Make your first 3D Model with Blender 2.8 | EduCraft Ideas | Skillshare

Make your first 3D Model with Blender 2.8

EduCraft Ideas, 3D Animation with your imagination!

Make your first 3D Model with Blender 2.8

EduCraft Ideas, 3D Animation with your imagination!

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7 Lessons (38m)
    • 1. Introduction

    • 2. Learn the interface

    • 3. Lets add objects

    • 4. Interacting with objects

    • 5. Giving objects materials

    • 6. Rendering

    • 7. Lets Model a Car

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About This Class

This class is the easiest and quickest way to learn the most important skills you'll need to make your first 3D models.  You'll learn how to use one of the most powerful and popular 3D software tools in the world.  This is all done with the absolutely free Blender 3D software.

At the end of the class, you'll be able to model your first simple car.

This class focuses on getting you started as quickly as possible and covers only what you need to get started.  If you're interested in the fundamental aspects of modeling and animation, check out my other class.  

This class does not assume any prior knowledge.  You simply need a reasonably up to date computer.  It can be Mac, PC, or Linux.

Start by downloading and installing Blender here.

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EduCraft Ideas

3D Animation with your imagination!


Modeling and animation are all about your imagination.  Here at EduCraft Ideas, It's our pleasure to teach you how to bring everything in your imagination to life.

In the pic above you'll find Linda.  She's the next subject of our upcoming classes.  William, one of the EduCraft Ideas team learned to do character modeling in a very reasonable amount of time.  Coming soon, I'll show you where I started and you'll be amazed at how far I've come and how you can do the same even faster.

It doesn't stop there either.  We're going to cover many facets of modeling and animation and it'll always be on free software.

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1. Introduction: blunder is the best three D software in the world, and it is completely free. Just look at all the amazing things you can do with it. Recently, though, a new version of Blender has come out version 2.80 and it's got some really cool bells and whistles. But a few of the interfaces and things have changed. Join me is I get you started. In just a few short class, you learn how to model and navigate the interface and create whatever your mind can imagine . 2. Learn the interface: This is the screen you see when you first open a blender. Now I'm using version and blender. That's 2.80 and it marks a pretty big difference between 2.79 and everything from before. So you're using 2.79 1st I strongly recommend you go ahead and download and install, but 2.80 is, after all, the future. And that's a once of things that you can do in 2.80 That's just playing cool that you can't quite do as easily in 2.79 So I highly recommend that you do 2.80 And if you don't, I recommend you look at some of my other classes where cover in depth, How to use Lender 2.79 So let's get started now. I want you to be able to get up and running as quickly as possible, so I'm not gonna cover every single thing you see. You could spend a lot of time trying to learn all of the ends and outs of blended because it's a very deep program. So the first thing that's really important for you to know is the three D report. This is everything that you'll do in three dimensions. You're modeling your sculpting your painting. If you're texture. Painting in some cases will be in the three D report. So this is a really important area, and that's everything in this region. The second thing that's really important to use or at least understand what it is, is this out liner over here. So the outline er has all of the objects that you can be found in your three D V port. So you can imagine if you had lots and lots of different cubes and objects of models over here. That might be hard to find, so you can look on this right side at the outline er and then see so everything can be organized in what they and what blender calls collections. And you can create your own collections by right clicking and selecting new. You can change the name of objects, for instance. I have this cube selected, and you can see over here that it's white, and that's how I know it's selected. If I want to change its name to Big Cube, for instance, I could certainly do that, and then I could search over here for Big Cube if I had lots of things and it would show me where it is. So this is a good place to try to interact with your scene. And when I say seeing I mean your collection of objects over here in from a name perspective instead of from a location perspective like you would in the three D report. The other thing that's really important to know about is this properties area and everything that you do with Blender that's not probably in the three d View port or in the Note editor, which I'm not gonna cover in this particular class, but which is kind of important will be over here in the property, so interacting with the materials. There's different modifiers for how things you can do to different models different interacting with the world settings and the lights. And all of that is over here and the properties, and that's pretty much it for what you have to be able to know to be able to do. Modeling in Blender aspires. The interface goes now. There's also some important preference changes. I personally think you shouldn't make. So in order to do that, go to the menu bar and go to edit. Under edit, Go to preferences and in preferences. You wanna want to go to the left side and could input. Now, if you do not have the three button mouse, I strongly recommend you get a three button mouse. But if you don't, you're gonna want to click this emulate three button mouse that's gonna allow you to use your mouse in a way that useful when you're using blender, the second thing you won't want to do. If you were on a laptop, it's quick. Emulate numb pad. Now when you are trying to look a different views, sometimes you want to look at the front view, the side view of the top view and blender that's on the num pat typically, and that's numb. Pat one. A numb pad three or number firing up at seven and you don't have access to be. You don't have access to the numb pad if you don't have a full keyboard like when you have a laptop. So clicking, emulate, keep word or emulate numb Paddison allow you to hit one at the top degree of the sea pings from the front view or the side view depending on whatever you clicked on. And the last thing that I personally recommend you do is here on the different kinds of inputs on the right side You go to three D view and this is a speaky that we're going to change. And I want you to school down until you see view selected right next to the two of you selected. They're both check. Keep them checked. You're gonna see control Numb Pat Zero and Numb. Sorry, Control, numb pad period and numb pad, period. So we're going to change that. It says, press any key. And I just did that by left clicking on it. I'm gonna hit the period on my keyboard and I'm gonna hit the period for the next one. And I show you precisely with this does as well. But it's gonna make our life Ah, lot easier. So from there I'm gonna cook, save preferences. And then I'm gonna close the window now to be able to see what I'm talking about. Let's say you have the cube and I wanted to be front views. So now on my name on my keyboard. I can quick one and that'll show me the front view. Three will show me the side view, and seven will throw me the top view now because I don't have a full keyboard and this is a laptop I couldn't normally do that. The other thing is being able to center the view immediately on the object you care about. So now I can just hit period. And it will censor, in my view is. So if I was working with the camera period a centrist view and it rotates about that object . So it's a good way when we have a club, that scene to pick what you're looking at, hit period, and now that's at the center of your scene, and you can work on it much easier. So I think those are all the in a base, things you need to know to get started, and I'll see you on the next one 3. Lets add objects: If you're gonna be doing any modeling, you're gonna have to add objects. So the easiest way to add an object is to hit shift A. Now I'm going to add a U this V here, and that's a sphere, and the reason you cannot see it is this because it's inside of this cubes, I'm gonna hit G that you already know how to do then X why? And that allows me to move that object. The other way to add an object is to go to add, and then I can pick mesh, for example. In this time I could pick a cylinder, and it's going to spawn right there that I g grab or why, and then moved to the side. Now the reason they keep warming inside of this cube is because that's where my three D cursor is. So if I put my three d cursor somewhere else and I say shift a and I pick Cube and that's where this cube will now appear, so that's how you add an object. The other way we interact with objects we mentioned this a little bit before is that we can select Vergis is which is over here lines like this and then also bases. And so if we hit a face and then we hit G for grab and then see, for example, we can move that face straight up in the Z, or I can go ahead and pick Vertex Select mode. I can selective Vertex, and then I Congrats, Z and also move it up or down. So that's how you slick bases or burgesses or lines and move objects in different ways. So now let's say that I wanted to select a loop of an object, so I'm gonna go ahead and get out of three D. Curse a modem back into the default mode, left click on the sphere. I'm gonna hit number, period to center it. At our view, I'm gonna hit Ault a to take all to un or de select everything. Now I say, I wanted to just select a kind of circular reason around here. In order to do that, I hit Ault and then I click right? Sometimes you have to quit more than once to get what you want, but but you can see here that I can select just this circle or loop selection So if I hit scale for s here, you can see that I'm scaling that entire region around. Now, if I wanted to change the entire thing, I want to make the entire thing bigger. I would still select everything and then it s for scale and that makes it bigger or smaller , depending on how I want to do that. Now let's say that I wanted to Onley skillet in one axes I would have s and then X. And now you can see that I'm Onley scaling it in the X and I can do that same trick that you learn before for holding it only to two particular axes Rep ahead s for scale and shift Z. Now it's gonna hold the Z the same the entire time. And I'm Onley scaling it in the X and why? The other thing you may want to do is to extrude different regions. So let's say that I wanted to extrude this little square out because I wanted it to look like, you know, I can't really even think of anything that would make me think of that. But let's say that I wanted to extrude this region there are a few ways you could do that. But the easiest win is to going to face a like mode. Select that face and you're gonna hit E for extrude. And that's just allows you to extrude that face directly out. So if I hit you for extrude, I can't do that. I can also go into the object so I can hit you for extrude here and I could hit de for extrude here and then I can be for extruding go into the object. I can also scale it so I can hit e for extrude and then I hit enter and then s for scale. I can make that face smaller and you can see that it's still on the face now. So if I had period Aiken center us on that and then I can grab and I can move it around. So that is how you extrude and how you scale. The next thing that really useful is Roop cut. So we talked about loop Select. But let's say you wanted to create a little. So the best way to do that is to do control, are And once you hit control are you can use middle mouse button to increase how many loops you're actually cutting into the into the objects. I'm using a cylinder here. If I wanted to create three loops, I would just do that. I'm just once again using that middle mouse button. Now. Once I left quick, I can slide them along the lines. Now let's say that I wanted them to be completely in the centre. Equally space. I would just hit escape. And now I have those Luke cuts. So if I go into Bir Tek Select, Modi hit all to to do the loop select. I can now select the different loops just like I did before, but then moves that I created. And I can also do the scale that we talked about before, and that gives me a different look. Now, hopefully, you're getting an idea of how you might create different shapes from being able to do extrusion, zins and scales, and moving different vergis ease around the next thing. That's probably one of the most important things for being able to make things look better . Is this set smooth? So sets move allows you to make an object that was really faceted and then make it smell. So it looks kind of strange when I put it on this, because this was a really sharp edge, Coptic. But I'm gonna go ahead and add a UV sphere. It's over here. And then I'm gonna g for grab ship Z cause I wanted to stay on the same plane and we're gonna move it where we can see it. Now I'm going to go to object. Shade smooth. So now if I look at this fear, you can see that it's very smooth. And now shades move. It's good. And if you're not used to doing Three Mile Island, you probably don't know this, but it doesn't cost us any computational power, so you can make it smooth without ever slowing down How long it's gonna take to render or how hard or how long it takes you to interact with this three report. You can imagine that if you had a world with lots of different burgesses, that this would eventually slow down, and it would be really toppy and hard to interact with. But when use shades smooth, that is not the case. Now, the last thing I want to show you and I'm just gonna scratch the surface of the modifiers. There are lots of different modifiers you can pick here. I'm just going to show you a couple. One of them is sub circus. Now I'm going to turn off the shades, move by going to shapes black so you can see it here. Now, this one on the right side that says view deals only with the view on the white on one of the right deals with the render and we'll talk a little bit more about rendered later. But if you increase this, you can see that it makes it seem like we have a lot more faces. Now, you can do this without actually changing the geometry. So you look close at it. It seems like we have many, many, many tiny little vergis ease. But in actuality, we only had some model. This this is one way to make things smoother, but it's not the most efficient all the time, because the computer does have to figure out what to do with all these Verdecia. So sometimes it is better to simply use shape smooth, then to use subsurface. I'm gonna go ahead and turn that off. The next thing that's really, really useful is the mirror modifier. Now the minimum a fire does exactly what it says it does, but you can't see it here because our object is centered. Not I go into edit mode, and I hit a grab Giefer Grab X, actually, why? And I move this to side and I make sure that it's shadowed or mirrored about the Y axis. You can see here that I now have two objects that are mirrored about its origin. So that's the important thing to know is that the objects are mirrored about their origin. Unless you decide to mirror it about something else, that's a more advanced option. But you can do that. You can mirror an object not with with respect to something other than its origin, but it could just doing the object alone. The origin is probably the easiest way to do it. 4. Interacting with objects: now, the next thing you're going to want to be able to do is move the individual parts of your objects. I'm gonna select my object, and I'm going to go from what I'm in now, which is object mode into edit mode. Now, on edit mode, I can actually make changes to the object. So I go over here and I said, like buried texts, select mode. And now I conflict these points. Now I can move them just the same by hitting G and X or Y or Z just the same. And I can do the same thing for the lines as faras selecting and moving. They all were the same. And I can go over here to face the like mode and do it much the same. So I'm gonna tab out of that and that takes me back to object mood. And that brings us to being able to rotate the object. So my head are I can now rotate the object now rule. Taming it like that wasn't that useful. But if I had rotate are her rotate Z? I shouldn't rotate it about the Z or if I hit our and X I can rotate it about the X and that holds also in edit mode when you doing either the Vergis E or the lines or the faces. Now let's say that I wanted to move this along a relative access, so if I had Z, you can see it moves relative to the global access. But if I wanted to move it relative to how it's been rotated, I hit Z again Or in this case I could hit X are hit x again, and that would also know in this case I didn't rotate it about the eggs. So that doesn't really make in changes, so you can rotate it globally by hitting our and then the access, or you can hit it. You can do it locally by hating Z, for example, and then Z again, which will do to the local access 5. Giving objects materials: after you've done all the modeling and animation at some point you're gonna want to be able to do something with the materials. So in order to do the materials first, we're gonna create an object some do shipped A. I'm going to pick a you ve sphere not grab X. Actually, why? To move it to the side. The reason I'm adding a sphere is a lot of times. Objects that are completely flat don't exhibit all the nuances of the material and you'll get to see exactly what I'm talking about when I add the material. So next I'm gonna say shik a and I'm going toe ad Ah, soon. There. So grab why? I'm gonna move that out to the side. That will give you a good idea what everything looks like. So I'm gonna select this object here and then if you remember, I'm going to say shade smooth. Now, in order to create a material, you need to go to this little ball icon on the left. I'm gonna hit new and let's call it ball man. It's a good idea to name your materials. That way you'll be ableto find them. If you have a whole lot of different ones. Now, this is a principal BST, and this is the main thing I'm gonna cover here. It will cover almost all of the materials you're gonna initially want to be able to make and material using this work. Whoa. It's called a metal in this workflow and that everything can be basically boiled down to being a medal or a dye electric. So in this case, our dialect trick, or are metal is dialed all the way down. So if I wanted this to be a metal, I could turn it up. Now I'm going to go into this shaded mode now this allows me to see what it looks, what the materials look like to a certain extent, and you can see that it definitely looks like material. It looks like a metal. And now if I take the roughness down, you can see that it becomes more and more shiny. So what is reflecting is something that's specific to this mode that it's in by click shading. You can see that it's reflecting this environment. This is an HDR image which, if you rendered, would not be there, and you can definitely add your own. But this is a good place to see what it would look like, particularly those things that are reflective. So I'm gonna us like this object, and you can see that it has a different material. It's kind of a default from the one we already created. I'm going to call it Box that and I'm gonna change the base color of this one to blue. But I'm also gonna turn the metallic way up. Now you can see here, even though the metallic is way up in the roughness is way down, it doesn't quite look like we would think of it look like Certainly if I just showed you a picture of it here, you wouldn't really know it was reflected. So that's kind of something you should keep in mind when you're creating objects that have perfectly flat places because in real life they don't tend to have perfectly flat faces. So what I'm gonna do here just to make this a little bit more realistic for what we want, I'm gonna leave the metal up, turned all the way up, but I'm gonna turn the roughness Oppa's well, that way, I'll get some reflection, but just kind of a normal amount on this last one. I'm gonna cook new, and I'm gonna call this cylinder. I'll just call it Sill man, and we're going to pick something that's not metallic this time. And first I'm going to do object. Shake actually shades smooth so we can see some smooth faces on this. I'm gonna leave the metallic down and then I'm gonna go over here to roughness. I'm going to put that down as well. They didn't quite take Let's do that. So now you can see that this is also really shiny but shiny, different than a medal. It's more like paint job. So the paint is whatever color we picked, but it's different than a metal, so the medals can also have different colors as well being. If I wanted to make it something closer to gold or any other kind of metal. So that's really quick how you can create different material. So it's like it's like a paint or anything like bad things that don't have textures. You're gonna do metallic turn all the way down. If it's ah, metal of some kind, you're metallic is going to turn is gonna be turned all the way up, and you can control how shiny it is with this roughness. And just with those two things, you can really create many, many different materials. Now we're just scratching the surface here and no pun intended. Putting scratches and dirt and things like that are completely possible, but probably its own class in and of itself. 6. Rendering: Now, the next thing we're gonna talk about is the like. So this here is a light Sources appoint life. So I want you to see what that looks like. So I'm gonna add a plane, grab that plane and pull it down just a little bit. I'm gonna tab into edit mode s to scale it out so you can get a good idea what the shadows and how these are affecting the environment they're in. Now. I'm going to go to this next piece here, and this is render most this shows you what it looks like when it's actually going to be rendered cause we're Andy reusing the E V rendering engine. You can see that you don't see that reflection of the environments because we're not using an HDR. And the only thing it has to reflect is this grayish kind of background here. So one thing you can do, though, even if you don't have a HDR loaded, is you can go here going here under the world under the world, and then you can make this darker. So this will make the surrounding environment, doctor. So you're not getting any kind of weird graciousness now because this is dark and I want to add under the light acting just it shift a And instead of mesh here, I'm going to go to the light point source, Grab Z to pull it up, and now you can see that my environment has another. Right now I hit G and Shift Z cause I don't want it to move any higher, but I want to be able to move around their environment. So it is lots of different light sources the option for lightness here. It's just this little picture of the same thing that we're looking at and once selected and once elected, you can change the type of light that it is. Whether you are talking about a sun lamp Ah, spotlight or area lamp, they all have kind of different aspects to them. The last thing that we're going to talk about is the camera. So I'm gonna come out of this into the shaded view here to see what the camera sees. I'm gonna hit zero for camera view Now, in this case, the cameras a little bit too close, like I can't see everything. So I'm gonna go and a quick view here and under view. I'm gonna hit lock camera to view. So now when I zoom out, I can see everything that's in the camera so I can interact with the environment the same way that I interact with the camera or Kinect camera the same way I in right with the environment. So once I have this set up the way I like, I can go over here to the rendering mode using the E V engine, and this gives me an idea what it's gonna look like. I'm gonna g for grab ship disease. I want to move this around a little bit. So now if I hit f 12 I'll get Orender, right? And this was what very close to what we saw before. The other way you can render is to go here and hit. Render image. Now, if you want to save this, you do image save as you could put that anywhere on your computer, you want the last thing I think dealing with that is just the size. So we rendered at 1920 by 10. 80. This is already set to 100%. If it was that the 50% when we get 50% of these, but you can put this at whatever resolution you want 7. Lets Model a Car: now that you were all done learning all the things you need to do to get some really interesting and imaginative models complete, I want you to create your own model, using all the things that I've taught you in just these few short classes. What you're looking at right now is a quick little modeling I did of, ah, low Polly car. And that just means a model of a car that doesn't have a whole lot of burgesses. So feel free to follow along and do your own car, or you can surprise me and do something completely different. But it's been awesome having you hope to see you on the next class and please, I upload this so I can see and tell you a little bit about what I think of your car or whatever it is you decided to model you way. - You we owe way, way, way, - way , - way we owe way, uh, way