Anime in Blender: Create 2 Stylized Scenes

1. Introduction to Class: Hello and welcome everyone to this new course Anime and Blender, where you will learn to create two unique anime inspired environments from start to finish just using blender. With 6 hours of information packed content, we will create the school hallway and the rooftop scene along with the variations you see in the trailer. All the resource files used would be provided with the course like cool HDRI, textures, reference images, blender files, everything. We will cover it all from modeling and texturing to lighting and rendering so you can bring your stylized scenes to life. We will learn how to achieve that signature animal look using shaders, lightings and different techniques like adding outlines to your renders. First, we'll create a stunning anime style rooftop scene, starting with modeling the entire scene, setting up the fence, building, adding the benches, ladder, et cetera. You will learn how to model all the elements, adding materials, lighting, and set up composition for a cinematic look. Plus we will also create a daytime and nighttime variation showing you how to transform the mood of your scene with lighting and sky adjustments. Next, we will create a classic anime school hallway scene, modeling everything from windows and classroom doors to props like the desks, shoe racks, lockers, and a lot more. After that, we will texture our entire scene, learning to create various different stylized materials. We will also explore anime style lighting and how to add outlines to our renders for a true anime aesthetic. Later on, we will add some color variations, helping us to customize the mood and style of the scene. To enhance our renders, we will composite both the scenes in blender and Photoshop using effects like the glare node, the Kuvaha node, and adding overlays to give finishing touches to our scene. Whether you are a beginner or an experienced blender user, this course will give you the skills to create eye catching stylized anime scenes. So I hope to see you there in the course. Thank you. 2. Going Over Reference Images: Hello and welcome guys to this new course where we will be creating two anime inspired scenes in Blender, one of them being a rooftop scene and a school hallway scene. So in this very first lecture, we will be just going over our reference images, and I will be showing you a free program called PureRef and how we can use it to arrange our reference images. So you can open up the course files. Over here, you will find all the required files that are needed for this course. So let's just open up the reference images folder. And here I have added all of the images that we are going to be using in this course. As you can see, we have a couple of reference images for the rooftop that we will be using to create it. And we also have a lot of hallway images that we can use to base our scene off. So now what we want to do is basically we want to, like, place them all onto, like, a mood board type of thing. So for that, we will be using PureRef. So you can go to Google and just search for PureRef quickly. And it is free program, so you can download it for free. Just open up the first link, click Download, and if you scroll down, you can select your operating system and then just type in zero as the donation amount over here. But if you want to donate over here, you can do so, but it is a free program, so you can just type in zero and then hit Checkout, and it will give you the download file. You can install this program for free and then open up PureRef from over here. As I've already installed it, I'm not going to do it again. So just open up PureRef. And you will get this black screen open up in your like window. So let me just quickly go over some of the basics of PureRef. You can resize the window like this. It's pretty easy. It will also be floating over all the other windows. Even if you click over here, you can see it does not go away. And what we can do is we can just select all of these images and then just drag and drop them onto the PureRef. And as you can see, it will create this type of thing over here. You can hit right click and then go over to images. And I think in normalize, we can set normalize the scale or the size, I think. What this will do is it will kind of make all of them of equal size, like this. And then we can just select it once again, right click and go to images and arrange them by optimal. And now you can see they all have a similar size. And this way we can just look at all of them at the same time only. The great thing about this is that it will always stay over your Windows, so you can always just work on your reference images while you are working with blender. So we can just quickly place all of the rooftop scene over here together. And then we can place all of the hallway scenes over here so that we can always easily look at all our reference images at once. This way we don't have to, like, again and again, check between different windows. You can also double click on any image, and it will quickly just focus all over it. These are some of the other reference images that we will be using to create some specific items, so we won't be using them directly from over here. Rather than that, we will be using them in blender only. So now we have all our reference images over here. And with this, we can finally start working. So the first scene that we will be working on is the rooftop scene. As it is a fairly simple one, we can easily create out the model and then add the materials and then give it that anime or stylized kind of look. And afterwards, we will be working on the hallway scene, which is a little bit more complex than the earlier one. So yeah, in this lecture, I really just wanted to go over pure ref and going over the reference images. We will be starting with blocking out and modeling in the next lecture. Also, you can just hit right click and go to Save and just quickly save your scene. And I will save it in the reference images folder on You can just rename this to moodboard. It save. And we also have a lot of other different settings in Pure Rp that you can quickly just go over by hitting right click and looking around. Also, another important thing is that hold your right click on your mouse to move it around on your screen. You can place it over here in the corner and then you can easily keep working while also looking at the images. If you have a second monitor like me, you can move it over to the second monitor as well. You can resize it from over here if you have a smaller screen to make it more optimized. We can also hit right click and you can change the mode so you can see currently always on top is enabled. That's why it will always stay on top of your each and every application. But if you just disable it, then if you click on your blender, it will go also, you can always keep always on top enabled. It's really helpful. But if you want to really minimize it, you can just click over here in the start bar, and it will basically minimize it like this, even though always on top is enabled. So I just wanted to go over a couple of settings of Pure ref and just wanted to go over the reference images. Now that we have done this, I think this is pretty good for this first lecture. I want to keep it short and simple. In the next lecture, we will be working on blocking out and creating the models for our rooftop scene. So thank you guys watching. I will see you in the next one. 3. Creating Roof Blockout: Hello, A, welcome, guys. So in this lecture, we will be starting with the modeling of our rooftop scene. So I've opened up a new blender file over here. We can just start by pressing A to select everything that is added by default, and we can just delete it. I've also turned on screen cast keys, which is an add on, and it will show you all of the shortcuts that I'm performing right over here, and it will help you to follow me along easily. Alright, so I will just go over here and open up our PR file. And then we can just right click and open up the scene that we saved in the last lecture. So now let's just click on it to open it and we have a file over here. So as we will be starting with the rooftop scene over here, so let's just focus on that. And as I said, we will be just setting up the models in this lecture. So let's start by adding in the ground. So I will place it right over here in the corner. Later on, I will just move it to the second monitor only so that we have more screen space over here. So press Shift A, and let's just add a simple, and we are first creating our ground over here. So you can press N now to bring this side bar view up and you can see we have the dimensions of the cube over here. So we can increase this to something like ten by ten. And let's just decrease the z because we don't want it to be that thick at all. Yeah, something like that. So this will be like the base for the rooftop, and over that, we can just add these curbs and fences first. So let's just press Shift, and we can start by adding this like stone slab like thing that is covering the boundary. We can press seven for top view, and let's just move it right over here. Press then X to lock it on the X axis to scale it down and we can scale it right till here. Press S then Z. These are some of the basic shortcuts. You just press to scale it, and then we can press X Y or Z to lock it in that particular axis. Let's see. Press then Y, and let's just decrease the length like this. If you want, you can see the measurements that I'm using from over here as well. All right, let's just make it a little bit more smaller. Yeah, I think something like that feels pretty good to me. Now we can select it and press Control A and apply the scale. So if you're not aware with this concept, whenever you change the scale of your object, you always need to press control it to apply the scale. And I will just quickly explain it with the example that I always use. So if I add a cube right over here and let's just say I duplicate it, so now we have two different cubes. If I select this cube, press S then X and scale it on the X axis by three. So I will type on number pad just three, to scale it three times like this. Then once again, I will just select the same cube and press S then X and type in three. Now this way, both of these cubes are scaled by three times on the X axis, but for one of them, I will press Control A and apply the scale, and for the other one, I won't be doing so. Now if you just select it, select both of them, Press tab, press A, to make sure everything is selected, and then press Control plus B to bevel it out, you will notice that both of them are beveling in a very different manner. If I just give it a nice bit of bevel, and let's just use a scroll V to make it smoother. Press tab. And you can clearly see the bevel over here is very uniform, whereas the bevel over here looks very stretched. So that is the reason that we applied the scale because this particular cube has like a uniform scale. That's why the bevel over here looks perfect and it looks uniform, whereas the bevel over here looks pretty stretched because we did not apply the scale for this after scaling it up in the X axis like this. So that's why the bevel is like this. And this goes for a lot of different blender operations, not only just bevel. If you don't apply the scale for your models, it can cause a lot of issues. Let's say if I inset this now, press I to inset this, and you can see over here, the inset is working perfectly, whereas over here, the inset looks stretched. So that is what I just wanted to quickly go over. I will delete it now and we can come back over here, select this press Control A, and make sure to apply the scale. We can maybe give it a little bit of detail by pressing Tab. Press two for select. So if you know one is for vertice select, you can select vertices. Two is for set, and three is for face select. I will press two now, select this edge, press Control B, and bevel it out just like this and just give it like one bevel like no segments in between. Just to make it something like this, to give it like a that stone curve like look. Now what I will do is I will just finish it all by adding in like a bevel modifier. Go into your modifier section and add in a bevel. Make sure the scale is applied, and let's just decrease the bevel amount now to something small like this. Go into shading and enable harder novels. And this way we get this perfect looking stone curve that we can use to fence along our, um, boundary. Now, I will go over here and just quickly enable shadow and cavity as well. So these options will just make your visuals a little bit better in blender. They won't really do anything else, but it will just make your edges look a little bit more prominent with cavity enabled and shadows just for showing up shadows in the viewboard as well. If you add in something like a light, which we'll be adding later on, it will just show you some basic shadows just to get a little bit of idea. And yeah, now I will just move it back over here, and then we can start by first just moving it right to this corner so that we can now duplicate it and fence it along. What I will be doing is instead of duplicating it again and again, we can just simply select it, go into the modifier section once again and just add in array modifier. Set the X factor to zero and increase the Y factor. To maybe something like this. Let's just decrease this to one. Yeah, I think one is fine. They are closely connected like this, and then you can just increase the count to get something like this. I will select it overall and scale it down so that it kind of, like, fits perfectly with our length. And yeah, I think something like this is pretty good, and I think it looks all right. Now we can just select it. And once again, I will be simply adding another modifier to copy it over here. You can add in a mirror modifier, and mirror modifier works according to the origin point. So we want to use the origin point of this big cube or the ground that we have created. So go into the mirror object and select the cube as the mirroring point. And now you can see it is mirroring perfectly across this cube over here. And this way we have created this pens on these two sides. Now we just need to select. Once again, move it like this. We can disable the mirror modifier for now, so you can turn it off from over here, press R, then z and type 90, or I'll just type in -90. Press seven and move it right over here. Now this time, instead of mirroring it on the X axis, we will be instead mirroring it on the y axis so that it covers all of the four sides of our ground or the rooftop, sorry. I will also press then X to press the next and just scale it a little bit so that it extends still over here because it does not really matter if the scale is a little bit off for both sides because it is not really even that much noticeable. We have something like this. And yeah I think that's pretty good. I'll just select them all and move it a little bit down like this. And moreover, I will just select it for now and just turn off the mirror modifier for this so that we can work it something like this. We will be adding our camera over here, right over here, and then we can create the scene. So I'll just press Shift A and just add in a camera quickly. Now, if you press zero on your number pad, you will see we can view through the camera. For now, I will just hold right click and move it to the second monitor, the PureRef scene. And we want to make this camera like properly fit across our scene. So we want it to place it somewhere around here. So what you need to do is basically just place your blender how you want your camera to be. So I will just move around my view and place it perfectly like this. Then you can press Control all 100, and you will see as soon as you do that, the camera will change its location and it will perfectly fit along your blender view. Now if you press zero, you can see through the camera. Go into view, so press N and bring the sidebar view up and go into this view section and enable camera to view. Now you can just hold control and use your scroll wheel, L you can basically use the camera, similar to using blender. And you can just zoom out a little bit. To view everything like this. Now we have pretty much everything in our scene. I will disable camera to view so that I can come out of the camera view right now. I will also just press zero and go into the camera, select the camera, and you can go into the properties object data properties of the camera and just decrease the focal length something like 35. That is totally up to your personal preference what you want to go for. And then I will just zoom in a little bit, something around here. And this is like, kind of the view for our scene, as you can see, we are looking at from this side, and then I will disable this. Basically, now we can just add in, like, a cube, and over here, we will be creating our building like thing and we will be adding the fences and all those things. So this is like the basic setup for our scene now. Will delete this cube for now. And also, as you can see, the shadows are also showing up because we enable the shadow option from over here, which is quite helpful. So yeah, I will just delete it for now, and the next step to do is to add these fences, which I think we will be doing in the next lecture. I think this much is pretty good for this one. We added the ground and we added the fences. So let's just hit safe first. So I'll go ahead and hit safe, and now just move back in the Blender files, we can hit right click and first create a new folder and rename this folder to Rooftop so that we have a bit of organized files, and I will save this as Rooftop scene. Now, it's save Blender file. So yeah, I think this much is pretty good guys. We will continue to work on the modeling of our rooftop scene in the next lecture. Thank you guys for watching. I will see you in the next one. 4. Adding the Fences and Building: Hello, and welcome, guys. So let's continue modeling our environment now. Let's start by adding these metal fences right over here. So let's just press Shift plus A, and we can add in a simple cube. Let's press press three. For phase select, let's select this phase, press X, and delete the vertices so that we have something flat like this. Let's just move it back right over here. Press seven for top you and just place it along right over here. What I will do is just press zero to check the size of it. And I think a two by two square looks fine over here. What we can do is press Controller, apply the scale. Press tab, press three for phase select and select this phase. Press I to insert this like this, to create the boundary for it, then press X and delete this phase. Now we have something of this kind, and then we can just give it a bit of thickness. So multiple ways to give it thickness, we can just press tab, press A to select everything, and we can also extrude it like this, which will give it thickness. But I think a better way or a non destructive way to do this would be to just add in a solidify modifier. So search for solidify and add it. This way, what we can do is it is still a plane only, but we can adjust the thickness from this modifier. So let's keep it something like this, bring it out over here. Let's type in 0.04, I think. And now we have our fence right over here ready. Press zero, and I think it looks pretty good. Then we can just add in once again an array modifier. Type in zero on the X factor, and I think increase it on the Y. Let's see. We can definitely keep a very small bit of gap between them. Or just type in minus one and add in a bevel modifier so that we can actually see that boundary and just decrease the bevel amount to a very small number. Something like this, Enable harden novels. And I think this is pretty good. I'll just move it up a little bit. Then we can increase the count of this to something like five. Then once again, select it. And as you know, we can once again add in a mirror modifier and just select the mirror object as this round, so that it perfectly duplicates right over here. Now you can see we have created R fence over here. Now, once again, just select it, press seven for top view, duplicate it like this and remove the mirror modifier, press R, then type in 90 to rotate it by 90 degrees and just place it right over here. Now, what I want is that it kind of attaches over here. So let's just make it touch Would you select it now, press S then X and just extend it till here. Now I'm just trying to, like, fit them properly across the corners. Yeah, I think that's pretty good. Press zero to just quickly check through your camera view, and I think it's looking pretty good to me right now. I'll just place the view right over here, press Control Alt and zero once again and enable view from over here, camera to view. I think right now, something like this looks pretty good to me. We'll definitely work on the view and camera angle, all those things a lot more later on. But right now, I think for now it is fine. Okay. Alright, guys, I think our fence is looking pretty good. Now, you will also notice that we also have this barbed wire kind of thing added in between the fins. But don't worry. We won't be adding it using models because it would be too, like, high poly. And what I will be doing is we will be just basically creating a material for this part. So we'll be doing that later on. So for now, let's just focus on creating the building right over here. So for this, once again, let's just press Shift plus A and add in a cue. We can place it right over here in the corner for now. And what I will do is I will press slash on my number pad, and what this will do is it will take this cube into this local mode so that we can work on it freely. If you press slash once again, you will come out of the local mode, but you can just press it once again and go over here. Now, to start off, I'll press Tab, press three for phase select and select this bottom face, press Shift plus S and cursor two selected. Now what I want to do is right now the origin point is currently in the center of the cube. So the origin point is responsible for all of the transformations. So if I just scale it or rotate it, you can see all of those things are happening through the origin point. But if I just place the three D cursor right over here, so what I did is just selected this phase, press Shift plus and then causa to select it. And then I can go over to object set origin and set the origin point to the three D cursor. Now, what this will basically do is whenever I try to rotate it or scale it. You can see this time it is happening from the origin point at the bottom, and how this will help us if I just quickly press slash to come out of the local mode and go over here and enable face snapping. Press G and first, let's bring it out. Then press G and hold control, and I can easily snap it onto the face of the ground very easily. And it will also help us when we are trying to scale, let's say, the height of the building, so I selected precis thein Z. I can easily scale it on the upward side like this. But earlier if we had a cube, let's say, if I just duplicate it right now and I go to object set origin, origin toemetry now the origin is back at the center only. So this one has the origin at the bottom face. So when I press STN Z, I can scale it very easily the height of the building. But if I press S and Z, you can see it will scale in both the directions, which can cause some issues, not really issues, but it's a lot more work. You have to place it then once again. But this way, it gives us much more control. And yeah, with that out of the way, let's just scale our building accordingly. I will press STN Z and try to decrease the height on the Z axis, go to item so that we can actually see it over here. I think I will be going with something like yeah, 1.89, one point. Let's send this to 1.85. These it on the Y as well. And on the X. Yeah, I think the size looks pretty good to me. What we can do next is we can just take any of those buildings, so I will be following this one and just try to kind of, like, add in a little bit of extrusions and things like that to make it a little bit more detailed. So I will just place it right over here and let's start. If you want to copy the dimensions over here, you can do so. And now let's just press slash once again to go into the local mode so that we can freely work over there. Press Control A and make sure to apply the scale first. Press tab, and one other thing that I will show you is you can go over here and enable edge length. Basically, what this will do is it will show you the distance or the length of all of the edges, which makes it a little bit easier to follow the dimensions. Press Control R to add like a edge loop, and we are creating this top piece. Place it right over here, so you can follow right over here. It's 0.3 meters exactly the distance from the top. Then we can press three forhas select, hold Alt, and select this completely. So hold Alt and select this complete loop, press Alt plus E, and extrude faces along normal. Then I can just extrude it out, something like this. Yeah, I think this much feels pretty good. Press tab, once again, press Control R, and you can use your scroll wheel to increase the number of these cuts added, so I will be adding two. And this time we are creating this portion. We basically need to add one edge lob over here and one over here, and then push it inwards. Add two like this, hit right click, and then you can just press S and X and scale it up on the X axis. Something like this. Then I will just select this phase. And now, as you can see, we need to press E to extrude it and push it inwards. But what this will do is it will add this extra phase over here, which looks pretty weird. So what we want now is that we want to extrude it a little bit more cleanly. So if you go in here in the extrude toolbar or the tool menu, you can press T to bring this up like this and then hold over here, and then you will find this extrude manifold. To select this one instead of extrude region, select extrude manifold. And now, once again, select this phase. And this time when you select this yellow icon and push it inwards, you can see, like, now we can extrude it much more cleanly, and it will give us really nice results. So yeah, with this, I think our building is looking pretty good, like the blockout phase is looking really nice. I will select it and we can start by adding in a bevel modifier. You will see that as soon as we added the bevel modifier, nothing really happened because sometimes, like, the vertices are too close to each other and the bevel modifier can't really work properly, so we need to make it a little bit more manual. So under the emtr section, just disable clamp overlap. And as soon as you do that, basically what this has done is it has removed the limits of the bevel modifier to control the geometry. If you increase it, it can go totally crazy. But what we need to do is we just need to decrease it just that much that we can get nice looking bewels and it does not really interfere with anything. You just need to make sure there are no overlapping edges anywhere. And yeah, I think we are good to go. So with that, you can just hit right click and shade autosmooth and just disable the spin icon and make sure to move the shade autosmooth on the top. And then enable harder normals. This will give you these good looking edges. As you can see earlier, they were looking pretty weird. But if you enable harder normals, and then we can get these nice looking edges and corners. And with that, I think the basic shape of our building is looking pretty good. Let's press slash come out of the local mode and see how everything is looking around. I will also select the camera quickly and we can just go in over here under the camera settings and increase the sensor size to something like 50 then go back to view, enable camera to view, and just zoom in a little bit more. Yeah, I think this camera setting feels a little bit better. All these settings are totally up to you how you want to adjust the focal length and things like that. Yeah. I will also select this, and I think it looks a little bit too big, so I will just decrease the size of it, something like that. The seven for top you and just move it over here in the corner. And yeah, I think that looks pretty good to me. We can also quickly just take a look at how everything is looking. You can go in the viewport shading and just make sure to set this to EV and we can press Shift A and add in like a simple light that is going to be our sunlight. And this will give us very flat looking results. So press R two times while selecting your sunlight, press R two times and rotate it like this to make it a little bit more interesting. It does not really matter if you move it around, but it would matter if you rotate it around. And we can select the sunlight and we can increase the strength to two for now. And if you go over here in the render properties, everything is looking really dark right now. But as soon as you enable this rate racing, you can see we get much better results. But for this to happen, you need to make sure that you are in the latest version of blender that is 4.3. So yeah, make sure you do that. There you will get these nice rate racing features even in EV as well. You can go over here and increase the resolution to one by one to improve these lightings, and over here also just set the rate to one by one, which will improve the quality a lot. For now, I think that's pretty good. We can definitely work a little bit more on the lighting and materials later on. But if you just press F 12 right now, this is kind of how our render looks right now. Which I think is a pretty nice start. So let's just continue working on it right now. I will close it now and it's safe. And with this, I think this smudge is pretty good for this lecture. In the next studio, we will be further working on the building, even more adding these more details like windows, doors, and we will be creating some other small props as well. As you can see, we also have a little bit of ladder like thing going on on the building or like a bench like thing on the rooftop, which will give it a little bit more detail in our scenes. So yeah, I think this smudge is pretty good for this lecture. Thank you guys watching. I will see you in the next one. 5. Detailing the Building: Hello, A, welcome, guys. So let's continue working on our building right over here. So, again, if you will look in the reference image, I'm following this building right over here. So we'll just create a section for the windows and the door as well. So let's just start. Come right over here. Let's press tab to go into the edit mode, press Control R and you can use your scroll wheel to once again add two edge loops like this. And I will also quickly enable edge length so that I can see all the measurements. Then press Control A once again and just scroll it to two times and add two edge loops like this as well. And this can be window in the center right over here. Like that, I will just select both of these loops and just press G then Z and move it upwards. Then you can just select this pace, press E and extrude it in words like this. I will also just select the camera, go to view again, camera to view and you zoom in a little bit and bring it down. This shot feels a little bit better. Yeah. So disable camera to view now, and let's come back right over here. Press tab, we can just hold all and select these two loops once again and move them upwards. Okay. This does not work now, as you can see, it will kind of make the window looking weird. So enable Xray, press one for the front view like this and just select it all right over here. This way you can easily select everything and just move it upwards altogether. Press tab to come out of the edit mode, disable Xray. And yeah, I think this feels pretty good now. Let's continue and press tab once again, and we can add another two edge loops. Press G then X, sorry G then Y and move it right over here. Hold all and just select this loop, press G, then Y once again and move it inwards. Let's see how big we want to create a door. We can use these two faces as well. But I think that's a bit too small, press control R and add another edge loop. I think something like this is pretty good. Once again, just press E and extrude this backwards. This time, undo this, go over here and select extrude manifold. Just hold over here and select extrude manifold, and then again, push it back like this. And this way we have created the sections for the window and the door as well. And now let's actually create them both. So it is pretty simple. I will press tab, and now we can just disable the edge length as well so that everything looks pretty. So that everything looks a little bit cleaner, and let's select this tool, select these three phases, press Shift plus D to duplicate this phase like this, then hit right click so that it is exactly at this location only, you can press P and separate the selection. What this will do is it will basically create this separate object for this door that we can easily use. So you can see right now the origin point is placed right over here, so go to object, set origin and origin to geometry. Move it back. And this can be a door. What I will do is I will press tab and we can just press two for select, select these two edges, press X and do not delete these edges but dissolve them so that the shape stays, and we just remove those edges completely. If you would have deleted them, it would have created something like this. So instead, we will just dissolve those edges so that we still have the shape of our door. And this way we can get this door we can go to modifiers and quickly just add in a solidify modifier as well, increase the thickness for this, and you can notice that the shading is pretty weird. So first, let's just move the solidify modifier above the bebl and that fixes it. Decrease the Bbel amount and we have something like this. Another thing that I want to do is press staab and once again, just select this complete loop for the door, press Shift plus D to again duplicate this, bring it out over here, press B and separate the selection. Once again, we have a separate door over here. For this, I will just press Tab, press three for phase select, select this phase, press I to insert this, insert this a little bit, press X and delete the phase. So that we have something hollow like this, and we already have the solidifier and the Bel modifier and just move it back in so that we can create a door frame. You want to create it a little bit thicker? You just select this loop and press S to scale it inwards like this. I'll just move this part downwards so that we only get these three edges and not this one. This way, I think that door frame looks pretty good. All right, guys, let's move over to the Windows now. Once again, I will be using the same thing. So just select this phase, press Shift plus D, right click and press B and separate the selection. Select this right over here, go to object set origin or to geometry, and bring it out. This time, I will just press Tab, press Control R, and add loop right in the middle. Hit right click and we can create two different separate windows. So just select one of them, press B and separate the selection. So once again, now we have these two windows. So what I will be doing is again, pretty basic select them both. Apply the scale, so control A, apply the scale. Let's add a solidify modifier and move it above the l. Similarly for this one, as well. Now, just make sure that the values for the solidify and the Bewl modifier are equal. So 0.004 on the bevel. And, now both of them are same. What I will do is once again, I want to create. Let's just select them both, press slash to go into the local mode, and we can just duplicate them, bring them out, press tab, select both of these faces, press I to insert and press X and delete the face. Project. Another thing that you can do is right now I want to decrease the bevel amount for both of them at the same time. So if I just decrease or increase the bevel amount, you can see only one of them is being affected. So if I hold at, and then I decrease it, you can see I can affect them both at the same time now. Just like that. Now just select them both and move it inwards like this. And this can be our pretty simple looking windows. I will just select these two and bring them out a little bit and select these two and just move them backwards. Sorry. Just like this. I think that looks pretty good now. Let's just hit Save on our files. And with this, our building model is also pretty much done. Now, as the environment looks like quite a bit empty, I will be adding a ladder over here on the building and also a couple of these benches that we can use to fill out this empty space over here. So yeah, let's just it save now, and with that, we are pretty much done with this lecture. We will be continuing from over here. So thank you guys for watching. I will see you in the next one. H. 6. Creating the Bench: Hello, A, welcome, guys. So let's continue working. And now in this lecture, as you can see, we are almost pretty much done with the modeling phase. We will be also adding something like over here, like a bench. So let's just add that in this lecture. So for this, I have added a couple of reference images that you can see the front view and the side view. So we cannot really use them from over here, like, from the a pure Rf, we just need to bring them into blender. So I will press for the front view like this. You can hold your shift and use your right click to place the three D cursor right over here, and then press Shift plus A, and let's just simply add in a reference image, and we can go into our resource files. So open up the reference images folder and just select the front view. Let's just moved. Back a little bit, then you can press three for the right side view. Don't worry, we'll just isolate them. Then you can just add in a side view like this and move it right over here. Let's just select them both and press slash to go into the local mode so that we can work on them a bit more freely. And with this, we have the front view and the side view of the bench, and it should be pretty easy to create it now. So press one for the front view and press Shift ta. Let's just simply add in a mesh and a cube. Scale this cube down and make it the size of this plank right over here. And scale it up till here. Let's press three and make sure to fit it accordingly from the right side view as well. So just move it back and just scale it down on the y axis. Now you will notice that we have this curve like thing going on where the planks are being moved up in this curved fashion. So first, I will just add in the array modifier. So one way we can do this is just duplicate it again and again, press shift plus deuplicate it, and then rotate it like this. Which would honestly work fine, but I think there is a much better and like a quick and automatic way to do it. So let's just delete it all. Press three for right side view, go into the modifier section for this cue and add in an array modifier once again. Let's set this to zero and increase the Z, I think. Just move this down till here and now you can just duplicate it I think five times. Now to just make it bend, we can add in simple modifier. So just search for simple deform. And add that you can see using this modifier, you can bend or move around your object and just select the bend option. And with this, you can see we pretty much get something like that. We get something like the results we want. Press Control and make sure to apply the scale, and that would pretty much fix the. Earlier issue earlier it was kind of skewed, so press control apply the scale, and this will give you this perfect curve going through. Now you can just play around with the angle like this and we will kind of get the perfect look that we want. And now you can see we have this like curve look going on, and the bench is looking pretty good. Let's just next add in a bevel modifier and decrease the bevel amount, just a little bit, not much and add in the harder normals. And with this, I think this is looking pretty good. Next, we can just simply add another cube, scale this down and we can kind of add in a covering over here, again, just scale it up. And make it like the same size of this. Now for this, you will notice that when we add in the bend modifier, like the simple deform modifier, once again, because once again, we want to make this cube in the curved shape of this object. So we can select this and add in a simple deform. But you will notice no matter what you do, I don't think it would work properly. Select bend. You can move it around. We will get something like this. You can change the axis. And nothing really happens. The main reason for this is because right now, if you press tab, this cube does not really have any kind of geometry in it for this to move around properly. For this over here, we had these multiple cubes, which it curved around properly, but this one is only a single object and we don't have any geometry in it, so we can press Control R first and add in like a bunch of edge loops so that the modifier can actually use some geometry to move it around. Now when you add in the simple deform, select bend, apply the scale first. And still, now, if you just move it around, you can see, we get like much better results. Now it is bending properly. We still not get what we are looking for, and the reason for that is that the simple deformed modifier always works along the origin point. So for this object to take the proper curved shape, we need to place the origin point right at the bottom over here. So even though it is curved, if you press tab, we can see we can still see our old straight because we haven't really applied the modifier right now. If you go over here and hit Apply, then if you press tab, you can see now it is prominently curved. Let's just undo it. This is like the point of modifiers to keep it everything like non destructive. So now I will just press tab, press three for phase, select, select this phase, press Shift plus and cursor to select it to bring the cursor right at the center of this phase. Then I will go to object, set origin and origin two, three decoso. This way, now you can see the modifier has changed and the bending is taking over from this point. Now if I just decrease the angle, we can properly match the earlier shape of this thing. And this, I think, looks pretty good. I will press tab, select the top part, and just move it up a little bit. I can see we have something like this. Let's just select this and once again, add in a mirror modifier and select the mirror object as this so that we can successfully duplicate them both. I will also just select it and make it a tad bit wider. Last is to just add in a bevel modifier. Apply the scale, decrease the bevel amount to a very small number, and enable harder normals. This way our bench, from the front over here is done. Let's just select them both. Select both of these objects that you just created. Press three for right side view, press Shift plus D, and now you can just rotate them like this. You can see they are not really rotating properly because currently, I have selected individual origins from over here. So they are rotating around their individual origin points. So if you want them to rotate together, we can select something like bounding box center. What this will do is it will treat them both as a single object, and now it will rotate them much more like in the way we want. So we can use the transform options up over here to transform the object in whatever way we like. Sometimes we want to use individual origins, but right now, we want them to rotate as a single object. Now our bench is looking pretty good. Now we can just start working on the legs and the side bars like the handles right over here. So the legs is pretty simple. We have something like this over here. So press three for the right side view. We can first create this simple one, which is once again just adding in a cube. All right. Just place it right over here. Enable X ray, press tab, press one for words, see select, and just bring them down till here. To like the length of the legs of the bench. Press one for front view and just move it right over here and give it the appropriate thickness. With this, I think we can once again use the bend modifier or like the simple deform, sorry. Select the bend, press tab, and add in first like a couple of edge loops. And now just move it like this. Tab and select this bottom part. And I'll just try to make it match with the reference image right over here. So that like the bottom part is kind of flat. This way, we have the legs of the bench. I will just decrease the thickness a little bit. Obviously, we don't really have to follow the reference image entirely like accurately. It's fine if you just make some changes according to our n. And now, again, I've used the mirror modifier and use the mirror object as this to mirror it across both the axis over here. Now we can create the legs on the back side for which I will just simply press Shift A and add in a plane, rotate the plane like this by 90 degrees on the y axis, enable X ray. You select these two vertices, press X, and delete them. Select these two place one right over here, and select this one, press G, then Y and move it right over here. Now what we do is as it is in a weird shape, I will select this vertice from over here and just press E to extrude it and keep on pressing E again and again and just place it where I want to place it exactly, and trace out the reference image. I'll just keep going like this. Alright, guys, we are kind of done. Just select the last two words, Cs, press F to join them like this. Press tab, press A to select everything, and press F to fill out this phase like this. Now you can just press one for the front view and add in like a solidify modifier or just give it like thickness directly as well. But I'll just use the solidify modifier. Move it like this and just place it according to the reference image, a just thickness and the last thing is to just add in a mirror modifier. Select the mirror object as this and just duplicate it over the right side as well. With this, our bench is pretty much done. You can add in like a bevel modifier as well to this. I will select the smooth bi angle and move it to the top. Just make sure to enable hardened normals for this. Et's just hit safe first and work on the handles, which is once again pretty basic and simple. I will add in a cube, scale it down, place it right over here. Try to roughly match the reference image, move it over here, bring it out, scale it down. What I will do is I will first scale it up on the y axis like this. Press control, apply the scale press tab, press Control R, and just hit right click so that the edge loop is added in the middle. Enable Xray and delete this side. Delete the right side, select it all press X and delete the word Cs. Press tab and go into the modifier section now and just select the, as you know, mirror modifier. And you need to right now we don't really need to select any mirror object because we want to duplicate it across its own axis only or own origin point only. So just select the correct axis like this. And now, this way, we can just work on the left side of the model and the right side would be done on its own. What I will do is I will select it. Again, there are a lot of ways to create this shape. We can also use something like a spin tool, but I just quickly press E to extrude it out and then just rotate it. Press R and E repeatedly to kind of roughly create this shape. You don't have to match it exactly because to overall smooth it out, we can just add in like a subdivision modifier. Scale it down and now press one. This time, rotate it inwards like this. Sure to press one to go into the front view, and then you can just scale it down and push it into the seat of the bench. And this way we have something like this. I will first right shade or to smooth this, and it looks fine overall. It does look like a little bit blocky. So first, I will add in another mirror modifier. And just duplicate it over here on the left side. The last thing is to just simply add in LA, something like a subdivision surface. You can see it will overall smoothen out the entire shape. So what we can do is we can now press tab, press Control R, and we can just add in, like, a couple of edge loops to obviously make it a little bit, sharper because right now, this looks like a little too smooth, so you can add in edge loops like this to just make it up a little bit tighter. You can also use creases for this, but I just like to use the edge loops like this. I will add one over here. And this way, as you can see, it does retain its old shape, but it is not as blocky, as you can see, if you turn it off, like turn off the subdivision surface, you can see the effect it adds. You can increase the levels to make it even more smoother to get like this, nice finish. And yeah, with this, I will just hit Save and our bench is pretty much done, and I think it looks very nice. Let's press slash to come out of the local mode, and I will just quickly select all of this bench, scale it down. And what we can do first is we can just select this piece over here, press Shift, puss cursor to select it to bring the cursor right over here. Press Shift A and add empty quickly. So plain Access, basically. Now select all of this bench. Make sure to just select the bench only, like, only the parts of the bench and then select this empty at last. So the reason we are selecting this at last is because we want to make it the active selection, as you can see, it is kind of yellowish in color, and the rest of them are orange. So we want this empty to be the active selection so that we can parent it to this, right click and parent and go to object. So what this has done is basically all of these objects are now like children objects to this empty. So whenever you select this empty, you can just move it around. Without having to select, all of them again and again, which is kind of like a hassle. So you can just select this empty and move it over here. You can also scale it down and it will work perfectly. Let's decrease the size of the benches for now. And I'm not really trying to, like nail everything exactly right now, like the composition or the size of the benches for that matter. You can just roughly sorry, you cannot really duplicate it. I forgot. If you duplicate the parent, you won't really duplicate all of the children as well. So just delete it. Instead, you can just select the parent, and then you can press Shift plus G, I think, and select children from over here. What this will do is it will just select all of the children of that particular object that you've selected. Make sure to select the parent as well. Then you can just duplicate it, and maybe we can create two benches like this. I'll just select them all quickly, hold control, and deselect all of the extra objects. Press seven for top view, and duplicate them like this. Press R, then type in -90, place it right over here. And we have all these benches to fill around in our scene. And for now, I think this looks pretty good. Let's just hit Save. And I think we are pretty much done with the molding now. In the last lecture, I will just basically add in like a ladder over here on top of the building to just add in, like, a little bit more detail to our building. And with that, we are pretty much done with the modeling part. From that point onwards, we can, start with the texturing, adding all the materials and everything and the lights as well to our scene. So let's just hit save now, and this is pretty much it for this lecture. Thank you. As watching, I will see you in the next one. 7. Adding the Ladder: Hello, and welcome, guys. So in this lecture, we will try and finish up with the modeling part of our course so that we can start with the materials and the lighting from the next one. So if you will just quickly look over in the reference images, we have this ladder like thing over our building. So we can add it over here as well in our scene, just to add a little bit more detail, and I think it would look pretty good. So what we will do is, let's just add the ladder in this video. And first, I will select both of these reference images. Now just press M to move them to a new collection and rename this collection too. Under spore images so that we can just easily turn them off for now. Next, I will select the building and press slash to go into the local mode. So now, once again, if you will just look over in the pure reference images, you will find that I've added a ladder reference image, and I've just added for the sake of it, we can also create the ladder without the model as well. It is pretty simple. But yeah, I've just added it for the exact measurements if you want to use it. So we'll just quickly add it into blender and we will roughly use it. So just select your building, press Shift plus S, then cursor to select it to bring the cursor right over here, press Shift A, go to image reference, and then we can just quickly head over to our folder for the reference images and then just add. So we have something like this. And the reason I added this building is because I want to place the ladder somewhere around here, and I want to, like, kind of scale it according to the building. So that the reference image is that of the size that we want the actual ladder to look like. So I think something like this would look pretty good over our building. So now we can just select the building and press slash to come out of the local mode and then just select the image now and then press slash so that we can easily work with the image only. Let's press Shift plus A or sorry, press Shift plus S, then cause her to select it to bring the cursor right over here, Shift A and then add a cube, and then just try to scale this cube like this. This way, just make the thickness equal to the ladder. Now what we can do is just press tab, press Control R, and you know that we can add a simple mirror modifier to copy the things onto the right side. So just select the right side and delete it, and then we can use the mirror modifier. And now to create the ladder thing, first, let's scale it down on the YAxis as well. And if you press tab now on the object, you can select the vertices that are in the middle. And if you just press G then X and move them apart, you can see you can also create like distance between them. If you enable this clipping option, then they will be totally connected in between and you won't be able to move them apart. But if you disable this clipping, you can disconnect them. So just select all of the word Cs in the middle and just move them over here so that we can create the ladder like this. You will see that we have this space in this phase, so just select it all, hold all, and select this complete loop, and then press F to fill it out. Now we have our ladder like thing going on. Just press tab, enable X ray, select it and extend it till here. And the top part as well, we can select extend it roughly till here as well. All right. Now we have the basic looking shape of our ladder. Once again, I will press Shift process c select it to bring the cursor exactly in the center of our ladder. Then press Shift A, add in a cube, scale it down and give it the size for this one single ladder. Scale it up like this and bring it down over here. All right, so now I'll just select this ladder and scale it down like this first. Somewhere around here. Next, let's cut just this as well. I will increase the scale of this a little bit. And then what we can do is we can just match it with the reference image first and then simply add in array modifier to it, set the X factor to zero and increase the Ye the z. And for now, first, let's just match in the reference image. Something like this. And, we have the basic looking shape of a ladder. But definitely, I don't really want to add this much amount of stair, so I will just decrease it to six and then increase the amount of space between them for now. Let's select it from the bottom and move it a little bit upwards as well like this, the overall object. And this looks pretty good to me for now. I will also just select this piece, add in a bevel modifier to it, and apply the scale first. Adjust the bevel to a low number and enable harder normals. Press tab. I'll select this phase, press I to insert this and just extrude it out like this, just to add a tad bit more detail. We can do the same over here, add in a bevil modifier, apply the scale and adjust the amount. All right, this looks pretty good to me now. For now, I will just select the reference image, press M, and move it to the reference images collection, just to work freely. Press tab, and now what I want to do is if you press slash to come out of the local mode and just select both of these pieces of the lider, bring them out. Over here. So this looks pretty good. And now what we need is we just need a way to connect it to the top part, so I will just create this curvature thing to connect it over here onto the roof. So how we can do that, again, it's pretty simple. I will just quickly show you. We have a nice little tool for it. So first, I will just press tab and select this top face, and I will just press X and delete the face. And we can select this phase as well, and we can delete all three of these like this. Press one and select all of it from the top, press S then Z and type in zero, just to make them completely flat. The reason I'm doing this is because we will be extending this part. That's why I've made it completely flat. So make sure to do that. They are all uneven, so just select it all press S and Z and type in zero on your number pad, flatten it like this. Press three for the right side view and press tab and make sure only this top part is selected. Then use your cursor, so you hold Shift and then right click to move it around like this, and you can place it somewhere around here. Uh, the reason I'm placing it right over here is because you'll be using it as a center point to create a circle like thing using the polygons. And for that, the perfect tool is spin tool. So press tab and press T to bring this tool bar up, and you can select this tool right over here. That is the spin tool. Now, if you will see as soon as you do that, we get a tool around our three D cursor. So if you move it around, you can see we can kind of spin it. But currently, the axis is set to the wrong axis. So if you go into the tool bar option from over here in this side bar, so that is the N side bar. If you press N, it will bring it up. Select the tool from over here and select the X axis, I think. So if you press three now, and now if you select it, you can see we can very nicely create this curvature like thing which looks pretty good. Obviously, it is not really accurate right now, so we can use this bar over here or this like dialog box to control the settings for it. So if you type in 180, first type in the angle as 180 so that it extends like this. And then you can use these gizmos control the length and the curvature of it. So I think something like this, looks pretty good. You can also increase the number of steps, which will basically kind of smoothen it out. If you decrease it, it will become low poly, as you can see. But if you increase it, it will become smoother. We can add something like 25, I think, to make it really smooth and press slash to come out of the local mode just to see how everything looks. And yeah, I think that's pretty good. So press dab, select it now and move it down like this. Yeah, I'm pretty happy with how that's looking, but I just feel that it is a little bit more outwards, than I would have liked. So I'll just quickly undo it. Press slash to go into the local mode. Do it once again. Type in 180. This time, just bring it back a lot more so that this curvature is a lot more small. We can also reduce the number of steps to 20 because the curve is pretty small now. Now, let's press slash to come out of the local mode and just move it down and a little bit outwards. And this feels much much better and a little bit more natural. Alright, now you can see that this part is not really shaded properly, so right click and try shade, smoothing it and also try shade auto smooth because the shading is not really correct right over here. Let's see how we can fix that. Let's just done off harder normals for now, and then right click and shade at to smooth this. And yeah, I think now it looks pretty good. All right, so I'm pretty happy with how the ladder is looking. I will also just press tab and select the top part of this building to just select this part and leave out this like extended extrusion that we have created, and then just extrude it downwards like this so that we have some sort of like a little bit of the roof part. And press zero to just view through your camera, and I'm pretty happy with how the overall view is looking. Et's just select this press slash, press Shift and add in another cylinder, rotate this by 90 degrees, scale it down, and just place it right over here. Just to add, like, a small bit of detail. I'll press tab, press three for face select, and insert this and extrude it out a little bit. We something like this. Then we can just simply use the mirror modifier, which is duplicate it over to the right side as well. Let's select the mirror object as this only. Yeah, it works perfectly. Slash to come out of the local mold. Maybe we can just select duplicate it, press G then Z and move it over here to the top as well. And with this, I think the modeling part is pretty much done. Last thing is, I will also add a bunch of planes right over here because if you remember, we are going to create a material over here, like a transparent material to create all those wires in between these. So you select it, press slash and go to object set origin origin geometry, so that the origin is exactly in the middle. Press shift plus cursor to select it, press Shift A and add in a plane and rotate this plane by 90 degrees like this. Move it back a little bit. Oh Then we can just similarly add an array modifier, type in zero and increase the offset on the Y and then just repeat it like this. Make sure it fits properly over here. Sorry, type in minus one. We have to set it to something like -1.05. Sorry. Yeah. -1.015, that fits perfect. Just make sure it's covering everything, and now it is working correctly, I will select it now and add in a mirror modifier and then just select the mirror object as this so that it appears over here as well. Then just select it once again, press Shift plus D. Remove the mirror, rotate it by 90 degrees. Then just quickly place it right over here like this. Make sure, once again, it fits all of the faces correctly. If it does not, we just need to adjust the value over here because we have, I think, tweaked around with the scales a little bit. That's why it is not really fitting. Type in minus one and let's see if we can go from over here. -1.020 0.022, I think, that fits pretty accurately now. All right, guys, let's just hit Save. And yeah, with that, we are done. Let's just press zero. Hit save, go into the rendered view. And right now it is looking something like this. Obviously, because these are totally opaque so light is not really passing from them, and it is creating all these shadows, but we will be adding a transparent material to them to create a wire kind of look. So yeah, we will be starting with the materials from the next lecture onwards. So thank you guys for watching, I will see you in the next one. 8. Adding Fence Material: Hello, and welcome guys. So in this lecture, we will be starting up with the materials part of our course. So let's first create this fence material over here, something like this, and then we can work on the ground material. But before we do all of that, let's just quickly add in some kind of lighting in our scene. So right now, as you know, we have just added this sunlight. So if you miss this part, just shift and add in a simple sunlight from over here, and then you can increase the intensity to some number like 2.5 or two. And then if you just rotate it around, you can see this sunlight will move. I've already added one, so I will just delete it. But obviously, as you know, we also need a background in our scene. And if you will just quickly look over in the resource files that I've added with the courses, you will find this HDRIs folder in which I have added three different anime HDRIs that you can use. So all three of them have the complete stylized look, and we can use them. They will also give a nice background to our scene and also add some nice colors. So go into the shading tab and we can switch to the rendered view. Let's switch zero for your camera view. Switch to the world shader type and just simply press Shift plus A and search for environment texture. So we can add in an environment texture, plug this into color, and it will make everything pink because we haven't really selected an environment texture. So click on open, and I will just quickly head over to the HDRIs folder and we can try all three of them. So the first one is this. So obviously, this is like a nice HDRI. You can select it now press Control plus It gives us these nice clouds in the background, but it is not really that much visible. You can press Control plus D. If you miss this part, you can just select your environment texture, press Control plus It will link this texture coordinate and mapping node. And if this does not work for you, that means you haven't enabled the node wrangular add on, so go into the preferences and then go into add ons and search for node wrangler. Then you can just enable it from over here. Also, if you don't find it in this section, they have created two different sections for add ons and extensions. You can go into extensions and then search for the node wrangler over here if you don't find it in the add on section. You can just search it and then just enable it by default. And then when you select your environment texture, press Control plus D, or if you select any texture and then press Control plus D, the mapping and texture coordinate node will be automatically added. Now if you rotate it around the Z, you can see we can rotate the complete HDRI, we can place it right over here. Now if you press F 12, it will be rendered, and you can see we get this nice background in our scene. Obviously, all these fences over here would be kind of transparent, so it will look much better. So now that we have tried out this HDRI, let's just try something else. You can cross this and hit open and go back again in the same folder and select the second one. And the second one is something like this. Again, it is kind of similar looking, but it will give you some different visuals. You can also compare between the two by pressing F 11, and you can see this was our old random. Now you can just press J to switch between the different slots. So when you are in an empty slot, press F 12. And now you can press J again and again to compare between the two. And now you will see not only the background HDRI changes, but the colors like the subtle colors over here, you can see, over here, there are yellowish, but over here, they are kind of bluish. So yeah, HDRI also adds a secondary source of lighting into your scene, and it adds, like, nice subtle colors. So we have, all these different HDRIs. Let's try the last one, which I think I'm going to use. So HDRI three. This one I find really nice. When we add the transparent material onto our fences over here, I think it would look even better. Something like this. You can see these clouds, I like them a lot more than these ones. But yeah, it is totally up to you whichever one you want to go for. You can, again, compare between the two and choose whichever one you want. And now that we have done all this, I just want you to discuss this a little bit. You can experiment with this and try out different rotations and try out different variations of them. You can also play around with the location factor on the X, which will kind of zoom in or zoom out your HDRI, but don't do it too much as it will kind of make it look very weird or stretched out like this, as you can see. So I will right now keep it at zero. And before we actually start to fiddle around with the HDRI, let's just finish up with the environment first, and then these things can come later on. I will switch back to Object shaded type and select the fence and click New and rename this material fence. All right. Select these ones also over here and give them the same material. Let's just see if I change the color, you can see all of them are changing at once. Let's just select this principle BSDF and delete it for now. You can see it is totally empty. So the way we are going to create something like this is and it's actually pretty simple. It is not even that tough. We basically are going to use a mixed shader, and we are mixing it with a transparent shader and a normal principle BSDF. So press shift A over here and just add in a mixed shader. But obviously, we are mixing the two shaders. As I said, one of them is transparent. So once again, press Shift A and add transparent and plug this in over here. And then press shift A and add in a principle BSDF which will control like the rest of the things. And plug it over here. Right now, it is basically mixing them according to this factor. So zero means totally transparent and one means totally like this principle BSDF, whichever color or anything we add over here would be given. But we don't want that. What we want is that we want both of them to mix according to a mask, and that mask will be creating something like this. So for that, we can use the brick texture. So press shift and search for brick, you'll find this brick texture node. And let's just keep it all aside for now. Just plug this brick texture over here in the surface. You see, we get something like this. Now, basically, what happens is, whatever you plug in this factor output, so the white colors would be treated as the first, like the shader one, and the black would be treated as shader two. So first, what we need to do is you can see we have all these gray colors and everything. So I will just select this and set it completely white, select this and set it completely white. So that we only have black and white colors in our brick texture. And now we can simply use it as a mask. I will just show you you can plug this in into the factor and plug the shader into the surface. So it is right now doing the inverse, so that means we just need to plug transparent into the shader two. So you can hold control and just cut it like this to disconnect them both and plug principle BSDF into shader one, and transparent into shader two. And you can see right away, we get the desired look that we want. So we are basically using the brick texture to drive this mixed shader. And what this brick texture is doing is if you plug this in back into surface. So the brick texture is white over here in the middle and black in these lines. So it is using this mask to run this mixed shader node, and the white part is being totally transparent because we are using it as shader two. So it is showing up in the white areas and the principal BSDF is showing in the black areas of the mask. So pretty simple. And with this, we have, kind of, like, the fence like look going on, which we wanted. Obviously, it does not look that good right now. So once again, I will select the Brick texture press Control T to first add in a mapping node, and I think we need to rotate it on the Z by 90 degrees to first get it like this. I think this looks much better. And then we can increase the scale, I think. Because obviously these fences are kind of pretty small. So maybe we can round it up to 15. Press zero. And yeah, I think that looks nice. And now what we can do is we can select the principal BSDF because the color of this fence is white right now. If you press F 12, it looks something like this, which I think in itself looks fine, but we can definitely select this white color and make it a little bit darker. Now if you press F 12, I think that looks pretty good. Also, one other thing that you can do with this material is to make it look a little bit better. You can come over here in the material properties and just enable rate raise transmissions. You directly won't see the effect it adds, but it does make your material appear a little bit better. And yeah, this is how it appears right now. I think the fence looks pretty good right now. So we can close it and let's just hit Save. So we are done with the first material. I think it looks pretty good. We can next select this metal rail. So create a new material, and we name this two simply like metal for now. And again, select this and add the metal material over here as well. And we can give this color something like. Let's see what kind of color we want to go for. But All right, so I just directly have the X code for the color that I'm going to use. It is kind of something like this color only. So you can paste this X code if you want to. You can copy it from over here. It is 81 A to B DFF. So this is the color that I will be going for. And then we can once again press F 11 to view our render. So this was like the old one, then press F 12 to render it out, and this is something how it looks. So slowly step by step, we will keep on adding more materials to our environment. With the addition of this fence and the color over here on the metal rail, I think it looks pretty good. You can also give it a little bit of metallicness. Obviously, it is a metal material. So we can give it something like 0.45. And what I like to do is I constantly like to compare the renders with my old render. And yeah, I think it's fine. Let's just hit Save. Let's just hit save now, and I think this much is pretty good for this lecture, we'll continue working from over here. In the next lecture, we will be working on our ground material and the rest of the materials of this environment. So thank you guys for watching. I will see you in the next one. 9. Fixing Colors and Adding Outlines: Hello, and welcome, guys. Although we were working on materials in the previous lecture, in this lecture, we will be covering two of the most important things for our course that will help us in getting that anime or stylized look that we are going for. So in this video, we will be covering how we can change the color space of blender and also learn how to add outlines to our model. So first, let's start by switching up the color space. If you press F 12 right now, the scene will render out, and this is how our render looks right now. I will also create a space over here so you can go in the corner and you can create two different windows. And the reason I'm doing that is so that we can actually see the change in our render. So select Image Editor and just go over here and select render result. So this is our render result, and I'm doing this so that we can see the change over here when we change the color space. So go into the render properties and open up color management. So by default, the view transform is set to something like AGx which works pretty good for realistic results. But this time we are going for something stylized and like the normal animal look, so click over here and change it to standard. You will see instantly the colors pop out a lot more and in general, it just looks better. You set this to AGx and you can see how flat it all looks. So you can switch this back to standard, and you can see the colors pop out a lot more, and it looks much, much better. You can also go over here under the Lo dropdown menu, which is set to none currently, and you can set this to something like medium high contrast, which will give you even more contrast in your render. So yeah, that is basically it for changing the color space of blender to make it a little bit more suited for our project. You can see earlier it was something like this. And now it looks like a lot more flatter when we directly change it. So we will be going with standard and medium high contrast. You can play around with the settings from over here, like, changing the exposure or things like that. But yeah, for me, I think this much is pretty good. Now we can close this off, and I will show you how we can add outlines to our render or our models. So there are a couple of different ways to do it. There is like the inverted hull method where we add a solidify modifier, and it's like a little bit more complex where we add extra thickness to our models and change the color of it to black, basically giving it that outline look. But I think it is a lot more tedious and it will also add a lot of extra geometry in our scene. Which we don't really want, and it is a lot more difficult to manage in general because you have to add it to every single model separately. Then the other method is this freestyle method, which you can just enable from over here, and I will just quickly show you you can enable it from over here. So enable freestyle, and you come down over here in the view layer, scroll down and you can see we have all the freestyle properties over here. First, let's just press Ftwelve and see how it works. So you press Ftwelve, you render it out, and after a while, you will see freestyle stroke rendering. And yeah, instantly, you will see outlines are added to your model. Now there are a lot of different settings where you can control where you want to add the outlines, change the color, change the thickness. You can come over here and you can change the thickness from over here to like 0.5. If you now render it once again, now the strokes would be a lot more thinner, as you can see. And yeah, this is basically it for the freestyle method. Obviously, there are a lot of different settings. You can try to, like, experiment with them if you want to go for something like this. But as I won't be really using this method, I won't be diving too much deep into this, so I will just quickly disable it from over here. Because the method that we will be using is the grease pencil method. And that method, I think is a lot more visual and dynamic, and we can actually see it change over here in real time, as well. So yeah, we will be using that. So come over here in the corner once again and just collapse this to a single screen like this. Press Shift and we can go into the grease pencil and search for collection inart. So just add the collection in art like this, and you will see we will get an object added for inart. Instantly, you can see all the outlines have been appearing in your scene. Now you can just click on Line art, press zero. So this method works only through your camera. So make sure you are in your camera view because if you're not, you can see it will start to look weird like this. But it does not really matter because it will work perfectly as long as you are in your camera. So it will work perfectly in your renders. So press zero, and you can go into the rendered view or the viewpod shading and we can see the outlines over here. The reason I like this method a lot more is because it is a lot more dynamic in real time, as I can easily change the line thickness and it will all update in real time. All these things you cannot really do with the freestyle method. And yeah, it is a lot less complex as well. As you can see, it was really easy to add these outlines. So let's set the thickness to something like five for now and we can also decrease the opacity to 0.5. For now, I will just disable this from the viewport and the render as well and then press F 12 to see how our render looks. Then if you remember, I showed you this in the last lecture, you can press J to switch between different slots of the render. So this slot is empty, as you can see slot two. So press J to switch between the slot and you can just enable it back and then press F 12. Now, this is a render along with, like, all the outlines. Now you can press J to compare between the two. And you can see just by adding the outlines only, it gives a lot more effect of that anime or that comic book style effect, and it looks a lot better. Obviously we will be experimenting with this line art a lot more, and I will show you some of it. So you can open up this edge type, and you can see if you disable some of these things, the outlines, you can adjust them where you want to add them. Like, right now it is appearing up everywhere, but you can disable this and it will appear only over some of the areas. Then if you disable intersection, it will remove the outline from some of the intersection areas. So, we will be definitely experimenting with this. For now, I will just keep it enabled everywhere, and I will show you some of the modifiers that you can use with this. So go into Modifier and search for the noise. You can see we have this noise modifier. And as soon as you add that, you can see your like the outlines a lot more like disperse right now. They have added like this randomness or noise into them. Obviously, it is like a lot more right now, so you can adjust this position and you can see you can add randomness into your strokes. You can also add noises onto different factors. Right now it is just adjusting the position, but you can adjust the strength of the strokes to make them thicker in some of the areas and lighter in some of the areas. And then the thickness like that. I think it is a pretty helpful modifier, and that will help you in creating this very comic book style like strokes as it won't be uniform. You can disable it, and you can see earlier it is completely uniform, but now it is like a lot more broken up. You can again, press F 11 to view the render and then press J to switch to other lot press F 12. And now you can once again just press J again and to compare between the two. So earlier it was something like this where everything was completely straight. But now if you press J and look at it, everything is a little bit more dispersed and more sketchy. So it is like a nice bit of effect that we can use. O now we can just turn it off and I will show you something else. There is also this dot dash, I think, search for dot dash and select this one. It will basically create this dashed line effect, as you can see. Earlier it was completely uniform, but now it is in this dashed format. And you can control these dashes by increasing or decreasing like these values. I don't think I'm really going to use this one. It can remove the outline from some areas completely and then add them back according to the dash and gap values you choose. Yeah, once again, if you want to use this, you can definitely go for I will give you this kind of look. But I think I will only be using the noise one. You can also change the color of the material or the outlines. Right now, you can see the material is set to black. It has automatically created this black material, but you can change the color right over here, and it can give you different colors of outlines as well. Obviously, we will be going for black only. So I think this way, we can add really dynamic outlines that we can see in real time all the changes that we make. One last thing that I want to go over is, let's say we don't really like these, outlines over here, so I disable this threshold. So we remove all of these extra outlines and we make it like a lot more cleaner. You can see disabling it, it will remove all these extra outlines and just keep it over some of the areas. But now for some specific object, let's say just for this building, I want to add the grease outlines, but not for the rest of them. So what I can do is I will add another modifier and once again, just add this line art modifier once again. Currently, it is not really using anything, and the source type is set to collection. So change the source type to object and select the object as this building, and then change the material to black and set the layer to the current layer. And you can see, what this is doing is this separate line art modifier is only controlling the outlines for this particular object. So this is for the complete scene, the top one, as you can see, we are controlling, like, all the outlines over here, but this one is just for this particular building. So this way, you can, like, add separate outlines for some of the areas or objects that you want to create. So you can add, like, multiple line art, uh, modifiers. So right now, this one is set to collection. So whatever is currently in this collection will only have that outline. You can also change it to complete scene where it will be affecting the complete scene or like a particular object, like we are doing right over here. So yeah, as I said, it is a lot more dynamic. And yeah, it is really easy to add outlines to your scene with this particular modifier. But this one, I will just remove it for now because I was just showcasing it, and I will select the line art modifier and enable the crease threshold checkmark. Just because right now we are not really adjusting it too much. So let's just keep it that way. I just wanted to show you how we can add it. We can tweak it around at a later point in our course when we have done, all the materials. One last thing that I want to tell you guys is that you should be just disabling it from over here. Not from over here. Like, do not disable it from over here because it does not matter. But if you disable the modifier from over here in the viewpod, it will basically turn it off in the viewpoard as it can make the things very slow. So you just disable it from viewpod but keep it enabled in real time. So that whenever you render it, so BrasFtwelve, your outlines will show up, but you don't really have to see them all the time in your viewpod because it can be kind of distracting as well as it makes your scenes a lot more slower. But sometimes if you want to see the changes or you are making any updates or changes, so at that time, you can enable it in your viewpod and work with it. But after you're done, you just disable it so that your scene stays snappy, and things don't really get like laggy because of this lineart modifier. And yeah, basically, these were the couple of things that I wanted to discuss in this lecture. Let's just sit save, and in the next lecture, we can continue working on our materials. So thank you watching. I will see you in the next one. 10. Creating Ground Material: Hello, and welcome guys. So let's continue to work on our materials. And in this lecture, we will be working on the brown material. So if you will just quickly look over in the reference images, the roof material or this brown material over here is pretty much similar in all of them. We have the style type of texture or like a brick texture, and over it, we have some type of grunge or dirt. So we can simply create this in blender, as well. Let's just go into our shading tab over here, and then we can switch to viewport shading so that we can actually see like all of the colors. And then just click on New to create a new material, and let's rename this material to roof. So now, as I said, we will be creating a tile type of texture. So again, let's just bring in the brick texture. So for now, I will just press shift and search for brick texture. And we can just directly plug this into the base color. So now to create something like the reference images, as you can see in all of the images, all of the tiles perfectly match up with each other. But here we have a little bit of offset. So first set the offset to zero so that they are matching completely like this. And then next I will just turn the color to complete white for now so that we have something like this. And now we just need to adjust the brick width and the row height to make it a little bit more squarish. Let's see. Let's increase the brick width Then we can increase this row height as well. So that we get something like this, let's adjust the scale as well. Something over here, I think. And also, we need to decrease the motar size, which is the distance between these bricks. I think we need to put it pretty small. Let's try 0.01 or 0.005. This feels a bit better. Let's look at it through our camera. And here. Now, the scale and, like, the rest of the things kind of match with the reference images over here. I will also just select the motar color, make it a little bit like grayish not completely black. All right. So now what we basically need to do is we need to add like a bit of, like, dust on top of it just so it is not completely white like this because right now it looks kind of like jarring. So now if you will go over in the course files and in the textures folder, most of these textures are pretty much that we will be using for, like, the compositing phase of our course. But this ground texture over here, we can bring this into our material, and we can kind of layer it on top of our brick texture to give it that dust kind of flow. So it is pretty simple. We will again, just simply using the mixed node. So first, let's just directly plug this in before using the mixed node. So right now it looks something like this where the texture is very much stretched out. So to fix this, just press Control plus T on your brown texture, and we just need to increase the scale. So just drag and select all three of them and type in something like three. Maybe we need to increase it a lot more, something like ten maybe. Yeah, I think this feels pretty good. Now the texture looks fine, and we just need to mix it with the brick texture. So bring it in like this, select the mixed color node. Now plug this into the B and plug the result into base color. And yeah, as you can see, as soon as we mix them both, earlier it was something like this where we just had the brick texture. Now we can just plug in this ground texture as well to have this overlapping look. Now, if you will press F 12, we get something like this, and I think it looks pretty good. So what you can also do is now if you look over here at the mixed node, we have this factor value, which is currently set to 0.5. So that means it is mixing equal parts of this ground texture and the brick texture. So if you set this to zero, it will totally be the A input, which is the ground texture, as you can see. And if you set this to one, it will totally be the B input, that is a brick texture. And somewhere in middle, it will mix them both. So it is totally up to you if you want to have more parts of the brick texture or more parts of the ground texture, if you want to make it look like a bit more grungy. We can set something like let's try 0.4. Or we will be just going with the perfect value of 0.5 only for now, and we can I think play around with this later on. I will also just shift and bring in like a color ramp node. So search for color ramp and bring it over here in between your brick texture. And the reason for that is so that I can control the overall color of our bricks. Right now, if I change the color, so if I remove this color ram, so if I change the color of my bricks, because it has these two different colors, so it will give two different variations. I don't really want that. I want to keep a uniform color. So I will bring in this color ram, so bring it in between the brick texture and your be input over here in the mixed node. And now if you select the white color and change it to whatever you want, it will affect like all of the bricks at once. So I just want to make it a little bit like less white. Currently, it is set to completely white. Just bring it a little bit down. So something like 0.85 or sorry, 0.9, I think. Yeah. With this, let's just hit save. And the next thing that I'm going to do is I will add a little bit of height information into our node. So you can press Shift A and search for a bump node and press shifty once again, search for a noise texture. So to view any of the nodes, I know I'm just plugging them all them one by one like this. But if you have enabled the node wrangler add on, you can just directly use a shortcut as well. So select your noise texture node and just press Control Shift and left click. And you can see as soon as you do that, it will just directly plug itself in the material out and show you the results of that node. And now if you want to, again, view your original material, you can just hit Control Shift and left click on the principal BSDF and now you can see the material again. So we do these things like to just quickly view how a specific node looks. If I just want to see how this brick texture looks, so Control Shift and left click and I can see the specific brick texture or this ground texture over here. So this is like a really nice shortcut. But for this, make sure you have enabled node wrangler add on from preferences, add ons and search for node Wrangler. Alright, let's close this off. I will select the noise texture. And the reason I'm showing you this is because this is how the noise texture looks currently. So you can adjust the scales and things like that. Before that, let's just plug this factor into height over here and then just plug the original material back in. And we can plug this bump node or the normal node into the normal of the principle BSDF. And you will see what it does, it will basically make these fake bumps into your ground it is actually not doing anything. It is basically like playing around with your light information, and that's why we get these bumps in our ground. Now, to make them look a little bit more realistic, what we need to do is we need to obviously like first decrease the strength of this, and we also need to increase the scale of our noise texture because I want the bumps to be very, very small. So just keep on increasing it to a pretty large number, maybe something like 200. Now we get these crazy small bumps. Now to make them look a little bit better, just tone down the strength to something like. Let's try 0.2. I think 0.2 is also a lot, so let's try 0.1. Something like 0.05. Now, what this will do is, although it is pretty subtle, let's increase this to 0.08, sorry, 0.08. You can disconnect this and see the difference. A, obviously, it is really, really subtle, but you can compare it by rendering two of your renders so press J. And this is like our old render. And you can see the color also changes, and also it will add these small pumps over here. So I think it is like a nice bit of addition. If you want it to look more apparent, you can decrease the scale and also increase the strength from over here of the normal. But I will just keep it, pretty subtle only. So let's just hit save now, and I think this is pretty good for our ground texture. One other thing that you can do with your material is as we are controlling this brick texture using the color ramp, you can also control the ground texture using your color ramp as well. So if I just control shift and left click on the ground texture, select this color ramp, press Shift plus D to duplicate it and just plug this in over here so that you can actually view that. So using the color ramp, you can control the color, obviously, but you can also control the gradient between the black and the white values. So if I push in the black, you will see what will happen. Basically, it is trying to increase all of the areas which have black as I am increasing a black slider from over here. If I do this for white, You will see the wide areas will increase. And if you try to mix them both at the center, it will create this very contrasting texture. So now instead of plugging this in, I will just plug the principal BSDF back in, and now just bring this color ramp over here into your mixed node. And then you will see you will start to see the effects of the mixed node or sorry, the color ramp node as well. And now we are getting a completely different ground texture. Obviously, we are not going to use this because it does not look that good. But the basic point of this is that you can also adjust the grunge or the dirt of the ground texture. So right now this is completely a default because both of the sliders are at their ends. But if you like, increase the black portion, you can kind of make it a little bit more dirty if you want to go for that kind of loop, and you can make them a little bit contrasty as well. So that is totally up to you how you want to use it. You can also change the color. If you want to add, a little bit of yellow tint like this, one other thing that you can do is you can click on this plus icon, and basically, it will add more colors in between. It will be more apparent if I change this to red, then we can change this to constant. And now if you will start to push this in, you will see like we get all these different colors. You can add in more colors like place one over here and change this to green. And this way we can mix in a lot of different colored noises. Obviously, we'll set this back to something like linear, which gets us a little bit more of a gradient, as you can see, and it is not as harsh. But the reason for this is you can create color variation as well in your ground because now you are adding in different colors. And you can kind of create like this a little bit more detailed looking noise. Instead of having it flat out white and black. And you can also control the harshness of all of these using these sliders. So I think adding this color ramp node is pretty helpful. I will right now just go over here and reset the color ramp because I will be keeping it default like this. But yeah, I just wanted to go over this that we can do this as well. Let's just sit save now and continue to work on our materials. We can create the simple material for these benches. So first, let's select this part, click on New, give this like iron material or something like that, set the metallic value to one for now and decrease the roughness to something like 0.3. And then we can just select all of the objects that we want the iron material added on. Select this, select this. These two, all of the parts of the benches over here. And now at last, select the piece where you added the iron material, select this at last, then press Control L and L link materials. Basically, this will add the iron material to all of them. You will also see this if you click over here, you can see 12 is written. That means this material has been copied to or this material is being shared by 12 different objects, and now we have added the iron material over here. I think we should probably add it on these pieces as well that are on the sides. So you select all four of them and then select any of the object with the iron material, press Control L and link materials. Let's see. I think I will be going for something simple like this. Maybe increase the roughness a tad bit because otherwise it will get too shiny, so maybe something like that. And then select this one, again, create new rename to bench. And for this one, I'm not going to do much. I'm just going to copy a color code and you can copy that if you want to use the same. Just click on this base color and go into the hex and paste this value. You can copy it from over here if you want to use mine. It is F two even double B and double F. So it will give it something like this type of color, kind of like woodish color. I won't be doing too much with this texture because when I was like, experimenting things out, I just found out keeping it pretty basic looked the best. So just select it and now select all of the seeds or the parts where we want to add the wood material, and then select it at last, press Control L and link materials. Let's press zero and see how everything looks. And if you press Ewel right now, this is how our render kind of is looking right now. So it's starting to come along pretty well. I think the basic texture of the like wood and the iron looks pretty nice. I'm surely going to select the line art because right now the line art is, I think, a little bit too much, so I'm just going to turn off this crease threshold for now. And you can compare it as well. If you press F 11, this was our old render, press J, and press F 12 once again to render it out, and you can compare it. And in general, it looks a lot more cleaner. You can see the benches over here. They kind of look pretty dark with all these outlines. But this way, I think they matched the comic book style a lot more with these light outlines. And yeah, I find it a little bit better keeping it this way. It is totally up to you how you want to go fall with these outlines as I've already discussed in the last lecture. Let's just hit Save now. And yeah, I'm pretty happy with how the materials are going. In the next lecture, let's just finish up with the building and the rest of the materials. So yeah, thank you for watching. I will see you in the next one. 11. Adding the Building Materials: Hello, A, welcome, guys. So once again, let's continue working on our materials. I will switch over to the sharding tab first, and then we can go over to Viewport Shading and start by working on the building material right over here, select the building, click on new and rename this material to just building. Now, once again, I will be just simply using the ground texture again that we use right over here. So just press Shift A and search for image texture. And on this Image texture, just click over here and select the ground texture. So if you plug this in right now into your base color of the principle BSDF, we get something like this, which is not the desired result at all. So how we can fix something like this. First, what we can do is select D press Control plus D to bring the mapping and the texture coordinate. And you will notice that if you change the scale to let's say something like five or all three of the axes, the texture does get fixed up in some of the areas. But over here, as you can see, and over these areas, it is looking pretty stretched and weird. So it is not working right at all. So we can either try to fix it by, let's say, using some different type of texture coordinate, let's say if you generated. So we are getting something like this. So obviously, this won't work. We can try normal and so on and so forth. We can try different texture coordinates, but I don't think any of them are seem to be working. So let's plug this back into UV only. So now the only way that we can fix this is that we can manually UV unwrap this to get the proper UVs for this particular object, and then it would be able to get proper texture mapping. So go over here in the UV editing tab. And for this, it is pretty basic and simple. I won't be doing too much. You don't have to do any advanced UV manipulations like adding seams or anything like that. As it is a simple cube object, so just select it, press Control, apply the scale, and we can just simply press tab, go into the edit mode, press A to select everything. And these are like the current UV islands. So press U to UV unwrap this, go to Unwrap and select Cube projection. Because as this is like a cube type object, I can select cube projection for this, and it will work perfectly. Now, if you look at your material, it is uniform all along the cube. And we are getting proper textures. There is no such thing as the stretching of textures going on and everything is looking pretty good. So we can come back to shading now, and first, let's start by rotating it on the z axis by 90 degrees so that we have something like this. And then I will also reduce the scale to something like, let's say, first, let's try one. So one is definitely too big, so we can try it. To Yeah, I think two feels a lot natural. Yeah, even three feels kind of repetitive, so I will go with two or maybe something in between 2.5. But yeah, for now two is, I think, pretty good. Let's just sit safe. And we have our basic ground texture now properly working with the building. So that is like the first step. The next is to obviously adjust the colors a bit better because obviously right now it is matching like not at all with the overall environment, vibe and the loop. It is looking pretty weird, as it is looking like really dirty and we need to, like, kind of make it lighten up a little bit so that it matches with the overall vibe of the environment, which is kind of like looking pretty clean. So we definitely want, like, some grunges here and there, but not this much. So to fix this, we can either use this with a mixed color node or we can simply use it with a color ramp as well. I can show you with both of them. It works in pretty much the same way. So let's just first plug this into a color ramp and plug this into base color and now to make it overall, lighten up a little bit. So now just select this black pointer and we don't really have to move it around. Place it over here on the left side corner only. Just click on the color. And as you make this color a bit lighter, you will see the overall lightness of the texture is also changing. So we can set this to something like 0.5. And you can see it will make the overall texture look pretty light. And we can also get similar results by using a mixed color node as well. So if I plug this into a mixed color node, this time, I just have to plug this into the factor. And we can choose the same A and B colors as they were over here at the both points. So set this one to completely white, and this can be at somewhere around 0.5, which is already there by default. Now plug this into the result. And we basically get the same results. So we can do the same thing by using the mixed color node or the color ramp as well. So now the only difference between the two would be if you want to make this texture more complex, like, let's say you want to add in something like a noise texture as well, and you have to plug this into the A and B over here of the mixed node. Make it even more detailed, as you can see. Now we have this texture and we have layered the noise on top of it along with a tint of any color, any chosen color from over here. We can do these sorts of things with the mixed node as we can plug in, like, different image inputs or like node inputs into the A and B slots over here. But with color ramp, we can just basically use this as colors only. We can add in multiple different colors over here to make it even more, uh like kind of diverse and have a little bit more color variation. You can do these sorts of things using color App. So now what I will do is I will be going with the mixed color node only, as I think it gives us a lot more options to experiment with our material, so we can just hold all and disconnect the color ramp, and we can just keep it in our material only but not really use it, delete the noise texture, press Shift and search for mixed color node. And just plug the color into factor and plug the result into base color and just choose one of the colors as completely white like this. And the second color should be at 0.5 value just to make it a little bit lighter, as you can see. Then to add a bit more variation into our material, select the mixed node, press Shift plus d to duplicate, and again, plug this in once again. Now, what this will do is this will be acting as the overall hue for our material. We can easily, control what type of color for the paint we want to go for this building, and this mixed color node would be responsible for that. So I will be going with something like light yellowish B type of color, and I think this would work pretty well. And now we can control the factor. So if we set the factor to something like zero, that means it is totally taking the A input. So that's why we are getting the earlier material only. Nothing really is being added on. But now if we keep on increasing the factor, this B input would also be mixed in with the A input. So basically, if we set this to one, it is completely like the solid color, whatever we have chosen like right over here. So I will be going with something simple, so I can just quickly, copy up the g code. If you want to do the same, you can copy mine from over here. So this is something that I would be going for and we can set the factor to something pretty light, 0.2. So this was like earlier material, and this is it now. So just to make it a little bit lighter as well, and to introduce, a little bit of color. You can increase the saturation to add in more color. Maybe I will increase it a little bit more. And for now, I think this is pretty good. Let's press F 11 to see our older render. So this was something like it. Press J to switch between the slots, press F 12. And this is something that we have got going on right now. I think it fits the overall vibe of the environment a lot more, and obviously we will be adding some more things to it to make it fit in a lot better. Saturation can be fine at 0.3, I think. Let's save and continue working. Now, one other thing that I will be adding in this material is that it is kind of lacking a little bit of ambient occlusion. So I will show you what that means. So basically, press shift A and search for ambient eclusion node. And now plug this color into surface. I have taught you the shortcut so you can hold control shift and left click and we have something like this. The ambient occlusion will basically darken up your corners like you can see if you adjust a distance you can see it is kind of trying to darken the areas like around the bottom and wherever we have objects close to each other, kind of like trying to replicate wherever dust would be collected. So it is like a really nice thing, which adds a nice bit of dust effect into your like material. So how we can add this thing into our material, it's pretty simple. Once again, we will be press Shift D on the mixed color node so that we have another mixed color node. And plug the result of this one to A and the ambient occlusion into factor, and then plug the result into base color. And then obviously plug this into surface to see how it looks. So right now, everything is yellowish because I think we have flipped the A and the B. So disconnect it from A and plug this into B rather. And now we get something like this. Let's just set this to completely black so at least we know that it is working. So now you can see The ambient occlusion is working as we are getting this dirt like thing in the corners and over these areas of our building wherever things are close to each other. You can see the ladder part is also reacting to it. If I just select the ladder and kind of move it away, that dust thing goes off. So I think it is like a really nice addition to our material. So we can set the distance to something like 0.75 maybe because obviously we don't want it to be too much, and the color once again can be a little bit more lighter than black, not totally black like this. Yeah, I will also select the ladder that we have over here and bring it a little bit more towards the out. So press G and Y so that it does not create, like, a very huge dark spot right over here. Now let's press zero to go through our camera view, press F 11. So this was like our older render from which we want to compare to suppress J so that we are in this one. Now press F 12 so that this render gets replaced and now you can press J to compare between the two. And as you can see the amid illusion, although it is pretty subtle, it does add a nice bit effect into your material, giving you that dust kind of look, which I think is a nice bit of addition. And with this, I think the building is really matching with the overall vibe of the environment, so I think it is looking pretty good. Let's just hit Save and one more thing that I want to do is select the building press tab, press Control R, I will enable gelen and press control and add edge loop right over here at the bottom, just so we can make it of a different color. This way, we will add a little bit of color variation as well into our building, and it will like machine with the environment really well. So first, let's create a separate material, so add a new material slot and give it the same material as this building only. But make sure to click on this two, basically making it a separate material from the earlier one because we will be changing the color for this. So let's just rename this building Underscore blue because I will be giving it like a blue material. Now, select it, select your building, press tab an old ult, and select this complete loop. We can disable edge length and just select the building underscore blue and hit a sign. This complete part has like a separate material. Right now, we cannot really see it because both of them are exactly the same. But if you remember, this particular mixed node was for changing the hue or the overall color of the material. So we are changing the tint of the material using this, and you will notice when I change this, it is updating right over here. So this adds a nice bit of variation into our environment. So if it is not really show, you can just change the color of it first, and then press tab wool, select it all completely, select the building underscore blue material and make sure to hit a sign. This way, it will have this completely separate color. And for this one, as I said, I will be going for, like, Mm hmm. Bluish kind of color. Yeah, something like that. And you can see it is kind of like pretty faint right now. So if you increase this factor value from over here, make sure to not increase it to one or maybe a high number because it will totally take away all of the details as well. So if you want to keep in the details, but add in more color instead of changing the color over here, change it up over here. This way, you can add more color variation or add in more color without actually removing any of the details of your environment. But I won't be doing that because I think this fits in a lot better with the overall vibe of the environment. And I like this a lot more. Let's press zero. We look at it, press F 11. And once again, this was our current render, and this is our older render, so press F 12 for this one. And now you can just press J to switch between the renders. And I personally think it is like a nice bit of addition with added color variation. I do think that the blue is a little too faint, so I will switch it up. The. Definitely not for this one. Let's over here a little bit. Yeah, something like this. Now let's once again compare it with this one. And yeah, as you can see, now it is like a lot more prominent. Earlier was looking I think a little bit too faint. So this feels a lot better. So yeah, definitely switch up the colors over here as well to get the proper result looking. Now let's just hit save, and I think the building is looking pretty nice as well. For the ladder, I will be using the simple iron material only. So select all of the parts and select the iron material. Press control and link the materials. And with this, I think we can just hit save and we're pretty much done. Let's just work on these materials, which are, I think, pretty easy to create, select the window, create a new material, rename this to glass. And for this one, what I will do is basically set the roughness to zero, increase the transmission to one, so that we get this sort of material. And then maybe we can change the color of it to a darker color and also first add it over here as well. Let's increase the roughness to something like 0.05 and decrease the transmission to 0.8. Make the color a bit lighter and see what kind of fits the overall vibe. All right. So yeah, I think that's fine for now. For the other parts over here, we can just simply again, click on New, rename this to Window, and just give this like a darker base color. Copy it over here as well, similarly. Is this F 12 wants to see how it fits? I'm not quite sure. I will select the windows and make sure to enable trays transmission for them. And then just select them. Let's try to switch up the color a little bit. I don't think personally, the bright color would really fit this. I think I will just put the transmission back to zero. And yeah, I think this looks a lot better. Let's just press F 12 to see how it looks. And yeah, that's fine. Let's select the window pieces and make them a little bit brighter. Yeah, that's good. I will similarly use the window material over here as well, I think. And I think we can use it for these two as well. Just select all of them and at last select this press control and link the materials. And with this, finally, let's just add the material to the door, create a new material. We name this two door, and we don't really have to do too much, just create like a Paper colored door. Let's see. First, let's press a far to see how it looks. Yeah, I think that feels pretty good. Et's just save. And I do want to, like, detail up the door a little bit more, so I will just go to the layout section once again, press three for the right side view, go to object and set the origin to geometry. Shift plus cursor to select it to bring the cursor right over here. And let's just press Shift A and simply add in a plane. Rate this by 90 degrees, I will just quickly create a very simple looking handle for this. How we can do that, I've created this plane, scaled it down, apply the scale, press dab. Let's select this press control R and add Edge Loop right in the middle. Hit right click and just select these two whereas press and delete them. And now you know that by now just add in the mirror modifier so that we can just extrude it over here like this. This way, we get a very simple looking handle. Add a solid five modifier to this to obviously give it thickness. You can see it is not really working correctly, so we can enable even thickness from over here and said too complex. Press tab, select this edge, press Control V, and bevel it out. And yeah, you get Liga very simple and a solid looking handle that should work for the most part. I think it is over there on the other side, where is it? Yeah, just bring it out over here. Rotate it by 180 degrees. Let's place it right like this. Let's see how it looks once. Scale it up a little bit. And I also give it like the iron material. Let's just save, and quickly, let's just render out our scene first. I think everything looks fine for the most part. We can definitely do some wigs for the colors and everything at a later on stage as well. I just want to make it up and running. Let's try placing it over here if that looks better. Press J, and now press F 12 to switch between the two. Personally, I think the handle looks a lot better over here on this side. Yeah, I'm pretty happy with how it is looking now. I think we have done pretty good with the materials. I think overall, everything is coming along pretty nicely. And yeah, I think it is a pretty long video now. So we are pretty much done with the materials as well. We will be working a little bit on compositing and rendering out the final renders. And we will also be creating a variation of this scene where we will be creating it in a nighttime. So yeah, I hope to see you there in the next lectures. Thank you for watching. 12. Taking Renders and Compositing: Hello, and welcome, guys. So now that we are done with the materials and the modeling of our environment, in this lecture, we will be focusing up on the compositing and taking some renders of our environment. So let's just start. Let's press zero to view through our camera, and we can first just look at how our render looks right now. So if you press F 12, this is how something it looks. There are, like, a couple of changes that I want to make first. So first, I will just select this bench and just move it out of the way and I will select this one and make sure you select just the bench only so hold control and deselect everything else. Just select the bench and delete this, and we can delete this one as well. I think I'm going to go with two benches only, and I will just try to place them a little bit better. I'll select this one and just move it over here. You can press F 11 and then press J to switch between the renders and you can render this one out. Again, this is totally up to your preference if you want to go with two benches or the earlier one only where we had four benches, but I think it feels a little bit too much over here, and this feels a lot better in my opinion. But yeah, once again, that is totally up to you how you want to place all of them. I will just move them a little bit like this. And yeah, I think this feels a lot better to me. I will also just quickly select the camera. Select your camera, press N, and go to camera to view. I'll just move it a little bit. Yeah, I think that's better press N and disable camera to view. And yeah, let's just move ahead. And now we can just save our files and then move on to the compositing part. Can go over to the compositing tab, make sure to enable use nodes from over here, and you will see these two nodes pop up. I will also just go over here in the corner and create a partition so that we can select this and select it as the image editor and make sure to place the render result over here. This way, I can see the changes that I make over here. So I will show you what I want to do. So there are a couple of nodes that I will be going over. So first, it's pretty simple. I will show you a very important node that is very useful in making these type of renders. So if you press shift A and search for the Kuwahara node and displace this in between over here, you will see as soon as you do that, it will give your like render this overall very paintbrush style of effect. Obviously this is a little bit too much, but that is basically what this effect does. It will make your renders look very like watercolor. So what you want to do is you just want to decrease the size of it because we want to use this effect, but not too much. So we just want it somewhere around, like 1.5, where we still keep a fair bit of information in our render and we don't lose it all because of the watercolor effect. You can select any of the node and press M, and you will see what kind of effect it adds. So you can just press M to mute it, and it will show you the render without the effect of this node, and then you can press M to enable it back on. So I think 1.5 or around one, I think is a nice bit of addition. And then what we can do is we can add a couple more nodes, press Shift and search for filter. And we can select the soften and place this somewhere around 0.5. And then once again, duplicate this soften, so press Shift plus D and place it again. And this time we can select the box sharpen. It will basically, as you can see, sharpen it up, but obviously we don't want it this much. We want it somewhere around 0.2. And now you can just select all three of these nodes, and you can also just zoom in over here. And when you press M, you can disable all three of them at once. So now by default, whenever you press F 12, whenever the render is finished, all three of these node effects would be added automatically. And yeah, I think it is a nice bit of addition, so we can definitely do that. This is totally up to your preference if you even want to add them or not, or you want to change the values for them, that is totally up to you. There are a couple of more nodes that I will be going over. One of them is bloom, so press Shift A and search for glare. And earlier this used to be in here only in the EV settings, but now it has been added to this node. So from this glare node, we have all these different types of glare types. So if you zoom in overhead, wherever your light is shining a lot, you can see these streaks are added. If you turn this glare node off. This is basically the doing of this. So streaks is currently the modset that's why it looks like this. If you change this to something like bloom. Then it will give you this glow effect, which I think looks pretty cool. But right now it has been added to the small part only because this is where the light is shining the most. So what we can do is to make it so it appears in a lot more areas in our render. You just need to decrease the threshold. So the threshold is basically the value. Like whatever pixels have a value brighter than that, only those pixels will be getting that effect. So if you decrease this, a lot more pixels would be starting to get effected. As you slowly keep on decreasing it, you can see now if you decrease it to 0.8, the clouds are also getting this bloom effect over here. Now, if you keep on decreasing it, more and more areas of your render would start to get effected. And slowly it would start to glow everywhere. So we can set this to something like 0.6. And what I will do is basically now, I will decrease the mixed value. So what mix does is if the value is at minus one, it will totally give you the image that was earlier without any of the bloom effects. And if it is at one, it is only now giving you the bloom effect only. So wherever the bloom is being added, it is only giving you that, as you can see over here. So you can place it at a value somewhere around zero and minus one, and it will give you kind of like a mix of both and you can control the bloom very well. So if you said to something like let's say -0.9. We get a decent bit of bloom and we also get it in a lot more areas in our render. If you just turn it on and off, you can see. So you can see it is very subtle, but it still adds a nice bit of value. You can decrease the mixed value. So by decreasing, it means you can set it to -0.8, and you will get a lot more bloom effect. And if you keep on decreasing it to zero, the bloom will keep on increasing like this. So I think somewhere around -0.8 and -0.9 would look pretty good. But I will be going with -0.9 only because I just want to keep everything a bit subtle. So now you can see we have added, all of these compositing nodes, and you can turn them on and off to see the effect they add. You can search through them in the compositing tab over here if you press Shift A, there are a lot of different nodes that you can go over, mainly over here in the filter where you will find a lot more nodes relating to adding these filter effects like the blur over here or the ante Lasing all these things. One other thing that you can do is press Shift A and search for color balance and just place it right over here. Basically, using this, it is like, a kind of color correcting node where you can add these color effects to the lift gamma and the gain of the image. So what it means by that is the lift is basically used for the shadows. So wherever the dark areas are, it would be affected. If you like, make it a little bit more darker, you can see the shadows are getting a lot more darker. Let's just set the color back to normal. And the gama is for the mid tones. So what it means by mid tones is whatever, lies between the shadows and the highlights. So the highlights are all the areas that are a lot more brighter and the shadows are obviously the shadows, the darker areas. So gama is for mid tones, as you can see when you play around with it. Only the mid tones are being affected. And then gain is for highlights. Whatever, there are a lot of bright areas in your environment, it would be affected by gain. So yeah, you can play around with all these three color wheels to adjust the color balance of the image. But we can do these sorts of things in Photoshop as well, and there is a lot more control over there, in my opinion. So I will be using that only, so I can just delete this color balance note. But yeah, you can definitely use it from over here if you want to. And with this, we can just hit Save, press F 12 to look at our render. And this is how it looks. I think it looks pretty good, and we are getting that anime or like comic book style of and effect. Let's just go to image and hit Save and we can save it in our renders to glow into blender files. In the rooftop, I will just right click and create a new folder with the name renders. Rename it as one and save it as JPG and set the quality 200, and now it's save as Image. Alright, guys. With this, we have covered all of the things that I wanted to go in this lecture. You can also add a couple more cameras and place them in a few different new angles and get like few different shots for your environment. In the next lecture, what we will be doing is we will be doing a bit more compositing where I will be taking these vendors into Photoshop to just show you, like, a couple more things that we will be going over. And also, I will create a variation for this environment by adding a nighttime HDRI and making it like a nighttime scene. So we will get like two different variations of our scene, one in the daytime and the other one in the nighttime. So yeah, I will see you in the next lecture. Thank you as watching. 13. Creating Night Variation and Compositing: Hello, and welcome guys. So in this lecture, we will be working on a nighttime variation for our environment and also be doing a little bit of compositing in Photoshop. So obviously, we won't be working in this file because this one is done like perfectly. Our ender is finished, and we have done all the compositing as well. So we are done with this environment. So let's just hit Control Shift in S to create a separate file, and we can save it as rooftop underscore night C, to create a duplicate of this file. And in this one, we can make all of the changes. All right. So now it's pretty simple. What we are going to do is we will be changing the HDRI, also changing the color of the sunlight and just doing a bit of compositing to give it that nighttime look. So let's just go over into the shading tab and press slash to come out of the local mode, press zero on your numpad, and then we can move over to the world shader type. And now, if you will look over in the HDRIs folder, in the coast piles, I specifically added this HDRI four, which is like a nighttime HDRI, so we will be using this one. So we cannot really drag and drop it in over here because the HDRIs texture don't really work like that. You will see. It won't really give you proper looking results. So let's just delete it and press Shift and search for the environment texture node. And then click on Open and now just select the specific HDRI that we want to add. Now, if we plug this in we get something like this, which is kind of like a nighttime looking scene, so we have to kind of make it work. You can select the GRI press Control plus T to link the mapping nodes, and then we can first, move it around. And then I kind of don't really like this orange look that we have at the bottom, so you can move the location on the z axis. I think, just a little bit, just so we have something like this. So that we do not really have this orange part at the bottom. So now let's just first press F 12 to see how the render is looking. Definitely, does not really look like a nighttime scene right now, so let's work on the colors a little bit more to give that effect. You can select your sunlight and then you can click on the color option and then just move it towards a little bit bluish color. You know, somewhere around here. And then what we basically need to do is rest of the things we need to edit in the compositing tab. If you press F 11 right now and just compare it so now you can just press J to compare between the two renders and definitely giving it this bluish tint makes it look a lot better. But now we can just go into the compositing tab, and this is our render over here. If you want to just create another window, you can do so like this. If your compositing tab looks like this, you can just go over here in the corner and divide it and click on here and select Image Editor and select the render result. This way you can see the render result over here and you can, make changes in your nodes and see the results update. So I'll press Shift A and add in a color balance node. And this way I can just make it look a little bit more suitable for the nighttime view. So now over the lift color wheel, just move it towards the bluish tint. And as you do so, you can see all our shadows will get like this deep blue tint, which is exactly what we want. So just make it a little bit darker like this. I'll click on over here and somewhere around 0.65 saturation can be 0.12. Yeah. Now you can just select the color balance node plus and just see the effect it adds. As you can see, just making it a little bit bluish over here gives it a lot more effect of that nighttime view. We can do the same thing over here with the gain as well. Not that much, definitely a pretty low number. And you can also make it like brighter. And this way, you will see the highlights will all shine through. Obviously, not this much, but we can definitely make it at bit brighter over here. Let's set this to something like 1.1 maybe or 1.15 and now you can just select the color balance node and press M. We just see the effect we have added. This was our old render, and this is what we have created just using simple tweaks in the color balance node. So yeah, it is definitely pretty powerful and you can create, various different and you can create various different ambiences and moods just by using simple nodes in the compositing tab. And I think this looks pretty good for the nighttime view, and I'll just hit Save. And now you can just press F 12 to get the final render. Go to Image, save, and save it in the renders folders let's just save it as two underscore night. Save it as JPG and give it 100% quality. And with this, we are pretty much done with the first scene. Now I will just open a Photoshop and show you a bit of compositing over there. So although both the variations of our environment look pretty good, I will be just going over some optional and additional compositing in Photoshop just to see what else we can do. So if you don't have Photoshop, you don't have to worry too much about it. Let's just quickly open it up and I will open up the two renders that we have just created. So let's come back over here in the renders folder, open up both the scenes right over here. Alright, so now we already know that we can do, like, a lot of different photo editing in photoshop, like changing the brightness or the contrast of our end making simple, like, color balance adjustments or, like, changing the exposure, things like that. I will be just showing you how we can add some overlays on top of this. So if you will go over in the textures folder, you will see that I've added, all these different textures. These are basically all overly textures that I will be just showing you how we can use them. So let's say I drag and drop this leaves type of texture, and I will just scale it up to cover the entirety of my render like this. So it is just to add, that extra bit of anime effect. Obviously this is totally up to your preference. You don't have to add it if you don't like it. So yeah, now, how we are going to use this, right click on this and go over blending options, and Photoshop has all these different blending options. All right. So currently we are in the normal blend mode. So the photo is appearing as it originally is. If you click over here and just start to, like, hover over the other, blend modes, you will start to see different type of blending between the two layers. And the best I think that works is this section right over here, the ten and till here, the lighten color. So you can see we have this lighten and then screen. Then we also have color Dodge. And this. So now, I think, in my opinion, screen works the best for these type of things. So I will just select the screen blend mode, and you will see what basically is happening right now is we have totally masked out the earlier black color if you go back to normal. We have masked out the black color completely, and we are just getting these leaves textures as an overlay on top of our random. Alright, so now, in my personal opinion, this particular leafs texture is not that great. I have added this another one as well, so I will just drag and drop this one now and scale this up once again to the size of my image. Hit Okay. Also, if you want to know the shortcut for this, it is Control plus When you select any layer or image, you can press Control plus T to transform it. Then you can just scale it accordingly and once again, just change the blending mode to screen. So now, if you want, you can just click on this eye icon to turn off the older layer. But if you want, you can keep them both enabled as well. As you can see, it gives us this nice kind of look where the leaves are kind of flying over our roof. So I think it looks pretty good and has got that anime vibe to it. Also, you can select any of the layers and also control the opacity of them. If you think this is too much, you can select any of the layers. Instead of disabling them completely, you can set the opacity to something like 30 or 50 so that they are very faint, as you can. But these two, I think, look pretty good and are like a nice bit of addition to our render. And we can create separate variations as well. So yeah, I'm just showing you different things that you can do with the renders to make them look better. Obviously, it is totally up to your preference if you want to add them or not. And also, you can look through Google and you will find, various different like these types of overlay textures that you can use. Like, you will literally find thousands of these and you can definitely experiment with them, and we have separate other ones as well. You will be also using them in the Other scene that we are going to create. So that's why I've added lots of these. Like, let's say we have something like this, and we can change the blending option now to let's say something like once again, we have lighten and you can see that screen works pretty good over here as well. So you can select screen, and we can get the sun rays on top of our render. You can control the opacity of this if you don't want it too much. So you can definitely do these sorts of things. I will now just delete this particular layer. And this way we have, lots of different textures or overray textures that I added. And as I said, you can definitely search through the net and find some of your own as well. And they all would work in a pretty much similar way. Like, you can use this particular blending mode as well and just turn the opacity to a very low number and then get this type of some color variation or camera effects going on in your render. I think this also looks pretty good. So yeah, I just wanted to show you like these things. Also, you can select the background. So make sure whenever you are making changes or any color changes to your render, you select that particular layer. If you have selected like any other layer, then all those changes would be done to them. So select the layer zero. If you go to filter, sharpen, you can also select sharpen more. I think it will sharpen the image a lot. You can see the edges are pretty hardened up now and everything is, like, a lot more crisp. If you don't like this, you can, like, tone it down a little bit by just using sharpen edges or just simple sharpen. I think that also adds a nice bit of effect because it makes the edge look a little bit more crispier, and it looks pretty good. Chabott Moore is, like, a little bit too much right now. So yeah, let's just undo that. You can also do, obviously, I've mentioned, all sorts of simple color manipulations. I'm not really too well versed with this, but you should definitely experiment into this as well. But yeah, I just wanted to show you like these particular tricks of adding overlay on top of your images. You can copy all three of them and just paste it right over here. Press Control and you can place it accordingly. I don't think personally, it looks that great over here for this type of nighttime render, but maybe you can, like tone down the opacity a lot. And make something work that way. But I don't particularly think it goes well with this. We can add this type of overlay, as you can see, this one works pretty well with our nighttime one. You can select this and increase the opacity of this a bit more or like maybe change the blending mode from color dot to screen for this, or maybe lighten works a little bit better. So yeah, you can definitely experiment with all these things. You can see with adding this type of layer will give us these like lens or camera effects on top of our render, which looks pretty good for this nighttime and for the daytime, these leaves textures look pretty good as overlay. And yeah, now you can experiment with the textures I have given you can also go through Google inventors to find some more overlay images and try something with them. And with that, we are pretty much done with the first scene of our course. From the next lecture onwards, we will be working on the next scene that is the hallway scene. So yeah, thank you guys for watching. I will see you in the next one. 14. Creating Hallway Blockout: Hello, and welcome, guys. So in this lecture, we will be starting up with the modeling of our second scene. That is the hallway scene. I've also opened a PureRef right over here where we can see all of the hallway reference images. What we will be doing for this is, we won't be following any certain image exactly. We will be just taking certain elements from each of them and trying to create like Von hallway scene. So let's just start. I will move PureRef out of the way and move it to my second monitor. And then we can just press A to select everything in our new blender file and then press Delete to delete all of the like, default objects. So now let's just press Shift A and add in a cube. And this cube will be acting as our hallway that you can see over here. So let's just create that first. We will basically starting by blocking it out and slowly start to add in more details into it. All right. So first, what I will do is I will just press Tab and press two for select and select this edge right over here. Press Shift plus then cause her to select it. And then just go into object, set origin and origin to three decosorT move the three Dussor right over here. Then you can press G then Z and hold Control and snap it right over here. And again, press G the next and snap it right over here to like the origin point right over here. Basically, it will make it easier when you press like let's say, press N to bring this side Be and I am scaling it up, you can see, it gets pretty easy to adjust the scale of it. So, yeah, that's why I've placed the origin point right over here. And now let's just press tab to go into the edit mode, select this phase right over here, press X, and delete this phase. And the reason I'm doing that is because obviously we will be placing our camera right over here, and this will be like our hallway. So we will be just keeping this end open. You can see almost all of the hallway scenes are something like this only. So we will be creating something similar where we have place like the camera right at the start of our hallway, and then it goes like this. So we will just select this and increase the length of this on the X. For the Y, we can set this to something like 4 meters, and z can be somewhere around 3.25. And yeah, now you can just see we can place our camera right over here, and we will kind of get the similar scene going on like we have in the reference images right over here. Obviously, I think we need to make the length a bit longer over here. I will go with 22.5. So yeah, these are my exact measurements for the hallway. So if you want to copy them, you can do so. All right, so now we have the basic hallway model right over here. Let's press Shift and add in a simple camera. And now to move the camera right over here into your view right now it is over here if you press zero. But let's say I want to move it like this, it can match with my blender view, so press Control or in zero now. And yeah, as soon as you do that, you can see the camera will switch its view and match it with the blender view. You can go into this tab right over here, so press N and go into View tab, enable camera to view, and then you can just place it exactly like how you want to let's just roughly place it right over here. We don't have to, like, make too much changes right now, save this. I'm just placing it so that we can, like, press zero and quickly check our scene how it looks through the camera. And with that, let's just move forward. And as you can see, in most of the scenes, we have some kind of windows on the right or the left side, as you can see. So for that, what I will do is I will just press tab and select this right side face over here, press X, and delete it completely so that we have something open like this and over here, we can create our windows. All right. So now to work on the windows, let's just press Shift plus A and again, add in a simple Que. We can press seven for top view, enable ray, place it right over here, and scale it down. Scale it down on the Y axis like this. And then let's see. Obviously, we want to make it, the same height as this. So set the Z to 3.25 and then you can just match it exactly. You can also go over here and select vertex snapping so that when you press G then Z and you can hold Control and snap it like this, so it fits perfectly. All right. Now what we need to do is we need to set the thickness on the X. So what I will be doing for these windows is I will be just creating one of them, and then we will duplicate it again and again over our entire hallway like this, just using simple array modifier. So let's just add array modifier first. And if you move it right over here, just for checking some things out, and then we can increase the count to five. So basically, what I want to do is I just want to go over five windows. So it is totally up to your preference, like how many windows you want to go for. You can, choose a little bit more as well. Or you can go with whichever number you want. But I will be going with five windows as when I was like, creating this scene on my own and experimenting with things, that was the number that I was finding to look the best because if you increase it too much, like, the scene looks pretty repetitive and it gets cluttered with, like, all these walls and windows over here on the right side. So I will be keeping it pretty, like in the middle. So I will be just going with five windows only. So obviously, now we need to adjust the thickness of them according to the length of the hallway. So the hallway length is 22.5, and we need five windows. So what we can do is we can just Turn off the array modifier for now, and we can put in over here 22.5. But as we want five windows, so we can divide this by five. And this is like a nice thing with blender, you can put in math operations right over here. So I've selected the window, and 22.5 is the length of the hallway, and I want five windows, so 22.5 divide five. And this will give us a thickness of 4.5 meters. So if I now place it exactly over here like this, so press G, the next, hold Control and snap it over here. Let's turn back on the array modifier. And if I said the factor two minus one, you can see it fits perfectly. So this is what I wanted. Now we have five windows, and they are fitting perfectly right over here alongside my hallway. And now, whatever change I make over here. So let's say I select these faces, press I to inset them, press X to delete the face. And yeah, now you can see whatever you do on this first window would be like copied to all five of them, and we have the RA modifier working perfectly. So let's just undo this. And let's see how we want to create our windows. I will bring in back the pure f. And what we can see is it's pretty simple. We have these wall extrusions along the hallway, and then we have the window. So we will be creating something similar because we have this type of thing in a lot of them. You get a wall extrusion, and alongside that, you get a simple window. So let's create something similar. Once again, let's just press tab. First, I will go over here and enable shadow and cavity, just so we can see the edges properly. Also, I will press tab and enable edge length. Then you can press Control R and add edge loop right over here. And now you will notice that the edge length measurements that are written right over here are very wrong because it is showing this edge to be 2 meters, but we know that we set the height of this to 3.25 meters. So this edge should be 3.25 meters. And the reason it is showing this wrong is because we haven't really applied the scale. So select this press control, they apply the scale, press tab and you can see now this edge is showing up to be 3.25 meters. So now the measurements are correct. So now you can just hold Alt and select this entire loop like this, hold Alt and select it entirely, press G, the next and move it towards the left like this. Somewhere around here, you can follow my measurements if you want to do the same. I will be going with something like this. Then press three for phase select, select this phase, and press E to extrude it out. And you can see now we get the same things over here copied up using the ray modifier. So I think that looks pretty good. And you can see the reason I went with five windows because it still gets pretty repetitive, but if you had, like, more windows like eight or nine, then these wall extrusions and windows repeating up again and again, looks pretty weird. But right now I think this much is pretty good and it looks nice. All right. Now to create the actual window. So press tab, press Control R, and add the edge loop over here first, like this because we definitely don't want to create the window over the entire like this wall. So first, let's add in a edge loop right over here. Let's see, somewhere around here, I think. Then we can press three, select this phase, and we can select this phase as well. So hold Shift and select them both, and then just press I to insert them like this. Let's see. I think we can insert them till here around 0.1 meters, press X and delete both of the faces. And then what I will do is, you can see we have this hollow space right over here, so to connect this, press one, hold Alt, and select this loop, hold Shift en ult, and select this loop as well, press Control plus E and bridge edge loops like this. And you can see they will be connected. And now we have our perfect looking windows along with the wall extrusions right over here. So we have kind of like the hallway look going on with our model right over here. I will select the camera, go to view, enable camera to view, and just place it accordingly a little bit. Maybe like that. For now, disable camera to view now and we have something like this. Then we can press tab and let's press Control R now. Also make sure to apply the scale right over here because I think the measurements are wrong over here as well, as you can see, this whole edge is showing up to be one meters, but it is definitely longer than that. Spress Control A and apply the scale and press tab, and now the correct measurements are showing up. Hold Alt and select this loop, press G, the X, and move it back, and you can place it at somewhere around as you can see the measurements right over here. So somewhere around I think 7.4 or 5 meters like this. The reason I'm creating this is so that I can just press three, select this phase, press X, and delete it first. And then you can just select this loop entirely, so hold all and click over here, press E to extrude it out, press G, the x and extrude it like this. You can see we have created this pathway right over here because I think it looks a little bit more interesting this way instead of having a straight wall, we have this pathway right over here, or we can create some stairs right over here. As you can see, we have something like this in this hallway or over here as well or over here as well. So as I said, I'm just taking certain elements from each of them and then creating our very own look. We won't be following a certain single image exactly. So with this, I think it is looking pretty good for our starting blockout. So let's just hit save, and we can create a new folder in our blend of files. So right click and create a new folder, rename this two hallway. Open this folder up and let's save the blend file as hallway underscore C. And yeah, let's just save it. And I think this much is pretty good for this first lecture. The next lecture, we will continue to work on a hallway and add more details to it. So yeah, thank you for watching. I will see you in the next one. 15. Fixing Colors and Adding Outlines: Hello, and welcome, guys. So before we continue to model our environment, in this quick lecture, I will be just adding some lighting and outlines. So let's just start. We can shift to the viewpod shading over here. Let's just press Shift plus A and then add in a simple sunlight. And you can see nothing really happens because the angle of it is currently straight down like this. So just press R then X to rotate it on the X axis like this, and we will find a nice angle for it. So something like this, and then we can press R and Z and rotate it on the Z axis. M I think something like this looks pretty good. Let's press zero to view through our camera ones. And right now, everything looks really dark, and that is because we haven't really enabled rate racing, so let's move over to the render properties and enable ate racing from over here. You can see instantly we get, like, a lot more light in our scene. We can also set the resolution to one by one, just to increase the quality for. And we can also increase the precision to one over here as well, set the resolution to one by one, and increase the precision. And yeah, with that, we have some type of lighting going on. I think it looks right right now. You can press F 12 to render it out and see how everything looks. So we have something like this. Let's just add some HGRI to add a secondary lighting in our seam. So let's move over to the shading tab. Set this to word and just move over to Viewport Shading. Let's press Shift A and search for environment texture node, and we can plug this in. Click on open, and once again, I'll just go into the HDRIs folder, and we can select this one, the HDRI one. We will get something like this. And you can see just by the addition of this HDRI, we get a lot more secondary light in our scene making our scene look pretty bright. So let's plug this in now and we can select press Control plus T to add the mapping nodes. We can maybe rotate it around. It does not really matter that much with the lighting when we rotate it around, as you can see. But if you want to change the view outside the windows, then you can do so. All right. I think this is pretty good for now. If you press F 11, you can press J now and then press F 12 to render it in different slots, and then we can compare it and you can see it already looks much better like this. All right. Let's close this now and let's make a couple more changes. First, I will go over here in the render properties. And if you remember, we also need to switch the color management because right now the color management must be set to the AGx only. So let's change this to standard, and you can see instantly things look a lot more brighter. And then we can also set the look to medium high contrast. All right, so now select the sunlight that we have just added right over here and go into the object data properties. And I will just increase the angle over here. So what the angle does is basically, if you will see, right now, the shadows are pretty harsh, but if you keep on increasing this angle, they will become softer around the edges. So we can set this to something like 4.5 maybe. And yeah, I will also increase the strength of the light to two, just to make these spots a lot more brighter. And then we can finally just pressure plus A, and let's just add agree pencil collection line art. And you can see instantly we get the outlines appearing in our scene. So let's go over in the modified tab for this, and first, let's just set the line thickness to five opacity to maybe something like 0.5 for now. Et's press F 11 once again. Press J to switch to this render, the older one, then press F 12 and render it out. And with this, now you can press J once again to compare. And you can see already the lighting and the ambience of our environment is starting to look pretty nice. And with the added outlines, it looks pretty good. You can switch the settings for the line art as you want to. It's totally up to you. You can also, like, add the modifiers that I showed you when we were going over, like, the rooftop scene, like something like a noise modifier, you can see. It will give you like these breakups. You can adjust it accordingly on different parameters. You can also use the dot dash one, but right now, I will just keep everything like this only pretty uniform. Let's just it save. And with this, we have adjusted the lighting, made some couple of changes in the settings like enabling the rate racing, also making changes to the color management, which definitely improves the visuals of our scene a lot more. And then we have added the line art modifier. I think this is pretty good for this lecture. In the next lecture, we will continue to model and add more details to R scene. So thank you for watching. I will see you in the next one. 16. Creating Doors and Windows: Hello and welcome, guys. So let's continue modeling our environment. And before starting, I will just quickly disable the inart modifier that we can still see in the viewport. So just select it and turn it off from right over here so that it gets disabled in the viewport, and we can only see it when we render our things. So I've also opened up PURfR over here, and the next step to do is we can just quickly create very simple looking windows right over here. So first, let's just select this, and I will just quickly turn off the array modifier for now. We can press slash to go into the local mode. Then let's press tab and press Control R and add in the edge loop right over here in the middle. Hit right click so that we can add edge loop right over here. Press Shift plus D to duplicate this edge loop and then once again hit right click so that it gets placed exactly over there. You can now press B and separate the selection. So what this will do is it will basically create a separate object out of that loop that we just created, and then we can simply, let's say, press tab, press A to select everything, press F to fill out this phase, and press Control R and add edge loop right over here like this. I will now enable X ray and just delete the right side vertices, so press X and delete the vertices. Make sure to first set the origin properly, press press two, and select this edge, press Shift plus S, then cursor to select it. As you know, the mirror modifier only works according to the origin point. So if I right now add in like a mirror modifier, you will see it won't really work correctly. So let's undo this and we can go to object set origin and origin 23 Dcursor. To set the origin point right over here, now if I add in like a mirror modifier, it will work perfectly. Press tab, and I will just separate them out a little bit just so there is a tad bit space between them both. Now what we can do is, let's see. We can press tab. First, press Control, apply the scale. Now press tab, press three fora, select this phase, and just insert this like this. We can insert it till here, maybe 0.06 meters, press X and delete interfaces. Now, we get something like this, press tab and just extrude it out to give it thickness. And yeah, we have created a very simple looking windows now. Let's place them right over here, and maybe we can add in like a bevel modifier as well. Add that, apply the scale, adjust the bevel modifier to keep it, very small. Like this, enable hard normals. Let's press tab, enable X ray, and select all of this right side and just make sure they are a little bit more closer like this. And yeah, that works pretty good in my opinion. Let's just hit save, and we can come out of the local mode. Let's select this and enable back the array modifier. And for this one as well, we can once again use the array modifier. You can see it was already added because we have duplicated it from this object. So that's why it's still there, so we can just use this one only, enable it back. And what we need to do is we need to set it properly because obviously it won't be fitting exactly. So let's just increase the factor. We can select both of these objects, press slash, press one so that we can properly see. So let's go over to the last one and select this, and now let's move. So let's decrease it to -1.27. So it is somewhere around between that. So let's set this to 0.275, a little bit more. So 77. And yeah, that is appearing to be fitting pretty perfectly to me. Let's just sit safe, and let's come out of this. Press zero a. Now we have added windows. I think it's looking pretty good. And later on, what we will be doing is we will be adding a simple plane in between these windows, and we will just give it the glass material. So let's do that later on because if we do it right now, we aren't really, setting up the materials, so it will end up blocking all of the light that is coming from over here. So yeah, let's just do that later on, and now I will close this and we can move ahead. Next, what I will be doing is if you go back into pure ref, the one thing that we have over here is, obviously, we have a lot of different classrooms and, like, doors on the left side. So we can do something like that over here, adding a couple of doors over here just to give it a bit more detail. Because obviously, right now, everything looks too empty. Maybe we can go with something like this where we add like door at the end of the hallway, and then we add, like a couple of doors on the left hand side as well. So on right hand side, we have windows, and on the left hand side, we can add some doors like this. So let's do that. What I will do for that is I will select this first. So our walls, breast slash, and press tab. Now you can press Control R and add two edge loops like this. Use your scroll wheel to add two edge loops, hit right click and place them right over here. Let's press S and X and scale them down. So I'm going to give them a width of around 1.9, 1.92 meters like this. And the reason I'm doing that is so that once again, I can just select this phase, press Shift plus D to duplicate it, hit right lick and press B and separate the selection. So what this will do is it will just give it the exact geometry. What we need, we have the perfect height for our walls, and we can work on this to create our door and windows right over here. So first go over to objects set origin origin, geometry. Let's move this right over here. And we can select this press tab and we can just remove these edge loops for now, we don't really need them. So press two, hold, and hold Shift enautT make sure you only select the edges only. So make sure you are in the edge mode. If you select the vertices, you will see that everything in between gets selected as well. So make sure you press two and you are in the select mode, so hold and hold Shift tenut, select them both press X and remove the edge loops. All right. Now we can just select this phase, and we can press slash to first come out of the local mode and then select this press slash to go into the local mode once again. And the way we will be creating our doors is we will be doing something similar, where the top side has two windows and the bottom part over here has the door. So we can create something similar. As you can see, most of these reference images have the same kind of thing. Let's just do that. All right. So now let's just select our door, press Control A, and apply the scale first, press tab, press Control R, and let's start by adding in edge loop. And let's see how much you want to give the door. I think somewhere around here probably is like a nice division. So this part can be like the door and the top part can be the window. So let's press three, select this one, and once again, press P and separate the selection so that this is different and the door part is different. So let's see. I'll select this first press tab, press Control R and once again add in edge roof right in the middle. Then we can press three and select both of these faces. Press X and delete only faces. This way, we will delete only the faces and keep all of the edges. Press A to select everything and press E. Make sure you are in the vertice, select mode, so press one, and then press E so that we can extrude the vertic like this and just move it in the Y axis like this. And the reason I did that is obviously, it does not have any kind of thickness right now, but we can add in like a solidify modifier and then control the thickness of it using that. So we have something like this, you will see the solidify modifier is not really working properly where we have some issues like this. So first, change the mode from simple to complex so that we get something like this. And then we can switch up the offset. Let's see. Maybe something like this. And then what we need to do is we need to obviously, first adjust the size for this. So let's move it in. We can just select it all and just scale it down like this. First let's set the thickness to something like 0.055 maybe. Maybe increase it a bit more. And then just now, first, let's go to object set origin origin to geometry, and let's scale it up a bit more. Like this. So that we also fit it perfectly while getting the proper thickness. All right, so now I will select the door object. And first, what we need to do is we need to create the door frame. So press tab and just select these three edges like this. Press Shift plus D, hit right leg, press B, and separate the selection. Once again, something similar, and now select them, press tab, A to select everything, extrude them out on the Y axis like this and let's just move this back for now and we can give this again thickness with the solidify modifier. You can see, once again, the thickness is not really proper where the bottom is thick and it is going like this in a slanted direction. So change the mode from simple to complex, and now you can just adjust the thickness. I think something like that is pretty good. We can add in, like, a Bbel modifier as well and adjust the bevel to very small number. Let's do it right over here as well. Add in a Bbel modifier yeah, as you can see, we have our door and our windows. Now, we just need to create the actual door as well. First I'll press tab, and on the door, press one for vertice select and just enable vertex snapping from over here. So make sure vertex snapping is selected and select both of these vertices, press G, the next, and snap them right over here, and select these two, snap them right over here, select the top ones and snap them right over here. Just so the door is within the door frame. Earlier, it was like spilling out of it, but now we have it perfectly, go to objects set origin origin putometry once again, press tab, press Control R, and add edge loop right in the middle. So, these are pretty repetitive tasks, but we just do them a little bit differently to get the proper results. I will press X and delete the vertices over here to delete the right side and just add in a simple mirror modifier. Let's add in a solidify once again to give the thickness to our door and make sure the thickness is in the negative direction. Because if it is in the positive like this, if you press tab, you cannot really see your face because it is at the backside. But if you give it in the negative direction, you can see your face on the top, yeah, it's basically the same thing, but it will make it a little bit easier for you to edit. Let's press slash. Actually, our door is in the opposite direction, select it and rotate it like this by 180 degrees. And you can also see that it is not really fitting over here, select it for slash, and we need to fit that over here as well. Let's select this and scale it down. Maybe I will just select the door and scale that down as well a little bit. No bit over here. Yeah, I think now it's pretty good. Select them all and move them back. All right, guys. Now let's work on our actual door. So press tab. I think the door is not really visible because of this wall. So over here, let's bring it out a little bit. And now we can actually see it. So I will next add a bevel modifier. Select these vertices and just move them apart a little bit so that that door actually is looking disconnected in between like this. All right. So next what I will do is I will select the door, press Control R, and add edge loop. Somewhere around here. Then we can select this face, press I to insert this. And the reason we are doing that is so that we can create a window. Once again, somewhere around here, press X and delete the face, and we get something like this. And yeah, I think that is looking pretty much like a door. Maybe I will insert it a little bit more than earlier. Yeah, now press X and delete the faces. I will also select this and set the shading to hard and normals. And yeah, with this door and our windows are looking pretty good. For the window part, what I will do is I will select it. I will apply the solidify modifier so that we can actually, edit it. And what I will do is I will press Control R over here. Let's press slash to go into the local mode. And, I will add a Hub over here and over here as well. Hit right click for both of them. And now just hold Shift and naught and make sure to select both of them. Then you can once again press Shift plus D, hit right click, press B, and separate the selection. Now let's select the object that you've just created over here. Move it ahead a little bit, press tab, and just proceed to select everything and extrude it on the y axis like this. And the reason we are doing this is because using that we can create smaller looking windows inside this larger frame. You can just simply add a solidify modifier now, move it above the bebl and give it thickness like this. And you can see we get nice looking windows inside are bigger window frame, and we can control the thickness of them pretty easily. All right, guys, so let's press slash now, and I will just press edge on this to hide it, select it all, and just move it out first. Press alt plus edge. And what we basically need to do now is that we need to, like, incorporate it a little bit better into our wall like this. So what I will be doing is I will basically just try to delete this part of the wall so that we can simply fit in our windows and door in between here. You can see now everything is looking pretty good. Obviously, we need to, like, as I said, incorporate and fit it a little bit better. We will obviously, once again, add a similar material over here. We will add a plane, which will be acting as a glass material over here. Maybe we can do that as well, selected press shift pluses because it selected and just add in a plane, rotate this by 90 degrees. Make sure to scale it down. Move it back over here, scale it up. Let's pab, enable X ray and just move it till here because we will be ding the glass material throughout this. Now we just need to fit it a bit more properly. Let's just move it back. And move this thing a little bit ahead. Alright, let's just hit Save. And yeah, with this, our glass and windows are looking pretty good. What we need to do is we just need to fit them a little bit more properly over here within our wall, and we will also be creating multiple copies of them to have like two or three different doors and windows over here on the left hand side wall. And with this, yeah, I'm pretty happy with how it is looking. So let's just hit Save. We can also quickly, let's just shake the render ones. This was our old render. Let's press F 12. This is something how it looks. I think this is a nice bit of addition. When we have the glass material right over here, I think it will pop out a lot more. A. Right now, it is kind of hanging off the wall. It is like too much outwards. We just need to fix that a little bit more. And yeah, I think, guys now this lecture is a pretty long one, so this much is pretty good for this one. Let's just continue from over here. I will see you guys in the next one. Thank you for watching. 17. Adding Classroom Doors: Hello, and welcome, guys. So let's continue from where we left off. In the last lecture, we created this door right over here. So let's just try to fit in it a little bit more with the wall. So first, what I will do is I will select it all and hold control and make sure to just deselect the wall, and first, I will just move it back over here. For now, also, I will just select this plane that we added to which we will be adding the glass material. I will just delete it for now because then it would be a little bit easier to see how we are placing it within the wall. All right. First, what I will do is I will select this wall. I will press tab, and I want to add in like a wall molding on top of this. So let's just press Control R, and you can just add edge loop right over here at the top. Something like this. Press three, hold At and select this complete loop like this. Then you can press Alt plus E and extrude faces along normal to extrude it like this outwards. You can hold shift so that it moves a little bit slowly and just extrude a little bit, give this kind of thickness to the wall to make it a little bit better. Yeah. I think it is a little bit too outward, so I will just undo it and extrude it once again. Alright, let's move ahead. Let's bring in back our door because now we need to adjust it a little bit. So bring it out over here, select these two top items. And once again, just hold control and deselect the wall like this, press tab, enable Xray, and just select it all from over here. Then you can just disable Xray, make sure your vertex snapping is selected from over here. Press G, then Z. You can hold control and hover over this vertice right over here, to snap them at the perfect height. You can see as soon as you like you're moving it and you hover over this vertice and you can just snap it over here. This will give the door like the perfect height of the wall that we want. And yeah, everything is looking perfect. All right. So now let's just create a hole in the wall so that we can fit in our door right over there. I will select the door and the wall, press slash to go into the local mode so we can work a little bit more freely. All right. So now let's select the wall, press tab to go into the edit mode, press Control R and scroll and add two edge loops like this. And now we need to scale these edge loops down to match with the width of the door. And if you remember, if you like, select the door or this thing right over here, the door frame. And over here, you can see, like, clearly the edge length is 1.92 meters as we created the thickness for the door. So for this as well, we can scale it accordingly and place it somewhere close to 1.9 meters. It does not necessarily have to be the exact bits. Even 1.9 would work pretty good. Now what you can do is, uh you select this phase, so press three, select this phase, press X, and delete the phase. Now we have something like this. We can press Tab. Let's press one for what you select, Enable Xray and just move it right over here close to the wall right over here. And over here only, we will just move in our door as well. Select all parts of the door and just move them like this. You can also press G the next and hold control and snap it over here. Then just move it a little bit towards the left like this to make sure everything fits in perfectly, and it is not like poking in from anywhere else. Now you can just move it backwards. And now this will give you the perfect looking door and the windows. Let's select the door. I will come over here and reduce the thickness for this. And now let's just move it backwards. Now as you can see, we can fit in our door a lot more properly within the wall just by creating this cutout within the wall. So yeah, that works pretty good. Now what I want to do is now we can add the plane that we deleted earlier. Let's just select this press Shift plus S cur to select it, press shift A and just add in a plane R, the next rotated by 90 degrees. Move it up and just move it backwards. Scale it down to match with the width of the door and we can just enable X ray. And match it perfectly. This way, we can use this thing as the glass material. So yeah, with this door is now perfectly created. As you can see, we have, like, a little bit of space right over here. So let's just press tab and we can just enable X ray, select this edge loop completely, and just move it inwards a little bit so that we don't have this problem. All right. Now it fits perfectly. So yeah, thickness or the width of the two edge loops should be somewhere around 1.85 or 1.9, so that now we can replicate this. So press tab, press control R, and add four more, I think. And this way we can create another door right over here. Oh let's just add two first. So press control R and add two edge loops like this, scale them down, give it something like this. And now we can just press G then X and move it right over here. Somewhere around here. And once again, press Control R and add two edge loops again. Scale them down, press S then X and adjust them to give the exact width right over here. So around 1.87 meters. And then we can roughly put in this one also at. You can see the distance between the two doors is 3.28 and 3.19. So you are somewhere around this much distance would be pretty good. You don't have to be too exact or precise with this. Press three and select both of these faces, press X and delete the faces. This way we have created two different tools over here as well. And now we will just select the door. Let's just select all the parts of the door. Press slash to go into the local mode. And first, what I will do is I will just press Shift A and add in a empty object. So add the plain axis and now select them all once again. Make sure to select the empty axis at last, right click, and then parent. So now we can just select the empty axis and move it around easily. Like move all parts of the door easily. We don't have to select them all one by one again and again. This makes it a lot easier, as we can just select it all now, press Shift plus D, press X and place it right over here. Press Shift plus D, press X, and place it right over here. Press slash to come out of the local mode. Now just select the empty only and you can move your door accordingly and place it perfectly within the cut out of the wall you have just created. Make sure to look at it from all angles so that you don't have any empty spaces left. But yeah, I think we have done it perfectly. Let's select this one and move this one as well. All right, so now let's just go into the viewpot shading. Press zero for your camera view. We can press F 12 to render everything out. And if there are any issues, we will be able to see them much better in the render itself. But in my opinion, everything is appearing out to be pretty good. Maybe I want to move like this glass object a little bit ahead. So let's just go over here. Sorry. Make sure to select all of the glass objects in three of the doors and just press G then Y and move them a little bit ahead. Let's select this part, again, in all three of them. And I will just move it a little bit backwards. Let's press F 11, press J to switch between slots, press F 12, and now we can compare between the two. Yeah, I think this looks a little bit better. These things are totally up to your preference, how you want to place them. But now we can see that our render is looking out to be pretty good. One thing that I don't kind of like is this light angle is kind of like looking pretty weird right over here. So let's just select our sun. Okay. Press R the Z and rotate it on the Z axis. So either we can go completely like this so that we don't get any light on this pillar, just moving it like this, or we can just move it a little bit till here. So that we kind of get a bit more light. Earlier, it was looking a little bit weird this way. I think this feels a lot better. Select it once again, R the X and move it a little bit upwards as well. And, I think this setting looks pretty good. Let's press F 11. And once again, we can just check out the different vendors. Yeah, in my opinion, this feels pretty good to me. Alright, guys, let's just hit save. And with this, our render is coming out to be pretty nice. Next, I will just select the door once again. And what I want to do is I also want to, like, place it right over here in the front. So just select this piece, this piece, and the glass. Press Shift plus D and move it right over here. Rotated by 90 degrees, sorry, rotate it -90 degrees on the Z axis. Move it back right over here. And you might notice that we have these lines going towards this. What this means is basically like this object like the empty axis is connected to these as well. So we need to remove that, select all three of them. Make sure you select only these three and hold control and deselect everything else. Just right click and go to parent and you can select clear parent. But select clear parent and keep transformation just so we don't mess up any of the transformations. I will select this press tab and just move the glass piece over here and just select all three of them, hold control, deselect everything else, and move it right over here. Just press zero. You can also press the dot key on your number pad to focus on any object quickly. Let's save. Alright, guys. So for this one, what I want to do is I want to make these windows a little bit smaller, just to have, like, a different kind of door to enable Xray and just select this part right over here and scale this down. Let's see how that works. Maybe we can make it something like this. I think this looks much better. Let's go into the render view. And we can just press F 11 and press F 12 to compare it with the old render. I think the door looks fine for most part. I think it just looks a little bit tall. Over here, it looks fine, I guess, but over here, I kind of feel like it looks a little bit tall. So what I will do is, once again, I will just select all of it. Hold control to deselect all of the extra objects, press tab, enable X ray, select it all and just move it downwards. Let's check it out once more. Yeah, in my opinion, this feels like a lot more natural. Yeah, I will be going ahead with this only. Maybe I will just increase the length a tad bit longer. All right, so yeah, you can press Jane now to compare between the two. And in my opinion, this feels like a lot more natural and a lot better than this one. So I will be going with this. Again, it's totally up to your preference, how you want to, like, do these things. With this, as you can see, like, the hallway scene is coming along pretty nicely. So let's just hit save. And with this, we will continue on in the next lecture. Thank you guys watching. I will see you in the next one. 18. Adding Stairs and Lights: Yes. Hello, and welcome, guys. So let's continue modeling our environment. And in this lecture, what we will be doing is we will be, like, modifying our hallway to add a stairway component right over here. Right now what we have is we kind of have this connected hallway where it goes from over here onto this left side. So what you can do is if you want, you can add like a couple of classroom doors over here as well. If you just want to keep it straight like this only. Like if you want, you can have a hallway right over here, and then it connects over here on the left side onto another hallway where you can add more classrooms right over here. But instead, what I will be doing is I will be doing something like this, as you can see in the reference images as well. A lot of reference images have stairways connected to the hallway as you can see, over here as well, there was another one. Yeah, like over here, we have the stairway connected within the hallway. So I think that looks a little bit more interesting rather than having something like this. You can see. Right now, we have something kind of this where we have the straight hallway, and then it connects over to the left side, and then we can add some things like on the left side, whatever we want. But yeah, what I will be doing is I will be adding some stairs. So let's just do that. Select this, select the room, press tab, and basically just select this edge, press G, then Z and move it downwards to give it this slanted look. And that is basically pretty much it. Now we just have to add a couple of stair objects right over here. So for that, let's just press Shift A and add in a simple Q. Let's press seven for top view Enable X ray. Let's scale this down. Somewhere around here, I think, then we can scale it up to cover the entire part over here. Let's see. We can adjust it a little bit more later on. First, let's just add in array modifier and set the X factor to zero and set the Y to one. So or Y two minus one, I think, and then just decrease the z like this. We can set the z to -0.5, and then we can just increase the count. If you want, you can adjust this according to the stairs. This part really does not matter that much. It won't be visible. Let's press zero and we have something like this now. Let's go into the viewboard shading. We can just quickly render it out as well. And I think this feels a lot better and dynamic. Earlier, it kind of felt like a little bit boring where we have, just another hallway on the left side, but now we have, like, these stairs. So I think that looks a little bit better, in my opinion. But again, as I said, this is totally up to your preference, how you want to, like, work on these things. All right, so now what we can do is we can also add something like a pole, something like this to what do we call this? Like a railing to hold onto. So yeah, let's just add that. It's pretty simple to create. So press Shift A, and let's add in a cylinder. Open this up, and let's just decrease the radius for this to somewhere around 0.35 let's press slash and rotate it on the X axis by 90 degrees. Shade how to smooth this. Let's press tab. I will disable the edge length for now, press Control R, and add edge loop in the middle. And once again, just delete one of the sides so that you can use in like a mirror modifier. And now, basically what we will be doing is we will be just using a spin tool to add a curved part to it. So just select all of these vertices. You can hold Shift and right click to place your three D gaza somewhere around here, I think, and then just select the spin tool. Make sure you have selected the proper axis. So go into tool and select the proper axis. For me, it is z, but for you, it might be something else. So press seven now for top view and just rotate it like this. Now let's kind of adjust it to make it a little bit smaller. And also, let's set the angle to 90 maybe. Sorry, -90. All right. So yeah, I think this feels pretty good. Let's just come out of it, select the bowl and place it right over here. You can press tab and kind of increase the length of it. Make sure to enable clipping because if you don't, what will happen is if you move them apart, you will see there is like a gap between them. But if you enable clipping, this part would be like, kind of stick together in the middle. So you can easily, like extend it without worrying. Extend it till here. And let's see. Let's just rotate it to match it a little bit more properly and then rotate it on the X like this. Yeah, I think this feels pretty good in my opinion. Rotate it on the X axis to kind of match with the dislantedness of the stairs. You can press three, press tab, and now you can adjust it freely. So now if you just select it all press G then Z and Z, once again, you can extend it in the direction only, like the direction of the rotation like this. Move it back. All right. So yeah. This feels pretty good. Let's just press F 11 and press J and render it out once and see if it looks good. Yeah, I think it looks fine. What I will do is I will kind of add, like, some kind of base right over here. Select this phase and then just duplicate it, scale it up, and now just extrude it like this. Just so you have something like this to make it feel a little bit more connected. I'll select it, press, then Z and Z once again, try to fit it a little bit more better into the wall. Yeah, I think now it feels pretty good, Let's just hit save, and then we can continue working on something else. Let's see. What I will also do is I will also add, like, a couple of lights over here on the top, something simple, nothing too much. As you can see in most of them, we have some sort of light on top of the hallway. So, we can create something simple like this where we add like a square shaped tile and then just addeissive material to it. Yeah let's just do that. Let's press shifte and add in a cube. I'll delete this for now and first select this and select any of the faces, press Shift plus S cursor to select it so that the cursor is added over here in the center and now press Shift A and add in a cube, so that it just gets added in the center like this. Let's scale this down. I think something like this. So nothing too fancy. Let's just apply the scale for this, press control, apply the scale, press tab, and first press T and come back to your normal selection tool. Let's select this phase, press I to insert this and then just extrude it inwards. Maybe scale it down a little bit. And, we have a very simple looking lights. Et's select this and move it back. Then we can maybe just add in like array modifier. Duplicate it a couple of times. Et's press F 12 and render it out once. And yeah, I think that feels pretty good. What I will do instead is I will select these lights and maybe move them ahead a little bit so that it kind of, like, does not cut off with our camera. And then let's just see Yeah. Now I'll just also add in like a bevel modifier to it, just to give it like this extra bit of smoothness over here on the edges. Go into the shaving tab and just enable hard nobels. And yeah, I think that looks pretty good, and the lights are also done. Let's just sit save. And I think with this our basic modeling of the hallway is pretty much done. Obviously, we will be adding a lot more models as well, like the cupboards over here or the shoe rack or things like that. So we'll definitely adding a bit more models. But first, what we will be doing is we will be trying to add the materials to the things that we have already created. So in the next lecture, we will try to texture this environment completely what we have created for now. And after we have done that, then we will work on some more models like small drops to add in a bit more detail. So yeah, I think this much is pretty good for this lecture. Thank you guys watching. I will see you in the next one. 19. Adding Materials: Hello, and welcome, guys. So in this lecture, we will start to add materials to our models. So let's just go into the viewport shading and first, let's just press F 12 and render our scene out. If you will closely notice right over here, the shadows look like really choppy and have these jagged edges over here and a little bit over here as well. So there is a very simple fix for this. Select your light source. So in our case, we have the sunlight as the light source, and then just go into the shadows section. Over here, you can see if you enable or disable it. The shadows would be enabled or disabled. You can enable Jitter from over here, and just by doing that, now if you press F 12, the shadows would be a lot better, as you can see. If I disable this right now, sorry, not this, disable Jitter and press F 12, you can see we get these jagged edges. I will press J to replace this replace the slot and then enable Jitter and then press again F 12 so that we can render in the new slot. If you press J now, you can clearly see the shadows look a lot better now. We also had some light leaking right over here, which is also kind of fixed. So just enable this option. It is pretty good. And then we can now move on to adding materials. So let's just start from the ground. So press tab. And first, what I will do is, let's press slash, and first, I will just separate them all out. So select all of the faces on your ground. Make sure you only select the faces that are at the bottom like this. Then you can press P and separate the selection. Although we can add materials over here as well and add different materials and give them like assign them to different phases, it would make it a little bit easier if we just separate them out like this as well. Next, we can just select the roof as well, and we can separate that out. Like this, press P and separate the selection. So now we have the walls as separate and the roof and the ground as well. Let's press slash once again, go into the shading tab so that we can also see our nodes right over here and go into object shader type. So first, let's select the ground and click on New to add a new material, rename this to ground. And let's see. I won't be adding to complex materials. All of them are going to be pretty simple. So let's just select the color. So I've already selected my color. You can fiddle around with this and find the exact color that you want to go for or the kind of color combination that you want to choose. You can also take some ideas from the reference images as well, like what kind of color combination you want to go for. I've already decided mine, so what I will do is I will just copy the color code. And if you want to copy that, you can use that as well. So I will just click on Base Color and paste it over here in the hex code. You can copy it if you want to, Al presenter, and this is the color that I would be going for. Now what you need to do is just set the roughness to a low number. Let's set this to 0.05 maybe for now. Yeah, for the ground, we will be going with something like this. I think I will just set the roughness to zero only to get these nice shiny reflections. And then we can select the roof object, add a new material, rename this roof. And for this one, we will be going with something like very simple brick texture, so press Shift and add a brick texture node. Plug the color into the base color. And right now we have something like this. Let's just try to adjust the settings and create something nice looking. I'll set the offset to zero so that we don't have, this kind of offset. All the brick lines are matching with each other this way. Then we can also decrease the scale For the color for now, I will just set the color to completely white for both of them so that it is a little bit easier to look at. Next, we can also obviously decrease the motar size because we don't want it to be this much. Something very small, 0.001. I think that works nicely. I will also decrease the roughness for this as well. And yeah, I think this looks pretty good. Next. What we can do is we can just adjust the colours, maybe a little bit. So just make it a little bit yellowish, just to add, like, a bit of color variation. Let's press F 12 and see it. And yeah, I think it looks pretty good. You can press J to compare it with the old render. What we will also do is we will be adding lights to these, obviously the lights we have created. We will add like emission material to them to make them look a little bit better and also to get a little bit more light in our scene because right now it is kind of dark. So what we can do is we can first add the lights to them. So select this and just go into the material section, first create new. And this one can be the base material and then create another slot and create new and this one can be a emission. Because we only want to add the emission to like this, this phase. Phase right over here. So let's select the emission and change the color to something else. You can see nothing really happens because all of the objects right now have only the base material. So press tab, select this phase, and select the emission material and then hit a sign. And now you can see only this phase has the emission material, and the rest of them have the base material. So this way, we can easily differentiate between them. So now we can select the emission. The rest of them already got the same material because we are using the array modifier. So yeah, now for the emission material, it's pretty simple. Let's just select the principle BSDF and delete it, press Shift A and add in emission shade. I'll plug this in. So if you go back to your render, and you won't see the changes right away because it is set to one. But if you increase the power for this to let's say something like five, let's press F 11, press J, press F 12. And you can see we have added like a decent bit of light in our cat. Obviously, we have added some noise as well, but we can, I think, tackle that by increasing the samples to maybe 256. As you can see, the light noise has decreased by a lot because we have increased the samples for our render. And yeah, I think this looks pretty good. We have a decent bit of light in our scene. Let's hit Save now and continue. Next, what we can do is we can add, like, the material to these walls. So let's select the walls, create new and create the wall material. And it's going to be pretty simple. Nothing too complex, but the way we are going to add a bit of variation is we can add like a edge loop. So press Control R and add edge loop right over here. Hit right click to place it like this or wait. What I will do is press Control R, press E, to flip it like this, to make it straight so that it follows the loop on the top like this. If you press F now, you can basically flip between the bottom side loop and the top side loop. So press F and make it straight like this. And then we can press Control R and add edge loops like all over them and just try to match them in a straight line so how we can do that. Select this one, press G then Z. Make sure vertex snapping is selected. Press G then Z and hold control. Select this one, press G then Z, hold control right over here, and hold Alt, select it all, press G then Z, and hold control. Now, all of them are at least in a straight line like this. So for this wall material, I'm just going to keep it like the base material only like what we have right now. I'm not going to change it. Add new material and rename this one to something like a blue wall. And the way we are going to do this is press dab and just select all of these faces. First, let's select the blue wall and change the color to something random, anything for now. And now select only the faces at the bottom that you have just created like this, and then hit a sign. Select the blue wall and then hit assign. This way, like bottom part will have a separate material, and we can create some kind of variation going on. Obviously, I think it is too high right now. So just select all of these edges, so hold Shift and naught and just select them all and move them down like this. We can also do it right over here as well. So press tab, the height for this is already set. Sorry, first, let's add the materials. So this time, don't click on New because we are going to add existing materials. So just click on over here and select the wall, and then add a new slot. But instead of clicking on New, just click on here and add the blue wall. Now you can press Tab on this and just select these faces right over here. And then select the blue wall, hit assign. I think in my opinion, I will just undo it and I will only select this pace and then select the blue wall hit assign because I think this way it adds a nice bit of variation with the pillars having different colors and the walls having different. Now to just fit it all together, select the complete loop over here, press G, then Z and snap it right over here. So all of them match perfectly. But I do think that it is a bit too high to select both of them at once, press tab, deselect this and just select this edge. Right over here, and then you can press G and Z and move it downwards like this. Yeah, in my opinion, this feels a lot better. And now to obviously set for the color, again, I have already selected on a color. You can choose whatever color you want to, you can create, various different combinations, and this is the nice thing about it. The one that I will be going for is this, so you can copy my code if you want to. And, yeah, I think this gives it a nice bit of combination with the yellowish and the blue tones right over here. Alright, guys, let's continue. Save on this. Select the doors now, click on you and create a new material for the door. For this as well, it is pretty simple. I will be going with, like, a yellowish beach kind of material. So you can select the color for that as well. I'll just copy paste the color. If you want to choose the code, you can do so. This is the very simple color for the door that I will be going. Now just select all of the doors and select this one at last to which you added the material just now, and then press Control L and L link materials. This way, all of them will have this same material. And you can keep on a you can see we can compare the difference between the two. And you can once again press F 12 and compare the difference. You can see the scene is coming along pretty nicely. The materials that we have added look pretty good. Obviously, you can choose whichever colors you want to. I will also be creating a nice color variation later on when we finish the course completely, then we can also create another color variation for this scene. So that would be pretty cool. Let's just sit save now. And I think this match is pretty good for this lecture. In the next lecture, we will obviously continue and add the remaining materials like the iron material over here. We also have to add the glass material and things like that. So let's just continue from over here. The next lecture. Thank you as watching. I will see you in the next one. 20. Creating Glass Material: Hello, and welcome guys. So let's continue working on our environment and adding the materials. So let's just go into the viewpoard shading and if you press zero, and we can see that we get quite a bit of noise in our viewboard. So I have found out like an easy way to fix this. If you go over here under the rate racing section in the render properties. So open up rate racing in fast GI approximation. You can just increase the number of rays, and if you slowly increase them, you will see that the um, noise would disappear. So you can set something like eight, and I think that would be a lot better. I've also found out that if you just increase the steps, for some reason, the scene gets a lot brighter, as you can see. I don't really know what the exact reason for this is maybe the light is bouncing off a lot more. That's why. And if you decrease it, it gets kind of darker. So by default, it is set to eight, and this will give us results like this. Let's just quickly render it out. And if I now increase, let's say, the steps to something high, you can see in the viewboard as well that the render is a lot brighter for some reason. So maybe we can use this to some extent. Obviously, this is like a lot brighter. So we can set this to something like maybe ten for now, just to get that extra bit of light. Let's just hit save, and let's continue. One thing that I have noticed is that I've kind of forgot to add, like door handles on all the doors. So first, let's just quickly create that. So I'll go back into the layout, and let's just select this press Shift plus cursor to select it, press Shift A and add in Let's add in a plane instead of a cube, so press shift, add in a plane, rotate this by 90 degrees and scale this down. What I will do is I'll press Tab, press Control R, add edge loop right in the middle. So hit right click and just delete the bottom vertices and then you can just add a miror modifier on the Y axis like this. By the scale. I think something like this is pretty good. Now, I'll just press two, select this edge, press E, and press G then Y and move it down like this. Just to create a very simple looking handle. And what we can do is we can just select this. First, add in like a solidify modifier, apply the scale and make sure to enable even thickness so that you get proper thickness around the corners. Then you can just press tab, press two for select, select this edge, press Control B, and bevel it out to smoothen it. Right click and shade auto smooth, and we get a pretty nice looking handle. I'll just select it now and once again, add a new mirror modifier. Let's see if you want to go for a double handle. Yeah, I'll just remove this and instead, we will just go for a single handle right over here like this. I think that fits our scene a lot more. I added it at the wrong side, so let's just move it out. Rotate this by 180 degrees. Let's place it right over here. I think that looks pretty good. I'll also just select this door, and what we can do is we can just apply the mirror modifier for this. Let's apply the mirror modifier for all three of them. I'll select all three of them. Press tab and you can just hover over this right side, press L, and just select the right side and just move it a little bit backwards like this. Also move this glass a little bit backwards. Let's select the door handle now and just duplicate it through all three of the doors. I I'll just move them up a little bit. And one last time duplicate it and just place it over here, so rotate it by 90 degrees, move it back right over here. And for this one, we can create a double handed door. Place it right over here, add another mirror modifier and select the mirror object as this. And now we get this kind of door. And I think that looks pretty good. Let's just press F 12 and render it out. What I will do is I will just decrease the render samples just to make everything a little bit faster. Yeah, in my opinion, this looks pretty good. Also for now, let's just set the steps back to eight only and decrease the samples to 64 and press F 12 just so we get fast rendering. Setting the samples to 64 gives us pretty fast rendering. All right, guys, I think it is looking pretty good now. Let's just hit save, and we can work on the glass material on the right and the left side. So first, let's press Shift A. Okay, first, I'll select this press shift plus causer to select it. Then press Shift A, add in the plane rotate it by 90 degrees and move it back and then just press tab. And select this press G then X and move it to the corner so that we can create our windows now. Obviously, if you just look through, now we don't really get any of the light from the sun or anything, but we just make the glass transparent. Obviously, it is a glass. So let's just go over here, add a new material. Rename this to glass and let's go into shading to start working on it. So first, we can just select this principle BSDF node and delete it. And although what we can do is we can, let's say, add in like a glass SDF, and just adjust it around like, let's say, kind of make it work, you can adjust the IOR value and adjust like the roughness for this. And you can see we get this very simple looking glass material. You can also go in the material settings and enable rate raise transmission to, like, as you can see, improve the reflections a little bit more. But what I will be doing is instead, I will be creating a custom glass material. So just select the glass BSDF. Also, first, let's select this plane. All three of them. And we can just join them. So press Control J to join them, and then select this one. Select this first, then hold Shift and select this, press Control L and link materials. All right, so we get this class shader on both of them. So the kind of glass shadow that I want to create is because obviously, behind these doors, we need to have a classroom, but we cannot really do that. So we'll get this transparent looking sky, which is honestly not the best look for our scene because it will look pretty weird to have this empty sky behind the classroom doors. So we'll make something to fix that up. First, what I'm noticing is because the classroom door is behind, we get like this small, like, lightly kind of thing happening. So what I will do is, I'll just select the ground, press tab and we can maybe just select these edges. And press E and then press G then Y and extend them like this, just so we get this extended floor so we don't get that window, small window right over here. Alright. So as I said, I'll be creating a custom glass, so just select the glass BSDF delete it. And the way we are going to create is we are first press shift. And the way we are going to create the glass material is obviously a glass has transparent and translucent components, so press shift A and just simply add in like a translucent BSDF again, press shift A, add in a transparent BSDF. Now we'll just plug them both in to a mixed shader to just mix them both like this. And then you can plug this mixed shader into the surface. And right now we get something like this. Even this looks pretty good. Also, you can see we start to get our light back. Earlier, we were not getting it. And with the glass shader, We did not get a light earlier, but using this, we can get our light through the windows. So yeah, that is a nice start. Obviously, we get these noisiness all over our glass. Don't worry, we'll fix everything. So right now we are using the mix shader and we are mixing the translucent and transparent nodes according to this factor value. So if we set this to zero, it is completely translucent. And if we set this to one, it is completely transparent. All right, so let's set this back to 0.5. And the next thing that we have to do is right now we have the two components in our glass, the translucent and the transparent, but we need to add another thing that is the roughness of the glass because obviously, as you know, the glass has reflections as well, and it is pretty shiny. So to add roughness, we can press Shift tape and search for a glossy BSDF. So using the glossy BSDF, we can introduce roughness into a glass and set the roughness to lets zero to make it shiny. And now let's see how we can mix them both. So earlier, we use the mixed shader because we needed the factor value to control the inputs, one and input two, the translucent and a transparent. But this time, instead of using the mixed shader, we'll shift and search for a add shader. So what is the basic difference between mix and add is they're both used for mixing two different shaders, where the mixed shader will mix the two shaders depending on this factor value, whatever the factor value is. And what add shader will do is it will basically overlap the shader one and shader two on top of each other, and the resulting value will have both the full effects of Shader one and Shader two. So this is really useful when you don't really want to control the shader inputs using a factor value, and you want both of the inputs at their full effects. So you can plug this in over here. Like these two like this and then plug the final result into the surface. And now we get something like this, which is really bright. And the reason for that is I just told you, because it is adding them both on top of each other, at their full effects, add their full values. That's why we are getting this bright color. So first, let's set the roughness to zero, and then you will see we will start to get reflections onto our glass, and now we just need to adjust the colors a little bit to make it look a little bit better. If you select the translucent BSDF and just make it a little bit darker and then select the transparent as well and once again, make it look a little bit darker. You can see we get a nice look in our glass. But the problem with this is, as we make the transparent BSDF darker, the light that is entering in our scene also gets pretty dark. So there is, like, a very simple fix for this. Let's say if we make the transparent BSDF completely black. Now it is completely like opaque, in a sense, we are not getting any light through this. So to fix this, just simply select it, go over here in the object data properties under the visibility under ray visibility, just disable shadow. That means it won't be casting any shadow, so it will fix our issue totally, and we will also get light. At the same time we will get these nice looking glass. You can maybe increase the transparent to somewhere around here. And you can see this will also fix the issue for this side glass right over here because it kind of looks pretty dark, and it looks as if there is a room inside this. So you can see we created this very nice looking custom glass, which kind of gives the look over here that there is like a room inside it. If we had earlier just simply used like let's say, glass VSD and then plug this in, set the IOR to let's say one. It will give us very weird looking glass with the clouds and everything that are visible through over here. But now we have created this custom material, which will kind of give the look that there is a room behind this door. And over here as well, it kind of looks as if there is a parallel corridor that is along with this. So I think this looks pretty good. We can also select the color of the glossy BSDF and make it a little bit bluish like just a tad bit. You can make the transparent and the translucent values a little bit brighter, if you want to make the glass look a little bit brighter. You can also control, kind of like the darkness of the glass using the mix shader. You can see if you set this to one, it will also get like a lot of transparent. So that's why we are getting the HDRI visible through the glass. And if we set this to zero, we only get the translucent. I think we can also work with this by just plugging in the translucent directly right over here. And I think this will also give us a pretty nice looking material if we totally want to remove the transparent BSDF component. Let's press F 12. And, yeah, I think it looks pretty good. We are getting nice looking glass right over here, and we don't get any of the weird looking HDRIs poking through our glass. So I'm pretty happy with how like this all has worked out. We can maybe select our camera and just move it back a little bit if you want to have, like, more of the glass from over here and the stairs as well. I think this also gives the scene a nice bit of look. Yeah, I think I'm pretty happy with it. Let's just hit Save and our material is now looking pretty simple. As I said, you can add in the transparent node as well along with the mixed shade up. If you want to add in. Sorry, not this mix, but the mixed shade up. If you want to add in the component of transparent as well. You can see if you set this to completely white, we again get our HDRIs and as we make it darker, it gets less transparent. Disable camera to view. So this is just like if you want to introduce a little bit of HDRI within your material, and then you can control it using the factor. So maybe we can set up the nodes like this only setting the factor at zero. And if at later on stage, if you want to add in a little bit of transparentness, or if you want to, like, directly use the HDRI only for our glass, we can do so with relative ease. So let's just keep the same node set up. We can set the mix shader right now to zero, make the translucent a little bit brighter. And we can introduce, like, a little bit of bluish tint to our glass. So give it like that blue colour hue and just decrease the saturation. So something like that. Press F 11. Let's press J, and then press F 12 to compare it with the old render. And yeah, you can see this blue color looks pretty good, in my opinion. All right, guys. So I think it looks pretty good. Now, let's just hit save. In this lecture, we worked on a glass material, and now in the next one, we will just quickly finish up with the remaining materials, and then we can focus on creating some of the smaller props in our scene so that we can detail it a little bit more and finally just finish up with the environment. So thank you guys for watching. I will see you in the next one. 21. Adding More Props: Hello, and welcome guys. So let's continue working on our materials. In this lecture, we will quickly just wrap up with the remaining materials and then start to add more props into our scene like some small models to detail it even more. So let's just go into the viewport shading. And I think the only materials that are left to add are over here on the window frame and over here on the door handles and also over here on the window for the door as well. So it's pretty simple. Most of them have the same material. So let's just select the window first, like the frame over here, click on New and rename this two window frame. Or we can just rename this to iron material because we will be giving this like iron material. So just increase the metallic to one, and maybe just decrease the roughness to something like 0.25 to give it that shiny kind of look. I think that's pretty solid for that. Let's just select this, and then we can select this handle, all three of them. This one as well, and this one over here. And we can also select this railing, as well. Then at last, select the window frames, and then you can press Control L and link the materials. This will give it the iron material on all of these areas. So yeah, I think that's pretty good. You can render it out once to see. Also, I'm just kind of feeling like like the outlines are pretty harsh. So what I will do is I will select the line art and maybe tone them down to 0.4, and then we can work on this right over here. So let's move back to the layout tab now and you can just press the dot key on your number pad to focus on the door. And I think we added like a plain object right behind this, y over here to act as our windows, let's just move it out right over here. And then we can just first scale it down a little bit. We can place it right over here, come back to our shading tab, give this a new material, and just make this material like metallic first, like, decrease the roughness a little bit, and then we can give this, like a darker color like this to give this kind of look. I think that looks pretty good. You can press F 12 once to see how it looks in the render. Yeah, I think that's pretty good. And I think maybe I'll select the line art modifier and also decrease the line thickness to four and opacity to maybe 0.35. Again, these things are totally up to your preference. Yeah, I think this feels a lot better. I will be going with something like this. And with this, we have basically added all the materials to our basic models right over here. So now we can just start to work on some of the more smaller props to add in further details into our scene. And now we can open up PureRef and we will be just adding some of the props. So if you zoom in right over here, we have a small trash can. We can add in these lockers. We can also create some shoe racks right over here to add them into our scene. We can also add in, like, a small notice board like we have. So yeah, these things are pretty good. We can add these details to further, make our scene look more interesting. So let's just move it out of the way. And yeah, I'll come back to layout and come over here so that we can add more stuff, press shifty and let's just start by adding a cube. So I'll scale this down roughly first, and I will be placing the shuax right over here. Let's press, then X and scale it up on the X axis. I I think something like this feels pretty good. We can also just select it and we can right away add in like array modifier, move it right over here. To see how it looks. Yeah, I think something like this would feel pretty good. I don't think we can just increase the count to three. I think setting it at two is much better because I think three feels a little bit more repetitive, so I'll keep it at two. And yeah, we can have something like this. And then you can just select it, press slash to go into the local mode, and then we can just edit it out to add in more details. First, just select it, press Control, apply the scale, then press tab and we can create some partitions. So press Control R and add three edge loops like this and press Control R, add three edge loops like this, yeah. Just to create a four by four grid. And then what I will do is I will just select all of these front faces. And then I will press I to inset them like this. Let's inset this roughly it here and move it like this. Then you can once again press tab, press I once again to insert it. But this time, press I two times to insert them individually as well. And then you can give it just a little bit more inset like this and then push it again inwards to create these nice looking racks, where students can keep their shoes or some stuff as well. I'll just quickly undo it and I will insert it a bit more. Yeah, I think I'm pretty happy with this. We can select it and also add in like a bevel modifier if you want to, apply the scale and adjust the bevel amount. It's press F 12 to see how it looks. And when we add in our shoes right over here, I think it would look pretty good. You can select these to delete them press F 11 and press J, press F 12 to render it out without them, and then you can compare how the scene looks. I think even with this addit, it adds a nice bit of effect to our scene, and right over here, it looks pretty empty. So yeah, we have to add a couple of different objects to fill it out a lot more. Quickly undo it right over here so that you can have your lockers or like the sho rack pack. Then once again, press Shift D, and let's add in a cube, and we can add in a couple of lockers right over here. I Somewhere around 1.8 in length like this. I kind of want to make them like the same size of the shoe rack, but just a little bit different so that we can have kind of a variation. You can just bring this out right over here. It Sorry. Let's apply the scale for this press control, apply the scale. Once again, just add in array modifier and move it right over here. If you want, you can add three of these. Here something like this. Let's press F 11, press J and render it out over here, and it will look something like this. And yeah I think it fills out our scene a lot more. And now let's just quickly detail it out a little bit. This time, again, press control R. If you just quickly see in the reference image, it's pretty simple with once again created like a couple of partitions, so we can do something similar. Add two edge loops like this and add two edge loops like this. Again, we have something like this. I'll just select the front faces. Press I once again to insert them all together. Just push it back in. I then you can press I and I once again to insert them individually. Yeah, to create something like this, add a Bible modifier. Enable hardened normals and just the amount. Press tab and just select all of these faces in the front. Okay. And then you can press I create a small inset of a face. Make sure you go over here and change the transform pivot point to individual origins. So what this will do is right over here, you have selected all the faces. If you scale them down, you can move them all on their respective axes and scale them down like this as well. If let's say something else was selected, like the median point which was selected earlier, if you're moving it around, it's fine. But if you try to scale it, you can see it is scaling up pretty weirdly. Let's undo this all and we can select individual origins from here. Make sure you have applied the scale, and then just press I to insert them out. You might notice that some of them again, are inserting pretty weirdly where the centerface is pretty large compared to the other ones on the sides. So just make sure you disable offset even, and this will make them all equal like this. And then you can just scale them down and move them over here in the corner. Create something like this and just push it inwards. Create a space to, like, open the lockers. I think this is pretty good. I think for this as well, I will be just going with two only. You can press F 12 to render it out. And yeah, I think this makes our scene, look pretty populated and filled up. And yeah, I think this looks really nice. Let's just sit save, and I think this is pretty good. For this lecture, we can continue working on adding some more props in the next one. So the Is watching, I will see you in the next one. 22. Modelling the Desk: Hello, and welcome, guys. So let's add some more props in our scene now. If you look over in the reference images, I have added a couple of more reference images to create the table, just so we can add a table lying around in our hallway just to add that school vibe. So let's just press one for the front view and press Shift plus A to bring in our image, select the reference image and just go into the reference images folder, and then we can select the front side over here. Move it over here. Let's move it back a little bit. I'll just go ahead and press slash to go into the local mode so that I can work on it easily. Press Shift plus cur to select it. Press three for the right side view and once again, add in another reference image and add in the side. So it's pretty simple to create it using the reference images. Let's just press one and we can start by let's see, we can simply add the top part of the table, so just add in a cube, place it right over here. We can enable X rays so that we can see the image as well and scale it up. Press three and make sure to match it with the side view as well. If the object does not match with the reference image, like you can see, it is kind of a little bit skewed. Instead of moving the object, if you move it a little bit upwards, and now if you press one, you will see it is kind of skewed in the front view now. So instead just select any of the images. So right now it is skewed off in my front view. So instead of moving the object, I will just select the image and just move it upwards a little bit to perfectly fit the object and the image, both in the front and the side view. Now we can just select it and press then I scale it up like this. And match it perfectly with the scale over here as well. Pretty simple. Let's apply the scale and add in a bevel modifier to give it that roundedness. We can maybe increase the segments to make it a little bit more smoother and enable harder normals as well. Then we can shift a add in another cube, and this time it can be this part right over here. Again scale it up to match with the reference image and bring it out over here. Let's ptab and match it with the reference image like this. Again, just press Control A and apply the scale. And what we will do is press tab, enable X ray. And you can see, once again, we have this curved part. So just select these two edges, and we can press Control plus B and bevel them out and use our scroll wheel to give them a little bit of segments to make it a bit more smoother. And then we can just right click shade or to smooth this, press tab, press three for face select, select the front face and press I to insert this inwards, and we have something like this. Make sure to enable offset even from over here to fix this issue. And then we can just press X, or instead of deleting the face, let's just extrude it in words like this. Extrude is still here so that we have our basic table part. I will select this and I will decrease the amount of bevel because I think it is a bit too much. Over here as well, we can add in a bevel modifier if you want to make sure to apply the scale and adjust the bevel amount. We also have this little part right over here, which is basically like it's basically a small little cylinder that is added over here at the backside. We'll just add that later on, enable X ray and we can start working on these parts right over here. So let's just select this like this part, go to object set origin, origin to geometry, and then we can press Shift test cursor to select it. Let's just simply add in a cylinder and rotate it 90 degrees like this and place it right over here. It's just one for the front view and just make sure to move it in the front view as well. As you can see, it does not match, quite properly, so it does not matter that much. You can just make it match in one of the views, like the side view is more important as we will be creating it from the side view. So just match it over here, press tab, press Control R, add edge loop right in the middle. So hit right click and just delete one of the side. So make sure Xray is enabled, selected all press X and delete the vertices. Then we can just add in a mirror modifier. On the Z axis like this, just extend this till here. Now we can either just select this part, extrude it and rotate it, extrude it, rotate it. Do this multiple times or we can again, obviously just use the spin tool. Select the spin tool, use your shift and right click to place the right about here. Let's go into the tool option from over here. So press N to bring the side bar over here and select the tool tab. I think it is the X, select the X axis and just rotate it around. Now you can see we can kind of fit it just by using our Gizmo right over here. We can also move it like this as well, like how much angle we want to add Yeah, I think something like this is fine, and then we can just kind of adjust it. Press E now, extrude it, and just move it down at the bottom. You can press S then Z and type in zero to make it flat. And we can just select this part, move it a little bit on the right side, move this a bit downwards. I think this is pretty good. Obviously, we do not have to match it with the reference image exactly. It's okay if we kind of follow it roughly as well as it is just a side prop in our scene. I'll select this now and add another mirror modifier and this time, select the mirror object as this so that we can mirror it over here on the right side as well. And now I think we're kind of done. Let's just add in like a couple more things. Press shift and add in a cylinder first select over here, press shift, add a cylinder. First, let's just select this press shift pluses cause to select it, and now we can add in a cylinder, rotate this by 90 degrees, scale it down and place it right over here. Then we can select it, duplicate it, rotate it on the z axis by 90 degrees and just move it between these legs as well. Press tab, select this phase, and just move it in over here so that we have something like this. Just move it a little bit in right over here as well. Also right and shade or smooth this. Then we can select this cylinder, add a mirror modifier, and once again, select the mirror object as this. I'll select this cylinder piece, res shift plus D and move it right over here. Sure to just move it in a little bit. Yeah, just like that. I will select this. I will decrease the scale of this a little bit. So that it fits a bit more better. I think this is pretty good for our table. Let's just it save. And with this, we have created a table as well. I'll just select it all and press Shift A, add an empty plain axis, and now select them all. Right click parent and object so that all of the objects get parented to this empty axis object. I'll scale this down and we can select these two, press and move them to a new collection, rename these two. Reference images. It's save press slash to come out of the local mode and make sure you click on your plain Axis object and move it right over here in your hallway. Now we need to scale it down. One thing we forgot, let's slash once again, select it all whole control to deselect the parts you don't need press slash. And if you enable back the reference image, we have these small cylinder parts. So we don't really need the reference image for that. We can do it pretty easily without using the images, select this press Shift plus to select it, press Shift A, once again, add in a cylinder, and let's move it right over here. I'll bring it out. Head out to smooth this, press tab, and enable X ray and just scale this down from the top. And yeah, we have done it. You select it now and add in a mirror modifier and just select the mirror object as this and mirror it on all four axis like this. Head save, and now what we need to do is we need to add it into the painting. So what I will do is I will just select them all right click and clear parent and keep transformation. And once again, just select them all, make sure my plane axis is selected at last, then right click and go into parent and object. And now we can move them around freely. Let's press slash to come out of the local mode and move this table down over here. I will move this in the corner like this. I think the scale for this is pretty good. I think this feels right to me. Let's just sit, save. Alright, guys. So now let's press F 12 to see how our ender looks. And this is how the scene looks right now. I think it looks pretty good, and the addition of the table also is looking pretty nice. It gives the overall environment a lot more kind of like that school vibe that we are going for. The only problem that I'm noticing is that we get this kind of shading issue right over here, which I think is not exactly like a shading issue as well. This is just problems with our outlines. So if I just quickly go over here in the inart modifier and we can just disable it from the render as well. And if I press F 12 now, so this render is basically without the outlines. So you can clearly see that we do not get any issues. So that thing is basically being caused by the Outlines. So how we can fix this, I think it is pretty simple. What I will do is this line art modifier or our outlines currently works on the collection. So the source type is set to collection, and it is using this particular collection as the source. If you rename this, it would be much more understandable. So I'll rename this to outline. So currently, the source type is set to this outline collection, so it is adding outlines to whatever objects are in this collection. So we can just select the legs of the table, press, and let's create a new collection and rename this to no outline. And if you press F 12 now, you will see these particular table legs do not have any kind of outline while the rest of the things have. But again, this looks pretty weird. So to fix this, I think instead of having no outline, we can rename this to outline two. And what I will do is basically select my line art modifier, add another line art modifier to this, and this time, set the source type two collection only, but this time, select the collection as outline two. Select the layer as layer and select the material as black. And you will see we are getting outlines over here as well. Don't worry, we can kind of see the outlines on the other areas as well. So just select your edge types, and I think disable intersection, and it will remove from the rest of the areas only keeping it on the legs, which are the part of the outline two collection. So now we get these new outlines or like a new line art modifier through which we can only control the outlines of this outline two collection. So it is pretty handy. We can set the line thickness to five or sorry, four. And 0.35. So if you press F 12 now, obviously, we get the same thing only because we haven't done any changes to the settings. So what we need to do is we just need to disable Crease threshold so that it removes all of those annoying outlines and just keeps the nice outlines. So press F 12 now and you can see we get everything perfectly. We get the nice outlines, and we don't get anything extra right over here. So this is exactly what we wanted. Now we have two different line art modifiers that are being controlled by, like, two different collections. And we can, like, swap them or create more collections as well as the number of objects increase or we want some separate kind of setting for some specific objects, we can do that. So now just disable this line art modifier as well from the viewport so that we only see it in the like render only. And with this, I think this much is pretty good. For this lecture in the next lecture, we will continue and add some more props into our scene. So thank you for watching. I will see you in the next one. 23. Creating Some More Small Props: Hello, and welcome guys. So let's continue adding some more props in our scene. If you look in the reference images, we can add maybe something like let's say, a notice board. We can also add these class plates that are over here in front of the rooms, like something like this, just to add a bit more detail. We can also add some small props like adding a dustbin. So let's do that. I'll just first press Shift, add in a cue. Let's place it right over here in front of this wall. I also turn on the keystrokes quickly, sorry. Let's just move it right over here and increase the scale somewhere around 1.2 meters on the X and 1.3 maybe on the z. Something like this would be pretty good. Then we can just add some details to it, select it, press control, I apply the scale. Press tab. Let's select this front face, press I to insert this and extrude it a little bit, and then just push it inwards like this. I will also add in Beviel modifier to this. So yeah, I think this is pretty good for our Notice board right now. What we will do later on is we will be also adding some notices on top of this, so we can just simply add some small planes and give them like a image texture to add them. We'll do that later on for now, this is pretty good. Let's just press Shift A now. Let's select the door press Shift plus cursor to select it, press Shift A, add in a cube. Now we can create that. Class plate kind of thing. Maybe something like this. Then press tab, select this space. Press control first apply the scale and then just extrude it like this and extrude it out. Yeah, I think this is pretty good. Let's just select it and add in a Bevel modifier to it. Then we can select it, add in array modifier and just duplicate it to all the other classrooms as well. Okay. Increase it a little bit. Perfect. I think it looks pretty good. Now we need to add some text on top of this so we can maybe add some room numbers. So select it once again, press shift plus because if you select it, it is pretty simple. Press Shift and add in a text object. So we have this text object now and rotate it like this by 90 degrees and then rotate it by 90 degrees on the z, scale it down. T it according to your glass plate object. And now when you pressTab instead of going into the edit mode, you can change the text of this. So we can change the text to something like 203, like this can be the room number. And then we can go over here in the object data properties under geometry section, increase the extrude for this, and this will give it like thickness. Yeah, it's pretty handy. Like if you look over here in the reference image as well, we have something like this. So maybe we can write it this way only select it. I think we can follow naming it like this. Maybe two is for the second floor and then this is the room number. Now this way we can just select it and duplicate it and move it over here. And this can be 04. Now duplicated once again. Press tab and this time 205. Yeah, I think it looks pretty good. We can press F 12 once to see how everything looks. Also, I think we can move this from the Outline two collection. In the outline two, we only need to keep this object, so we can select the rest of them. Press M and move them too. The outline collection over here. Press F 12. See how everything looks. Yeah, I think our scene is starting to look more and more like a school type of scene, and I think it looks pretty good. Next, as I said, I will be adding dustbin right over here in the corner. For that, I've also added a reference image that we can use. So use your three Gaza just hold shift and right click and bring it right over here. Let's go to image reference. Now in the reference images, just select this one. Just to follow it roughly and quickly, although the shape is pretty simple. Enable Xray Now, just try to match it with the reference image by just kind of scaling it up or scaling it down. We should also duplicate the reference image and rotate it like this by 90 degrees and just place it right over here so that we can match it with the top view as well. Select it. Et's extrude it like this, and then we can just scale it outwards and then extrude it down, and then once again scale it outwards to create something like this. Press tab, press three, select this pace, press X, and delete it. Now we have something like this. Now we just need to add something like up. Bevel modifier to completely smoothen it out. Increase the number of segments and decrease the amount of Bevil I think I will press tab and select this bottom face and just decrease the scale of it on the X axis or sorry, on the Y axis as well a little bit, just to give it this kind of shape. Maybe we can try adding in like a subdivision surface modifier as well. Move it on top over here on the bevel to see how it smoothens out. Add a couple of edge loops like this and like this. Et's just remove the bevel and instead, we can add in a subdivision surface, increase the levels, and right click and shade or to smooth this. I think this looks a bit better. Then we can just press zero and move it right over here. Let's scale it down a bit. Let's save, and I think this looks pretty good now. Again, move this cube to the Outline one collection and just select it by default so that all the objects get added into this one instead of getting added over here. And now, if we just render scene one more time, I think everything looks pretty good. We just need to add materials to the new objects that we have created, and then I think scene would start to look pretty nice. Alright, guys, let's just hit Save now. And with this, we have added all the new props that we wanted to add. Now what I will do is I will just use a couple of extra props to detail our scene even more. So if you go over here in the coast files, open up the blender files folder. In this extra props blend file, I have basically downloaded these two props, which are like kind of a little bit more difficult to model. So we will be just directly using them to add a bit more detail into our scene. So we can just add this simple plant at the cornet over here. And then we can use the shoe model to basically fill up the shoe rack just to add a bit more detail. So just for these two things, I will be directly using a prop. Also, select these two images, press M, and move them to reference images. Now you can go over here in the extra props blend file and basically just if you just select it like this and then press Control plus C, you will see this copy attributes menu. And if you don't see this, you can go over here into edit preferences. And in the add on section, search for copy attributes, and you can enable this up. When you enable this, you will get this nice handy add on. Pressing Control C, you can copy things in blender as well. If you don't find it in the addon section, maybe you'll find it in the Get extensions section. So just make sure to check over there as well. And now, when you get this, you can just copy this and press Control C, copy objects, come back over here, press paste, and you will just paste them easily. And you can just move it right over here in the corner. I think this looks pretty good right over here. Maybe I will just select this and decrease the scale of this a little bit. Yeah, I think that looks pretty good. And next, you can just select the hue, press Control C, copy objects, come back here, and let's just select our sorry, our rack first and press slash to go into the local mode. Then we can press Control V to paste it and just bring it right over here. And right now, the size is too large, press First, let's just rotate it, supress R, then Z, rotate it by 180 degrees. Let's scale it down and we can try to match it with the box right over here. And I think a size of this much is pretty good. Next, just duplicate this, place it right over here. And now you can see they both are for the right foot only. So just select one of them, press, then X and type in minus one to flip the scale of it. And now we have shoes for both the legs, right and the left foot. Now you can just copy it and paste it right over here. Now we can just select them both, move them up right over here. What we want to do now is just we need to select them, duplicate them and make sure to move them around a little bit just to add a bit of randomness. Like move them around up or down or just rotate them a little bit. You can also keep some like this as well. For this one, first select bounding box center, press STNx type in minus one to flip them completely. And we get something like this. Wherever things look a little bit too much similar, just make sure to break it up a little bit. What you can also do is there is a nice little trick. You can select them all. Make sure to deselect your hurac, press F three and search for random. Like we have this randomized transform, select that, and then you can give it random just a little bit on the X, a little bit random rotation on the Z, a little bit on the X, maybe And this will add randomness into your shoes. So this is like a nice trick. And now I will just select them all, press Shift plus D and duplicate them right over here. We can maybe select them all, press SN X, type in minus one, so that all of the shoes are appearing in different places as compared to the other rack. And with this, I think our scene should feel pretty complete. All right. Now what I will do is I just quickly select them all. So make sure you just make this selection like this and then hold Control and deselect the objects you don't want. Same for this whole shift, select it all, then hold Control and just deselect the extra objects. Pretty simple. And now let's just press G then Y and move them out a little bit so that we can actually see them. The ones that are poking out a little bit too much, just push them in a little bit. I think something like this is pretty good. Let's just say safe, press F 12 and render it out once to see how it looks. And yeah, I think our scene is looking pretty nice now. We can finally just start to texture all of the remaining objects and then just finish up with this scene as well. Thank you for watching. I will see you in the next one. 24. Texturing the Props: Hello, and welcome, guys. So let's texture the remaining props in this video. Let's go into the shading tab and we can move over to viewport shading. Let's simply one by one, texture them all out. I'll just select this table right over here. Let's add a new material, rename this to iron underscore table. And then we can basically give this one for the metallic value, decrease the roughness to maybe something like 0.35. And then I will just make the color a bit darker. Yeah, I think something like that is pretty good. Then you can just select the rest of the objects off the table and then select this at last, press Control L and link the materials. Then we can select these bottom parts, click on you, and just rename these to table legs or something. Then just basically give it like a dark color so something like that. And over here, again, click on New and rename this two Boot underscore table. And for this, I will just directly use a color, and you can copy my value if you want to. So I'll just paste it right over here in the hex code and you can copy it up from over here. I think this is pretty good for the table. Let's move over to the class plate signs over here. So let's just select it and click on New and this can be like the base. And then click on this plus icon and add another one. So click on NU, and this can be the class plate sign. Because what I want to do is I just want to keep this part right over here as white material only. But over here on this part, we can add in a different color material. So just select it and then click on the class plate sign material and then hit on assign. And now you can change the color for this, and it will be a different color. Let's press tab and select these faces as well and then hit assign over here. And yeah, I think I will be going with, like, some kind of grayish color. Obviously, all these colors and everything are totally up to your preference. You can do whatever you want with this. I will just select all three of these like the text and then select this at last press Control L and link the materials. Now, make sure you select this and just remove the base material so that they get the class plate sign material. And now we have something like this. Maybe I'll just make it a little bit darker. I think this looks pretty good. Let's press F 12 once to see how our ender looks. And yeah, I think it is coming along nicely. Let's move over to the shoe wrap over here. So again, I'll just select it press slash to go into the local mode. And what I want is, again, I just want to keep the outer area with this white color only, and the inner shelves, I want to change the color for them. So again, click on new and just rename these two shelves to score outside. And this can stay at the default only. Click on plus and add a new material and then shelves inside. And then let's just change the color first to something random. And then what I will do is I'll press tab and you can just hold Alt, select this completely, and then select all of the back faces and hold Shift and Alt and select this loop as well so that you can now press Control plus I to inverse your selection because now you want to add the material over here. So I selected all of those areas because it was easier to select them, and then I just pressed Control plus I to inverse this. And now I can select this material hit on assign. Now you can see we have added the material on the inside part. So for this, once again, I'll just directly use a very simple looking color. You can also copy the X code if you want to. So yeah, I think something like this with this Bich kind of color would look pretty good. Let's just press slash, and yeah, I think it is looking nice. Let's just move over to the lockers, select them, click on you, and pad a lockers material. I'll add it. Now what I will do is I will keep the normal white color only, but give it like 0.5 of metallicness, and then maybe decrease the roughness up a little bit. So something like this. And then what you can do is you can click on New and rename this material to just blue. Give it like this blue color, press tab, and just select all of these front faces. Hold Shift and all and just select them all, just to add a bit of variation. And now I'll hit assign. Now let's just change the color to something good. Once again, just select my code and you can again copy it if you want to. This kind of light bluish color looks pretty good for our lockers. And yeah, I'm quite happy with that. If you want, you can, like, also add a bit of metallicness, if you want to in this, like 0.5. I think that would look fine. Let's just sit save now and continue on working. I'll select the Notice board next and click on New and rename this to Notice Board. For this, once again, we can just use a simple greenish color. Something like that. Obviously, we want the borders to look of different color. So click on this plus icon, and now click on New and we can rename this to Wood, underscore Notice Board. Press tab, and what you can do is you can just select this part. So this front face. Only this part we want to add the Noicebard material. So now press Control I to inverse your selection and then select this material, the Wood Notice board material, and then hit assign. This way, we can easily separate it out. Click on this base color and we can give it like a Once again, this light beach kind of color. Hit save, maybe I'll select the notice board material and decrease the saturation just a little bit. And, this looks pretty good, in my opinion. Let's just hit Save. Now let's select our DS Bin, click on New, rename this to the Dusbin material. And let's just increase the roughness for this to something like 0.8. Now, click on base color and we can just give it like a grayish type of color. Something like that. And now with this, we have textured almost everything. The only thing that is left to do is just to add, like, a couple of notices on top of our Notice board. So first, what I will do is I'll press F 12 and just see how the render looks. So yeah, as you can see, our scene looks pretty good now with everything like textured up and with all the materials. One thing I have noticed is that these shoes are like kind of flying off, like, off the ground. So just bring them in just to make sure they are all touching. Like, this thing might not happen with you. I just kind of forgot to place them correctly. So I'll just do this quickly. I think this might have happened when I added the randomized transform. I might have added it on the Z as well, so that's why this has happened. Maybe. I'll fix it over here as well. Alright, guys, pretty good. Let's just hit Save. And now we can start working on adding some of the notices right over here. So if you will open up the course files and in the textures folder, you will find that I've added, like, a couple of notice textures, and once again, you can use any type of image texture that you want to for these notices, you can find of different images of Google and then use them. I will be using just the simple ones. So the way we are going to do this is I can come back to layout, and what I will do is I'll press Shift and just add in a reference image first. So go into your textures folder and just bring them in one by one. And the reason I'm doing that is so that I can just press Shift pusss cursor to select it, add a plane, and make sure this plane is properly scaled according to this plane, or sorry, according to this image. And now that I've done this, I can just go over here in the plane, go into material properties, click on New and rename this two. Notice one. You come over to shade And then you can simply just shift a search for image texture. And right here in this image texture, you can select the Notice one and then just plug this into the base color. And this way, we can use this texture on a plane. Because right now it is added as an image, so it does not have any kind of editing properties. For this plane, you can edit it or extrude it, do whatever you want. This plane is just added like image, so we can just select it, press M, and move it to a new collection, rename these two notices, so that later on we can just simply hide it. And just similarly do this for all five of them. So let's just move this aside, press Shifte and just add in another reference image, and we can add in the notice too. Press Shifte once again, add in a plane and just scale it accordingly. Come back into shading, and then we can just just give it the notice material only. But this way, both of them will be same. So what you will do is just click on these two icon so that they are like a unique material now and click over here and select the Notice too. Come back to layout once again and just select them or move them aside, add another reference image, and this time the three, press shift they add in a plane. And let's just quickly do this. Select the Notice three now. And yeah, with this, just one of them is left. Let's just quickly do that and then we can add all these notices on top of the Noicebard in our hallway. Select the material, click over here and come back to shading and just select the Notice five now. Yeah, with this, we are pretty much done. We can now just select all of these. Just select all of these, press M and move them to the Notices collection and just disable it altogether. Obviously scale them all down. Let's bring them all over here. And first, I'll just select them all and select the Noiceboard, press slash to go into the local mode so that we can just work a little bit more easily. Rotate them like this, place them right on top of nticeboard And now we can just give them like a nice bit of, like, arrangement. You can also just select them, rotate them up a little bit, just to add a bit of randomness. Obviously, if they are all completely straight, that looks pretty weird. Notices are generally not like that. We can maybe duplicate one of them and make it smaller. Select this one, duplicate it, and just make it a little bit smaller. Yeah, I think this looks pretty good. Let's press slash and just look through right over here. Yeah, I think I'm personally pretty happy with it. We can now just press F 12 and finally see how our ender looks. I think everything looks pretty good. And the notices over here also look really nice. One thing that I will show you is if you come over here in the render properties under the rate raising section, we can just increase this far value as well. So earlier, I think by default, it was set to 45. But if we just increase it a little bit to something like let's say 60 or 65, it will make everything a lot more brighter, like down our hallway. So we can set this to something like 65 press F 12. It will give us a nice bit of result. Another thing that I'm noticing is some of the objects have quite a bit of outlines, which kind of does not look that good, as you can see over here, if I go into my inart modifier, and let's say I disable the crease threshold for both of them, both the modifiers and press F 11 first, and then press J so that I can actually compare it. And now this new render is with decrease threshold option disabled. So you can see the amount of outlines decrease by a lot. So it is kind of up to you which kind of loop do you want to go for. If you want this kind of loop where there are still a lot of outlines, as you can see over here or a lot of areas, the outlines are still present, but they are not as much in this one. But they are not as this much in this one. Or what we can do is we can do a mix of them both. So I will select this particular object and press and move this to the outline two collection, and then just select my line art modifier right over here and make sure to enable crease threshold for this one. And now we will kind of get a mixture of them and now what will happen is particularly this object and this object right over here will not have those extra outlines which I kind of was not liking because now they are part of the Outline two collection, and the Outline two collection is controlled by this, another line art modifier. We have already covered all of this in the earlier lectures. So if you want to reduce your like the amount of outlines from any of the objects, you can just select it maybe over here if you want to do that, you can select all of these shoes. Maybe what I will just quickly do is now we can just select all of these shoes, so just quickly select them all. Press Control J to first join them together, and we can do the same over here as well. Let's just select it like this. Hold control to deselect any of the extra objects. Again, press Control J. And now we can just select them both, press M and move them to the outline to collection. And this way, I think press F 11, I think it would look a bit better. No pres J and give it a new render. And you can see the amount of outlines has decreased a lot in our shoes. And personally, I think, overall, this looks a lot better than the earlier one. So again, all these things are totally up to you how you want to proceed with them. But now our materials and everything are all done for this scene as well. I'll maybe select the camera, enable camera to view, and maybe move it back a little bit. And let's give this a new render. I think personally just zoomed it out a little bit to make it a little bit more wide. I think this looks a lot better. So yeah, all these things are totally up to you how you want to do them. And with this, basically, we are done with the materials, texturing, lighting, everything for this particular scene. What we will be doing in the next lecture is first, we will try to create a new variation for the materials, basically creating, like, a different color combination for our scene, and also we will be doing a bit of compositing over here as well as in Photoshop as well, like we did for the last scene. So yeah, now we are nearing towards the end of the course. Thank you guys for watching. I will see you in the next one. 25. Creating Variations, Taking Renders and Compositing: Hello, and welcome guys to the final lecture of this course. In this video, we will start by compositing our render, and then we will spend some more time creating a new variation for the environment, like just working on the colors, switching them up a little bit to get a different feel and why for our hallway. So let's start by working on our current render. If you right now press F 12, and we can see this is how the render looks right now. So what we will do is we will be switching up the camera settings a little bit to make the scene look even better. So you can go over here, first select your camera and go in the object data properties and then set the focal length from 50 to maybe something like 36. So what this will do is this will give us a wider field of view, and then we can just enable camera to view and zoom in till here. And now if you will press F 11, and then press J to switch between slots and then press F 12, and render it out. You will see this will give us a totally different look for our hallway. You can press J now and compare between the two renders. So this is with the 50 MM focal length, and this is with 36. So with 36, our hallway looks a bit more stretched out and a bit more long, as you can see over here around the doors. Kind of hair, they look like pretty squished. And over here, I think it feels a bit more natural. So this is totally up to your preference. Which type of render do you want to go for if you want to go for, like, a 50 MM or like a 35 MM, or you can even increase to something like 80 as well. It will give you pretty narrow field of view, so you have to, like, zoom out a bit to get everything in, like, a perspective. Now, once again, press F 11, go into slot three this time, and then press F 12. So you will get something like this with ATM. I think it looks pretty weird. The slot one, which is 35 and then 50 and then 80. So I think 35 and 50 look pretty good. You can choose between the two. I will just quickly undo. So what I will be doing is I will be going with 36 MM only. I think it looks pretty nice. So yeah, you can switch between whichever one you want. And next, we can move over to the compositing tab. Before that, I will just select this part right over here. Press tab and just select this phase. Press three and hold all, select all these phases, and then just scale it up. To make it look a little bit bigger. I think this looks better. Then we can go into the compositing tab, enable use nodes. And again, create a partition right over here and switch to image editor and search for the render result. So this is our current render. You can press F 12 to give it a new render so that you are absolutely sure we are working in the current render Olea. This is the one that we have. And now we can add our nodes to make it look a little bit better. So as we did with the last scene, I will start by adding in a glare node. So search for glare and add this. And right away, you will see we will get all these streaks on our lights on the top. I don't think we want the streak type of glare, so we'll switch this from streaks to either fog glow or you can go with bloom. So we can choose between the two first. Let's set this to bloom and set the quality too high. And then we can first start by decreasing the threshold because I want this bloom to be added on more areas as well. As you will see when we decrease it, it gets added over here on the other parts of our render as well along the sunlight. We can decrease it to something like this, and then we can just decrease the mixed value to make it fit in a bit better with our overall scene. You can decrease the size now. You can set it somewhere around here, and then later on, let's say, add a exposure node and decrease the exposure a bit. Now you can see we get the nice bit of bloom effect. You can select them both and then press M to see kind of the effect they add. As you can see, this was our earlier render, and now this is the added bloom effects. So yeah, I think it is like a nice bit of addition. It definitely gives our render more character, and it looks pretty good. Maybe we can increase the size over here a bit more for the bloom. All these settings are totally up to your preference, how you want to, like, play around with them. I'll set the threshold to maybe 0.35. I think two was fine. You can also press Shift A and search for filter. And then maybe we can add in a box sharpen and decrease the value to a very small number, maybe less than 0.1 as well. I think 0.05. You will notice that adding box sharpen will sharpen all these small edges, as you can see. Maybe we increase it a bit more So yeah, these are some of the nodes that you can add to your render to make it appear a bit better. In the last scene as well, we went over all these notes. So yeah, we have already covered them up. So if you want, you can add some of the other nodes as well that we discussed. The last time, something like the Kuvaha node, which kind of makes everything give this, like, painterly style look. You can definitely decrease the size to make it appear a bit more realistic. So as you can see, all of the seen right over here as well, definitely looks a bit more pixelated and gets that like cartoony or comic book style of effect. But, yeah, it's totally up to you if you want to go for that. In my opinion, I will be removing it. I won't be using it. If you want, you can definitely use it. Let's just delete it, and then we can hit Save. Let's press F 11 to view our render completely come back to layout press F 11. And yeah, this is how our render looks right now with all of the compositing effects added. We will be also doing a bit of compositing in Photoshop as well. But let's just keep that for later on. I will hit Save now and we can start working on the other variation of our environment as I was talking about. So you can hit Control Shift and S to create a new saves file for this. So we can save this as always underscore variation. And then we can start updating the colors right over here. So I won't be doing much. I will be just switching up the colors for, let's say, the walls, the doors, maybe the floor, yeah, that's about it. It will give our environment like a totally different look just by doing these things only. So let's select this wall. Go over here in the material properties, first select this top one. So now you can either add new materials or you can update the existing ones only as we are working on this environment in a completely different blender file, so I will be just updating the existing materials only because we have this complete environment in another blender file as well. So we can freely work on the existing materials. I'll click on this color and I will be going for a different kind of color. So I'll just copy the code, and I'll paste the hex code right over here. So once again, you can choose the one that I'm going for and then select the blue wall. And for this, I will be going for this greenish kind of color. So this is like the color combination that I would be going for. Right now, it does not match at all, but we can, select the doors now and then give the color for the doors. And then things would start to look better. At last, you can select the ground and then just switch this to completely white and remove the saturation and the hue completely. So now we get something like this. If you press F 11 right now, we still have our old render, so that's pretty nice. Now we can compare it with the old one. So press J and now press F 12 to render it right now. And this is like our new scene. You can see just by doing a couple of changes only, we have completely changed the look of our scene. So over here, we have like this different type of look, and over here, we have a completely different type of look. So yeah, this is a really nice thing about this environment. You can create various different color combinations totally up to your preference, and you can see how easily we created like uh, two different combinations. But yeah, it's important that the colors are like meshing well with each other. Like right now over here, all of the colors kind of go with each other. That's why it looks good. So yeah, just try to find the perfect combination of colors of, like, the walls, the doors, and the ground. These are the things that you should be taking notice of. And yeah, this is like the variation I was talking about. I think it looks pretty good. So we have now two different color variations for our environment. And what we can do is we can go over to image, save, and then just save our renders. So we can just create a new folder right over here, rename these two renders. I just save this one as variation under score one. JPG set the quality 200 and save image, press J, and then again, go to image, save, and this one can be variation two. And now we have basically saved both our renders for the environment. We will be now quickly doing some compositing in Photoshop as well, just to make things look a little bit more better. So now I have opened up both our renders in Photoshop as well. And as we did with the last scene, we will be adding some overlay textures to make it look better. So if you will go in the textures folder, once again, you will find, like, a lot of these overlay textures that we used for the first scene as well. So for this one, let's drag and drop this at first, and then we can scale this up. And then you can go into blending options. So right click blending options and switch this to something like maybe ten or screen. Screen looks pretty good. And you can see this overlay looks pretty nice, but right now it is a little bit too much, so just decrease it to something like let's say 60 or maybe 40. Yeah, I think the 40 value for the opacity looks pretty nice. And you can see it will give a nice bit of addition to your render. And this way, you can add all these different overlays that I've added, and you can also find some of your own from Google or Interest. I think these look pretty good. Not this one, I think. Maybe we can try something like this where we add some sparkles in our scene. So again, just go into blending options and change this to Lighten, not screen this time because you can see it gives off the purple color. So either the lighten or the lighten color, you can choose whichever one you want, and you can see you will get these nice sparkles in our scene. Once again, you can adjust the opacity for them if you don't want them too much in your render. Also, let's say I do not like this diamond shaped thing that is floating over, it's pretty big as compared to the other sparkles. So just select it and you can select your spot healing brush tool and then just first click over here and rasterize it, and then just remove it like this. Pretty simple. You can add, like, a couple more of these overlays. You have something like this, which is basically overlay noise, I think. This one is also right. You just have to decrease the opacity a lot because we definitely don't want it too much. This is like some camera defects, as you can see over here. Obviously, they do not need to be too much in your faces. So even with something like this, it looks pretty good. Let's just add this one only, and we can increase the scale for this. And now, definitely not screen, maybe something like ten. As you can see, now the scene looks pretty good with all these overlays added. You can turn them off if you want to, and you can see the kind of effect they add when they are enabled. Remove the lock from this one and select this layer and go into filter, and you can also select sharp and more. And you can see sharp and more will harden up all your edges, and they all look pretty crisp now. So you can see the difference. If you don't want this too much, you can just go for sharpen edges, which will only add it a little bit. So I think that is pretty good. And we can also do a couple of adjustments over here, increase the brightness a tad bit and decrease the contrast, you can enable or disable the preview. I will decrease the contrast or, sorry, brightness, I think. And you can see a little bit of added contrast looks pretty good. I think 35 is pretty nice. So you can do all of these adjustments with your render. And I think our final render looks pretty good. You can copy all of these layers, press Control C, and then paste them in the variation two as well. Press Control T, and now adjust it by moving it around because it might not be placed perfectly. So I think over here, now you can see all of our overlays added in the other render as well. I think they look pretty good over here as well. Also, if you want to increase the effects of a certain overlay, you can just select it, copy it and paste it, and then just press Control T and move it around or maybe rotate it to, like, place it in a different way. Maybe let's say if you just want to increase the sparkles, you can do that type of thing. For this one as well, we can just go to filter, sharpen and sharpen edges. Sorry, make sure you select your background first and then do any of the adjustments to it. I will also go over to image adjustments, select brightness and contrast and increase the contrast a bit for this as well. Maybe something like 25. Yeah, I think something like this feels pretty good. Let's just hit. Okay. And now I'm pretty happy with how both our renders are looking. So what you can do is you can just save these files. They will be getting saved as Photosha files only. So I'll just save them both. And now you can save them as JPG, as well. Just hit Control, Shift and Alt, and then press W. So all four of these keys together. You will see this export option and then you can just hit Export. I'll save this as final underscore one. And let's do the same right over here. Again, hit Control Shift Alt, and then W, hit Export and make sure you check the format from over here as well. Like if you want to export it in some other format, you can do it from over here, hit Export, and then this one can be. Final underscore two. It save, and now we are pretty much done with this scene as well. If you come back to blender, what you can do is you can also like, let's say, go over here in the output properties, increase the resolution and the samples. We rendered it at a pretty low samples. You can increase the quality of this render by increasing the resolution and also increasing the samples. That will increase the quality, definitely. And also, what I will suggest you guys to do is now the course is finished and both of our scenes are done, you should definitely spend some more time, creating some variations, working on different color combinations. You can also work on different lightings. Like, let's say, even if I rotate this sun a little bit up, it will give us like very different look, and you can also change the color for your son as well. That will also switch up things a lot. So yeah, there are a lot of different things that you can do with these environments, and definitely, you can also do things like switching up the camera angles like, let's say, if I press Shift, add another camera, press Control Alt in zero or make sure to first over here is a camera. So make it as active camera. So right now, this is the active camera. So if you change the position of any camera by pressing Control Alt and zero, this camera would be effective and not the new camera. So first, we need to change the active camera, so you can just select it and press Control plus zero. And now this is the active camera, and you can see this is denoted by this icon overhe this filled out black triangle. Overhe it is like hollow. So this is not the active camera right now. So if I just go over here now, press Control Alt and zero. Now we are in a new camera view with a different angle setup. You can press F 12 and see the new render. So, you can definitely do these sorts of things where you can add various different camera angles, work on different focal lens, and we still have our old camera as well. So I'll delete this one and select this one and press Control Zero to make it the active camera. So yeah, I think this is pretty much it for this video and the course as well. I hope you guys learned a lot. Thank you for watching.