gave you this challenge was because I wanted to. There was a second challenge in that and that was to see one if you would be able to create the bevel across the entire objects. But also, second of all, if you would be able to see that there was, in fact, another way of doing things now if you weren't able to do this, that's completely fine. But basically the reason why I gave you the challenge and the reason why we're doing this lecture now is because lender is extremely versatile on. If you want to do something across an entire object, there's pretty much always gonna be a modifier for it. So while blender has a Bevin Tong, the bevel tall can be used to do an entire object, or it can be used to do part of an object. But if you want to use the entire object, a really good way of doing things is such issues A bevel modifier. That's right. We actually have that. There were mortar fire on, and I again don't be mad. Our perp sleep did not say this because I wanted to challenge you guys to secretly challenge you guys to see if you could figure this out for yourselves. Now again, if no doesn't matter. But the main lesson here is that whenever you want to use a specific tour, cost your entire object. Most of the time you're probably gonna find a modify it that does that action. So we're gonna use the bevel modifier here. And if I see him in straight away, we can actually see the effects that the bottle level modifier is applying on our objects. And it's doing so across pretty much most of the objects that we can see now it would seem in yet there we go. Now it does offer a pretty comprehensive amount of control. So what we can do, for example, was we can add a few segments said It's had five seconds, for example, and now we can see very quickly that we go once a bit. Old geometry here, being added now notes that obviously, at the moment we can't see the new bedrooms being added. But the same thing here is pretty much being applied, as with the bevel tool where we have issue, but it doesn't MMA as much. So what we're gonna do here is we're gonna decrease that wit because we don't want that they're able to be too noticeable. So we'll go 0.4 on. Then we can apply our their motor for a simple was that So have as many segments issue one theme or segments you have. The smoother it will be, the less the rough are, but obviously less geometry, which is always good as well. Click apply identically going to edit Mo's. We can see that we've got with that new geometry. Thanks, guys. And I will see you in the next lecture 15. Round table: Hi, guys. In this lecture, we're going to be creating a round table. So this round table is going to be created using two separate pieces. We're going to be first creating the tabletop Andi, then the lakes. Now, when you're creating an object that has multiple parts, it's a lot easier just to create those parts separately rather than just trying to extrude everything Kin as a single piece. Therefore, this time around, we're going to be creating the two separate parts of our table separately and then joining them up afterwards. This will also have an added benefit when you eventually move on to creating materials and textures for these objects, as the fact that they will be separate pieces means that you will be able to more easily apply it different materials to those pieces. So let's going to blend up and create a round table. Now the first thing we're gonna do is we're gonna create the table top. So what I'm gonna do is I'm gonna get rid off Cube entirely, so gonna press the X key and delete, and then I'm gonna add in a new primitive object. So I'm going to go to add Mitch, and I'm going to select one of our primitive objects. Now for this, I'm going to choose cylinder because that will certainly work best for me for creating this round table. So now that we've got our cylinder on before I do anything helps it all. What I want to do now is I just want to come over here to this side panel, which is otherwise known as the Tours panel. I'm just gonna track this up because what he is here when we create a new object, uh, certain different factors that we can't manipulate in order to shape our new primitive object. So we have the ad cylinder option here. Now, it's very important that we work on this immediately after creating the objects because assumes we perform another action, this menu would disappear. So for may, I'm going to look to increase the number of third disease that we have here from 32 to 64 and that will make our table talk a lot smoother. Now we have different options. So we have the death, which is also particularly useful. So I'm gonna decrease this step from two on. I'm going to go for a value of about wind CEO five, So we'll have it quite fin. But just be wary that when we're creating the legs, the thinner we make the table top, the more closely aligned we're going to have to align the tabletop to the legs. Finally, we've got the radius, which basically allows us to increase. In this case, it lasts to increase the X and Y axes on the scale, whereas the debt focuses on Lee said axes. So let's increase that to something sy. One Queens six would be good on then. What we can do is we got something called a cap field type. Now it's currently set to end gone, but we cannot just said it to nothing. All we can set it to Triangle found now because of the way that we are creating our table here. We don't need to worry about this too much as long as it's either end gone or triangle fan . Now. It used to be in blender that when you apply it textures and materials, it tends to not like M guns. When you map those materials onto objects, however, Blender has gotten a lot better. It's recently. So whatever one you want to choose is up to you. I just for now leave it. The four which is then gone and now I'm gonna do is I'm just gonna grab this and move it up . And you know, is the Sooners have done that sooner. So perform the action. This panel here has changed. So it's gone. Formed the ad cylinder handle to the translate panel. So it's Norman allowing me to manipulate my previous action. So now I can just move this said value up and downs wherever I feel it needs to go. So that's used value of one final on. Let's have a look at this from the front. So they hit one on my number pads and OK, so assuming a bit on up next, what I'm gonna do is we're gonna add a smooth shading to start some smoothness to our object. Now, one thing to know is that particularly when we're doing in guns, you get a little bit of distortion with the lighting. But we're not gonna worry about that at this point. There are ways in which we can work around that. But for now let's focus on just completing our actual table. So we didn't do the legs now, so we need to do the frame on. In order to do that, we're going to open up the art of menu with Shift and I on this time we're actually gonna select circle. So we're select circle. I'm gonna have the same number of 30 c. So I'm gonna come over here again and I'm going to select 64 birth disease on here. We've got the radius option, but not the death option, because it's not solid objects at this point. We've also got interesting enough to feel type so we can choose nothing and gone or triangle fan. But for now, what we're gonna dio ease, We're just gonna choose nothing on instead, off creating a feel. What we're gonna do is gonna go into edit mode. We're gonna hit the e key, and that's going to allow us to it. Shrewd. She on the tree, former 30 sees. But this is the important thing that we're gonna do now. We want to scale it in. So without pressing anything else after you've hit the e key so don't confirm anything. Don't try and position it anywhere. Just hit the e key and then press the SK, and then you end up scaling form extrusion. So I'm going to sky. What? It's in a bit and we're not gonna go to farming on left lip excellence, that Soo min, we're making good progress there. Now, this tabletop is getting in my way a little bit, so I'm just gonna hide it. So I'm gonna go into object mode. I'm going to select the table talk, and I'm gonna press hey h on my people to hide that table tall. Now, I'm gonna do you something to select our base here. I'm gonna select our actual frame on. I'm gonna go into edit mode. I'm gonna make sure everything is selected and I'm gonna go into face select now, get the e key to extrude. I was just gonna screw down just a little bit if you want to, like, get bit more control over how much you can extreme something If you hold down the shift key , for example, then it reduces the rate at which the extrusion responds to the mouse cursor and that allows you should just get the right value that you want. So about here will do for me. Left. Take. Excellent. So now, if I have a looking up from below, we've got quite a bit of geometry, but that's absolutely fine on what I want to do. You very simply. So I'm gonna select. I'm gonna hit control on seven guns. A problem Infographic on. I'm going to select the following faces. So I'm gonna select these to a talk. These two it aside and you'll notice that I'm actually using the lines for the axes to help me here. These two on these two I wanna do is these legs are actually gonna be quite long, but it doesn't really matter too much. I mean, if you want to make sure legs you can always true go 12 free four. But I'm just gonna go like discs are likely a symmetry. And then I'm gonna hit the e key. I'm just gonna extrude these. Damn. So we've got nice big legs here for our roundtable, and that is pretty good too May. So now I can hit the tab key. Grab that up, make sure we're in front alpha graphics so that we can do. She asked right on That's looking for needed. I like the look of that. I'm gonna hit old and hate each to bring back, uh, talk. We're going to select the top. What I'm gonna do, you gonna hit the one key I'm gonna assume in a little bit and want to do is I'm just gonna move. This is just about rests. It's home now. If they overlap, believe me, it really doesn't mind because the geometry itself is not connected. So it's not really gonna have that much of an effect whatsoever on the end result. But we do need to do now is we need to join these up together there to several objects at the moment. So fire increased the size of my outline. A panel. We can see that we've got the circle cylinder on the surface that two separate objects, so I'm gonna do is I'm gonna have a cylinder selected first shift white, click the circle and then I'm gonna join them together by hitting control on D J. Well, that allows me to do it. Allows me to join them up together on we've now got a single object which we can now re nine as out What around table? An excellent. So there we go. We've now got a round table. Now the last thing I'm going to show you, something that might help with any smoothing issues that you might come across. So what you can do is one thing. I like stories. You something cordon age, split mortar fire, which I tend to think work quite well. So you're gonna make sure that you have the top selected like this soldier geometry around top selective. You're gonna go to the modifies tab, add mortar fire, and then they'll be an option called edge slip. Now, as soon as I do that, I'll actually find that the smoothness has actually fixed itself. So I hit the tab key. The top off our table looks much better than it did before we used the expert modifier. I can turn off this modifier, at least in terms of its visible in a few pool by just clicking on this, Iike on here. That's what it looks like before so we can see it smooth. But it doesn't look back, right, And that's off the and we can actually see that we now have a nice, smooth service at the top off the table, but also the sides still looks smooth as well. So that's a nice little trick, especially with simple objects. Just using that edge. Spit modify out to get the right amount off, smoothing for your object. Thanks, guys, and I will see you in the next measure. 16. Drinking glass: guys in this lecture, we're going to be creating a drinking glass. So it's a very simple objects with simple tools such as object deletion, adding a primitive object face deletion skating loop cuts Onda a solidify modifier. So let's create the drinking glass and we can do this any number of ways. But we're going to keep things really simple. He some guys get rude over my keys and replace it with a cylinder. So games were using the cylinder, and I'm gonna hit the T key to open up the tours panel on. I'm just going to increased the number of for Toussie's from 32 to 64. Some doubling up on a number of 30 sees the reason why I'm doing that. He's because there are different ways you can do this. You can. I have a reduced the number of third sees and then use subdivision surface modifier to increase the smoothness. Or you can increase the number third sees up to a point that you believe would be smooth enough. So 64 we assume in I think 64 would be smooth enough. Four on assets or this size onder type. If I really need to. I could always go bit higher. So maybe 72. It's a value that I like, but it doesn't really matter too much, Aziz. Long as we get the smoothness that we're looking for, we can also you smooth shading to get a good look at how the object would look when it's smooth on my looks pretty good for the moment up. Next one going to do is I'm gonna delete the top face. So I'm gonna go into edit mode and then face select, select our top face, and then I'm gonna hit the X key on Delete that top face. Now, at this point, we actually pretty much have all we need for drinking glass. But there's a number of different things that we could do to perhaps create minor altercations. Perhaps we can scale to increased size, make it into a point glass, give it a couple of Gru's etcetera. So let's experiment a little bit with what we can do. So I'm gonna open up the side panel. I'm gonna add a background images. I've got it. Ticks Currently, image has been added and we just need to open, so I'm gonna go to the folder where I'm keeping white reference image, which is my asset creation image. Fold up on. Then we can choose the asset, but we won't know I have. Actually, I have a couple that I can choose. So we have a proper point glass here, and we have a smaller point style class here, which is a little pickup. So I'm gonna go with this one on. We've inserted it into our scene. So in order to view it, I need to press one and five on my numb pat. And there we go. So now I'm going to be using this as our reference image for our glass. So we're gonna go into any mode. Andi 11 do now is we're gonna press said on the keyboard on what that would allow me to do is when I go into Vertex Select mode, I'll be able to select a lot off the verte sees on top or bottom without having to pound my camera view. So I'm gonna hit the sea key on my keyboard to enter circle select hold down the left mouse button. I'm just going to just almost paint over the area where the vert sees art. I want selected. Then I'm gonna want clicks confirm. Now I can begin to shape my glass. So I'm gonna drag this up so that it reaches about he could You have to keep in mind that the reference image is exactly that. It's a reference image on if we're looking at an object form an exact side on view. So we're looking at this directly from the front. That's a little bit different to what we got in the reference image itself. Where were Actually we were looking at this reference image in real life. We'd be looking at it form an angle slightly above, which is why we can begin to see the inside at the top. So we always need to keep things like that in mind when working with bac