Ultimate Blender 2.8 Beginner Course (Ground Up) | Rogan Paul | Skillshare

Ultimate Blender 2.8 Beginner Course (Ground Up)

Rogan Paul, Professional Designer

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9 Lessons (4h 54m)
    • 1. Blender 2.8 Course Trailer

      1:22
    • 2. 01 Getting started with Blender 2

      17:53
    • 3. 02 - Properties panel, Scenes & layers

      39:09
    • 4. 03 - Snapping, origins, and modifiers

      37:32
    • 5. 04 - Making your own sculpting brush & 3D Models

      36:46
    • 6. 05 - Animations & Basic & Human character Rig

      35:36
    • 7. 06 -Force Field & Cloth Simulations & Rigidbodies

      38:05
    • 8. 07 - EEVEE, Reflections & Shadows & Cycles

      39:57
    • 9. 08-Grease Pencil & Draw mode & Sculpting

      47:34
180 students are watching this class

About This Class

This is a complete training dedicated to learning the Blender 2.8 software. Blender 2.8 and a free 3D software and opensource.

This complete training will allow beginners to discover the software entirely. Blender 2.7 users will find an opportunity to make the transition to the new version.

This training is divided into 16 chapters that will allow you to progressively and consistently learn. Most of the chapters are punctuated with exercises to review the features covered and implement them. The source files are included in the training and allow you to understand the progress of a project.

During the training we will produce in parallel a complete project to create a robot from modeling to animation, this project will allow you to apply the Blender functions learned in the course.

From discover ring the software, to polygonal modeling, object mode, edit mode, different rendering engines, scene lighting, realistic material creation, texturing, digital sculpture, animation, simulations, compositing, all these notions will be addressed in this training and will allow you to progress in the software.

Who this course is for:

  • Anyone interested by Blender and open source. From the freelance graphic designer to the company wants to integrate open source.

Exercise and Project Files are found in the project section ready to be downloaded. 

Transcripts

1. Blender 2.8 Course Trailer: Hi there. Newly released Splendor 2.8 brings back the fund in three D and two D animation was a huge new array of tools and work. Clothes that are easy to use will cover the brand new interface inside a blender and do a deep dive through the written from ground up, real time rendering engine. Even each chapter will go over topics like three D seen creation, modeling, sculpting, texture, creating animation rigs, greedy animation simulations, fire fluids and even to the animation. Plus, we'll go over how to render all of your artwork in a quick and easy way by utilizing either even or cycles. If you've used unity or unreal before the real time. Rendering inside a blender is gonna be very familiar if you've used three D studio Max Maya RZ brush is even a blender industry standard team act that you can use so you can quickly jump in. The versatility of this software is absolutely amazing. It allows you to create artwork for games, movies and animation all within a single program. And incredibly, it's free to use. And today we're gonna begin a brand new journey with creating art together. Are you excited? I am. Let's get our journey started 2. 01 Getting started with Blender 2: as this is a big new release, a blender. I want to make a few assumptions and set the ground rules for the rest of this course. First, I want to assume that you've never used Blender before, but that you are familiar with General three D concepts like the View Port Animation and a graph editor. Next, we're gonna be using the standard blender shortcuts. However, if you're familiar with Blender 2.7, you can switch to those. Or if you've used my A and Z brush in the past, you can switch to industry compatible. However, for our course words, you're going to be using blender. Next we're going to be using select With Left. The space bar will play and finally will be using the blender dark theme. However, you can always switch the blender light if it's easier on the eyes. But don't worry, it won't change any of the shortcuts. And finally, we're at the end of the blender 2.8 beta development cycle. So while everything has been locked in terms of features and you I a few small things may change here, for example, the naming of something, If anything, it will still be in the exact same place as we're gonna be going through in this course. If you have access to the exercise files for this course, you can download them to your desktop as I've done here. Once inside, you'll see a bunch of files that we're gonna use throughout the course, a texture that we made for a monkey that we're gonna rig a little bit later on a quick UV map, another textured monkey, an animated character that I created that you can play along with, and a video that will use in the vfx section for compositing and camera tracking. Okay, now let's jump into blender blenders. New interface takes advantage of a lot of modern graphics technology and trends, but at first it can be kind of overwhelming. So in this video, let's take a look at all the things you can do in it. Now, over here on the left. When you first start blender, you'll see a couple of things under new file. These are your workspaces, and for the purpose of this video, we're just gonna go to general. But don't worry. You can always hit control end and switch your workspace to another kind of workspace, like two D animation. Let's go back to general now. Here is your view port. This is where all of your three D will happen. So you have your camera. You can left click selected and move it around with G. And you can hit T to open up your tools panel and activate other cool tools like this rotation. Now, if you hit N over here on the right, you'll see your transform panel come up. So if I click on this cube, I can rotate it just by left click dragging any one of these values, and you can even see the dimensions of that object. And this is in metric. So those air meters underneath here you have tools that are dependent on which tool you actively have selected. And underneath that is your view options, which controls the camera that you are currently looking through, but not the scenes camera that's over here. And it has its own options in the Properties panel. We'll get to that in a second. The cool thing about this, though, is you can switch your focal length to get a really wide view or really narrow view. And if something ever goes to a value don't want, you can always right click and go to reset to default value. Sometimes the default value might be really high. So in this case, I'm just going to type in 50 for millimeters. And there we go now above the view port, our whole bunch of workspaces, and you can click on them really quick and you'll see that each one activates a different kind of layout for your scene. For example, under sculpting, you have the sculpting mode, and under animation you can see we have the dope sheet down here and a camera view and your three D view. You can even create your own custom workspaces, which will talk about a little bit later. On the right is your outline. Er, you're out. Liner is your list of all the objects in the scenes. In this case we see we have a camera, a cube and the like. That's over there. Above it is a thing called a view layer and a scene layer. Now these air pretty deep topics, but overall, a scene layer is everything in your seen as a few layer is which one of these kinds of things air on or off lets you customize those. Next. At the bottom is your timeline, which we can bring up over here. And you can move your play head or actually playthings later on. You can even set animation by hitting auto key frame. And finally, on the right is your properties panel. You're gonna spend a lot of time here as well as each and every object has its own kind of properties. For example, when I clicked on this cube, you can see all of this extra data appeared. But when I click on this light, some options disappear because this light doesn't have as many options to manipulate and same with the camera. You'll see that once I clicked, camera camera icon appeared here. I can click on that and check out all of my camera properties. Four. Go up to my object and I can see all of my object properties. And here I can control the same things that I could up in my transforms. And there you go. You can see how each one of these windows reacts with the other one. Okay, Now I know that was a lot to take in. So let's dive in a little bit deeper into the view port. As we begin our journey in Blender 2.8, I want to make a couple of assumptions. First, you're not familiar with the previous version of blender at all, but you are in general familiar with three D concepts like animation. Three view ports, etcetera. Next, even if you are familiar with Blender, we're going to be using the blender shortcuts, including in 2.8 and not the original 2.791 If you're familiar with Maya or Z Brush, you could use the industry compatible shortcuts. But mind you, this whole course will be using the default blender 2.8 shortcuts. Next, we're gonna be selecting everything with the left mouse button. I know a lot of folks like the right mouse button, but again, to keep everything default and fresh, we're gonna start with left. Next. I want to set the space bar to play, as that's what it is for default. Although tools and search are equally really valuable buttons that said it too. We're gonna use play an F three for searching. Next, you can pick whichever theme you want Blunder dark or blender light. But I'm gonna stick to dark because it's kind of nice on the ice. Now, at the time of recording, this course were at feature and you I lock. However, some small things may change, like tool tip pop ups or the name of things. In general, everything is gonna be in the same spot, and all the tools and shortcuts will be the same. Now, one last thing. If you come up to edit preferences, bring this over here. I recommend you go to system and enable Cuda if you have the option to. If you have a 10 80 or similar graphics card and a pretty decency for you, you can check both of these boxes because you'll get a lot of performance boost for some folks. You'll be able to use open CEO now. If you don't see any compatible hardware support here or if you're using a Mac, don't worry. You, too, can also have a great blender 2.8 experience. Now that we have a good handle on how to move around the view port, let's take a look at some of the more advanced Vieux port options and overlays. The first thing right off the bat is object visibility. This lets you turn off objects that you don't otherwise will not look at, so you can focus on other things. Of course, if I turn off a mashie won't see it, and I can left, click and just drag all the way down and just keep going till I turn off everything that I don't want. And in this case, all I have left is a camera thinking. Turn this back on and turn on visibility. It could also turn off select ability. So in this case, I won't even be able to select the mesh. But I can everything else come back here, Turn that on and let's keep on going. Vieux Port gizmos. When you select an object, you can turn on the default gizmos that lets you rotate scale and move just by grabbing one of these sections. However, after a while, you'll get pretty good at G R and s nonetheless view. Four gizmos are really quite handy. He also have the navigate gizmo at the top right here, which you can use to change views really quickly, and you have active tools and active Odjick gizmos that will let you know what you have selected. I like leaving these on and occasionally turning these on if I need to see what the axis of the object is. You can also turn on and off gizmos for the cameras, lights and other objects. Next, our view. Port overlays. These are two dimensional overlays over your three D objects. The most common is the grid floor, and from here you can even scale the grid and change it to whatever you want. There's a three D cursor text info, updates, annotations and all the other extra stuff that goes on top of an object. You can also left, click, drag and hold to turn these on and off really quickly can even turn on wire frame. So if I x delete this shift A at a monkey, come back up here. You can see different wire frame options. They let you preview your object a little bit better and even turn on face orientation just to make sure that everything is pointing in the correct direction. Next is X ray mode. This lets you see behind the object. It's really handy when you hit Z and Goto wire frame. That way you can see the full three D object. However, you can always turn off X ray. In that way, you get a really nice clean wire frame to look at. It's up to you, and it's a really handy tool. Over here are the shading mode options. You can access this by holding down Z and seeing this pie menu to pick whichever one you want by default, it's on solid. I'll turn off X ray mood really quick and Explorer solid by hitting this little drop down button. There's a lot of options here. Madcap is like a quick material. They can put on objects. It won't render, but it will give you a really nice idea of what you're looking at. Studio is studio lighting. You can click here and select any different kind of like that you'd like, and you can even click this little button and move the lights again. This won't affect rendering. It's just for preview and working inside the View port underneath. Here are a whole bunch of options, and it's really nice to demonstrate it with a few more objects, so hit, shifty and just make a few more monkeys. Now come back up here, click this drop down and you can click on random. And this is really handy because it will randomly assign a color to each and every single object you create. Of course, if you've done any Vertex painting, you have textures or material. You can also click on those and have those colors appear. But when you're constructing a three D seen having random on will help you see each and every individual object. For now, I'll switch back to object moon. There's also different backgrounds that you can pick, or you can just specify whichever one you want. Color wise again. This is all for the View port. It doesn't render that way. And finally, a whole bunch of extra options that let you modify how an object looks inside of the three D view port. Okay, let's move on to the next one, which is look deaf mode. Look deaf lets you quickly preview lights. If these monkeys had any materials on them or colors or textures, you could use this option to preview there lighting in different case scenarios like in the morning and darkness or other places like even indoors. You can also rotate the light and play some with the background. And just like in solid mode, none of this will render. It's just for previewing it inside the view port. Finally, there's rendered mode. That's this button over here. And if you click down this drop down, there's nothing, because at this point, you're rendering. If you switch your render engine two cycles, you'll see a little pause button. Well, that will do is when I kick up the View port to say 200 samples. I can click on Pause and hopefully I caught it. Pause it right before it renders all the full samples. This is really handy. If you have, for example, really big scenes, a lot of monkeys. I can hit a NPAs and then posit. So that way I'm not spending a whole bunch of CPU cycles rendering. However, you'll note that now that I've posit, it's kind of baked it to my scene. So I'll have the A NPAs it to restart that render and then posit again. And then you get this cool thing. And although it seems a little weird. It's actually really handy when you're troubleshooting renders when you want to pause everything changing color and something and then a deposit and see how it effects. Using all these tools together in concert like overlays and shading methods will make you a blender pro. The three D cursor is one of blenders. Best innovations. It allows you to snap to something instantly, create brand new pivot points and so much more. Let me show you to move the three d crecer you're gonna wanna hold down shift and right click. Does he hold down shift and right click? You'll note that the three D cursor pops around the scene once I get it to a point of it. Like I can hit shift s and snap my selection to my three d cursor. I can hit shift, see to send it to three curses origin and to view everything in the scene and then hit shift s selection a cursor when I shift right, click out into space and then hit shift A. Any new object I make like a monkey will be created right where the three d cursor is that . Plus, I can now click on this cube shift s cursor too active. Select my monkey shift s selection to cursor and snap my monkey right back to the origin point of this cube. So now let me move this monkey out. Select both the cube and the monkey shift right click out here into space, and then I can either hit period on my keyboard or and can come up here and change my pivot point The three d cursor. This pivot point menu is the same as hitting period on your keyboard. Just lets you quickly select whichever one you want. So now with the three D cursor out here, I can hit our and Z in orbit around the three d cursor or are our and rotate around. However, when I click on my monkey Aiken such my Fitbit point back to active element and rotate just around him like normal. So let's go ahead and do that. Three cursor RC, select the monkey period on the keyboard. Active element. Look at that. Pretty cool. Okay, now I'm gonna undo that control. See, I'm gonna select this cube hit tab. Go to edit mode. Pick these two. Vergis is by left. Click selecting G Z. Move this up, gonna hit period and go to active Element. I'm gonna tab out of edit mode and I'm gonna click on this three d cursor icon over here on the left and then hit n tool. Now, unlike this shift, right, click three D cursor with this tool active, it'll happen anytime I left. Click If I switch my orientation to geometry anytime I click on a geometric face, my three d cursor will get oriented along that face. You can see how the angle changes, depending if I click this side or that or maybe part of the monkey or part of his head. The cool thing about this is when I create a new object like Shift A cube. I can come downwards is add Cube and a line 23 d cursor. And on top of that, I can also change my transform orientation two cursor so that let's pretend that I had my three d cursor right here. Go back to selection, select my monkey shift s selection to cursor. Now when I hit G Z or X, or why it follows the orientation of where that three d cursor is that finally, if I click on view, I can see my three D cursor has an orientation of 47 degrees so I can hit control. C. Come back up here to this item and right under rotation. I can control V and paste that orientation right there. And so now my monkey is looking down just like the three D cursor. Finally, you can come up to overlays and turn off their three D cursor if you want to. However, I highly recommend that you added to your workflow as it's an incredibly versatile tool and will help you a ton in your three d seen creation. 3. 02 - Properties panel, Scenes & layers : Ah, lot of the times when you're working in three D, you want to go under the hood and look at all the specific parts of your seen an object. That is where the properties panel comes in. So let's take a look at it. It's this thing over here on the right, and if you just put your mouse in the middle, you see it changes to this cursor, and you can left click drag and get some more real estate. Or, if you really want to, you can hit control space bar and get a ton of real estate by maximizing the view. It's a controlled space bar again, just so we can contain it here. Now let's start from the top. The very first thing you're gonna see is your tools and workspace sittings. If you hit N go to tools over here, you know that these options mimic what's over here. Click on move, for example. You'll note that the orientations are the same, so it's just another way of finding where everything's at. And the cool thing is that you also have work space recon set the default mode, her workspace. So when you make your custom work space. You can pick whichever default mode you wanted to jump into, like, sculpt or post mode. Okay, now, let's keep going down and over here, you'll see you're seeing Tab. You can pick your render engine, set your samples, play with any of the settings like simplify or adding Ambien, inclusion and note that these will be different. Depending on which render engine you have selected for our purposes. We'll just leave it on TV. Now. Let's keep going down and you see dimensions, and that's where you can specify the resolution. The aspect ratio. Sometimes it's actually really cool. By the way, you can specify, for example, 150% if you wanna over, render something or maybe 50% and that will just automatically scale your resolution values next. Specify how many frames long this scene is. You can enable negative frames in the preferences of highly recommend. You don't always gets nasty, but a cool thing you can do is set step. So if I were to set, for example, a step of 10 that means it will render every 10th frame. It's really handy if you want a preview, your render before doing a very, very long render really handy to just skip through a few frame rate, of course, always standard, and most importantly, where is it getting out? Put it to now. Typically, you want to render out a image sequence, but if you want to, you can render out of video by picking ffm peg going to RGB and then specifying what encoding you want. Most of the time, people want MPEG four with an H 264 encoding. So that is where your outputs are. So let's just set this back to PNG. Next on the list is seen. This is really handy that specifies each layer. If you remember, that's this option. Appear recon Pick which objects and collections you have available, and you can say what this layer is doing. Keep on going is another scene tab. This specifies which camera to render from along with units and a whole bunch of other cool things. Here is world now. This is where you specify where the world lighting is coming from, and you'll note that nothing changes. But if I were to go into rendered mode, you'll see everything has this world color to it And if you really want to, you can click this button and go to environment texture. And this is where you would specify an HDR. I image that you may have shot outside or if you want, so you can just go to sky texture and just get a nice free easy to use sky by left, click and dragging. Go back to solid moan and keep going down. Now you might remember this from before. This is our object properties so you can specify locations, rotation scales and specify what parents it is. Plus, they have a whole bunch of other options. Next arm modifiers, particles, physics constraints, object data. Now this is really handy. You can add Vertex groups shape keys. Vertex Group is like a weight paint map in a shape keys like a blend shape. It lets you animate and change the actual shape by moving Vergis. Ease around. And, of course, you can specify UV maps here. And finally, our last two options and properties are the material that this thing is currently using. So, for example, I could change this to a color, and you won't see anything until you're in look deaf mode or in render mode. Let's just change it to something green. There you go. And, of course, what brushes you want to use if you're using a tool that supports it, like in sculpting boat and there you have it, an overview of the properties panel. Trust me, you want to get really, really familiar with this whole area because you're gonna be in it for the rest of your blender career as it allows you to do so much to your scene. Now let's move on to scenes, layers and collections. Let's talk a little bit about blenders hierarchy. There's three things that you want to know. First, there's this concept of a thing called a scene. A scene is a collection of literally everything inside of blender, everything the render settings, the objects that are in there to collections, a few layers, all of it. That is a scene you could click on here and make a brand new scene. You'll note that it's blank because, well, there's no objects in it, so you'll have to say and a monkey to it Now. The cool thing about a scene is that you can have multiple scenes like the first shot or the second shot, and you can be really efficient by hitting control L and linking the object from one scene to another. So, for example, let's say you had an animation that took place in a house. You could have one scene with one set of render settings and de feel and everything you could have a whole. Another scene takes place in a different area of the house, with its own render settings, lights, etcetera. But you could share the same objects like we just did with this Suzanne monkey. And if you were to change this monkey, so hit tab edit mode just said G mover t c tab out of that. Let's go back to this other scene. You can see that this monkey shares that thing because it's linked between both of them and I can hit G. Move the monkey over here and you can see that the monkey has moved over there as well. So that's one of the benefits of scenes. Let's you have a whole brand new scene but share the objects between them now. View layers are really handy because they let you specify different render settings per collection. So if I were to open this up a little bit, I could call this layer and I'm gonna hit, see to make a new collection. I'm gonna drag the monkey into it. Open up these filters and I'll turn on a handful of these. This one is render ability. This one over here is the ability for an object to be a holdout. That is, You can see how there's a little spear here. That means that this object will act like a mask when it gets rendered. And this one over here is indirect light. That means that this thing is on Lee visible in directly not directly so really handy. But anyways, I could go ahead. And for this collection, I could say, you know what? I want this to be a mask, just this monkey. But then I could make a brand new layer, and we can call this layer to and in this case I don't want this to be a mask. I want the original cube camera Exeter to be a mask. And maybe I don't want the camera in light to be involved in there so I can hit, see again like a new collection and bring the camera and light down there so that way now have a mask of the cube. And in my other layer, I have a mask of just Suzanne. So it's really nifty and layers that you customize those collections as a whole group. Now let's talk a little bit about collections. Frankly, you can think of them as groups. For example. I can right click on this selection and just select everything that's in here or come over here and select all of these objects. And maybe I want to come over here and right click and de select those so collections act a lot like groups. Another cool thing I can do is called instance ing. So that's where I take this collection and shift click. Drag it in here with my left mouse button and then let it go. And there you go. I've created a instance that is, whatever I do to this monkey over here will affect that monkey over there because this is an instance, or like a a copy of that original collection, and this little cross hair represents origin, so you can see that my monkey is not exactly an origin, but the closer I get to origin by hitting G and moving it there, you can see the closer the monkey gets the origin or that little cross here, which, by the way, if you really want to, you can click over here and change their cross here into anything that you want. Okay, so now let's come back up to collections. Other cool things you can do is just turn off the visibility of that collection. Or you can hit shift one shift to show three. Just depending on the order of these shift, one will turn on our cube. Shifty will turn on our Suzanne, and she three will turn on everything else, including this instance, which is pretty nifty, used in tandem with each other. Scenes, layers and collections let you have an enormous amount of versatility When building your three D animation side of blender, think of collections as groups think of layers literally as render layers or the way of organizing collections, whether they're a mask or not, and then think of a scene as all encompassing everything that you need inside a blender, all under one button and the cool thing about it is that you can have different render settings per seen, even though you have the same objects. So that way you have to save the file as multiple names get one file and have a whole bunch of scenes within it way more efficient. So in some scenes, layers and collections are the hierarchy. And really the backbone of how Blender operates we touched on workspace is a little bit in the beginning, when we talked about hitting control n and being able to select any one of these workspaces . So here control and and I go to sculpting mode, you can see that I'm in a really different mode inside a blender. I can still use my middle mouse and move around, but when I left click and drag, you can see that I can sculpt. And then when a kid control and again and go toe animation, you can see again just by left, click and moving around. I can draw and I can't even move around. But my whole scene it's white. So what's going on here? Well, these are workspaces. Workspaces are just a collection of organizing the windows that you see inside a blender and the different kind of modes or tools that are available when immediately switched to that. Let's take a look at some of the work spaces that are up here. Included by default. First is layout this where you'll spend a lot of time inside a blender. Next is modeling. You can see it switches us to edit mode. That's tab. If you were keeping along and you can go ahead and just lose stuff around so you're in edit mode and you can see also your included, all of these awesome tools over here on the left will touch on those much later. Another cool thing about being in different modes within a workspace is context menu. So when you right click, you'll see that there is a Vertex context menu. I switched edge or face. You'll see that it changes to face context, menu or edge context menu. It's really, really handy. Move on a sculpting, and over here you can see this from earlier were in sculpting mode. Now this thing only has a couple of little dots, so I can't really sculpt too much detail in it. But my point is is you can see appear, we have switched to sculpt mode, and because of that, you can also see we have a whole bunch of new tools in. If I right click, you can see that instead of having a context menu of options, I have the ability to change my brush, size and strength. Move on to UV editing, and this is what you think it is. The ability to edit the U. V's over here so we can go ahead and click stuff and move that you've ease around, of course, won't be able to really see any big change over here. But the point is, is you are in UV edit mode. Next, if I come over texture paint in this case, it's gonna be pink because there is no texture attached to this cube. But if there was, he would be able to go ahead and draw on here. So let's just do that real quick. Let's just go ahead and make a new one, zoom out a little bit and just draw little. Now with this cube over here being pink, you can go to material come down over here where it's his base color. Click on that go to image texture. Click this little drop down. You'll see this thing called Untitled, and we're gonna wanna half out of object mode back into texture paint mode. There you go. Now you can see instead of pink. We have the ability to draw on a texture. The cool thing about it so I can drop in two D, or it can draw in three D. How crazy is that? Be careful, because depending on the power of your system, this may go really quick. Or this may go really slow. The very least, you can always use the solid mode and drop, but it will lack a little bit just again, depending on the complexity of the object in the power of your system. All right, moving on is shading mode, which allows you to specify what the material is here. As you can see from before we had our material settings over here, you can see this is the image. This is the material, or shader, that it's using principle be SDF, and then it outputs to the object that is creating this effect, and down here you can see what the reflections are happening. Note that there are no shadows in this mode. This is just for look development to get a good idea of how your textures and shading will work inside of a rendered view. Next is animation mode, which is awesome, cause that lets you seeing the dope sheet down here, a camera view and, of course, be able to manipulate your object over here and really nice mode. Next is rendering, which should you go ahead and render an object. It will pop up here. You can close out of this window really quick and you'll see that that rendered object is now viewable. Just click on untitled and go to render result. There you go. You can go ahead and manipulate this and add any transforms. See what's going on with scopes, etcetera. So Rendered mode is pretty cool to use. Compositing lets you composite all of this stuff together. You're gonna want to click on use nodes and then from here you can hit, shift a and add ah whole bunch of nodes to do cool things like blurring, etcetera. And then finally, for those of you really brave among us scripting, you can use python and go ahead and write your own scripts to run a side of blender because it is completely a script Herbal having full access to it with python Super duper cool. So that's a brief overview of all of the works bases. Now, let's take a look at how to make your own workspace. One of the cool things you can do in Blender is customized the entire view to be in your own way of working. We call that making a custom workspace. Let me show you first. You want to click this little plus button up here, it's gonna ask you, Do you want to base it off of a previous work space or just duplicate currents? Let's just do that. And then I'm gonna double click here and I'm gonna call it my workspace. Now, you see this little rounded off corner I'm gonna left click and drag it right about here. I'm gonna do that again to this bottom. Right corner left, click drag up. Here we go. I'm gonna click here to choose my editor type and I want to go to Shader Editor. I'm gonna hit end to get more real estate and zoom in by holding down control in middle mousing in I'm gonna come over here and I'm gonna switch to image editor. Here we go. And finally, I'm gonna go to my work space options over here. Cricket down. And I always want to go to edit mode. Although I could pick any other mode if I really wanted to, every time we switched to this workspace edit mode will appear now is to get more advanced . You can even see, can add and filter out or on different add ons. So it's really, really awesome thing to customize the way you work up here. I want to turn off my gizmos because I really want maximum real estate and I'm gonna cook on this little button. I want to turn off cameras as well. That way I can just focus on the object. So no camera, no light. Okay, now let's switch to another workspace. Let's go toe like you ve editing or sculpting something like that and then click back on my workspace and you can see that my workspace and all my settings and editor types have all been saved, including showing what modem in in this case edit mode. Now, another cool thing conduce do is add a thing called quick favorites. So let's go into edit mode beheading tab. And let's say that you always tend to subdivide something and you can right click on it and always add a shortcut. But maybe you don't want to do that. You just want to be ableto add it, but not always bind it to key. So if you right click on it and go toe, add the quick favorites, then inside of, say, edit mode here I can hit Q and Subdivide comes up. The cool thing is that I can do that toe anything, including things that do have shortcuts. So, for example, let's say I always triangulate faces right click to quick favorites now hay que triangulate faces and then subdivide and then triangulate faces and then subdivide again pretty cool. By using a combination of both customized workspaces and quick favorites, you can make blender work in any way that you wanted to. There's a lot going on under the hood inside a blender, and in this video I'm gonna show you how to manipulate any of the preferences who can really customize blender toe how you want it to be. Now the first thing is the startup file. So for Goto file default, you'll see I can always load the factory settings or I can save a customized startup file. Now here's the thing. You're quick favorites. If I go to Tab que you can see my subdividing, triangulate or still there, they'll transfer no matter what blend amusing, but my work spaces are dependent per blend file. So if I had a custom work space when we just make one really quick here and just to make sure that it's a custom workspace, we'll just move this over here and switch this to a random editor like out liner. But I want to do to save that workspaces. Goto file Defaults save startup file So now when I start a brand new blender file, my workspace is already saved and their to use and including for go to Tab que my quick favorites. Now let's come up to edit preferences and look at some of the cool preferences that you can manipulate. The 1st 1 right off the bat is resolution. Scale under interface lets you do quite a bit so we can change that to whatever we want. I'll just leave it at one for right now. Course you can turn on enough tool tips and other interesting things. You can come to themes and customize the theme to whatever we want. Blunder. Light blender dark or, if you're really ambitious, you can go ahead and specify color for each and every single user interface option. Interview Port. You have more items that you can manipulate and play with, including the ability to limit the size of Texas. If say, you don't have a lot of video ram on your video card, you can go to lights and specify your own. Issue your eyes under editing. You can specify, for example, what things get duplicated when you hit control or shifty on their animation. You can change how you set key frames, whether it's visual or Onley. Insert what you need. You can even have warnings for auto key frame. If you leave it on by mistake or and this is dangerous, you can even turn on negative frames. Add ons are like plug ins for blender that are distributed by the Blender foundation and developers around the blender world. You can turn them on or off and blender ships off a whole bunch of them already by default installed. But you're gonna want to hit a check box to make sure you turn them on and off. Input for those of you without a numb pad in a highly recommend that have one for blender because it makes it a lot faster to use. But if you don't or if you're on the laptop, you can emulate a numb pad. So that way, the numbers one through zero on your keyboard emulate the 12345 etcetera on your numb pad. So, for example, if I were to come over here, I can now hit one and go to my front. Feel my numb pad or one on my keyboard. I can hit five and five to switch between the two. It's really handy if you're on the laptop, I'll turn that off for now. Under navigation, you can play with your navigation settings. Key map. Now this is really vital, especially if you come from other through software or previous blender versions. You can pick using old blender shortcuts, or if you're used to my A and Z brush, you can go to industry compatible and that will use the Maya and Z brush. Hockey's really handy over here. You have your famous left, click or right click. Select depending on which one you want to use and what you want your space bar to do. For example, you could come over here and hit space bar. You can see every single command inside a blender, and you can just type it in like smooth. It can come back to my edit preferences and switch that to anything else that I wanted to be. But by default, I'll leave it to play and even get some really cool options like extra shading pie menus. I really like this because if I come back to my few here, I can hit Z and I get even more options like Toggle X ray. Let's go back to our preferences and go to system. Over here. I can specify my cycles rendering device. So if I have a really beefy graphics card like a G Force GTX 10 80 I can turn that on and that'll give me way more power and the ability to use cycles a lot faster come to save and load this is going to save your life right here. Auto safe auto Say will happen every two minutes. That's actually a good amount, but you can always come up to say versions and have a few extra versions to save and finally file pass for those. If you're using Windows, it'll default to your Windows fonts directory for any Fonsi Have your auto saves and other files will be saved in this directory, and you can even specify where your rendered caches and outputs will go. And the cool thing is, is all of those gets saved automatically unless he clicked this little hamburger icon and turn off auto save. In that case, I had to actually literally click save preferences. But I'm just going to leave it on. And if I ever need a reset, I can just go to reset to defaults. And there you have it, the ability to customize blender and change it into any kind of thing that you wanted to be to make your workflow a lot easier to create a scene inside a blender, you're gonna need add some objects now. It's actually quite simple. To do that. You can come up here and go toe ad and click on any kind of object you want to add or you can hit shift a in at an object That way. Now I'm actually gonna delete this cubes I'm gonna hit delete on the keyboard. I'm gonna hit shift a and I'm gonna pick something interesting like Aiko Spear. Now, without clicking or doing anything else, look to the bottom left. You'll see this little dialog box that lets you adjust what you just added so I can change my subdivisions. Be careful not to make that too high. Making change The radius and I can even change the location and its initial orientation and generate u V s. You can actually do this with almost anything. I'm gonna hit X to delete that and shift a Let's just go ahead. In Anna Tourists, you can see you have even more options than I can play with. This little options box is really handy. But the moment I click on something else disappears. So just be aware that it Onley exists the moment you actually create that object. All right, let's get rid of this tourist gonna hit shift A and I can add a busier curve. Now those air really cool hit tab. I can go ahead and adjust the tangents just by hitting G and clicking on the points that is left clicking on those points. And if I want to, you can hit a to select everything right click and go to subdivide and then g to move this new thing that just subdivided or I can undo that controls E There we go right back to this point, right click again, subdivide and remember that little options. They can go here and change how many subdivisions I want to add. That's pretty nifty. So there you go. That's how you can use a busier curve so we can just delete that hitting delete on the keyboard. You have the ability to add nerve surfaces, those air. Pretty fun to use many balls. Well, many balls. A really interesting. If you shift a and add a couple of metal balls, just move them around and you start to get this. Well, there's really no way to explain it. It kind of looks like Plato kind of looks like amid a ball you can even shifty and duplicate and scale and rotate thes, and it starts to create this weird kind of cool object. And if you want to actually use this and no longer have attached to a metal ball, you can always hit F three on your keyboard and typing. Convert to and convert that to a mesh, and you'll actually have an actual three D mesh to use so many balls. They're interesting, just a little weird. So in a shift, click all of these and hit delete on my keyboard. Let's see what else we can add. Gonna add some text. Texas Really fun. You can hit tab on your keyboard, throws the into edit mode backspace and can type in anything you want, like hello or hi and it hit tab right on here and now you have a text object that you can manipulate. Move around or do whatever you want with. Let's delete that shift. A. The next thing is grease pencil. This is important in two D animation, so we'll talk about that a little bit later. Armatures are really handy. Armature is effectively a rig. If you're familiar of other three D software, there three modes to an armature. There's the object itself she lets you manipulate the entire thing itself. And then there's edit mode, which lets you add parents and hierarchy can hit G and move this over and hit E to add another bone here that's attached. And then there's pose mode, which, actually it's more for animation and gives you a whole other set of tools. If I right click, you can see all of these awesome animation tools that will be talking about later on in the course. Let's go to object mode and hit next to delete that shift. A. We have lattices really useful for modifying your objects. Empties are just simple empties that they contain no information. They're just really handy to use toe show off anything really in your scene. Another interesting thing you can do is shift a and add an image either to your background or actually floating in your three D scene. So if you have an image handy, you can just click on this, go to reference and then find an image and then load that it will appear right here in your scene. Pretty nifty lights are really handy because, of course you can't have a scene in three D without any sort of light, will cover a lot of these Maurin death later, along with like probes like Probes, on the other hand, are specifically for evey, and they allow you to capture light and bake it to your objects. Super useful cameras are, of course, very useful. And don't forget you can always come over here and change which camera you want to use. Cool thing about a camera is that you'll see this little border here. You can click on that and move it and let me show you what that's doing. It's changing the focal length, so that's really handy. It's hit X and delete that speakers air for audio force fields interact with your objects that have physics or particles going on. And, of course, finally collection Instance, which we talked a little bit about earlier, are literally adding instances to your scene of collections that already exist. And there you have it. That is how you add objects to your scene so you can populate it and create something really awesome. Now we've talked a little bit about edit mode in the past, and in this video I want to go even deeper So with our Cube selected, let's zoom in and hit tab to go into edit mode and you'll see right away. There's all of these awesome tools that appear, a couple of sub menus and even more menus up here. So let's just take a look at some of my favorites first going to hit a twice the de select everything. There we go. And right away, if I hit 12 or three on my keyboard, you can see I switch from vert asi to edge to face mode. So that's really handy. When I'm inverted C mode, I can right click and I get a context menu that is dedicated, just averted. Sees get also hit Control V. And there's some different options in here but very similar ones. If I go to to the edge and then I right click, I can see I have all of these extra options, and the same thing is true. Also in face mode when I hit three right click have a bunch of cool options here, and many of these will mirror what you see up in here and a couple over here on the left. Now the cool thing is, if you leave your mouse over here, you'll see the shortcut appear. So let's just go to my favorite tool first. Extrude You can do that by hitting e. There you go. Connects. Treat something If remember this little dialog box on the bottom left that's lets you adjust the tool. But remember, once you click away, the tool goes away itself. But just come to the next one. This one is Bevel. The shortcut for that is controlled be So let's go ahead and control be that you can see we have way more options. You do some really cool stuff in here. Let's just hide this here. The next one is Luke. Cut. Use this a lot. The shortcut is control are or you can just click on the tool. But let me click here really quick and use the shortcut. Control are actually just gonna hit Enter Cook over here and I could specify the amount of loop cuts now rather than hitting enter, I can also hit escape and that'll position the loop cut exactly down the middle. And then, of course, I can do this to get nice. Perfect down the middle cuts now When you're working on scenes like this, you probably want to be able to select edges really quickly. So if EJ mode on, I can go ahead and Ault click on an edge to get that entire loop or can hold down shift. To get that whole loop, you can hit a twice a de select or I can hold out control Ault left, Click Select and pick a whole ring. If I hold down, shift control out, select left click. There you go. I can now have multiple rings, and then it can hit a twice to de select everything or hell. Downshift and get any kind of combination of rings and loops selected. Now if I go over to face mode, I can pick on some of these faces and hit E and bring these out. Of course, I have some options here, but let's just take a look at what happens when I right click here. You can see a whole bunch of extra options appear like subdivide. I can click on subdivide and do some kind of fun stuff here that might wreck the geometry. If I smooth it out, let's go ahead and do that come back up here and go to object mode and hit control 12 or three on your keyboard. And what that's gonna do is it's gonna set a modifier that sub divides your mesh. Come back here to edit mode. You can see that. You know, it is kind of ruining that mess. You can see there's a lot of weird edging happening there, right? So hit tab, I can see what the offender is. It's all of these edge loops. So let's just get rid of them without destroying the geometry. One hit a twice to de select everything. Hold on, Ault. And then shift in. Alton, Let's just left click and select all of these offending edges. You can see they're all selected you now. They are offending because they're not connected to anything. You see, they just kind of terminate right in here, and then I'm gonna hit X dissolve edges. Now, this is super duper cool, dissolving, actually Leave the face intact or the virtue, Caesar, whatever intact and just get rid of the things up until a point that it doesn't wreck anything. So you can see here there are no overseas or no edges because it doesn't need any. We just dissolve them. That's almost as if you had gone through each and every one of these and merge them to all of these little points by hand. And that's crazy. So don't do that. Just use dissolve. If you're really brave, you can hit a twice and go to limited dissolve, in which blender will attempt to do that the entire mesh, or at least everything you have selected. But as you can see here, it sometimes mess things up. Like, for example, down over here, you've lost that nice hard edging that we had. Well, believe it or not, Blender also has an option that you can use to get this edge really hard without having adds so many actual cuts and tow. Activate that. What I want to do is right. Click and go to edge Crease. A short cut is shift E. Nicole Thing about this is with a subdivision modifier on. I can just drag this and rather than manually adding, ah, holding edge, that is a little edge right at the bottom. I can just crease it and gives me that really nice edge. Let's just do that again. Shift E Look at that. No, If I hit Tab, I get this weird shape. But, hey, it looks pretty cool. All right. Now let's finish off this object with one more thing. Let's just go to faces. A to select everything. Face shade, smooth tab out of that and look at that. We have a nice, smooth, weird thing. No idea what it is, but it's pretty cool. And we made it in blender off a couple of clicks, and there you have it. We've now gone ahead and made a quick object in blender and explored some of the awesome things that you can do inside of edit mode. Now we've talked about adding an object inside a blender. But did you know you can edit multiple objects? Let's pretend you had a few things in the scene. So let's grab this cube and shifty and added, Over here and shift right click. Put my three D cursor here, zoom in a little shift. A. Lets us add a monkey. Move him up so we have some real estate and now shift left. Click all of these and hit Tab to go into edit mode and you'll see that I'm editing all three at once, even though tab at edit mode, they're all separate objects with their own name and everything over here. I can edit them by using the awesomeness of multi object editing inside a blender. The cool thing is, is I can, for example, control F come over here and shade smooth or I can right click subdivide. They can come down to my subdivide and push that up here, and maybe I can go ahead, go into wire frame mode a twice a de select, and I can hit C and just grab a handful of urgencies of here. Doesn't matter which ones you grab honestly, it enter and I can hit control plus or control minus to select more or less. And if I'm really crazy, let's go back into solid mode. I can hit E enter and then alter s to fatten. You can see what's happening here. I am fattening in adjusting all of these objects simply by using edit mode on all of these . While they're all selected at once. Now, one more thing that's really handy about this is ability to snap between everything, so I'm gonna click on this little snap tool. Come over here, go to Vertex. And then I'm gonna grab of urgency over here. Make sure in your Verdecia mode if you're not at a twice if you need a de select stuff, grab avert a C G and move it over to wherever I want to move it to. Here we go. Then I can see wire frame. Select all of these it enter Z solid and she's snapped to the monkey. Then I can tap out of this and you can see all of these are completely separate objects. But they're all snapped exactly where I want him to be snapped and, more importantly, ableto edit them all at once. Multi object editing is really, really powerful inside a blender highly recommend you added to your workflow. 4. 03 - Snapping, origins, and modifiers: Now let's say you've gotten yourself into a bind. It's gonna edit mode, all the Verdecia selected. Let's just move the Vergis E somewhere. You scale them a little bit, maybe even rotate them. Maybe you've moved stuff around and then tap out of them. And as you can see, my cube is offset from the origin. But if I want to rotate our our move, it's using this little orange dot that origin point that I've been well used to from the beginning. The problem is, is that I want to rotate it around the center of this thing. How would I do that? There's actually a few options that you can do. The first is to shift right click and move your three D cursor somewhere, anywhere, really? Where you'd like it. Rotate around. That is, where do you like the object to rotate around? So say, I put the three cursory here. Shit, Frank, click. Then I can come up to here and go to three d cursor. That's my pivot point. You can access that, but hitting the period on your keyboard, you'll see this pie menu so three D cursor and I'm gonna rotate it and you can see that it's rotating about that point right there. That's pretty cool. The downside is that I really, really want to rotate it around the center. And also the other issue is that this pivot point is still out here in the middle of nowhere. So another thing you can do is just change the origin. So to do that, you're gonna want to hit F three on your keyboard and then type in sets, origin it enter, and you can pick on any one of these. I'm gonna pick origin to center Mass via the volume. And look at that. My origin is right in the middle. So if a hit and to come up to transforms, I can see that now My origin is here. If I want to, I can hit all TGI and that will reset my origin right to the middle. I can also hit alter our and that will reset my rotations. But of course, I had done these rotations in edit mode, and unfortunately I can't reset those. But at the very least, I can reset any of the rotations that I've done to the object itself. So, for example, is just X Delete that shift See to center the scene and my three d cursor shift A Let's add ourselves a brand new cube Gede move are to rotate Oh, look at that. I'm still under three d cursor. So let's set that to median point. Or you could also set it to active element. When I rotate it and come up here, I can see you have all these crazy rotations alter our alter G that will clear my locations rotations, and put it back to center. Now, one more thing. What if you wanted to go ahead and apply that location rotation? Let's say that you had it over here and you wanted the origin come back over here to the center. In that case, you want to hit control a or if you're searching for it, apply, apply, Right. So I'm just gonna hit control a apply and I'm gonna apply all transforms and well, that will do is effectively make the origin at 000 and keep my object in the place that it was out here Well, in the middle of nowhere, let's pretend a hit tab and I really, really want to snap the next object I make to this Vergis e right here. So what I can do is when I can hit shift s, it's gonna bring up a pie menu, and I want to go cursor too active. The move, my cursor right to the active point. Time to get out of edit mode, shift A and I can add anything. So let's add a monkey, and you can see the origin point of that monkey appears right there. Right where I had it snapped before. And that is how you use snapping origin and transforms inside a blender. Trust me, adding these to your workflow were really simplify and clean up the way that you work. Making a great model inside of blenders. One thing, but modifying it and adding a whole bunch of cool stuff on top of it is a totally separate but equally awesome process. Now, to take full advantage of this, we should actually model something really fast. So with this cube, I'm gonna hit tab Control are control our I'm gonna hit three selectees faces control being to inset them. Grab this one down here in the middle. Hit s a little bit bigger e. Bring it down a little bit and then finally hit control are again. And then on a scale this in a little bit, control our and leave that there and let's just go down to face. Let's just grab these down here and scale them in, and we have now a rudimentary pot. All right, so it tab and then hit control. Three. You get this kind of weird shape happening. Let's go ahead and go to modifiers, and you can see the first modifier is Subdivision. So what that's doing is it's changing. What the view port seize control 12 or three on my modifiers. Now modifiers. When you click on here are broken up into multiple categories. The first is modify. Well, that's going to do is modify the actual data of your object that is the U. V s. Or, if you have normalcy, want to transfer etcetera. The modify category modifies object data. It's a little complex for this video. We're gonna move on to the next few like generate, generate will take your mesh or object and generate more geometry or less geometry. And we can play without here in a little bit, but generate effectively works on your geometry. Deform, however, takes your current geometry and without adding any more or less deforms it and reshapes it into other things. And then finally, simulate simulate talks to the physics tab inside a blender in the particle tab inside of blender. And while you can't necessarily modify particles or physics, what it's doing is it's giving those physics properties of place in the modifier stack. Now this is really important. For example, let's say, had a simulation of particles flying around and you had collision going on. So whenever the particles hit this object, they would collide with it. Well, if I put that collision here, the particles are gonna collide with the smooth surface. However, if I move this up, the particles would then collide not with a smooth surface, but instead, with this block here, harder surface, right? So it's like order of operations. So that's why the simulation Tavis here, even though it has no options, is it's just to give physics a place in the modifier stack. So it's click here and we can kill physics for now. All right, now, let's go to add modifier, let's play with a few of my favorites, like Array Array does exactly what you think it raised. An object in lets you quickly duplicate them. And because it's an array for his tam, they can go toe one. I can move one of these defects. All of them. Check that out, Can hit Tab and get out of that. And another cool thing, Aiken Dio is click on copy. Close this here. This is my second array. Now that's been copied. I can hit zero here. I can type in 1.2 over here, and look at that. I have a whole bunch of pots to smash if I really wanted to. So array is really handy. Next is bullying. Bowling is really handy. If you have another objects, let's just go ahead and hit. Shift A and malicious ad. My favorite, the monkey. Move him over here. Scale him up a little bit moveable. Here, click on here. I'm gonna click my little eye dropper. Click on the monkey. Now I'm gonna grab this monkey and I'm gonna turn off its visibility really fast in the outline. Er and I could see here that my monkey is cutting into my pots and turn on that monkey really fast and move him down a little bit. It will slow down your system a little bit, so be careful about that. Turn off the monkey and you can see that Belene is effectively cutting into the pots. There's a whole bunch of auctions with bowling that you can play with. Next is decimated. Now this may slow your system down to be a little bit careful, but decimate. It's how you take an object and reduce the polygons on it. Now again, as I mentioned earlier, it may slow your system down. You can see I brought the faces down quite dramatically, and in the process of that, it does kind of mess with the general topology. That is the way the faces and edges and Vergis is are laid out, but it does reduce them by a big, big amount. In this case, about 13% or so. There's another algorithm called un subdivide that you can play with. It's pretty good, especially if you have models made with quads or plainer. That's also really handy. That looks for flat ish surface is given a certain angle you don't like decimate quite a bit, especially after sculpting. If you have something really flat, solidify is a way to make flat things like text thicker. Once you start rigging, you're gonna be using the armature modifier quite a bit. And another cool one. Just play with is simple to form. Now, just by enabling it, you get some really weird stuff here, and you could just play around with the angles and well, simply to form your object. It's pretty cool. And then, on top of that, you can hit, shift a and say, Go to empty. Just move this empty anywhere. Click back on our pots. Click this little eyedropper click here, and wherever I move this a simple deform happens and note, because simple deform is at the bottom of the stack, you can see that the bowling that the monkey is doing is happening before it. Thus it translates with it. So watch what happens if I put the Belene below it. Now the bowling is below it, and it only cuts the bottom part. That's because the monkey is down here at the bottom. So that's why the modifier stack is really important because it's an order of operations. Depending on where you have the modifiers in the stack could drastically change the way your object looks. Now. I recommend you go ahead and play with a lot of these modifiers because you're gonna be using a lot of them throughout your blender. Journey constraints allow you to build relationships inside of blender between objects quickly and break them just as easily. Let me show you first. We need to separate objects so it's hit. Shift A and add a monkey. Good old Suzanne. There we go. Next, let's go ahead and click on this cube. Click on this little tab and let's just go to a child of That's my favorite constraint. That's the one that used for, well, everything. Because sometimes I don't want a parent an actual object, parented to the other thing. I just want to constrain it to the other thing because then I can break. Let me show you. So if a child constraint on click this little eyedropper and then click on Suzanne now it's going to snap over there. But that's OK. You can click on set in verse, and this Cuba snaps back to its original spot now Whenever I move this, the cube ooze along with it. And the cool thing about this is that let's say I was animating this so licious Hit I Location Imitation scale. Move my play head here, left click dragging it. Come over here. It's I look, exhortation scale. Let's just say it right in the middle. I wanted to let this cube stand perfectly still. What I can do is I can hit I right here location, rotation scale. And then on the next key frame, hit I visual location, rotation scale and then hit this little X button. You're gonna want to key that right here, too. So let's come over here and let's make sure we had toe have a key frame right here. So I just by hovering over it 01 make sure you had click that little X button and bam! That little thing keeps moving, even though the Cube no longer follows it, even though there's a child of constraint connected to the two. So that is one of most powerful constraints that you will use throughout all of your blender work. Okay, let's look at some more of them. Someone hit control N general scarred and let's hit shift A. Let's add a plane access and just move it up. Click on this cube. Come down here to constraint and let's add a track to same thing. Let's click this little eyedropper Click on the empty and there you go. This is now aiming wherever that empty is works a lot better with a monkey, so delete the cube shift A at a monkey track. Two. Here we go. Now the monkey is facing it the whole time. They're gonna tell me you know what? It's facing it the wrong way. That's okay. You can have this little access shift. So let me open this for here. You can switch it from the default. Why? To negative y. And now the monkey will correctly face this empty. So Track two is another constraint that you will use quite a bit. Now let's click on this monkey and let's look at one more constraint that I like a lot. It's called copy transforms, and it's a little unique. So first, let's go ahead and shift a at a cube. Bring this down a little bit, G and Z, here we go, and I'm gonna hit tab. I'm gonna select Onley thes top vergis ease. Then I'm gonna go to object Data. That's this little one right here for ticks. Group a sign and then let's come to this monkey tab out of edit mode. Click on the monkey, Go to constraints and constraint. Copy transforms click eye dropper. Click on the Cube is gonna snap down there and then go to group. Now the monkey is sitting on top of this face, and whenever I click on this face, I can go to edit mode right up here. Make sure that those Vergis Cesaire selected and I can move well, you can see what's going on. I can hit G and just move around and my monkey is dancing, hiding in a box. How cool is that? I can rotate it and get a little bit of an angle there. Course I can scale it. It will not change its scale because it's on Lee capturing the rotation and location based on where the normal of this faces or in this case, where the Vertex Group is. This is a really handy little constraint that I actually used quite a bit, especially in rigging and that one is called Coffee transforms now. Like all things in Blender, there are a bunch of constraints, and they all do amazing stuff. So I recommend you get in there and play a little bit with them, because trust me, you will add a ton to your workflow. Now this video all about looking under the hood and objects data. In fact, that's what we're gonna talk about object data. And there's a whole bunch of things that objects are made up of. In the case of a mash, we're gonna focus on a couple of key things that make up the object data. First is the Vertex groups Shakey's UV maps in geometry data. So let's start with a Vertex group when a hit tab in a twice to de select and let's just select a few Vergis is Doesn't matter what shift left Click Select Click Plus got a sign? A. Twice the de select. When you hit select, it will re select those vergis ease. That's pretty cool. You could also come up to edit mode and go toe weight paint, and you can see that wherever it's red. That's where I have assigned something river. It's blue Means of urgency is not assigned to that group, so if you make a new group, you'll see nothingness assigned to it. And the cool thing is, as I can go ahead and paint a color in between those like a green or a red or orange, and that will give it a certain weight to that. Vertex group will talk a little bit about this more in depth. But the point is, is that Vertex groups correspond to what Vergis E is attached to. What Vertex group, And it's really helpful for everything from particle physics, armatures, etcetera. So let's get out of that and go to edit mode. The next thing is shaped keys. So first you need to hit tab, make a basis shape key and then make another one. And let's just move these really quick, make sure you've made to shape keys by the way you want to move. The Vergis is on the 2nd 1 tab out of that, and he can move this value up and down in a gesture. Shape keys. Be careful. Some modifiers really mess of shape keys, so you might have to be careful when you add your shape. He or when you add your modifier, the next one is using maps you can actually have Multiple UV maps, which is a concept will explore a lot later in the course. But this is where you could select in, adjust your UV maps and finally, Yamashita data. And really, all I want to say about this is if you ever import an object from another program, say, using the F B Acts or LBJ format. Sometimes those edges won't be right. They won't smooth correctly or they'll just act weird. Your first thing to do is to come to object data, geometry, data and clear any of the split. Normal data in this case is Cuba's main inside a blender, so there's no custom normal data, but you would see a little X, and you could click on it and remove it. And trust me, it'll save you a ton of headaches trying to clean up the messes. Just check normal split data. Now, I know this is a brief overview of the object data inside of Blender, but being familiar with what's going on in here will help you troubleshoot and solve a lot of problems in the future. As we wrap up our section on creating scenes inside a blender, I want to talk about one thing that we sometimes forget, and that's just being clean. Whenever you're working inside a blender, you're gonna create things like animation or images or really anything, and you're gonna try to remove it. But it's still gonna just linger in the background. Let me show you. For example, shows hit I and let's just set a key frame. Doesn't matter what you use. Move this play head. Let's move it over here. I little here down. Doesn't matter really. What? We're not really worried what it's exactly gonna be. Now click on this little timeline button and go to dope sheet, go to action editor and then hit X. You'll note the animation goes away because we've removed it. But where that that animation data actually go? Did we actually delete it when we hit the X? Well, if we go to dope sheet, we don't see it. But if you come up to the outline er you can goto orphan data, you can see that the action that is our animation is right here. Now here's the thing. All of this data can clutter up your scene and make saving take a lot longer, so it's often good to just go ahead and purge it. Just do that really fast. Purge and look at that. We've gone ahead and removed all of our orphan data. Sometimes you can't purge it because it has an F on it, and that stands for fake user. That is, even though the brush darken is not attached to an object that is nothing is talking to it . Nothing's connected to it. You still don't want to delete it because using that brush for sculpting and painting is actually really useful. So you protect it by having a fake user. So if I come back to my action editor, they make a brand new action. In this case, we'll see a shield, hit that shield and then hit X. You can see that that F is now. They're that f corresponds to the shield. That means fake user. That means every time I save and reopen the file, this action will not get deleted, and it will not get purged until turn off that user. It's no longer attached to anything now can hit, purge and it'll go away and there you have it. Now you know how to purge data. Trust me, it's really useful when you bring in heavy images or actions or other objects, and they just bogged down your scene. You have no idea why, even though you've deleted them from your file, learning how to purge data will save you a ton of headaches and make you work a lot faster . Sculpting and blender is incredibly fun to dio. Now let's just jump in real quick by hitting control end and going to sculpting. This will enable sculpting mode, and it'll give us a nice spear to use and play with. Now remember, this is just the sculpting work space. You can always switch to sculpt mode whenever you're in edit mode or object, and you are in safe the layout workspace and also you might have noticed that all of your workspaces disappeared. But not really. If you just hit this plus button, you can go to general layout and always come back to here. Now let's switch over to sculpting mode and take a look at what we have here. First you have a whole new array of tools that we're gonna be exploring throughout the chapter. And on top of that, if you come over here to the right and click this little button, that's just dragged us over to get some more real estate, you have a whole bunch of new options that let you manipulate your drawing. Sculpt brush now to sculpt. All you literally have to do is hold down, left, click and push down. If you have a way, come tablet or similar device. Whenever you put pressure, Blender will acknowledge that as long as this little button is checked on, I'm just gonna leave it on for strength you can see is I pushed down in my wake. I'm tablet. I get more strength out of it. Of course, I can always push this up a little bit and then just gently go with my way. Come tablet and you can see what's happening there, or it can go really hard. You can see that it's really pushing it out Now. You also know that there is symmetry involved that's down over here. There's X symmetry, but really you can turn them all on if you really want to. In that way, you can get kind of like a cool Mario Cooper shell thing going on here. See that? Or maybe it kind of looks like a cartoony Darth Maul or something. But anyways, sculpting in symmetry is really handy, especially if you're sculpting something like a face where you can do one side and it'll mirror to the other side perfectly. Now, as your sculpting, you might notice that there's a little bit of ridge ing a little bit of edging. Kind like polygons, if you will. Well, actually, you're right. If you click down here and turn on wire frame, you can see the actual wire frame of the mesh and Howard forming it. However, if you want more detail, you can come to didn't Toppo. It's this little check box. Open it up and go to smooth shading. And now let's set this 12 to say six. You can see that it's a lot finer. Don't see that edging that you do over here. It's a lot nicer in a sea, of course, a little bit of it, but it's not as bad. If you really want to go crazy, you can go down to three or less. And so that way, when you do some sculpting, it gets really nice and smooth. However, come back up to my wire frame overlay. You can compare the amount of geometry that say our original sculpt did versus increasing the detail size, and you can see how really tightly gets over here. Didn't oppose really awesome independent on your computer. You probably want to leave it on because he can really sculpt a lot of amazing stuff. And later on in this chapter, we'll talk about reducing the size of it. But maintaining the detail, I'm gonna leave it on for right now and turn off this wire frame overlay. Now let's talk about a couple more things, namely the size of your brush. You hold down F. You could make it really fine, really big. Let's go really fine. Here we go and you'll note that we're always pushing everything out like we're adding on top. But we're here in our till settings. You can see that we can also subtract. Let's hold down f, get a nice big area and then subtract a bunch. Whoa, Be careful. Depending on your system, you probably just made a Brazilian polygons. Let's just check that out really quick. Yep, that's gonna be really heavy. So if you notice that sculpting goes a little slower for you, you may want to set this din Toppo a little bit higher because you're generating a ton of polygons really, really quickly. From there you have it a nice little overview of the tools for sculpting and blender. In the next video, we'll talk about some of the brushes that you can use the sculpt, even cooler designs. Now that we have the basics of sculpting down, let's dive a little bit deeper into the brushes that are included. And remember if they hit control N and go to sculpting mode. If you're already not in sculpting mode and over here on the left, you're gonna see a whole bunch of really interesting tools broken up into a few groups. Blues generally add or bring the volume out mawr towards use of the that you balloon up in item or draw on an item. Redd's kind of cut things down or maybe fill in gaps, but they definitely remove volume yellows, air really interesting. They allow you to pull and really drag different parts of your mash. Oh, it's almost like you're grabbing them with your two fingers and pinching it and pulling it out. And then, finally, at the bottom, you'll see a couple of really interesting ones whites and blacks, those air mass, and we'll talk about that in another video. Let's go up to the draw tool and come over here to the right under tools. And let's pull this open a little bit to get some more in real estate. Of course, you can just left, click, hold, drag and draw and get some really cool stuff happening here. Now I know that the blue tools in general ad, but that doesn't mean you can't subtract with them. If you just click on subtract, you'll be ableto cut out a piece here. All right, just leave it on ad for default. The next tool is called Clay. If it come over here, you can see a kind of, well, kind of muddies the whole mesh a little bit, and it kind of feels like clay or a little bit like a play doh. So it's a nice thing that you can put on top of your sculpts if you really want to get that clay ish look next is clay strips, so that's taking the same concept but doing it in a strip form. And remember, if it's coming out really edged like that, you can turn on din Toppo, dynamic topology and then smooth shading, and then kick this down to say six hit, enter and try that clay strip again and look a little bit better If it's still not looking great, you can even go down toe one or three battle at a ton of geometry. So be careful. I'm gonna leave it offer right now. Okay? On the left, I'm gonna move to the next tool, which is called Layer. You kind of think of this is like making a plateau. See, that looks like a nice little plateau. Next is inflate. Now for this whole down f and drag your cursor out and then click. Sometimes it'll snap like this. If you're on the wakame tablet, it'll let you do it twice. But once you get a nice big radius here or you can change it over here on the right, just go ahead and draw over stuff and you can see that it's inflating, turning it into like a balloon ish kind of shape. And naturally, he can also deflates. If you just hold down and move, you can get some really interesting forms. I'm gonna actually undo that one, Control. See, that way I don't get those weird edges happening, and I'm gonna make my radius smaller just by holding down f All right, The next tool is blob, sort of similar to draw just a little bit more bulbous after that is crease, and this is where you can get really interesting. Crease Really tight kind of edges can imagine, say, like clothing or, say the edge of a pillow and get that nice crease shape Going moving on down is smooth. This is another tool. You want to hold down F and then just really drag over and you can see it's smooth everything out. Look at that. Nice. After that, it's flattening contrast, a little bit similar to our previous stool that made this plateau. It just flattens things out. But be careful. It can really flatten things more so than you wanted to. Now this one's interesting Phil and deepen. You're gonna want to find a crevice here really won't do much over here. But wherever you have crevices, like in this little valley that we made before, it will try to fill that crevice out. It's actually really handy if you had made a mistake earlier, but you can't undo it. You could use this filling deepen tool to really fill this all out and then in combination with, say, smooth, smooth out that edge. There you go. Moving on down the line is scrape and peak. It's literally like taking a scrape. It works better as a smaller brush. You're just scraping things by. See that? And finally, pinch and magnify for this section on this case, actually want to kick it up a bunch, make it just a little bit bigger with F, and let's find some edges, some soft edges at that. Here we go. We had this edge right here, just gonna hard in it up or pinch, and you can see how it pinches those edges. Now, if you're tired of coming over here to hit radius or you don't like hitting F, remember, you can always right click to change a radius, and you can even change the strength. Now Let's take a look at some of these tools. This one is grab. Like I said earlier, it's almost like you're pinching and pulling things. And look at that. You're just literally grabbing geometry and pulling it wherever you want it to go right under that snake hook in this Well, this is like grab, but it lets you snake things around. But be careful because it will wreck geometry. If you don't have enough, you can try a little bit of dynamic topology to help out with that. And you don't want to move too quickly because if you move too quick, you'll just get nothing. And within tough ALOF you get a little bit, but you can see you start to get a little bit of tearing. See that tearing isn't great. That's why dynamic topology is really handy with us, especially if you move slower. Have you moved too slow? You get something Well, yet, whatever that is, so leave that alone. For now, thumb is similar to the other two, especially grab literally, like grabbing your thumb and just feminine, just pushing it in a little bit and you just get that nice little pushing you actually really gonna work it. And honestly, it's really good for fingernails. Were that kind a whole bunch of weird fingernail shapes happening here now? Okay, next is nudge. Now it's a little hard to see nudge without wire frame on. So let's turn it on. Turn off dynamic topology and let's come over here. It's a little bit more uniform asked. Let's make this a little bit bigger, and I'm just gonna grab a nudge and start moving in a circle. You can see what's happening. We're getting this like, hurricane like shape, and that's what nudge lets you do. You literally or just nudge in particles similar to thumb but just allows for a nice, wider array, whereas Thumb just kind of forces it in one direction. And that's it. And finally, the last two will take a look at is rotate. Now this is a bit like nudge. Onley can get really crazy really fast, like it was like a tornado going through my mesh rotate. Let's actually make it a little bit smaller. Rotate is like a faster nudge. You just got to be really careful, though May 1 actually pulled back some of that strength because it can go crazy really fast . It's almost like there's, ah, thing underneath the mesh and it looks really awesome. But just be a little bit careful, because if you kick it up too high or if you're radius is too high, you know, getting some weird tearing effects. So there you go. Get a nice little rotate and we can come up to her overlay turn off wire frame and take a look at it. All right, so there you have it. You are now a sculpting master. You know all the tools, and it's up to you to create an amazing sculpt inside a blender. Sometimes when you're sculpting and blender, you want to focus on one tiny specific part. How do you do that? With the cunning use of a mask? Let me show you, go ahead and just paint some stuff. Doesn't matter what Just get in there and do some stuff. Here you go. Looks interesting. Weird, cool stuff over here. Now, at the bottom. Last click on mask on the top right here. Let's come to tool settings and bring this out for some real estate. I'm gonna sit the strength of toe one right click and sent my radius down a little bit and then just paint a mask. It doesn't matter what Just gonna paint some interesting shapes here, see what we can get. Like a triangle e shape. Gonna fill this in because symmetries on it's going to Sema tries that over there. Okay, Now come to draw. Let's make a big brush, right click. Let's make the strength a little bit higher and just start moving. You can see that it is obeying where the mask is by not raising that area so you can make some really interesting forms, and then when you're done with it, you can click on mask tracked, get rid of it. I was recommend a bigger brush. That way you can get rid of it really quickly. Remember cemeteries on. So it is removing stuff, and now that I'm done with it, I can go ahead and say, Put it down 2.3. Let's just try that. I'm gonna hit after make my radius smaller, and then I'm gonna click on add and I'm gonna paint really hard in the middle and just really soft along the sides. Now it's come back to our draw tool. Kick up their strength a little bit and just start painting. You can see what's happening here. You're getting a bit of a great Asian of strength from the outer edge to the inner edge because it's obeying that mask. It's basically just feathering it in. However, at a certain point, it'll just drop off to nothing. So painting with a light mask it's sort of useful, but it is still sometimes dangerous, so I always highly recommend painting with a mask of one and then just smoothing out anything. If you really want to get that nice gradation to do that, click on mask, subtract, turn up the strength to one. Go ahead and erase all of this, and then go to the smooth tool right here F to make a big brush and just smooth it out. And that's a little bit more of an elegant solution than trying to paint a mask with a gradation to it. And there you have it. You have now mastered the art of blender masking and are thus one step closer to being a blender sculpting master 5. 04 - Making your own sculpting brush & 3D Models: pact of all of these great tools for sculpting what could make it even better? Why making your own brush? Of course. So, in this video, I'm gonna show you how to make your own brush or if you have a stamp already made Hannah imported. Now make sure you're in skull plea mode. If not, you can always hit control in and go to sculpting. You want to come up to this top right corner, drag it over here, get some good real estate switch this to image editor, Switch this to paint. Come down here to this texture. Let's open it up and click new. You'll see nothing. It will be black if you already have a black and white image than you can click on Open and Reagan in here. Or if you have an Alfa, make sure that that is check boxed Alfa is on. If you don't have one, then just go ahead and click on new. Can I give you some quick settings? The time fans I'm going to say my brush. I'm going to make this to case I'm gonna hit the right arrow. Key star too, right? Arrow key. Shift the number eight to get that star and then type in to hit enter that will multiply each one by two and give you a to K texture. You don't need to make it a 32 bit float that's crazy. And really for only high def stuff and everything else can just stay the same. Click on OK, now over here, come up to your tool settings. Texture. It should already be loaded. If not, you can just search for it in here and finally click on this little shield button that'll protect it. Next time you close and open plunder up again or you purge orphan data because he might switch between a few textures and you want to save each one of them for painting. Now, over here in this paint window, come up to this little drop down and look for my brush. Zoom out Control Middle Mouse, just like in regular blender, can hit T for tools and for a bunch of options. If you need some more real estate, you can drag this over here, shift middle mouse dragon over some. Maybe zoom in a little bit, too, if you want. Now, you only need really black and white. So I'm gonna just leave this on white. That looks good. I'm gonna kick up the strength to one. You can hold down f to change your brush size or you can right click change your radius right here, strength and, of course, the color. And finally, if you gotta fall off, bring this up. Over here, you'll see some preset curves that you can play with. I pick this square and then hold down. F you see that? My brush has a hard edge. It escape. Let's pick this one over here. Hold on. F now has a more natural kind of fall off. You can pick whichever one of these suits your fancy. I'll go with this one. All right, So now just draw something. If you have a tablet that has pressure sensitivity and to push down a little bit to get it working, that's this button right here. Make sure that it's on. If you don't have a tablet or you're using a mouse, that's okay. You can still left, click and drag and play along. Just get like a cool little smiley face. You know what? She's go full open smile. Here big old open mouth. Why not? Okay, now, the next step is to come over here into sculpt mode. Hold down F and you'll see a little happy face. My pop off to the side here. So there you go. Just line it up, f get it right about where you want it. You might be asking yourself why is it falling off to the edge here? You see, that kind of falls off to the edges. Well, this sculpting brush also has a fall off. You can see right here you can switch it to just full. Then when I hold down, if you can see it's nice and strong, you can right click to get a lot of strength in there. Hand finally, just just plant the guy. I'm just gonna click a bunch. I'm gonna come over here and stamp it again. And of course, if you come over to the right, you can turn on dynamic Topology said this is six. And then smooth shading. And then you can stamp. And when you stand, you get even more granularity out of it. But in general, you've now been able to stamp a cool brush right onto your three D model. Sometimes when you're stamping, you might notice a little bit of weird warbling and weird edging That's happening. That's a bug that's being worked on. And you can always turn off dynamic topology and just add more topology to the spear, cause it doesn't really happen when you just do it this way. Congratulations. You have now created the creepiest looking spear, and you've learned how to make a custom brush for your sculpting. Here's the cool thing about sculpting. You can really generate some amazing high resolution, beautiful stuff really, really fast. Here's the bad part about sculpting you can generate really high resolution stuff that is not going to deformed nicely is going to be really hard to animate with if you actually want to move these things. So in this video I'm gonna show you how to reduce the geometry so that you can use your three D models in animation. Now all I'm doing is just sculpting some stuff. That's it. You can be whatever you want. It really doesn't matter. Just add some cool stuff, and when you feel done and ready to go, then come up to this little plus button, go to General Goto layout. Now, this is gonna bring you into layout mode. It's an old, familiar place. You might still be in sculpting mode, So if you are, come up here and go to object mode. You're gonna see this mesh. Now, if you hit Tab, you can already see how dense this geometry ISS. It is fairly well constructed, but it's just really dense. So what we're gonna want to do is hit shifty to duplicate it, and then I m and let's make a new collection and we'll call it Low Rez and then hit Enter. Now, if you hit one on your keyboard, you'll have the high res version. If you hit two on the keyboard, see on the right and the outline. Er, we now have the low rez version, although we haven't actually lowered its resolution yet. To do that, come down here to modifiers, click on modifier and look for decimate Now decimate this super cool and depending on what kind of mess you have, there's a whole bunch of options to use. If I come up here, I can goto wire frame and I can see that I have some really good quads. So let's try un subdivide first and just honestly hit the button until you get something that you like. And, you know, maybe some things look good, But then other things don't look so great like down here, you gonna on subdivide again and you can see some things look great over here. But they don't look so good over there, so un subdivide isn't too bad. You just need to know that there's gonna be some tradeoffs depending on which mode you pick and in my require a little bit of hand cleaning, like down here at the bottom. The next mode is plainer. And what it's gonna try to do is say, Are there any edges that are plainer that is within five degrees of each other? And so if there are, I'm gonna actually go ahead and collapse those edges and furnaces to make less geometry. You can see what it's doing up here, and you can say that this Vergis E is about five degrees off of this vergis e. So everything between it is just gonna get collapsed away. It's not a bad mode. And of course you could up the amount of angle limit and get some really interesting results. But it sometimes doesn't look too good. Let's go ahead and actually turn off overlay. I mean, it's not bad. It could work for, like, a good background profit. Another thing you can dio is collapse. Now there's nothing inherently bad about collapsing because it will try to maintain your meshes, general topology. But the downside is that you can see it really, really. Rex, where all the quads are in, adds a whole bunch of triangles. If you turn off overlay, you can actually look at it, and it looks fairly decent. In fact, if you come over here and turn off these options, you can kind of compare a and B and see what they look like. But at the end of the day, you, as the artists, need to pick which mode that you want to use. Is it going to be collapse un subdivide or plainer? And the cool thing about all of these modes is that they each have a bunch of extra options on top of it. Like for example, I can even pick a Vertex group Onley, decimate and leave the others behind so I recommend you get in there and play with all of these options and see which one looks best for the sculpt that you're making. So that way you can go from a really high resolution mesh here to a really low resolution mesh. We can use it in animation over here. Now there's one more thing we need to cover before we're done with sculpting, and that is bacon. A normal map. In the previous video, we talked about re meshing to get a low resolution mesh. But what if, in your sculpt, you wanted to save some of these really fine little details? There's no really easy way to do that when you're re meshing, and you could theoretically paint a texture by hand, but that would be crazy. Is there a simpler way to capture all of this tiny little detail in your mesh, especially after you have re messed it and decimated it? Why, yes, yes, there is. So go ahead and just sculpt a bunch of stuff. That's all I'm doing right now. Actually, I've made like a Harry diver mask kind of guy. We'll just go with that right anyways, what you want to do is right. Click set that radius a little lower than usual, like 18 or something, and just get a whole bunch of tiny little detail. That's all we really want. Now come of here. Click the plus button. Go to general. Good layout. You may still be in sculpting mode, so make sure your object mode click and this little dude zoom into him. Let's hit shift D Enter em. New collection will call it Low Rez. Well hit to honor keyboard. Not are numb pad, but to honor keyboard. That way the first collection goes away Still here it's just not visible. Then let's pull this open a little bit. Let's come over to modifier and let's decimate this really fast. You know what? It doesn't matter how you decimate it, so I'm just going to go toe wire frame and I'm just gonna drag this all the way down. I kind of want to get, like, the worst, the worst possible decimation, right? Okay, maybe not the worse, but I really want to get rid of a lot of detail. I want to keep it nice and simple, So maybe I'll do 0.75 trying to get rid of any of those weird little harsh points like that one. Let's try. We know eight. All right, that's not so bad. Come up here and turn off my wire frame overlay. You can see that there's some hint of it. You know what? Let's actually go a little deeper. Let's go 0.5 Let's just get rid of all of that really tough detail that was in there. Well, I want to make it a smooth as we can. Okay, there we go. So now 0.5 And I want to go ahead in a pliant that way When it hit Tab, I have this mesh just already like this. There's any weird points like this. You can always just click on it and just move it over a little bit. There you go. Here's another one you can hit. G G moves it along the edge, cleans it up a little bit. That's better. Now make sure you're in edit mode again. Tab it a you smart on ramp and you want to give your unwraps a little bit of region, so just hit these little arrows, then click OK temp out of this. Let's bring this over here and want to click on this, and then we're gonna go to Image Editor. We're gonna do this one more time. Grab that bond. Left edge, bringing about halfway up. Click on it again. Shader editor and hit end to get a bunch Real estate anti. Why not? Okay, so now what you've done is you've decimated the smash. It's pretty low resolution. And if I hit one of my keyboard, I can see I have the higher resolution version hanging out in this collection. Okay, so now how do we get this detail onto this mesh? First, you're gonna want to make a new image. So up here, make sure you're an image editor mode. Click on new. We're gonna call this bake. I always recommend making high resolution bakes. Click here of your arrow Key to the right star four. Let's do that again, Star. For this time, please click on 32 bit float because we need all the bits we can get. Click on. OK, it will be a big image and you can zoom out for a little bit. There you go. Now down here in this shader Editor zoom in, hold down control middle mouse, come in and out. Shift A. We're gonna look for texture, image, texture. Bring that over here. You can hit G where you can left, click and drag it. Click this little drop down and click on bake. Come back up to render settings. Switch this to cycles. We're almost done. Click on bake. OK, so now what are we doing here? Well, cycles is going to bake the high resolution geometry to the low resolution one. But in order to do that, you have to have an image selected over here, and you actually have to make an image, and it's has to be 32 bit. Let's come over here and click this little eyeball to turn on our high resolution version. Click on it and then shift Click on your quads spear. You want to make sure that the low Resolution one is selected the last, and you can always tell because it's a little bit brighter. Now, over here in the bake settings, this is where the magic is gonna happen. Click on big type. Go to normal, click down this selected to active. Turn it on. I always like to set it to about one meter, and that's it. Just go ahead and hit. Bake now, depending on the speed of your computer. If you look down here, you can see that the texture bake has begun Might take a little bit of time, so just let it run. It is a big, big image. All right. Now we have a nice bacon that has occurred. Remember, you're gonna want to hit this little shield button to protect this image in case for any reason, you're purging orphan data and you lose all of your baked stuff. All right, It's nice and high resolution. So let's come down here into the shader editor. You can see it says bake. So click on it. Bake. Move this over here. Hit shift a search and type in normal map. Not normal, but normal math had entered color to color. Left click dragging that and then normal to normal right down here. Now go ahead and hit two on your keyboard, or you can just turn off the collection of here. Let's scooch all of this over. Bunch can always middle mouse drag this What? We're here to get some real estate. You can turn off the gizmos for right now. And finally, let's click on Look Deaf mode, which remember it's going to use E V to generate the look of everything but not generate any shadow information. It is a little light, though, so we can go toe base color over here and drop it a little bit. Or we can click this drop down arrow, click on this and pick any one of the options that are available to you. Doesn't matter which just pick one kind of like this Sun City. Once I'll pick that. And anyways, if you look, you can see that all of that detail is in there. I can also rotate this around to get some different views breaking pick on and no one. Let's try, try this one. That one looks pretty cool so you can see that there's all of this detail here that wasn't there before I hit one of my keyboard. I can see here is the high resolution sculpt I can tell because this collection is on, and then if it hit two of my keyboard, I can see that Hey, this one also has all of that high resolution looking stuff, even though if you look down here at the bottom right, it is literally way less geometry. If I go upto one about 24,000 faces for him to my keyboard. I am at 2400 faces so that, ladies and gentlemen, is how you bake a high resolution detail from high to low inside a blender. As any sculptor will tell you, this is the biggest thing that they always do because he's sculpted all this amazing detail and you don't want to lose it. And Blender, even though there's a few steps involved, makes the process really painless. And best of all, it saves all of this amazing detail. Now, before we leave, I want you to come up here and you'll note that there's a little image in a star. Click on that and go to save and save it within your project folder, because even though you're protecting it, you never know in case you need to refer to it back again later. All right, now you know how to sculpt high resolution geometry and still save the detail. So get in there and go crazy because he can always bake it down. As we move down the pipeline, we come to the next step, which is UV editing. That is, we're gonna take our three d mesh and unwrap ID into a two D image so that we can paint textures on it. Think of the planet Earth. You've seen two D images of Earth right at the top, where you see north Canada and Greenland. It gets all kind of stretchy. But then the rest of the planet looks fairly normal. And then it happens again in an article way at the bottom. Well, that's what we need to do here. We need to take the three venous of the planet and unwrap it into a two D map. So to do that, let's go ahead and hit X and delete our cube hit shift. A mesh monkey come down over here and turnout generate u V s because that would be cheating . Come up to you ve editing he and zoom in. You'll see that there's nothing over here. That's because he has no U. V s. If you look on the right, there is, in fact, nothing under UV maps. Okay, so now just with your mouse over the three D view. Hit you unwrap and you'll get this. Oh boy. Now what's happening here is that Blender is taking this full, continuous mash and unwrapping it across this two D image. It's a little junkie, but that's okay. We can clean it up and try different modes of unwrapping. In fact, if you hit you, you'll see there's a lot of different ways to unwrap. Let's take a look at a couple smart UV project is probably one of the best ones out there. You'll come up to this new window and you want to set a little bit of a margin between every one of these. In fact, if you look at this, you'll see that there's this big Island and then these two little islands. That's what island margin is, and then area wait. Make sure that everything is equal. With all this set, I'm gonna hit, okay? And now we're gonna get this kind of mesh that doesn't look too bad, and we could probably work really well with that. In fact, if you hit you, you'll see that there's even Mawr different kinds of projections out there. So let's try another one like project from View. Now, what this will do is take my current camera and project the U. V s Straight on. If you don't see this little options box, you can always just click on it and it'll appear and you can set it to camera. Bounds clipped, abound, scale bounds. That way you can get the maximum out of real estate in your UV. In fact, project from view is really, really handy. You want to use it sometimes. If, for example, you have something in the background and you want to project an image or something, you've drawn on it and you know no one's ever gonna look around to the side of it. I recommend you get in here and play with a lot of these different options and see what interesting unwraps that you can come up with. In a previous video, we looked at how to unwrap three D model space off the typical projections that blender gives you. However, what have you had a really complex or interesting shape, and those projections weren't working for you. Well, let me introduce you to the concept of using the seam. Now let's hit acts delete this cube shift a mash monkey cook over here. Turn off, generate U V s click on UV editing at the top. Zoom in, Hit you unwrapped you again live on rap and then at the top here, click this button and go toe edge mode. Now click on an edge like this one right here. If you're UV is disappear, you can always click this little button at the top left and they'll come right back. So let's quick on this edge and then hold down control shift and click on the back of the head. You'll see that it's picking the shortest path to get there, so let's just work our way down. That looks like a good place to stop. Zoom out a little bit, hit you, Mark seem, and you can see the moment I do that. It instantly cuts this little monkey out, and it's actually looking a lot better. Let's come over to the ears and let's do that. You can see that all this geometry it's getting really smashed in together so you can do this. However, you wish you could go on the inside. Or maybe you could go on the outside. I'm just gonna work my way around the outside, gets a little complex of here, but I think we can make it work hits you, Mark seem Hey, there you go. Cut out a near Let's do that again on this side. Here we go. We're almost done. You gotta come in here. You Mark seem Of course, if you really want to, you can go ahead and un select everything and then hold down. Ault, select this edge loop you mark seem And you could do that again over here with an adult left click Select. You Mark seem. Now, if you look on the left, your UV is look really good, but they're all kind of close together in touching. That's kind of bad, because when you're going ahead and texture, painting your brush might lead from one island into another, and it will produce unpredictable results. So what you want to do is come up to UV goto pack islands, click on it down here at the bottom, and you can set it to whatever number you want. You have to do that much, but just enough so that when you're painting your textures, it won't bleed from one island to another. And once you're happy with the settings, go ahead and click on export UV layout. And now you can take that PNG image into other texture painting software, and you'll know that it'll match up exactly to what you have inside a blender, and that is how you unwrap a mash by using Mark seems inside a blender. The next step in the pipeline after unwrapping is painting a texture on your character or mesh in this video, I'm gonna show you how to do that with just a few clicks. First, let's go ahead and delete this cube hit shift, a click on monkey, and in this case, let's leave. Generate U V's on because they're pretty good. Click on texture paint, and right away you'll see a pink monkey. Now let's hold here for a second. Pink is a sign from blender that a texture is missing. So if you ever see this exact shade of pink in your scenes in your renders, regardless, if it's e V or cycles, this is assigned to you that a texture is missing Now, interestingly enough, if you see everything is kind of washed in a pink light. That means that your world, which is right appear, has a texture connected to it, and it is missing the texture. So pink is assigned to you that a texture is not linked correctly. Now let's click on material. Click on new Down on base color. Let's click on it and go to image texture and then click on new, and we'll call it my texture and just hit. Enter. Now, if it's still pink, you might wanna pop out of object mood and then right back into texture paint mode just so you can force the reloading over here. You can zoom out a little bit and hit N and pull over a little bit, and that way you get some good real estate on the left. You have some tools that you can use and on the right over here, a color picker and a whole bunch of options, including a texture where you can actually create a different kind of brush, much like we did when we were doing our sculpting brushes. Now I'm just gonna pick a random color. Let's go with blue. Here we go. That's kind of a nice lavatory Blue right. And over here on the right, I'm gonna paint just literally by left click dragging and you can see right away that I'm painting in three D. And if you really want to, I can go here and left clicking track and you can see that I am painting in two D That is the coolest thing about blender. You can paint in both dimensions whenever you want to, so I can come over here and paint knowing that I'm going to cover all of those seems that you usually would get if you were hand painting this inside of something like photo shop. In fact, you can see this top little thing just kind of ends right at that edge. And then it begins over here on these edges. And that's because blender is calculating where everything should go, depending on how I'm painting it now. Sometimes you got these really, really hard edges. So you got to be really careful because even though it paints really well, sometimes you get a little bit of a weird edge. You can come up to your tool settings and it will mimic what you see over here on the left So let's close that out and bring this to get a little bit more real estate and I can check out all of the amazing things I can do in here now. Honestly, we could do a whole chapter on the awesomeness of painting textures inside of blender. But rather than do that, I recommend you just get in there and just start painting and playing around and see what interesting textures you can come up with. Now that you've gone ahead and painted the most awesome texture that you've ever made inside a blender, let's move on to the next part of the pipeline shading. Now, if you don't have a texture, paint it. Suzanne. You can either make one really quick open one of your old models, or even open the texture painted Suzanne that, if included in the exercise files now with Suzanne selected, I'm gonna goto modifiers and I'm gonna add a subdivision surface. And then I'm gonna hit tab control F shades move. That way I can get it nice and smooth what it would look like pretty close to final render . This is a really cool mode, by the way, this is what's known as looked at mode and you get this nice HCR I that you can rotate around and play with to give you a really good look of what your ash it will look like in very different lighting conditions. Okay, now let's come down to the bottom and you'll see this thing called principle be SDF. That's our main shader, that all of our things connect to and those shade er's connect to material output over here , which ultimately tells Blender. Hey, take all of this information and put it onto this geometry so you always need at least two things shader in the material output. And then, if you really want to, you can add optional things like image textures. Now let's zoom in a little bit and take a look at principal be SDF. This is like our uber shader. If you click over here in the material tab, you'll see a few of the options, and all of those are mimicked inside of this shader editor now not to get too complex, but there are some really cool ones like subsurface. If I dragged this a little bit, you can see that light scatters throughout this object kind of making it look milky like as if it had a subsurface mike. Human skin. Next is metallic. Now, for those of you familiar with the PBR metal rough workflow, that's what this metallic channel represents. That's where you would plug in your metallic map. Or you can just drag it and get some cool stuff and can go down a little bit more and we can check out roughness. If you've never used PBR metal rough, you can just drag it all the way to the left and, hey, that that actually looks pretty cool. It's kind of mirror like can drag them back over here. Another cool option is clear coat. You can just drank that up, and it's a little bit like a roughness, and it's a little bit milky, kind of like adding some of your sub surface scattering. And it's cool because it looks like a clear coat that you would have on a car. Now, for those of you familiar with the old of principle, be SDF from Blender, you'll note that there's a few new options in here, like a mission which lets you emit light from the object and Alfa. If you want to add some transparency to your object or just parts of your object? Now there are other shade. Er's. If you come up over here, you can hit, shift a click on shader and you'll see a whole bunch of them. Let's add another one like diffuse. This is your basic basic shader. Unlike our uber duper shader, this just has a few things color, roughness and normal. Now order to connect it. I need to move my material output here and either control. Right click drank to cut it and left click drag GSDF surface And there we go. We have now put on a surface onto this monkey. Now, if I really wants if again, just bring down some of the color or I can come to my texture left. Click drag the color from here to here. Give it a little bit and hey, look at that. I now have my monkey with some cool color on it, and of course I can mess a little bit with roughness. But I'm not gonna get the same level of Sheena metallic that it would with principal be stf . There you have it. You've now made a very simple Shader structure. Like all things in blender, there are tons of auctions inside of these things, and you can connect all of these things in so many different ways. So I recommend you get in there and play with it and see what interesting shader is that you can come up with. Three D animation and blender is where you give the illusion of life to your static objects . It's the heart of every animated scene, and blenders tools for animation are second to none. Let me show you. Now, first in our brain new seen here, I want you to come up here and click on animation. Doing so will shift you into the animation workspace that we talked about a little bit earlier. You can see here that you have the camera on the left, so when I move it, it moves my camera over here. And of course, I have my full three D scene down here. I have a dope sheet and on my right is still my properties panel. Now there's one more panel that you're gonna want. You can just grab this little corner and dragged to the left and then click here and go to graph editor. Now we need to add some key frames. So let's go ahead and do that. Let's zoom out a little bit and hit the letter. I and you're gonna see an insert key free menu with a whole bunch of options Now, the most important for you right now. And really, for the vast majority of what you're gonna be doing is location rotation scale. This will set a key frame on your locations, rotations and scales down here, below our visual location. Rotation scales those air handy when you want to break your constraints off and you want to leave the object in its place, even though it was parented or had a constraint on it. Anyways, let's just go ahead and set location, rotation scale whom Now? It's gonna be a little annoying to have to pick that menu every time you sit a key frame. So if you come down here, you'll see the auto key frame button, which will set a key frame every time I move the object. And just for good measure over here under keen, click on it and you'll see something right up here called Active keen set. Click here and you'll see a menu that looks fairly similar to the one from before You want to pick location, rotation scale. All right now you can close that over here. Zoom out. Let's left click. Drag our timeline a little bit. It doesn't matter where we put it. Just put it somewhere. No hit g. R or really whatever you want to do. This is all up to you. You're the animator, so go ahead and set a key frame. Let's go to, like Cream 50 and said, A key frame over there. R R s. You can do whatever you want. Just said it about their Okay, Now let's preview our animation. You conducive that by hitting space bar. Hey, pretty cool. They're well on your way to be coming. And awesome animator. Now, in my case, you can see I'm outside of the camera. Hence why? It's really handy to have the camera view on the left so you can always just cheat it down . And don't worry, you have auto key frame on, so it'll set a key frame as soon as you move it. Now it's going to take a lot of finessing to get this right on 100. So instead, you can use their up or down arrow keys to cycle between these really quick. And if you want to, you can use your left and right arrow keys to go between each frame. So if I hit up or down, I'll eventually get 200. And now I can just move it right into place. All right, now I'll add a little bit of a rotation. Come back here. It's space bar and play my amazing animation. I love it now if you want to, you can hit the down arrow. Come over here to the bottom, right, and you see where it says to 50 type in 100 or whatever. The last key frame you set was hit, Enter and now next time I hit the space bar to play the animation, it will loop at that 1/100 key frame And there you have it. You are now well on your way to becoming an awesome lender. Animator 6. 05 - Animations & Basic & Human character Rig: pose mode is blender special mode for animation, bringing with it a whole new suite of tools for you to use, but it's not readily available when you click up here, so let's enable it by adding an armature hit shift day goto armature and click on single bone. Initially, that armature disappears because it's hidden beneath the cube. So come to this little running man. Click on view port display, scroll down and click on in front. There we go. Now zoom in a little bit and let's select a cube, then shift. Select the armature. That way it's the active object and then hit control P. Now, when control P comes up, you'll see a typical list of options like set parent to object. This allows you to parents, say, objects to other objects or empties or whatever. But when you have an armature as the last thing you have selected that is actively selected , you have a new armature deform menu come up, and that lets you literally bind. The Vergis is to the armatures rig. It's really awesome, but for right now we're actually just gonna use bone. So now if I click on the armature here, I can control tab to enable post mode. Or I could just come up here and click on Post Mood Click on this bone. Here. You'll note that it highlights blue Zoom out and hit G and hey, take a look at that. I'm able to rotate it, move it or scale it. And the best part about this is that you have a whole giant menu of awesome things to explore. Some of the shortcuts are fairly similar to object mode. For example, if I move it off center, I can hit Alter G. Ault are in alter s to clear my transforms. I can also hit I to set a key frame in this case location, rotation scale. And I can come down to keen and select either available, which will set a key frame to anything that's already been keyed or location rotation scale . I'll leave it on that one now. You might also notice there's this thing called key frame type. If I click it open, you can see there's a whole bunch of cool key frame types. This is just a visual thing for you, so if I pull this up, I can move over to say frame. Let's just go to 100 right there. I can click on Kien Key Frame type and I can go to Extreme and then hit I and you'll note that my key frame is now reddish. This is just a visual representation. It doesn't actually change what's happening in your animation. All right, Anyways, let's go to frame 100 and let's move it all the way over here. And I really don't mind. What you dio you can hit are are you can hit geek, and it s But whatever you do, move it over here to the right and then hit I. And then for good measure, turn on auto key frame by clicking this little button down here at the bottom. Okay, so now, ideally, you have some animation with one key frame at one at the center, and then one at about 100 or so in one direction. Justus Long is it's not on center. Okay, Now put your cursor around frame 50. You can hit the left or right arrow keys to get into the right place. But you can't hit up for down because that will set to the key frames, so it gets about frame 50 and then let's try out this breakdown or tool. The shortcut is shift e solicitous. Put my mouse about where my bonus. This is important to keep my cursor right about where the bonus and hit shift E and now I can move left or right, and I can favor either one side of the key frame or the other. So if I move my mouse towards the left side of my monitor and then I play this animation, you'll know that it eases out and then speeds over. Come back to frame 50. Put my mouse over the bone in his shift. E I can shift it all the way over here. And now, in this case, if I play my animation, it favors key frame 100. That's one of the coolest things about breakdown her. You can set your key frames, and then for your in betweens and breakdowns, you can use this tool to favour which one you want more or less off. Super awesome. Now you can come up to frame 100 set your end to 100 and we're gonna do one more thing. Frame 80. And if I right click on here, you'll see that there's a whole bunch of new options that come up. One of the most handiest ones is calculate, so let's click on Calculate. You'll see some new options come up. You can specify the end to be frame 100 and then just click. OK, we'll calculate. Does is it shows your path of animation. And the cool thing about this motion path is as I move, it updates along with me. How cool is that now? Like all things in Blender, there's a 1,000,000,000 things to play with inside. Oppose. So get in there and see what amazing things you can create. With your newfound animation tools. Drivers allow you to connect objects together to create animation. Think of it like having a switch to turn on a light bulb blender allows you to make that switch. Lift a driver, let me show you. Now First we're gonna need an armature. So hit shift A and add a single bone armature. Come to our little running person view port display and click on in front. We'll assume in a little bit click on this cube, and if you're not already here under object data. Go to it and then click on Shakey's and hit the plus button twice. Now hit tab Control three. Or just click on the face button right up here. Let's click on this top face and hit s and just make it big. Doesn't have to be giant. Just big. That looks about good. No hit. Tend to get out of that. You'll notice that disappears. But that's okay. If you come down to the shape key, you can drag the slider. See that it's still there. Now we need to control this value somehow. To do that, you're gonna want to right click on it and go to add Driver. You're gonna see this menu pop up, and when you get really good at drivers, you can use it to quickly create them, prefer our purposes. We're gonna go to show in drivers editor. That's gonna bring up something that kind of looks like a graph editor. Let's just move it over here a little bit. And over here, let's just move this over here now with their strivers editor here. I want to go ahead and click on object. Good armature. It will say bone right over here, click on it and go toe bone, and I want to control this with the scale. Although if you're brave, you can set it to whatever you want. I'm gonna pick on average scale now. The moment I do that, this cube gets really big. Why? Well, if I click on my bone here and then I go into pose mode with Control Tab or just by clicking on post mood. And then I click on this bone and I hit my end for transforms. I'll see that my scale starts at one. So that's why when I help out of Poe's mode and click on this cube, you'll see a value of one because my scale is one. So it's transmitting a value of one now. There's actually really easy fix for that in the blenders Driver editor. All you need to do is click on Hvar and hit minus and then type in one. Another thing you could do is just literally moved the key frames by hitting G and why, and then hitting one on your keyboard as you come to notice. There's a lot of different ways to do things inside of Blender. But anyways, we've already said our driver. So now let's click on this little bone, go to pose mode, click on it again and hit s and look at that. I am now driving the shaky with my bone. And if I want to, I can click on this cube. Just how about oppose mode? Come back to my shaky and let's set my range to negative to hit tab on my keyboard, hit two again and then enter. Now, when I click on this bone controlled tab to go into pose mode, click on the bone I can hit s and grow it or even shrink it. And look at that. You have now discovered the magic of creating a driver inside of blender. The graph editor inside of Blender has a ton of specialized tools that allow you to do all sorts of animation tricks like going to infinity. Let me show you. First we need to generate some animation. So let's just take this cube keen set. Switch it to location imitation scale. Turn on on Oki, I come to 100 I just make some key frames. Doesn't matter where it doesn't matter what you can hit, geek and hit Ari can hit s Just make some animation, do whatever you want And when you're done, come to the Bonham left area here and just click and drag up. Now, be careful. If you do click and drag up and you see a window that looks like this with this little arrow. Well, if you do that, it's actually gonna override your view. Would be careful about that. Now click on editor type and go to graph editor. If you want some more real estate, you can just grab the middle and pull it up. And here is a blender graph editor. And when you're working in here, you may say to yourself, Gosh, the translation keys air this big, but the rotation keys, they could be this big. Everything can go all over the place. So the first thing I want to show you is how toe click on normalize Now everything they'll squish down. But that's okay. You can go to view scroll down to the bottom and you're looking for view selected. There we go and I can hold down control in Middle Mouse to do all sorts of cool stuff or shift in middle mouse. Teoh. Moving around now in here, I can hit G to move my key frames and values argon hit G and X just to move it on time, G. And why? To move it on value I can scale. I can even rotate. Don't ask me why you would do this, but it's just cool the fact that you can do that. All right, so now let's leave those key frames alone. Let's come over here and you'll see when I click that little drop down arrow. There's a whole bunch of channels that appear like X location, ex rotation and why scale. I can hold down my left click button and dragged a little box and highlight X, Y and Z and then hit shift H. I'm a keyboard. And now it happened, is that I just focused on on Lee the X Y and Z location controls so I can hit G and X and move this around and remove the locations, but not the rotations. Let's reframe that so we can see it a little bit better. Here we go. And of course, I can always undo control Z here we go now let me turn these all back on and I'm gonna hit a twice and I'm gonna hit shift in e to get extrapolation. Extrapolation is what happens over here at the end for hit shift any. It's only constant, but I can goto linear. And now it will take that last key frame and just say, Keep going Goodbye, little cube. Hey, came back. I can also hit Shift E and go to Constant and then shift e make cyclic. And now I have a looping animation. Of course, it doesn't look too good because my animation just pops right back into place. But the point is, is that the animation does in fact loop Nice. Now, if you're really crazy, you can go ahead and hit t and change a tangent type. That means how do you go from one key frame to another? A default. It's on busy. A. But you can go to linear. Everything just kind of quickly goes over from one to another, or you can go to Constant, and now everything just kind of pops into place. Go back to busy A. You can also hit V, and that gives you a few more controls over your tangents, like vector or automatic, which we left. Things kind of slide a bit or just go back to auto clamped and look at that. You have now created some cool, looping animation, and we're going to just set it to automatic so it bounces around a little bit more like everything inside a blender. There are so many tools and options available to you, so get in there and see what amazing things you can do to your animation. We've talked a lot about how to animate inside a blender, and in this video I'm gonna show you, actually, how to make a rig to animate with. First, we're gonna need a character. So let's hit, delete and get rid of this cube and then hit. Shift a in an armature and then shift a mesh and at a monkey, now hit one on your numb pad. Or you can go to view viewpoint front. Zoom in. You'll see a little dot up here. That's the armature. Come over to our runner. If you port front. Here we go and then let's click on this bone and leave it alone for right now. hit tab. They're going to edit mode and with this top dot selected hit E. And drank it too about that year. Let's come over to the side here, hit G. And why bring it back just so we can get it at the base of the ear, baby G and X get it right in there. Let's go to our front view again. Click on this bone and let's name it left here. Blenders Really smart. You can actually use left ear l dot l underscore We're gonna use left just to make things easy Now under armature go to Sima tries and you'll see that aided auto named Left. And right now, if it didn't do that, for some reason you can always come down to names and then click on Auto name Left or right ? He also flip names if you really want to. But I'm gonna leave it alone for now. Okay, so now we have left here and right here. Now I can hit N tools in X access mirror, so that would have hit n and then e it creates a duplicate bone on the other side. I'm gonna put this one about here. that I'm gonna make. Let's put it about here and there we go. Now we have an ear bone. We can hit this little dot g and why G and why. All right now we've gone ahead and made some really simple rigs for our ears. Now let's go to the front view again. Tap out of edit mode and shift. Select the monkey and then shift. Select the rig. The rig should be highlighted. Light orange like it is over here, and that's an indication to Blender that it's the last selected thing or the most active thing with that selected hit control P. You'll see a bunch of options. Empty groups means you'll attach the mesh of our monkey to the rig without any weights. Envelope weights is another way of waiting, but we're gonna use automatic. So just go to automatic weights. Okay, now it doesn't look like anything happened, but if you rotate out, click on the armature again, you can come up to object mode, pose mode and then pick on one of the bones and then hit are are and then move it around. Hey, take a look at that. We've gone ahead and attached a rig to our character, and we can do a lot of cool stuff with it. Like, for example, I can rotate this ear, are are just rotate him however you want, and then grab These two gotta pose coffee pose pace flipped and because blender Otto named everything, it flipped a year on the other side for you. And there you have it. You've made yourself a very simple, rudimentary rig to animate your characters with inside of Blender. In our previous video, we created a rig for our little monkey. It's pretty decent, but as you can see when I start to move some shapes, it affects the eyeballing correctly. Or if I move the ear, it starts to pull the eyeball itself. In order to fix this, we need to do something that's called weight painting. Let me show you first. You want to come to this little running dude, come over here and where's his display? Switched out to stick. You're gonna want a lot of real estate, and you don't want a bone in the way. Next come upto object mode shift. Select the monkey, come down to wait pain mode and you'll be greeted by a blue monkey. Now here's the thing. If it's blue, that means that that specific Vergis E is not attached to the bone that you have selected in any way. The hotter it gets more attached until it's red. And then that means it's completely attached to the bone. Now you can cycle between these by clicking through the Vertex groups on the right or my favorite just control left, Click on each one of these and you can directly select the weights. Let's start with this one right here. The money control click this right here. Got 001 I'm gonna come up to my tools and set my weight to zero. Make my brush a little bit bigger with F, and then I'm gonna just start painting. That's all you need to do. You just want to get rid of these weights now, which weights in particular? Well, if you're gonna move the ear, ask yourself, Do I want to move this part of it? I want to move a little bit of the side of the face here, but I don't want to move the eyeball or the eyelid, so I'm gonna make sure that Dozer is blue as I can get him. All right now control, Click the tip and same thing. Let's just clear it up a little bit. Here we go Now control, click this big one and you'll see that the eyeball is solid blue. So let's give it a little bit of of weight. Somewhere around 0.3 make my brush a little bit bigger, and in this case I want you to paint and click a bunch to get that paint. Brian underneath there, Here you go, making some happy blue eyeballs. As you can see, sometimes when you click, you can click dress right and get right underneath the eyeball. Now let's set it to zero. Make your brush a little bit bigger and get rid of everything on the opposite side. We don't want to be affecting it in any way. You know what? Probably the nose as well and a little bit of that mouth. There we go. Don't forget the top of the islands. Perfect. All right, now we have a well painted monkey. Let's go back up to object mode. Click on our armature controlled tab to switch into pose mode, and I can move these around. Take a look at that. And it's not affecting the other. Side it off. Now, Don't worry. You don't have to paint the other side exactly like you did on one. You can just come to Vertex groups gonna pull this open, and we're gonna delete everything that says left. And then we're going to click on right here and this drop down and go to copy Vertex Group . Don't worry about renaming. We'll do that in a second. Come over to a pain. Make sure, right? Here copy is selected. Click this drop down and go to mirror and do that for every one of these. Here's the thing. Mirror works really, really well. If your model is perfectly symmetrical, if it isn't, you can always experiment with mirror topology. It's never totally accurate, but it's pretty decent, and they'll get you good part of the way. All right, now that we've married the weights, we need to rename all this stuff. So let's go ahead and remove the word copy and change. Right toe left. You can always tab once you're done to get to the next line. So left, Tab. There we go. and just go ahead and renamed these and hit. Enter when you're done, then come back up here to object mode. Click on the armature control tab pose mode, and now I can hit our R and rotate the ear and you can see that the weights are pretty good . Looks like I miss one little weight here, but we can fix that real fast. Come overweight paint. Let's go to this ear. There's just a little bit right there. So let's go ahead and sit that way to zero and paint that out. Same with ease over here, too pink that out and picked it up. Now we can come back to our armature controlled Tam to pose mode Perfect. Painting weights on your characters is paramount to the success of having great character animation and a great character rig. As you continue your journey of being a great character animator inside a blender, it's gonna help to have reusable tools like making rigs over and over rather than doing them by hand. Thankfully, Blender comes with a really easy tool to rig your characters. Let me show you first, let's go ahead and come over to edit preferences under preferences, you're gonna have an add ONS tab. You can click on it right here and then search for rig if I it's off by default. So just click the check box and it will take a second to load, then exit out, come over to this cube and delete it. Hit, shift a come down on armature and you'll see a bunch of new options have been added like animals, basic pieces that you can use or the human Mataric. Let's go ahead with human metric. The human metal rig is a well built character rig that you can use for your characters Now . We don't have a character here to work with, but we do have a monkey head. So let's hit one on your numb pad or go to view viewpoint front. Now, over here we can zoom into the face. You can shift right click and put our three D cursor right there. Shift a and come up to mesh monkey. Let's scale in our monkey a little bit. Click on our character. Go to our little runner viewpoint display in front. There we go now. Just move that monkeying to be somewhere about in this area somewhere about right. It's not gonna be perfect, of course, G. And why? To fit it back in. And then you can hit, end for transforms and make sure that the X is zeroed out. Now let's talk a little bit about this human Mataric. It's actually got every point that you'll need from Nis. Two hands, two feet, too, if you've been noticing. Ah, full face, that's right. Once you build the face right, you can just use this human meta rig and attach your face directly to it. Now, obviously, it's not gonna totally match up with our monkey, but we can always edit it by hitting Tab, and that'll take us into edit mode. You hit a twice to de select everything and then just start hitting G and why and moving whatever you need to move. Be sure, though, to hit n and come to tools and click X axis mirror so that when you move, one side moves the other along with it. Let's just focus on the mouth really quick. We can come to the front view and grab these shapes. G z, move him down, move down this shape a little bit. Move this corner in. They have too little corners. You can hit be to make a box, Then move them together. Here we go. Now let's play a little bit with these eyes will be really tough on a monkey. If it's a little hard to see, you can always switch to stick That's my personal favorite. And then just drag some of these corners in. Remember, you're gonna have to hit be to grab all the bones at once. If not, you risk only grabbing a few of them and you don't want to do that. So just go ahead real quick and move some of these bones to match right about where the eyelids are gonna be. Once we have something that looks pretty good, you could move on to the eye lids if you want, you can hit, snapping and then switched the Vertex. So that way, when you move all of these, snap right to it. Now remember, you might need to hit B to select everything with box. So go ahead and do that be. Here we go. And now we can snap directly to where the eyelids are. Be careful not to select too much, though. See that? Here we go. And actually, we're gonna want the's right over here. And you can always hit a twice to de select everything. Okay? We're almost done here. Now we want to attach these to about where the eyeball is. Actually. Let's just drop this down a little bit. That way we get that nice big ole eyeball, and finally, this part might be a little tricky. There you go. If you use B, you can just snap it right to that center point. All right? Now we have a pretty cool monkey. You can even go above and beyond and start doing the rest of the mesh. But for our purposes, I think this will be good enough. Come up to object mode. And if you're still on this little running person, turn off you port, display and scroll down and you'll see a new thing called rig if I buttons. Now, this is a cool thing. This is where you actually generate the rig. This thing that you're currently looking at like an outline of the rig. There are some advanced options. For example, you can name it something different, custom, but we'll leave those alone. For now, click on Generate, Rig and depending on the speed of your computer, this will take a few minutes because it has to calculate and build this entire rig. But honestly, it's a lot quicker than doing it by hand. Now we need to select our layout of the rig and move it somewhere else. So just click on one of the bones. You can tell so layout, because it looks like a stick figure, and then you can hit em. New collection. We'll just call it, met a rig and then you can hit shift, too, and that will hide it. All right. Now let's click on this rig right here. We can hit control tab and move it around pretty cool. Now let's attach it really fast to our monkey. So go to object mode. Pick the monkey shift. Click the rig control P automatic weights. It will wreck the monkey a little bit, but that's to be expected. Come back to our regular here, control tamped pose mode, and let's select this neck and look at that. We can move him all around already. We have ourselves are rigged. Monkey. Now the next thing you can do is hit n and come over here to view. If you scroll down, you'll see something called Rig If I animation tools, so many clothes off view and everything. And these rig, If I tools air really awesome, let's see Turn on like a or F K etcetera. But look at that. We now have a moving monkey head. That's pretty awesome. Now, before we let you go, hit n to come up to transforms and come up to the top right here. We can minimize transforms for a second, and here you'll see a whole outline of tools. This is where you can hide different options. Do I K f K Switching on all other sorts of cool things. Wriggle Phi is a fully featured feature film ready character rigged to use, and you can attach it to virtually any character, from humans to bipeds to monkeys and other animals. Get in there and see what amazing characters you can bring to life. Using your newfound knowledge of Rick. If I now is, you have had a good time animating and sculpting inside a blender. Wait until you get of particle physics. There's a lot of really cool things. We can do everything from lining things on fire to reigning particles cloth. It's super awesome and really, really easy to use To start off this chapter, we're gonna dive into particles and look at how to make it rain. First, let's go ahead and delete this cube. You can hit next to delete shift A. Let's make a plane. Ask the scale G. Let's move it up. You know what? We don't need a light right now, so let's get rid of it. Come right about here and then come over here and click on the particles. Looks like a little exploding Adam or something. Just add a brand new particle and hit play. As you can see, you're already making it rain pretty easy right now. Like all things in Blender, there are a 1,000,000,000 things that we can do. So let's just start playing around with him. One of my favorite things to do. It's a messed with Brownie in This adds a little bit of natural shake to each one of these particles. As soon as they spawn, you can also play a little bit with damp and drag. That'll give it that kind of slow motion feel, and the best part about it is that you can actually animate this property. Israel Siperco woops All right, what else can we do? Rotation is important, but it's easy to see it with something. So let's go ahead and add a monkey. We're gonna hit em toe attitude, new collection, and I'm just gonna hit shift to to hide it. Click on here. Let's scroll down until render what's his render as go to collection. Instance. Collection Number two. You'll note that they heard now a lot of monkeys raining. Stick with me. Come all the way up here. It's gonna rotation. And then let's go to Dynamic and let's just see what we get. If you frame by, frame it, you'll see all of the monkeys are slightly changing rotation. That's gonna be hard to see them. So let's come back up here. Let's end it at about frame to 15. That's how long our animation is. It's make the lifetime a lot longer has put in like 100. You know what? It actually just put in 2 50 go all the way to the end. Let's make less so let's make about 100 them and then come all the way back down and under scale. Type in something big like 0.25 All right, here you go. Now you have a whole bunch of monkeys fallen out of the sky. You know what? It would be nice if they interacted with something. So let's hit. Shift a, make a cube. Move this cube over here, G. And why Time to edit mode shift. Select these two Vergis ease. Just move them down, Jeezy. Then you can hit s in X. Yes. And why? G and why? There you go. Give him a little bit of a ramp, then come over here to physics. Click on Collision. I'll come back up to this monkey. Let's play that again. And there you have it. You're now creating raining monkeys that are rolling off a platform. Didn't think you would do that in a video, did you? There's a lot of things to pay attention to inside of blenders, particle systems. But the few that are really important are a mission which controls how things are being created, rotation and velocity that controls what happens when they actually come out and start interacting with things physics, which actually controls what happens when it starts touching other things. And, of course, render, which actually lets you adjust what the particles are when they get spawned. Now, one last option you should pay attention to is show emitter. If you turn this off, that plane won't appear when you render it. All right. Now get in there and start seeing what amazing particles you can come up with with your newfound degree and particle physics. 7. 06 -Force Field & Cloth Simulations & Rigidbodies: Now that you know how to generate particles, let's look at ways of interacting with them by using force fields. First, let's get rid of this cube and let's get rid of the slight hit shift a go to mesh plane, scale it up a little bit and then come over to the particle stab at a new particle system for end type in 2 50 for Lifetime type in 2 50 And then I want you to do one more crazy thing under field weights. I want you to type in the negative one. And over here, what's his start sent that to zero. The reason why I want you to do that is because our start frame is actually one in the particle system, but I want to start at zero for Blender. That way we reset every time it loops. And hey, look at that. We've got something pretty cool already happening here. It's kind of like one of those bubble things at the bottom of an aquarium or something. Okay, now let's start playing around hit shift A and come down a force field and let's go ahead and add one of my favorites, vortex Now, if you move it up GZ, you'll start to see a little bit of a light vortex situation happening here. Just a light one. So let's zoom out a little bit and kick it up a notch. Come over here to the physics tab and with the strength type in 10. It's gonna get a little crazy at first, but let it reset and see what you get. If it's too much, you can say type in five and then you can even play with inflow so you can really shape that vortex like that. Now that's pretty cool. Sort of D n a like or alien like or something like that up here. Okay, now let's add another one. Shift a and I'm gonna add force. That's a good, typical one, and I want to put it right about here. Or so just so it seems like it's pretty high up, and next I want to type in 10. It's gonna make it really kind of strong. It might actually make it a little too strong. Let's see what's going on. Yeah, look at that. It can't really come up, so why don't we come down? And where it's this fall off type in, one under power. Now what's gonna happen is that it's gonna fall off to a certain amount. Maybe it's a little too much. Let's bring it down a little bit and let's see what happens on the next loop does look like it's falling off a little bit too much and maybe type in the strength of 20. If you want, you can even kick it down a little bit further. And hey, now that is looking kind of cool. Of course, if you want to be really crazy, come back to the vortex and you could type in like 10. So now you're getting this really, really cool particle system. That's something really crazy and futuristic. I kind of liked it back at five, so we'll just leave it at five. When you hit, shift and come to force field, you'll actually see there's a lot of different force fields you can add forces winds, weren't XX etcetera and recommend you get in here and play with ease because they're all incredibly versatile, even wind. You could animate this, for example, coming left and right and kick up to strength a little bit Let's set it to like 10 or so and then let's come over here and hit I key the rotation rz key The rotation R Z key the rotation and let's just do that one more time are easy, key the rotation and now just play it and you can see how you can start to mix in so many different kinds of force fields, both with their power, their fall off, rotating it and, of course, having them react to each other. And they get some pretty wicked things like this. Force fields are one of the funnest things you can do in blender, so get in there and start playing around and see what really interesting particle simulations you can come up with. One of the biggest updates and blended 2.8 has been the cloth and collision system, and in this video, I want to show you how easy it is to use it. First, let's go ahead and delete this cube. You can hit X to delete, then shift a Let's add a monkey. Let's tab into edit mode, right click and subdivide our monkey and come down over here and change smoothness to one this way, we can actually collide with a monkey that has a little bit of a softer edge around this year's now tab out of that shift a mesh plane. Let's scale up this plane a little bit. Something like that looks pretty good. G X moving over here. GZ bringing up a little bit tab into edit mode. Right Click subdivide and let's set this number of cuts to 50 and you concerned smoothness down to zero. Now come over here and hit a twice, then hit C and let's select thes Vergis. Ease over here and select these Vergis. Ease over here, then hit. Enter, Let's come over down to object data on the right. Vertex Group sign double click on group and go to pins. Talk about that in a second tab out of edit mode. And now let's come over to our physics tab and click on cloth. Now, like everything in blender, there are a 1,000,000,000 settings, but a couple of the most important ones are stiffness. Dampening and shape. Stiffness controls what the actual shape of the cloth is as it comes down. If the tension is really low, then it'll flop all over the place of the tensions really high. It will be a lot harder, kind of like, say, like sales or something like that. Strong burlap compression is really important to mess with, and in fact, I want to set ours to five. The higher the compression, the more your cloth can take the shape of what it's colliding with. The lower the compression, the less likely it will dampening. Takes the above stiffness effects. Say, for example, when you're cloth collides with something and says, Hey, does the rest of the cloth react that way to or does the effect get dampened across the rest of the cloth? Say, for example, part of your cloth interacted with, say, the ear. Does the rest of the cloth also react the same way? Or does that affect it? Dampened a little bit. We'll leave those the default for now and finally shape. And this is where you can pick your Vertex group pins. And what that will tell the cloth simulation is Hey, don't move these vortices. They're stuck in space and of course you can play with the property. But we'll leave that to one for right now. Finally, let's click on our monkey and go to collision and under collision. You'll see soft body in cloth. These are the settings of what happens when cloth in Iraq's with said Monkey. And in this case, I actually want to turn up sickness outer a little bit more thickness. Outer tells a cost simulation that there is a border kind like a shield around the mesh. It's not exactly on the missions just a little bit around it, and that will soften some of those interactions. It's really handy. Okay, now let's click on this plane and hit play now, depending on the speedier computer, this would go by really quick or it'll take a little bit of time. And hey, look at that. It's actually interacting really well. Of course, our cloth is a little faceted, but we can fix that. You can hit Tab really quick. A to select everything. Control F shades smooth, tamp out of edit mode, and now when the simulation runs, you'll see you've lost that faceted look. And if you want to, you can come to modifier, add modifier and at a subdivision surface, and that will add a nice bit of smoothness. Everything after the simulation runs and again, depending on the speed of your computer, this might take a little bit of time, but as you can see here you have yourself one awesome looking cloths simulation. It's super fast, and it's really easy to use now. Like all things in Blender, there are a 1,000,000,000 settings in here for you to mess with, and there is a little bit of peeking in there that you could probably tweak with a little bit of dampening and some compression. So get in there and see what amazing clause simulations you can come up with. Dynamic paint is one of those hidden features inside a blender that has an enormous amount of power. Yet we don't talk about it much, and in this video I want to show off one of my most favorite features that it has painting . Now let's go ahead and delete this cube X delete hit shift a plane. Let's it s and make this kind of big something like that. Now hit tab, right click subdivide, Come over here and if your computer can muster it 75 hit enter close out subdivide tab out , Shift A. Let's go ahead and add a monkey. Now let's click on the plane and split this open. We're gonna click over here. We're going to go to Shader Editor down to material, make a new material and hit, and to get a little bit of real estate. Now it's head over to physics. And with our planes still selected, I'm gonna zoom in a little click on dynamic paint and Anna Canvas and then click my monkey do the same thing. But in this case, I'm gonna add a brush. Now, as you imagine, dynamic paint has both canvas and brushes. A brush is what influences the effect. A canvas is what receives the effect, and there's a lot of different effects that can happen on a canvas with the plane selected . If you scroll down, you'll see advanced surface time. If you click here, you'll see a drop down of many different options. Wave's height, displacement and paint paint. That's what we're gonna focus on today. But in order to see it, you need to come down output, and then you need a either create a paint map or a wet map. In my case, I'm just gonna make a wet map really quick. I'm gonna come over here, Control, See? And then inside of this shader editor, I'm gonna hit Shift A in the search for attribute. We need to be able to pipe in the wet map Attribute in here. And that's what this an tribute node will help us do so under name Hit Control V and then enter. Now, in order to see it, it might be best to add a color ramp. So shift a color ramp and then connect the factor, the factor and finally color to base color. Now, this color, I can set it to whatever I want. So for example, I consented toe, Maybe it's grass, So let's go. Something little kind of greenish on a darker green. Then over here on white, maybe it's a little bit blue. So when I said it to blue All right, now I'm gonna zoom out over here. I'm gonna click on my monkey, get some good viewpoints here. I'm gonna put my monkey on the edge of the here and scale Mup gz. Make sure that he's cut in right through. And finally, let's come over here and go toe Look deaf mode. You'll notice that it turns green and you can just barely make a little bit of blue right here. So with that, I'm going to go ahead and click on play and I'm just gonna move the monkey around and as I move the monkey around, you'll start to see that I'm painting on the surface. Now if it becomes a little too hard to move the monkey can always it g shift z in That way you lock it to the x and Y axis And then you can just literally start painting with this monkey. Now let me posit and I'm gonna hit I on this monkey And then I'm gonna go all the way to the end I'm gonna hit G shift Z with my monkey to the other corner hit I location click on this plane and I'm just gonna hit play and that's that's plain. I'm gonna come back to my canvas dynamic paint properties and scroll down and check out one more cool option. And that's the dry option over here. Now, with this, you can actually change it to do whatever you want. Maybe, for example, you wanted to dry Ah, lot sooner under my shader editor. I can always hit plus and had a brand new color. Maybe I want to be crazy. I want to make it red. Now look at that. Isn't that pretty cool? Or maybe I want to make it seem like the monkey is going really fast, like leaving a scorched part behind. So I'm gonna set one to read. Come over here. I'm gonna sit this more toe like an orangey brightness. Here we go. Something something kind of hot. And then move this closer. And there you go. You know, have a monkey who is scorching across the grass floor, get in there and start playing around with some of the options that you have inside a dynamic paint. And remember, if you use a wet map or a paint map, you have to attach it to an an tribute and then eventually to your shader so that you can see it in either look deaf or rendered mode. Another awesome thing you can do with dynamic paint is create waves. Now, what can you do with ways? Well, you could have a bowling ball smash right into a puddle. Or maybe you can make it rain let me show you first. Let's go ahead and delete this cube hit Shift A and a plane. Zoom out a little bit s scale it up about There is good tamp, right click subdivide Open up our options and if your computer can support it, type in 100. If not, something less is okay, Tap out. Let's get a little bit of real estate here, so it's mover camera out and mover light over here Now with the plane selected, go ahead and come over the physics dynamic paint and canvas and under surface type goto waves. Okay, we can leave this alone for right now, so it's hit. Shift a mesh. I had a UV spear. Scale it up a little bit. Dynamic paint. Go ahead and add brush, and as soon as you add it, you'll see that it's created a little bit of a wave. You can click on this big old plane here. Tab control F shades smooth tab out and not a look a little bit smoother. Now let's zoom out here, grab our bowling ball play and just drop it. Look at that. Do that again. It's pretty cool. Now here's the cool thing about dynamic pain. Let's come back here. Grabber bowling ball location. Good frame, fortyish 49. That's fine. I again location. Let's just play that from the beginning. Play. And if I click on canvas and I come down here, you can see you have tons of different options. For example, timescale. I said that to say point to and then come back to the beginning that will make everything feel nice and kind of like honey or something like that. It's really slow, Super, super cool. Of course we can set that to one, and then we'll get something pretty cool, too. Whom? All right, now let's make it rain. So grab this spear. Delete it. Come all the way back to the beginning. If it always gets stuck, you can switch your start to zero and then hit this little button. In that way, it will force restarted. Its a handy little trick. Okay, now hit Shift a plain gz, Scale it up a little bit. Particles plus Come back down here. Dynamic paints, brush and brush. Scroll down. Source. Go to particle system Particle system. Pick your particle system and now just click play and Hey, take a look at that. It's raining. Of course, If you scale this up, you'll get even more rain. Just wait for it to restart. Nice. You're making it rain. Now Let's go ahead and add a few materials to really make it feel right. Clicking on canvas Here, come down to material. Add new switch principled Teoh glass. Since we're in evey by default, we want to scroll down and click on screen space refraction. Come back up to render settings and then turn on screen space. Reflections come to world color environment, and that's gonna make everything pink when you switch to rendered mode because you need an environment to actually light everything with. So let's go ahead to HDR. I haven. It's a free website for fully distributable HD your eyes. You click up here on H to your eyes, all you see a huge selection of them. I'm just gonna grab the 1st 1 I see which conveniently is lakes. You don't need a giant one. You can just download a to K one to go ahead and download that free Back inside blender, you can click on open over here on the right and then just open that file up, click open and finally go to rendered Moon, which is the stop button right here. Now, if we come to the beginning and hit play, we can see that it's raining and we get some pretty sweet reflections and refraction by using blenders, dynamic paint wave system and a particle system. Now that you've gone this far, go ahead and start exploring what other options there are within the physics dynamic paints canvas tab and see what interesting things you can come up with. As we continue down their journey of being a blender physicist, nothing is more cooler than lighting something on fire. In fact, it's really straightforward. Let's go ahead and delete this cube. You can hit, delete or X on your keyboard, then hit shift A. Let's add our favorite monkey so we have something interesting and then hint F during your keyboard to bring up search. And if you type in quick smoke and hit, enter, you immediately be greeted by a big old, boxy domain. Now real quick before you click away. Open down the options at the bottom left and where it's a smoke. Click on smoke and fire. Okay, now come to the physics tab and let's talk a little bit. Physics objects like fluids and smoke need a thing called the domain to react within. This sets like the boundaries of where your fire smoke fluid etcetera will actually be occurring. It's pretty cool because you can even scale it up and move it around as you wish. Then there is this little monkey who has a flow type on it, and a flow tells blender where the actual thing will be emanating from. And in our case, since we picked fire and smoke, this little monkey will be the flow. And that's where all of the fire smoke will be emanating from. Okay, so now that we have that all established, we can come back to domain and check out some quick settings. And trust me, there are a bunch under flames. You can pick the different kind of speed. You want things to act at under behavior, you can have temperature differences that you can control. There's really a whole bunch, but honestly, just typing and quick smoke and hitting play. You end up getting something that looks super, super cool and depending on the speed of your machine will probably render fairly quickly Now. If it doesn't, you can always come to the domain and set the resolution to something lower. Or if you think your computer can handle it, you can set in a little bit higher, like I just did to 64. And here you can see that blender is chugging a little bit, but you start to get a lot of really find tiny little details. See that right up here. And the best part about this, if I posit really quick, is I can switch over to rendered and I get something really awesome right away. And because of the benefits of having multiple render engines that are compatible, you'll note that I'm an E V. But when I switched to cycles, the fire looks a lot better. That's because cycles allows light to bounce all around it, and you get slightly more proper volume reactions. And because Evian cycles talk to each other in terms of nodes, you don't actually have to change anything to get this big benefit of the look. Let's switch back TV. So that way I can keep playing around and exploring and if I want to, I can even go to solid. So I get a really good idea of what's happening in my fire now. This is really just the essential principle of making a fire typing quick smoke hit, play watch the magic happen, but there's so many things you can play with. So if you set the resolution just a little bit lower, let's go to 32. Pause This really quick. Come to the beginning. We can play a lot with, say, temperature and let's just kick it up a bunch. We'll have to start it again, and you can see how we actually go a little bit higher, a little bit faster. Another interesting feature to play with is adaptive domain, which, when I open it and turn it on, will actually let the domain grow as the fire gross. So Aiken set all sorts of things margin resolution, the threshold that it hits. But let's just turn it on and hit play and you can see what's happening already. It grew just a little bit, and naturally the higher and the more that I set these features to, the more this domain will actually grow and This is really helpful if you have a fire that you really want raging and you're not entirely sure how big the domain is gonna be, However, you can see that even with my powerful system here, Blender is taking its sweet time to actually figure out how the fires processing and the more fire there is. This lower is going to go so I can pause that, and adaptive domain is really handy. But just be careful because it will slow down your systems a lot honestly and recommend you just set the domain is bigas you need and run it from there. So if your system is chugging, you can turn off adaptive domain and then just take your current domain and scale it up, maybe move it up a little bit gz and then just hit play. If it doesn't start, go back to the beginning hit, play again and you can see that even with a giant domain, my system is a lot faster with adapter domain off, but really large domain. Like all things in blender, there are so many things to play with in here, so get in there and see what amazing fires you can come up with because the smoke physics property is one of the coolest things to play with inside a blender. In our last video on becoming a blender physicist, we're gonna look at rigid body physics that rigid body physics is really all the other things you can imagine that physics conduce it lets you create springs, lets you create hinges. Let's see simulate things connecting together like trains. And in this video, we're gonna do all of those now to start, we want to have some real estate. So let's get rid of this light and this cube and just hit extra delete shift A for a plane , and we're gonna make it kind of big. That looks good. Let's click on physics here if you haven't already and then rigid body and then come down to passive like the other physics options. Passive means that this will only receive but not necessarily fall or react gravity. So it's important it will be our floor. Then we're gonna hit shift A and make a cube. Bring it up here, and I suggest going into front view. That's one on the num pad. If you don't have a numb pad. You can always click on view viewpoint and then go to the front. Okay, so now let's move this little dude above the camera. That's important. We want to keep it above the camera. Then we can move our three d cursor here. Shift right click, shift A and let's add a Taurus. Now, when you add a tourists, I want to actually rotate the view real quick where it says, Minor radius. Let's make that kind of thin. We want these to be thin rings. That looks pretty good. Okay, now let's come to the front view again. We can hide this our X and let's rotate that by 90. So Rx 90 ask the scale in and we want this inside, Sergey and why? There we go. All right, so we want that in there. Now, these two objects we want to set rigid body passive and again rigid body passive. And then I want a shifty duplicated and just rotated. It's rotated some because we want this to start from a high angle. Something like that. That looks pretty good. All right, now, in this case, I want you to set it toe active in under shape. I want you to selected to mesh now from here. I just want to play and show you what's gonna happen. See how it's jittering like that who owe it popped right off. The reason is because under the ring here, if you click on it, it set too passive. But the shape is set to Convex Hole. Let's change that to MASH, which will make it a little bit more complex, but it will actually use the rial mash and not generate one for physics. It's really handy when you have something like a tourists or a ring like this, because now when you play it, you'll see that it moves nicely. Okay, so let's pause that it's going to the front view again. Shifty are are, and just at a handful and our again shifty move him around. Just add a handful. We're not trying to make it super specific. We're just trying to make a handful of rings. Okay, so now let's go ahead and play that Well, that's pretty cool. I like it. I actually want to come back all the way here, and I want to delete this ring, and I want to come to this ring cause we're gonna swing down pretty far. And that's what I want you to do. I want you to hit play and make sure that you can get pretty far down. That looks pretty good, right? This ring gets pretty far down there, and then there's still a little bit of space here, so that's good. So I deleted that other ring. We're gonna just use this one, and I'm gonna go Tab, Edit mode. I'm gonna shift right click here. I'm going to shift a at a monkey, because why not at a monkey? And again, we're not looking to be super precise here. We're just trying to put a monkey on these rings. I don't want it to big wanted just big enough. And I'll show you what I mean by that. There we go. Tab, Front view, play. Whoa! Look at that. He even gets caught in there. That's pretty cool. Okay, so now let's see how it swings down. It's down there. Pretty good. Pretty good. So now what I want to do you want to select this plane and bring it down just a little bit . Shift right. Click here or shift. See to center your scene. Shift A Let's go to Machin at a cube. Scale it in. We want the monkey just to miss this cube. Okay, so right about here. Okay. And now we're gonna go to Rigid Body passive hit, shifty, duplicate Hit Z to move it up on the Z access. In this case, we're going to go to active. Now. If it pops down like that, that's because you're not at frame zero. In my case, I'm a 30. So let's hit this button to come back to frame zero or one. Whatever your starting point is. Okay, so now I want to just change the name of this objects. I'm gonna click here, and I'm gonna say be I click on this bottom one and I'm gonna call it pay that way. I know exactly what names air for each and the last thing I'm gonna show you is the hinging part. So hit F three and type in connect rigid bodies. Now, let's think about this for a second. At the top, we have a passive piece and then a whole bunch of active rings and a monkey it attached at the end of it, and that's giving. This is cool. Swing at the bottom. Here we have this floor that's passive. Just so we have something to hit in case we overshoot. And finally, we have this little passive thing right here and this little cube that's active. We've attached hinge by using our F three searching for connect rigid bodies, command and what it hinge does this, it says, Hey, wherever this locator is and wherever it's pointing, connect these two pieces now it's all dependent on Z, so this day is pointing up, and it's not gonna be really useful for us. So hit are in X and then just type in negative 90. Now this, he's gonna point in this direction. And for good measure G and X. Let's shift it right about here. If I click on rigid body constraint, you'll see there's a bunch of options in here. We're gonna pick Hinge, and you can think of that as like a door hinge. Let's pick this top cube and let's rotate it a little bit, kind of like it's about here, like it's sitting on that hinge like it's about to fall into it. I want to turn off disable collisions because I do want to climb with this passive part. Now let's hit one on the num pad. And honestly, let's just see what we get. Whom Nice. Well done. Oh, man, We had lost the whole thing. That is the magic of rigid bodies. Sometimes you gotta really finesse those details. Now, one last last thing. I promise, when you click on this hinge and you go to the beginning, you'll see another thing that says breakable. Well, hinges can be broken. So if I click on it, I can set the threshold toe one. And that means that basically any force more than one is gonna break my hinge. So with this set up, I'm gonna hit a twice to de select everything and hit play home. Hey, take a look at that. And there you have it. Ladies and gentlemen, you've created yourself a swing and monkey that knocks a block off of its block. Like all things in blender, there's an enormous amount of things you can do with rigid body dynamics, including playing with the newly updated generic spring. And let's see what amazing dynamics you can come up with in this next chapter, we're going to cover one of the biggest updates to Blender. There's been yet, and that's the introduction of a brand new rendering engine E V, and the upgrades to old engines like Workbench, our previous open geo Vieux port and cycles the workhorse of all blender rendering. Now let's talk a little bit about E V. And what does it actually mean? It's like a real time render. You can think of it like rendering in a game engine, like in on riel or unity Now, to enable it, you need to come up here and turn on this button, and at first you may not notice anything really in particular. But when you hit shift A, you can add a plane, scale it up, you'll start to see some shadow. If you hit GZ and say G and move it all around, you'll start to see that the shadow reacts well, actually reacts really well. If you come appear, you can turn on the original solid mode. You won't see any differences. You turn on the looked of mode, nothing new. But then you turn on rendering an E V, and suddenly everything is starting to look well, rather nice. And that's the power of TV is that it lets you see rendered stuff quicker. However, it uses a couple of tricks to get there. For example, let's say we took this object and we added a brand new material to it. Looks like there's one here. And then we went ahead and turned up metallic, and we turned down roughness. So right now, this should be really, really shiny. If I add something in front of it, shift a, let's go ahead and add a monkey gz. But this monkey right here, we'll make this monkey red. Well, you're not really seeing anything right now, and that's because an E v you have to come to your render settings and turn on certain options to fake things like reflections. So for turn on screen space reflections, you can see that Hey, I can I can actually see Looks like a monkey in the background. And, of course, the floor. Now this is actually a cheat. For example, why can't I see the front of the monkey? Well, actually, it's because we can't see the front of a monkey, even uses a lot of tricks to speed up rendering. But in that process, it also misses some things that we wish we had. E V doesn't use Ray tracing to determine things like refraction is reflections, etcetera. It's actually using baked shadow maps and screen space effects to render the look that we have. So if we were toe, just leave this alone right now and switch to cycles you get see right away how Ray tracing will actually generate a more accurate looking thing. However, you have to note that when you switch TV, this works really well, really fast now. Evey does include some tricks, like reflection Cube maps that let you fake the kind of reflection that you want. But it's also limited toe on Lee, a couple objects nonetheless. Evie is really awesome and really fast because man look at the shadows. They look pretty sweet. And of course, we can just move the slide around, and it's reacting superfast. Now, before we close that this video, we should also talk really quickly about workbench and what workbench really is. It's actually just the open geo Vieux port that you may have been used to an old blender, and it's really the solid mode that you've been using this whole entire time. It just has a few options that when you go to solid mode and say You're an E V, you can click this drop down. All of these options that you see here are available when you switch to work bench here. So, for example, you can go to Matt Cat Mode and pick Red and then go to rendered mode for workbench. And this now looks a bit familiar, like sculpting mode. That's what work benches is, effectively a really fast open jail. Render the let's see do everything from visualization to madcap etcetera, all with just a few clicks. And finally, if we come up here, we can switch it cycles and see our good old render and how it's working. Each render offers you a lot of power. Evie is fast, but not really accurate. But, man, it's really fast, and it looks great. Workbench is really great for when you're working visualization, architecture, etcetera, where you don't really need all of that reflection stuff. But you want something that looks really pleasing, and it's also what you primarily work in when you're using blender and finally, cycles is all the best stuff smashed into one really good render its Ray trace. It's really fast, and it's really pretty. However, it comes at a cost, and that means it goes a little slower than all the other renders. All the renders, offer you a lot of possibility, and throughout the rest of this chapter, we're gonna dive in through each one of them and find out how awesome they really are. 8. 07 - EEVEE, Reflections & Shadows & Cycles: Let's talk about evey because honestly, it's amazing. Let's start by hitting Shift A and adding a plane and then zoom out a little bit. Scale it up. There we go. Switch to rendered mode. Let's take this cube and move it up. Every click on this light gonna light settings over here. We'll go a little more in depth with this in another video. But for now, switch it to area light. It's a really good one to use. Move it over. It's rotated. Here are our Eriko Click on color and make it like a light Reddish. Let's go for like a we got rid of somewhere around there doesn't have to be super accurate . Just something close to that now Shifty duplicated. Put this light over here. Harzi. Rotate it because we wanted to come from this angle. You can start to see how we're getting this cool to shadow thing. Click on color. Got a blue. There we go. Something similar to that. Now click on this cube and hit our R and rotate it so you're just touching. It's like a little tip there. Move it up a little. That looks pretty cool. Okay, Now Let's talk about E V. We have set up are seen with two lights in this awesome cube in a plane. Here's the thing about evey. It's cheating to get this look. For example, if we zoom into these shadows, you can see that they're a little pixelated. That's because it's basically baking these things in real time or as quick as it can. You can adjust them by going to the render settings opening up shadow, and you'll see a whole bunch of options in here. We'll hit the highlights. For example, E s M is really fast. Not as accurate, though V s, um, more accurate in, of course, it takes more computational power cube size. Well, the bigger these are, the nicer the shadows we're gonna get. But be careful because depending on your GPU and this is using your GPU, it may go a lot slower or a lot faster. Now I'm gonna set both of mine and two K because I haven't NVIDIA 10 70 it's working out pretty well, presume and even more. You can start to see how the shadows start to break up, and if I switched to GSM, you can see the things get nice and soft, but they're not really accurate. And you're getting this limelight halo around it. And if I switch to V. S, um, you'll start to see the halo is gone. But of course, things get a little broken up. You can click on soft shadows, and that will fix it. But then you're seeing stars to really chug and hype it. Death will also help out because sometimes light from other lights start laddin up on top of each other. But again, it will start to tax, or GPU, especially on a heavy scene. Now, this is looking pretty good so far, but we're not really getting any light bouncing back, hitting the underneath part of the cube. For that, you need to create a light probe. So hit shift A come down a light probe and you'll see a handful of them in here. The 1st 2 referred to speculate things. That is things that are reflecting. Basically, the bottom one is for diffuse, that is light that gets bounced around. So let's goto radiance volume. There we go scale it up cheesy. You don't actually need to make it this giant in fact, as you start to make thes four year scenes in general, you want to be really cautious on how much you're actually making. So this looks pretty good. I'm gonna come over to my right. I'm gonna find the indirect lighting panel. I'm gonna open this up. And like all things, there's a bunch of options. The only one we need to concern ourselves with right now is baking. So go ahead and click on bake. And as you bake it, you'll start to see the lighting change at the bottom. That's because, like in a video game, engine blender is going ahead and actually determining where all the razor bouncing and baking that data back onto objects around the scene. We're gonna bounce three times. This is how big that image or that baked map is gonna be, and all these other options help us control the quality and filter out things like fireflies. Now there is one cool thing you can dio under display where you see a radiant size, you can click this little eyeball and scale these up. But be careful. Don't make him too big and you can actually see what got baked. It's pretty cool. It's like a little orb for every point in this scene. I'm gonna turn that off and you can see right away that this is all looking much, much better compared to when we had no lighting cash and we had our default shadows on. So I'm gonna undo that really quick. Baker. Indirect lighting again. It does take a couple of seconds. If you have a really heavy seen, it might take a couple of minutes, then when to turn this off. And there you have it. You have a beautiful looking seen with this cube. However, it won't work if you start to animate and move around. And if you escape the volume, you're gonna lose all of that data that you just baked. That is a limitation of evey in its current state. But don't worry. The Blender team is working on this all the time, and it's gonna be a huge update for Blender 2.8. So get in there and start learning how you can incorporate evey into your animation and scenes. In previous videos, we've talked a lot about how evey uses tricks to speed up the workflow and produced some great results. However, there are case scenarios, like reflections where it doesn't always look as good. So in this video I want to talk about how to work with and around screen space reflections . Now we need a scene to demonstrate this. So let's go ahead and delete this cube hit X to delete shift a mesh plane are why 90 g? Why actually g acts? Let's put it over there and scale it up with S That's at our cells. A UV spear tamped edit mode Control F shade smooth so it looks nice and smooth. You can scale it up to not too big to move it over here to the side and then for fun. Let's add Suzanne. So shift a monkey because who doesn't love Suzanne the monkey and I'll just rotates his in . Now let's click on this plane, go into rendered mode, make sure we're in E V, come down to material and make a brand new material. Now, this material is gonna be a perfect mirror, so it's gonna be really shiny, so really metallic, and we need to kick the roughness down. The higher roughness, the higher the roughness of the actual object is the lower, the more like a mirror. It is now right off the bat. We don't see any reflections, but don't worry. We're going to get there now with a spear over here. Let's make a new material as well. Under base color will tinted. Let's say, like a bluish aqua ish doesn't have to be anything in particular. You can make it green. If you want under metallic, we're going to kick it all the way up under roughness. We're going to kick it all the way down. Same thing you don't see any reflections yet. Now come to rendering settings. And here you'll see screen space reflections. Open that up and check box it, and right away you start to see well, actually, you'll start to see some reflections. Let's look at the spear for a second. If I get too close to the spear, everything disappears. Once I kind of zoom out a little bit. I can see some of the monkey. Hey, it's working now. For the most part, you can get away with this and it looks okay. It's a little greenie, though, right? That's what half rez traces. Now the name of this may change in the future. The basic idea is this allows you to draw a little bit more accurately, so it looks a little bit better, so half fresh trace could be off, giving you more ability to see a lot better and more cleaner. However, if you ever really complex, seen this is going to get really, really expensive. There's a lot of other interesting options here, but one of the ones that want to highlight it's something you'll see a lot in shadows and screen space, reflections and so on. It's this thing called thickness, and that's because screen space doesn't actually know how deep something is. Remember, this is not a ray trace engine. This is actually just based off. What you see is what you get. So Thickness allows you to kind of modify and say, Hey, you know what? You should render a little bit more of what you're seeing. If I drag it, you can see what's going on, especially in the mirror. It's kind of effectively duplicating what's already there. It allows you to get just a little bit more nicer edges on stuff, but again it's faking it. So it's taking what you see and basically duplicating it and putting it onto that mirror behind you and a sort of kind of works and it's really fast. So that's the advantage of screen space. And that's why you see thickness and a lot of different options. But again, it is a cheat, so just be aware of that. I'll just leave it at one for now. Okay, so let's say that this was your seen in TV and you're saying you know what? I really want to reflect at least the ball in the monkey. I'm OK with Spear, but I really want to have it fully reflected on this plane. Well, evey has this option called a light probe. If you hit shift A, come down a light probe, look for reflection plain and add that Now let's rotate it. Are why 90 g and X shifted back. Put it a bad in the middle ish, you know, this is really cool. I'm just gonna hit s and scale it up, and I need to make sure that it's completely in here. There we go. Just needed a push it for a little bit. And look at that. Now, if I scaled down, You can see it goes away. If I skillet up, it appears awesome. Now in its current release, State Blender, 2.8 E. V. Engine Onley allows really for one of these, and it's really expensive and really heavy because it will really tax your GPU. Nonetheless, it does give you a nice mirror to work with. You just have to be aware, though, that this entire thing needs to envelope the object within it. So if for some reason your object is outside of it, like here, you'll note that it doesn't work. It has to be perfectly inside of it. And if I come to my camera view, if I had zero on my numb pad or can go view cameras, active camera, you can see the reflections. So if I hit N, I can come down to view lock camera to view, hit and again rotate here and then I'm just going to render this image and look at that. It looks pretty good for a real time render, and it's wicked fast. Less than a second that doesn't really use that much memory. Of course, this all gets more complex, the harder and bigger your scenes get still. Screen space reflections will give you a lot of power going forward when you're using the E V render engine. In previous videos, we've talked a lot about how evey uses tricks to speed up the workflow and produced some great results. However, there are case scenarios, like reflections where it doesn't always look as good. So in this video I want to talk about how to work with and around screen space reflections . Now we need a scene to demonstrate this. So let's go ahead and delete this cube hit X to delete shift a mesh plane are why 90 g? Why actually g acts? Let's put it over there and scale it up with S That's at our cells. A UV spear tamped edit mode control F shade smooth so it looks nice and smooth. You can scale it up to not too big to move it over here to the side and then for fun. Let's add Suzanne. So shift a monkey, because who doesn't love Suzanne the monkey and I'll just rotates his in. Now let's click on this plane, go into rendered mode, make sure we're in E V come down to material and make a brand new material. Now, this material is gonna be a perfect mirror. So it's gonna be really shiny, so really metallic. And we need to kick the roughness down the higher roughness, the higher the roughness of the actual object is the lower, the more like a mirror. It is now right off the bat. We don't see any reflections, but don't worry. We're going to get there now with a spear over here. Let's make a new material as well. Under base color will tent it. Let's say like a bluish aqua ish doesn't have to be anything in particular. You can make it green. If you want under metallic, we're going to kick it all the way up under roughness. We're going to kick it all the way down. Same thing you don't see any reflections yet. Now come to rendering settings. And here you'll see screen space reflections. Open that up and check box it, and right away you start to see well, actually you'll start to see some reflections. Let's look at the spear for a second. If I get too close to the spear, everything disappears. Once I kind of zoom out a little bit. I can see some of the monkey. Hey, it's working now. For the most part, you can get away with this and it looks okay. It's a little green, either, right? That's what half rez traces. Now the name of this may change in the future. The basic idea is this allows you to draw a little bit more accurately, so it looks a little bit better, so half fresh trace could be off, giving you more ability to see a lot better and more cleaner. However, if you ever really complex, seen this is going to get really, really expensive. There's a lot of other interesting options here, but one of the ones that want to highlight it's something you'll see a lot in shadows and screen space, reflections and so on. It's this thing called thickness, and that's because screen space doesn't actually know how deep something is. Remember, this is not a ray trace engine. This is actually just based off. What you see is what you get. So Thickness allows you to kind of modify and say, Hey, you know what? You should render a little bit more of what you're seeing. If I drag it, you can see what's going on, especially in the mirror. It's kind of effectively duplicating what's already there. It allows you to get just a little bit more nicer edges on stuff, but again, it's faking it. So it's taking what you see and basically duplicating it and putting it onto that mirror behind you and a sort of kind of works, and it's really fast. So that's the advantage of screen space. And that's why you see thickness and a lot of different options. But again, it is a cheat, so just be aware of that. I'll just leave it at one for now. Okay, so let's say that this was your seen in TV and you're saying, You know what? I really want to reflect at least the ball in the monkey. I'm OK with Spear, but I really want to have it fully reflected on this plane. Well, evey has this option called a light probe. If you hit shift a, come down a light probe, look for reflection plain and add that now let's rotate it, are why 90 g and X, the shifted back put it a bad in the middle ish, you know, this is really cool. I'm just gonna hit s and scale it up, and I need to make sure that it's completely in here. There we go. I just needed a push it for a little bit. And look at that. Now. If I scaled down, you can see it goes away for a skillet up. It appears awesome. Now, in its current release, State Blender 2.8 E V. Engine Onley allows really for one of these, and it's really expensive and really heavy because it will really tax your GPU. Nonetheless, it does give you a nice mirror to work with. You just have to be aware, though, that this entire thing needs to envelope the object within it. So if for some reason your object is outside of it, like here, you'll note that it doesn't work. It has to be perfectly inside of it. And if I come to my camera view, if I had zero on my numb pad or can go view cameras, active camera, you can see the reflections. So if I hit N, I can come down to view lock camera to view hit and again rotate here and then I'm just going to render this image and look at that. It looks pretty good for a real time render, and it's wicked fast. Less than a second that doesn't really use that much memory. Of course, this all gets more complex, the harder and bigger your scenes get still. Screen space reflections will give you a lot of power going forward when you're using the E V render engine. Believe it or not, you've been using the workbench mode this entire time. It's the default viewer inside a blender when you're first starting out, and it's your typical solid mood that's up here. And if you remember, when you click this drop down, you'll see a whole bunch of interesting options that you can use to preview your scenes even better. Well, when you come over here to render engine, you can also pick workbench and get all of those same options. Now, this is really handy for things like sculpting and layout. When you just want to look at something pretty basic and not spend a lot of time shading or text oring it, you just kind of want to build out the scene. So in order to demonstrate this, let's make ourselves a really quick scene. We'll move this cube over here so G shift Z moving over there Too easy. So was it up a little? Shoot a. Let's make ourselves a plane kind of big shift A. Let's at her favorite monkey. There we go. It's tab in edit mode. Control F shades move right click subdivide. Open this up, smoothness one number of cuts to turned it off. Tab out and shift a one more time. We'll add something totally different. Let's had a cone. Haven't really added, Cohn said. We Here we go. Tab control F shades move. Nice. Now we have ourselves a smooth cone. Doesn't matter if it's clipping mover monkey right here. Scale him up from down Something cool like that. All right, now we have our scene set up, so come over here to switch to our render mode and over here under lighting, if you click on it, you'll see a whole bunch of other options. Just pick one. Doesn't matter which, and you can start to see how each one of these changes the way that your scene looks. You also have a little tab here to control rotation will just have to check on that little globe, and you can rotate where the lights are coming from. And if you scroll down a little bit, you'll see some other options like cavity. If you click on that and drag it up, it's kind of like an Ambien inclusion. You can see where all the cavities in your measure that makes it for a fairly interesting kind of looking mesh. If you have no materials on everything, you can pick random that way, everything in scene has a random color. Or, of course, you can go to material, and it will read exactly what's on that material. There are, of course, other options, like Vertex if you went ahead and Vertex painted some of your scenes, but I'm just gonna leave it on random because that looks pretty cool. If I come down here, it can also turn out outline that gives you a little bit of like a contact shadow. So if I d select everything, you can see just a faint outline around everything. It's kind of nice. I'll bring this down a little bit cause it's getting kind of noisy and come back up here and explore some of the other lighting schemes that we got. Once you find the lining scheme you're happy with, The other thing you can change is shadow. Come over here and click on shadow. If you come back here, you can see creates a very nice, accurate shadow which I can dial back, die afford I can even play with shadows shifting or the focus of the shadow If I want to Even where the shadows are coming from If it doesn't want to obey my lights Or of course I can move these two independently So have one for lights, one for shadow. Now you might be asking yourself Well, what about this light? Well, this is workbench mood. It's only gonna factor in what's inside of these settings. There are a few other modes we can look at really quick, like madcap. And you might remember this from sculpting mode for come over here, you can see that everything has well, this sculpted kind of look I can go to material to get rid of that randomness. Here you go. Everything has that like red issue. But there are other cool met caps like this normal looking mode. I can sit that to random, but it doesn't change too much. I can come over to this like green thing. It's a bit like a jade kind of feel to it about this black one. Yeah, that's pretty cool, right? Or this white one. If you want to keep it nice and simple, all of these mad caps are really cool to play with. Okay, let's take a look at the last part, which is flat, and as you get it, it's flat. It's really, really, really flat. And this mode is really good for random, so you can see where everything in your scene is, and it's slightly different color, so it won't overlap. Plus, if you really kick up your cavity, you can really start to see how all of your meshes air built. Now all this taken into consideration workbench. It's not a final render mode, so you could render from it if you wanted to. It's really intent. It's just to be a workbench, to give you a way to look at things without having to worry too much about materials and textures and lighting. You just want to see things really quickly, and you want them to be pleasing to the eye. So get familiar with workbench and find what settings you like to work in. The last render engine we're gonna take a look at is cycles. It's the main workhorse behind all major blender animations. And trust me, it makes your stuff look super good. But it is expensive as and it takes a long time, for it's a process. Now we need a scene in order to see it in true form. So let's build one. You can click on this cube and hit G Shift Z the movement in the back. Move it up a little bit. Shift a and let's add ourselves a plane. There we go. Shift a again. We'll add our favorite monkey and you can tab control F shades. Move, of course, right click and subdivide our monkey. Make sure you said that. Smoothness toe one contempt out of this. Get out of edit mode. Shift a and let's go ahead and add something fun like a cone. We can bring this down over here, G shift Z, send it to the back, and why not scale it up and move it up a little bit. Maybe we'll move her cube a little more. Fourth, Who doesn't feel so left behind? There we go. We'll rotate it just like we had in our e v cube. Cool. I'm gonna move this over so I can get some more real estate. And finally, I want to preview everything. So I'm gonna hit this rendered mode button. Then I'm going to switch from E V two cycles and right away you can see the things don't look too different. If you zoom in a little bit, you'll start to see that there's a little bit of graininess. Now, remember what happened in even behind a cube? If we come TV real quick, you can see it looks pretty flat and bland. But if we searched the cycles, you can see it starts to get dark here. And there's a little bit of light coming from the sides now, because cycles is a ray trace engine and raise or bouncing all over the place, giving this information like light that we otherwise won't get inside of E. V. So what I'm trying to say is is that cycles is way more accurate But that accuracy comes at a cost, and you can see that that cost means things are a little grainy now in order to remove the grain. One of the simplest options is just to add more samples under sampling, and that often will help. But unfortunately, you can never really get rid of it. So there's other tools. For example, if you come over to this view layer tab, you can scroll down and you'll see an option called Denoix Zing. If you open this up and check box it when you do a final render, all of this noise will get cancelled out here. Let's go preview that really quick by going into our camera mode, cameras, active camera. You can see we're looking a little too down. So it's it en bloc camera to view. And let's just move a little bit, just like we would normally in the View Port hit and again turned off camera to view. And now let's render with Denoix zing on. You can see as this image is getting processed that all that grain gets removed by the Denoix Zing tool. That's the power cycles. You get some really beautiful, accurate scenes, but you also have to be careful. You might need more samples. You might need to turn on D noisy and more importantly, it's gonna take a lot longer than TV. But trust me, cycles will look great. And it's worth the wait. There's a lot of awesome new features and speed ups inside a blender, 2.8 cycles. One of my favorites is a principled hair. Let me show you. Now we need something that's gonna be kind of furry and Harry. So let's get rid of this cube hit X delete and hit Shift A and let's add a monkey tab. You know what we're gonna do, right? Click subdivide, Open this up. Smooth sub violence moved this toe one close that control F shade. Smooth tab out of here. Let's switch ourselves to cycles. Render engine zoom in a little bit F three quick for type that in. Come over here. We can make it a little bit longer. Here you go. Close that out. Come to the right and under particles. You're gonna look for something called field weights. Now way at the bottom is a check box that will turn on all the weights. And in this case, it will make your hair go all the way down because there's a lot of gravity. So we're gonna defy gravity and type in 0.8 There you go. Look at that cool monkey. Now, to be honest, there's a more proper way to do this. You go up to object mode and you switch it over to particle at it, and you really start to shape the hair. But for now, we're just going to defy gravity. Okay, Now come down to the material tab. You see something that's is for material you can click on, use nodes, switch surface to principled hair. And finally, since we're in cycles just go up to rendered. Now this light might be kind of far away, so I'm gonna click on it. I'm gonna turn on area, and I'm gonna bring it a lot closer. Rz, There you go. If your machine is chugging, you can always turn off rendered mode and just position this right where you want it and then turn rendered mode back on. Now let's zoom in, click on this monkey and look at this gorgeous hair. Here's the gorgeous thing about this. It's all controlled through this amazing node, and if you click on direct coloring, you can even pick on melon and concentration. So you get really accurate kinds of hair. For example, I can go down a 0.3 ish and I can get myself a blond haired monkey. I can play with roughness or any other sort of value, or it could just kind of leave it alone. And maybe let's bring down some of that redness. Now it's kind of more platinum. Blonde like principled hair Be SCF is both fast, easy to use and let's face it looks super, super cool. This is one of the many features that have been added a blender 2.8, and it's honestly one of the most fun to play with. So get in there and see what interesting hairdos you can come up with. Have you ever rendered something? And afterwards went, Ah, man, I really wish I could change the color of this thing, make the background darker or lighter. How would you do that after you've rendered something? Well, with a little bit of preparation, you can do that inside of cycles. Let me show you, of course. Let's switch our render engine two cycles and then let's make ourselves a quick scene. You know the drill. Shift A at a plane. Move our Q. Back here, it's at ourselves some more interesting items. There we go, and let's go ahead and add a few more things up front. So shift a spear and let's shift a again. It's at a cone. There we go. Now grab your camera and rotated up a little bit our x X and then we can view the camera really quick. Hey, that's looking pretty good. I'm gonna scale at my plane a little bit. I'm gonna grab the spear, and I wanted to overlap just a little bit, Okay. Now with each one of these objects, come down the material and go ahead and add a new material for all of them. You can make it whatever colors you want. Just have some fun and an Cem Interesting things. Now, in the case of at least one of these, like this cube and the plane, I want them to be the exact same color. Talk about why in a second Great, now that we have materials in the scene. I want you to come over to this view layer tab and scroll down and look for something called Krypton meant a crypto Matt is where each and every single object. It's a unique color, and you can use that color as a mask to change it. After you've rendered it, I'm gonna set it to object. Although you can see here you can set it to material or asset, and levels of six means there's going to be six colors. However, you could set these levels a lot higher if you had more objects. Six is OK for now, so we just leave it a default. Great. Now the next thing I want you to do is go ahead and render this cool. Now we have a rendered image. So let's go ahead and close this and let's come over to compositing up here in the top. I want to change this dope sheet to image editor. Bring it up a little bit and I want to go to render result. Here we are. This is our compositing editor. I want to switch this to use notes hit and to get some real estate, and I want to pull this open. And finally I want to control shift left, click, and that's going to create a viewer node. And to save myself some performance, I'm gonna turn off backdrop, come down here and go to viewer note. Cool. Now, a viewer node means that every time you control left click, it will cycle through everything in here. If you go to Krypton, Matt, you can kind of see something. What you need to do is shift a add a crypto Matt. So it's type that in there and we're gonna control right Click Drank that. Cut that again. That's control, right? Click drag. Then we'll put this crypto Matt right here in the middle Image image crypto oh, to the crypt alot and just kind of drag him over. Top the top. Middle to middle bottom to bottom. Okay, now control shift left, Click on image. Nothing. Control Chef Left again. Nothing. One more time. Hey, we got something. We have the picker window. Now, if I open this up just a little bit more, you'll see that in my crypto Matt node. I have add and remove. Click on add and let's just pick an object. Let's start with the Cube. All right now control shift left click image. Hey, now I'm starting to get something. If I do owe more time, I could go to Matt and I'll get that black and white math that you can use another compositing software or in blender or pick. And I can come down here and say I want this spear, but I don't want the Cube and I do want the monkey So all you have to do is use ad. Click on what you want, remove and click on what you don't want. Now again. Control shift left click Image, Matt pick and go back to image. There you have it, the power of crypto mats at your fingertips. It's super versatile, and the best part about it, it's It's all nicely anti alias. So little work really well in any compositing software. Now, one more thing before we leave Crypto Mantz. How do you actually export them after you've rendered? In order to do that, you need to add two more notes, so shift a search set Alfa one more shift a search file. Help it now at normal render time. If I click on dimensions you'll see this output. And this is where all of my renders will output from the composite note. Anything else needs to be out. Put it with the file output note so we can move our viewer over here. Get some real estate tranq image to image Matt, Toe Alfa and finally, this image to file output. And then I can hit n toe. Open up some tools I can come up to item open up properties and in here I'll see a whole bunch of things I can pick and make sure that you have a format that supports RGB A. And in this case, P and G has a little rgb a. So you know you'll get the Alfa map and you can scroll down and change the file name right here under what's called file sub path. And there you have it every time you're composite renders, you'll have the output over here on the right, and every time you have a crypto matt set up, as long as you have set Alfa and file output set, you'll also get your crypto Matt exported. And that is how you utilize the power of crypto mats in your rendering and compositing workflow. One of the coolest things is how fast cycles has gotten from 2.7922 point eight and factors attend to 30% speed of just out of the box using Blender 2.8. Nonetheless, there are still some things you can do to speed up your renders a little bit more, and I want to cover some of them in the studio. The first thing we need to do is switch to cycles, and we need to make a scene. So let's go ahead and shift a at a plane. Scale it up and you can construct the scene in any way you want. We've done plenty of these by now, so go ahead and just add a couple of objects. Nothing too complex. Whatever you feel is best my personal favorite, a cone, a cube in a monkey. Now, typically, this camera is pointing a little too far down, so if you select it and then hit, our ex fix can rotate it up, going to can review camera active camera. Hey, that looks pretty good on a scale this out, so we cover everything now. First, let's talk about how rendering works in cycles. You have your camera right here, and what it's gonna do is send out raise from the camera. Throughout this scene, each Ray is going to look for a light or a light source like, say, the world or meshes that admit like. And then it's gonna bounce. Then it'll hit an object bounce again, bounce again, bounce again. Eventually, it bounces for a long time, and you can control how many times it bounces under like paths. You can set a total limit for everything, or you can set how many different kinds of bounces for each type, for example, diffused bounces or glossy bounces. Okay, so that's how rendering works Now. Every time a ray bounces, you have to resolve what it looks like, and that's where sampling comes in. The more samples you have, the more you can resolve what actually happened when that light ray bounced. So at the default you have 128 samples for render and 32 for Vieux Port. The more samples we have, the cleaner and image will look if you're working on an outside seen half tracing issues, pure ray tracing and it's really fast and really good looking now. The downside is that it'll actually take a really long time to resolve. So that's why under light pass, if you scroll down a little bit, you'll see this thing called clamping. Now. This is where we're going to spend a lot of time. So let's going to can review switch to rendered mode and you can see what's happening right now. It looks a little bit of graining because we don't have a lot of samples. So if we shove 128 more into our view port and hit enter, we can see that things start to clean up just a little bit more just a little bit more, just a little bit more. After a while, you could just clamp it and say, You know what you're taking too long to resolve? I'm just gonna cut all indirect light down to one. Now here's the trick. You can set this value to anything you want, but said it to a point where you can't tell the difference between it being a 10 and it being at one. The same thing goes for directly. You consider, for example, to 10. But if it looks just as good at 10 as it does one, then maybe you just want to use one. This will clamp the bouncing and sampling and give you a cleaner image sooner. On top of that, he also have this thing called Pattern, and you can switch to correlated multi jitter. And that's just a pattern of noise that is in your scene. Pixar invented the correlated multi jitter, so that's why we tend to use it a lot more because it does look a little bit more tasteful . If you're working on an indoor scene and you have light coming from outside through a window, for example, you'll want to use branch path tracing, which will resolve scenes a lot faster initially, but take a long time to get to the final look. The cool thing ab 9. 08-Grease Pencil & Draw mode & Sculpting: one of the biggest changes to Blender 2.8 is the introduction of a whole new two D animation system. They've taken an old grease pencil system from 2.79 and re factored. It used the power of E. V and made it way better to work with. Over the course of the next chapter, I want to show you all the amazing things that weaken do inside a two D animation. Now. First, let's actually switch to two D animation mode. Just hit Control N and go to two D animation, and you can discard changes. Here. You'll be greeted by whole new workspace, so let's start from the top over here. You'll see that we have a brand new mode. It's called Draw. Across the Top. You'll see a bunch of different options. For example, what material to use, what kind of brush that we're using and different things like radius and strength. You can move left and right by holding down the middle mouse button. Like all modes and blender. You have some extra work spaces to work with, but we'll just be using two D animation from here on out on the left you'll see a whole bunch of new tools to play with. At the bottom. You'll see we're in the dope sheet animation editor, and it's been switched to grease pencil. Now this is important because this will let you manipulate your grease pencil drawings to create two D animation. And finally, on the right is the new strokes panel, and there's a lot to take in here. The most important ones are layers and onion. Skinning a layer is just like layers and other software gim photo shop, etcetera. It allows you to draw on one layer, which she can do just by holding down left click, do some cool stuff and then select the next layer. Change what material you're using. You can go to fill, and you can just fill any one of these layers listen pretty cool stuff. Now, if it fills the entire screen, that's okay. You can control. See that you can then hold down control left click drag and create a cool little fill box. Anyways, back here in layers, you can turn off each of these layers and see what you're working with. Plus, he can control the opacity and play with blending modes such as addition, multiplication, etcetera. Next, it's onion skinning, and we'll dive into this a little bit deeper in animation. But this lets you see previous drawings so you can compare your current drawing with what you've done before. Now there's one more thing we need to look at. If you hit N and come over, it's a tool. You'll see the brush tool. It's similar to what you see over here. When you switch to draw and you come up here, you'll see brushes And, of course, all of these options. He have them available on the right under end, plus a few extra ones, like curves for sensitivity and other options to play with while drawing. Okay, now that wraps up our overview of the interface of grease pencil in two D animation. Now let's start playing around with some of the tools. Now I know what you're thinking. Isn't this supposed to be a talk about two D animation? Well, it is. And one of the cool things about grease pencils Big update in Blender 2.8 is the addition of annotate. Let's say you're just working in three D, doing some pretty cool stuff If you click on this annotate tool, you can left, click and drank and leave notes for people. In fact, you don't even need a click on it. You can just hold down the deep button and make a whole bunch of drawings, and there's a little slide out here. So if you hold it down, you see some extra things you can do, like ah, line polygon or an eraser. I'll just take to annotate this tools really handy, especially if you're working in teams of people, because each one of you could leave different annotations to point out things that aren't or are working with this three d object. Now here's the thing. If you hit n income over down to view annotations, let's close thes really quick to get some more real estate, you can see how you can change the color of each annotation. So in your team, perhaps you can be double click the art director, and then you can hand it to another person who could potentially be the animation director . And they could say, this looks great and the art director could be like it does not that is the cool thing about annotations is that you can change different colors and set different labels. And, of course, for a little Vieux Port overlays, you can click here and then turn them off to work in a clean interface. They also work over time. So if I come down to my timeline, I can come to say 100 and one and then just draw another annotation. An annotation is based on where I'm looking, by the way, so you'll note that when I rotate over here and I draw circle, you can see how that circle seems projected onto an invisible plane from the camera so I can try one more. Let's try it from above, and I look at it from the side. You can see it's about flattish Imitations are really handy to add to your workflow. They allow you to leave reminders and pass art between people and leave some notes for them . I recommend you added to your workflow. Now let's start drawing. Just hold down the left, click and start making interesting shapes. If you have a pressure sensitive tablet, you can lightly sketch and hard sketch, or if you don't, you can always play with the strength appear, or by right clicking. You can even change the radius at the top left, you can pick any kind of brush that you want to use. For example, drawn noise kind of looks like calligraphy and draw marker gives you a really thin line until you really press down or drop ink. We'll get you something a little bit more consistent from the get go. Go ahead and pick one of the drawing brushes you like, and we'll keep going. Now we're in the lion's layer over here. We talked a little bit about Phil's, so let's go ahead and click on Fills and then on the left click on our field tool. Now, how do I change the color that I'm filling with? If I come up here, you'll see that I have a few options already. But what if I wanted a new option while I could come to gray and change the color here? Or I come down to the material tab right here and you'll see I have a lot of different materials I can play with. If I come up here, can click, plus new and I can choose. Is this a stroke a fill or a stroke. And Phil, let's try with both under stroke, I'm gonna click here and pick a random color. And under Phil, I'm gonna click here and pick another random color. So now when I click with this tool, it'll leave a blue outline and agreeing in line. Now, if I click over here, I'm gonna make the whole canvas green and I don't want that. So instead, on a control, See? And you can see that there's some faint lines over here. In fact, I consume in, since this is a three D workspace, believe it or not, so I have an infinite resolution. Now, if I hold down Ault and Left click drag, I can leave a little helper Phil line. Let's go ahead and fill some of these and then click here to fill that space. If I'm really lazy, I can hold down control and left click around and just draw the shape that I want. And if I mess up, I can hold down control Ault, right click and drag this little cunning box tool and let it go. Now here's a little note about this tool you can actually cut out the middle. Unfortunately, at least not at this stage in Blender. That's because it's relying on all the points that are at the end to determine what the shape is. So if you want to cut something out, you're gonna have to do it like this to cut out the edges. And if you want to add in kind of like a filler, you'd have to do something like this. Okay, now let's zoom out and come back to her draw tool over here and let's look at the eraser. As I mentioned before, it really only works on the edges of stuff. If you really want to erase the entire thing, well, you're just gonna have to hold it down and really work at it to get all of those Vergis is that are making up the fill shape. However, when it comes to erasing the stroke lines, it works really, really, really well, so it's a little finicky, but it is a really good tool. And finally, this cutting tool is exactly like holding down control all to right click to create that pattern. Okay, great. Now you have a good overview of all the draw tools inside of blenders, two D animation workspace. So get in there and start playing around with it and see what interesting drawings you can come up with. Now, before we begin. I don't want any complaints that you don't know how to draw. Just start, John. Doesn't matter what. Just lightly make couple cool sketches. You go Look at this. Coolness doesn't have to look amazing. It can just be a circle. No erasing, not allowed. Okay, so let's say you've gone ahead and you've drawn this really cool looking character. In this case, my little guy has a crown. And like most artists, when you're starting out drawing, you're gonna stay nice and loose and really sketchy. Now, let's say you wanted to ink it and have really strong, crisp lines. Well, what I want you to do is come over two layers and make a new layer. Go ahead and lock your previous two layers. That way you don't erase them by mistake. Click on this new layer. If you double click on it, you can hit control a type in ink. There we go. And now let's take a look at these tools over here on the left. I'm just gonna undo that real quick. There's a handful of these and I wanted to reserve a whole video for them because a really , really handy. So let's pretend that you wanted to start thinking this person and let's start with a line . You can just go ahead and left, click and drag and create a quick line. Maybe you want to go ahead and make a few more alliance. You can hit e to extrude, eat extrude e and just just keep hitting A until you feel like you're in a good spot and then hit enter. Maybe you want to try something a little bit more wiggly. So let's try this one right here. Click and let go. That's going to give you this kind of tool and this little dude and now you can go ahead and edit these around and really just have some fun. Now here's the thing. Like an edit mode for three D stuff moment you hit Enter, you can't go back, so be really mindful of placing these exactly how you want them. So go ahead and start thinking this little dude, I'm gonna go ahead and make the eyes really quick. That looks pretty good. Although I can move it around if it really want to, Or make it a bleak I just want perfect circles. All right, so now I'm just gonna go ahead and finish out the rest of this character really fast. Okay, So now I finished thinking this little guy, and I'm gonna turn off my lines. And, Phil, I'm gonna hit Tab to go into edit mode and hit a twice. You might say yourself Wait a minute. It's really light. What am I gonna do about that? Or I really want really thick eyes. How do I make the lines thicker Now that I've already gone ahead and inked in actually really easy So let's it be Dropbox and select the eyes or something similar on what you've drawn and you can hit Ault s that way you can control the thickness and we can hit a again to select everything and then hit shift f. And that will make everything really sick. That controls the opacity. And you can kind of see at the top left what's happening there. Now be careful. You can go all the way down and remove the opacity if you want to be smart about what opacity you set cool. Now we have everything nice, the thick and dark. However, if I hit a twice, you can see that there's a few overlapping areas that don't look good. I cried over here so I can zoom in and because I'm an edit mode and strokes or nothing, just but Vergis is I can grab the little point here and hit delete and the lead again. That way I can clean up these nice little edges and have a really good looking character. Using those line and ink tools inside of draw mode. And then cleaning them up inside of edit mode will help make your two D animation look great. One of the cool things about Blender 2.8 SNU two d animation system It's a fact that everything's actually in three D. Let me show you if it comes out to draw your object mode, hit shift a good grease pencil and you guessed it at a monkey. Now, if I rotate my view around, you can see that my monkey is actually a three D shape. If I come over to the outline, er you can see I have a stroke object. That's what we initially started with. Even though it's blank and Suzanne are pre drawn monkey for us and because it's an object I can come over here into grease pencil, switched to dope sheet and move this object around rotated. It s an said key frames, so let's go ahead and do that. Let's hit I location rotation scale and it's go to about 100 we can rotate this monkey and hit G to move it around and then hit I and said another key frame. Look at that. We haven't animated to the monkey moving across three D space because it's actually a three d object. And because everything is three D, I congrats my camera and hit. I got a location irritation scale come down to say, frame 100 g and why moving forward hit I again location, rotation scale and have a three d moving camera with my two D drawings that also get moved around. It's probably a little easier to demonstrate without the monkey moving, so let's click on the monkey and just delete that last key frame that you said by hitting delete If it's a little hard to see with the white background, you can click on the color and drop it down a little bit. That looks pretty good. Now. That's going to camera view really quick. I can zoom out a little bit and I can scrub my timeline and see how I move through three D space. It may help to actually have a three D object so I can come up to my overlays here, turn on my three D cursor, shift a and go ahead and add a cube, and we'll just move that cube over to the side really quick may be rotated a little, too, and come back into camera view. Now you can see that I have a three D space and a two D drawing. And the best part about this is I can click back onto this monkey go to edit mode, and maybe on this key frame I can have the monkey close its eyes. Let's go ahead and hit C to select all these points while in edit mode S Z. There we go and take a look at that. As we approach with our three d camera, Suzanne closes her eyes. This is so cool and it's never been done before. We're able to combine two D animation in three D animation into a single easy to use system , and that is the power of Blender 2.8. In this video, I want to talk about some of the classical two D animation tools that are included in blender to help you with hand drawn animation. Now, if you're not comfortable drawing don't worry. You can still follow along because we're just gonna be making circles. Plus, it'll show you how the tools work with this. I want you to come up here and draw a circle and we're going to do basic assignment. You give all beginning animators that bouncing ball. I'm gonna drop ball all the way at the top here and then move my play head to about frame 12 and squish my little ball. We're gonna pretend that the bottom here is the bottom for our ball. Then I'm gonna come to about 24 and I'm gonna try the ball again. And then I'm gonna come over to say 34 and right away you can see one of blenders. Really handy tools onion skinning lets you see your previous drawing to make sure that what you're currently drawing looks about the same. So with this nice flat bottom here, I'm gonna try to mimic more or less what that drawing was like. Now I can come over here, make another drawing of the ball, and I can come over here and flatten him out yet again. Here we go. Cool. Now, with this amazing ball bounce animation, you might be asking yourself Wait a minute, where all the other joins 1/2 while onions getting works by specifying how many drawings you want to see. So you're gonna want to go ahead and click this number just so you can see all of the previous ones. However, it won't show up while you're scrubbing. And if for some reason you can't see your onion skin, you can always come back to overlays and make sure that it's checked on or check it off If you rather work with them off. Cool. Now we have this amazing ball bounce animation. Now, the next thing is, how do you fill in all the joins in between these key frames? Well, you could hand draught that's one way or you could use blenders. Edit tool. Let me show you. Come over to draw and click on edit mode and let's go to about Frames seven something between the first drawing and 2nd 1 when it's on the ground and then hit A to select all of our points and then just literally move him down wherever you'd like. You can scale them in, say s ex. You can rotate it if you'd like. Just get it about what you think it should be and then hit TEM and then scrub it again. Now that's one way of going between all your drawings, but is another. Let's go back in the edit mode and you're gonna look for something called Interpret. It's gonna help to come over to your onion skin down here at the bottom, right and just said it toe one in one so we can see our previous and ex trying. In this case, we're going to go from the bottom to the top of these two. So said it right here and I click on interpret and I'll see to new buttons the 1st 1 called Interplay. It gives you a breakdown er, sort of tool from the three d animation side of things lets you favor one key frame or another, or just overshoot it all together. I'm gonna leave it to about here. The next one underneath it is called sequence. For that, we're gonna want to go to a new area. So between this drawing and this shine, So let's just put our play head right here. Go to inter Plate and click on sequence. Now all of a sudden, if I zoom in over here, you can see blue key frames and how Blender has tried to fill in what's happening between these two major key frames. The's air called breakdowns. And it's a really handy way to rough out what your animation should be to come back up, to interpret. You can remove the breakdowns and then maybe change the tangent, type to something you'd like like quadratic. Let's see what happens here sequence. And now we can scrub the timeline and we can see how it favours a top one a little bit more now. Admittedly, this is not gonna be really perfect, beautiful looking drawing, but if you plan on ink in it later, it's pretty handy to give you a rough idea of what you should have. If you feel good about it, you can go ahead and zoom out and just play your animation by hitting space bar. It may help to be out of edit mode, though, so I'll switch back into draw. Okay, now, one more thing in the dope sheet. If you hit the p button p like play, you can draw a box between the play area of your animation. So in this case, I'm gonna go between one and 50 and let it go. Now I can hit space bar and watch my amazing two d animation. The tools Blender has for two D animation are really versatile, simple and easy to use. So get in there and see what cool things you can animate. Now you may notice in our previous videos that I like to be really kind of loose of my drawings. And then a little bit later, I'd like to make an in clear and make them really nice and Chris, although admittedly that is the worst circle ever, John in my life. Nonetheless, you get to make some pretty cool stuff with a light, sketchy layer in a thicker ink layer. But now let's say that you had this amazing in clear and you wanted to clean it up even more like maybe you had some really cool stuff on here and you're like, Ah, man, I want to clean it up just a little bit. Well, blender gives you an awesome thing called Sculpt Boat. So if you haven't already drawn something, just draw something. Doesn't matter what When you're ready, come over here and switch the sculpt mode and let's take a look at some of these really cool tools. The first is move. I'm gonna turn up my radius a bunch here and I'm just going to smooth things out. Actually, let's make that radius a little smaller and smooth this area, and that takes all of my horrible circle a drawing and kind of smooth it out. Makes a look pretty decent. Actually, the next tool is thickness, and that lets you make lines thicker from what you had originally drawn. So don't worry, too. You've drawn and you said, Oh, darn it. I wish I made the line thicker. You can always do that in thickness mode, plus If you think in only parts of it, you can get this kind of cool, wobbly look underneath that its strength and like thickness. If you forgot to make something really dark in your initial drawing, you can use strength to really thicken up that dark line. There we go. It's looking pretty good. You can also remove strength by clicking the minus sign If you want to make things look kind of faded in my case, like I'm kind of strong all right. The next tool is randomize, and this is, well, just gonna make things random. Let's just be honest. It's gonna look cool. It's gonna look really cool. The next tool is called Grab. And for come over here, I can hold down f make a bigger radius, and I can just grab stuff and start moving it all around. It's gonna look well. It's gonna look grabbed, admittedly, but it's gonna look pretty cool. The next tool is called Push Now. With Graham, you had to click and drag a selection, but with push, you can hold down your left click and move around the image and just do some really wicked kind of stuff. It can make things really dirty really fast, though. So I'm gonna undo that and just push out some things. There we go. But the best part is he don't need to lift up your mouse underneath. That is twist. And if I make this brush a little bit bigger with F, I can just hold down my left click and start moving in circles. If it don't move, I can just twist what's right in front of me in sadly and endlessly start twisting are poor little happy person. Okay, I'm gonna stop that. And I wanna undo poor little guy underneath. That is pinch. I'll hit f to make a little bit bigger and just hold it down. You can see I'm starting to pinch that little edge Just pinched that edge. And, like, push and twist I don't have to lift up my mouth I can just work my way around the image as I want Whoa! And finally it's clone. Now for this tool he had to hit a to select everything control, See to copy it to your buffer and then click somewhere and Walla paste. Zoom out. Pace, pace, Pace, pace, pace, pace, pace, pace pace. This could be really handy for, say, grass or just, you know, annoying all of your viewers on your video. Okay, let's undo all of that. Boy, I really did make a bunch, didn't I? Clone is actually quite handy for things like grass, etcetera, just on easy way of building out of scene. Great. Now you know how to use the sculpt mode tools to make your two D drawings look even better in our last video on two D animation inside a blender 2.8. I want to talk about adding effects to your drawings. Now it's gonna help to actually see a good drawing. So let's go ahead to a world and click on color and drop it down a bunch and then come over to draw, said its object mode. Shift a grease pencil and add our favorite monkey. Now, with the monkey selected, you can go to draw and we can zoom in and then look for this little magic one. It's called effects and then click on add effect and you'll see a whole bunch in here. Let's go through some of them. Color is exactly what you think, Glor, and you can add more samples, but be careful. This will make your system really slow, depending on how many samples you use. We can remove that and go to cull arise, and this lets you take all of your drawings and add cool color effects to it. Or maybe you can even add your own kind of effects. And now you're monkeys at a rave. All right, let's get rid of that and move on to flip. Because you know what, you always need to flip a drawing here, there, and why not just have a tool Do it for you. Next is glow. Now. Glow depends on threshold, that is, anything. Toe has a color brightness higher than 0.1 glows. If I said this to say 0.5 ish or so right about here, you can see that on Lee, the eyes in this little top areas glowing. That's because the skin of the monkey is actually darker than 0.5. If I said it higher, you can see eventually the eyes go away. So threshold lets you control how much of that you see, and on top of that, even have another mode called color, which has its own version of settings. Next up is light. Now, To really appreciate light, we need to add an object. So come up here and go to object mode. Pull out a little bit, shift a and let's go ahead and and ourselves and empty and just bring it right in front. All right, now, let's go back to our camera. Move that right here. Click on our monkey click and this little eyedropper click on the empty Hey, take a look at that. We have a light right inside the monkey. This could be really handy, especially for characters carrying a torch or something like that. It does not respect scaling or rotation, but it does respect movement. And from here you can control the energy or help right it is. And how much ambience it's giving off. Next up is Pixley and for you to D game fans out there. You guessed it. Blender has the ability to create really simple to D pixel animation. Take a look at that as they move it around. It looks like an old nes game or something like that, all through the power of a simple effect on the course. As you animate this character. The picks late will update. No longer will we have to draw every single little block in Emma's paint ever again. Next is rim now. At first you may not notice it, so let's set it a color like blue. And there you go. Now you can see it. Rim lets you add a light or shadow, depending on what kind of mode you set. This is a really helpful tool because it allows you to focus just on drawing your characters. And then, if you want to add some light or shadow, you can just use a rim tool. And depending on the mode, you can get yourself a really cool looking shadow or add. And there you go. Now it's like a bank like next on the list is shadow itself. This is a little different. This is like a drop shadow, and it's honestly kind of weird but kind of cool. You could use it, for example, to have like an eerie glow behind your character. Maybe it's scaling around or something like that. I really like this tool and you can click on wave effect and there you go. I can get a really eerie wave. All we have to do is animate the face. Spooky. All right, let's get rid of Shadow. Keep going down to swirl and we want another object to attach it to us. So let's click on this empty and wish Here you go. Here were swirling our monkey away. Ain't that pretty cool? Of course you can lessen the radius or even the angle if you want to, so it's not a giant swirl, but it's still really cool. And finally wave distortion, which we saw a little bit of inside the shadow way of distortion, just makes it look like our monkey is underwater and you can control the period of it, the amplitude. And of course, you would want to animate the phase so you can get that nice way venous. Now get in there and start playing around with some of these two D effects, and you can see how they're going to make your two D animation look even better for this next chapter. I want to talk about how to bring in video into blender and manipulated or play with it in particular for this video. I want to show you how to take a video and then recreate the scene inside a blender. It's a start. We want to hit control N and switch to the effects. Now you're gonna want some footage to track something that has good lighting that has a lot of edges and good points to track and something that isn't too flat. If you have access to the exercise files, I've included one called Lincoln Carpinteria Porch. So go ahead and click open and click on the MP four that's been included, and then just go to open clip that will go ahead and open this video for you to manipulate . Now there's a lot to take in inside this tracking window, so let's briefly go over it at the top left. We have where are tracking points will show up and we'll see how good our tracks look up here. The top right is our three D view. On the right is their typical out liner and properties. In the middle is our movie clip editor set a tracking mode, and then at the bottom is another graph editor where we can see how good our track points work now in the middle here, you'll see a bunch of buttons on the left in particular pre fish, which grabs all the footage at the bottom so you can quickly scrub an detect features, which is really handy because it will try to go ahead and figure out all the points in the scene for you to track. Let's go ahead and click on it right away. You'll see a whole bunch of yellow dots appear. If I click on any one of them, for example, this one right here I can go to track and I can see what it's looking for. Just that hard little white dot. Now I'm gonna tell you the truth. The tech features is not really the best option. What you really should do is zoom in and control left, click and look for points where there are hard contrast ID edges once you control. If click, you can hit G or s to move it around. So I'm gonna go ahead and put some markers that I know will work. Okay, so now we've gone ahead and Edison of our own points. On top of the points that we have already from detect features, the next step is to scroll down, click on track and you'll see this little play button. Go ahead and play it. What's happening is Blender is tracking each and every single point from the next frame to the next frame to the next frame, trying to make sure that it can get a rough idea of what it's looking at. As each of these points turn a dim red, that means that it lost tracking, and it's not sure what's really going on there any more. This, unfortunately, happens a lot, so you're gonna have to go in here and clean them up, track some of them by hand or just add brand new ones. Now, if your footage is anything like mine part way through, it's just gonna go quickly through because it's lost all of its tracking points. What I like to do is write before it starts to lose a whole bunch of them. I go a little bit further back, say, about Frame 50 or so in my case, and I go to detect features again. And then I hit play. Now he's gone ahead and tracked a whole bunch of points, and we can see that there's a lot of arrows here, let's open this up. And now, if you look here, you see there's all these little peaks and valleys, those air error points or where the tracking really doesn't know what's going on. Whenever you find one of these, you can click on it and literally hit X delete in the main window. It's gonna throw off all of your tracking, so it's best to just get rid of these really crazy, extraneous points. Here we go. That looks a little bit better. It does get a little bit wobbly here. You know what? As much as it's nice to have a bunch of tracking points, I think I'm still gonna get rid of it. Just to keep all of my foot is looking good next you want to go to solve and in here there's a lot of options, but the most important is what is a key frame. The first and second key frame are really important, cause blenders gonna use this as a guide for the rest of the footage. I'll leave the default toe one in 30 for now, under refined blenders, going to try to guess the focal length and the optical distortion. Now, this is a giant topic that could be its own course. But the simple thing is on the right. If you know, what can a camera you're using or what kind of lens you're using? You're gonna want to specify that both under camera and under lens. My case, they used an iPhone excess, so I'm actually just gonna leave it all that default and have blender figure it out. Now, the next step you want to do is click on solve camera motion. Now, depending on how your track went, you'll see a little air pop up at the bottom and then at the top here, you'll see a whole bunch of numbers of here 10 etcetera, etcetera. These represent your error or how off you were. You'll also see a general solve air 0.6. Now, Honestly, anything under one is pretty decent and anything 10.1 and below, it's pretty much perfect. So the fact that we got under one right away, it's pretty amazing. Nonetheless, there are a few values that are over one. You can go ahead and just delete them, or you can go to clean up, come over here and say, What is the maximum airy one and I'm going to see one. I'm actually gonna click thes that de select them. And with an air of one maximum set, I'm gonna go to filter tracks and then, honestly, x delete. Now I'm going to click on Solve camera Motion. And depending on how your era goes, you might get a lower number. I'll be careful. Sometimes this can be finicky, and you'll actually get a higher number because you lost some really key points. So playing along with this value and picking which ones you really wanted lead is really important. All right, so now we've gone ahead and made a scene, cleaned up some points and tracked it. The last thing we need to dio is set up are seen, and blender makes it easy. There's a little button called set up tracking seems so just go ahead and click that, and you'll see at the top right that my scene is immediately set up. Let's go ahead and click this plus button and go to general layout, and then I can switch to camera mode view camera, active camera. I can zoom in here and on the right. I can click on camera camera background images, and I can scroll down a little bit and set it to front. Maybe bring that Alfa back a little bit. And then if I grab my play head and scrub, I can see that my cube is actually tracking pretty decently in this scene. Now, right off the bat, there's obviously some heirs. For example, the perspective is completely different, which I can fix by rotating the camera to get it right. Or I can go back into motion tracking and find at least three points that create a floor, selecting all three of them and then go ahead and clicking on floor. I can also set walls, X axis and Y axis. Taking video footage that you've shot and bringing it into blender to re create a three D camera is really straightforward and Blender 2.8. Plus, there's an enormous amount of tools available to you to make sure that that three D track looks amazing. Compositing inside a blender is incredibly straightforward, and there's a ton of tools available at your disposal. In this video, I'm gonna show you how to take a monkey from blender and composited onto some footage I shot outside here in Carpinteria. First, let's go ahead and delete this cube shift A and let's go ahead and add a monkey. I want to switch the cycles so I can get something pretty good and accurate. And I'm just gonna put this light right about here. I'm gonna go into camera for you next. I'm gonna go and click on film, come down a transparent. I don't have any transparent glass, but if I did, I'd want to check that on. And finally, I just want to go ahead and render this. Okay, Now I have a rendered image. Close this out and let's switch the compositing and click on use notes right away. You'll see your image that we created right over here. I'm gonna come down here and I'm gonna switch this to image editor and I'm gonna control left click, and that's gonna open up the viewer node right here and down here. I'm gonna switch this to view note as well. And finally, I'm gonna turn off backdrop just so I can get some more speed on my computer. Okay, Now we need to add some footage that we shot. So let's go ahead and hit. Shift A and let's go to input movie clip. Put that here. Click on open. Find some footage that we shot an open clip. Now I'm just gonna put that right about here. I have an image output and an image I put up here. So what I want to do is hit shift a search and search for Alfa over. I'm gonna hit Enter. Gonna put this right here. It's gonna want at my screen. Don't worry. Now, with this movie clip, I'm gonna drag it to the bottom. I'm gonna zoom out. I'm gonna see no monkey. Then I'm gonna zoom into Alfa over, grab the top image and put in at the bottom That will flip my inputs in Walla. I now have a monkey inside my viewer. Now there's more cool things we can do, for example, like adding of and yet so I'm gonna hit shift A and the search for a lips mask Here it is and make this a little bit easier. And when a control shift click lips mask And I'm just gonna toy with these settings until I get something that I think looks pretty good. Zoom out here. Try to get an idea of what I'd like. Maybe I can play a little bit with value now. One hit shift A. I'm a type in blur. Put the blur right after the Ellipse mask and try something like 50 and 50.