Become a pro at 3D product modeling with blender. | David Jaasma | Skillshare
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Become a pro at 3D product modeling with blender.

teacher avatar David Jaasma, 3D enthousiast and ofcourse teacher.

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      1.0 Introduction

      1:30

    • 2.

      1.1 Reference images

      2:55

    • 3.

      1.2 Setting up blender

      4:19

    • 4.

      2.0 3D modeling - setup

      7:21

    • 5.

      2.1 3D modeling - the base

      7:34

    • 6.

      2.2 3D modeling - inside cap

      11:57

    • 7.

      2.3 3D modeling - lipstick

      15:48

    • 8.

      2.4 Create a displacement map

      2:51

    • 9.

      2.5 3D modeling - text

      16:28

    • 10.

      2.6 3D modeling - text part 2

      22:24

    • 11.

      3.0 Material creation - gold

      11:18

    • 12.

      3.1 Material creation - lipstick

      9:31

    • 13.

      4.0 Camera + studio

      11:56

    • 14.

      4.1 Background + lighting

      24:46

    • 15.

      4.2 Floor + render

      5:14

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About This Class

Creating an entire 3D model and rendering with just a few reference images? Yes, that is possible!

In this class, you will learn exactly that! 

Not only will this knowledge upgrade your 3D skills to the next level. You will also understand the various steps it takes to create amazing lighting and displacement maps for even more realistic materials.

Chapter 1: You will learn how to search for good reference images and how to set up blender for the upcoming 3D modeling videos.

Chapter 2: This chapter is all about 3D modeling. As you will learn multiple 3D modeling techniques I use as a professional 3D modeler in my daily life.

Chapter 3: This is reserved for material creation. Here we dive into realism and displacement maps.

Chapter 4: Here you will learn about the rendering pipeline. This means that we dive deeper into the lighting, studio, and camera setting of the render.

After you have finished this course you will have learned how to create this amazing render.

Meet Your Teacher

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David Jaasma

3D enthousiast and ofcourse teacher.

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Level: Beginner

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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.