Transcripts
1. 1.0 Introduction: Are you passionate
about creating stunning 3D product vendors, but don't know where to start. This comprehensive course on
three product modeling and rendering with Blender is the
perfect solution for you. In today's competitive markets, it's crucial to have skills
to create product renders that match or even surpass
real life photographs. In this course, you will
learn how to create a complete 3D model using
just a few reference images, as well as the 3D
modeling techniques used by professional
3D modelers. But that's not all. You will also discover how
to create realistic textures using Canva or any other
image editing software. Use them as displacement
maps inside Blender. This way, you will
be able to create a realistic materials to make your customers
products stand out. The course will also cover at fence lighting
techniques to give your 3D scenes a
professional touch. Ends. You will
learn how to render a complete 3D scene to showcase your skills
in your portfolio. I am your instructor,
daft Jasmine. I'm a self-taught 3D artist
who now works for IND g. I mostly create 3D models for major
companies like Coca-Cola. I am here to share years of experience and insights
with you to help you become a pro at 3D modeling and rendering inside Blender. Don't wait any longer to start your journey towards
mastering blender. And let's jump into the
first lesson together.
2. 1.1 Reference images: In this video, we're going
to talk a little bit about the folded edge
you can see right here. So right now you can
see a load of images. I took this off from
websites like Pinterest, Paxos, or maybe even Google. I take them as reference
images because I want to make images
that might look like it or just take
inspirations from these ends are also look for an image
which is a little bit more of a product shots. So we can get some measurements. When you are working
with a client, you can ask for pictures and of course also
measurements because that will really help you inside Blender to recreate
that products. Now, in this case,
we don't have it. But I want you to see that
also that shouldn't really stop you if you find
the right images, often a front view, side view, top or bottom view. Those more images that you
have from a certain product, the easier it is
to recreate these. So please spend some
time looking for good reference images because we're going to create
this entire model, random read and even want to
show it on our portfolio. So why not spend some
extra time searching for some great references so we can get great results at the end. And of course, in
the download folder, you can find the necessary
reference images. For this course. What we're gonna do right
now is we're going to take the most important
reference image for the next part
in our workflow, which is the 3D modelling. So make sure you open Blender. And in my case, I'm
using Blender 3.3, 0.1, but it doesn't
really matter. Then in Blender, I will
go to the front view, which is just numpad one. You can also see on the bottom left what I'm typing, right. So if you're ever confused, it's on the bottom left. Now. Here we can just
drag in this JPEG. And why do we have to
go to the front view? Well, let's say I add an image like this in
just a random fuel. What will happen is it will
actually be pushed this way. It will be imported
from your view. So it's all crooked. That is why I always go
to the front view first. There are also other ways
to import your images, but this is just
easy and simple. Then you can select this. And if you want to
move it around, you can click on this
X here in the middle. You can scale it up and
down here on the sides. But you can also just go here to this hetero
arrow or click on n, go to item and then
change location, so 00. Now, of course this
is not perfect, so we kinda have to
move it in place. I'm, I'm gonna move it
somewhere around here. But in the next part, we're just going to
optimize all of this. So it's actually
easy to work with. I'll see you guys there.
3. 1.2 Setting up blender: In this video, we are
going to first of all, move this empty, which
is our reference image, rough image in place. And then we can
also start creating the first base shapes. So let's start with that. I want to make sure my 3D model always
stays in the middle. The way that I do
that is just keep this cube in the middle and
scaling it up and down. Can I gives me the size
that we need for S, we can scale up and down. You can see that if
I scale it down like here, that the image, the reference image is not
perfectly in the middle, so I can just select it, alright, and then move it. I'm personally going to
do it with g and then x, because you just want to
move it around the x-axis. So g, x and just move
it a bit in place. The scale, the scoop
up a bit more. Here, move it in place. So this seems to work decently. Now, I don't want you to worry too much about the dimensions. You could, if you want, be very specific and go
to Scene properties, change the units to millimeters and then put the
unit scale also a bit down. But in this case, we don't need to worry about
this too much. Now, this skill around the set X is of course
not there yet, right? So I'm just going to scale
this cube around the z axis. And then we're going to
move this one down again. Now, I also switch a lot between the wireframe
mode and the solid mode. You can do this with
holding z hat and just, or Clicking for or just dragging your mouse here
and then release sets. So if wireframe mode, you essentially look
through your model and just see the edges, right? So here we can easily see if
we are reaching this height. So skill sets to just
scale around the z axis. And then I moved
everything in place. In this entire time. I am keeping my 3D model here
perfectly in the middle. So I'm just scanning it around the set X is try to fit it. You don't really want to
scale around the x-axis or y because it stays a
perfect little cube. So it stays nice and square. And so if you scale
around the sides, it will just be this. If you think like,
oh, I can already scaled around the
x-axis, no worries. Just make them the same here. So you can just change them
here and click on one. Or in this case it was
1.1 with me, I guess. And now we are nice
in the middle. It does not have to be perfect, but we are kind of
getting there, right? Awesome. So this left part is of course the lipstick
when it's closed. Now, Vref image
closed or width gap. And then I'm going to duplicate
this one, small shift D. Then this one is going to be, Let's do lipstick, whatever. With this reference
image, lipstick. I just want to move
it to the left. So I'm going to
hide my other one. So I'm just focusing on this
one and then move this in the middle, somewhere
around here. So it's nice in the middle. And some of you might
think like, hey, but the hips take us all
the way out of here, doesn't make any sense. Well, if you turn
this little cylinder, this lipstick actually
goes inside or out, which will look
something like this. All right, it will
move in and out. And actually not the cylinder is not necessarily
moving around. It's like the cylinder
plus that part underneath. Like I'm not really sure
what is now turning around the part on
E for the cylinder. But either way this mechanism makes the lipstick
go up and down. So now at least we have
the measurements, right? So I can check the
lipstick or just with cap. In the next video,
we're actually going to start and 3D model this part. Awesome. I see you guys. There.
4. 2.0 3D modeling - setup: Okay, In this video, we're just easily
going to start with some simple shapes and
create the closest lipstick. I do want separate
models though. I want this little cap here on top to be separated
from the bottom. Also, this bottom
parts should be separated from the cylinder, and the lipstick itself
should be separated from the cylinder and a
bottom part as well. Okay, so it's like 1234
different kinds of models. But at the end, they will all
fit inside of each other. The nice thing about making
these different kinds of models is that that will
help with the materials, texturing, UV unwrapping, and also with certain
animations, right? So very good to keep
them separated. So let's start with the
cap base shape here. The lipstick can go away and
we're just working on this. So the cube is our
main model right now. We don't have to rename it yet, but in the future we will, if you remember correctly. To move this image into
place, this reference, we can scale to this cube
up and down and around. When you scale something
inside Blender, you can need to show
blender like, Hey, I'm happy with the scale and I'm going to apply the scale. Otherwise, you might get
problems with some modifiers. If I write now would
add a bevel modifier. You can see that the bevels are working quite weird, right? It's very elongated. However, at the moment
I select my modal, click on Control a
and apply the skill, you can see it
changed immediately. Alright, so now blend
them knows like, okay, this is the scale. From now on we're
gonna work with the bevel and this is
how it's supposed to be. So when you scale anything
inside the object modes, you need to apply
the scale again. Okay? So one thing to keep in mind, this base shape is decent. I'm actually going to
use this bevel modifier. We can do that. So I'm just going to put it to maybe amount should be lower. If you go to the front view, we can kind of see what
amount should be, right? So maybe something like this, 0.04 with you guys, It could be totally
different by the way, it's totally depends
on the scale. But I think this looks decent. However, I would like a
few more segments in here. So maybe one. Let's do four segments. It looks clean. Let's look again,
maybe a bit smaller. 0.03 should bit more clean. Yes. So 0.03, this for
me, for segments. And I will apply this therefore. Now, if we go into edit mode, which is top, you can see that
we have our geometry here. And the one thing
that I usually do is create what topology. This essentially means that every face has four
vertices attached to it. This is because I like to work a lot with the
subdivision surface. And what a subdivision
surface does is quite simple. If we get a plane here, this plane has four
vertices and one phase, which again means that
it is a quads, right? For if we add a modifier, Let's do the
subdivision surface. In this case, I'm going
to keep it as simple. If I now apply this, you can see that one phase has subdivided into
four different phases. So this always keeps it nice and equal and really helps
if the shading later on. That is why I like
to keep clots. It is not always
bad to use threes. They have their place, even n guns have their place. But I like to work
with quad topology. Now, what is the next step? We kinda have a very
decent shape here. It's the outside, looks the
same except this part here. This is the part here, that black part seems
to be separated. It kinda separates the top of the cap from the bottom,
as you can see here. So I'm going to grab a
edge loop with Control R. As you can see with Control R, You can see a yellow
line coming up. And this line goes through
the entirety of this model. Which again is also very
good and very nice with quotes because squats keep
a nice flow in your model. But that asides control arm. Then click and you can still
move this edge loop around. And then when you're
happy with the position, you can left-click and
then we'll go there. Or if you want it to
stay in the middle, you just click once and then right-click and I will just snap back into the middle. However, what we want is
we want to have it here. So there goes one. I'm going to create an
extra edge loop here, move it a bit up and take care. Alright, so now I
have these edge loops here and then creates this kind of little separate parts here. Now, we should separate
the bottom from this cap, okay, so we're just going to select this bottom phase here. There are multiple ways
to select all of this. I like to use the growth
tool which is Control Plus. But you could also just go here into your selection
mode. Vertices. Make sure you are in wireframe
mode, and then just box, select the B and select
these bottom vertices. There are so many ways to
select this. It's insane. It's just whatever
you'd like to work with or also depending
on the situation. So I'm going to click on P
to separate the selection. Now you can see that
with separating them, I now have two cubes and
we should rename them now, the first cube is
going to be the gap. The second cube here is gonna
be the bottom or whatever. We can rename it
later on anyways, but now we at least have
two different names. And actually, I think this part here
should also be separated. It will just help a lot
later on with the materials. So I'm going to select the cap, then select this whole
edge loop here, right? This whole face loop, I
should say an MP selection. And this is going to be
also a different model, which is going to be a cap. Relax. And then we'll figure out
how we do that later on. There's probably all
the way black insights. But yeah, we'll
do that later on. In the next video. We're going to extrude
our bottom part here and create this extra cube on top and maybe even the
cylinder insights. So I see you guys there.
5. 2.1 3D modeling - the base: In this video, we're
going to focus on the reference
image, lipstick. We can hide this gap and
cap black for right now, because we're just going
to edit this bottom part. This is actually quite easy. Just going to edit modes. With Alt select. I can essentially select
this entire edge loop, just make sure you
are in the selection or the vertex selection mode. And then we can extrude it here. So e to extrude, right-click, so it snaps back
into the middle, but it is still selected. And once it's still selected, we can just click on
S to scale it down. And I want to scale it. So it kinda reaches this edge on either one of these sides. So somewhere around here. Then actually again,
right-click G to move it, and then z to move it up, right? So I kinda wanna go
into my front view. G is that and move it
around here. Awesome. So what we have to
do now is we have to start to think
about the cylinder. The cylinder will
actually go inside of this bottom part, right? So if an extra this
and put it down, it doesn't make sense because the cylinder has
to fall in here. So how do we do this? Well, quite simple.
First of all, I want just a few more
edge loops in here, just these ones that will help with this next little step. And the next part is, I want to know how many of these vertices are
in this edge loop. So if you just select
this entire edge loop, right now at the
bottom we can see that this edge loop has 24 vertices. If you cannot see this here, you can just
right-click and turn on the scene statistics
at the status bar. Here, ***** are 24. We need to know this
because we're going to import a circle. So with this selected click on Shift S and puts the
cursor to select it. Snowed. Our cursor is perfectly
in the middle here. Then shift a and
select a circle. Remember, we have
24 vertices down. Then we can scale this down. And we noticed scale because if you put the
reference image back, you've kinda know that it
should be around this big. Then the next step
is going to be us combining these together. So I'm just going to hide
this image for right now. So we can actually see it. Select this entire edge
loop and then Shift Alt, select also this
entire edge loop. Then click or Control E and
turn on bridge edge loops. You can see that it
totally mess it up for me and this might
also have them for you. So just click on Control sets
and we can do this by hand. So if you just select these
four vertices, click on F. Now we have a nice quiet. Then I'm going to select this
edge here and just click on F until everything
is selected for F, F, F, and you can even
hold F if you want. So now we have a very nice
geometry around here. Awesome. Now, the next step is
of course going to be just putting this
cylinder inside of here. So what we need to do is we essentially can just duplicate this entire circle here
with shift D. Shift D. Then click on P to
separate the selection. We're going to select
this bottom 01 it is now, but we can change
it to the cylinder or whatever name you
want it to give it. Move it down around the z axis, go into edit mode a
to select everything, and then extrude upwards. We also know how tall
it should be, right? So make sure your reference
image, lipstick is back. And then go into the front
view and move it around the z axis so it
reaches this points. So right now, what you have is a cylinder or a
cylindrical shape that falls into this cube. However, of course, everything
kind of looks a bit weird because we're just working
with a flat plane like here. And also this doesn't really have nice subdivision
surface yet. So let's start to
add those right now. So add a modifier and add
a subdivision surface. You instantly can see like this looks weird,
everything becomes smooth. Yeah, that is what a
subdivision surface does. What we need to do is we need to create some extra edge loops, which are called
supporting edge loops, or even some baffles, which kinda does the same to
make these edges more sharp. So if you add an edge
loop, so contra arm, you can see that you can
move it up and down and the shape can regains its form. But we can also just select all of these
flips around here. And you should do it with
the selection tool here. And then also this one on top. The one on the
bottom already has a bevel and then just
click Control B. And with the contrary, you can see that you can create
a bevel manually instead of with the modifier
that we used to do in the previous video. The nice thing about this is that you can have a
lot of control about it. And riff, scrolling up or down, you can create more or less of these little loops
in-between, right? So let's go 1234, just like the previous one. You can also, if you left-click, change them here as so right
now we have five segments. I think that's a bit too much. So let's go to four. I think four should be fine. The shape looks good. You can still change
the shape, the width. You can still change
if you want to. And I think we should also
change the loop sides. So this just means
like Look here on top. It cannot go Swift these loops, but if we don't want this, then we get a bit of a
nicer shape in here. And I don't think it messes
it up on the bottom at all. You can click on and off
to see what it does. And I like it more. So let's take off
this loop side here. Yeah, and then it
looks great, Awesome. So if we now just accept this and left-click
next to here, right-click and use
a shade smooth. So it's also nicely
smooth shaded, thrown on the soft
deficient surface. And instantly we can see that we don't get that weird
smoothness anymore, but we actually get better
Shading. Awesome rights. Well, one last part that I
want us to do is extrude this inner edge loop downwards and then also create
a bevel here. Because of course, our
cylinder will fall in there. And we kinda wanted to see a little bit of a
gap between here. Because if I give this cylinder some extra subdivisions
and a Shade Smooth, you can see that we
have a little gap and that just creates even more realism in
real life or dislike that we should probably
also created in 3D. In the next part, we're going to finish off this cylinder and also start with the nice
lipstick shape here. It's quite easy and I'll
see you guys there.
6. 2.2 3D modeling - inside cap: In this video, we're going
to finish this cylinder, this bottom part, which
probably is already finished. And of course this black
inside of the cap. We are not going to do the cap yet and also not
the lipstick yet. This is for a specific reason. If you look at the
cap and the lipstick, you can see that
both of these have some kind of displacement
or texture on them. And this displacement, I want to showcase in two separate ways. So you guys always know
when or what to use. This one is going to be a width, a displacement map, and this one is going to
be a real geometry. There are gonna be different
letters because of course we wanted to sell our own products. It's not these are
showcase our own products. So that is why we
keep them for less. Now, there's also
one important thing that I need to tell you. Safe blender. I didn't save blender. So if there's something different because I
needed to restart, I don't think anything
is different, but just keep that in mind. But in general, nothing
really changed. Now, what do we do? First of all, let's finish this cylinder because the
bottom is already good. And we can essentially make a new collection with
our final tree models. So this bottom is fine. Then we have our cylinder, which of course still
needs some work. So we know that the cylinder needs some thickness
on the inside. So what we're gonna do
is first just delete any kind of modifiers
that we have. Click on top a to select
everything and E two extrudes. Then right-click. So it snaps right back into
the middle and do scale shifts set to skills around
every axis except the z axis. Here we are looking
for a thickness that the lipstick still needs to be able to move around, right? So somewhere around here, so we still have an opening
on the left and rights. This should be fine. Now, of course,
we do want to add a subdivision surface
as a modifier. However, you can instantly see that this creates huge problems. There is not enough geometry to get a nice and smooth edges. If we hide this, we can also see that we have some geometry
here on the bottom. But this geometry is
in all cases hidden. So we don't necessarily
need this geometry. So let's delete this
entire face loops. So x basis. And once we now
add this modifier, you can already see
that the bottom doesn't really have
this problems. So we don't need to add extra geometry on the bottom because this shading
looks decent. Here on top, however, I would highly suggest you create awesome extra edge loops. Or you just select all of
these edge loops here. And I click on contra be to
create some nice bevels. So something like this
would work fine, right? So this is already great. However, even with these bevels. So you can see that we still
get some weird shading air. This is because we need
even more geometry, right? So an extra pair
and an edge loop here would already do
wonders as you can see, and now it looks great. So sometimes we just need more geometry in combination
with, of course, our subdivision
surface to create a decently shaded model. Now this cylinder
is done as last, we have this cap black, which essentially is
not just a cat black, it also is the
inside of this cap. So if we look at
this image here, you can kinda see what
I'm talking about. This entire cylinder plus
this little top bit here. Snap into this cap, right? Or the cap kind of snaps
into their, whatever. We need to model
this as well, right? So how do we do this? We essentially already have
most of this modelling done. However, we just need this kept black to be a
little bit thicker. Then we put the
cylinder and a part of this bottom part on top. This might sound a
little bit difficult, but if it just creates
a new collection, we don't really
need to rename it. Duplicate the bottom
and the cylinder. So just select them both, Shift D and then right-click so the snapback and then move
them both in this collection. We can also drop
the cap black in here and then just
hide everything else. We just want to work on
this collection three. So what we know here is that
essentially this part here, this top part, all is
a part of this cap. Let's start easy and simple. What we're gonna do
is we're going to select this kept black. And we want to combine it
with this bottom part, right? So just, we can
essentially delete the subdivision surface and then just combine them
both or Control J. For this bottom part, we do not necessarily
need any of this, this geometry here. So all this geometry
is kind of junk. Also. If you just click Control Plus to extend
your selection, you can also delete all
of these vertices here. So x vertices. Then what you want
to do is you want to select this entire edge loop. And then this axial pair, click on Control E and merge
or bridge these edge loops. We can instantly see
that something is wrong. Well, first of all, we don't have this
extra edge loop here in this cap black, so we also want to add them. But I don't think that
is the only problem. So what we can do is we can
kinda do this manually. So just select these two edges, click on F and then hold F all the way through
until it's filled. This is one way to do this. Very fine. Now what we can see is if
we get this cap back here, as we already kind of have
a part of this inside. The shading is a
little bit weird. And this is probably
because we have some weird normals as well. If you want to
check your normals, you can always go to overlays
and do face orientation. And here we can
instantly see, yeah, there's normals are a
little bit messed up. We will change them later
because we probably will get more of this
weird flip normals. But you can see that
this weird shading is of course because of that. So don't worry too
much if you have some weird shading or even if you don't have this
both there are fine. Now, how do we fix this
cylinder cross shape? Essentially what
we want to do is we want to hide
the, the cylinder. We're just going to work
with this edge loop here. Click or Control plus until
we reach the end here. So we have only this outer edge left and delete all of these. Then select this edge loop, makes sure the cylinder is back, go to the front for you, and then extrude this edge
loop upwards just so we know the height of this
cylinder call shape. We want to put it
even a little bit higher because the cylinder of course has to fall
inside of here, right? Perfect. Then we wants to fill this up. So e to extrude
skill, scale it down. Again, m, n merge at center. So in these cases when
it's a total flat surface, I often don't care
too much about it being a triangle geometry because even if we
subdivided, it will be fine. However, you could, if you want, delete these edges here, x and just delete edges. So the soft edges, I should say. And now we still have
quaternary geometry, right? So this also will work fine. Now. Awesome. Now we can
kinda get rid of this extra cylinder because
we don't need it anymore. And we should just look at
this shading right now. The shading looks weird and
I already told you it is probably because of
the face orientation. The face orientation
should be flipped because now the outside
should be inside. Because the only way that
we are going to look at this model is from this side. The other side will essentially
be this gap, right? We're gonna go into edit mode, click a to select everything, then go to Mesh and
recalculate the outsides. So if it doesn't really
recalculate, it's good for you. So if this insight isn't blue, then you could also
try to flip it. Okay, so Normals flip. That also works. So this already is better. However, we are not there yet. Because even though
this looks good, make sure you put the face
orientation off again, we still have some weird
shading artifacts. And that is mostly because we
don't have enough geometry. And of course you already know, even if we add a
subdivision surface, we still need to add extra or bevels or supporting
edge loops, right? So I am going to select
this edge loop here, this edge to pair. They could come through B and then drag it a little bit out. And I might actually make sure
my loop slide is off here. That looks good. Now the shading is
already better. Of course, you can create
some extra edge loops for if a better shading Looks
good, very clean. I like it. This already looks good
because we already, of course, have these bevels in here
from our previous modelling, what we did on the bottom. The only thing that is different here is of course, this side. Now, what do we do? We just create a
bevel and I want to keep it the same
as this one here. So we know that we have three, we have five edge loops here. So come to be and then
create five as well. Same size. It's a
little bit hard to see. You can go to the front view and then kinda match them up. We can kinda see here
what is happening. So the width should be
around the same size. That looks fine. And that actually
looks quite great. I would also, because
this looks good. But it would look
even better if we also extrude this part inwards. So I'm just going to select
this whole edge loop, extrude skill shifts sets to just scale it a bit
inwards around here. And then maybe we're also
going to baffle this here. And from the sides. This will now look like this. Cool, right? And the insights we
have totally created with our newly
generated geometry. In the next part,
we're going to work, of course, on our
lipstick first. I first want to get the shape down for you guys to understand. And then we're going to work
on these displacements. I hope this all makes sense. If you have any questions, please ask down below. But in general, I do think most of you guys can just
do this, right? So let's jump into
the next video.
7. 2.3 3D modeling - lipstick: In this video, we are going
to create this lipstick. And there are a few things that we have to keep in
mind when creating this. First of all, we're
going to create this shape and it's
not the easiest shape, as you might be able to see. There are multiple
ways to create this, but I found a decent
way in which it doesn't take too long of a time and
you can still follow me. Okay? There are multiple ways to clean shapes up with booleans, but it's just a very hassle
when you're trying to do a tutorial and tried to
follow those techniques. Another thing that I
want to show you is that we need decent geometry to actually create This text or
whatever we have in here. And we're going to do this
with a displacement map. So the very cool
thing about that is, is that it doesn't
necessarily require us to model these letters, right? So how do we start? Where do we start
and what do we do? We are going to first of all, just create a cylinder. So if shift a, we can
create a cylinder. Right now, I'm going
to use 32 vertices. And I also highly suggest
you also keep it high. You can even do 40 if
you would like to. Now, we can move this up and we can scale it
down so it kinda reaches the sides
of the lipstick. However, right now
we can already see that the image doesn't
really line up perfectly. You can think, oh, I'm just going to move this to the left. However, especially we
have cylindrical objects. But to be honest
objects in general, I kinda wanna keep my model
always nice in the middle, this is so much handy ermine, you're trying to mirror staff or wants to do edits later on, you just know that everything
is in the middle and you don't have to worry
about anything, right? So weird rotations
you sometimes have. It's just very annoying. I have a lot of work
right now that, you know, a bottle cap is a
little bit slightly different and it just rotates. Quite annoying. So try to keep everything
in the middle. Now, then you think like, okay, it would just move this
image student, right then. You could do that or we can just duplicate
it for right now. Move this duplicate in this
extra collection hair, there's this kind
of I or I guess our tryout collection and then
we can hide the other one. In this tryout. I often have a little
tryout collection for stuff that I'm not sure yet
how I'm going to fix them. And if something goes wrong, I can always throw
it away, right? So these here are all duplicates and I can just
move this one a little bit to the right without having any impact on anything
else in my scene. Now, now we can
essentially skill are a cylinder a bit down and I'm going
to move it down as well. I want to have it quite
deep in this cylinder. In this outer
cylinder, we should actually name them properly. But right now, this is just lipstick and this is
going to be the cylinder. So we can rename
this to Lipstick. Lipstick. And I want it to be a little
bit in there because I wanted to animate this or have the opportunity to
animate this as well. Okay? And that is
the main reason. Now, if we just
look at this model, we can see that on the
top and on the bottom we have huge and guns.
I don't want them. Just delete these faces and
go back to the front view. What we can do
right now is we can select the Edge Selection Mode, this edge, and
just move this up. Then let's go to wireframe. And at one point
you will see that this lipstick is starting
to change its shape. That starts to
happen around here. I'm gonna put my first
edge loop around there, then extrude that
and just follow this outer shape is scaled a bit down and around here
should be fine. You do not want to get too attached to
this shape in here. It's not necessary at
all because we're going to use a little shrink
wrap technique later on. Extra again and move it up. I also want you to use a quiet minimal amount
of edge loops here. It might sound a little bit counter-intuitive because
of course you get some shape differences also that we're gonna fix later on. Okay, so don't worry
too much about it. Here. I'm going to
do another one, maybe a bit lower. This one also a bit lower. And then actually once more. And move that around here. This looks decent. We're
gonna give it a nice shade, smooth and a
subdivision surface. Let's use a subdivision
surface of maybe two. And you can see or two or
three and you can see that the shape actually changes when you use a
subdivision surface. So this means we need some extra geometry
here, maybe around here. Can I get the shape back? And don't be afraid
to scale some of these uppercase because it is such a limited
amount of geometry. Of course, the shape gets
a little bit different, but that is fine
because the, yeah, in the end, the product
will actually look good. So that is what the main
shape of the lipstick is. We're going to duplicate
this, and there's duplicates. We're going to
rename to lipstick, shrink wrap. Shrink wrap. Let's hide the lipstick
shrink wrap for right now and just focus on
the lipstick itself. We can delete this
subdivision surface because it's just necessary for the shrink wrap
for right now. How do we create
this nice flat area? Well, there are multiple
ways to create them. The way that I found
was quite handy is to just add a cube. So let's go Shift C to make sure our 3D cursor is nice in
the middle and add a cube. Let's move this
cube up just around the z axis and rotated around the y-axis for 45 or
maybe even 50 degrees, I am going to do 50,
as you can see here. Then we're going to
move them place. So if you go to the
wireframe mode, you can kinda move it
so it's the shape of this cube touches the top
part of the lipstick, right of the image. And the bottom one, it doesn't
matter too much because I'm fine with it going a bit
lower, that's totally fine. So what we're gonna do now
is we're going to select the lipstick, add a modifier. And this modifier is going
to be the Boolean modifier. Some of you may be already
know what this does, bots. But we're essentially going
to do is we're going to select as object this cube. And this cube will be
essentially cut out of this lipstick, right? That is what the
Boolean modifier does. You can also intersect, which is kind of the
opposite side or union which combines
them together. But we're going to
use difference. And if you're happy with it, just go to apply. So right now, you
might think, Oh, this is actually these
and we can start to subdivided and have
a decent shape. No, not necessarily. The Boolean is a great tool to cut geometry away
from other geometry, but you do get a
awful lot amount of annoying issues
with geometry. There are multiple
ways to fix this. Like we could fix this in so many ways and
make it look good. We could merge these
together here. That works fine and
kind of fixes that. We can do that here as well. And then we already
have less geometry, but then we end up
with triangles, which again mess up
the geometry again. So I found a little
nice technique and that is using this
shrink wrap little duplicate that we created in combination with the
model that we're going to make now, right? So it might sound a little
bit weird, but it is not. Trust me. We're going to
start here on top. We're going to select this
entire edge loop here. Click two times on G, and then just move it all
the way up to times g, essentially tells your vertex to move around the edges
next to it, right? And if we do that with
an entire selection as we're gonna do again, you can see that all
of them move around and they can all
join together there, There are still on
top of each other, but we're going to
delete them later. And we need one more
edge loop here. Double time g, just
moved all the way up. And right now we
just have to clean up this geometry in here. Just click on a to
select everything. And then M to merge by distance. And automatically at a
distance of 0.0 001, it's deleted 71 vertices. And those were all the vertices that were kind of on
top of each other. Now, the nice thing now is that all of these phases right now, our quads, and that is very
nice geometry to work with, as you guys probably
already know. Now, I'm going to
move this edge loop a little bit down here. Don't be worried if it
looks weird right now, we're going to fix all of this. So we can also delete
this entire face on top. And what we just need
to do now is create a shrink wrap modifier. So here is the shrink
wrap modifier right here. We do not need a
self-sufficient surface yet, so let's just get rid
of it for right now. So it's all a little
bit more clean. And as targets, we're gonna use the shrink wrap or lipstick
shrink wrap model. What this is gonna do, it's going to shrink wrap
this entire model are round. This model. So if we're going to add
some extra geometry, so I'm just going to
add extra edge loops. Let's do around five edge loops. What we will be able
to see instantly is that it starts to take
the shape of this target. How cool is that? So instantly we get
our shape back. Awesome right? Now,
the way that we add this edge loops is
actually also quite important because you
can put them flipped, you can even them, you can move stuff around
three if this factor and even the smoothness
and the way that we add this edge loops is
also quite important. So I want you to play a
little bit around with the factor even and
flipped, right? So let's look what looks good. Our most important shapes at this moments are here on top. I want this to be
a nice even amount of space between these
axis all the way around. So I think we're kinda getting there doesn't
have to be perfect, but little bit looks good. Here. I think I'm fine if this might delete
this edge loop. Let's look. This edge loop,
maybe also this one. And this creates three or
four more edge loops here. And then I'm going to
keep them IF and flips. I think that this is just fine. So now we have a decent
amount of geometry. And if we turn this
on again, are off. You can see that it
totally takes the shape of our previously saved model. So that is what the
shrink wrap does, is really just wraps around the model or the target
that you choose. If you're happy with the shape, please just click on Apply. Okay? And as you can see, we have some very
nice quality geometry all the way around. And yeah, we have
perfect shading as well. And the last thing that we
need to do is just extra this outer edge loop scaled
a bit down, extrude again. I'm just going to scale
down way over here. Actually it again at center. So I don't think it's
all the way flat. So what you could
do is select all of these vertices here or
faces than skill sets. However, we need to
make sure that we are scaling around this
set axis, right? So that should be the normal select S transformation
orientation and normal skill sets zero, you can see that
it flattens nicely out. You could do that. This works grades. You're going to even clean
it up in other ways. Maybe I'm just gonna do
a quick clean up right now just so you can see
what I normally do. Probably make this
a nice circle. So F3 circle, or I
should say sphere. And then we can mesh or
transform our mesh to a sphere, which is a way more
spherical shape. And then some extra edge
loops will always do, right? I can even make these
more spherical, but I think this looks decent. And if you want, you can
also get rid of some of this, these trees. It is not necessary, but if you just skip
every other one here, then once you can easily do is the lead or the
solve these edges. And here we have no
triangles anymore. Everything will be
nice and quotes. And also when we use a
subdivision surface, it still looks quite
decent, right? So that is also all possible. Now as less, I want us to
look at the reference again. Oh, sorry, the reference here. And see how sharp
this edge should be. I think we're kind
of getting there. Maybe we should
even create a bevel around here like this. And then let's look watts. Because actually
good if we just keep it at our normal settings. Awesome. So as we can see that it's
actually quite simple. We create, it, looks very good. I don't really see any
shading artifacts even here, if the amount of
geometry that we have here still looks decent. And that is quite good. Awesome. So if we're
happy with this, the only thing we have
to take care of right now is more geometry here, but a text is going to be. So if you get your
reference image, you can see that down here
we have a lot of texts and that is essentially
underneath this shape. Underneath here. If we look underneath, we have all this space. And the only thing
that we need to do is create extra edge loops. Okay, So just edge loops. And I want you to kinda create
the amount of edge loops that will make these
phases square. Okay, So I think in my
case, it's only three. Yes, 23 looks like the most square shape and keeping it nice and square
as we can see right here, will really help with if you're going to
sculpt or of course, any kind of displacement map
later on in the process. Okay, So keep them
nice and square. And this is our lipstick models. So this can go back
to the final section. Awesome. We just have to
model one more part. And that is of course, our cap. I will see you guys there.
8. 2.4 Create a displacement map: In this video, we are going to create the displacement map, but we're also going
to use this texture to create the letters that are
gotta be on top of the cap. So where do we start? Well, as you can see, I just made this DJ, dafur dass, man, that's my name, whatever it doesn't matter. You can do whatever you want. Now, how do we create this? I used Canva. It is you have to
make an account, but it has loads of free
options to just create this. And I know that all of you
guys have Internet, right? So you can just go in here. And that created without needing to download something
like Photoshop. But of course you
can also do that. Now minus in Dutch. So the text might be a bit
weird, sorry for that. But it's very simple. It's like create your
own design here. And we're going to create a, another kind of format. And here we're
going to just type solving big and square, right? So 2000s, by 2000s
pixels would work great. Okay? And what you can
do here is you can click any of these designs
that you have here, or you can just
add texts, right? So we don't really need
to do anything else. We just want to create texts. So let's create some texts. I just want a day and D, right? And as another text, so I could duplicate this. This is gonna be a j. Let's select them both and
just scale them up, right? It's all works like
any other program. It's really not hard. And then we can kinda
join them together in a farmer and interesting way. Now, you can also
change your phone. So if you double select it, you have here your phone so you can change it to
whatever you want. I'm not even sure
what I used before. I think maybe this one. So we can change them both here. And that is essentially it just scaled a little bit and
make it look goods. Then you want to share it. Here. You can download it. You can not go up and
down in the size. That is, if you have
a premium version, that is why I highly suggest you start with a bigger pixel size, in which this case we
did that 2000 by 2000s. One other thing to keep in
mind is that the backgrounds and attacks that you
have is in gray scale, so white and black. This way we can use
this texture not only to guide us in
our modeling process, but also as a
displacement texture for the lipstick later on. So keep it in grayscale, black and white is perfect. Then just download it
and save it somewhere. That's it.
9. 2.5 3D modeling - text: And as you guys can see, this is my final texture. We are going to drop
this into Blender. So makes sure in blender you
again in the front field. So one, then you can just drag this one in and
you can select it, go to Item and puts
the location x, y and set at zero. And now I probably will create even another collection
because I just love them. And this collection
will be the gap. I will drag the cap in here, cap and this reference image
versus now just empty. That is our logo or whatever. So we could rename it to logo. And I am going to
hide everything else. We just need to focus
on these two pieces. And this essentially it, you could, if you want, gets this reference
image. Which one? Just a reference image? Cap. Make sure that is enabled. You can even drag it
into the cap folder so we have everything together. And then what you
wanna do is you wanna kinda move the text of the logo offered this
cap so we can kind of see or that it is
around the same size. Now how do we do that? Because the annoying thing
is when you have two images, the accounting overlaying
into each other. And if I put one to the front, so let's say I put a logo a
little bit further in front. Then I cannot really see
this Autobahn anymore. And it will be very annoying
to just keep moving this and then hide it or move
it and hide it. That is not really how
I want to do this. What you can do when you
have a image like this, you can go to the object data
properties of this image. And here we have some
things that we can chain. So of course we have
the size, offset, all that stuff, but we also
have an Opacity option. And we can put this
opacity or first turn it on and then put
it a little bit down. This way we can see
through this model and see the image
behind it as well. So now we can really just move
it into place. With skill. It's fishes to S and of course, the G, which is
moving it around. So let's say we wanted
something like this. I think this looks decent, doesn't matter too much. Longest in the
middle, by the way. I think this
placement is decent, but I want to make sure it's
in the middle of the gap. So I'm just going
to hide everything else and then just move
this into the middle. I think if I put the x to zero, It's probably in the middle. Yes, it will double-check. Yeah, this is good. Awesome. So it's nice in the middle, and I think we can
work with this. So I'm first going to save this and then we can talk
about the geometry. So lipstick 3D model. Here we're going to
create some text. I am. And that's it. Let's
talk about geometry. In the case of this, we already know that are going
to use a lot of geometry. And it's very hard for me to just tell you like
do this to this, to this, this hair
scale up, scale down. You can't just need
to see what I'm doing and it will
not be too hard. I of course do have
a few little tips that can help you around. But in some parts of this video, I might speed it
up a little bit. Otherwise it's just
boring to see. Alright, so you guys
can see what I'm doing and just kinda copy it. Now, when we look at
a text like this, we just want to first overlay geometry on top of
the black text. Then personally, I really dislike redoing stuff
that I already have done. And if we look at certain
parts of our image, we can see that the D in this instance is actually the same on top as
it is in the bottom. Which means that we
only have to create half and we can kinda
mirror it down. The J does not have
this at all, right? So in my mind, are already think like, okay, I want to start with the d, because if I start there, create one-half, I can
just use symmetry or the mirror modifier to just copy it over to the other side. And then we can
always add the j. Hi, So stuff like that
can really help you. So let's start with that. Shift a mesh and we're
going to use a plane. Let's rotate this plane
around the x-axis for 90 degrees and
just scale this down. I want to, because I
want to mirror it. I kinda want to scale it
down so it fits this D. And review, of course, the lattice can be
different rides, so do not worry about that. If it's not mirror of all, that is totally fine. But if it is memorable than this could be
a handy technique. So now it fits
quite nice in here. Then Control a and
scale because we. Played around with the
scale in object mode. So for later on we do not
have to do it anymore. So I just want to
apply the skill, then go into edit modes and create a new edge loop
here in the middle. So culture are in the
middle, and that's it. Now, I'm going to delete
this edge loop here. And the nice thing
is that we have our origin right
here in the middle. So we can essentially
mirror this with ease. So let's grab the
mirror modifier and use this on this
model and we're going to mirror it around the z axis. Also, this doesn't really work. Why is that? Well,
let me show you. When we imported
this mesh plane, you can see that the
rotation is like this. Then we have rotated
it 90 degrees. But Blender doesn't know that. So just as the skill
with contrary, we can also apply the rotation. And now we can
apply the rotation. And this is actually
now the z axis again. So now it works. Otherwise it will be
one of the other axis. This will be the y-axis
in the other case. Last, because we
apply the rotation, we actually have
another set axis, n. I like to put
the clipping own because we have
the flipping off. I can essentially
just go through my, um, yeah, mirror here all the
way down with clipping on. It, clips together. So I'm trying to move it
down right now. It just doesn't work, right? And that is what that does. Let's make sure to transform orientation is back to global. If you still have yours
at the normal n here, medium point is
fine for right now, we might change in the future. So let's get our
logo back and we just have to play around
with this geometry. So I am going to add an extra
edge loop somewhere around here and move these two
vertices down here. Then that's added an
extra, Let's do a pyrene. And if you wanna kinda
straighten this out, there are also multiple
ways to do this. You could just scale, in this case around the x-axis. So scale x zero. And that's traded on
some out quite easily. Write the thing is, it's traders and outs in a
kind of average way, right? You can see that it's
just straight system somewhere around here. Now, if you use the transform pivot points and
put it to active elements, then blended real
essentially scale it around the active elements or
rotate it or move it. Now, the active element is the last vertex or the last edge or the last
phase that you have selected. Because we are in vertex mode, it of course will
be the last vertex. You can see this with it
being a different color. Let me hide my logo. You can see that this is
the white colored vertex. The other ones are just
orange as they always are. Now Blender sees this
as our fifth points. So if I scale x zero now
you can see that the, all of them, all
of these vertices. So even if this one
was all the way here, we'll just go to the same
x-axis position as this vertex. So this technique I use a lot. Just keep in mind
that of course, everything that
you do now will be around the active elements. If you want it to
go back to normal, it will be the medium
points, right? So this is a very, very,
very handy technique. I use it a lot because you can now just move
them easily in place. Or if everything is messed up, you can move one
perfectly in place. And then the auto wants them. Quite easy, but still
very, very handy. I'm going to grab an
extra edge loop here. And now I'm going to
delete this edge here. So for this entire
circular shape, I need way more
geometry or height. So I might just delete this vertex and join
these together. And then starts to
move this a bit up my rounds here and
just create edge loops. And the only thing
you really need to do is just follow this shape. Okay? It's not hard at all. Just follow the shape. Just some techniques
that I like to explain. All these techniques that
don't really matter, right? But they will help
with time efficiency. And in some cases it will
create better results. But in general, this is a
quite simple test to do. Circular and round
shapes often do require a little
bit more geometry. As you can see. Of course we are going to
add a subdivision surface, but even then, we need
to keep this in mind. Okay, this nice smooth shape. Now, as you can see, we created also
entity the bottom. The bottom however, does have a little
bit of a difference, which is here down
at the d.school. This is easily change, this is easily fixed. So first, if you have anything else that needs to be fixed which is still mirror or herbal, you should do that. And if otherwise you're
very happy with your shape, and I would suggest you
just apply it and then change this part here because that's the only
part that is different. Suffering now rounds. This would actually
work quite well. Now the J, there are
multiple ways to start it. You can just create a j and
I can join them together, or we can just look at the
geometry that we have right now and then just make it so we can start
the j from here. So these two corners,
a little bit weird. So I might do this. I want them nice and straight. So scale the mouse. Here. We just have to extrude
this upwards, right? So in general, these
shapes look really good. Now. However, if we're just
going to shoot them down, so let's say we
extrude them inwards. My images in France wants to use maybe a bevel modifier, right? If a small amount,
something like this. Then a subdivision surface. You can see that corners
like this are just not very fond of the geometry
that we have, right? It just doesn't really
work out as well. So what can we do? Well with I
personally like to do before we're going
to extrude it. I like to insets. And we can do this
also in multiple ways, but with selecting
everything with a, then clicking on AI, you can insert, as you can see, some of your geometry. This. And I'm trying to keep
the geometry like this space in between here
a quiet even you can, yeah, there isn't
even offset here, but sometimes it doesn't
really work out. So you might need to
play a little bit around with some
of the thickness, but make sure you check all of these corners and see if
everything is working. And it looks actually
quite decent. And this geometry
really works. Well. Why is this? Well, let's look what happened before I
had this geometry. If I tried to create an
edge loop, as you can see, it's the edge loop stops in certain places as
you can see as well, right? So this is why parts
like this will create a bit of an
awkward geometry to that is not really smooth and
doesn't really look good. Now, if we insert this, however, and I tried to create an edge
loop around this corner, you can see that
it really creates an entire loop around here. And it does it around, I mean, every little, I guess
cut off islands. This goes all the way around. This goes all the way inside. And if we now are
going to extrude these edge loops here
around the y-axis. Then if we would like to use a bevel modifier and a
subdivision surface, we can instantly see
a huge improvement. Now, there are a few things that are still not
that much improved. And that is because we do need some extra cleanup because probably here we have
some double vertices or even the normals
are a bit weird. See the enormous
harbored messed up here. So I'm happy that it's
happening because then you guys will have or has this
problem can also fix this. So this is very easily
fixed when you click on a and then Mesh, normals
recalculate outside. So that is all the way fixed. And this is here because of course, the
subdivision surface. We could change this or
fix this in multiple ways. You can grab an extra edge
loop and just move it up. As you can see,
that works great. Don't move it too
high because then everything becomes
too sharp, right? So around here, those kind
of things work quite well. You can also play a
little bit around with the bevel amounts
and the segment. So two segments would already
work a bit different than three or lower amounts
as well, right? So this actually
works quite well. I only see something here, so an extra edge loop
here will do wonders, which might also do
want to stare, right? So now we have a
very nice effect in all cases we have
nice square geometry, self-sufficiency,
work perfect, and we have amazing shapes
as you can see. If you're not happy
with the shapes, you can still change
them right now. And if you're happy, then we can continue to
the next video, right? And in the next video, we're just going to join
this together with the cap. So I see you guys there.
10. 2.6 3D modeling - text part 2: In this video, we're going to combine this plane in this case, but it should be like the
logo right? With the cap. So how are we going to do this? Well, if we look at
our reference image, you can clearly see that
there are combined, but there's also an
extra little shape here, which I personally
think looks very cool. I think we should just
do one elongated shape because it's a bit
easier to teach. But then you also
know how to do that. So we start just with the
logo and what we need to do. So just a logo. What we need to do here is if you create it,
this back edge loops, you can delete them
because they are not necessarily at this
point, just the front. And what we're gonna do is we're going to select
everything with a and I'll put my screen cast keys on so you guys
can see here and what I'm, what I'm typing a and then Shift S to make sure the
cursor is What's the selected. Okay, so now the cursor
jumps all the way here. Let's stay into edit
mode and add a plane. So shift a plane and we can
rotate this plane around. In my case, the
x-axis 90 degrees. Scale the bid down, and we just want to move it
somewhere in the middle here. And scale the bid up and allowed here would actually
look quite decent. Write something like this.
What we're gonna do with this is we're going to combine
these together later on. Now, we only need
these outer edges. We don't need to
face inside of here. So if you go to the
vertex selection mode, you can click on X and
then delete only the face. So now this entire outer edge of the plane is still there. We can right-click
and Spotify this. Let's do a number of
guts around maybe eight. I want more subdivisions
because all of these vertices that we have here needs to connect
somehow with this edge. And then I like to select the outer few furnaces
uncontrolled be to baffle them. But you can see that
nothing is happening. Now. Left-click, and now we have
to change the buffer mode. So if you have this little
middle section here, you can click on it
and it will expand. Here we have effect edges, which is normally the case, but we can also choose vertices. And now it will actually
affect the vertices. So if we put the width up, you can see that the vertices
will start to bevel. Now let's put the
segments at 3M, the width 0.03 or 0.02. You just don't
want these two big that's kind of it because the size is probably different
for every one of you. I'll just make it
nice and small. Now, if you're happy with this, we can extrude it once
and unskilled a bit up. Something like this. This will look decent. And now we need to start
combining all of this. So how do we do this? Well, there are multiple
ways to do this. As you can see, I
created already a little bit more
edge loops here. So let me redo this. These ones. You can
just really just click on Control R and
just create a few extra. I did this because
I can see there is a lot of geometry here, but there was barely
any geometry here. So just to kind of even out
that created some extra, you could do the same here, create like three or two. It doesn't matter. We can also try it without and
see how that looks. Now, how are we
going to fix this? It is actually very simple. There are multiple ways, but the best way that I
found in this case is just selecting the
entire inner edge loop. Then click on F to fill it. Okay, So now only this phase
is just a huge N gone, which is filled all
the way around. In general, we don't really
want to work with n loans. So we go to Face and
triangulate faces. Actually, triangles are
not necessarily bad. As long as the area is flat, you will not get a lot of
problems regarding shading. Now, we can also go to phase and then do
the tries to quads. So now a lot of the
triangles that you had will go to a quadrotor
geometry, right? So you can see that this one changed from a tried
to acquire that. We can even put it
the max shape angle up or lower, right? You can see that it makes huge
changes, especially here. So if I put it very low, you can see that we have
a lot of triangles, but this can easily be
converted into quotes. As you can see here. That
actually does wonders. I think at the end, if you put it all
the way to a 1AD, that if we look here, almost everything is a quad. We have some triangles here. You could fix them if you want, but are a little too. It is gonna be a flat area, so it's totally fine right now. We can do exactly the
same with this area. Okay? So just select both edge
loops all the way around. Click on F to fill it up. Now, we can instantly see
that something is different. For some reason this letter
also becomes orange. So there must be
something wrong here. What I'm going to do
is I will just connect one part here, these
four vertices. And then try again. And this seems to work. So I think in future cases, why do we need to fill this up? Well, a Fill works the best
if it's just one edge loop. So if we fill this up
and Alt click here, we can see that it loops
all the way around it. So it's essentially one edge
loop instead of two, right? So that is the, that is
the difference here. So fill one up and then make sure everything is connected
with one edge loop. Then click on F and
we can see that only this geometry is filled up. We don't have weird
geometry behind here. Now. Again here, phase
triangulate faces. You can also click on
Control T and then a phase. Let's also do quotes or tries to keep it high. And
this should be fine. Now, I want to
separate the letters, of course, from these insights. How do we do this? I'm going to just select the entire inside of
this letter here, this entire logo also here. Now we just have to
click on Control plus once and just hide this. Now we can easily select all of these phases and insert them. Okay, so I inset. So should be fine. And we actually are going to
do the same for this part. So make sure you hide this
outer part and then just select this entire area. You can do it with selecting
one face and clicking on L, which essentially sex
all the linked vertices. And then I, and
then insert them. I want them to be around
the same distance as this. So this should be fine. And then with old age,
we can come back. Now this is great. And if we come back, so Alt H, you can see that
all these letters are still perfectly selected. And what we could do
with this selection is go to the Object
Data Properties, create a new vertex group, we call it. Let's do logo. And then assign all of these
vertices here to that logo. So now if we ever by
accident deselect something, we can just go to the logo
and select them again with ease without needing
to re-select everything. That's quite handy. Now, you could also
select everything with a and then just de-select logo. So now we have kind of
inverted our selection. And I'm going to click
on Control plus once and then just extrude this inwards. Awesome. So now we have all
of this and it looks decent. But as soon as we start to add a bevel modifier and a
subdivision surface, we might see some problems. So as you can see, the bevel modifier
doesn't really do a lot. It makes it very sharp,
but that's kinda it. How do we fix this? Well, there are multiple
problems still if our model and the biggest problems that will occur
when like nothing, like look, if I go very low, so 0.01 out of nowhere, it starts to change
a very silently. That means that there is not enough space between
these vertices in some places to actually
create more or Marfan amount. And this has to do because
there is a clamping option, Clamp overlap and wants to
stop the clamp overlap. You can see that
it starts to work. But we don't want this. We want to clamp the overlap. Otherwise we get like weird
overlapping vertices. We don't want that. So we need to fix
these weird overlaps. And that is often in places where these vertices
might be very close, like these might be still good. But if you just
go to front view, we could still change
this a little bit. So just select one of these, click two times one G and just drag them a little bit out. Okay, so we have a
bit more space here. And this will happen in corners. Okay, So this corner,
this is fine. This maybe we can
move a little bit. Here. You can see this is
an obvious problem, right? So probably around this. Here we get the mistakes
around these things. So this is fine. This one goes up, I think, yes. It can instantly see
that the Balfour already starts to work, right? So this was a huge problem and sometimes those
corners just happened, especially if you insert things. You can fix them like this,
so just move them around. So here we should be fine. Corners, maybe this corner, I think it's still good, but
I think it's fine. This one. So we can check again
with the bevel. Yeah, There's actually, we can actually play a little bit more around with it now as
you can see, right? So we have a little bit
more control over it. Awesome. Now there is also
what we can see here, especially if I put my shop deficient services a bit higher, that we get this kind of geometry that wants
to cut underneath. If you turn off the optimal
display and go to wireframe, you can kinda see that it's
underneath here, right? So it's a bit hard
to see with it off or with optimal display on, but you can really see
that the Diggs underneath. So that is annoying. And why does it happen? That essentially happens because we don't have enough
geometry here. I knew about this, but
I wanted to show you that there are ways
to also fix this. So first of all, you could add more geometry that's still
can happen at this point. So with a knife tool, for instance, which is
just clicking on K, you can create extra geometry
all the way over here. And then let's also put it here. It's easier when
you have to stop deficient surface off and
maybe also the bevel. If an off. Then we can kind of see what our
geometry is doing. An edge like that. Let's scale it around
the y-axis and moved a little bit over an edge
like this could do a lot. And then of course, we need to connect these. So just with a knife to
create another triangle here and here as well, right? So what does that do? That fixed it a little bit. So that is one way to counter that's a little
problem that we have. And we can move
these more inwards. So something like this, this. And now we can see that we don't have the problem anymore. So if I move it back, you can instantly see what's happening. I'm going to move
them both back again. Right? Now it starts to become very smooth and that
starts to dig in. But if you move
them to the left, you can see that we get that
problem a little bit less. And you could do the
same here on top. Bam. Perfect shading,
the buffer works. And of course, subdivision
surface works as well. So in those kinds of corners, you can really get
those problems. And that's just how you fix it. More geometry or put your
geometry in different spots. Alright, so again here
I will probably use the knife tool again
all the way over here. Enter two, enter shift, but Enter to accept it. And then here again. Very easy. You can disconnect this
triangle anyways, right? We already know that. And this one can
also be connected. Bam, easy. And here again, I will
select all of these skills, zero and move them a bit here, and then just move this a bit. I really like in these kind of cases to click two
times one G. Okay, so let me hide this so we can kind of
see what is happening. If you click two times on G, which I already
taught you probably, but I will say it again. Then these vertices will start to move around the edges that are connected to really, really clean sit up right by m. So do that in any kind
of place that you have. So we don't have any
weird shading and we just have very nice devils. So I think I have
here two more of these sharp edges and
the bottom looks fine. So I'm going to do that and
then I will come back to you. Okay? So we both fixed assets
and now we can start to save our model again. Let's do six. Very easy, Ma'am. So now we need to connect
the logo to the cap, right? How are we going to do this? Well, let's grab the logo
and also reveal the cap. And what we want to do is go to the side view, which is three. And just make sure we move
the logo to the right until it reaches this side. It doesn't have to
be totally perfect because we can kind of
flatten them out again, as I've already taught you. Now, what do we need to do? We need to make
sure that the logo, which has around 44 vertices, will fit on the cap, which has, in this case, um, yeah, No vertices
yet to be connected. So the first thing
that we need to do is just go to the cap
and then create some extra geometry where essentially this
part will fall into. This seems to work. If I just grab an edge loop
here and one edge loop there, then we can kind
of connect them. Extra geometry will
always help, right? Connecting these two, creating
three extra edge loops here will already held that we've already Griffiths
gives us like six more. And then here we can
also grab like three. And here, just so we have
some continuity here. Well maybe here, four seems
to be around the same. So now we can delete
these vertices here. So I think these nine, yes, so we have a nice opening. Then I'll select this
entire edge loop, extrude a little bit inwards. And now it's time
to connect them. So how are we going to do this? Very simple, we're just
going to select the logo, delete the bevel and
the South efficient serves for right now and
just connect it to the cap. We need to make sure
that this part here. And of course the
letters or the logo will be at the same
y-axis location. It needs to be flat
with this area. So what we're gonna do is
we're going to select them. You can easily select
them if you go to the side view and
then just go into our select with the
vertex selection mode and click on be to use a
box selection, right? So B, and then just select
only this out a little edge. And assume n. Yeah, that seems to have selected
all the right words. We want to deselect this here. This is all fine. Yeah, let's keep this selected. Go to Face Selection and choose one face that actually
has the right position. So this one should be fine, or this one, or this
one doesn't matter. So scale y is zero
except you need to make sure that your
transform pivot point is at active elements. We want to make sure
it's at this location. So scale y is zero and now
it's perfectly in line. So if, for instance this was a bit backwards
all the way there, and then select this
scale y is zero, it will snap all the
way back into place. Now, this is awesome. What does she do
now is we should connect one phase, right? So one of these two edges with another edge and then select
this entire edge loop, click on F to fill everything up faces and then
triangulate faces. And you could even, Let's re-select this
one and then put the tries to quads
that could also help with Deming this geometry
a little bit down. And that is essentially
how we can connect. This doesn't look very clean. There are other ways to do this, but it works quite well, especially if we have
still decent shading. Now the next step is going to be putting some nice bevels
around the letters. And I want only bevels to become hair around the letters and not necessarily anywhere else. So how do we do this? Well, it's actually not
too hard to do this. And if we add a bevel modifier, we know that now the bevel modifier has
a width type of sets, amount, segments, but
also a limit methods. Right now the limit method
is set at an angle. So everything above
30 degree angle will essentially
be get a baffle. Now, that means
the entire model, but I want it to
be very specific. I wanted to choose an edge loop. So I want to choose
this edge loop, and I want this edge
loop to be beveled. I can do that when I set
the limit method to wait. Now, I need to also make sure that I select the
correct edge loop. Go to Item and put the
weight of these edges. This S data at one. So mean birth weight is going
to go all the way at one. Now the modifier will
only work on this blue, which means it has a mean
birth weight of one edges. So now if I play around with this amount and
segments, of course, we can see that certain geometry is changing
and that is of course, only this edge,
right? Very handy. So we can now select every single edge loop
that we wanted to have. A bevel on. This edge loop should be
all the way at one, right? Around the letters. The letters should be also here. I mess something up here. I can see. But that's
all the way, okay. All the way at one,
this inner edge loop. And of course here we have an
actual, all the weird one. Now, as you can see, we have an instant change in our geometry and it
will look very good. And of course it needs to be paired with a
subdivision surface. And here we have this
model combines, right? So if you don't like
discordance yet, you can add an extra
edge loop here. But this actually looks great, especially from far away. We still have nice
smooth shading, doesn't really look
weird in any area. And the only thing that
could happen with some of you guys is that some
shading is weird. Just make sure that you
select everything and then go to Mesh normals and
recalculate outside. Sometimes enormous
are a bit messed up. But in general this
will do goods. So this gap should be done. Let's look if it
is actually done. So let's go to the
final section. We can hide the cap. Just focus on these. If we have our bottom,
we have our cap, we have a cylinder and
we have our lipstick. We're only missing
the cap black, which in my case still
has the name bottom 001. So this is going to
be the cap black. And let's also drag that
from tryouts to final. And let's do one little checkup. We have our lipstick, which will go in and
out later writes, We have our cap,
which actually do it, dusted an extra edge loop here. So what we're gonna do is
select this edge loop, actually a bit inwards around the median points
and create a bevel. Something like this. Now we have our cat black, and of course we have
our cylinder and bottom. So these are all the
models that we need. So I hope you guys liked this modelling section
because in the next part, we're gonna go to the materials. I see you guys there.
11. 3.0 Material creation - gold: In this video, we are going to start the material creation. And we're going to
create the gold and the plastic material
of this model. In the next video, we're going to talk about the lipstick because
we have the lipstick, we also need to create
a displacement map. And I kinda want to explain
that more in depth. So where do we start? First of all, we need to
choose a random function. What we know is that we
want a realistic results. So if we go to the
render properties, we probably want to use
cycles because this will give us way more
realistic results. Also that the files are set to GPU because that's
just way quicker. If this is your first
time setting it the GPU makes sure
you go to Edit Preferences and make
sure you use optics or CUDA and puts the
Nupedia G-force or whatever GPU you
have essentially there. I would highly suggest if
you have the extra use it, because even that is better
than just a cute next thing, what do we need to do? Well, let's go to
Shading and look at what we are rendering
at this point. So if I just click on zero, we have our camera
view and I can go to that rendered
viewport shading. This is essentially everything that we are rendering right now. So if I click on F2, you can see we have some
great materials, some very boring a lighting. That is essentially
what we have here. Let's start with
our first material. We can select just the cap. And as you can see, I can clean up my
screen a little bit. So I just have the
final 3D models. And of course I
still have a camera, light and a reference image. But also other stuff
is unnecessary and you can kinda throw
them away, right? So what we need to
do now is select the cap and chances
material to goals. Because what we know
is that we're going to recreate these
kinds of materials. So for the goals, we of course, need to think about
what is called Gold is a specific color
and it is a metal. A metal can go all the way up. And for the color, I'm going to use this hex codes. I already rendered
this entire scene. Yeah, like two days ago. So I kinda just rehashing
what I'm using their height. I'm not just making
this up on spots. It might seem like
the, you know, he had a teacher from
material knows everything. No, it took me a long time
to figure out these values. But going back-and-forth
the entire time through tutorials is just not handy. So that is why I'm just
doing this quite quick. So you guys can
just follow along, but don't be afraid to play
around with these values. So the base color for
golf, for instance, can be totally different
because gold's a lot of goals, have a lot of different
materials inside them. And different values of those materials actually
change the color. We have rho, say gold,
which is kind of red. We have fairy, yellow goals, even white coat which looks
more cell-free, right? All of these values can
be quite different. And it's just up to what you
might like in this case, or whatever the
product looks like. Yeah, I chose this hex value. Now, we know that it's a metal, it's a metallic color. But often when you are having products with plastic and
metal or metal coating on top, the metallic doesn't have
to be all the way at one. In a lot of cases it's probably like 0.7, something like that. However, I found out during
my rendering process, that's a value of one, actually will give us
a way nicer results. So we're going to just keep
it as one for right now. Then of course we have a roughness as we can
play around with. However, if we look
right now at our scene, it looks quite boring. This gold doesn't really
look like gold at all. What is wrong here? That is because lighting
is super important, right? In some cases, I
think it's even more important than the 3D model. So if you go to the objects
and change these two worlds, we can play around with
the lighting in our world. Right now we have just a
singular color and of course, a strength that we can put. However, if you select this background and
click on Control T, You can see that for me,
the texture coordinates, mapping, node and environment
texture all pops up. If this doesn't happen to you. First of all, you can
add them just by hand. So just manually shift a and then look for the
texture coordinate nodes. You can drag it like this, a mapping in an environment. Or you can go to Edit
Preferences and add this add-on, which is called the
Node Wrangler add-on, make sure you take it on. The Node Wrangler add-on
essentially helps us and makes the nodes adding
process a bit quicker. So that is what this does. We can open an
environment texture, and you can open the one that
I have provided for you, which is the studio
small number three. And here we can
instantly see that our gold looks so much better. That is all because we have more realistic lighting
than just a gray, weird kind of background, right? So once we have added this, we can go back to Object
and select this object. Here we can play around
with the roughness. If you want em, very shiny gold, you can go to zero or you can even go very rough,
is all the way one. I personally chose 0.07. I thought that was
a very nice value. As you can see here,
this loose goods. And one thing that
we have to keep in mind when creating products is that we want our product to look perfect, but also realistic. And what many of you
might already know, realism in a 3D often requires
that kind of unevenness. So it could be in your model
or of course your materials. So often when you want to create realistic, you want scratches, you want rust, you want
a dirt on top, right? But we also want to
sell this model. Are we once like our customer
wants to sell this model, you cannot just give it all
kind of rust and nasty look. So we need to find
a middle ground of making it more realistic, but still make it look perfect. In this case, I thought
a nice noise texture. So just a noise texture. And a bank note might do
wonder the bump node, the normal can go
into the material. And the fact of this
noise texture can go into the height of
the bump nodes. Here we have a very
big, big bumps. We want to first of all
make them waist smaller. So I did a scale of 1,000, but the strength is just
way too high, right? So let's put the
strength to 0.005. Let's do that. Here you can
see that we have a very, very tiny little detail. And for far away you
will barely see it, but it is noticeable enough for it to
look more realistic. Awesome. So that is essentially how I
change some of these colors. For the cylinder. We can kinda keep
everything the same. And for the bottom as well, we just need one gold material
and it will look good on any of our golden
yeah, 3D models. However, for this cap black, which is this model here, we need to create an
entire new material. So we can just create
a new material. And annoying thing with
selecting a new material, It's kinda duplicates
whatever you had before. It doesn't really
create a new material. But we can delete all of these, change the name of this gold 001.2 plastic on
the score, black. And we can just add a
new principles, be SDF. Let's connect this end
here we have our material. We want to make a
nice black plastic so it will go very dark. I do want to mention though that you never want to
go all the way to black, okay, go a little bit higher. Nothing in real
life is that dark. Not even gonna do any jokes. So here we have base color
is black and we can put the metallic can stay at zero
because it is not a metal. And the roughness we
can play around with. So 0.1 is what I used, right? Awesome. So we have the cap kept black cylinder
and a bottom. Only thing is the text. This text or logo or
whatever you might call it, is also black and I'm just going to reuse this
plastic black here. How do we do this? Well, we can select this cap and go into the
material properties. Here we can click
on plus and we can grab here are plastic
black, right? However, how do we apply
this only on the text? It is actually quite simple. What you have to do is just
go into edit mode and select certain phases that you want to apply this or assign
this material to. If you remember correctly
from previous videos, you can go to the
object data properties and reuse the vertex
group that we created. So just select it. And we'd only needs to de-select whatever
we are not using. So this, this, and this here, it is a bit easier to see if you turn off your modifiers
for right now. And the only thing that
you need to select is, of course, this text
all the way around. And of course it also
this whole face loop. Now, if you did not have your, if you do not have
your vertex group, you can just select it by hand. Okay, it doesn't really matter. You don't need a furnish group, but it just helps
with selecting. So this is our selection
and keep it selected. Then with this fill selected, you can go to your
material properties, selects the plastic black. And I'm going to show it in
the random few boards here. And then assign all of these
selections to this material. And what we can see is
that now whatever you have selected has this
material applied to it. So we can have
multiple materials per object or per 3D model, which is quite cool. Let's put baffle and the
subdivision surface back. And here we have our beauty,
beautiful text, whatever. So these are all materials, and that is essentially
everything that you need to know to create these
two materials. In the next video, we're going to create
the lipstick material, and I'll see you guys there. Make sure to save. Bye-bye.
12. 3.1 Material creation - lipstick: In this video, we're going
to focus on the lipstick. Let's hide everything
else for right now and just focus
on the lipstick. Lipstick material is
actually quite simple. Just add a new material. We want kind of a
red color in here. And I personally
use this hex code, which is B two zeros 007. You of course can choose any other color that you're ones, but this looks quite
cool in my opinion. Then the roughness at
0.3 and the specularity, I put it to two points. To the specularity we do
not often play around with, but I essentially just one of my material here to
reflect a little bit less. So that is what's the
main reason for this? So this is a guess, a decent looking material, but we are missing our logo
that has carved inside here. How do we do this? Well, if you look here, we have also as material
output and nice displacements. And you might already
know a modifier, which is also a
misplaced modifier. Right here. Both of them broke the same
and we're just going to work inside the nodes here because it's just a
little bit easier. What we need is a
displacement texture. Displacement, not
factor displacement, yes, displacements. And this goes into the displacement of
the material outputs. Let's drag this a
little bit down. But what do we put in
this displacement map? Well, let me just show you
very quick what it could do. Let's add a noise. This noise texture, then
put back into the height. What you can see, it
kind of works the same as the noise that
we created before. And it actually is the same because right
now the displacement, It's tells us as a displacement, but it actually is a bump map. And I'm not sure why
blender does it. I think because if you
haven't displacement on and you go to the
render view-port setting, it just will crash, right? And I'll show you later why. But what you
essentially need to do, go to the material that
you're working with. And then inside the
material properties, you should scroll
down to the settings. Now from the displacements, we want to change this
to displacement only. And instantly you
can see that now stuff starts to displacing. And I think that might be
the reason because if you have high geometry and
you buy excellent, put this in, it's just gonna be a total mess and Blender
will crash instantly. So now you can see that
this actually geometry is displacing right now. And instead of this
noise texture, we can use other
kinds of textures. So let's delete
this nice texture. Select the displacement
and click on Control T to add some
extra notes here, the texture coordinate
mapping nodes and image texture in this case. Then we can open a
texture that we have created inside of Canva or
wherever you have created it, and select this texture. The first thing that we're
seeing here is it looks crazy. It's a lot of displacement. The wrong thing is displacing. There's not a textbook,
it's the lifting itself and the text is
not in the right place. So those are a lot of
things to think about. Let's start small and just put the text first
in the right place. Go to the viewport
shading solid, go inside the edit modes. And we first want to UV unwrap. This UV unwrapping will really
help with your textures. Okay, Texas often gets warped
in certain ways and well, UV unwrapping came back. Yeah, flattens out your
3D model in a 2D space. We're going to select
this edge loop here, which is the highest edge loop, which is still straight. When guess I should
explain it like that. Now control a and
mark this seam. Then let's go to the
back of this lipstick. Select this entire edge
loop all the way down. Control E, a mark scheme. Now, if you go to
the UV Editing tab, select all of this with a. And for some reason when
I change tabs here, my screencast
keystones really work. They shoot right now. Yeah, here. So if I select a, I select the entire model, then you, and then unwrap. And here we can
see our UV unwrap. So this part here is
nice and cut out, which essentially is
this whole square. And we have this
extra part here, which I want you
to keep in mind. There is no displacement
happening on top of here. So this part is
essentially kind of a junk area and we can just
hide it off to the side. We don't really need to have it inside of our
displacement map. How did I select
this entire island without needing to
do all of this, select one vertex, then click L to select all the vertices. And now you can just
move the rounds. So just click on
L. Same brush for this L and we can move
this around where we want. So if we change this now to our Viewport Shading
material preview, what you can see is that
wherever I move this around, you can kinda see this text
here in the background. It's a bit hard to see, but we need to place
this square in such a way that our
text is going to be. Showcased here, right,
so I'm going to scale it a bit up here. I actually need to rotate
it for 180 degrees. Bam, maybe something like this. Why does that look
quite cool, right? So we can see here that
this looks decent. But we are also
getting a repeat. And as you might know, a lot of textures that
you create always will repeat over and
over and over again. So go back to the shading. And now chains inside
this image texture. This little section
from repeat to extend. And you can see that all of these other lack
of repeats that we have now disappeared and
we just have one texture, which essentially is
just the one here. Right? So awesome. That is essentially
the first step. Now, if we go to the
rendered viewport shading, you can still see
it is very messy. The text is at least
in the right place, but the lipstick
just looks weird. First of all, I want my text to move and not at the
lipstick around it. So we need to add an
invert node here. You can use an invert
node or a color ramp. Okay, so the infant
node essentially already inverted,
which is perfect. And with the color
ramp, you can have a more of a smooth fall off. You just need to invert
these two handles. Kinda works the same. I personally liked the
color ramp a bit more because it gives a
little bit less of jagged edges and I
will show you later, but those are now
the color ramp. So we inverted it. And now essentially the
text is moving rights. We need to put the
mid-level at zero because I only want the text
to move and nothing else. So now if I move the text, you can see that it
just works like that. And I want the
text to go inward. So I put it to -0.015. So it goes in just a little bit. However, it looks like
it's almost not there. That is, because we need to
go to the modifier settings. And let's go to the
subdivision surface modifier and puts the levels
viewports higher. Now we can see that we
have a way better result. So that is kind of the, the good thing and
the best thing about adding displacement like this. We have a texture. We can move this texture
or bonds where everyone's. So it is very versatile in that way because if you
create your own geometry, you're kinda stuck or you
need to remove everything and then the lead and cut and
it's just very annoying. The downside of this
calf displacement is just that we are using a lot of geometry, right? So we're essentially like crank this geometry up to create
some decent looking scenes. So if you put this too
high, of course you will, computer will slow down and you ran this will slow
down and everything. So yeah, you need to
keep a middle grounds. And these were the
jagged edges that I was talking about
with the color ramp. They seem to be a
little bit less harsh, but more geometry will ofcourse, or in a lot of cases
will be needed. So you can do it like this. Just keep the levels viewport low and then the render high. So maybe even five. And that will
probably work fine. So this is our
lipstick material. And that is also the less
material that we need it. So we have our bottom cap kept black cylinder and all of them have a nice material
applied to them. And of course we
have our lipstick. So in the next part, we're just going to put a studio together and start maybe
with adding some lights. I see you guys there.
13. 4.0 Camera + studio: In these next few videos, we're going to do the
entire render scene, right? And you guys might know that this is a little bit annoying, especially if you need
to follow them from tutorials are classes like this. Now, I'm going to show you something that might shock you. But this is the
final scene, right? It looks okay if I go to
the solid viewport shading, however, you can see that
it's an entire mess. And not only do we
have a certain camera, we have a lot of models,
loads of lights. And of course as a
background and a floor, we need to somehow, or I need to somehow
break this up into multiple videos and also make it understandable
for you guys. Now, we're not all going
to get the same results. It depends on so many factors like a little rotation in
any of these lights are a little skill of any of these lights will already
give you a different results. So please don't try to get
exactly everything the same, but try to understand what
we're doing here, Right. Status will be mostly
with the lighting, but just don't be too
harsh on yourself if your final result doesn't
look at direly like mine, that's that's crazy thought
of having talked about that, my result doesn't even Lucas good as the real
picture right there. That's my opinion. Now, this is a
real image made by the photographer called
a Johanne, a ride Berg. I'm not sure if I
pronounce this goods, but I really thought this
was a very cool image. I love how he puts these
lipsticks together, creates a very cool scene of an interesting vocal
points, right? We're all focusing
actually on this product. I really like that. And he uses the
background with a kind of lights to actually pull our
eyes into this even more. Now, there are some differences
that are made here. I made a different floor. Let's go back to my
final scene here. As you can see here, I did create another floor, the background, it
looks kinda the same. But in general, that is
the idea what we're doing. How do we start
such a big project? Well, as I said, we're going to break it down because if we just get rid
of the lights right now, it already looks way calmer. So the next steps
are going to be, we need more 3D models. That is gonna be one step. We need a good camera position. That's gonna be another step. We need a floor
and a background. And both of them, of course, also need certain
kinds of materials. And of course we have
the lighting and maybe some of the render
settings if needed. So that's how we're going
to break them down. And the first step
will of course, be here where we ended
if the last video. So I'm just gonna go
to my shading tab. And right now we do not necessarily need to see
all of our materials. I'm going to drag this down, move this to the sides. And we're gonna change
this to the 3D viewports. Where do we start? First of all, we are going
to start with making our 3D models a little
bit easier to work with if we want to stack
them in certain ways. So how do we do that? Very simple. We have our
model and you can see that we deleted everything which
we do not necessarily use. So we have all of
these models here. Now, I do not really want to
move them piece by piece. That is just a waste of time. So what we're gonna
do is we will select this bottom model, go into top to edit modes and make sure you
select this vertex. Then click on Shift S to put
the cursor to select it. Click on top again. And now if shift a, we are going to add a
empty plain access. So this is an empty. Now we can select all of these
models and then as lasts, the empty, click on Control P and then set
parents to objects. Now, all of these models
are parented to this empty. We can rename this
empty to our lipstick. Let's do 001. So if I move this around, you can see that, well, everything moves with it, which is very, very handy. If we go to the front view. And if we wanted to duplicate, right now, we need to
select all of these. Okay, So shifting and
moving to the side, we do not necessarily
need to look into this folder because that's
gonna be a whole mess. But we can just select these empties to move
everything around. So what you can see is that
now we've duplicated it. And the nice thing about Blender
is that it automatically assigns these new wants to
their new empty, right? So if I move this,
this one moves, if I move this empty,
this one moves. Now, if we look at the duplicate
set we need to create, we can see that one
has a lipstick. It has this cylinder and of
course the bottom parts. So it Mrs. the gap
black and a cap, which could be just
our first one. So the cap the cap black, I think that's this
part, can be deleted. Now for the second one are
for all the other ones. We can delete this
lipstick parts. Alright, so that is essentially
everything we need. We need way more though. So if we are going
to count them, one of these open ones and 12345 of the ones
of the close ones. So let's select all of them. Bam, shift the sides, shift D, shift the shift D. So we have five of these
bad boys and one of these. So that is how we
can easily duplicate them and move them
burpees, right? Very, very handy. Now, we need a floor and of
course a camera position. I said, I will
separate these parts, but this kind of go hand in
hand together for the floor, we can do it very simple. Shift C and then just shift
a to put a plane down. We can scale this
up by, let's do 40. And now we can select all of these lipsticks and just
move them a little bit up. We do want to make sure that they do not really
float above this floor, but we also don't want
them to go into deep. Somewhere around. Here will be fine. That can go a little bit
inside, but not too much. So we have all our duplicates and we need to place
them in position. However, we don't know where to place them because we don't
know where our camera is. Right. So if I just
place them right now in certain places, it might look okay, but what is it going to look
like in the end render? So we need to position
our camera right. Now. Let's select our camera here. Click on zero to actually
go into the camera view. And then go here and change
the view to karma to view. So now you can see that there is a dotted line around the camera. And if I move my camera around, you can actually
see that the camera moves with us, right? So this is very handy. We can just look at this lipstick as our
main lipstick here. And we can move our
camera in position. You can also change your camera properties in the camera property
section here, the focal length, for instance, I thought it will be cool
if we put this way higher. So my focal length
is going to be 80. Then I also want a
different kind of outputs. I personally chose for
more of a square render. And this is because I want to
put it on Instagram maybe, or it looks better
on your website, you can choose yourself. But if you want to
change the resolution, you go to the output properties and change the resolution here. So maybe 1920 by 1920s. And here we have a
square resolution. We can zoom in a
little bit more. And here you choose
your position. Also here, we do want to
make sure that we still have a little bit of an empty
area around in the bottom. We never really wants to have
a model cuts off rights. Those things are quite
general knowledge. But I want a little bit
of a bigger bottom, empty space because I
wanted to see the wrinkles that we're going to create
with our floor later on. But something like this
actually will look cool. Let's keep it that what
we have now and we can always move the camera
a little bit around, but we at least now have a
certain decision that we made. We want to have a
camera in this kind of position and now we can
move our models around. So the camera, if you don't want to
move to the excellent, make sure you put the
camera to feel here. You turn this off again. Otherwise, we might
move it by accident. Awesome. So now we can start moving
our 3D models around. Now, there are a few things
that you need to keep in mind when moving
3D models around. First of all, we don't want
them to be like floating up. We don't want them to be
intersecting too deep into the floor as
I already said, but I also don't want them to be intersecting with
each other, right? Just looks reared in
vendors if that happens. So those things you
are trying to avoid, this is going to be a
little bit of a time-lapse. There's not a lot of
explaining for me to do. I just need to put
them into position. And yeah, that's kinda it. I personally have two screens, so I have like this image
to my second screen. You can also move your image
down here and see you there. But otherwise that is just it. So let's get started and
move these into place. So this is how I placed my
3D models for right now. I might always rotate
them a little bit, especially with the lighting that we're going
to create later. But in general, we kind of get the feeling of this render. If you have them
all put out here, make sure you need to rename anything that needs
to be renamed. So the spleen is
the floor, right? So later on we actually
know what it is. I also personally like to create a collection with studio. So the floor goes in the studio. And the, depending on
how big my scene is, I might throw my lights
also in the studio, but knowing that I might
use loads of slides, I will also pull or grab
a new light collection in here and we can
drag our lights in there in the upcoming video. So yes, make sure you
save for right now. Then I'll see you guys
in the next video.
14. 4.1 Background + lighting: In this video, we're going
to create the backgrounds. Also creates the materials
of the backgrounds because that actually
has some emission in it, as we can see here. Let me check. So you can see
that you have this like little brighter area. I thought we could just do it
with a nice emission notes. We also have some backlight. Then we're going to play
around with the lighting. And after that, we can
look at the floor, which I already said that I created that a little
bit differently, right. So yes, let's starts
and first of all, make sure you make your
scene a little bit doable. So in my case, so let's drag some
extra screens in here. I like to work with
three of them. One is my camera view. So here I'll see what my
camera is doing or what, yeah, what I essentially
will render at the end. Maybe I need to still
move stuff around, then I still want
it to look good. In this view here, I'm just going to move
around image VD view. And here in the bottom, I might want to play around with some materials so we can change this editor type to
our shader editor. For this background, we
can create a new plane, shift a plane scaled
up by, let's do 30. Then a rotated around the
x-axis for 90 degrees. Then we can move it a
bit backwards here. And we can create a
new material which of course has that
background as name. Also this plane here can
be renamed to backgrounds. Backgrounds can be put into
the studio collection. Now, let's zoom in a little bit on this particular material. Here we can go to our
render pre-fill if needed, if we want to see what
our materials are doing. And here we can play
around with the materials. So what do we want here
for a particular material? We want a black material, but there's still needs to be, as we can see here, a nice smooth emission. So how do we create this
kind of circular emission? Well, what do we need
to do is first of all, we need to know that we
have in a mission out. We want it to emit light. So that is this. Now, we only wanted to emit
light in a circular pattern. So we're gonna do that
with a gradient texture. So the gradient texture can go into the color of
the emission node. Now, we can choose if
the grain and texture, as you can see here, we can see that we
have a gradient. We can choose linear or
we can go to spherical, which is kind of what we want. Now, the sphere, however
that we have created, as you can see, starts
from the bottom here. So I wanted to move it
that it's in the middle. We can do this with
the mapping nodes. So select this control T. And here we have
our mapping nodes. Now you can change the texture coordinate also
in multiple ways. We might want to try the object. Now it's already jumps
right into the middle. And here we can play
around with the scale. So maybe 1.9. What you have seen right now. I actually didn't
notice for a long time, but if you click and
drag your mouse down, you can change multiple of
these values at once, right? So here I can even just click and then release
and then type something. So 1.9. Yeah, It's very handy
to change multiple of these axes at the same time because often we
want to do that. Now, this looks cool. It is just a little
bit too abrupt, right? A bit too sharp hair. How do we change that? Well, let's just
use a color ramp. Bam. With this color ramp, we
can also choose loads of different
interpolation types. And ease is already
smooth for B-spline is also one people a lot of times choose for even
smoother effects. You do, however, need to
drag this one way down. And here you can see that it's
very, very smooth, right? So very cool. There is just this little dot here
which is very bright. But we can just move our backgrounds a little
bit down. Is that easy? So let's move this into position so we can
actually see that it's right in the back,
somewhere around here. Then here we get the
effect that we want. Amazing. Now the strength
might be a bit low. Let's put it at ten. Depends a little
bit, maybe eight. We can always change
this in the future. But play around with this
to get the effect that you want maybe month with five
sexually enough here. I do remember my Odyssey and I needed to put it very high. But this seems to work
for me right now. Awesome, very cool, very easy. And I hope you guys understand
how we created this very nice gradients can
flight in the back. How are we going to create some decent
lighting in the scene? Because right now this
looks weird, right? First of all, where does this come from that we have, well, this slide is
actually coming from the HENI that's recreated
in the material process. So if we go from
object two worlds, you can see that we can just put the strength all the way to zero to get rid of any
background lighting. We might want to put this a
very tiny bit up later on, but for sure Not yet. Now let's go back to objects. And I'm going to scale
this a bit down. Because right now we're going to look at some of the
lights that we might add. So we already talked about one kind of light source
that we can always good ads. That was this light
source in the back. We can duplicate this and reuse this if
necessary because it's actually a quite handy setup for some very smooth lighting. We also can do is use the lives that are
already in our scene. Or if you don't have any
lights in your scene, just click on Shift
a and add a light. You can see there
are multiple lights, but it doesn't matter
which one you use. Because if you
select your lights and go to the object data
properties of the light, we can see that we can
still change our type of light at all points. Now, in this render, there are two kinds of
lights that I might use. Those are the point light
and the area lights. The point light is quite simple. You will have the color and you can change the
color if you want to. We have a power, can pull it up or down
for more strength. Now, I will move my
little point that actually here so we can see what the power does if
I move this up or down, you can see that we
create some more light. The thing is with
these powers, right? So ten watts it is right now. Those are very annoying numbers if you are used to
blend or in general, we quite often are
not really working in the hundreds of values, right? So what I often like to do, I go to use nodes here. And now this is kind of a
multiplier of this power. So if I move this up or down, we can see that
the strength canal that goes in more
extremes, right? So now I have like 12 or
16 instead of going into the power and go into
the hundreds, 300, 400. These are essentially
exactly the same. The color here or the power. They're interchangeable. It's just that this is just a bit handy or if you're
used to blend there. Now we also have a radius, and if you look at the little
circle around our lights, the radius will make
it bigger or smaller. You can see that this
directly impacts our scene. And as I said, the max balances, we don't need to play
around with that. Now the area lights
is a little bit different as it has
some kind of shape. We have a color, a power, and then of course a shapes, square, rectangle,
disk, or a lips. Those are things that you
can play around with. We can also play
around with the scale. But the nice thing about area lights is that
you can also scale them up and down
inside Blender itself, inside the 3D few boards, you cannot really do that with the point lights as
I'm trying right now. So you need to go in
here with a point light. And one last thing
that you do have if the area light is spread. So right now we of course have like a 180 degrees spreads. You can make it smaller
and see what that does. Kinda creates like
a spotlight, right? So also could be handy
in certain cases. But in general, those
are the lights. Now, lights will also impact
your scene in great ways. So if I move this slider around, you can see that the strength, first of all, of course, it hasn't huge impact on our scene because it makes
everything brighter. And if you look
at the shadows or the parts in-between the
bright areas and the shadows. Also the skill or the size of your lights has a
huge impact, right? So if you want more
soft lighting, you need to make sure
it puts the size up or harsh lighting you
put them often down. The location of your
light also matters a lot. And one thing that
I want you to take away if this lesson is that the certain lights that we use also will give us
certain highlights. So if we look at our
scene right here, we can see that we have some very smooth
highlights, right? We have here a bit
harsher highlights. How do we create this nice
gradient, smooth lighting? Well, we need to use a light that actually reflects
that kind of lighting. And the problem with, let's say a area lights, if I move this here, make it a bit bigger. You can see that it does create a reflection of
the light itself, but it does not necessarily
nice and smooth. So making it quite big
and moving it more backwards will help with the
smoothness off your lights, as you can see right here. That is often what
you need to do. Create bigger lights, move
them backwards and really position them in
certain ways so we get those nice smooth results. Also the shading of your
model itself or the amount of subdivisions might
change a little bit of how the reflections
will look. So right now we can see
that they have here a quiet of a weird area. If I put my levels
viewport higher, you can see that
this becomes more of a nice bevel and this
will smooth out, right? So sometimes if you have
like redlining that debt, even your geometry can
have an impact, right? So that is something
that you might wants to take care of
and see what works. Because right now we have set
all these renders at two. So when we start to render, everything will be rendered
at this two subdivisions. Sometimes you might want to put it higher or lower, right? So then you need to make
sure that you put a render at that particular number. So let's skip this
one right now, just nice and low, but that
is something to keep in mind. Another way to use slides, as I already said, is using just planes with
a mission nodes. Because this plane has a very
nice emission node on here, we might want to reuse this
as a light as well, right? So we can use this one. But I do want you
to remember this. If you duplicate a normal
plane and use it as a light, you want to duplicate this material because they
both have the same material. If I want to use this a lot,
just click on Duplicate here and then
rename it to light. And now you can play
around with the strength, but you need to make
sure it's the right one. So in this case it was this one. And now you can play
around with the strength. And the nice thing
about these kinds of lights that you can change, the smoothness of the
sliding yourself. You can play around
with the strength, but also we have this
color ramp to move around. That is in some cases, the way that I like to create those nice gradient reflections. So just something you guys
might want to look into. Let's say this model here is going to be our first lights. I need to put it into
the light collection. So this is going to be our light and this is going to
be my main light. And we also call this a key. Lights. Are, key lights is in general, the most bright light
as well in your scene. Now, this bright
lights in all cases, we'll create some shadows. And often we want to soften the shadows out
with a fill lights. So let's for the fill lights, let's just use a
normal light here. So let's just go here
into the light settings. I'll do an area lights, move it here, make
it nice and big. Use nodes and then put
the strength of it up. So this, as you can
see, this model, so this light, the key light
creates light plus shadows. And our fill light will
fill those shadows up. Here. This is our fill lights. And you're not necessarily stuck with just one fill lights. You can add as many as you want. And also the key light is just
a name for it right there. This is our main
light in our scene. But you can also have
more bright lights, but I just want to keep this
a bit simple for you guys. Now, as you can see,
we're starting to get more of a decent results. So we have these two lights. And often we wanted to also separates our objects
from our backgrounds. But again, we can look
at our image here. You can see that they are
nicely separated, right? Also, this is done
with lighting. So we could duplicate
this fill lights, move to the back. Somewhere around here. Scaled a bit up. Here we can see some
nice lines around here. And this is often
called the back or the rim light because it
creates a rims around here, but I think backlight
might be also appropriate. So here you can see that these
slides all have a purpose, and that is often what you
want to do with your lighting. You want every light that you add to have a purpose
to your scene. So let's say, Oh, I want to see this logo a little better. Well, we can move a light
around that we already have, or we can add an extra lights
and then moved in position. So it actually gives us that particular
aspect that we want. Now, I'm going to delete it
for now because I want to show you guys something
else as well, which could be important. So we just have our key. Fill and backlight. Right now, I'm going
to explain to you a few things that
I always keep in mind when rendering this. Now, we can, I can place every light and put it in a position and you
tried to copy that. That is not really a
way for you to learn. So I'm just explaining
a little bit of the mindset that I
have during lighting. And then I want to see what
you guys come up with. I will also have the
final render here available for you guys
with all the lights. They are not named, sorry, but you're going to just
turn them on and off and see kinda what
they're doing. But you can always
look into this file. I just want that to
be available for you because you kind of get an understanding of
what I'm trying to do. So let me explain to you some of the steps
that I'm doing. Extra two, just adding
lights what we did before. So what I'm doing extra
often is look if I'm under or overexposing
my scene. I do this. We've gone to the
render properties and scrolling down to
color management. Here. We have color management. We have at fuel transform
data set at filmic, we do want to render in filmic, but if we change
this to false color, you can see that we
are tripping out. We're having some
good rush right now. So this, this will
actually help us these colors understanding if you're over or underexposing our image. So why do we not want
to do either of those? Well, in either case,
over or underexposing, we are losing color data and that is something
that we do not want. This is a very handy tool. And what you want to do if this is you want to
keep in mind that it is a certain area that
you want to stay into. So if we go to the lows, which is underexposing,
which will be purple and even a dark blue. These we want to avoid. In most cases, we are
underexposing in those cases, especially when you reach this. Now, remember,
you're overexposing. You reach towards the
reds and the whites. We for sure want to
avoid whites, right? So sometimes you
have a little bit of red or dark orange in there, but we do not want any white. Now, this is also a little bit dependent on the kind of materials that you use
and how they reflect. So in some cases, you might have some of them. And you should always
just see this as a tool. It's not a one or
be-all, it is a tool. So what will happen if
we are underexposing? Well, in filmic, it will
look like this, right? It's very dark. We can not really see anything. So if instead document probably losing some
color data, now, if we go to false color, you can see that, yes, it's even blue, dark
purple, and even black. So we are, of course, our underexposing here,
we are losing color data. That is something
that we do not want. When we are overexposing. We're getting to watch the
rats and even white, right? We want to avoid this and it will look
like this in filmic. So right now you are like, of course you want
to avoid that. But in some cases, it might not be as clear
as I'm showing right now. So let's put this
back to its default. Value, them. And let's talk about what we
actually do want to achieve. It is okay for you to have
a multitude of colors. But we for sure
want some of this. This is actually, it looks
a little bit green hair, but in Blender it will
almost look like gray. We want these lines is kind
of the middle, middle points. And everything
in-between that is fine. As long as we're not
reaching towards the purple and the white, right? So what do we need
to change here? First of all, I
want you to notice that when we went and
changed our world, we put it all the way to zero. All the way to zero. It's a little bit harsh, right? But if we put it to one, in a lot of cases are
goals might be too bright. In this case, it
actually looks decent. And we're also don't know, do not really have too
much purple anymore. We might still have
some in the shadows, but in general, this looks
quite decent, right? So putting your background at least a little bit
higher than normal. In this case, I
would also take out my HDRI that will at least
get us some color back. If that is not the case, that you still have
some background lights, but it still it just
doesn't look good. You could always just go to your lights and
change them, right? So I might want to make my
fill light a bit bigger. And maybe even the
strength a little bit up. You can see that now it
starts to change, right? And as filmmakers
will look like this. So these are some of
the ways that you can change your lighting. Now with overexposure,
it's exactly the same if a light is too bright. So let's say it's
way too bright. You just turn it a
bit down, right? It's that simple. And also of course you
can scale it up or down. Again. This is just a tool. If you are in a decent area, just go back to filmic
and now play around with your lights and that
we can actually see them. Okay, It is just a tool. And now we noticed, but not under our
overexposing anymore. Another thing that I want
to talk about is that Every light that you
create should make sense. So let's go to my
final scene here. In my final scene, if we go to the
rendered few parts, I am sure that you can turn off every single lights here and start turning
them on one-by-one. And all of them have
at least a purpose. So let's do that. Bam, I take one off or I
put this one on. You can see that it brightens
up these areas and gifts some nice gradient light here
and a nice highlight here. So this, of course,
as we can see, has a certain purpose. The next one also has a
purpose bonus up these areas, dislike corners in this case, and creates a nice effect, kind of a smaller highlights. And I can do this with
every single light and all of them have at
least a purpose, right? So this one, for instance, creates a nice
gradient down here. And it separates at this
model from the backgrounds. And this one creates actually a separate separation
from this model. And of course, in the end, all of them should
make sense together. That is always a given. But I want you to see
that I'm not just adding random lights in my scene
with a scene like this. Also your models
actually matter. The rotation of your models. How the light interacts
with them really matters. Let's say this model here, I actually rotate it around. What you can see that it has a way different kind
of look instantly. My lights just doesn't
look the same. Do I have to change my light or do I have to change my model? Well, in a lot of cases, if most of your models
look decent lighting, then you'd start to
change the rotation or the location of your models to kinda fit into the lighting. Okay, So if this would
have been rotated, like maybe this maybe you thought it was cool
and you keep it like that. But maybe you were not happy
with this kind of area? Well, all the areas are like all the other
areas look goods. Why would I change
my lighting if it is good on every
single other piece? So right now, we're going
to change our piece here and make sure it
fits into our scene. Right? So also that is an option, especially with
models like this, which are square, right? It's like it's just a flat area where we need to reflect on. So it is very sensitive to your lighting because if
it's just a little bit off, it will already not
reflect, right? It's like look at this a few amount of
degrees and it's like black or it is nice
and bright, right? So those things do all matter. I hope you guys understand
what I'm saying. Please just play around
with the lights. If you don't understand
how I did it, go to my final scene, look around in here, see what I'm doing. So in the next video, we're just going to
create the floor. And I'm going to
talk a little bit about some random properties. Not a lot though, just
very simple, very quick. And then we finished the model. So then yeah, we can
start to run there. I see you guys there.
15. 4.2 Floor + render: In this video, we
are just going to go and create this floor plane. It's kinda weird. It's a very short
video probably, but it was just I just didn't it didn't feel appropriate to throw it with the other videos. It is just too much
information at once. And I didn't really
want to do that. Let's just create or
select our floor, create a new material. We can rename this
to like waves. And I just want a
very dark color here. So almost black,
maybe a bit higher. Roughness at zero. Very nice and shiny. Here, I want to start to
add a bump nodes because the bump is essentially going to create that
cool wavy pattern. Now, this bulb nodes, we need a gray scale
map for debts and a wave texture is
perfect for that, right? So we can put the color
into the heights. And here we're starting to get, in this case bands. So these bands,
we can edit them. First of all, I want
a bigger scale, So maybe like 50 here. Then we're going to distort
it by, let's say eight. And you can put a little bit of roughness in
the details here, like detail roughness, you can put that a
little bit higher. And that is essentially it. So if you go to the
curfew, which is zero, you can see that it
looks a little bit rough and that is because the
strength is a bit too much. So let's put the strength
way down to maybe even 0.03, something like that. So there's very minimal, you could play around
with this value. It totally depends on
your scene as well. But I thought this
looked quite cool. Now, you can of course do
lots of stuff with this. You can play around with
all of these values. You can add a color
ramp in between here to have even more
control over this. But in general that this kinda
how I created these waves. Now, very simple, but it
creates quite a cool effect. And as last, we of course, needs to render
our image height. So for rendering, I would highly suggest you first do
a little pre-render. This is very, very handy, especially because
some modifiers, for instance, might look good
in just in our viewports. But as you can see, also some modifiers have a different value in renders
them pretty fields, right? So, yeah, thanks, might differ. Now to check your renders, just go to your
random properties. Go to your render
here underneath sampling and just
change this to preview. You can see a change these
values a little bit. You could also do it
in the light paths. Just use the default
one and go to the output properties and
maybe even a lower percentage. So I can do like 50% of these pixels and then
click on F2 to render it. There's random, we'll
take whalers long, but you can see
all the mistakes. Of course, you need to know
that stuff like this is not necessarily a mistake in
your model or your material. It probably is because of
the lower random resolution. But in general, if
something is floating high, if we have like
weird bump nodes, if anything is weird, we can still change it
before we have rendered for iron hours or
minutes, whatever. So if you're happy with this, put this back to 100 per cent, go back to your
random properties. And here we can go to
final inside the render. And the light paths, I think should be fine. Maybe you can put the
glossary a little bit higher, but keep in mind having the max samples
higher and also the Grassia higher will really make your random
times way longer. However, it does
create better results. So depending on your computer, you might want to play
around with those values. I do suggest you put the denoise on because it gets
rid of lots of noise. And once you're done
with your render out a highly appreciate it if you
can send it to me this way, I can give you some
feedback if needed. But I also just want
to see what you have created because you have
this entire course. I've worked my *** off to
actually make this course. And it will be so cool to see
what you guys have created. And sometimes some students
are a little bit hesitant, like, I don't really
want to send this in. Just send it in. It's probably better
than you think. And otherwise, I can give some feedback which can help you. It's this one or even just stuff that you can take with you to the next 3D endeavors
that you have, right? It is not something
that I'm like, oh yeah, you suck. Try again. Now, I want you to get better. This is why I created
and it's just always so cool to see some
redness from my students. So please centered in also, if you liked my calf teaching
or like this course, please give me a refuel. It helps me so much. You might not even
know like for you it's like when two-minute review. But for me it can be
a huge difference. So please give me a refuel. They totally helped me out. Thank you so much. And I see you guys in the
next course, I hope right. Bye-bye.