Transcripts
1. Introduction: Welcome to this course. My name is Ziad roar and I
will be your instructor. Today. We're going to create a 3D
bakery in Blender in 1 h only modeling, texturing
and rendering. So without further ado,
let's get started.
2. Modeling: To start, let's head into the 2D animation workspace by clicking on
this plus up here, going to 2D animation and
selecting it from the list. Let's delete this cube with x, bringing a Grease
Pencil object with Shift a grease pencil, and then selecting blank. Now let's go into Draw mode by selecting from the
drop-down up here or hitting Control Plus tab and selecting it from
the radial menu. The first thing we'll
want to do is to adjust the visibility options that will make drawing with
grease pencil easier. Let's go to the
overlays drop-down here and check grid 3D
cursor in Canvas. If this is your first
time using grease pencil, the two options here, stroke placement
and drawing planes, are extremely important for
using this one, success. Depending on what options
you have selected in those dropdowns will inform
how you'll draw it in 3D. So starting with
the drawing planes, if it's set to View, you can draw according to the view you have
in your viewport. If it's set to front, the canvas will be situated
to front view along the x. And notice how the
Canvas doesn't rotate compared to
the previous slide. If it's set to side, it will be situated along
the side view to the y. And it's set to top. Situated to the top view or perpendicular to the z. Cursor allows you to get
really precise angles by adjusting the rotation
of the cursor here, which is not possible
with the other planes. Let's set the drawing
to front for now. Moving on to stroke
placement, we have origin, which is what we were using to demonstrate the
drawing plants. This option places
you're drawing according to the origin
point of the object. E.g. I. Drew some strokes here. But if I were to move this object further
back in object mode, and then you can draw a stroke. The placement would
move accordingly. 3d cursor is the one
that I use the most and will allow you to draw
anywhere you place the cursor. Now, the next two kind of ignore the drawing
plane depending on how their surface allows you
to draw on top of meshes. This is really helpful
if you're adding details or trying to get strokes
to fit a certain shape. And the last one is stroke, where you can draw
starting from others. Let's set this to
3D cursor for now. So let's start by creating the walls of our
building in object mode, I'm sending you the 3D cursor
back to the world origin, easing Shift S then
right-clicking and setting the grease pencil
origin to the 3D cursor. Before we draw, let's first go into our
render properties. And under color management, change this from
filmic to standard. This is far more
accurate colors. Set the look to
medium high contrast, and then go into the
world properties and set the background to a
pale yellow color or whatever you'd like. Let's create a new layer inside our Grease Pencil
object and rename it to main walls and
uncheck use lights. Then go into the materials tab, create a new material
and human walls. I'm making the stroke
a brown color, checking the fill and
selecting a light beige color. Enter front view with Notepad
one and go into Draw mode, select the box tool by either selecting it from the
menu on the left or hitting Shift Spacebar and selecting it from
the list for radius, which affects the
width of your stroke. I'm going to set it to 35
pixels and uncheck Use pressure than a
bump up strength to one and uncheck Use
pressure as well. Last thing is the
timeline down here. Make sure it's at the beginning. I like to set
everything to zero. And because this
was a new layer, we created a keyframe is
automatically generated. But if you wanted to create another keyframe
on another frame, you'll need to have this
record button enabled. For now, we can keep it off. So I'm going to create
a box that's about eight squares tall
and six squares wide. Then tab into edit mode, hit one for points, select, and select a point on the right edge of the square. Hit Shift S and move the
cursor to select it. Let's go back into Draw mode
and set the drawing plane to side this time and hit numpad
three to enter side view, then draw another
six by eight box. Again that touches the original, go into edit mode and hit
two for stroke select. If you need to make
some adjustments, go back into Draw Mode and change the
drawing plan to top, hit Num pad seven for top view and draw a box that acts
as the top of the walls. We have our walls at this point, I want to set the camera view. This makes drawing
with grease pencil a lot easier when set up early on. So I'm going to focus in
on our walls and then hit Alt Control numpad zero
to set the camera view. Then I'll go into the
Animation workspace, set the left screen to my camera view and adjust
it with the right. If you want to leave
the view like this, you can, but I want to
animate this a bit. To do so, set the cursor to world origin and bring
in an empty parent, the camera to the
empty with Control P, then go to zero and your
timeline and select the empty rotated in the z just a bit and then keyframe
the rotation with I, then go to frame 125 and rotate
it slightly into Z again. And then keyframe, then
duplicate the keyframes at zero with Shift D
and put them at 02:50. I want to adjust
the location and rotation of the camera as well. Let's do the same thing
by keyframing at zero, then going to one-to-five, adjusting than
keyframing and then duplicating the keyframes
at zero to 250. So now we can reference
what our drawing looks like in our camera view
by hitting numpad zero, you can play this back, but makes sure your
play head is at zero when drawing or when
creating a new layer, go back into the 2D
animation workspace. We're going to create
the roof and the base. Let's duplicate
this walls layer by clicking this drop-down
and selecting. Also, let's enable the option
auto lock inactive layers, rename the duplicate
to roof in edit mode, select all with a and scale it down into z and S
to scale it out, then duplicated again, shifted up in the z and then
S to scale it out, Let's create a new material for the roof by selecting
it all with a, creating a new material in the materials tab
and clicking assign, rename this to roof and copy the stroke color of the walls material by hovering over it, copying with Control C and pasting it with Control
V and the new material, then check fill in
the roof material and let's pick a dark brownish
color moving onto the base, Let's duplicate the walls layer again and move it to the bottom. Just a quick note, the layers here are ordered by visibility. So whatever is on top will
take visual priority, e.g. if I move this walls
layer to the top, it would appear over the roof. Now, there are options for stroke depth order and the
Object Data Properties tab. But for this piece, we're going to stick
with 2D layers. Let's move the walls
layer back down, rename the walls
duplicate to base, and in edit mode, scale it down into z and then scale it out. Let's also create
a new material for this name it based and assign
it just like we did before. Copy the stroke color and make the fill a
light gray color, make any adjustments needed. If you find the stroke of
your layers are too big, you can either adjust them in the layers panel under
stroke thickness, or you can select
any point or stroke individually and scale
it with all tests. So now we have this structure
and we can add more to it, create a new layer above
the walls layer and rename it to wall details,
outline, and uncheck. Use lights in the materials tab. Create a new material, rename it to outline and set the stroke color
to the one we've been using with no fill. We're going to start drawing the doors and windows
on the building. Click back on the walls layer and in edit mode
with points, select, select a point on this wall here so that we could
move the cursor to it with Shift S. In Draw mode
with the box tool selected, go to front view with one, makes sure the stroke
placement is set to 3D cursor and the drawing
plane is set to one. Right-click or hit Y
to make sure you're active layer is the wall
detailed outline layer. Let's draw a rectangle for
the door on the right here. Then let's draw another
rectangle next to it for a large window and
then adjust as needed, select the circle
tool and create a circle roughly the
size of the door. We're going to make
these arched windows. So let's move it up in edit
mode with stroke select, then go into point
select mode with one, select the bottom half of the points and
delete them with X, then select the two end
points on either side and e then z to extrude downward
and then hit F to fill, then go into stroke select and make adjustments as needed. Let's create the shadows for
it by selecting the box tool again and creating a rectangle roughly half the
size of the window, then duplicate and
move it along. In dx, it might be easier
to move these to the center of the window frame and then scale them out to
get a precise width. Then move them onto either
side of the window, select the Windows strokes, duplicate them with Shift D, and move them along the x so we have the window to the right. Now, let's create
the bakery sign or the box tool selected. Let's create a rectangle
in this empty space here in edit mode with zero points select and holding Shift, I want to select
these three points at the top and bottom, then right-click and
select sub-divide. Then while holding Shift, select these two points on
the left and on the right, then hit S, then x to scale them along the x so that
they're closer to that. Then delete the points in the corners and the
center top point. We're trying to create these
curved in stylized edges. In Draw mode, select
the arc tool, and let's draw an arc between these two points
from right to left. You draw from left to right. The arc appears on top, but you can switch
it with this blue. So I'm drawing the arc and adjusting it
with the blue dog. Then in edit mode
with stroke select, I'm going to duplicate
it and rotate it along the x 180 degrees
and position it. Then I'll select
both those arcs, duplicated it along the x, and then flip it
for the other side. The last thing is adding
a half circle here. So I'm going to use
the circle tool. I'll roughly draw
the circle line to line and then bring it down. Then I'll go into edit mode with points select and then delete the bottom
half of the circle. And now we have our side. So let's start filling these in. I want to create
three new materials. The first one, I'll make a pale blue color
for the Windows. And even accordingly, we
can leave stroke unchecked. The second is a dark
beige color for the sign. The third is a light brown color for the shutters and door. Let's create a new layer, name it while details fill
and uncheck use lights, go into front view
and in Draw mode, select the fill tool, right-click or hit you to set the active material too pale blue and start filling
in the windows. Then right-click and pick
the light brown color, fill in the shutters and door. Then right-click again and select the base
color for the side. If it doesn't fill correctly, you might need to join the
endpoints with Control J. Just a quick note on this. If you draw a stroke and
want to continue it, you can select this
option up here, auto merge, and it'll automatically join
these strokes by. Now I want to duplicate a few
elements to the other side. Let's unlock the outline layer and in edit mode
with stroke select, select the window elements
and duplicate with Shift D and then move it over, then rotate 90
degrees by hitting R and C and then 90 and
place it accordingly. Go into side view if needed. Then do the same with
a large bakery window. I want to scale this a bit wider to fit the
length of the wall. So S then why to scale it out
and position accordingly. Let's make a glare for
that large window. Create a new material,
name it, white, Leaves stroke unchecked
but fill to white, create a new layer
above wall details. Fill anemic window glare
and uncheck use lights. Draw mode. Let's see, Here's the
box tool to create a rectangle that's a little longer than the
height of the window. Rotate it and go into your
camera view to check it. Then move it back in the y and adjusted the top and bottom aren't seen
in the camera view. You can play this
back in the timeline. Just make sure you
position the playhead at zero when you're done.
Another quick note. If you find that
you accidentally drew on a frame other than zero, you can just move it back
to zero and the timeline. Then we're going to
mask this by checking mass under the layers and
adding the fill layer. So now the glare
appears to move, duplicate it for
the other window. Next, we'll create an awning. I want to create a striped
awning on the top of the window and door here
on this side as well. Create a new layer
above the wall details, outline layer, name it,
awning and uncheck. Use Lights, then create
two new materials. The first will be a read and use the same stroke
we've been using. The second will
be another white, but with the stroke
color enabled, I'm going to name it white dash S to differentiate it
from the other one. Let's unlock the wall details, outline layer, and in edit
mode, use points select, to select this point
at the bottom of the sign here and set
cursor to select it. Then going into Draw Mode, change the drawing
plane to cursor, hit N in the
viewport to bring up this side, go into View, and let's adjust the
cursor rotation to get a slant coming out
from the building. First, reset everything to zero, and now I'm adjusting the x
rotation to about 30 degrees. Go into top view
with numpad seven, select the box tool and
right-click to make sure you're on the awning layer and have
the red material selected. So I'm going to make
a rectangle to about here and hide the roof
layer if you need to. When you check it, you'll
notice it's slanted according to the rotation
we set for the cursor, go back into top view and go into edit mode
with stroke select, duplicate that
rectangle you just made and assign the white
dash S material to it. Then select both
those rectangles and duplicate them
along the x like this. Then to repeat the
sequence all the way down, you can hit Shift R. I'll get rid of this
last white one here, then makes scale and position
adjustments as needed. Now I want to give the awnings, these circular ends hanging down in front view
and in edit mode, select one of these
points in front and set the cursor to select
it and it Draw mode, we're going to set the
drawing plaintiff front. So using the circle tool with the active
material set to red, I'm going to make a circle, roughly the width of
these rectangles. Then I'll delete the top half of the circle and move
it up with stroke. Select, duplicate it
like we did before. Assign the color
to white dash S, and then repeat for the
length of the awning. You might need to
make some positioning and sizing adjustments. Now, I want to fill
in this side here. So in edit mode, select one of the
points on the end, then hit cursor to select it, and then draw mode, set
the drawing plane to side. Then entering side
view with three, select the Line Tool and set
the active material to read. Draw a line from the top of the awning to roughly
where it starts to bend. Then with zero points
select and edit mode, select the bottom
point of that line and get e. Then why to extrude, to make a complete
adjust as needed. I want to duplicate
this awning for the other side in edit mode, hit a to select all
Shift D to duplicate, and then shifted
over like we did with then rotate it with our Z and then 90 because the awning wasn't
drawn in that orientation, we need to flip it by
going to grease pencil, mirror and then
selecting why global, then it should visually look correct and you can position it accordingly using the
same stroke placement and technique as the awnings. I want to create these
planters for the Windows, create a new layer on top
of the awnings layer, name it planters and
uncheck use lights, unlock wall details
outlined, and in edit mode, select a point at the bottom
of this window to move the cursor to that point with
Shift S. Then in Draw mode, set drawing plane to cursor. I want the cursor to be
angled upward instead of the other way around
about 105 degrees. And the x in front view
with the box tool selected, set the active
material to roof and draw a rectangle the
width of the window, then move it out in the
y and adjust as needed. Select a corner point
and move the cursor to the selected point with
Shift S in Draw mode, set to drawing plane to
side and inside view, select the polyline tool, draw a line from the
top left the planter by click dragging to where it touches the building and click, you can hold down shift to
constrain the angle of it, then down the building. Click and then to the bottom left of the
parameter, and click. Then press Enter to confirm. Adjust as needed. Let's duplicate this side to the other side to
complete the planter box. So select it with
stroke select and edit mode and duplicate
it along the x. Notice that when we do that, it doesn't visually
appear correct. And that's because
there's actually a stroke order within each
of the grease pencil layers. So not only do you have
a layer order here, the individual strokes within each layer also have
a hierarchy as well. So in order to push the shape behind the
first two, we drew, select it, right-click,
go to arrange, and then send to back. If you've used
Adobe Illustrator, it acts the same way. Another quick note,
if you'd like to have the strokes populate for them
back instead of the front, you can select this option, draw strokes on back and
all new strokes will be automatically positioned
behind your other strokes. With our plantar finish, I want to duplicate this for
the other three windows, make sure all the other layers are locked and in edit mode, hit a to select all, then duplicate along the
x for the right window, then select both,
duplicate along the x and then
rotate with our Z, and then right-click mirror and select wide global and
position accordingly, I want a longer planters situated on top of this
awning on this side. So I'm going to duplicate
this finer here, shifted down into z and then SY to scale it along the
y, adjust as needed. Now I want to create
these pillars on the corners of the building
to add more detail, Let's duplicate the walls layer
and move it to the top of the earnings layer and rename
it to pillar in edit mode, select all with a
and scale it with S, then shift Z to constrain
the height of it. Then go into top view and position the pillar at the
corner of the building. Again, hide the roof if needed, then duplicate the pillar layer, rename it to pillar rear and move the layer
down on top of the walls layer and
then move the element in this layer to the rear
left of the builder. Duplicate it for the rewrite.
Alright, almost done. I want to create a
bakery sign that hangs from the left
side of the building. So select the point on this pillar and move the
cursor to select it. Then create a new layer on top of that duplicate
pillars layer, rename it to hanging, sign and uncheck use lights, create a new material, set it to the usual
stroke color and fulfill, pick a gold color, enter side view
and in Draw Mode, make sure that drawing
plaintiffs side-to-side, select the box tool, set the active material
to the gold color, and let's create a beam that stems outward from the building. Then take the circle tool and add a circular
endpoint here. Take the box tool again, set the active material
to outline and create a square that
will act as the side. Select all the points in
that shape, and right-click, sub-divide, delete the
corner points one at a time. Then take your art tool and draw the necessary inset arts like we did before
with the other side. Then in Draw mode with
the fill tool selected, set the active material
to sign and fill it. Then go into edit mode, select that color blog
and right-click arrange, send to back like we did before. So it appears
behind the strokes. Select the fill and
strokes of the sign, duplicate it and size it, it, assign the walls material
to the smaller color block. Then in Draw mode with the
active material set to gold, let's create the hinges
with the box tool. Lastly, with the outlet
material and Arc tool, I'm creating an arc to act as a support beam,
adjust as needed. So with the crux of
our building done, we're going to move on to the
plants entries. For this. We're going to install
two free add-ons. So go up to Edit Preferences and search
grease pencil tools, check it and sapling
tree Judd and check it, then X out of this. So it will start with the plants create a new layer on top of the planters layer and name
it plants uncheck Use Lights. Then in Draw mode with
the draw tool selected, go into active tool and
workspace settings. Click this drop-down
here and select, download and import
texture brush pack. If we go up here, we have more brushes we can work with select the
leaves toothbrush. Notice that the
color doesn't use any of the materials we created. And that's because it's
using vertex color, which is the other way of
coloring within grease pencil. You can access this by switching the mode up here to
quickly go over this. The difference is that
with material Peyton mode, because we've started the
color in a material slot, it makes it easier to
change all the elements that share that material
with vertex color. It's much better
if you're freely illustrating because
you can easily change colors on the
fly and not have to create a new material
slot each time. You can also store them in
a color palette up here. However, changing color isn't as easy as material paint mode. So back to the plants. The cool thing about this leaves brush is that there is
some randomization in it. You can adjust it by going to the options at the top here, but I'm going to leave
everything as is. So set the stroke placement
to stroke and pick a Peleus green color and then just draw on top of
these planters like so. If you wanted to adjust
the color of these, you could use the tool here and whatever
color you select, you can go over the strokes you made and change the color, or you can go to vertex mode
and use the Replace tool. It's important to note that vertex color works alone points. So depending on how
many points you have, you could achieve a color
change that's gradual or sharp, but you don't really need to worry too much about that here. So now I want to
put some greenery at the base just to have
something around the building. I'm on the same layer and just
going over these elements. I think these brushes are
more optimal with a tablet, but because we're still using a mouse to get some
size variation, we can go to sculpt mode, select the thickness tool, and go over those strokes. Now for the trees, Let's bring in a sapling
tree object by hitting Shift a herb than
sapling tree jazz. I think anytime you
bring in this tree, it's situated at
the world origin. So if you can't see it, the preset I'm selecting is a Japanese maple and
in custom shape, all the values will be 0.01. Once you click out, the options will confirm
and we have our tree curve. Now, I know I said
we were going to make this completely
out of grease pencil, but this part works
better with a mesh. Let's convert this
to him bashed by right-clicking and
selecting Convert to mesh. Let's go into
material properties, select New and make this
an emission shader. Select a color that's
light medium brown. Position the tree behind the rear left of
the building and Shift plus right-click on it to move to 3D cursor on top of it, bring in a new Grease
Pencil, Blink, and uncheck use lights for
the layer that's graded. Select the leaves
one brush and set the stroke placement to
surface and offset to zero. Let's pink or reddish brown color and start
drawing on the branches. It'll look a little sparse, but we'll fix that in a bit. If you've seen my grease
pencil treat tutorial, I'm using the same technique. Once you're done, go into
sculpt mode and go over the leaves with
the thickness tool until it resembles a dense tree. Now, I want to
duplicate this tree and position it at the
rewrite of the building. If you want to adjust the
color of these trees, you can again use the tint
tool or you can apply a hue and saturation modifier on the Grease Pencil object. Now, we're going to start
adding more specific details. And this is the part where I do recommend having a tablet. Again, it's not
completely necessary. It'll just make things
easier to start creating a new layer on top of
the planters layer and Neiman details, uncheck, use lights and
hide the plants layer. Set stroke placement to stroke, select the pencil brush, set the active material to outline and have used
pressure checked for radius. If you are using a tablet, Let's draw some
lines of detail on the shutters and then on the
plantaris for the windows. I'm also adding some
framing elements. And once that's done, move on to the walls and
add lines of details there. And maybe the awnings, then the door and then
the corner beans. Now for the main bakery side, we're going to change
the vertex color by clicking on the
button up here, change the color to white
and draw these inner lines. Then we'll write the word
bakery or whatever you'd like. Then switch back to
material paint mode. Go to the hanging sign and let's add some details
to the sides here. With the fill tool selected, set the active
material to walls, and we're actually going
to use vertex paint. I want to make a muffin icon. For this part, I'm Chuck, use pressure for radius. So let's select a
golden brown color and while holding
shift, draw the top. Then select a pesto blue or
pink color and draw the base. Then in edit mode
with stroke select, select the top of the muffin
and arrange it to the front. Then enable use pressure again. Go back to material
paint mode and set the active material to
outline and add details. The last thing we'll do is
add flowers onto the plants. Create a new layer above the plant's name it flowers
and uncheck use lights, set the stroke placement to stroke and select the fill tool. Set the active material to
roof and go into vertex color, picker red color and
draw some floral shapes. It might look a little wonky, but you can always redo it. Generally, I would draw these in front view and then
individually placed them, but this will work for you. Then pick a yellow color
for some variation. And now we have our
bakery building. I invite you to add more details using the techniques
we've discussed, like a lamppost or roofing. But I'll leave that up to you. Because this is a
Grease Pencil object, we can make it
suddenly shake with a grease pencil noise modifier. So if you click this wrench, apply noise and
play it, it moves. You can lessen the position
factor if it's too much. So that's it for the tutorial. Thank you guys so
much for watching. I really appreciate it. If I were to approach this project outside
of this tutorial, I would probably
ModelSim 3D meshes and then use grease pencil to
supplement the details. The reason being that
it's a bit quicker and better for more
complicated camera movements. But I hope this was helpful
for understanding how to draw with the tool in terms of stroke placement
and the drawing. If you guys have any questions, feel free to comment
below or reach out to me on Instagram
at Kevin and RAM, I am planning on putting out more tutorials in the future, so let me know what
else you'd like to see. In the meantime,
you can check out some of the other
resources I have, like this 2D and 3D Firebase scene and this grease pencil and
geometry node Snowflake. Thanks again and see
you guys next time. Let's have a bit of food down. If you feel like I do
right now. Don't say. Good. Don't know what you want. Let's add down. If you feel like
God do right now. We're on the mat. You say you want to share. But she and Navajo. Sure.
3. Texturing & Rendering: Reasons to try and keep the same amount
you can get me Joey, sticks and stones
may break my bones. You can get to me, push me down to the ground, goes around, comes around. You won't put the flame out. You can get to me. Say what you want to say. Go take it all the way, but I'm here to stay. You can get to me. Excuse me. Hi guys. In the answer, then I raise my hand. Wrote it's no use because you can stop it from Shannon through in the sky gaze in our
answer then I raise my hand. Wrote it's no use
because you can stop it from What was that?
Ziad Sroor
