Blender 101: Master the Art of Designing and Rendering Stylized Water Scenes

1. Introduction: Welcome everyone to blend the 2.9 design and render a stylized water scene. In this course will be creating an entire tropical underwater scene from scratch. I'll be taking you on a journey from an idea to concept. Top two are finishing. This course is aimed at complete beginners or to mid skill level Blender user. So whether you want to get into 3D or you want to learn new Blender 2.9 into space. This course has it all. 3d Tudor as developed a great way of learning built within the courses to help you learn faster using a comprehensive animation guide for every shortcut and Blender application, watch and learn as your own scene comes to live with ease. In this course, we'll be going over the very basics of Blender, including game quickly around the viewport and basic modelling techniques. As you move through the course, the techniques you'll be learning will become more complex. We'll be using most of what Blender 2.9 Master offer. You'll be learning modelling techniques used by the professionals. The coles has a great learning or taking you from beginner pro and a few short hours. Everything you've seen this course, including the Ocean, has materials that are completely Procedural and can be changed as often or as much as utilizing. You'll learn all about the notes System in Blender and what most of them do. And now they can be combined, will be creating nearly 100 Materials from scratch, and the materials will be usable in any future Blender bills. This course is designed to help people take ideas and turn them into a fully fledged 3D scene. We will look at the ideas of a scene. And now to turn that into concept Art with little or no 2D skills, we'll be looking at outer parts to our scene. So not only make it interesting, but rarely tell a story that will draw people in a 3D model you have created. Will definitely be taking a deep dive into lighting are seen. Everything from HDRI is too complex. Lighting technique will be discovered within this course. In the end, you'll be creating a Fully Procedural scene exactly like the call symmetry. You'll be learning not only how to build and create this amazing scene, bounce and Rendering out to professional level that will look great in your work portfolio. Finally, you'll also get a complete downloadable cause Pack. In this pack, you will find references for everything will be building on a Complete calls booklet, describing every lesson in detail, allowing you to jump to any part of the course which you would like to focus on. This course has actually been over a year in the makeup. That's how long it took to learn from my other courses, implementing everything that makes learning easier and faster to bring you my most comprehensive and inclusive costs to date. Drawing from the vast 3D Tudor library created so far. It's taking everything I learned from 3D to 2D is huge library of courses and brought them all together to give you the most comprehensive learning process out there. I'd like to thank you for watching this short intro and I assure you it can't do the cost justice. I'm looking forward to seeing you on the course. And with all that said, let's get started. Happy modelling everyone 2. Concept into 3D: Welcome everyone to this Blender 2.9 calls Blender 2.9, design and render a stylized water scene. Now before we start, I just liked to go over a few things. Now if you've taken any of my other courses before, will be going with a similar format. I find that this gives us the best of both worlds for both beginners tomorrow advanced users. So down the bottom left-hand side you'll see I've key casting on. So you'll be able to follow along with every single mouse-click or keystroke. Now Blender is an extremely complex program to use. So if you're all new to Blender, please don't be frustrated. If you have to go back numerous times throughout the calls to see what was pressed or because you didn't quite understand something. After a while, you'll find that you'll memorize the shortcut keys and things that were once hard become easy. So don't be to harden yourself the basics of Blender easy with practice. On the right-hand side, every new show cookie will be highlighted the first time that we use it with a being animation will then be able to see exactly what he's pressed. I would suggest that those who are new to Blender or new to the version Blender 2.9, grab a pen and paper or a Word document and get those shortcut keys noted down. Let me show wants on the right-hand side. In this format, this enables the cost to move along decent pace for both beginners and advanced students. And as I say, key customer will always be on also down the bone marrow inside there will be an animation showing a detailed explanation of anything that needs more contexts. This really goes along way to explain what and why we're doing something. And then if you'd like more information on that particular thing, you're more than welcome to check it out via search engine, all the Blender website. With all that said, let's get started. So I'll normally do my basic concept in Photoshop. But of course, any drawing or painting software should do the trick. As long as you can pull in images. You can see I'm starting to lay down my ideas in a very basic way just to get the idea on paper beforehand, a normally haven't ironed out all the tiny details. And to be honest, I'm normally thinking constantly of new YZ is as I'm building the scene. But on this occasion, however, it wasn't project that I had in mind for a fairly long time and I on the shelf so to speak, to lead time to take your arm. You can see now, I liked the idea of a boat in a kind of Alcove. And they also wanted this actual project to tell a story. Since this was going to be a diorama, I think telling the story is important. But if you are going to do that, then just be sure to add a fair amount small details. I also normally paint basic colors over the top of my drawing just to give me a real good visual representation of Howard liked the scene to look, since in this project, we're only using Blender Materials. It's even more important. For example, the main Bow, it doesn't have to actually be brownwater. It could be blue or orange. And it's whatever actually goes together and looks really nice. It's really a good time to really play around with color and see what goes well within the scene. Of course, nothing is fixed in stone at this point. We're really does help. Now you can see I rudimentary, the actual drawing is that it's more or less a quick sketch with color. I think it's important to actually work. I've concepts are, but as to how good the concept on needs to be depends really on if it's your own idea or if you have a good visualization of the scene from your own artistic 2D skills. You can see next now I grew up references for most of the highlights for the scene. This is so that I know what I need to go away and get ideas for. And by that amine to start and really nail down the look I'm going for with each set piece, even though it's a fairly big scene, it's easy in this way to break it down into chunks. Some of these references will be to how to model something. Others will be how to actually texture or what Material looks like, things like that. For instance, even though it's Stylized, Sun, sun should still look the same whether it's stylized or Realistic. It has a wavy kind of full, especially under the ocean. I also feel again, it's a habit of doing all this prep really goes along way to Create and Greg models and scenes. This is even more important when creating accurate models and accurate textures within programs like Substance Painter, all designer or something like that. The next thing I love to do is to create a page of references to give me ideas of how to create the objects within my scene and what Art style would like to go with. I also, if I am creating a stylized object, will cover a few stylized references, but not too many because I still want it based on my own ideas. You can see what I've done here is make a page of references from all the initial images. This then means that the scene or project can move along much more swiftly. I also save out all of my page references. And this is because if ever need anything in the future, like a palm tree, linearity of a group of references ready to go out, possibly do a quick search to maybe add a few mole or see if there's anything new. And using this prepping technique, It's also a good idea to adding your own references. You may add from photos you have taken of different types of materials, textures and buildings and things like that. In this way, you can build up a huge library and then you can access it anytime. Those references are also unique to you. It may give you a completely different idea of how to build something. The last thing to do to complete my project prep is to make sure I know how to create everything. Now most things I can Create button will always be something Rick can be done better or quicker, or sometimes I just need a quick refresher. Let's say it's a good idea to grab links to all the Storage you're going to need. It could be how to create a palm trees or how to use Displacement to make the sum. I also tend to create my own private tutorials and have a library of those, because like everyone else, I tend to forget things. That brings this lesson to a close. And it really hope that a lot of you found this beneficial or at least interesting. In the beginning, I just used to jump straight in and start modeling by found now the mole prep I do, the better the scene I'm modelling and the smoother the process goes. So on the next lesson we'll be starting modelling The Boat. And there will be a reference to actually bring in on that lesson. So thanks everyone for watching and I'll see on the next all have I 3. Learning The Blender Basics Starting The Boat Hull: Welcome everyone to blend the 2.9 designed and render a stylized water scene. And if you did go away and watch how we came and put the concept heart together, that I hope you enjoyed that. And if you did, and then welcome to the modelling section. So what we're gonna do first is we're going to come in and we're going to left-click on this camera. I'm going to press the Delete button, and that's just going to delete that out the way. Next thing we're gonna do, I want to click on this point Light left-click again, press Delete and delete that, and we'll do the same thing with the cube. Now, before we delete the cube, I'm just going to show you a few things that you need to know just to get you started. If you want to zoom in and out, It's the middle mouse button just to zoom in and out. If you want to actually rotate round, it's the middle mouse button. Hold it in and you can rotate it round if you want to pan or you need to do is you need to hold the Shift button and the middle mouse together and then you can move it backwards and forwards panel. The other thing you need to know is if you press dots on the number pad, you can actually zoom in to this cube in this way. And then what will happen is when you actually rotate round, you'll actually rotate from the origin point, which is this little dot here that you can see. Lastly, we're going to talk about how to get the right view. So sometimes we'll need a front view or side view or a top view. Now to do that, we use the number pad and a whirlpool down the bomb on the right-hand side image just to show you how we actually achieve this. So if you press warm on your number pad, you will go into front view. If you press three on the number pad, you're going to the side view. And if you press seven on the number pad, you'll go into the top view. Now to do the opposite of that, or you need to do is hold the Control button and press the relevant number on the number pad. So for instance, we had top view with seven. If I press Control seven will actually go to the bottom view. If we press Control one, we'll actually go to the Rear of the cube. And then for press Control, three will go to the opposite side of the one that we're actually looking at. Now when you Blender, you will notice that down here, you won't actually have the face count or triangle count, all the vertices count. And this is important. This is something that we need in that, because we need to keep an eye on how many polygons we've got an how much actual memory we're actually using so that we can keep that down as low as possible. We don't want to make a scene with millions and millions of polygons. Because what will happen is they'll really start to slow down the viewport within Blender. And depending on what your machine can do, this can be anything over 100,000 polygons. So all we need to do is we need to come up to Edit, come down to where it says preferences. Come on to interface and then come down, you'll see one that says status bar. Just make sure that all these Art ticked on. Once the tick time, you'll be able to see how many triangles, how many vertices are now much memory we're actually using. Now, let's close that down. Next thing we wanna do is want to come to File and we're going to save out our Blender file. So if we come down to Save As find somewhere that you want to save it. I've actually got one here. That is one that I've worked on. So if I click on there, just save yours, I'll just put the name of it in here. I'm just going to call it to like so. And then when I press Enter, and that's going to save that out for me. Now, the easy thing to do is whenever you want to save it, you come to file and you come down to Save and just save it out and it will save it out. Is that one that you just saved it as it's important to save that out at the end of every lesson, rarely, just to make sure that you're not going to lose any progress. Now the next thing wants to do is I want to actually bring in one of the references that come with the actual download pack for this course. I don't want to bring it in because the whole of the actual bot is very, very difficult to actually get right. I already built one using a lot of references, but I find that if I bring in a Reference showing you the exact dimensions is going to be much easier for you to get right, especially if you knew to Blender. So first of all, let's delete this cube out the way. So again, it's left plague and press the Delete button. And then what we're gonna do is press Shift a and the shift able, and it's actually going to bring in a primitive. Now you can see on near that we've got tons and tons of primitives. Some of these you'll actually have on your actual Blender at the moment. Don't worry about that. It's just add-ons that need enabling, say love a basic menu. Pretty much similar to what I've got. Now if you come down, you'll see one that says image, and that's the one that we're going to be using on image. You'll see we've got Reference backgrounds and Images as Planes. The one that we're looking for is background. Now, the important thing is when you bring this in, you need to be straight on and I'll show you the reason why. So if I come across and now come down to background. So within the cost pack you'll see one that says Boat whole reference. If we double-click on that, you'll see one that says Boat scale reference double-click by N. And there we go. We can see it's come in now because I wasn't straight on. You can say that a really weird angle and in fact should try and use this. I can come in and actually rotate it round and things like that. But there is a better way of doing this. So let's delete all the way. And then what we'll do is we'll press three on the number pad to go into side view. Now again, I'll press Shift a image background and that will bring it in again. Now you'll notice because I've done that it's so aligned that we can't actually see the image anymore until we press three again on the number pad Now one more thing I want to go over just to make you aware of. If you press one on the number pad again, you will see a little blue line that goes up in the viewport. This is the z-axis. Now, it's a good idea to actually write this down. So you know which one's the Z, Y, and X axis, especially if you're new to Blender. And this is because we use this a lot for scaling. We might want to scale it just on the z-axis, or we might want to scale it just on the y-axis. So if you look here, the green one is the y-axis, red one is the x-axis. So we've got blue, green and red. Blue been the green been the white, and red being the X. So now we've understand that while we can do is you press three on the number pad again, go into our side view, and then we're gonna do is press Shift a. And we this time we're going to bring in a simple plane. Now when you bring you this plane, you can't really see anything at the moment. And that is because it's a flat 2D plane. So let's first of all rotates it around. Now to rotate something, what you need to do is you need to press all and then Y and then 90. And that will rotate it round on this green line, which is the y-axis by 90 degrees. The moment as well. You can't actually see anything behind this actual plane. And we need to be able to see through this plane to get it the right sides. So what we need to do is we need to press the Z button. And that is going to bring up the menu where we can change it from solid view to wireframe view. And if you click on this now you'll actually see that we can see through it here. You can also do this if you to the right-hand side here you'll see one that says solid. So if you hover over, you say Viewport Shading and display in solid mode, and you'll see one that actually says display in wire edge mode. Now I call it wire-frame or wire edge, you might want to call it. There are a couple more on here, but we're not going to actually go into those yet. We'll go into those a little bit later on in the course. The next thing you need to know is we have two basic formats in Blender. One is object mode, which you can see on the left-hand side here. And the other one is edit mode. So I can't actually do anything with this actual plane at the moment except move it around. So if I press G, for instance, I can actually move it around, Right-click, drop it back, but I can't actually do anything with it. Now if I press the Tab button, you can see now that I can actually grab vertices. So I can grab this vertice and actually move it around. You'll also see that we've got no actual Movement Gizmo at the moment. So the way to bring that in is if we press Shift Space and then come down and you'll see one that says move. Now we can actually move this around. I'm just going to put that back a minute. And I'm also going to show you that if you press tab, that movements all disappear. If you press Shift Space again in come down and you Movement told them will appear. And now we can actually move this round with our gizmo. Now the thing is once you've actually used a shift space and brought in the Movement Gizmo, it won't disappear even when you've actually saved it out normally. So now let's go into wire-frame, press that button, wireframe, and now let's pull it down into some sort of place where it can actually start. We're trying to get near enough in the center of here. What I'm gonna do now is I'm gonna press tap on to go into edit mode and McConnell and post it on edge select. Well notice here we've got vertex select, Edge Select and face select, face legs. You can select the whole of the face. Edge select, we can select each one of these edges. And then vertex select, we can select each one of these points. So let's come in and grab all edges. Click on the bottom one and actually pull it down to the bottom of the actual hole just to start getting this in the right size. Now, the moment we can't actually move these independently. In other words, what I'm saying is we've got the top one we can move and the bottom one we can move. But we need a lot more of these edges going down here to actually bring these in. So what we're going to use this, we're going to use edge loops. To do that. What we need to do is we need to come in the middle of here, press Control or, and then you'll notice if I go to lepton side, an actual edge will appear. If they go towards the top, you'll see the edge of P is going the other way. And if it comes to left-hand side and actually press a number on the number pad like three. You'll see that we can actually bring three edge loops in. Now let's press the left click on the mouse, and now you're able to move them up and down and place them where you want with electorally, if you want them, like bang in the center, or you need to do is press right-click and that'll drop them right down in its center. I think three is good to start with. So now let's call them and grab offers edge. What we're gonna do is going to pick you up to here where you can see this actual edge goes down to here and then it bends around to you. Then what I'm going to do is I'm actually going to shrink this in now to bring it this edge here to the edge of my actual whole reference. So I'm going to do is I'm going to press the S button. Now when you press the S bone that actually scales it, and you normally need to follow it by an actual axes. So for instance, the axis that we talked about previously, on this occasion, we're going to press S and bring it in to that edge. That I'm trying to do is I'm trying to bring it near enough in the center of this line going up here. Now I can see that at the moment, this is a little bit out. So you can see here it's a little bit aid on here, it's on the center. So it will do is we'll press tab and we'll pull it over a little bit just to make them a little bit more. Even. Then I'll press Tab again and then S and Y and bring it back out. Now let's come to the top one and we'll bring that one in. Sy, bring it in roundabout the center. And then you'll see that we obviously need another edge loop in it. So what we'll do is we'll press Control or hover over the left-hand side. Left-click, bring it up. And now we'll bring this in. Sy, bring it in. Now let's come to this one. So S and Y. Now let's call it a little bit further down. So S and Y. Now let's bring in another edge loops on Coachella over to the left-hand side. Left-click, right-click. Why? Bring it in? Now to the bottom one, SY, bring it in. There we go. That is the star of our actual hole. Now if we just rotate round with the middle mouse, we can see that we've got a fairly rudimentary start to our whole. And now what you want to do is you're on the comp to File and save that out. So that's the end of the lesson, everyone. I hope you really enjoyed that. And I hope to see on the next one. Thanks everyone. Bye bye. 4. Creating the Sides of the Hull: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left it off. Now if you close down your render and then reopened, it, just makes sure that you press Shift Spacebar and come down to the Move Tool just so you've got it on. So now we need to do is we're actually need to rotate it round. Because if we press three at the moment, you can see that we need to base it now on this part of the reference image here. So what we'll do is to turn it round, is you're going to press all followed by the axis Y, in this case followed by 90, and that's going to spin it around that way. Then we need storage needs press all this time axis and press Minus on the number part and then 90. I'll actually reversed spin it round. Now if I press three, you won't actually be able to see anything, but I can see where the center of it is and that's here. And if I press Comment to wireframe, and you'll see now I can actually see it. So now let's bring it up and try and put it in some kind of place so it can start actually building this out. So I'm gonna do is I'm going to try put it roughly where it needs to go. Now you can see the length of this is a little bit long, so I need to shrink. And because this is based on obviously the top up here, I'm going to put it there for now, and that should be absolutely fine. Now I need to extrude this out to make sure that it's not a 2D plane anymore. And the way I'm going to do that is I'm going to press Tab to go into edit mode. I'm going to press a. And what I'll do is it will select all in edit mode. So everything else around here, normally I've had lots of objects around it. It wouldn't select those. It would only select everything in edit mode. Then one going to do is I'm actually going to extrude it down. So to do that, I'm going to press E and then pull it down on the z-axis. Now, if you zed axis is not that, you can press this Add button and you'll see that takes it off. And let's say free flow like that. And if you press that button again, you'll see actually it snaps to the z-axis. So I'm just going to pull it down to there. I want to press three on the normal pod and then when to relate the old just a little bit, just to get it into some salts of scale based on our reference. So to do that, how are we gonna do is we're going to press Control off and we're going to bring in a edge loop like we did previously. I'm going to press two for now, left-click, right-click on a poem right in the center. Now I'm going to do is I'm going to try and get this bit here first, and then we're going to extrude this Pole. So let's start at the bottom. That will make it a bit easier. Now there is one of the problem in that we don't have enough edge loops going down here. As you can see, we've got a huge, huge gap here where there's no edge loop and the same this side. So let's press Control all this time, going over left-click, right-click. And now let's do the same on this side. So control or left-click, right-click. And now actually we can manipulate these round now. So manipulate these. The one thing is if you come up to vertex select and you select a vertice, you'll see that it can even select the front one, all the byte one, and that is not ideal. So what we're gonna do to select the front, the back of the same time is press the B and that will give us a box select. Now you need to do is left-click and hold and drag. A knight can select both of the votes is going all the way through. So now progress three again. Now I can actually manipulate them round. Now we can use these Gizmo to actually move it like so. And that is a easy way to do it, but there is an easier way because we're actually looking on the side view, we can press B. So I'm just going to click on one of them just to deselect those Presby. And now I can actually press the G bone, which is basically free movement. Now because we're looking on the side view, they will go straight along this y-axis. If I turn here, you can see now I can pull them out and they actually go out the wrong way. So you can see that coming out this way and that's not well-worn. Almost make sure if I'm using the GK, the free movement Keith, I'm actually facing it directly on, with three on the number pad, for instance. So now let's bring these in place. What I'm trying to do now is I'm trying to get it to follow this all the way along some Putin if a zoom-in a little bit, my vertices where there's Plank ends. Now let's come up, select the other one, grab it with B, and then press G, and let's move it down. Now you can see we do have a problem. We need to more actual edge loops going in here. So let's do that now. So control or to left-click, right-click. And now we've got these now and we can actually put these in place. So select one of the vertices B, G, put it in place. And now let's do the same thing on here. Now this is a little bit tedious, I guess, but it's absolutely worth doing. And it makes it in the long run much easier than to actually create our planks of wood. So now let's come along and what we'll do is we'll work our way all along gear and then work our way up. So let's grab this one. Like so. And you can see also while I'm trying to do is you can see there's a flow here of where the Planks actually joined together. So you can see 101 begins and they're actually at this angle. So we're also going to try and repeat that because we don't want our Planks award to straight will actually want them to be a nice angle, given us a nice slow, I want to grab all of these and I'm going to bring them down like so. Then I'm going to wet my way up. So I'm gonna grab, maybe it's bad just grabbing one at a time actually. So it's up to you how you actually do this, but just try and follow the reference just to get them into place. Now, of course, they don't need to be perfect. We just need to get them into Um, some sort of order so that they actually log Stylized boats. Boats are quite realistic. Okay, so let's come to this one. And of course, if you want to actually not use my reference and create something a little different, that's absolutely fine. And also if you don't use my reference and you try this yourself, perhaps it will help you to actually create something like about in the future. A bit easier actually. I'm just looking for this nice flow now coming past here. And now we're going to come to this one. Exactly the same thing. I do want to actually show you how I'm actually doing this. I didn't want to really speed it up. I did actually want to show you all the way through how we correct in this whole, I think it's a very well one of the most important parts of the whole scene, of course, because it is a central point I'm trying to do is just make sure that it's not jagged and it actually flows around. Nice. Like social got a nice flow there nicely. And you can see this one's not quite as rounded and that's how it needs to be. So now let's come to this one. What we'll do is we'll put this I think round here because we need to actually round this off a little bit and we might need to put another edge loop in there as well. Gee, all the way through. And just get that nice flow. Going through. Not too jagged on these bits as you can see. Just don't forget to press G or she will end up moving one of the vertices and leaving the other one behind. Once we've done this will actually work then on getting this pit Correct. As you can see, it does take a little bit of time, is a little bit fiddly. I'm looking where I need to bring this one. I think I need to bring this here a bit closer this time, and then we'll drag these in altogether just to make it a little bit easier. Four rows. I'm trying to keep this quiet parallel to this one that I've brought him here. And it's all about the flow on this part of our actual Boat. Just making sure the Planks flow nicely incorrectly. Alright, so now let's come to this and I think I'll drag all these over, actually. Grab all of these. And then I'm going to press G. And you can also actually put it on the axis. So if I press G and then why? You can see I drag it across and it actually comes on the axis. That's exactly what a one. Now I'll work on this side and I'm going to follow this all the way up to here. So G, Let's do the same on this one. Where that plan cans same on this one. And you can see that there's a little bit of a kind of angle. I don't really want that. So I'm going to make sure that I actually grabbed this and make it nice and smooth, like so. And you can see I've brought that one out of the same time. That's not what I want. So it's going to press G. And I can bring this one, maybe in just a tiny bit. And as I say, it's really worth just taking your time to get this really, really nicely done. Because in the long run it's going to make things much, much easier, make it look much, much better. Alright, so let's put that on the end of their. And now we need to do is I need to work on bringing these up. Now I can't see that I need to bring these quite a long way over. So let's do this. One will see that if we need support any more edge loops, which we probably will, because these actually a based on where the Planks award end and where they begin, which we will come to once we've finished during this part of the boat. Bring this will not bring this one. Hope as well and keep that nice flow. Now let's do the last part of these, at least. I'm going to bring them somewhere like that. I think this one just needs going down a little bit. Like so. Two more. Like so. Alright, so there we go. A nice way you're looking at. Now if I just press tab and come round, press zed ban, go back into solid mode. You'll see we've got something like this. So you can see it's really starting to come together. Now, the next lesson, what we'll do is we'll bring these bits, so, and then we'll bring these parts in. And you'll see that's really starts to come together and start to look like an actual Boat. Okay, everyone, I hope you enjoyed that and I hope to see on the next one. Thanks a lot. Bye-bye. 5. Finalising the Hull Shape: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left it off. So now what we need to do is if we press Z again, go into wire-frame, press three on the number pad. This is where we got to. Now, obviously what we need to do is we need to, if we look, we need to bring this up and actually create this top bit. And you can see that we're going to need and over edge loop along here. So let's bring that in. Now. What we'll do is we'll press the top will press control law. Left-click, drag it along and left-click again. And there you go. She'll be able to put it in place. Now, just make sure that it's actually following along and it's nice and smooth. We can see here, although it's not quite on the reference, it's still nice and smooth and that's exactly what I'm looking for. Now we need to do is you need to delete the top part of the Bow just to make this a little bit easier for us, there is four press Z gone solid mode. So I'm gonna do now actually is I'm gonna show you how you can select different parts of the faces or an easy and quick way to select hole roles of the mesh. So you can see here I can select one, I can shift select line going along like this. And I can also then select one and then control, select the last one. So you can see now they fills actually all this lightning. So you've got two options there. You shift select, you can press control and left-click, and that'll select all the ones in-between. And you can also press Alt shifting clip. Now it's important when you press Alt Shift and click that whichever direction you want to do. So from one to go around here, I'll come down to the bottom of here, hold Shift and click, and you'll sit, select them going all the way around. Now if I wanted to select them going the other way, all I need to do is I need to come to the direction of where I want them to go. So Alt, Shift and click, and that'll the select them going all the way around here. Now we know that it's pretty much a case. I've selected this one here, control select and the other one, pressing Delete. And when you press Delete in edit mode, it'll actually bring your menu warp. And then there you can come down and select any one of these, but the one we're going to select its faces, and that's going to leave all those faces four rows. Now I'm going to do is I'm going to press three again, and I'm going to come back to my actual Boat now, the presses that button going to wireframe. And what I'm gonna do is I'm going to select all of these here and bring them up. So I'll come in to vertex select and then I'll press be, grabbed these two and then be again, grab these two. I'm going to do is I'm going to zoom in a little bit. I'm going to press the E and pull them up. Well, that's gonna do is it's just going to extrude them up on the actual Z axis. Now let's come into this one. Just make sure I'm just trying to make sure that that line is being followed. Okay. I think the problem here is that I just need to pull these up a little bit. You can see it's a little bit too straight here. So I'm going to do is I'm going to bring in another edge loop. So Control Alt, left-click, right-click, and then up pops it right in the center. And then I'm just going to bring this one up a little bit and move these across. So you can see that we rarely now starting to build it up and get it to go into the flow that we need it. So again, I'm going to grab all of these and then G, and then just get a nice flow. Can see here that I need it perhaps to come a little bit round here. Now, what's missing that open a little bit. What's making it hard to view is that these aren't straight. So I think it's actually better to come in and grab these ones first, put these in place. And then when I'm much better idea of the actual flow of the Planks of what you can see that one's nice and straight, that one's nice and straight. And then we're just got this one. Let's put it in place, something like there. And now I can actually start looking at this flow here. And I can see that these perhaps needs to come over a little bit this way and the same for this. So the Floor one here is quite nice. It's just these two now I need to bring into place like so, let's solve them flowing a little bit rounded at the top. There we go. Alright, so now let's do the last part. So I need to basically bring this up to here. Now you can see where this one is. It's a little bit out. You can see also that this one is also a little bit out. So I can actually put another edge loop in here and user. So we'll do that. I'll make it a little bit easier rather than moving all these around. So control law, left-click, right-click. And you can see now it lines up perfectly with this. Alright, so now let's come in. And what we'll do is we'll come in again, make sure you're on a vertex. Select them will come in, grab all of these. Like so. And the moments do is Unwin's press E that bring them up. And I'm just going to pull them across just that way a little bit, just to get that nice flow. Alright, so now you can see that this is a little bit out. So let's press G just to make it a little bit smoother. Alright, so what I'm going to do now is I'm going to actually come in with my edge like this time. I'm going to select this edge, this edge here. Let's say that one off three again. And then long-range do is I'm going to pull this up, someone's press E, pull it up. Now you can see that it's a little bit out and these two aren't joined together. So let's solve out now. So we'll come in again to vertex select, select this from the texts here. Like this second one here, right-click. And that'll bring up another menu for you. And then you can come down and you have Wong and that's called merge vertices. And let's merge vertices at the actual center. And that then we'll merge both of those in the center. Now let's come to the other side and do exactly the same thing. So right-click merge, that says that center. Now we don't really need to focus too much on this side because we're actually going to mirror this in the end. But for now, it's just easier just to do them both for the same time to get an idea of what we're actually looking out. Now, let's press three again. What we need to do now is we need to come in again, be, and what we'll do is we'll bring these down. And now finally, all we need to do is join these two together. So you can see this edge here with this edge here. So let's come up to edge select. Let's do these backgrounds. So we'll grab this edge, Shift, select this edge, and then all you're going to do is press F. That's just going to fill in a face for you. Now let's do the same thing on this side. So grab this one and this one, press that button and that's filled in. Now find the wanting to do is I just need to go over the top. What I'm looking for is just to make sure that they're nice and even on both sides, which they seem to be. Alright, so that's looking really, really nice. Now what I can do is I can press this Add button and go into solid. And now I have a better idea once a press top of what that's Bow is actually looking like. Now what we need to do is we're actually need to work on bringing these in. So bringing them in altogether and making this nice flow and making it rounded like an actual lab boat. What we'll do is we'll press one and what they'll do is that'll take us into the front view, press the Tab button, and now we can see what we need to actually bring it. So let's come up to our Edge Select again, I'm going to press Alt, Shift and click. And that should take us all the way around. So that side, all the way around to that side a. Now you can see the only thing we've not got is the bag. But because we've come all the way up to you, you'll see when I press S and X to bring it in, that it actually brings those in like so. And it brings them in quite even now because we're going to have a piece of wood going up here, we need to make sure that this is relatively even and the world actually covers it. So in other words, we don't want these to be too far apart. Those process the next, bring them in a little bit more like so. And then that's come in and grab just this one. Press S and X and just bring it out a little bit just to make it. Even with that. Now if I press one on the number pad, you can see now that it starting to take that shape of an actual boat. So let's come in now to the second part. And what we'll do is we'll just minus this one off because we don't want that on. You can see we've got all the way going around the back and we don't need that either. Press one again, S and X, bring them in Light. So now we're going to have to fiddle around with this little bit because obviously as we work our way up, it needs to come further and further out all the way up to give us that nice shape that The Boat should be. So I'm just going to play around with it a little bit. So I wanted to come in like so. And actually this time I'm going to do is I'm just going to leave these selected, so S and X and bring them in. Same again. Next one is Annex. Bring them in. Then just gonna keep working where you live. So you can see here I've gone a little bit in because we want a nice flow where it goes all the way up and only straightens slightly right at this top part. So again, that's an X. Bring them in. Now you can see we have god problem here when I brought those in because the cutoff point is there. So I'm going to press Alt, Shift and click. And that's then it's going to select all of these all the way around. And I don't quiet one that I need to deselect all of these edges here. Now the way I'm going to do that is I'm going to press C, and that is going to bring in a circle selected. If I press C, you'll see a little circle up here. And now to select things you left-click and to deselect things, you press the middle mouse bone. You can also make this circle very, very big by using the mouse scroll wheel. So I'm just going to go along like so. And I'm going to de-select all the ones now to take the so clop, all you need to do is presley right-click and that will remove it. Let's now deselect these ones here. Press one again. And now we're just going to bring this in just a little bit more. So you can see that on the next lesson we've got a fair bit of work to do just to get this actually going into the right shape. And then what we can do is we can actually start work on split in this photo and then creating our plants. Okay everyone, I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 6. Outlining the Wooden Planks: Welcome back everyone to Blender 2.9, design and render a stylized water scene, and this is where we left it all. So what we really need to do now is we need to carry on working and getting this to be a really, really nice flying boat. You can see here, it's not quite a bit chunky going round and we need a much, much backflow. So it will start with, I'll come down to this second link here and try and bring this one in a little bit. I want to press one, the number pad on a grub, this Alt shifting play, bring it in with S and X, just bring it in a little bit more like so, then carry on working my way. So we get a really, really nice flow bringing it in. Now what I don't want to do is actually bring it in too far or not enough. So it's important that we just take all time again and make sure that this is done correctly. I'm using the CBO and again, just to take those off now, press one and then let's bring them in. So S and X. So what I'm trying to do here, as you can see, it's got a nice flow going up. It's not straight yet. So as we get more to the top, so we'll bring this and so S and X, like so. And then finally, the top part, S and X, bring them in so that they're nearly, nearly straight, as you can see that. Now let's press tap, double-tap the ages to deselect everything, and then just make sure that you actually happy with how your bot actually looks. And you can see there that now it's looking really, really realistic. You might want to bring in these bottom Planks a little bit more. I think I'm actually happy with them. The one thing that I would say is that these actually are going to be our planks of wood going across here. And you can see that these are a little bit thick down the bottom, and I think we need to make them a little bit thinner. Now, what we need to do to make them a little bit thinner is we can actually just put an edge loop in that. There is, I'll press Control Alt, left-click, bring it down just a slight bit, and then left-click again, and I'll drop it right in place. And now you can see we've got nice Planks Award, which are relatively the same sides. Alright, so now we need to do is you need to split these two signs off. And the reason we're going to do that is because we're going to mirror it over the other side. And that's then gonna make it easy when we've created these Planks award just to put them over the other side. Before we do that though, what we've got to make sure is that this appear is a little bit thinner than what is. Now you can see what's actually happened areas because we've not gone Angela going round here. When we bend this in, we've got a real jagged edges and we don't really want that. So let's first of all, bringing an edge loop at the front. So Control Alt, left-click, right-click. It will be absolutely fine in the center. And now I need to do is I need to bring in all of these going down to, let's say downs here. So I want to select this one, select this one. I want to press S and X and bring them in a little bit just to make sure that when we've got that piece of work coming down, that these are flowing really nice and that they're not too big. So the actual ward is going to fit it, not be too thick. If you don't do that, you're going to end up with a massive piece of wood going down and it gets much, much thinner going all the way around, then it's really not going to look right. Alright, so now we've got that. Let's split this up. So what we'll do is we'll come to the barracks. I'll select the top one. Controls like Baldwin and display. What I'm going to do is Unwin's press the people and click selection, and then we'll split that all from the rest of this Mesh. Now let's come to the middle part of it. I'm going to select this part. I'm going to control select the back part here and that then we'll select that line going all the way down. Then I went to press Delete to bring up the Delete Menu and click faces. And now you can see that we can basically if I come in now and press the L button, which selects all of the mesh that's actually attached to the piece of mesh that I actually press L over and I can simply press Delete now, come down to where it says faces and delete those out the way. Now, don't worry, you'll actual Ship will be looking correct once we've brought in a Modifier. So now what we're going to focus on is getting these Wooden. And now we're gonna do that is basically we can make Planks award wherever there is an edge loop here. So on this one, I'll show you what I mean by this one. If I come in and I grab this one here, let's say, and I grab it going along here. Like so I'm just selecting these going all the way along all of the edges like so. Now what I'm going to do is Unwin's press right-click. I'm going to come down and I'm going to mark a shot first and you'll see, you'll end up with a blue line going all the way around. Now we will discuss what Sharps actually do a little bit later on in this lesson, but for now, just Margo Sharps. And then the next thing you're going to do is right-click. You're going to come down and you're going to actually mocked Seams. Now why the seams are important is because if I now come up to my face select and I want to jaws grab this island. I can press L and it will only go up to where this actual seem ends. It won't go any further. Now, if you see, if I come round and press L on this part of the Bow, you'll see it grabs everything up to this same. And this is why we're actually marking. Seems like I said, let's mark the seams and then we'll explain also why HR actually marking shops as well. So let's now come in and actually make some more edge loops because you can see here We're going to have a problem. Basically this is a plank of wood and then this is a second plank of wood. Now you can see that we've got really, really a lot of distance between here and here. We're going to actually mark just a few more edge loops just to make it a bit easier to where actually I want my planks of wood to M. So if I press Control Alt, left-click, right-click, drop that in the middle. Control law, same on this one, same on this one, and the same on this one. I'm not then will give us a lot more actual edge loops to actually work with. So now let's come in and what will there's one more call Seams going all the way along here. So right-click, mock scene, right-click mark shop. And what I'm going to do first, I'm going to come down and mark my actual seams and Sharps going all the way around the edges. Also, I actually want to actually work just on this boat. I don't actually want to work on this part here. So what I'm going to do is I'm going to press the top. I'm going to select this part and I'm going to press the question mark, which is near the Ship button on your keyboard. And that's then going to isolate it out from the rest of the mesh so we can just work on here. Now when I press tab, I can actually see what I'm actually doing. That we'll do is we'll come in and we'll control, select this one, and then controls like this part. And then right-click mock scene, right-click mock shop. Now we need to select the next rung down. So select this one and control select this one, shifts like this one. Control select and just shifted selecting control select him and just working my way down all the way along, just so I can mark my seams and my Sharps. Now at the moment, you can see that we can't see where our Sharps are. So if you want to actually see if they're actually more correctly, come up to these two little interlocking circles here, click the down arrow, and then you've got an option here where it says Bevel seem Sharps increases, Cheney seams off. You should then be able to see where all the shops are. And you can also turn the Sharps off as well and just see the actual seams. So that's an easy way just to show you how to actually see them. Now, these actual seams and Sharps represent our planks of wood. Now, you can see on the reference if I bring that back in, so I'm going to click Tab and I'm going to press question mark. Then we press three on the number pad. And you can see here if I press wireframe, that Planks award the very, very close together. So if I press age and height that you can see that the very, very small actual Planks award, I think on this Bow actually, it's going to look better actually if they're a little bit longer. But of course it's up to you how long ago, how short you want to make your Planks award. So you can see that from this reference, that all seems a basically where one Plank reward ends and one plank of wood stars. Now that's, now that you understand that it's going to make it much easier if I bring this back. So I'll just hit it with HBr and to bring it back one we're going to do as and when it's press Alt H and that then he's going to bring it back. Now I'm going to do is I'm going to move round, press the question mark just to isolate it out. Again. Press three on the number pad, press the Tab button, and now I'm back to where I was. So now let's bring in our planks of wood. So think I'm going to want one plank of wood here. And then we're going to look where I want the next one. So here, I don't think a particularly want it here, join in here. So I think I'll click on this one, this one, this one. Then I'll work my way down. So where do I want this one I think here, even though it's in line with this one, there's still a space here as you can see. And I'm just going to work my way along, clicking where I want my Planks award. Think that's fine. So let's right-click Maxime, right-click, more Sharps. Let's work our way down here. Yeah. Here. And I'm thinking are longer want this one. And if that one will be fine, I think that'll be is that too long? That's the question and I need to ask myself. I think actually I'll be fine as long as I put one here. And then I'll just went away along again. Like so. And actually, yeah, we'll have to have one here, put one here. In fact, we will actually just mix it up a little bit going down the bottom. So something like this. And then on the bottom one, then on the bottom one. So this point here. And hope to hear. So right-click, mock shop, right-click and marketing. Now let's press Add and go back into solid mode, and you should end up with something like this. Now why we mount the Sharps is that if I press Tab now, you can see that this is pretty lumpy if diverse, right-click and actually come into the smoothing menu. So I click shapes move. You can see now it's all shaded smooth. Now if we come over to this little triangle on the right-hand side, click on and then comes where it says normals, click that down and then click Altos move. Now you'll see that although Sharps that we've actually marked or majority of them, I've actually come in now and you can only see the parts are actually marked sharp. Now you can see there's a little bit of discrepancy here. And here, for instance, is still round-off bought. When we've actually turn these into Planks, you should end up with a very, very flat surface where they need to be. And that's exactly why we mark the Sharps. So on the next lesson, what we'll do then is we'll start to bring these Planks out and actually make them look like Planks. So I hope you enjoyed that everyone, and I'll see you on the next one. Thanks a lot. Bye-bye. 7. Finalising the Planks using Modifiers: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left it off. Now, if I press Tab, you'll see that we've basically got all the planks of wood basically highlighted, but there's still actually together. So if I grabbed, for instance, this part with out and try and move it around, you'll see it's actually connected to this part and we really don't want that. So what we're gonna do is we're going to press L and that will select the actual islands. So in other words, all of these phases actually together. And then I'm going to select one that's actually split apart from this one and just go along like so, work my way down. And why I'm doing this is actually to split them up from each other. So now press Y and then I press G. You'll see that these are actually split off. Right-click, drop them back in place, and then we're going to press H, and that will hide them out the way. Now let's come to the next one. So it's L where my way down like so. Why gene just to make sure the split right-click, hide them out of the way. This is a very quick technique just to split up all of these planks of wood. Let's work our way down. And then I'll press Y G, right-click. And this time I don't need to run a mile away because you can see that all these planks of wood now are actually split off. So I'm going to press this all takes to bring everything back. And now all of these planks of wood, no malware split, pick them. So for instance, this one shadow, the split off which they actually are. Now we're gonna do is you're going to press a to grab everything. And we need to pull these planks of wood out now just to make sure that they actually looked like planks of wood and not 2D planes. So now I'm going to do is I'm going to select them all. I'm going to come up to my little links here, click the down arrow and put it on medium point. Well, that's going to do is it's going to make sure that when extrude them out, they're all going to be extruded out in the same direction and not on an individual basis because we don't want that because we'll end up with a little bit of a mess. So I'll show you what I mean when I press E. Now, you'll see that tries to pull them down at that angle and I don't really want that. So I'm going to do is I'm gonna press X. And you'll see now that's going to if one angle press the export and again, and now you'll see that we can pull them out on the x-axis. So let's pull them out like so what you wanna do is you want to pull them out till the far enough out to look like actual Planks. And you're actually happy with the actual thickness. Now, if you mess up and Yam pulled them out far enough, just use the little red ROE, which is the x-axis, just to pull them out a little bit further, all a little bit thinner. Now I want to do is we need to make them my actual Planks because if I press tab, there's still actually look the same. So let's press Tab. Do not deselect them or anything like that. Just makes sure that you've actually got them selected. And then what you can do is this time come up to your little interlocking links, click the down arrow, and this time we're going to prey on individual origins. And then what we can do is if we press three now and we press S and Y, you can see that we can bring them in and make them look like planks of wood. Now if we don't pull that on, you'll see that I've come to medium point. It will pull them from this middle point here. So I thought process and why you can see that it pulls them all together. And that is why we're actually put them on individual origins. So now if I press tab, you can say that they really, really starting to look now like actual planks of wood. Now you can also say that we've only pulled domain on the actual Sides. So if you press Tab, press three again, and this time we'll press S and Z and just pull them in and you can see that they're all being pulled into the medium point again, nice, because I just need to put it on individual origins. Essence that pulled them down, press the top board and 90 come rarely see they're starting to come together. Alright, so you can also see that what I was talking about with the Sharps, you can see that the nice and smooth going all the way along like this. And they only sharp edges on where the actual planks of wood actually join up. And that is exactly what we wanted. Now you might want to put an, a sharp edge in here. So if I grab this edge here, for instance, right-click, come down to mock shop. You can see now that you've got a sharp edge in here. I don't actually want in there. I do want these pieces of wood to be a little bit rounded. So I'm going to do is I'm going to press tab and just press Control zed and just get rid of that. I think I'm actually very, very happy with this. Alright, so the next thing we need to do is you need to bring this back part in and actually isolate this out. So just needs press the question mark just to bring that back part. And we're gonna do exactly the same thing as what we did with the side parts. So I'm going to press Tab, I'm going to grab all of it. So I'm going to press L. I want to press right-click, come down to mock scene, right-click, come down to Mount Sharp. And I want to split this off, so I'm going to grab every other one of these. Press the Y button, press G, right-click to drop it back in place. And you can see now they're all split off a, and this time I'm going to extrude them out and they should extrude out all in the same angle. Dina's there are all pointing this way. So if I press eight, pull them out and you can see now that they've pulled out in the same angle, and now I need to just bring them down from each other. So I'm going to do is I'm going to press S and Z, but I'm going to make sure that I'm on individual orange origins again, essence that bring them down. Press Control, want to go to the Rear, press the Tab button. And now you can see they're looking at actual plants would, albeit a thing, maybe a pulled them a little bit too far apart from each other. So I'm just going to press essence add, just bring them a little bit closer, like so You'll notice that the movements all for this is over here. That is because the orientation of these is not been reset. To reset that, there's two things you need to do. The first one is you need to press Control a and come down to H, says all transforms. The reason for that is because basically Blender still looks at this as an actual cubed. Now, when you're working on something that's very important, that we reset the transformations. And I'll put down An Example Explanation down here just to make sure you understand what's actually happening. But I will quickly also go through it when we bring into Q. And we also the cube shape Blender doesn't know that we've actually altered the shape. So when you bring in a Modifier or something like that, Blender is still working off. It's an actual cube. So that is why when we press Control a, we can reset all the transforms. That's the rotation, the scale, and where we've actually moved it to and things like that. You will notice when you do that, the orientation always gets set back into the world, the middle of the world. And then all we need to do is right-click and that will bring us to the set origin. So if we come across Set Origin and we set it to the geometry, that then we'll set the orientation to this geometry. And now you'll see the movement tools back. And if a scale this with S, You can see that scale it from the actual center of this Mesh. Now I want to do isn't just want to pull this back a little bit just to get it into place. And if a double-tap the a, then you can see that now it's looking really nice in place where it should be. Now then what we're gonna do before the end of the lesson is we're going to bring in our First Modifier because of the Bowman. These look nice and all that. Well, the problem is that, well, basically to shop in the real-world, nothing is actually the sharp, nothing has such a sharp edge. So let's actually create all devil on these. So what we're gonna do is we're going to select this one first. And I'm going to press Control a. I'm going to reset all the transforms because I'm bringing in and Modifier. I want to right-click and set my origin to geometry. And now I'm going to do is I'm going to come over to this right-hand side where the spanner is, click on it and then come to add, modify it and go down. And what we're going to bring in is a bevel modifier. It wants to bring that in. You'll see that really starts to bevel it out, albeit way, way too much. So now let's come down and just turn the limit method down to angle. And you'll notice now that makes them all nice and smooth again. And now we really need to turn down the amount of the actual bevel because we can even see through this at the moment and that's something that we don't want. And let's turn this down to something much, much smaller. So we'll click on it and then we'll put naught point, naught, naught, fine. And there you go. Now you can see that leveled off while the Babele dot at a low level. And they actually look if a double-tap the, a light Planks award. And we really can't see through this to the other side, which is really, really important. So we've got the bevel, which they still look stylized, but they actually look realistic now much more realistic than these pieces of wood here. So now let's click on the back piece. And again, we've already reset the transformations. We've put the orientation back in place. It's now we need to do is come over to Add Modifier and bring in a bevel. So I bring in the bevel and then Walgreens do is exactly the same thing. I'm going to put this on angle. And then I'm going to turn this down to naught point, naught, naught 5% bond. Double-tap the a. There we go. Now the reason why I didn't join these together and actually use the bevel on both of the same time is because on the next lesson we need to mirror this over to the other side and then pot the actual piece of wood that comes down this from and down the bomb on. So I hope you enjoyed that one everyone, and I hope you learned a lot and I'll see you on the next one. Thanks a lot. Bye-bye. 8. Creating the Bow Mirror Modifier: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left it off. Now, what we need to do, we've done our oil beveling, we've done all our Planks and everything like that. We now need to put this over to the other side, mirror over the other side. And the way we do this is basically by using, first of all, our cursor. Now, if you shift right-click, you can actually put the cursor anywhere you want. And then what you can do is actually move objects to the cursor. You can also move origins, which are these points here also to the cursor, I'll quickly show you that if I grab this Boat and I press Shift S and come over to selection to cursor that then we'll move where the origin is to the cursors. Let's just go back. Now. If I move my cursor to the middle of the world, that is the easiest way to actually do this. So Ship S cursor to world origin. And then what we can do is now we can actually put this origin in the middle of the world. And then what we can do is if we press seven on the number pad, you can see then we can mirror it over to the other side because the mirror is actually based on the actual origin of the object. So I'm going to press right-click now, set origin to 3D cursor. Now what we can do is we can come over to our little spanner and we can actually bring in a new Modifier. And this time we're going to bring in a mirror. If I click on Mirror now, you'll see it gets married over to the other side. Now at this point, this is where we need to check to see how actually close together these are because we don't want this piece of wood to be absolutely huge. We might have to bring these pieces in a little bit. So how are we gonna do that? Well, what we're gonna do is we're going to come and press Tab, and then we're going to press a. And the reason we're doing it in edit mode is because then we can move them both at the same time. So I can just move them that little bit closer like so then all we need to do is just make sure that these backpacks are also in the right place. So I'm going to press Tab, grabbed the back, and then I'm going to press S and X and pull them in just a little bit. Now we've got a piece of wood that's gonna be going over the top of here. So we don't need to worry how these are actually a little bit higher than that. So now we've done that, what we need to start on, it's actually the piece of wood that's going to come down the center point up here. What I'm going to do is I'm going to bring in a cube. So shift a Mesh, bringing a cube. And now let's shrink that cubed down with S, make it smaller. Now let's bring it up and try and get into some kind of place. Obviously, it should be in the middle. So that helps us a lot. So now let's come in to the top. I'm going to make it just a little bit higher than that. And then we're shrink it down on the Y, so X, Y, and then pull it out. And then let's see how actual wide it is. So you can see that it's not quite covering where I needed to. We still got little pieces here and we don't really want that. So I'm going to do is press S on X, pull out a little bit, so it's roughly the right size. Now think how this is. At the moment, the width of it, I mean, is about right. So let's now pull back this bottom part of it here. So if I press tab, come into face, select, grabbed the bottom face, I'm going to pull it back. So it's roughly about the same as it is the top. So you can see we've got a nice angle going on me. If I press three, then I'm going to a better view of how the angle angle is. So now we'll need to do is I can press E to extrude it down and then I can pull it back like so. Then E again, like so pull it back and just keep following this down, making a nice curve going all the way down. So you can see here that this curve, sorry, this edge going all the way down, it's pretty much the same. So in other words, what I mean is, I can pull this right now and I can then pull it all the way back into place, like so. Now we can see that we've got a little bit of a lot going up there, and I actually like that there. But if you don't owe, you need to do is just Command Alt, Shift and grab the edge loop, go round and then you can pull it out. So this is a little bit long and I need to pull this up a little bit. So I'm gonna pull it up a tiny bit like so I'm going to do is I'm going to look how much of our actual thickness. I want the actual piece of wood to come this way as well. We can also see that on the front that there is a possibility that we need to make this thinner as well. So we need to take that into account. So what I'll do first is I'll bring in an edge loop down near the bone. So I'm going to press Control or left-click, pull it down, and then left-click again. And that then is going to bring me my piece of wood from here. So I'll just show you what I mean. I'm gonna come in with Face Select three on the number pad and I'm going to press E, and you'll see it goes up a very, very weird angle. I'm going to press Y twice, and then I can pull that along on the y-axis. And then I can pull that down and start putting that into place. Now, we do, as I say, have a little bit of a problem with here. It's actually much, much too thick as it goes down here. So I'm going to do is I'm going to bring in a few more edge loops. So control law, three, left-click, right-click to put those in the center. And now I'm going to see what I can actually get away with. So I'm gonna come to the first one. I'm going to press S and X and pull that in a little bit like so. And you can see there, it just starts to creep past the actual edges of these plants that I don't actually want. I want them to be right up to it, so I want to work my way down like so. And as you go further, Daniel, see I'm able to pull them much, much further in so that one's okay there. S and X, pull them in On the same here, like so, and then the same on this one. So S and X, like so. Now we're going to this one here. And I'm going to actually grab these two on the bottom. So if you look, I've got this one and these two here. When I press one to go into front view, I want to press S and X and bring that in like so. I'm going to bring it into there. And then I'm going to actually probably put another edge loop in here, just didn't hear. So control law, left-click, bring it down a bit. And then I'm going to grab this one round here and grew up the same ones I grabbed before. Press one of them upon S and X, Bring it in a little bit. Now I'm going to bring this one out on its own. So S and X, like so. Now I just need to bring in the bottom of it so I can press Control seven once I've grabbed the actual phase. So grab this face here. Control seven. As an ex, bring it in. Like so. Now the finally while wants to do is I just wanted to rotate this round a little bit to make it a little bit more even. So if I press three on the number pad, you can see at the moment it's actually pointing this way. So let's say spin this around and I'm going to press all an axis time. Just spin it around a little bit, just to get it roughly in the right angle where it's going to go. Of course, we will have to pull it down a little bit for at least it's in a better place than where it was before. So now let's press E, and as you can see, we're pulling it down this way now. That's fine because then I can just lifted up like this and just pull it out. And what I'm trying to do is actually gave the same even notice all the way along here. Let's work our way along. So E again, pull it up. Like so. And you can see we've got a little bit of a bend here as well. I'm going to pull it up a little bit more than one, press E. This one's going to be a little bit shorter. And I'm actually going to rotate this round, ready to go back there now. So our next rotate it round, press E, pull it down. Like so. And then E again. Pull it down. I think I need two more on here. So let's do 21 there. Then one more. So I'm going to have it poking a little bit out of the back because we're going to put some would go in up here as well. So there we go. Now, let's see if we've got the correct width all the way along. So I'm just going to do a test and when to come in. I'm going to grab this one here with Alt Shift and click. I want to press Control seven, press S and X and bring it in. I'm just checking to see if the widths that if I put this there, you can see that these are where the Planks would end. I do need it up to there and it's going to be the same all the way along. Alright, so last thing I wanna do now is actually bring out a piece of wood just in the center of here. So I'm gonna do is I'm going to press control law. I'm going to press two on the number pad, left-click, right-click. And then when it come down, grab this top face. And I'm going to Control click the last phase like so. And then I'm going to pull it out with E, extrude it out like so. Then all I need to do now is just pull this out a little bit just to get that nice angle that we want. So you can see that here. If I press three, that this is much, much thicker. This one here, then this one here. So we need saw that out. So we'll quickly do that. I'll grab this face here. Control-click this space here, press three on the number pad. Pull it out a little bit like so. And you might also want to pull it up just a tiny bit. If you do do that, just be aware that this is actually shrinking here and you might need to just pull this out. So I pulled it up a little bit and now come in and grab this bottom edge three, and then just pull it out. Just a tiny bit. Like so. So let's have a little that looks like, let's say press Tab bonds, go into object mode, double-tap the a, and I'm very happy with that. So what we'll do on the next lesson is we'll start marking our Sharps on this will also mark a scene just to make it easier so we can splay up. And we'll try and put the actual top of this edge on our whole. Okay, everyone. So I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 9. Creating the Plank Cover using Solidify: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left it off. So now I think what will work on is the piece of ward that go around the edging of the top of the Bow. And then what we can do, it can work on the edge and that goes around the back. And finally pull that altogether. I'm putting the floor so that's the way we're going forward. So what we'll do first is we'll make sure our cursor is to the center which Shift S, cosets world origin shift a, and we'll bring in a plane. Now, there's a little trick that you can actually use. You'll notice when I pull this across to this side, that the center of origin actually comes over with it. Just go back though and actually press the Tab button in edit mode and pull this over to the side. You'll see then that the actual origin stays in the center. And that's a good little tip because what you can do now is you can make it smaller and then we can come over. So if I press tab, come over to Add Modifier, so you a little spanner, add modify, bring in a mirror. And then it's going to pray, obviously at the opposite of where the origin is. It's an easy way to actually bring in your Mirror without actually really doing a lot to prepare it. Now let's press top. And what we're gonna do is going to bring this up. I'm going to press seven on the number pad. I'm going to bring it into place and obviously make it much, much smaller. Like so. What we're going to try and do is make sure first of all, four, press three. That is actually above this line here, this top line here. And we're going to build it all the way along here. And then finally we're going to start to put it in place. The reason why I'm using the plaintiffs because we actually want to extrude this out to give it some thickness. And using a Modifier called Solidify makes this much easier. So now let's go over the top and what we'll do is we'll start over this side and we'll join this up in the end boat to start with. I'm just going to get into some kind of place and then rotate it around. So I'm going to press S and X and just make it a little bit thinner for now and then all and zed and just rotate it round and just see what that looks like. Now you can see at the moment is probably a little bit out of place. I'm just going to bring it in a little bit like so. Now I recommend if yours is not in the right soil, plays, come over to the edge, select, grab an edge, and then you'll notice that it's not actually pointing the right way. If we come up Low to our global button here and click this and go down to normal. You'll see now that able to pull this based on the direction of this actual edge. So that's a really, really helpful tip. It's also helpful as well when we want to actually pull this out now. So you can see, I need to pull it out here. And then once you've done not just come back up to where it says normal. Now, click this on. It's called transform orientations and put it back on global. Now it wants to do is actually wants to extrude this out to here and just kinda follow this line going along. So I'm going to press E and Y, pull it out and then pull it across like so. Now you will say as well that we do need to rotate this round as well. So I'm going to press all I'm rotates it around and then pull it back and try and get it into some kind of place. Now what I'm always aware of when I'm doing this is trying to make this the same thickness as this part here. So if I press S and X now I'm going to pull it out just a tiny bit, just to cry and try and get it the actual size. Now the thing is it's not going to be exactly the right size. And that is because we rotated it round and it just shrinks in a little bit. So just be aware of that. Then we're going to do is I'm going to press E, Y and bring it out again. I'm going to pull it to here. Then I'm gonna do the same thing up to this point. So E, Y, pull it out, pull it across, like so I'll pull it back and then I'm just going to rotate it. So I'll rotate it round a bit, pull it back. And if you need to, then just make it a little bit thicker with S and X is pulling out a tiny little bit like so. Alright, so now let's come up to this point here. And then obviously we need another point here. And we're not going to drop it down yet. We're going to actually just put this in place first and then finally drop it down. So E of Y, pull it out again. Pull it over. And you can see I've got to rotate it round, so all zed or rotate it around like so, try and get it the actual same as angle as this one here. So you can seem a little bit outlet, so I'm just going to rotate it around a little bit and I'm going to pull it out little bit. So SNF's just pull it out a tiny bit and then E and Y pull it out like so. And it should realistically follow that line. Now you can see it's a tiny bit. I will not enough relative to where make any difference. But you can see perhaps when a pull this down, I might need to pull it more to the left. It's easy to see once we've actually Solidify this and got these in place. So don't worry too much about that. Just a moment. Try getting them in the right place. Now, let's pull it all, Let's say to this point here, so E and wide pull it up. And then let's pull it in place. Like so. And that's also rotates it around a little bit. So I'll zed, like so, then that's come up to this point here. You can see it starts to bend there, so even wide, pull it up and then E Y again. And I'm going to actually pull it across just a tiny bit, rotates it around a little bit. So I'll zed and then pull it up to there now, so E Y over like so. So now let's pull it to this part. So E, MY Pulitzer here And then E and Y, pull it to the back. There we go. Now they're all in place. Now let's work on actually getting them to the actual right height. So I'm gonna do is I'm going to grab the front of it. First thing I'll grab all three of these press three. I'm just going to bring it down, Jill. So it's actually just resting on top is where once it, so I'm just going to slowly work my way along now, just bringing it down. Okay, so let's work our way along now. And what we'll do is we'll pull the next one down. This one. And you can see here that I need another edge loop in here. So control all left-click, right-click. And now let's pull that one down. Like so. Now let's come to this one. Get it into place. Now this one all the way down to the bottom of their Finally, let's see if I can pull all these down at the same time. So three. I'm pulling this one down to the top of here. Now I'm gonna go back and just take my time and just get them. So the lion just on top of the boat. So three. This one. I'm going to show you this technique. You'll see it's a very quick way of actually putting this together. And you can see as well that we need another edge loop here. So let's put one in. So control law, left-click, bring you along a little bit, three, bring it down. And now you can see that near enough, they're actually looking really nice. This pit, it looks like it's not quite right, so it's sold out quickly, so bring it down a little bit. And what I do, I want to make sure that it's not too lumpy. So you can see it's a little bit lumpy and I really don't want that if a wants it so that it's more of a actual edge go in there if you can see that. Now let's focus on the front. Now to join this frontal, what we need to do is you need to come over to our Mirror Modifier and we've got an option here called clipping. If we click that on now, I'll show you what that dose if we come in now and grab this that is here and we pull it in, let go, try and pull it away and you'll notice it won't pull away. And that is because clipping is on, it means that joins them together. Any vertices that interact with each other in the center where this Mirror Modifier is. If I click it off, you can see now that can actually pull them away. When a try and join them up without the, you'll see that they just go through each of them. So let's click that on, bring them together. And now let's do the same for the front. So I'm gonna have to bring them together and then I'm gonna have to pull them out to get them the same length as well. They all down there. So you can say I need to pull this one away a little bit like so. You can also see that probably gonna have to lift these up, all pull these down depending on how thick we're actually going to have. All Solidify on here. And let's actually apply our Mirror Modifier. So let's hover over it and it's a play, you just press Control a and that will apply. You can also apply it by clicking this down arrow and click and apply. Okay, so now we've got that in. Let's press Control a and we're going to reset all the transforms. We're going to right-click then set origin to geometry. And that's going to pray it bang in the center there. Now let's add in our next Modifier, which is going to be a Solidify. So add, modify, come down to Solidify, and you'll see that it gives thickness to these pieces of wood. Now, let's go the other way to give it a bit of thickness going the other way like so. And you can see now that it's a really easy way of actually bringing this part to actually together. So there are some problems. You can see that this is perhaps not far enough out. The other thing we can do instead of doing that, if I press Tab now you'll notice that my actual lines are actually underneath and that's probably not the best way. So I'm gonna do is I'm just going to pick your all and I'm going to turn it the other way. So going down this way, and then I'm going to pull it down. Now actually, I can move them out from the top like that and that's, I think it'll make it a little bit easier. So what I'm doing now, I'm actually trying to look around this bit to see how much of a gap is actually in here. And if a zoom in a little bit of concedes a nice gap going down there and just making sure that it's all looking really nice. Now of course we need smooth, they saw and harden the edges. The main point of this is just to make sure that you're happy with this Wooden Paul that's going around the top. So I think on the front of it, I'm very happy with it. You might want to pull an eventual up and pull it out, making it a little bit more rounded. But what I'm looking for is going down this side and look into make sure it's round about all the same length. Can see on the back of this that this perhaps just needs pulling out just a little bit. So I'll do is I'll click on this top part now. Come round to the back and just pull it out just a little bit like so. And I've loved that looks like on yeah, I think I'm really, really happy with that. Okay everyone. So what we'll do on the next one is, well apply this Modifier will get the Sharps and the Seams done, things like that. And then we'll work on this back bit of it. Okay. Thanks a lot, everyone. And I'll see you on the next one. Bye bye. 10. Creating the Rear of the Hull: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left it off. So now let's come in and actually apply this Mirror Modifier once you're happy with it, of course. And also one shopping with the thickness. And what we can do now is just come over again and press control. Just before we do that though, I will explain why it didn't extrude it this time and why actually use this little Solidify Modifier is because if you look here, you've got an even think there's going all round. One thing though, is to know is that we must make sure that we click on even thickness. And what they'll make sure is that even on the bends. So if you look here, starts to get a bit thinner here. If we click this on, it's going to make it nice and the same all the way around. And that is why we use the Rather than extrude. With Extrude, extrude this out. You'd end up with a not as even going all the way around. So that's why we use that. So now let's press tab, make sure we're in object mode. Press Control lay over and over the Solidify. And now Base I can come in and actually mark my Sharps on here. Don't actually need to mark any seams on here because this is gonna be the same material and we really don't need to split you. All I'll do is I'll come in, I'll press Alt, Shift click on the, each of the Sides of this going all the way round, like so. And then when I press right-click, come down to mock shop. Now I will show you that the back of this, so we also want actual a sharp on here. But the easiest way to do that is select in face, select each of the faces. But this time, if you press right-click, you'll notice that there is no option to actually market sharp. That's because if you're in phase, so like you have to press Control a and then come down and click mock shop. There we go. Now although shops and malt and now all we need to figure out is where to mark Sharps going around the other part. So if I press Tab now, right-click and come up to shade smooth. Come across to my triangle and click also smooth on. You'll see you end up with something like this. Now the reason we end up with Sharps on here is because this is based on the actual angle of smoothness. So in other words, if I put this up higher, you'll see that actually disappear. And that is why it's really at 30 degrees just to make sure that doesn't happen. Now the one thing is you want to make sure that you've probably got a sharp on these parts, CVs, these parts of probably a little bit too sharp and need Sharps. I didn't. You can turn this down, but you will end up with all the problems. So you can see if I drop this down, you'll end up with a sharp there, but you haven't really got one going across it. So it's better actually to keep this on 30% and actually come in and do this manually. So what we'll do is we'll come in with our edge select Alt Shift and click on these right-click malt shop, and then just check it out, make sure you're happy with it. And then I think we'll have several log, one perhaps on here as well. So Alt, Shift and click, right-click and come down, Mach shock, like so. Now let's have a look where else we're going to need to Sharps. I think we're going to need a sharp on this bit here. So Alt Shift and click, both sides, Mount Sharp and then Alt shifting plague, right-click mugshot, and you should end up with something like this. Now let's look round here. Probably going to need maybe a couple in here. So Alt Shift and click. Like so right-click moksha. Alright, so think I'm very happy with how that looks at the moment. Maybe I'll take these away in the future, but for now I'm going to leave them on. That's the other thing as well. If we come over to our Modifier, when we bring in things like bevel modifiers, you'll notice that I try not to apply modifies unless I absolutely need to. And that is because in the future I might change something. And once you've applied to modify, it's incredibly hard to go back and actually change it without actually destroying what you've created and then recreate it again. So always, always try and leave the Modifiers On unless you're absolutely certain that you want to keep it in that way. Alright, so now let's bring in another cube. So shift a Mesh, come down to cube, and let's make it smaller. Press three on the number pattern. Let's just get it into some kind of place. I'm just going to drag it, put it in some kind of place. And the other thing I'm going to do is I'm going to click actually on my actual reference and I'm going to delete all the way. I don't actually need that anymore. So now let's press S on zed and squish it in seven on the number pad. And let's bring it out now. So S and X bring it out like so. And then SY make a little bit thinner and just really grabbed this and put it where you wanted to go. So I think I'm going to want mine. You can rotate it or you can make it for nothing. I'm going to rotate around a little bit, so all so I'm just rotate it around just that tiny bit and then pull it down in its place. And then just pull it this back, I think should be adequate for this. So it's pulling back like so make sure that it's just going in front of that little piece of wood there. Something like that. Double-tap the thing that looks really nice. Now we need these bits going down here as well. So we're gonna do basically the same thing as what we did with this part here. So I'm going to press Shift a to bring in a primitive, bring the Q. I'm going to press the Tab button, drag it across, press the S button to make it smaller Come over to IDE Modifier and we're going to bring in a mirror. So it's bringing a mirror seven on the number pad. Let's pull it back here. Let's bring it in some kind of place. Now I'm going to squish it down a little bit, make it a little bit smaller. I'm going to press Control one on the number pad to go to the back of my bot. I want to bring it up into where it needs to stop. Like so. So I want it to start just on this this piece of wood here. Like so I'm going to come to the bottom of it and actually pull this out a little bit. So control one again, pull it out like so. Then let's pull this back into place now. So just need to check to see how much further posterior wants to be. So you can see it's a little bit pastel. So let's see if that's okay. At the moment. Of course, I do need to pull it back against that. So actually goes in there and they can see that this here is maybe not out enough. So let's pull these out as well. So it will come into this part here first, press the Tab button, grab both of these and actually pull them out just a little bit like so. Then let's also pull this part out here. So Tab, come into this object, edit, pull this out little bit like so. And now we've got a little bit more room on this one to actually work with. So grab this face, pull it out. And now let's work on this part here. Let's pull it down a little bit. Then let's press Control one. And now we're going to extrude it on the zs. So E is add, pull it down, move it across like so, and then like so, and then eat and zed. Like so. Now when I have to rotate it round a little bit and then pull it out. So all why rotate it round and then S and X. Let's squish it in a little bit just to make sure it's kinda similar to this size. It might be a little bit too thick as well this, but we'll see. So now E and Z, Let's pull it down. And let's see if Wingate now to go to that bone. The thing is about the bone. We're going to have actually an engineer. So we really don't need to worry too much about these Joining up. I will bring them in together just a little bit. I'll also make sure clippings on so that when they bring in an overlap pin or anything like that. And then I think if I look around here, I'm just going to check and make sure that these are absolutely fine. So I'm gonna grab this one. I can see it's a little bit out. Come up to my global transform orientations come down to normal congeals, pull this out just a little bit like so I'm just looking now to make sure that I'm happy with this being even all the way around. I think I'm happy with that. So I'm gonna do now is going to press a top. And the reason on these while I'm actually applying the actual modifiers because I want a bevel them. Now you come bevel obviously with the Mirror Modifier on, you'll have a problem and I'll show you what that is. So if I don't actually apply this and I bring a bevel in, the one thing that we haven't reset is our transformation orientation. So it's control a resettled transforms. So now you'll see that the problem is, or could be in the future. If this is not really in the center, once you reset your transformations, it will put the orientation to the center and then we'll mess around with your mirror. So that's why it's important to actually apply the Mirror before bringing in your bevel modifier. The other thing is, of course, why we're resetting the transformation orientations to make sure that our Modifier columns on correctly. So if we can't reset it, then we can't actually bring in the bevel modifier correctly. So that's the reason why. So now let's come over to our Mirror, press Control a, and let's apply the arm. Now let's bring in our bevel modifier. So we'll click on this part here. Press Control a or transforms, write plate. So origin to geometry, add Modifier and come down to bevel. And you'll end up with something like that. Let's put the limit method as usual on angle and then we'll set them out to naught point, naught five, press the Enter button, and now we're going to work her way along and do the same thing on here. Control a while transforms, right place the origins geometry. I'd Modifier bevel. Same again, angle, naught point, naught, naught phi. Now let's do these back pieces as well. So control at all transforms right-click Set Origin to geometry. I'd Modifier level and then again, angle, naught point. Naught, naught, fine. There we go. Alright, so let's double-tap the a and have a look around and make sure that you're happy with it. So I think I'm really happy with that. I'm just looking at the front to make sure the bevels are nice on there as well. Which is, and you can see we forgot one part on actual here as well on here. Let's have a look. Maybe we might want to show up on here to make it a little bit more obvious that this is actually a part that's actually bending or you might want to keep that. Let's have a little doubt looks like so if I come in and I press Alt Shift and click on both of these parts, right-click moksha. Now let's press Tab, and I think actually that actually looks a bit bad. So let's also do that on the bottom here. So let's look where the major bands off. I would say here is a major Bend here and here. So let's right-click mock shop. Yeah, nothing that looks much, much bad. Alright, so let's do the same on the bottom now control lay, come down to all transforms. Right-click Set Origin to geometry. And now let's add a modifier. Again, we're going to add a bevel. Same thing again, angle a naught point, naught, naught, fine. Like so. Double-tap the a and apple, look round. So what we'll do on the next lesson is we'll start to actually get our actual Floor in on the Ship. We're going to bring in an actual, something we can use to make sure it's the right scale, which is a human, which is also in the download pack. So you're welcome to check that out and then I'll see you on the next one. Okay, everyone. So I hope you lentil on this one and I hope see on the next one. Thanks a lot. Bye bye. 11. Importing OBJ s and Scaling our Hull: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left it all. Now let's first of all bringing something to actually scale this again. So if we come up to File and you go down something called impulse, come across and we're going to bring in a OBJ. Now most of the times when you're working in 3D, you'll be abused in OBJ FBX. If you don't have this on here, come up to Edit, come down to preferences, and just make sure that it's actually enabled, succumb to add on click OBJ. And they, you'll see impulse export, wavefront OBJs. Make sure that is ticked on. I'm not sure actually if there's one for FBX, the mic bag, let's have a look actually seeing as we're here. So FBX, yeah, and there's an FBX one as well. Also make sure that's ticked on. I'm not sure actually in Blender, if these come through as a default or not. But in case they don't just make sure it's TikTok. Alright, so once you've had take those on, close it down, and then we can come to file impulse, come down to where it says OBJ. And now let's bring in our actual human. You'll see within your download pack there will be more probably available at the moment, but I haven't actually build them into the course yet, but there will be available for you. So come down, you'll see one that says human reference. Double-click it and you'll see wherever human reference called OBJ. Okay, so let's bring that in and you will end up them with something like this. Now, there's a problem at the moment. You can see that is a sense of origin is in the world origin. So let's reset that first. So right-click Set Origin to geometry, and that will set that right in the center. Now if I press three on the number pad, you can see that these lines here are representative of 1 m. So you can see the amman here is roughly about 1.8 m tall, which is about the average size for a human. You can also say that although Air is absolutely tiny and we really don't want that, so let's make it much, much bigger. Let's grab all the parts of our Boat like so we'll grab the back. These parts here. I want to press G just to make sure I've got everything they can see that miss something, Right-click, drop it back in place, Shift-click it again. And now I've got everything. Next thing I wanna do is I want to come up to my transform orientation, make sure it's on global. And then I want to make sure that my interleukin links are actually say to medium point. If I have them on individual origins on a timescale, you'll see that scales in a really, really weird way and we don't actually want that. So we need to make sure it's on medium point. So now growing medium point, let's press three, press the S bar, and I'm really, really scale this up. Now is a stylized scene. So we don't actually want this to huge. If I bring my model now and bring them across, put him over here and make him just stand face where the Floor is gonna go. You can see it's probably still a little bit small. We want actually a fishing line in the bank. Won't some kind of Cabin where the wheel is going to go, Storage, where the Fishing going to go, and then some nets in down here. And you can say probably not going to fit all the on with this size. Now don't worry too much about the scaling because we can always come in and re-scale it once we've got our Cabin there because that then will give us a better idea. But I'm just going to re-scale it up a little bit more. The other way to do this is of course, if you can press the B button, which gives us Box Select, and then we can try and select everything that way. Press the Geebo, make sure you've got everything. Always do that. And then let's scale it up a little bit more now. And I think that's going to be more or less the right size still might need to make it a little bit smaller or something. So now I'm going to do is I'm going to bring it down, goes down to here, and then press three on the number pad and make sure that this is where it wants it. Because basically all actual Ocean that we're going to Create, I'm going to try and line you OK with this green line here. So this is basically called the viewport Floor and this is where the parts from our Boat, we're actually going to be under the water. So if I pull this down just a tad light. So you can imagine now that this is all gonna be underwater as it would be in a normal Boat. Now let's bring the man down a little bit and put them on there. And now let's look actually creating our floor. So I'm gonna do, to do this is I'm going to press Shift a. I'm going to bring in a plane, so Mesh plane. And let's bring it up to where will upload to start. I want to make it a little bit wider. So S and X pull it out. And then I'm going to put it down to where it won't my flow. So let's pull it down. Not going to worry about the angle at the moment. I'm just looking to how far down actually want my Floor to go. I think this is going to be absolutely fine about here. And then it's going to actually go up a little bit as we come to the front of the Ship. And Gold per tiny bit as we come to the back of the Ship, let's press seven S, Y. Let's pull it out now, and let's put it in some kind of place, and now we can start manipulating it. So now we've got this. What we need to do is you need to bring this up. Let's press tab. I'm going to press control law and we're going to bring in some Planks award. So I'm going to bring him, Well, it all depends how thick you actually want you plants awards. So let's try something like 12 to start with, and you may be happy with those. I think actually needs more than that. So let's bring a few more insulin to try something like 15. So I'm going to do is I want to press Control R again, 15, left-click, left-click. And yeah, I think that amount of wood should be absolutely fine. Now we have Gold problem with the front. You can see it's poking out here, but I'm happy with the distance of the word. So what I'm going to try and do now is just bring them up into the place that they need to be. So let's start on the back. I'm going to select the one nearest the back one I'm going to come up to something called proportional editing when I click this on. And you'll see when I'm trying move this flower. Now, we end up with a circle that appears. Now, if you pull it up and you bring this circle out, you can see that all comes along with it. And you can actually move it all at the same time. What it does is it tries to bring them up evenly in a nice OK, so I'm just going to press Control Z. Just go back a minute. So it's back to where it started from. And then I'm going to bring this up. So if I bring this up now, you can see it's a nice even flow, albeit this one needs bringing up a little bit separate. So I'm going to bring it in and bring it up like so what I'm trying to do is I'm trying to keep this flow of the Ship on this pet going back. And then on the other part, I'm going to try AND gate just going up steeper and steeper as it gets towards the front. And that is how it should block on a Realistic Ship. So now let's grab this one. I'm going to bring it up, bring my circle out like so. Let's bring it in. Maybe that's too much, something like that. Yeah, and I think that would look really, really nice. Now, it does need some fine tuning. As you can see, this one's probably a little bit too high. So click on it, click your proportional editing all. And then let's just pull that one down a little bit and pull this one down a little bit as well, and just try and make it a little bit smoother going up there. So I'm just looking and seeing how smooth that is. Bring it up a little bit like so. I think I'm actually happy with how that looks now. So what I need to do now is I need to get this to scale. So I'm going to comment to this one, I'm going to press S and X. I'm going to bring it in line. So just so the disappear in then you can see as well. But I do need to pull these Box or do that as well. And none basically just making them disappear. So S and X into where you can't actually see them anymore. So as an ex, bring them in so we can't see them. S and X. You can see here congeals, grab this one here, S and X, bring it in. The last thing is I just want to make sure that the front sorry, the inside of it, we can't actually see where they're actually joined. So if you press Tab, it's a good idea. If you press seven, then you can see here for this one, for instance, doesn't really seem to be in the ward where you can do then is just grab this one again, just pull it out so as the next pull out a little bit and then just have a look and make sure that it's not too far out as well. Now let's work our way down. Someone press seven. I'm looking where this line is going. I can see that roundabout here is where it needs stopped bringing them in. So let's press tab, come to this one, come to the side, press S and X. Night can see it disappears in. And now let's do the same thing on this one, S and X, bring it in. And then the same thing on this one, like so. And then finally the bag. So S, max Bring it in. And obviously I'm going to pull this back as well, so pull it back leg. So there we go. Now, let's double-tap the anion, just make sure we're happy with that. So what we'll do in the next lesson is then we'll actually get this Floor are finished with planks of wood, will get it beveled all. And then we'll look at bringing some color and some lighting into all scene. Just to really check out then where we're actually going with this. Okay, everyone, so I hope you enjoyed that and I'll say on the next one. Thanks a lot. Bye bye. 12. Creating the Floor of the Hull: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left off. So now let's actually come in and make short work of this. So let's first of all grab it with L, which will grab everything. And then moreover, there is what right-click come down to mock shop, right-click come down to mock. See. Now we're going to do is going to put some edge loops in here. So I want some edge loops basically to be able to move these Planks a little bit more round and make them not so kind of uniform straight like this. So I'm gonna do is I'm gonna press control law. I'm going to press something like H5. Left-click, right-click. And now I've actually got some points where I can actually move those around. You'll see why that's important as we actually carry on splitting these up. Now I need to do is I need to actually split up all of these Planks. But now because of malt my seams in commands on grab this one and then grab every other one and just press L. So then all age presses the Y-bar and separate them G and they go, they're all split. And that's a really easy way of doing that. Now we need to bring these Planks out a little bit. So I'm gonna do is I'm going to press a to grab everything. I want to press E just to pull them up a little bit and I'm going to press S and Y. You'll see the augment together. We don't will not come to your links individual origins seven as why bring them in Tab. And there we go, easiest that to make Planks. Now finally, what do, as I said, we don't want these as uniform as what they are. So now we've got these actual edge loops and it's really, really easy to actually move these around. So what I'll do is I'll come up to my proportional editing again. I'm going to put this on random instead of smooth. So come down to random. And now when we grabbed one and all I need to do is just press G. I'm actually going to grab it with edge select, North Face Select. So I'm going to grab one. I'm going to press the G born and then bring it in a little bit. And you can see now that moves them around and gives them some randomness. Now you really don't want to move this too much, just a slight bit just to make them on the even. Like so. So you notice at the moment all I'm trying to do is just split them up just a little bit, just to make the splits a little bit even. Then I come back home and I put this on smooth, and now I'm going to make the Planks on even. So let's grab the this one here. Make the Planks for zooming a little bit, just a little bit uneven like so. So the randomness is to make the gaps in-between the Planks a little bit uneven. And the smoothness is going to make the actual Planks a little bit uneven. So just bear in mind, also want to lift up some of these Planks that I want them all the same. Like so bending little bit like that. Alright, so let's have a little they look like and you see now the law really uneven, really good technique to do that. So now let's grab them again. Let's press Control a, come down to where it says all transforms. Right-click Set Origin to geometry. And now let's bring in our Modifier again. So I'd Modifier come down to bevel. Let's put this on angle. Let's also write plate can Shade Smooth. And then let's come down to our triangle. Click alters, move on. Now let's have Low, we're looking at here. So again, come back to our little span and you can see probably a little bit too much, but if I double-tap the a, you can see that the nowhere near as well, these are paid when we first brought them in. So you might want to bring this down to something like naught point, naught one. And you can see there that they actually look really, really nice where you've just making sure that you don't really want to see through the Planks and you can see it. I can vary slightly, but not enough relative to worry about if you actually want to bring them a bit close together or you need to do is click on them, press the tab bar and press a and then S. And why. And what you can do is without proportional editing as to why you can just bring them and then a bit closer together, as long as you've got individual origins on. Alright, so let's press the top born again, double-tap be. And I'm very happy with that. One more piece on here before actually we make our railings and bringing all Materials, It's just this piece on it. I just need an actual piece of wood that's on there. So now let's press Shift a Mesh cube. Let's bring that in. Press the S ban like seven, bring it out. Like so. Let's bring it down. Let's pull it into place now. So I'm going into edit mode, pull this over, and then I'm going to press E. I'm going to pull it over just a little bit more just so it fits in place. So something like that. Maybe I need to drop it down a little bit. And I'm just wanted Jill's to peek back through that, maybe through here. And I think actually I want this bit on here, It's comeback little bit. So I'm gonna do is I'm just going to grab this edge here. And I'm going to pull that back just a tiny bit so it's just in front of it. Press tab. And then just make sure I'm happy with this piece. And then I'm gonna go to the front now and actually bring it back. So let's press top, grab this edge, pull it back so it's behind there Like so, and then pull this one back. Then finally pull this one back as well. Now just go run to the other side. Just make sure you're happy with it. You'll never get perfect. Just as long as it actually looks like it actually belongs there and actually supports the bill die extra trying to do. Alright, so finally on this, again, control eight or transforms, right-click Set Origin to geometry. And I'd Modifier bevel, put this on angle and the naught point, naught five. There we go. Double-tap the a and let's have a look at that. Maybe there's too much angle on there. So what I'll do is I'll just reset this to naught point, naught one instead, a little bit more of an angle. They're not actually looked much, much bad. Okay, I'm happy with that. So the next thing while I don't want to do is I actually want to talk about polygons. And the thing is, my polygon count has actually come off there. So I'm actually going to go to Preferences and go to interface and just make sure that my polygon count is actually back on. So now you can see my polygon count. Now you can see at the moment we're looking at nearly 30,000 faces, which is really, really high. Now, if we were sending this through two games engine like on real law units as something like that. We'd really wants to make sure that we're bringing down this actual polygon count in actual Blender though, because we're only going to be using Materials, know textures, for instance. Everything is going to be done procedurally, for instance, then it's not too much of a worry if this is a little bit high. Now what you can do though, if you want to bring it down, is first of all, if you look and you come in here, let me hide this out the way you can see that we've got all of these faces that don't need to be used. So what you can do as you can come in and you can grab each one of these faces and actually delete them, then you'll really, really probably bring this polygon count. When I press tab down by, I would say something like I said, something like that. If we come in as well for press Alt H and just hide, Let's Floor out the way. If we also delete all of the faces along here. Now the other thing is, because we're actually bevel it everything. That is what's bringing up polygon count up so high. So if you don't actually want a bevel things, then you can bring it down much, much more. You'll also know that because all of the faces on the inside of here and the faces on the inside of the Floor. They're also beveled, which means it also post-sale by a fairly long way. So that's important thing to know, just in case you want to bring that down. Next thing wants to discuss is Materials and shaded mode. So this is the Materials mode which I will bring in just one color just to show you. So I'm going to grab this actual hole. I'm going to come down this little football checkered thing, round circle here. Click on this plate plus, and then when I click New, brings in an actual new material, now I'm going to call this would want. And then let's put this on a brownish color, something like that. Let's quiet brown. And you'll notice that at the moment we can't actually see anything. This is because we've got it on shading, as in. You can see here, viewport shading on solid mode. Lit mode means it removes all of the textures, all of them Materials, everything like that. And you basically just looking at the base solid Mesh. Now, the problem Material mode, you'll see now that it goes brown. Boy, it looks kinda weird. And this bit is why, as you can see, that is because this is the default color. If something doesn't have Material, this color here is caused the material that we've actually used. Now there is one more option that we're going to use a fair amount in this course, and that is called the Rendering Shader. Now, if you come to your TV here, if you're in Blender 2.8 or above, you will have something called the EV render it. This is really, really fantastic to actually check out what you're doing, see what the scenes look in life because it actually gives you a render in real-time. In other words, if I click this on now, this is actually in real time, albeit can't see a lot. And the reason for the eyes, because we've really got no lighting in the scene. But it's important that when we're checking out how the scenes look in that we use in this EV render it. You can put this on Cycles, but you will see if I put this on Cycles, it takes much, much longer to render out. And when I rotate around, you'll see it has to re-establish itself and Rendering out again. Whereas on EV for poor, uneven now you can see, doesn't matter where it can, as my wallet bringing ear, it will actually just instantaneously show you what actually looking at. So for now, until the next lesson, I'm just going to print back on solid and we're going to bring some lights in the next lesson and give this some Material. Okay everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye-bye. 13. Creating our First Materials Sun Light: Welcome back everyone to Blender 2.9 design and render a stylized water scene. And this is where we left it off. So now, like we discussed on the end of the last lesson, let's bring in some way. So first of all, I always like to make sure that my cursor is in the center. And then I press Shift a more we're gonna do, we're going to come down. And also in here you'll see we have something called lines. Now, I will put down on the right-hand side something that tells you a little bit about the light's not too much, there's so much on actual lights, I could tell you for now, what we're actually going to bring in is a actual song. So if I bring in a song, then I put this on my EV, render it, and you'll see that we actually start to have something. Now if I bring this line out and pull it up a little bit, and then what I'm going to do is I'm just going to rotate it onto the side of the Ship here. And as I rotate it, so our Y, you'll see now we actually start to light up the side of the Ship. Now it's only the side of the Ship, of course, because we haven't gone song on the other side. So that is basically left in darkness. Now when I'm first word, working on natural model, I like to bring in plenty of lights. I don't actually like to mess around with the lives until I've got everything established. So most of the things built while I tend to do is I press seven, the press shift D. And what that's going to do is that then is going to duplicate my life. Now when you press shift D, just right-click and it'll pop it right back into place. And then you can actually drag it out over to the other side and then rotate it round. So all hundred and 80. And that's thing to point it at the other side. Now you'll notice that it's lit from both sides, giving us a good idea of what it's going to look like. Now as we work forward remarked to bring in, duplicate this on more Poly on the front or the back buffer. Now, I think I'm quite happy with that. Of course, the most songs that you bring in, the more light is in here, which means the more intensive it's gonna be. So I wouldn't recommend bring in too many lights in. The other thing is, you've got to remember lights are really intensive on actual Blender. So don't bring in hundreds of lights or anything like that, at least not for now. Do that in the end when you're trying to actually get a decent Render. Okay, so that's that. Now let's come in and actually create these materials. So we can see we've got, we want this shape. Will I do want the Sides of it to be relatively brown and the Cabin to be a blue and green color, like the references that I'm going to supply with the actual course. So let's come over, click on our side of our whole comeback to our Materials panel. And let's click this on three more times. And then what I'm going to want to click on the top one, click New, new and new. And I'm going to name this would, to come down to the next one, would three would fall. I'm actually going to create one more actually. So plus new and call this would mean, okay, Now we're gonna do is I'm going to come to the top one and I'm actually going to see how actually shiny this is the moment. And you can see it's quite shiny at the moment. We need a little bit dollar. So let's come in where our roughness is here and just turning up a little Bend, you see it becomes much dollar. If you turn it off this way, you'll see that it becomes really, really shiny. And also if you turn up the metallic, you'll see that actually now looks like metallic. So one thing you don't want to mess around with this metallic because it is what? With metallic. You even have something that is metal or something that isn't. So unless it's metal, don't put metallic can just turn the roughness up though, just to make it a little bit more adult. Not quite there, I think. Nought 0.85, something like that should be absolutely fine. Okay, Now we've got that. We need to actually mess around with the color of this. So I think I'm going to make a little bit darker, something like that. Then what I'm going to do is I'm going to come up now to where it says would want come down to this little down arrow, click Copy Material. And now we're going to copy it to each of these. So down are again paste material and the same on the others. Wandering less than is because I've got a good start then for these other materials, starting from basically this one, a base Material, Let's now come to. And what we're gonna do is we're going to grab one of these wave edge select. So I actually grab it passed where the actual seam is, so you can see grubs it all there. And then let's grab it here because we've got a seam running all the way around here at the moment, we need to grab the back of this as well. So that's why I've done that. I'm also going to grab one here as well. Now I'm going to come down to what? I'm going to click Assign, press Tab. And now you'll notice when it come back to my colon now can actually change it and it becomes a little bit lighter like so. Now, the most important thing on this is that when you actually create materials for you, but make sure that the materials are not too far different from atrial that and I'll show you what it means over contoured three. And I click Tab. And now I'm going to grab the Coppola like this, comb-over, click Assign, press the Tab button, and now let's make these a little bit darker, like so. And if I make them too dark, you can see that they really start to mess around and looks like something that doesn't look that well together. So I'm making them just a tiny bit darker than the ones that I've actually done before. And you will also notice that if you come over to your modifiers, which still got all Mirror on, and if we go around the other side now, we're actually creating the materials the same on both sides, which is going to save as a lot of time. Now let's come back to our Material and do the last one. I'm going to press Tab. I'm going to grab this one here. In this one here, click Assign, onward, false, sorry, so click Assign, hand, press the top bored, calm down toward full. And let's bring it up and make it a little bit of a different color, so something like that. But now let's try and mix it in just a little bit better than what this one is, and that might be too much. Now the best thing to do to try these out is to come to you would want. What we're gonna do is we're just going to grab one from each other. So I'm going to grab this one. I'm just going to wet my way along, grabbing just random pieces of wood, just making sure though they're not actually together. So I'm going to grab this one. This was something like that. I'm going to click Assign. And then what I'm going to do is hide them out of the way. And you'll notice because we actually grabbed them in edge select, that it actually grabbed them all pass the Seems like we just spoke about. Now let's do the next one. Someone's grabbed ones here, like this. And we're going to come to what to click assign H for hide not's do number three. And you can see here why Addon Lavon? Because some of these are a little bit too close together. So I might need five different colors. So I might need to create 1 mol. So I'm going to do actually do that if a neat too. Let's come in, grab these, and then come toward fall, click Assign, and among registers hide those other way when I press the Plus button and when it's clicked, new double-click, it would five. And I'm going to move it up with this little button here so that they're all together. And then we're going to copy this one here. So down-arrow Material, the next one down, paste Material. And now let's actually grab one. So we'll grab, let's say these here. Like so. Click Assign, press the Tab button, and now let's color these in. So just make sure I've got them first so you can see I've got them there and now need to bring them down so they're relatively close to the ones on working on us have a low make them darker and just play around with it. Like so. Now you can see if I doubled my a, this ship is really starting to come together now and look really, really nice. I might want to bring your light down, like I said, and put it on the bottom there. What I think I'm actually happy without that is with how that is, without actually doing that. Now, let's come to these planks of wood and we're gonna do the same thing on their, someone's click on them. And I'm going to wear, First of all, bringing maximal Materials. I'm going to press this five times, like so. Come to the top one, down arrow would 1 s, one, click the next one. You can see as we build up on Materials, It's very easy then just to bring them in. So would find and now we can actually assign these. So I'm going to come to this one, this one, Let's try this one. On this one, click assign H for height, and then work our way along. Like so. Cosigned by the mother way to this one. And also it's easy because now you know where the ones that you've done. So we'll three sign on Mount the way this full assign hide them all the way. And then finally these, Let's click, would five, click, assign, all teach, bring everything back, tap, double-tap the a, and there you go. Now as I say, these might be two different these woods. And that's something we're going to work on as we actually finish this Bow off before we actually move on to the next part. So now all I'm going to do is just lastly on this lesson is I'm going to come to this part and I know that this is the word mean. This wants to be darker than these pieces of wood here. So if our command press the Plus button, click the down arrow, come toward main. Now I can actually change it. So let's make this darker than the other parts. Now you'll see that it's dark and then all the other would pass. So it's actually going to stand out. I can also do them with this one here. So command down arrow would mean, and this one here, down arrow would mean. Okay, so double-tap the a and you should end up with something like that for now. It's really starting to come together. Okay, everyone, I hope you enjoyed that on the next lesson. Then we'll carry on more work on here. We'll get this all actual materials on it, and then we'll actually work on making sure that these actual colors look correct because at the moment, they're a little bit too far away from each other. And it actually looks a little bit where we need them a bit closer together to make it look really, really nice. Okay, everyone, I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 14. Undertstanding Collections Fake Users: Welcome back everyone to blend the 2.9 design and render a stylized water scene, and this is where we left it off. Now what I want to do is actually wants to sort out the color of these Materials before we go any further. And then while wants to do is actually sort these out on the Collections part of Blender, which we'll go into shortly. So now let's come into the colors. So I'll come to the first 1.1 we're gonna do is I'm just going to play around with the colors and just try and get them a little bit browner and closer together. So I can see here, I'm quite happy with this color. So I'll come to the next one now and just try and get this one a little bit darker so I can see where this one is. What I'm trying to do is just get them near enough, just the same, just a little bit of difference and that I find is the best way. So you can see here that these are roundabout, the same as they can see that this one here is an issue and easier and probably an issue. So let's come down to the next one and we'll do exactly the same thing. So if I turn this one down and conceits here, we're going to do is I'm going to move it. Just try and play around with it a little bit and get it a little bit. More or less the same. It does take a little bit of playing around, is all we can see here. Now they're looking a little bit better. Now let's try and do this one here. I think this is the bottom one. Make it darker, which is announced, get a bit closer to this one. So now you can see that that is located a much, much better. Now they're closer together. It doesn't look, even though it's Stylized is still need to be relatively the same color, so they don't look too much of a mishmash. So I think I'm happy with that now and I'm actually happy with this color on here, albeit mindfulness a little bit darker. But once I've actually gave these now the right colors. So I'm gonna come over to this and when it come down with plus Down arrow and click on wood main now will show you something else as well. So let's bring in another materials. So we'll bring in new material. I'm just gonna leave it at Material. Oh, a one. And I'm not actually going to apply that to anything. Now what you'll notice when you bring in a material is you've got these options here. Now, this one here, if you hover over, it says Fake Users. Well that means is if I actually click this ANSYS or check now is that Blender will actually save this material for when your next open up this actual file. If I actually turn this off. So if I come to this take and turn it off, and I'll actually call this test just so you can see what I mean. Now what I'll do is I'll actually minus this off up here. So if I click the Minus button and then come down to my down arrow, you'll see that the test is still there. Now, if I come up to File and I save it out, and then I reload it backup. So file open reason opened the same one. And now come to the down arrow, you'll see that test is not there. And that is because Blender, it actually gets rid of any unused materials. So now you can see if we put this shield on. So Tikki on, it will actually save it out even if it's not actually being used. So that's a very useful tip to have encase that you get tons and tons of materials that aren't being used. It's a great way just to bring that back down to the materials being used. Alright, so now we've done that. Let's come to this part here. And what we're gonna do is gonna do the same thing again. So I'm going to grab this one here, and this one here. I'm going to click Close all times. Let's try that so you can get away with four. Come down and bringing the water again. Like so. Now let's just assign those which they should already be assigned on those hide the other ones. And let's do what we did before. So come to three, click assign those. Let's come to, to click Assign. And then the bottom one will be full click Assign. And then I'm just going to press Alt H to bring all those back. Press the Tab button, double-tap the a, and there we go. Now you might want to bring one of these lights around. Sometimes I do do that. So I'm going to do is I'm going to press shift D, move it over here, right-click to drop in place, and let's bring it over and then just pointed round. So let's pointed round. And now we've got a view of the back of the Bow as well. And I can see, I'm pretty happy with how that looks. Alright, so there's just this bit to go. So if we grab this, what we'll do is we'll press tab. And you can see here that we've basically got it so that all of this will be the same color at the moment. But we've actually, I think actually if we come over to our little span it and we can also hide our actual modifiers. Let's click on this TV and you can see I already did it. So basically I set this up so that if a cool name and I press L on this part, you can see that can just pick this part and I've got a different color from this. So I think I'm going to come to the front of it first. And then when to come back to my Materials, click the Plus button, clicked down, I'm going to print on mod main, and that's gonna make you all of that color and not subtle look at that. Well, that's looking like I might need a song coming the other way round as well. So I'm gonna do that as well. Shifting And to bring it over and let's spin it around by 90, 90, and that's the wrong way. So all zed hundred and 80, There we go. Spin it round. And now let's have a look at that been all that color. And I think that this part here might want to be a bit of a different color. So let's come in and actually have this part a little bit darker. So what I'll do is I'll press on here, click Tab, go into Edit back to my Materials and we've got wood main here. Let's make a new one. And what we'll call this is new and we'll call it would dog. So and then I'll copy this like we've done before. So copy Material, paste material that we go. And now let's make this a little bit dark. So let's click Assign, and then let's bring this, I'm gonna press tab actually bring this down a little bit, like some, uh, now you can see it's a little bit darker, not double-tap the a and there we go. Alright, so I'm very happy with that. Now, let's look at all Collections. So we can see at the moment, we have lights, we have our human reference which we use N40 scale. So let's make some new Collections. So we'll make to Collections this one we'll call the hole, so HU, L, L, and then the will make a new one. So right-click new, click the down arrow and you'll see here, this one has just been a duplicate of that one. So I'm going to grab this one. We've left-click, drag it down and just drop it right at the bottom. Now you'll see that when I close this. So we've got two here now. Now what collections are is basically like layers used to be on Blender or layers that you'll get it in Photoshop where you can actually put things in to these Collections and then hide them out the way, it's very easy way than to sort out all of the objects within your scene. You might want only the water in Nepal or you might want on the likes, things like that. And it's just very easily than just to switch between them. There's also a little bone here. If you click this down and you come down to this one here and you hover over it, and you'll see that it says disabled in renders. If you click on them and then you actually come back, you'll see now you've got one here as well next to the eye. Now what this means is this, I can actually hide all those. And this one means I hide it when I actually am rendering something. And that's very handy thing to know. Because then what you can do is you can still see the whole scene where you might only want to render out, for instance, just the whole of your **** that's covering that. Now, what we'll do is we'll change this one and we'll call this one lights. And then we'll have one muscle or duplicate collection will have this as human. Like so. Then while there is our click on my human, you can see is here. I'm going to drag it down and drop it into human them on Wednesdays, I'm going to click on each of these lights. So we've got four legs Shift-click in each one and you can see they're all here. And I'm going to drag them down and drop them into Light. Now I'm just going to close these up and you can see already how much cleaner now that actually is and the double-tap, the a, how much control now I've got over each of these parts and that's really handy if you keep this all as you're building out your scene, it's going to make things much, much easier in the long run. So that's it for this lesson. On the next lesson, what we're gonna do is you're going to make a star on this metal part that goes around here, this Handrail. So I hope you learned about on that one and I'll see you on the next one. Thanks, everyone. Bye-bye. 15. Creating the Hull Hand Rail using Pipes: Welcome back everyone to Blender 2.9, design and render a stylized water scene. And now let's make a start on our Handrail that's going to go around here. So the first thing we need to do to make this a little bit easier for ourselves is we're going to bring in another add-on, another inbuilt Blender add-ons. Now these add-ons comb actually with Blender and all you need to do is actually just tick them on and then they're available to use. So what we'll do is first we will come up to the edit, will come down to where it says preferences. And then we'll go to where it says add-on. And then we'll come over to the search bar and we're going to put in extra like so. Then you'll notice one that says Add mesh extra Objects. Just take that on, refresh, close it down. And now when you press Shift a, you're going to adult with some new things that you can actually use. So you can see when I go across now, we're Meshes. You'll see that we've got one that's called pipe joints. Now this I'm going to use to make it much, much easier to make this actual Handrail ever come across. And I go to pipe elbow, click that on and you'll see it comes in like this. Now, the moment it's a bit hard to use. So what you need to do is you'll have a little menu down on the bottom left-hand side. Click that open. And now you're gonna get all of these different presets that you can actually mess around and change. Now the thing is, if I move this, all this will basically disappear. And then we'll have to basically bring in another pipe. The pipe will come in at where you left it off. So in other words, I'll show you what I mean. If I come into divisions and I put this on something like 12, which is going to make it much, much lower on the polygon count and now shrink it down like so. You'll see that that disappears. Now if I delete that, press Shift a again, come across to Mesh, come to pipe joints, pipe elbow. You'll see that comes back in now at 12 divisions and that space of what we want. Now, the other thing is that you can actually save these out by clicking the plus button. And it'll say the operator preset, just name it, click Okay, and then you'll save it out so that you can use it in the future. Now, let's look at this though. The first thing he wants to do is I need to turn down the actual radius of it because it's way, way too thick at the moment. Sometimes it is a little bit hard to judge how thick it should be, and sometimes you need to play around a little bit with it. For instance, I need to actually rotate this round, bring it to it, and actually make it smaller as well. So sometimes just a little bit difficult to actually judge it. So don't worry if you judge it wrong. Next will come down to our angle. And what I'm going to turn it down to is 90. And I'm gonna do that just to make you a little bit easier when I've got this in place to actually start working with this. Now, apart from that, I'm going to leave the actual lens Start and the length. And because I can mess around with that myself. So I'm gonna do now is I'm going to pull it. This will disappear, as I said, all Z 90, let's spin it around suits the right way, make it smaller. And now you can see that we've actually got something that we can actually start with. So I'm going to bring it across. I'm going to fit it in place on top of here. Like so. Then I'm just going to bring it across. I'm going to press seven on the number pad, bring it across like so. Now what I need to do is I need to duplicate that and put it roundabout here because I'm going to move it across with a Mirror Modifier once I've got it in. So they all joins together really, really nicely. So let's now duplicate this. So I'm going to press Shift D and to bring it across like so put it into some soft place. So once it roundabout, here's where I wanted to join and then want to spin it round now. So all zed hundred and 80, spin it round three on the number pad and let's pick it up to where actually we wanted. Now, I don't like actually wanted quite so high near the front. I think I think he wants it, something like that. Now you can see basically, I need to first of all spin it round and then unneeded going all the way around here and actually getting back to here, which is not that easy, but we should be able to do this. So let's press seven on the number pad and we're going to spin it round. So I'll spin it round and there is something else I should tell you that when you actually shrinking something or rotating it, if you press, for instance, all Zed, start to turn it and then hold the Shift button. You'll notice that it's really, really slows down wherever you're trying to do. And this is really, really handy if you want to get something more precise, let's say. Now let's press all zed, spin it round in the direction that wants. And you can see, I need to pull it a little bit for just so it goes a little bit better there. Zoom in a little bit. I want it basically in the middle. Like so. I'll think that's a good start. Now I'm going to do is I'm going to press Tab. I'm going to do is I'm going to come in now and actually grab this edge with Alt, Shift and click. And I'm basically going to pull it out a little bit to where I actually wanted something like that. And then you can see it needs to actually change direction. Now, I'm going to press seven again. I'm going to press the button, pull it out on the y-axis, and then I'm going to pull it back like so trying to get it in some sort of shapes. So somewhere following along middle you can see, I've got to pull this one a little bit across. Basically what we're trying to do is just follow this line all the way along. So why polytope, like so? Pull it out like so. Now we can say that it's following it relatively well along here and press seven. Here. Mas actually fallen it well, but here it's too much of events. So let's Command Alt, Shift and click. And then let's just move it over just a little bit. Backends where it actually stops the bends, which is roundabout here. And I think that's looking really, really nice for now. Now let's press top. And what we're gonna do is we're gonna join it to the other one to make you a little bit easier to join it altogether them. So I'm going to grab this one. I'm going to shift select the next one. And then I went to press Control J and join them together like that. Now I'm going to press the Tab button and you'll notice that the both joined together. Now I'm going to make sure I've only got this one. So I'm going to left-click on it, press the L button to grab it all, and then press all zed and just rotate it round and try and put this into a place where it's roughly in the middle. And now we're going to come round and just make sure I'm happy for where this actually starts. Nothing cam. Next of all, what I'm going to do is I'm actually going to bring this down a bit. So Alt, shifting plague and let's pull it down like so. Then let's pull this one up. So Alt Shift and click pull it up. Now I'm going to do is I'm going to join these together where there's actual pieces here. So if I press three on the number pad, I can say that butt to pull this across to the side, like so. And I'm also going to pull it up a little bit just to keep the right angle. So you can see now, now I'm looking at the side. I've actually got a good idea where it needs to pull this up. So let's grab this one with Alt Shift and click Like so. Then what we'll do is we'll grab this one. So Alt, Shift and click. And now I'm going to do is I'm going to use something called bridge edge loops. Now, the only way you can use bridge edge loops if you've got nothing in-between the two edges that you want to join. So you can see I've got nothing actually joining these whatsoever. So I can grab this side, on this side and then right-click and come down to where it says bridge edge loops one. So join those together. You'll end up with something like this. Now at the moment, we can see that these are kind of a bit of a mess where the join in and I don't really want that the probably too close together. So what we're gonna do is we're going to make sure run Edge Select, come down, Alt, Shift and click both of these sides. And we're press Delete and dissolve edges. And what that's going to do then is it's going to straighten it all. Really, really nice mic bombing. Now all I need to do now is obviously I need to put some edge loops in here to actually start bringing these up and making it relatively straight going all the way along. So you can see here again that this join here perhaps needs to come down a bit same as this one will come to here. And you can see it's a slight slope down here. First of all though, we need to say, right, how much height from here to here do we want some both sides? I think both of these Sides of the moment are looking quite nice. It's just these parts here. I'm going to bring an edge loop in with Control or left-click. Let's bring it to here, let's say, and let's bring another one in. So control or left-click. And now I can start rising this one up. So if I bring this will not like so. You can see it's done to follow it. Now, you can see that this one is probably a little bit too high. So let's Command Alt, Shift and click, bring it down like so. Something like that. Not so nice line going all the way here and I need another one in near as you can see. So control law, left-click, something like that. Now let's start bringing this one down and then we can work our way along the front. So Alt Shift click, bring it down, then bring this one down. So Alt Shift and click lifestyle. And that actually is something I'm very happy with how that actually looks and that is a great star. Now the last thing we need to do is I need to go over to the front and move these now to the side. So Alt, Shift and click will do this one first. So I'll move it over. Then I'll do the same on this one. Shift click. And then the same on this piece here. So Alt Shift and click. Like so. Now let's have a look if we're happy with that. So I'm going to press three again, and I think then I just need to 2-week. There's just a little bit, something like that. Alright, so let's press top double-tap the a and just have a look round and just make sure you're happy with it. And I think I'm happy with that. All I need to do now on the next lesson is bringing the other balls that are going to come up and hold this in place and then obviously Mirror over the other side. So everyone, I hope you enjoyed that and I'll say on the next one. Thanks a lot. Bye bye. 16. Finishing the Handrail Joining Meshes: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left it off. Now, let's bring in the other parts that are going to hold this in place. So what we'll do is while we've got our cursor in the center, if it's not press Shift S cursor to world origin shift a, and we're going to bring in a cylinder. And at the moment that's under comes in with 32 vertices. Let's turn that down to 12, which is the same as our actual pattern that we brought in. Now let's press the S button, press seven on the number pad. And let's bring this over to where I wanted to start. So something like here, three on the number of path and let's bring it up. And obviously you can see it's way, way too thick at the moment. So S, I want it to come to this part here. I'm going to put in place seven. Then I'm going to make it smaller. So S three, put it in place. And then I'm going to bring up the top of it now. So I'm going to press top edge, select Alt Shift and click just to grab this edge. I'm going to bring you up like so. And just make sure that you're happy with it both sides now and press Delete and faces, and you should end up now if I actually hide this out the way for one seconds, so grab this had all the way with no top on it, which we don't actually need it. So I'll teach, bring it back and now bought this piece that can actually use going down here. So it's up to you. Once piece, I think I'm going to have one here maybe, and then one here. And I think that should be great. So now let's press right-click first, set origin to geometry. Just to make you a little bit easier, I'm going to press Shift, Enter, bring it over, pull it down into place. Then what I'm going to do is just make sure now that's going in the center. So seven Poly over, drop it in place. Now Ship D, bring it over. Three on the number pad. And let's look where we're going to have this. So think roundabout here somewhere should be absolutely fine. So something like this. Then seven, Let's bring it over, put it in place. Like so. Let's double-tap the a and envelope that looks like, there we go. I think that's actually looks really, really nice. Alright, so the next thing we need to do now is join this altogether. So let's join these altogether. So all I'm doing is Shift-click in each one, grab this one, the last press Control J, and then just join them all together. Now let's go round to the front and you can see that its jaws poking through here and we don't really want that. Let's press Tab, edge, select Alt, Shift and click Poly. Oh, there we go. Now the last thing we wanna do is I want to smooth this off. So control a all transforms right-click Shade Smooth, like so. Now a one is the actual orientation in the center, which it is more we need to do is you couldn't needs come over to our spine. It I'd Modifier and we're going to bring in a Mirror Modifier that's going to put it over that side. And of course, I don't really want them Joining Light Base. I actually want them Joining a little bit better than this. So what I'll do is I'll pop clip in on, press the Tab button, come in with face, select Alt Shift and click just to grab them all. I'm going to bring them across and join them together right in the center which is there. And then if I press Tab now, you can say that's how they actually joined together and they're looking really nice. Now the other thing is you might want to at this point bring them out a little bit, which I will do. So while I've still got them grabbed, pull them out a little bit like so. Press the Tab button, double-tap the a, and there we go. That's looking really nice. Now, I do actually want some of Sharps in here. You can see it's a little bit smooth on these parts and I'm not sure whether I like that. So I'll just come in again with my edge select, hold Shift and click, right-click and mock shop. So we'll look at that and that's looking a little bit nicer. Now, let's have a look. If I need another one, I think actually this should be absolutely fine. Now let's bring in all material for this. What we'll do is we'll come over to our Materials panel again, click New. And I'm going to call this first one metal want so new. All maxilla will call it mental Light or Mexico railing I think will be there. And then we'll know exactly what color is something like cancer. And then when I'm going to do is come to my base color, turn this down a little bit to a gray, then I'm going to bring up the metallic. So again, when we spoke about this earlier, we said that we only ever bring this up if something's metallic. So if I bring this up now, you'll say it looks like this and you can see it's looking really, really metallic life. Now it's up to you how much shine you actually have on this. So if I double tap the a for instance, now you can make how shiny is mentally. So you can make it very, very shiny or very dull. I think something, something like that should be fine. I think it should be slightly darker going round here then what I had my original one, I think I'll just turn it down just a tad, something like that just to make it look metal. And then finally, there are a few things that we need to turn on now. Screen space reflection just gives you a better idea overall of what actually the metal is going to look like. So while I'm actually in EV mode on here, I'm going to come across to my little computer over here. I want to come to screen space reflection. Turn that on and you can see it makes it a little bit of a difference with our actual Boat. I'm going to do is I'm going to open this up. I'm going to click Refraction on, and I'm going to click off rest traits. Just click that off. We don't really need the arm. All it's basically doing is it's for ray tracing. And we don't really need that because it's a simple scene. So now we've done all that, we can have a look and just make sure that you're happy with it. And I think I am. So the next part that we need to do is actually start on our actual Cabin. Before we do that though, let's just tiny these up a little bit. So this part will call Handrail. I'm going to drop this into my hole and then I'm going to open the whole lot. We've got a, something called a cube here. And we're going to call this the Bow, because this is the Bow of the Ship gonna go to the next queue. And Let's have a look if we can join these together, this won't cost us a lot as far as the bevels go. So we can see it that the bevel is on and you can see on this one as well that the bevels on, let's actually apply these bevels on this part because I think, I don't think we're really going to be changing. These are all night. It's up to you whether you do that. I'm thinking I'm going to do is I'll hover over it, press Control J, and then I'll grab this back. I'll press Control a, and then find male grab this part as well. And I'm going to press Control Light. Now I'm going to do is I went to join these parts together. So grab this one, this one and the Rear press Control J, and that will join them all together. And now we can call it Rear whole. And then we can come to our next part. And the reason I'm doing this there is because I find that it's really a good idea to get into the habit of really tidying everything OK? And then if you are going to send this out to a games engine or something like that, everything is named correctly, much easier to see. The other reason, of course, is that if you open up a new blend file and you want to bring some of these parts into their or into a different scene or something like that. It's much easier when something is not named cubed all O3, much easier when it's named Rear of Hall and things like that. So now let's come to the other cube. And I think actually I'll put this with the Bow. So I'm going to grab this, come over to where the bevel Modifiers On press Control a. And now let's come to the Bow of the poll and let's hover over it. Press Control a, and let's join these two together now. So join in this one and join this one pressing Control J. And now the both join together and they should be the change the name. I joined them the wrong way round. So let's just put Bow again. There we go. And let's just have a look and make sure this is all on. The problem I've got here is the smoothens actually gone a bit weird. So I'm going to right click shades move, and I'm going to click AutoSum, move on. And that's just going to fix all those may. And the reason that happened is because I join them up to this one last. Listen. This one here didn't actually have any smoothing on the other double-tap they announced. That looks like and that's looking much, much better. Now, let's come to the plane. The plane is the main part of the hole. So we'll call this whole main. And then we'll come to plain O2. And you can see here that this is the actual top of it, so we'll call it a whole Cover. Then you can of course name yours what you will remember him by. Let's come to the next one. This is the Floor. Like so. And now all those named correctly, much easier to see. So now all outdo on this lesson is I'm going to pull my cursor to the center again. So I'm going to press Shift S, corsets, world origin, shift a, and we're going to bring in another cube. So bringing in a queue, and we're just going to pull that open, sit in place. Now this is going to be the star of our Cabin. One thing I don't want to really worry about at the moment is the angle at which they said. So, in other words, you can see it's going to have to start rotating round on the x-axis to actually bend this over a little bit to make it look a little bit more realistic. But all I'm gonna do is I'm going to try and get it into some sort of scale. I actually want it. What we're looking for is to make this tall enough so that this chap here can still walk in here. So let's pull it down a little bit like so, press the tab bar and I'm going to do is I'm going to bring this up now, like so to make it the height now, once it. So if I bring him over now, so if I grab him, pull him over to the left as will be walking in. Remember there's gonna be a door on here as well. So you might need to make it a little bit smaller than this. So let's grab it, make it a tiny bit smaller, Something like that. Pull it down into the floor. And then you just need to realize how actually the high tone here, if it's gonna be right. So you can see if we open the door here, it'd be able to walk in and the height should be fine. So finally, now let's come in and just press control all to give it an edge loop, left-click, right-click. And now let's pull it out a little bit just to give it a little bit more of a stylized look to it, something like that, I think is a good start to our Cabin. Alright, let's press tap, double-tap the a, and let's save this out. So if you haven't saved, you, save it out. Alright everyone, so I hope you'll end well, not one, and I'll see you on the next one. Thanks a lot. Bye bye. 17. Creating the Cabin Posts Roof: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left it all. Now, let's work on all Cabin. Now, the moment our Cabin is, all these things are in the way and we basically don't want that. So what we'll do is we'll click on our Cabin and we'll click the little question mark next to the Ship button on your keyboard and that's going to isolate it out. Now the problem is when we do that, because we're actually in EV mode, we can't actually see anything because we've actually got no lights and the scene. So what we'll do is we'll put it on Material mode and now it brings everything back and we can see exactly what we do. Let's now put a top First of all, on our actual Cabin. So I'm going to do is I'm going to press the Tab button, Cummins face select. I'm going to grab this face. Now. I want to keep this face on there as well as making a top. There is all press shift D, bring it up slightly and that's just duplicated it out. I'm going to press S, pull it out, and then we're in press E to extrude it. Now it didn't have to press Z on the, on this one. I just pulled it open. It ultimately went on the z-axis because I was just pulling it in that direction. So now let's press E again Poly, oh, and then that's press S, pull it in. Now finally what we're gonna do just to give it a little bit more of a U shape, is we're going to come in, face leg, grab these two backpacks, press three and the number pad, and just pull it back just a little bit. And there you go. That is the top of our actual Cabin. So that's the easy part. Now I'll do is I'll grab the whole thing with all press H to hide out the way. Now let's start work on this part of the Cabin. So I'm going to do is first of all, I need some edge loops in to make these corners. So actually I can start making a piece of wood here, a piece of wood here, and then some planks of wood in here. So how do we do that? Well, let's bring in a couple of edge loops. So control all to left-click, right-click, and now need to pull these out. So I'm going to do is I'm going to press seven on number pad. I'm going to S and Y and pull these out to where it need them. At the moment you can see nothing's happening. The reason why is because of Nogot this on medium points. So pull-down medium point S and Y. And now it should be able to pull those out. Now, the thing is once you've pulled them out to where you want them, so actually want them here. You can see that down here, Y axis is 2.23 to right-click on there. It'll be a lot more numbers which it is. So click on it, press Control C, and then you're going to actually copy that. And this is a good way to make sure that when he creating things like this corners, you can get them lined up exactly the same. So if I press seven on the numpad now to go over the top, I'm going to press Control or I'm going this way, this time to left-click, right-click. And then all I'm going to do is I'm going to press S X, Enter. Then I'm going to come down this time to where it says scale. I'm going to change this. So click on it, press Control V Enter, and that's going to put them out then write to the scale of the actual y-axis ones. So now we should have these actual Posts here. She'll be all the same all of the way around another words. They're actually, it's squared. Alright, so now we've done that. Let's actually turn these Posts into actual mesh. So what we're gonna do is we're going to grab all of these, going all the way around. Don't rub the top, all the bomb. We just want the actual Sides. Like so. I'm going to separate these out from these parts here. So now I've got these actually selected. I'm going to press Y. I want to press G just to make sure they all selected right-click and then that's going to drop them in place that now all I need to do is I need to actually separate these from this piece of mesh here, but I need to separate them as objects. I need to do that because I'm actually thinking ahead and they actually need to bring gain a Solidify Modifier. So what we're gonna do, I'm going to press P this time not why plague selection. And now it's going to separate those out. Press the Tab button that will bring everything back. Click on your posts, and there we go. Now we've got these actually selected. And the other thing on steel, it's really, really hard to see what I'm doing at the moment. So let's just put it on solid mode and now it's much easier. Now let's press Control a or transforms. Right-click Set Origin to geometry. Now when I come over to my little spanner add Modifier, I'm going to bring in a Solidify. Now let's bring this Solidify out. And you can see now we how easy it is to actually create actual Posts in our actual Cabin. And also just remember, you might need to make the top of the Cabin a little bit bigger because these gain obviously closer to the edge off here. The other thing, of course, as you can see, that it actually goes in a little bit on him. We don't really want that, so we need to pull even thickness on. Now it's going to make them the same all the way around. So that's as easy as that to actually create the post. Nothing hard about those. So now let's work on the word parts on here. So I'm going to grab this part, press the Tab button, and you should end up with something like this. And now let's bring in all Wooden Planks on here. So control all. Come up to the top. Let's try H5, left-click, right-click. And the thing that should be absolutely fine. Now let's do the same on this side. So control law, five, left-click, right-click. And these are what we're going to use to actually create, are actually wouldn't Pole. So this will be the door, this will be the back. On this side. We actually not going to have these. This is going to be a window, but we're going to need some Post down here as well. Alright, so let's start on Adolphus. So what we'll do is first of all, I'll separate these from this Mesh. I'm going to press C, drag it all the way along. And I'm going to press Y, G just to make sure it's separated. Which your house, so that's separated out. Now, let's come to this one. I'm going to press C. Separates it out. Why G? There we go. Those two are separate and it kept them both together because I already selected these and I didn't dislike bees. Now let's come to this side. And this side we're going to have a piece of work going down here as well, same as the top of here. So let's separate these. So I'm going to separate them both together. I'm going to grab one, say grab the mall. Why G? And let's do the last one. So again, see, grabbed them all Y gene and there we go. Alright, so now we should have everything separated. We should be able to get rid of the top and this part which is the window. So let's press delete faces and you should be left with something like this. Now what we're going to do is we're going to actually give these some Sharps and we're gonna get rid of the bottom. I forgot about the bond. Let's grab the bottom of it. Press delete faces you never gonna see in there. So don't worry about that. We've also got one point then I don't know why that's there, but I'm going to delete it out the way. So delete faces and I should be left with something like this. Alright, so let's come in now and actually give the Sharps. I'm going to press a, I'm going to right-click, come down and you can see that I've not got my applying Sharps. I need to press Control E because we're in phase leg, come down and click Mark Sharps. Now the thing is we're also going to mark the Seams as well. But you can see we don't actually need these on here marking. We don't actually want to shop on these parts, so I'll come in first with my edge, select Alt, Shift and click. And just make sure we've got those we'll see in a minute. So I'm going to do it all the way around. Right-click and clear, sharp double-tap the a. There we go at missed two here for some reason. So right-click, clear sharp. We'll talk again. For some reason. It's not clear enough. The reason it's not clear in this is because I made a little bit of a mess. So let's grab all of this on this. And then what we'll do is we'll join these together. So the easiest way to join them together is going to Mesh, calmed down to where it says clean up. And then we're going to delete loose. And if that doesn't work, which you should do. So let's grab it again. Let's try and move it around now. So G, and you can see that there's still not joined together. So come in, grab them both again, mesh, cleanup. And this time we're going to actually merge by distance, so much by distance. And now you can see that disappears and there is no edge there. So that's an easy way to actually fix something if you make that mistake. Okay, so now we've got this, we've basically got our Sharps all done. Now we actually need to add in our seams. So let's say select them all again, right-click and we're going to come down to mock seams. And then we're going to come in. So Alt, Shift and click, and we're gonna get rid of all the seams on the center points of view. So right, plague and clear Seams. Alright, so now we basically sell ready to split all these Planks or would like we've done with the other parts of our Ship. So let's come in now and grabbed these going all the way along. So I'm going to grab each one of these, like so I'm going to basically do the molar the same time. I think it'll make it a little bit easier. Like so. Then we press Y, G, and then they're all split. Now the other thing is, I can't I still need to do this one as well. I can't do the Sides of the same time as the front and you'll see why that is in minutes. So let's do this one as well when Prince Y G split them up. Okay, so now let's split the front and backup because when I want to bring them in on the x-axis, that is going to try and bring these ones in as well. And I don't really want that. So it's just going to make it that little bit easier if we just split up these front and back from the actual Sides. So let's do that. So we're well-prepared. So grab all these, grabbed these problems, press the people in this time to actually split them up into a new object. And there we go. Now let's press top double-tap the a, and you should be left with something like this. Nothing to remarkable right now. But on the next part, then we'll actually turn this into a nice-looking Kevin. Okay, everyone, so I hope you enjoyed that. See on the next one. Thanks a lot. Bye bye. 18. Creating Stylized Planks for the Cabin: Welcome back everyone to Blender 2.9 design and render a stylized water scene. And this is where we left it off. Alright, so the first thing when I do, actually I'm going to grab the top of here, so I'm going to go into edit mode, Alt H, bring it back, just make sure I'm just grabbing the top of the ear. I'm going to press seven just to see where I'm just going to make it a little bit bigger. So Scaling our little bit and just make sure they are happy with how that spin on the top of there. Now, let's start work on these Plank and these ones on the side. So what I'll do now is I need to separate this out as well from these. So I'm going to grab this when I press P selection, that's going to separate them out. And now I'm free. Jill's to work on these parts here. So now I'm going to come in, press the Tab button to go into edit mode, and then we'll come in now and actually bring these out. So I'm going to press a to grab everything and then going to press Enter and then S and X, bring them out like so now the she'll come out on either side like that, then why you have grabbed them all now what you can do is you can press S and Y and bringing them in. Now they're not coming improperly again because we need to be on individual origins. So now progress is, and why bring them in like so. Now you've actually got Planks award. Now the other thing you can do to make them look a little bit more realistic as you can go in, you can press Control Law. And let's try to on this one and then we'll do two on this one. Like so, control law one, Let's put it up there. Control law warm, That's pretty on here. And we're just trying to give him then some variants. So what I'm doing is I'm pressing Control or whether it's one left leg. Bring it all control law to left-click, bring it down, something like that. Control all warm. And then let's just work our way along to like and then control law. One like so and then control or two like so. Now we can do is what we did before. We can grab them. And I'm going to come up to my proportional editing. Let's put it on a random start with just to work on the actual gaps that we have here. So we'll grab this. I'm going to move it just a slight bit like so like so. Then when it come in, I'm going to put it this time on smooth. Grab these, just move him a little bit like so. Then let's move them all a little bit. Like so let's have a little that looks like, and you can say it looks really, really nice. So I'm really, really happy with how that actually logs. And this of course is gonna be the actual door. Now there is one problem in that these knee moving out a little bit. So I'll show you what I mean by that. Once we've done the other side. So let's come round to the other side now and we're gonna do exactly the same. So I'm going to grab it. I'm gonna press control law. Let's try it. Left-click, move it down. We'll do the top first actually. So one, you notice I'm just putting them randomly in some place. I'm going to put three on that one, control law, one, and then control law to like so. And let's work our way down now. So to control law, one, Jolla, to control law, one, to work on them, one on here. Alright, so same thing. We'll grab this one. What I need to be careful if Zelda, I'm not actually grabbing these behind, so I'm just going to actually hide these just so I don't mess around with that. So hide them out the way that's come round now, put it on a random again, so random, Let's pull these out just a little bit. Like so. Joe's to split a more, just a little bit and then let's put it back on smooth. Now what we'll do is you can also use the G bone as well just to pull them out. It's just a little bit more fiddly if you use that. Also, pull them up as well. Like so, like so. And there we go. Now, let's pull them both out now. So if I press tab, I'll tastes to bring back the other one, a to grab them all three. That brings me around to the side. So three on the number pad, then let's just pull them out just making sure they go in into here and we've not grow a gap down here. So I'm going to press S, take off proportional editing, put it on medium point in the press S and Y, pull them out just a slight bit. There we go. So this one's going to be the door, as I said, and this one's just going to be a wall. Now, let's do the other ones now. So if we come to the front and the Rear, press top and the same thing. So let's see, first of all of a split them up. Yes, I have. So I went to grab them all with a I'm going to press E enter. And I want this on medium point now. So medium point, and I'm going to press S and Y and just pull those out on each side. And you should end up with these being pulled out on that side as well, which you've sold that I might pull them out a little them also as and why? Like so. And if you're not happy with them. So in other words, if they've come too far out, so the too close to here, we will pull them back. So don't worry too much about that. Now, we need to bring these in a little. So for press one on the number pad, I'm going to press S and X and you'll see they're all going together again. Individual origins S and X, bring them in Tab just to make sure you're happy with them. And now, although it's a little bit tedious, I think it's worth doing. So will come in and we'll do the same on here. So control law to left-click, right-click controller. Let's just bring in some edge loops like so to Luxor. Let's also do this side. So control law. So just random doesn't matter too much. And also, you might not actually want to do this. It's completely up to you what it is a good technique to show you. Just to show you how you can get some variance in the actual Planks award. Really doesn't take that long. I mean, it takes not even five-minutes, I don't think to actually do this. Alright, so there we go. Right now, let's come in, make sure run X-like portional edit Cynon, put it on random, and let's come to this one and press G, just move them out a little bit like so, like SAP. And now let's put it on a smooth move these out. Like so, like so. Now let's come around to this side. Same thing again. Random G, G, a little bit smoother. Like so. Alright, so now let's move these back now. So all I'm going to do, to do that is I'm going to grab each one of these in Edge Select. I'm going to pull these back a little bit like so. I'm actually going to just pull them back though without proportional editing, non-adult meet the arms. Let's pull them back. And now let's come to this one as well. Same thing again. Let's pull these bog like so. Now let's put in all piece of wood duck going to hold these together. So to do that, all I need to do is just bringing another cube, a cube S. Let's make it smaller. Let's put it into place. I'm going to press one, bring it up to where it needs to be pulling out. Like so. There we go. Think it needs to come about halfway. Let's see the thickness. So I'm going to press S and Y to make it a little bit thicker and thinner. And then let's make it a little bit smaller on the zed, zed and then S and X, pull it out into place like so. Now think I wanted to play a little bit more out like so. Then I just wanted to fit in these edges here. So ESnet, pull it out till it reaches the edge, make sure that it doesn't go through that and you should end up with something like that. Now what I'm going to do is I'm going to press control all three. Left-click, right-click. And I'm going to grab these ones here and just pull them down a little bit like so pulleys. And I can see it's a little bit wonky. And now we're going to do is I wanted to grab this. I'm going to press Shift D to duplicate it. I'm going to pull it out the way. All zag 90 control three this time. So I can see I'm going to the Rear of here, bring it into place and now let's pull it back and put it in. Like so. Press Tab, double-tap the eye and just make sure you're happy with it. And I can see here that I think I'm actually happy with how that looks. I'm just looking around the other side. I think actually I just need to pull this up a little bit so I'll press Tab, pull it up just slightly, just so it's not the same level as their name and press shift D. Bring it around to the back now of Z 90, control one that takes us to the Rear and let's put it in the bag. So push it in. Like so I'm going to rotate this around a little bit. So all why rotate it round like so. Alright, so tablets have a look round and you can see realist ions come together now. So what we need to do then on the next lesson is we need to bring in our door handle, bringing our Hinges, and start bringing in all material, which is gonna be blue and green, like we talked about. Okay, everyone, I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 19. Modeling Handles and Hinges: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left the all. Now let's join all these together. So we've got all actually Solidify on, we've got even thickness on, we might as well join it. So let's press Control leg just to apply that. And then we'll come in to each of these and I'm going to try and join them all lobe I just, the only part I don't want join up is the top. So I've grabbed all those. I'm going to press Control J, and that's going to join them all up. Then I'm going to press Control a transforms right-click Set Origin to geometry is going to put it right in the center. Add Modifier, come down to bevel modifier. And then let's turn this to angle first. And let's put this down to naught point, naught, naught five. See what that looks like. Monera thing that's looking really, really nice. Double-tap the a. And yeah, that looks so really cool. Alright, so next thing we need to do is now smooth it off. So right-click, Shade, Smooth. Come up to you a little. Triangle, ulcers move on. And there you go. Now looks really, really perfect. Okay, so let's now put the dot Hinges in. So again, make sure your cursor in the center Shift a, and let's bring in a cube. Let's press three on the number pad and bring it over. So we need shrink it now and then bring it up on the Zed. So think something like 90 speak quite chunky. So I said something like that I think will be absolutely fine. So now let's bring it out to where once it and what we're gonna do is I think it's a little bit too big actually, so I'll shrink it down a little bit, bring it out. Now let's make this into a hinge. So first of all, I'm going to press control law. Three, left plate, right-click. Now while I've got these selected, the easy way to do this is actually using Devlin. If I press Control B, that is the bevel born and pull it out slightly. You can use the Ship bond as well to slow this down. If you need to like that, that then is gonna give me a really easy way to Create the indentations for the hinge. In other words, now if I press E, enter for extrude S, bring it in and you can see how easily they go in. Now if they all go into a sense point, just make sure you're on individual origins. And now you need to do is you need to control all left-click, right-click control or left-click, right-click comments BY select, select the top bomb, press the S key. And then you go, That's a really, really easy way to create Hinges. Alright, so let's press three. What I'm gonna do now is I'm going to pull this up and just try and put it in some kind of place. So once you halfway between that and then I'm going to pull it back like so. Then the last thing I want to do now is actually wants to rotate it round just a little bit. So I'm going to press all NX, rotates it just a slight bit, pull it back into place. Like so now you Hinges. You might want a little bit further out and I want to grab this one. When I press shift D, pull it down. I'm going to rotate to the other way. So RX like, so you can see it poking out a little bit there. But when we call Materials and we'll see if it's too far out, will know. So now let's press tap, double-tap the a, and you should have something like that. Now we will bevel these as well, so we'll do the same thing. So control lake, I'll transforms right-click cell origin to geometry over to Spanner again, add Modifier and let's Beverly, all you can see now they look really nice. So let's put it on angle and let's pull days. Actually, we'll just turn this down this time to nought 0.1. Other thing, there'll be no double-tap the a. And yeah, they look really, really nice. Let's do the actual door handle now. So again, what we're gonna do is you're gonna do the same thing as what we did with the handle on our actual holes. So if you press Shift a comb-over, come down to essays pipe joint, bringing a pipe elbow and it should come in at the same actual dimensions as what you did for the Handrail. I think actually they will be absolutely fine. The only problem is that this is a bit too long. Now you can bring this down if you bring this Low all and you bring this one and length down, you can actually use that to then make it a little bit smaller just to make it a little bit easier. So now we'll do is we'll shrink this down. I'll bring it out. Three on the number pamphlets, bring it across. Let's bring it up. Like so. It's a very quick way creating door handles, especially when it stylized like so, let's bring it to the halfway point, something like that. And now it will do is we'll actually grab this now. So Shift D, bring it down, rotate it around. So all X on your 90, bring it down again. And now we need to do is just join these together. So I'm going to join these together now. So Ship select via the one Control J top edge select. Let's grab this edge, this edge, this one here again. But now we're going to use right-click Two essays, bridge edge loops and now just get rid of these edges. So grab these edges. Now hold Shift and click, Delete, dissolve edges, and there you go. That's the easiest way of making handle. Now let's make some other parts and they sandals, so Alt, Shift and click on the edges of them. Make sure that you're on individual origins. E, extrude, enter S, pulled them out, and then E pull them out on the x-axis, like so. And let's make them a little bit bigger than with the S L to grab everything, and let's put it in place. And there we go. Quit easy and simple as that. Now the thing is when do we need to bring back our man now? So I'm just going to actually go into object mode. I'm going to press the question mark to bring everything back and you can see the handle, even for something Stylized is way, way too big. So let's press Control a all transforms write plate origin to geometry. And now let's shrink that down to something that's a little bit better than that. Okay, so we've got it like that. It's bringing in. There we go. Alright, so we do need to smooth the salt, unlock some Sharps, so we're going to work on these two now doing that. So let's do this one verse the handle question mark, right-click, Shade Smooth. And then what we'll do is we'll come in now and actually put some Sharps on. So I'm going to press Tab Alt Shift and click on these parts here, these where I want my Sharps like so, right-click and mugshot command, also smooth Tab button. And you can see here, we still got a line down here and I don't really want that. All you need to do just turn off the auto smooth jaws to Todd. And now you say that actually smooths it all really nicely. Question marks, bring everything back, double-tap the eye and just make sure you're happy with it. Now let's come in and do all Hinges. So I'm going to grab all Hinges. Question mark, and let's come in and grab them. So Tab and I'm going to hide the bevel off of the moment. I'm going to press a to grab all of these right-click mock shelf, like so. Right-click, Shade, Smooth, triangle, Altos move. Now these actually should be smoothed all the way it down. You might want to actually not have this part here so smooth. But I think I do. If you don't just basically take off the sharp they've Palm that question mark again, bring everything back, double-tap the a. There we go. You're looking at something like that. Now let's put our winter in place while we're here, and that's very simple to do, of course. So shift a, let's bring in a plane. It basically only needs to be a plane, is just going to have some actual material which is glass ball on it. So all X 90 bring it in. And because we're not going to be looking from the inside of here, we don't need to worry about this being one side of either. Let's make it smaller. Make sure it doesn't go past the Wooden parts on here. Like so. Yeah, I think that should be fine in this. Just look out for all It's actually come in. I'm going to double-tap the ages to have a look. I'm just looking to make sure it fits in fine. Alright, so I'm happy with that. I'm just going to hide my man out of the way. I really don't need him there at the moment. And now we need to do is you need to start work on the bottom of this actual Cabin. So we'll bring in the bottom first. So let's come in Hyde our whole lot the way and it should be left with something like that. And let's press Shift a. And what we're gonna do is going to bring in a cube. I'm going to press essence, add, bring it down. Now we'll one stays are basically wants to put this cube in the center of here. So how to do that? If I grabbed now my Cabin. And you'll see at the moment the origin, if I press Control seven should be right in the center. Now is let's press Shift S cursor to select. My cursor will go to the origin. Now if I come over to my Q and I press Shift S cursor selection to cursor. It will put it right smack in the center where they said, as long as I pulled that back, the origin is in the center of whatever your movement. So make sure your origin in the sensor with right-click Set Origin to geometry and then Shift S selection to cursor. Keep offset. Now I can do is I can scrub it, bring it down, make it a little bit smaller, like so. And I'm gonna make you a little bit thicker. So I said like so. And then while wants to do is actually wants some parts on the edge OPIA going all the way round with some bolts on. So let's do that as well. So I'll do is I'll press shift D. So bring it out, make it smaller with the S Bowen, make it thicker. So I said smaller again. Now let's see how they grew up these. So let's put it in here. We need bolts on either side. So something like that. I think she'll be absolutely fine at that. Now to actually move this around, First of all though, make it a little bit thicker. Legs are. Now to move this around. The easiest way to do that is to actually grab this one again, Shift S cursor to select it, and then grab this one. Now what we're gonna do is we're going to move the orientation to here. So right-click set origin to 3D cursor. Now when I rotate this, so all Z, you'll see it rotates around that where we want it. So what we need to do now is we need to press shift D, enter, all said 90, and that will put it on that side. Ship date. All zed 90 shift the all that 90 and then we go. Now you can see that we've got this going all the way around and it should be exactly the same length. So now let's join these all up. Shift-click in each one until this part here, Control J. Double-tap the a. There we go. That's it for this lesson. What we'll do on the next lesson, nannies will actually start work on the bolt and then we'll start bringing some materials in. And also we'll start bringing the glass. But glass is an important one, is actually the only Material we're actually going to use a texture that we're actually going to bring in just to give it a little bit more realism on the Glass. Alright everyone, so hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 20. Creating Cabin Materials Scaling: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left it off. Now I think the first thing we need to do is just bringing the Modifier on these Hinges. So come over to the spanner. I just forgot just to report on the Modifier. And then what we'll do is we'll actually hide this all out the way. I'm just going to click on over here on Collections where we put them in, just hide with the eye. And then we're going to do is I'm just going to try and grab all this and make it a tiny bit smaller at the moment, a little bit too big. So I'm going to press B and try and grab all these parts and grabbed the handle, the window, and you can see they've got the light grabbed as well. So I'm just going to Shift click the light just to take that off. Then I'm going to press G just to make sure I've got everything which I have. And then I'm going to do is Unwin's press the S bone, just shrink it down a little bit now before you do that, just make sure that it's on medium point, then shrink it down a little bit. The reason for that is that if I bring my whole back, you'll see that it's a little bit too big at the moment. So I'll press Control zed and just bring it back and show you what amine. So you can see at the moment if this door opens, he's not really a lot of walkway up here. So let's shrink it down a little bit like so. Then what I'm going to do is I'm just going to tie the whole one small. I'm going to just hide my man out of the way. Someone's grabbed my mom, press the H bond and I'm going to grab everything on here. Like so, press the button and the only thing I haven't got is the top. And then we press S and Z and just pull it out just a little bit. Then I'm going to grab the top Poly you to the top of here. Now let's see what that's looking like. You can see I might need to make the top a little bit bigger, so I'm going to press S just a tiny bit bigger like so. Now let's bring back the whole and we'll press Alt H, bring back the human. And there we go. You should end up with something like man, I think that is a much, much bedsides and what we actually had it. Okay, so what we're gonna do now is we're actually going to bring some Materials in. So let's come to our actual Cabin. I'm going to try and leave these here just to get an idea of what they're going to look like. So what we'll do is we'll come over to our Materials. What we'll do is we'll click plus five times and we're going to bring in some nice green colors for these panels here. And then these other parts, these bigger pumps and these little Posts going across there gonna be a blue color. So let's come in and we'll click New and we'll call this Cabin ward one. And I'm gonna double-click that, press Control C and I'm going to come down to the next one. I want to click new, double-click, press Control V minus off the one and put to him. And I'm just going to wet my way down doing exactly that. So Control V minus a3, and then I'll do it for these two as well. Then the last one. Like so and then fine. Okay. Like that. So then we'll do is we'll come into the first one. Now. I'm going to press Tab and it will actually give it this color as soon as it bring it in. You'll notice when it comes to Cabin would want Base Color is gonna be green. You'll see all goes green and we want it much, much darker than that. I'm going to press Plus and just double of what that looks like, still probably needs to be saturated a bit. And also the roughness is just way too high or low, so it's making it really shiny. So let's bring that up a little bit. Now let's say saturate out a little bit, something like that. And I think that looks really nice for a base color. So now what I'll do is I'll copy this down-arrow copy Materials and then let's paste it into the fall. So pays Material made a mess there. So copy Material, paste material that we can paste material into the other ones, like SAP. Alright, so what we'll do is now I'll press the tab bar and I'll grab this one. I'll come to the second one and I'll sign it. Then I'll grab the next one. Sine sine the sign, and that means then I can do them altogether. So let's come to the second one. You'll see that's this one here. So if I come down now and I make this darker, you'll see that one turns a little bit darker like so. And you can see now there's a difference in color. Let's come to this one now. Maybe turn this all a little bit, something like that. And then let's come to fall. And we'll make this a little bit different in color. So we can see that changing a little bit, something like that. And then five, calm down and let's change it. Let's try and change it the other way. Like nine nights, a little bit different on the Cola and they look really, really nice. Alright, let's press Tab. And what we'll do is we'll just hide these out the weight because we've pretty much done those ones. Press H to hide, and then I'll grab this one and I'll click would say one less and then just gonna go run. I'll do want to first actually. So you can see, I'm going to grab that one again. I'll do all these would to, and then I'll do the word one after. So I'm gonna grab these. So I'll do all these will too. So click assign high the amount of weight and then we'll do the wood one now. So you can two of these, one of these may be one of these like assign high, the mother, wife. Now let's go in and give this next one. Would three, something like that. So click Assign I the month away. And then we've got wood for Let's click Assign, hide them the away, and let's see what we're left with, just one here. And then I'm just going to go round and make sure what they look like. So I'll teach Tab myself a lot to make sure that they're all looking relatively different and that's the main point of actually doing this. All right, so they look quite nice. Now let's come in and actually do the blue. So we're gonna do Chu, so we'll do two here. New, a new, I'm going to copy this copy Material, pace Material and takes Material. And then we'll do is I'll just double-click this and I'll call this Cabin ward. Blue. One. There's not as many different shades of blue, so I'll just call it that. I'll double-click it control C, come to the next one, control V, and then just minus off this one and put two like so. Now I'm going to do is I'm going to come in to this part here. I'm going to grab it with all. I'm going to click on this one here, click Assign tab. And I'm just going to change this color jaws to a bluish color like so. You can see that looks pretty nice. And now we're going to work on this part here. So I'm going to do that when I press tab L on this part calmed down to this click Assign tab. And now let's change this to a similar blue to what this one is like. So albeit perhaps a little bit lighter, like. So maybe that's several Look, mommy to light. One way it's fine now is now we'll just come in, grab these other two Posts, Like so, like the sign, and then grab the smaller parts and click Assign. Alright, so let's have a look. Nothing that looks really, really nice. Okay, so what we need to do now is this metal. I'm just going to hide the whole lot the way now. Just make sure that when you've donate, double-tap the a and just have a look at how that is in comparison to the rest of the Ship. I think it looks quite nice like that. We've not thought to go before. We can always say rotate this and getting the right angle as well. It's just making sure everything's right before we rotate it. Because once you've rotated it, you will have problems if you need to go in and resize something and things like that. So that's why we get in the alphabet. Now let's hide the hole at the moment, and let's hide our human and that's coming now and grab this press Control a or transforms, right-click Set origins, geometry. And finally let's come over to the spinal, add, modify it, and we're going to bring in a Bevel. And then we're just going to put this on an angle and turn this to naught point, naught one, like so. And there you go and looks much, much better. Alright, So now we've done that. Let's bring in all metals will come into our Materials. Click the Plus button, plate down, go to metal railing. Among injuries, I'm actually going to copy this down arrow copy Material plus new I'm going to call this metal Light. I'm going to make this, I think, a little bit lighter than the other ones, so something like that. And then we're going to do is I'm going to paste material in. So paste material like so I'm going to do now is I'm just going to minus this one-off and then it should give it this one. And then we can do is we can come in and just make this a little bit lighter, just slightly, something like that. Now the bolts on here should be a little bit darker a thing. On the next lesson we'll actually work on those. First of all, though, I'm going to come in and give these actually some Materials as well. So when I click on these, click the down arrow, I'm going to bring in metal railing for those and the same on here. So plus down-arrow metal railing, double-tap the a and let's have a little that looks like and that's looking really nice. Now before we end, Let's actually do the top. So what we'll do is we'll grab the top, control a or transforms. Right-click Set Origin to Geometry. Little spun it down arrow and let's bring in a Bevel. And what we'll do is we'll pray again on the angle. And then what I'll do is I'll actually put this on naught point, naught one, naught point, naught one, like so. I'm just going to press Tab. And the one thing I do need to do on this before is pressed a, I'm going to right-click, come down and mark the Sharps like so. And that looks much, much bad. So on the next lesson, what we'll do is we'll bring in the bolts. We will create the Glass, and we'll give this top of material as well. Okay, everyone, I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 21. Node Wrangler Addon Shader Tab: Welcome back everyone to Blender 2.9 design and render a stylized water scene. And this is where we left it off. So let's now bring in all Bolt. So I'm going to come down to here. I'm going to grab this one with all. I'm going to press Shift S cursor to selected, like so. And then I'm going to press Shift a and we're going to bring in a UV sphere. And you'll notice when we bring this in, that this has a ton of polygons. We really don't need that money. So what we'll do is we'll bring these down something like 12. And I'll also bring this down something like eight because we rarely really not going to need that many. Now, let's press Tab that will take off this menu. Let's click on our face. And what we'll do is we'll come round and actually delete these faces. So delete faces, and then I can click on the rest of the bottom of it, delete vertices, and that gets rid of everything for us. Now let's press L on it. And what we'll do is we'll make it smaller festival, so bring it down. And what you're going to press his three and then we'll just line it up just so it goes over the top. And then we'll press S and Z just to squish it in a little bit because we really don't need them, not pointy. And now let's have a look at how big they are. So we do want them relatively junkie. It all depends how chunky you want them. I'm just going to lift it out a little bit more like so Something like that. Then I'm going to press shift D. I'm gonna bring it over length, so bring it over a little bit. And now let's have a look at what they looked like. Last of all, I want to press right-click Shade Smooth just to make sure this move, I don't need to bring my little triangle in an auto smooth them because I do want the moles all smoothed off. And finally then let's bring in Material and we'll call this actually bolt. So I'm going to click New. I'll double-click here and I'll call it bolts, like so. And then what I'm going to do is I'm going to actually bring him my original material, this one here. So let's click the down arrow, metal lie down arrow here. Copy Material, come to your bolts Material. And now we'll minus this off. And then going to do is I'm going to make this a little bit lighter, like so, and possibly a little bit shiniest. So where's roughness here? And you can see I can bring that down just to make them a tiny, tiny bit more shiny. Now let's double-tap the a and envelope and make sure that happy with it. If you Coase's in the way, just shift right-click and then you can have a look around. And I think I'm actually really, really happy with that. So now what I'm going to do is I'm just going to move these by hand because I don't want them to uniform. So I've got these here. I want to make sure that my cursor's to the center and that the transformations a reset, so control lay all transforms right-click origin to geometry. And now it will do is I'll shift D. I'm going to move them around and I want to spin them around. So all Z, Let's spin them around, something like that. You can see they're a little bit different to these. And then I'm going to go in, press the top bone L to grab this one here and just move it a little bit round like that. Night kinda bolts instead of these kind of like hexagon bolts or something that might look actually nice. So it's completely up to you. I'm going to grab these now with the L Ship D and just bring them over. Like so I'm going to put that one in place first. Actually, I'm going to bring this one over. Like so I'm putting maybe they're and I'm going to grab them both. I'm going to press shift D, bring them over. And then let's pull this one in place. Like soap. Alright, so press tab and let's now join them to these ones. So Control J. And then finally, one way to do is I'm going to grab this one here, come over to my level span, I'm going to apply this Modifier. It's not actually a lot actually on this. The one thing you might want to do on this particular one because it is easy to do, is actually just delete the faces of the bottom of here. So if you grab all of these, make sure you've not got everything. So you can see that I've got that grabbing that don't will not so I'm just going to grab them all. I'm going to press Delete faces and just get rid of those numb press a, I'm going to right-click and you can see here that I can't actually Mount Sharp it because it's Control E because we're in face legs. So moksha. Now let's press Tab. Just have a quick look what that looks like. Now let's apply our Modifier with Control a, and now let's join them up to these bolts. So grab them both. It should grab them all. Now, press Control J, join them altogether and should end up with something like that. Alright, double-tap the a and have a quick log. What that looks like. Now, let's do the Roof will do the Roof with the same material as this one, which you'll see is metal Light. So let's come now and we'll actually do the same thing. One we're gonna do is I'm just going to join them all together. So I've got this part here. What I'm gonna do is I'm going to come to my little spanner. I'm going to hover over it, press Control, lay calm to my bottom. I'm going to join it with this. So grab this, this one first, grab this 1 s, press Control J, and there you go. That material should then be applied to this. Now, when we come to actually render this out, The one thing we do see is you can see it goes a little bit Bonnie on here, so you just need to make sure that's okay. And all that aids is the roughness. And just make sure that it's not too shiny when we're actually rendering it. Alright, so now we've joined that altogether. What we need to work on now is our glass. Now, this is the only material in the whole scene that actually uses some kind of texture which I've created in Substance Designer. And the reason for that is because Glass, while it can look gold, actually doing it procedurally, but I find actually using this texture just makes it look a little bit different. Plus they'll teach you how to actually bring in textures, as well as creating all the rest of the scene procedurally. So now we've grabbed this. Let's come up to our edit, come down to Preferences, go to add-ons, and you're going to bring in the node Wrangler. And you'll see here there's one that's called node Wrangler. Just make sure that's ticked, click refresh, and then close it down. Now let's come to our glass, just make sure you're on there. Come to your Materials bond, click the Plus button and we're just going to click New and when to call this Glass. Like so. Then we're gonna do is gonna come over to our shading bonds. So this is the shading bond. This is where you create all your materials. So when I click that on, you'll end up with a screen like this. Now, you should be able to see in there and see where it looks like. Just make sure that you've got your EV Shader on and then you'll be able to see exactly where it's going to look like. Let's zoom out a little bit, make sure this is on object mode. It should be. But sometimes you might have put it on weld or something like that. Just make sure it's on object mode. And then what you're gonna do is you're going to look at these two nodes. The first node here, this is Material output. This is where all the nodes go into, and this basically is the output and what you'll end up with, if there's nothing plugged, delineate, you won't see anything on here. The next one is the principle, BSD. And this is basically blenders magic node. And what it enables you to do is plug-in loads of different textures and things like that into this node and then into the output. Okay, so what we're gonna do now is click on our principal. Just make sure you've got that clicked on what you can do now because you've actually brought in, you'll node Wrangler. If you press Control Shift T, you'll end up with a menu opening up. And if we just put this back, you'll see one that's called glass. Now, the Glass one, it has all the glass textures in. So you'll see here, you've got five textures. Normally in Blender you want to aim to bring him five textures. And we'll go through these as we work further into actually creating this material. So for now, let's click the top one which is a color shift. Select the bone one or not, select them all, and then click on principle, texture sets up. Now what I'll do is because we have the node Wrangler is Blender will bring all these in and actually set them up. So now I can literally pull this one out a little bit, grab this one, pull it up. I'm just going to set, set them out, ready for the next lesson. And in the next lesson, I'll go through what all these things do. But you can see already that we're starting to get somewhere. You can see that's looking a little bit like blast, albeit we can't see through it. But at the end of this we'll have some nice looking glass. So I hope you enjoyed that. I'd everyone and I'll see you on the next one. Thanks a lot. Bye bye. 22. Setting up the Glass: Welcome back everyone to Blender 2.9 design and render a stylized water scene. And this is where we left it off. Now at the moment, we've got some Glycine. We've got something that appears like bustling, and we've got all, all textures. And so we just need to go through and show you why that glass has appeared on there. So when you bring in an object and you want to basically unwrap it, what you do is you unwrap it to basically put a material on here. So if I press the top and I grabbed this in Face Select, so make sure you've got it grabbed, press the U button and you'll see that you've got a button called actually on-ramp. Now what that's gonna do now, if I come up to uveitis in this bone here, you will see that it's actually unwrapped here. Now you will see down the bottom right-hand side when actually unwrapped it. So I'll show you again on round objects as non-uniform scale. And the reason for that is because I actually need to reset the transformations for this piece of glass. So I'll do is basically, I'll press Tab, press Control eight, come down to all transforms and now press Tab, click View again, click on Wrap. And now you'll see we don't have a problem. Also, you'll see that this has actually changed from China's cover all this to basically covering a little bit of it less. And the reason for that is because now Blender understands that plane here has actually changed size from the original plane when we brought it back in. Again, this is another reason why it's important to actually reset you'll transformations. So the next thing you wanna do is you want to come up to you a little down arrow and bringing, you'll glass. Now, if you bring in the color, you will see that if a zoom out and I press a to grab all of this, press the S bone just to shrink it down that with glass, it's still pretty hard to see actually, these little bits and roughness and things like that. If a comma panel click the down arrow and I come down to the roughness. You will see that this is what the actual roughness map looks like. A maybe clicking on this will give you a better idea of what this is going to equate. You'll also see the overhear. We're actually in solid mode. And that is because you need to change the shading Option every time you go into a different tab on here. So now if I press the top bone, you will see that this is what it looks like. Now I can do, I can come in, make sure I'm in edit mode and now can bring it out with the S button. And you'll see now that actually also comes out. You can bring it right past it because actually this texture here is actually a seamless texture. I always try and make sure it makes seamless textures just to make it easier. If I want to bring something out and make it much, much smaller on here, then I'm able to do that for now though I'm going to bring my name just to something like here. That's a brief explanation of how to actually unwrap something and how to actually see within are actually UV editing panel here. So now let's go back to the shading button. And then what we'll do is now we'll talk through a few of these things down the bottom right hand side here for the textures, I'm going to have a brief explanation down here. Now, again, you can see that we can't see throughout glass at the moment or anything like that. And that's because we need to bring a few more nodes in these all basically notes, this is what they are. So let's come to the first one. The first one is texture coordinates, and this is basically telling Blender how to actually pull this actual material onto this object. The next one is mapping, and basically that is then taking that UV mapping and then putting it on it, how we actually want to do. And finally then these actually go to all these different textures. So these textures are basically mapped all of the same because the, OH, coming into each vector on these actual textures. So let's come to the first one. If we zoom in, you will see is the actual base color. And this is simply what color and the little bits of grime you can see on this actual glass. So that's what the base colors. If we move down, then we've got all metallic texture. And again, as I said, normally something is metallic or it's not. So basically bricks and things like that don't actually have a metallic texture. Now, sometimes we glass, you might want a little bit of metallic texture. It's the only thing really where you might have a little bit of a difference there, just to give it a bit more glint in certain places and things like that. But normally, to be honest, when I'm creating a glass, this is the most important thing. This is the roughness. Now what the roughness dose, it doesn't bring into Nikola or anything like that. But you will notice on glass, especially when it's an old, grimy dirty, you will have little chips, you will have little roughness over the top of it. It look a little bit bumpy and things like that. And it can be from the day, it can be from scratches and things that, and that is the main point of this roughness map. Now for calmed down a little bit, you'll see that we have a normal map. And basically this takes the roughness and the metallic and the actual color, and it basically turns it into looking 3D. So it turns those bits of grime, bits of scratches, things like that, and actually pulls them out and makes them look 3D within our Blender scene. So it's a very important note, this Now the displacement, what that does is it takes all the little details in here and it actually helps to bring those out a little bit. Bolder Displacement also does something else. What it does is when we bring in a displacement modifier, it can actually really, really bring out all those grooves and everything like that. So it's also a really, really handy Node or texture to have. And most of the time you end up with a Displacement because it also does a little bit of bringing out that detail and things like that as well. But we're not gonna go into Displacement, not on this Cabin, but we are going to go into Displacement a little bit later on in the course. And you'll see exactly what I mean with that. Alright, so we'll notice now that the normal map goes to a normal map node and then Displacement goes to a displacement node. And you'll see how all these plug-in. So you can see, for instance, if I go back, hope that all these plugins, so the relative options here, so you'll see the Base Color comes into the base color. You see the metallic, and then you'll see the roughness, and then you'll see the normal, the only one that doesn't plug into anything. It's always the same is the displacement that plugs into a displacement node and then into displacement. Now what you can do here is you can bring the strengths. And what I'll do is it'll increase how bumpy and things like that. So if I bring this up, you can't really see, but you can see a little bit. And it's because it's glass, it just makes it a little bit harder to see if this was bricks or something like that. You can really, really bring those bricks out to make them look a little bit more realistic. Now, be wary, don't go too much with this, because if you do go too much, it starts look a bit stupid and that's just not worth it. Same again with the displacement. If you bring these up, you can really start to bring out the little details. All that more the higher bring them all. Now of course, there is an ending point to this, and you can only go so far and then it won't go anymore. So that's sold those nodes explained. Now as I said, what we need to do now to make this glass actually look realistic is bring in some more notes. The first node we're going to bring in is a Lightpath. So I'm gonna do is I'm going to zoom in over here. I'm going to press Shift a, I'm gonna do a search. I'm going to put in Light, so LI G H, T, and then you've got a Lightpath. So click on there and you're bringing this. Now what this is gonna do is basically tell Blender how the light should be shining through this actual glass. Now, let's bring in another node. We're going to bring in a add node. So shift a, where you're gonna do is you're going to look for a map, come down to where it says map, bring that one in. This Base there. We're going to leave on Art. Now, this node is really, really great Node because when you click on here, you can do so many things with this node is just a really great Node just to Avenir all snow. So what we're gonna do now is we're going to bring in the shadow ray. So basically how the shadows form from the back of the glass and things like that, and plug it into the top one here. Then what we're gonna do is we're also going to bring in a reflection rate. And that's obviously how reflective and things like that the glass actually is. So let's plug that in there. So now this is basically the first part of our glass, actual texture. Now, we need two things to make this glass. First of all, we need a glass node which makes it so that we can change the IOR and basically what they in Juarez, when you put a straw and water, you'll notice that the straw goes into the water and then he moves slightly based on how thick the water is, all the iron wall of the water, it could be dirty is or how much light shining on many, many things. But when we bring in a Glass be SDF, so we'll press Shift a and we'll go to the search putting glass. And you'll see one called Glass be SDF. You'll notice that this has an IOR on it and that is the reason for that. Now, we're just gonna put this here. And what we need now is a transparent we need to transplant just to make it see-through. And then the Glass does the work on making the IOR, making the roughness, Things like that. So let's now press Shift a, bringing it all the notes. So search. And this time we're just going to pour in trans and we'll bring in a transparent VSTS. So we'll drop that there. And then we need to mix these two together. So how are we going to do that is press Shift a search and you're going to come in and you're gonna put mix. You'll see one that's called mixed Shader. Now let's draw that in there. So now we need to take all the shadow rays and the reflection rays and things like that and drop those in. So let's bring those to the FAQ here. And you'll notice now that disappears and now we can plug these two in. So let's bring in our glass and we'll plug that in. And then we'll bring in our transparent and we'll plug that in. And now basically this node is now an offset or to what we want it. They are wall is already set up but 1.45. Oh, this is about right for perfect kind of Water. Normally. I wouldn't mess around with this too much. You can play around with it. But I would say that itself near enough, perfect every single time. Now, let's zoom out a little bit. And what we need to do now is we need to plug this in. Now. We can't plug it directly into the material output because then we'll lose all these textures. What we need to do is needs to make another Shader search put in mix. And we'll bring in a mix shader again. We'll drop that in there. And then what we'll do is we'll grab this part of the node here, bring it down, and drop it into our top one here, and then we'll bring this one here. So this is all of these textures, all of this mapping, and we'll grab it and we'll drop it into the bottom one here. And then finally, we'll bring this down and we'll drop it into the top of our world where it says surface. Now you'll notice that will be a change. So let's just zoom in a little bit just to show you that's where you need to drop it in. Now finally, if we come up here using the middle mouse to come up, I'm just going to show you that you can turn this down now and you can make it most see-through. Now, let's just move around a little bit just so you can see in the back of their five, bring it right the way down. We should be able to see in that now the moment we can't see anything and the reason for that aids if I turn this down, something goes below nought 0.5. And then Acoma cross-domain Materials panel here. What I'm gonna do is I'm just going to make sure that Refraction debt is a tiny bit. So if I turn this up to something like no 0.3 and then click on screen space Refraction. And there we go. Now you can actually see inside job glass. Now, you can actually mess around with this and you can make it more see-through or less see-through. As I say, I think just below nought 0.5 is about right now, this Refraction debt, what that does, you'll see if I bring this up to something like that, you can mess around now with the actual Refraction. Now you can also mess around the Refraction on the IOR by recommend leaving that alone and actually doing the work on this, this one here. And I recommend putting a naught point, naught three. And I found that that is absolutely perfect for order. So we've got a lot glass here, we've got our roughness on so we can see the dirt and grime and things like that. We can still see through here for when we bring our Wheel in and we can't really see any reflections or anything like that. And that's great for this particular scene. Okay, everyone, so that's it for this lesson. I really hope you enjoyed that and I hope you learned a lot and I'll see you on the next one. Thanks a lot. Bye bye. 23. Creating the Life Ring Anchor: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left it off. So now we've finished with our glass. Let's go back to modelling mobile do is we'll put it back on EV and I'll bring in the whole will also bring in anything else. The human will bring the human in as well. What we're gonna do now is we'll create the little ring, the life-saving ring on here, and we'll create the actual Anchor. So let's first of all make sure that our cursor's to the center. So Shift S, cursor to world origin, shift a. And you can see that, that we come up straight with a Mesh. And that is because we need to press the top bone now press Shift a and you should be able to come across now to Mesh. And what we're going to bring in is a Taurus now a torus. Let me just hide the hole again. Looks something like this when you first bring it in, Let's open this bottom manual and you'll see that has a ton of polygons and we really don't need that many. So let's bring down the number of segments. Let's try something like 16. You'll notice that there's a little book on Blender that when we do that, the actual hole comes back just to hide the other way again, you can see it's going to look something like this at the moment. I think actually that's still too high. So let's bring it down something like 12. Hide a whole again. And now let's bring also the minus segments down. So let's pull down something like eight. Then again the hole comes in. So let's hide the other way. You should end up with something like this. Now, we'll do is we'll actually press Shift Spacebar because they're loaded backup my Blender, bringing our gizmo and let's just move it over this side and now we can bring back haul or Alright, so let's now rotate it round. So RY 90, press three on the number pads, go inside View and let's get this to the right scale. So think something little bit smaller than that. So something like this size I think will be fine. I'm just going to pull it back and just have a lot what that looks like. And yeah, I think I think that's about the right size for our actual Ring. Okay, so let's first of all come in and what we'll do is we'll right-click and Will Shade Smooth. And I think it'll be fine like that. I don't think we need to bring any Sharps in or anything like that. And now we'll do is we'll bring in a Material. Let's come over to our Material panel. Press the Plus button twice. I'm going to click new, a new. I'm gonna pull this ring whites. I'm going to call this one ring orange. Like so. Alright, so let's do this white one. First one we're going to do is I'm just going to press Tab and envelope of what that looks like so far. And the thing I'm just going to make it just a tiny bit whiter like so. I'm not going to mess around with the roughness yet. I'm going to see what the orange looks like first. So I'm gonna do is I'm going to come in with things like alt, Shift and click round every other one like so. And because we've brought it in at 12, it should actually come in where you've actually able to do every other one. Now let's come to our Ring orange click Assign. And then I'm going to pick the color and we're going to pick a nice orange color, like so. Now we're just going to look, is that shown you enough? And actually, I think the roughness each shiny enough but not quite pi. You can see if I turn it up a little bit, it might actually look a little bit by little bit lower. So no 0.337. I'm going to click on this. I'm going to press Control C. I'm going to go into my white. Now. I'm going to click on this control, the enter. And there we go. We've got the same all the way around. Now, let's bring in something to actually hold this. So I'm gonna do is I'm going to press Shift a and we're going to bring in a cube. Let's bring the queue Bow, make it a little bit smaller. Seven on the number Padlet, bring it over. Let's put it into some kind of shapes. So the first thing we're doing, still gonna make it a little bit smaller. I'm going to bring it over, push it into the actual Boat, and I'm going to put it just on the here. So now I'm going to press S bring it down MY and bring it in. I'm just looking where I want less. I'm going to press Tab, Face Select, grab this face, shifts space to bring my gizmo in, pull it out like so. Control or left-click, pull it along. And you can see now that all these skills that we learned were really come in handy now to actually pretty much create anything we want. So now let's press E, pull it up, like so, and let's pull it out a little bit. Now finally, let's come in. I'm actually bevel the edges of this part off, so control, be pull it down. You'll notice now that went abroad those down with my bevel. They come like this. Now the best thing to do actually before we babble is I'm going to press Tab Control a or transforms right-click origins geometry. And again, this is the best thing to do before you actually bevel anything. So now I've got these two edges selected. Control B, bring it down. You can see there come down and much more slanted angle now. And now you need to just open up this menu down here. I'm going to put this onto, and that's going to make it more rounded like that. And I'm also going to do the same thing on the bottom of here. So control B, then just round it off, like so, and that's all it needs. I think something like that. I think what I'll do is though I'll bring in these parts. So how do that is? Grab this face. On this face. I'll press S and Y and bring those in, something like that. And now finally what we'll do is we'll just indent this part a little bit, and this is a new key. So what we'll do is we'll grab this face. I'm going to press the eyeball and lots the Insert, bring it in like so. And then just press E and pull it back a little bit and you should end up with something like that. Now finally, do we need to make this a little bit thinner? Possibly. So what we'll do is we'll use another button now. And what we'll do is we'll press Control and the plus on the number pad. And what that'll do is actually increase your selection like so. Then all you free to do is select both the bottom ones. Now we'll just pull it back a little bit just to make it a little bit thinner light. So you can see here it's messed around just with our bevel a little bit. So let's grab this bottom piece here, pull it back a little bit, and now you can see all bevel comes back. Now let's grab the whole thing with a. I'm going to press Control E because I'm in Face Select. So control a, come down to where it says moksha. Now you can see that we've got a lot of Sharps here that we really don't need. So all these ones around here, I'm actually going to take these off. So these ones here as well. I don't really need a sharp. I'm going to leave that sharp on there actually. So I'm going to right-click clear Sharps. And you should end up with something like that. And then just going to clear the sharp on these as well. Just the ones where we don't need them. So control Lee, clear, sharp. Now let's have a look on the inside of here where we want them. So I need to show up here, here and maybe here, so that's absolutely fine. And in the bottom that I want to do now is press tap on, right-click, Shade Smooth. Come over to my little triangle. Normals. Also smooth, and you should end up with something like that. Now, I think actually, I would like this part rounded off, not so much like this. So all I'll do is I'll come in and get rid of these Sharps in here and the Sharps in here. Now because I'm on edge select I can right-click, Come down clay shelves. Now when I press tab, you should end up with something like that. No, we need to do now is just turn this off just a tiny bit, not as it should end up. Alright, so I think I'm happy with that. All it needs to do now is bringing the same material as this. So if you click on here, you'll see if you come to Material. This is Mount railing. Click on this plus down-arrow and bring it down to metal railing. Now finally, let's actually rotate this round. We might need to pull it out little bit. I'm just going to pull it out like so I'm going to rotate it on the z-axis. So all zed, pull it back into place, like so. And then let's pull this out and rotate this round. Justice libel as well. So all so it's not so even on that. And I also need to pull it a little bit this way. Alright, so double-tap the eye and novel of what you actually creates it. And I'm really, really happy with that looks really, really good. Alright, let's start with our actual Anchor Point. So what we'll do is, again, I'm not going to put actually my cursor in the sense of this time because I wanted to be able to see what I'm doing. So I'm just going to press Shift, right-click over here. Then I'm going to press Shift a to bring in a actual cylinder. And you'll see it comes in at 30. Two-thirds is again, we don't want that. It's way, way too high. So let's bring down something like 12. And then we'll oppresses S, shrink it down and spin it round. So all why 90? Let's spin it around. We'll just try and get this into roundabout the right place. Remembering our man here. That's why I'm using them just to see how big this actually is. Snf's that shrink it down. And this is basically going to go on the side of all boat full. The actual chain that comes out here for where they actual Anchor drops down them into the seabed. So I don't actually want to rotate to yet because if I rotate this, it's gonna make it much harder to actually work with. So what we're gonna do on the next lesson, this will create all Chain going down and then we can copy that in a later class and actually finished that all the way to the seafloor. Okay, everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 24. Creating the Anchor Chain: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left it off. So now let's create a hole where the actual Chain is going to come out. We're gonna do first is we're just going to press Tab to go into Edit Mode, come up to wear face select. And again we're going to use Insert now. So I'm going to press, I insert and actually bring it in. Just bear in mind how actually big you actually want this whole and how big you actually want the actual whole thing to actually sit on the actual Ship. We can make this smaller. So what we'll do now is welcome to the back, will press Delete and faces, and you should be end up with something like this. You can grab the front of it. What we're gonna do is just going to pull it back with the EE button. So just pull it back like so. Now let's bring in our actual chain. So what we'll do is we'll press, while we've got this one part selected, will press Shift S cursor to select it. And now when we bring in our tourists, it's going to come right in the center and make it a little bit easier for rows. So now let's press Tab. Mobile dairies will press Shift a mesh torus and bring that in. Now, we do have some issues and it's probably too big for our actual chain. So what we'll do is we'll come down, just open this menu. I'm bringing this down something like eight or thing that's going to be much better for our chain. We don't want the chain too heavy on the actual polygons. I'm just going to bring this down. Actually, I think I'll leave that actually on eight, so we'll leave them both on eight. And let's see what that's actually going to look like. So first of all, let's make it smaller with S and bring it out. And what we're doing at the moment is we're just playing around with this side just to make sure we're happy with it. For instance, now, if I come in and I right-click and I shade smooth, you can see that smooths like this, and maybe this is too small on the polygon count. So let's actually delete that. And what we'll do is we'll press Shift a again, bring in another Torres. And I'm going to turn this up just a little bit on the major segments, something like ten. Now let's see what ten looks like. So I'm going to press right-click Shade Smooth. Yeah, and I think that's looking much, much better. Also, while I'm going to do is I'm going to pull it out. So S and X pull it out like so. And have a look at that. Yeah, I think I'll looks much, much bad now let's press S, bring it in just so it fits inside there. So S Again, like so I want it to be stuck in something like that. Then what I'm going to do is I'm going to press all, just spin it round a little bit and then All and why and spin it round like so and then pull it down. And that is where I want it. I actually want it resting on this edge here. So on It's pull it back a little bit when it come round, just make sure that it's not actually in the actual mesh on this part. So something like that. Pull it back a tiny bit and then pull it up a little bit. Like so. Now, let's make one more of these chains. So while we've got it grabbed, what we're gonna do is press Shift D, right-click and then I'm going to pull it down and rotate this around now. So I'm going to press all and why and spin it round like so. And then all zed 90 just to spin it round so it's going around the right way and I'm just going to put it into place. Like so when I can say that we're actually starting to get somewhere with our Chain. Now I'm gonna do another one. So Shift D to pull it down, spinning around. So all Z 90 and then spin it on the y-axis just a little bit just to get a little bit straighter. Now we're coming down. I'm also going to press one and now can see how straight it is. Now don't worry too much Bow Street is because it is going down to the ocean floor. It would never be perfectly straight anyway. But I'm just going to straighten this one up just a tiny bit like so. Now think I'm pretty, pretty happy with that going like that. Alright, so now let's bring in some materials. So what we can do is we could use this dot one here to actually make this part of the Anchor. And then what we can do is we can use probably these bolts to actually make the chain will make them a little bit brown or something maybe. But we'll have a look as we go along. First of all though, let's work on this part here. I'm gonna do is I'm going to click on this. I'm going to press the question mark and you can see that we haven't got any lighting here, so we'll just put on Material just for now. And then what we'll do is we'll come in and just pull our Sharps. And so Alt Shift and click going all the way around. I'm going to right-click and mock Sharps. And then we're going to do is press top. Also smooth, right-click, Shade Smooth, and it should look something like that. Now I'm gonna have to turn this up a little bit just to get those roundness on those edges. And I think, yeah, I'm happy with that. Now I'm going to press a question mark again to bring everything back, put it on eBay again, and now let's bring in our material. So come to Material plus down-arrow and you're looking for metal railing, let's bring that in. And now what we want to do is we need, so just give this a material as well. So I'm gonna do is I'm going to first of all, press the Plus button. Calm down. I'm bringing several of which one is I think it's this one here. We didn't seem to name it, so I'm just going to click on this one. I think that's actually the bolts here. So I'm just going to rename this to bolts. Like so. Then what I'm going to do is I'm going to press the Plus button. New, I'm Nicole, This Chain. Then I'm going to copy this down arrow copy Material, paste material, and then minus this one off, like so. Alright, so now let's join all these altogether. So join this one. Oh blast. So I Shift-click to this one, Shift-click this one, and napa Ship, click this one last, press Control J. They should actually take on that material as well. Double-tap the I nodes, what you've left with. I can see we do actually have a problem. Maybe I can see through this. So what I've done is actually gave it the glass material. So I will come in and just rename this to glass. That is the reason why it's important to actually rename your materials so you don't end up doing things like that. Now rho press the plus button. I'm just going to have a look and see which Material this one is. And we can see it's called bolster or one. I'm just going to rechange that now two bolts just to make sure you don't do the same problem as what I did. Alright, so now let's come back to our chains. And while do is I'll just minus this off, click on my glass, click the down arrow and put this back onto bolts. And you can see we've also got one that's called bolts. Bolts of a woman's have a lot. That one is, I'm going to actually put this on as well. So I'm going to click all these plicae sign and just see what that one is. And that is my glass. So I've now up to ones that I glass because I'm going to minus this one off. And as well, if that's not actually on anything blank We discussed in the previous one. When we come up, we save it out and reload it as long as it's not on anything that bolts or one should disappear. Now what we're looking for now we've got this bolts in this just to make sure that this is ripe for ALS. And I think personally that it's a little bit too shiny. So I'm gonna do is I'm going to press New. And we'll call this Chain. Copy this one. Let's paste it like so and that's minus this one. I'll, and then you should end up with something like that. And now we're gonna do is make this much taller. So bring it up and bring the actual roughness or something like that just to make it a little bit dot. Alright, so now we need to grab the whole thing and we also need to bring in a material for this bit, so we'll do that bit first. So let's grab this point. Comey, make sure you've got this Base selected. Press the Plus button, new. And I'm just going to call this hole. And then I'm going to come down with my base color and put this very, very dark. So I'm going to click Assign. I'm going to press the Tab button and I'm looking at what that looks like. And I also want to bring the roughness up a fair bit, like so just make sure they are happy without Dada is I think actually it needs to be a little bit darker. So come up, bring it down a little bit more. Like so. Alright, so now I'm happy with the materials on here. So I'll do is I'll grab this one. I'll grab this one. I'm going to press Control J. Join them up and you'll see we have a problem there that this Chain has gone back like this. And that's because when we join them up to this one lasts a take off, the actual smoothness. So what we need sewage right-click, Shade Smooth, come down, then, turn this up and we should be able to smooth that all off again. Now we have to turn this up quite a fall bit to actually achieve that. But in any should be able to, because we actually gave this Sharps on the edge. You just have a look around, make sure you happy with it. And finally now we're gonna do is press all zed. Let's rotate it round and put it into place. And you can see because of our is, that would probably be enough to move this Chain out, but that's no problem. So what we'll do is we'll press on wireless, try and just fix this into place. I'm going to pull it back. And now I'm going to fix it by pressing all zed hole in it round down. And I'm also going to probably pull it out a little bit like so just so it sits on there and I'm just going to have a look and make sure that I'm happy with it. So I need to rotate it a little bit more so I'm going to press all why rotates it around just a little bit more, pull it back tiny bit, and then just make sure that I'm actually happy with it. Probably going to pull it down just a little bit. I don't really want it going over this as you can see. So I'm just moving it very, very slightly. And I can say I need to move it back just a tiny bit like so. Double-tap the a and just make sure that you actually happy with it. Now you can see that this chain now is in the wrong place. So let's alter that as well. You can see it's shouldn't be going down at this angle. So let's come in, grab all Chain on edge select. So you can see just our chain here. Now let's rotate this around. So all why rotate it around? It's gonna be a bit fiddly because we've already messed around with the angle. So all we're trying to do now is just rotate this part round first and then we'll play with these as well. So I'm going to pull it down just a little bit like so. And I'm also going to try and pull that back, can fiddling around with it like so. Now I'm going to pull it out and then pull it across. I'm actually to make this a little bit easier. Well, there is, I'll just press G and then you find that you can pull it in much, much easier as long as you've faced in the right direction. So something like that. Like that. And yeah, that's, that's much nicer. Now let's grab this bottom one and let's say also move this into place, then went up to rotate this around. So RY, Let's rotate it round. Let's now put it in place. So G again, put it in place that maybe we've gone a little bit too much with that and that's what that looks like. And yeah, I think that's a much, much better. Okay. Let's press tap, double-tap the eight, and there you go, you should end up with something like that. Okay, So on the next lesson, what we'll do is we'll start work actually rotating this. And we'll also start work on the actual Ship Wheel that actually controls which direction this goes in. Okay, everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 25. Starting the Wheel Creator: Welcome back everyone to blend the 2.9 design and render a stylized water scene. Now, what we need to do is need to make our Wheel dot controls The Boat. Once I've made all Wheel down, we'll put in place and then we'll rotate this around to get it that nice angle folder in this Floor. Now this Floor, the moment, it might be a little bit too steep, we won't know until we actually start rotating it. Well for now, let's actually make our Wheel. So we're gonna do is I'm going to press Shift a. I'm going to bring in a cylinder. Just make sure that your cursor is somewhere out the way we've shift right-click. Now, what would you to do is when it's come down away to open this menu up, and then we need to put it on 20. And there's a reason for doing that. So I'll do now is we'll just bring it out the way. I'm just going to shrink it down to the right side or somewhere thereabouts, something like that. I'm not going to worry about the overall size of the moment. I'm just going to make sure that I'm happy with the size in comparison to what are we It looks like. So now we've done that. Let's actually come in. So press Tab board and we'll go round to the front first, press one on the number pad and just grab these two, like so. And then what we'll do is we'll come round, grabbed the next to the next two. So we're grabbing two, missing two. And because we put it on 20, you should get round to the end and you should end up with another two there. And that is a perfect Actually size 20 years that we want it. Because then when I press seven now and I bring these out, so make sure that you're on medium point, press the button, Enter, press the S been pulled those out like so, and then come back up to your little links again, put it on individual origins, press the S bond, shrink them down, and you should end up with a really nice start to the actual Wheel. Now, there's a problem in it doesn't look very round at the moment. So what we're gonna do is going to bring game Modifier. Let's come over to our little spanner add Modifier. And this time we're going to bring in a subdivision surface. That's going to do is it's gonna give a fair few subdivisions to our actual mesh here. You can't actually see them, but when you apply them, obviously you will. So I will just apply them. Just show you, just hover over it, press Control a in object mode, and then you'll see it's added a load of subdivisions. Now let's go back a minute though and show you the other thing that you can do. So you can come in with any Mesh and add subdivisions, but you can also put it on Simple. And what I'll do is allowed subdivisions bought keep the shape. Now on Catmull Clark, what it'll do is it'll actually add them and also round them up for this particular one. I actually wanted to round them off. I'll do now is I'll press Tab command. Grab both of these phases and I'm going to insert. So press I insert them. And you will notice that as you insert them, they basically makes this a lot more straight. Now I'm gonna do is I'm actually going to delete these faces. I'm going to come up to edge select and grab this edge. So Alt Shift and click on this edge. And now I'm going to bridge these edge loops. So right-click bridge edge loops like so, you should end up with something like that. Now, you can see that this, these edges, there are a little bit too round at the moment. It doesn't quite look right, so let's sort those out. So again, let's press Tab now, coolants or Face Select. And now it will do is we'll grab these faces on each one of these Handles, like so, going all the way round. And I'm going to press E and enter. And now because of actually extrude, those are a little bit you can see now the much, much better looking, now I'm looking for is just the thickness of the actual Wheel. So I'm going to do is I'm gonna press a to grab everything S said and just pull it out just a little bit, just to make hit that little bit five. Now I want to do is I want to bring in this bit a little bit. It's not quite enough, so let's go in and do that. So I'm gonna do is I'm going to grab one Alt Shift and click twice, and then I can bring this in now. So press seven, go over the top, press the S ball and just to bring it in, should end up with something like that. Now let's say work on this bit round here. So what we'll do is we'll press Alt, Shift and click going all the way around the top and the bottom, like so. What I'm going to do is I'm actually going to press the I-band to bring these in, so bring them in like that. And then we can bring them out now. So E N to bring them out and you'll notice nothing's really happening. And that is because we need to be on medium points. So now process and zed, and you should be able to pull them out like so. Now you press tab, you should have a really, really good idea. Now what you actually Wheel is going to start to look like. Now, let's mark some Sharps and some seams on here. So we can actually put in different materials. And when we smooth it off, it's gonna look right? So the easiest way to do that actually is to come over and just turn off this actual subdivision. And then we can press Tab. And now let's come in with our Edge Select and we're just going to mark the seams and Sharps going all the way around. So when it come round knee and left to mount these individually, look as you can see. So I will come in now, press Control, click, Control click, and it should just follow it all the way around, making it very easy. And I've just missed these two. So I'm going to Shift click each one of these. Let's do the bottom now. So I'm going to click on one of them. We've Shift click, Control, click Going all the way around like so. If you try and go to fall weed control plate, sometimes what I'll do is they'll cut across and actually tried to get to the point where you click in the shortest way. So I've just split it up a little bit. Now, alt Shift click the same way and just make sure you've got them all and then right-click and what we're gonna do is mark seams and then right-click and Mark A-sharp. Alright, so that's not bit now. Okay, so now I want to do is actually bring in some Handles as well. So I'll do is I'll press Tab. I will actually put this by concert, can see what I'm doing. And what I wanted to do now is put this cursor. So if pressed seven in the sensor, so this one here in the center of here. Now I've got this graph and it should already have the origin in the center anyway. So just press Shift S cursor to select a bell pulled up banging in that, that I can bring in a cube. So shipped a, bringing a cube and let's bring it across. And obviously we need this much, much smaller. So S bring it down. And I'm also then going to bring in another Modifier. So if I come in at Modifier and again, I'm going to bring in a subdivision surface. You should end up with something like that. And if you press Tab now, you can actually make this a bit wider. So SY on the length make it a little bit thicker. So S Vega, pull it in. Then I want this edge here to actually be nice and straight. So I'll come in. They select grabbed this phase, press Enter. Now you can see it's rarely starting to come together. So let's bring this out to the edge of that, something like that. And now let's come to the other side. Make sure you're smiling face, select, press the Ebola, enter and then shrink it down. Now you'll see you've got the ability to really bring that in and then pull it out a little bit. And you can see now that you've got really, really nice handle on there. Now you can't see as well, this handle is way, way too big, so I'm going to shrink this down a bit moles, so I want to press S, bring it down and I'm probably that I'm going to have to bring out just the edge of here. I'm going to press Tab now, come in to this end here because actually I actually extrude it, just needs press Control plus once just to get the next row which we can't see. And then press S and bring it out. Just so it's passed there. And you can see because it's a cubed when we didn't alter actually this depths of it with the Z, it goes around, they're quite nicely. Now let's press tap, double-tap the a, and just make sure that you're happy with it. And finally then I'm going to grab it, right-click and shapes move and you should end up with something like that. Now, we just need a hard edge on here. So what we'll do is what press Tab one small. And because we're in Face Select, I need to press Control E this time mock shop. Now this face is still a little bit rounded and I don't want that. So all I'm gonna do is I'm just going to make sure I click on my face. So just right-click on your face, press E and enter. Let's double-tap the a now. And I've a lot of that is and that's looking much, much nicer and that's exactly how I want it to look. Alright, so now we need to actually put this going all of the way round. Now I'm going to show you another little trick how he can get this to go round here without actually changing the origin. So just make sure that you've got your cursor in the center of the Wheel. And then where you're going to press is the little sideways V, which is next to the question mark on your keyboard. And you're going to come down to where it says 3D cursor. You'll notice now that actually this gizmo actually changes to this 3D cursor. And now if I press Alt Z, you'll see that this spins round based on where my cursor is. If I put my cursor over here and did the same thing, I would be rotating it around somewhere over here. So that's a really, really nice thing to actually know. Now I want to do is want to get this going round to all of these points here. So what we base it needs to do is divide 360 because that's the degrees of the Wheel of a circle. And then work out how many we need based on five. So it's 3 min, 60/5 equals 72. So now we're understanding that what we need to do now is we need to press Ship date, ship date, move it around, right plates, drop it in place, and then all 72. And that's going to put it right bang where we need it. And again, shift D, all said 72. And then Shift D, 72. And there you go. You'll end up with something like that. Now, let's put this back to where I want it. So the little sideways V again come down to individual origins and that will pull up right back in the right place. So what we'll do on the next lesson as well, join all this all together. We'll stock in some materials on it and we might actually work on the sizing of it. I think this wheel needs to be a little bit bigger. Ballpark from that we'll get it rotates around and actually game place. So I hope you enjoyed that one. I hope you'll end to LA and I'll see you on the next one. Thanks everyone. Bye-bye. 26. Finishing the Ship Wheel: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left it off. Now, let's festival come in and grab all of these, and I'm going to join all these up together. So Control J like so, then I'm going to press Control a whole transforms, right-click Set Origin to geometry. And now we're gonna do is I'm just going to try and squish these down a little bit. So S and Z, I just squish them and just a little bit like so. Now I'm going to actually grandma Wheel. I'm not very happy with the size of the Wheel. I think it needs to be a little bit bigger. So I wonder is I'm going to press S so and make it a little bit bigger. And then I'm actually going to bring these out a little bit. So again, I'm going to pull them out on this axis where it is. Then I'll actually need to make them a little bit smaller thing on these actual angles here. So while there's all press top command and then grow up the mall, make sure that I'm on individual origins and then press S and just make them a little bit smaller like so. Press the Tab button, double-tap the a and that's available there looking like anything. They look much, much nicer now. Alright, so now let's join all this up together. But first of all, let's actually shade this move. So shapes move and then come in and put it on auto smooth, something like that. And yeah, that's looking nice. Alright, let's join them all up together now. So Control J, like so, and let's rotate it round. So all X this time 90, and then it's spinning around on the Y. So all why hundred and 80? So this is one is pointing to the top. Let's make it smaller. So it's something that we want the right size and let's pull it across like so. And you can see it's very, very stylized and that's exactly what we're going for. Now we need to do is you need to bring in a, something to mount this on. So let's press Shift S because it's a Selected Shift a. And let's bring in a cube. Let's pull this cube out a little bit. Press the S button, make it smaller. And it's gonna be a very, very simple thing that we're doing now, just a mountainous on. So let's make it thinner as well. So SY, and let's pull it in place. Finally, now let's say bevel the tops of here. So let's press Tab. Grab these two, press Control B, and that's beveled them all. Now, yours might not be sat on that, so just change that to two. Then what you can do is you can come down to the bottom, press one on the number pad and let's pull this down like so. And I'm going to extend this bottom out. So S and X pull it out. So now you can see it's looking quite nice. Alright, so I think also I need to pull this out a little bit more, needs to be a little bit thicker a thing, something like that. And I'm going to Bend, bring it actually back a little bit like so. Now I'm going to do is with my cursor in the sense it going to press Shift a, going to bring in a cylinder. I'm going to pull the sunder on 12. I'm going to rotate it round. So all eggs 90 rotate to round. Let's get right in the center point like so. I'll pull this poll back. I'm going to come to the front, press the eyeball and bring it in, pull it out. So E and then S, something like that. Now remember, we're not really going to be able to see in this actual Cabin. So this bit here is just a very simple, but just in case you want to actually open the door and show inside the Cabin. We're not actually going to do that on all actual scene. Well, that's something that you might want to do. Alright, so now let's hide this part out of the way. So I'm going to press H to hide it and I'm going to come in and actually just put some Sharps on here. So Alt Shift and click on each of these parts. And I'm going to right-click when a moccasin on, I'm going to mark a sharp. And I going to do the same thing on here and here. So right-click Mount Sharp, moccasin. Now actually, I just need a sharp on this part here. This part here. Like so I don't actually need a scene. I only put the seams on just in case I want to actually change the material on these parts here. Alright, so I think I'm happy with that. Let's press right-click, Shade Smooth, and then also smooth. And you can see here that these are not smoothed off, so you have another option as well. What you can do on here, you can actually come in and grabbing each of these and press Control B. And now we also need to round off this Wheel. So if I press tab, you can see it's got some sharp edges. So I'm going out, turn this up just a slight bit like so. And then you can see it's all smoothed off really, really nicely. Alright, so let's bring our Wheel back with ALL teach. And let's have a look of what that's looking like. Let's double-tap the I think I'm really, really happy with that. Now let's join it both together. So Control J, join it altogether. And you can see there what happened. And that is because this has an actual subdivision on it and this one doesn't. Let's press Control Z. Just go back, grab my actual wheel again. And now let's come on over to our Modifiers tab. And what we're going to do is going to apply that. So control a, applying it So first the tub or an annual saves all applied. And you can see also as made it a little bit easier to apply our materials because we marked those seams in and now we shall be able to join it altogether. So let's grab them both, Control J, join them all together. And you'll see now that because at join that one last again inherited the smoothing options. So let's right-click shapes move, coming over all so smooth. And then let's turn the onsets move off just to get it smooth where we actually want it. So that actually now is looking better. We can see it's also move around there. And then the last thing to do now is actually bring in some Materials. Alright, so he can have some real phone actually creating the materials. So let's come in to this part here. And while there is our comb up to face select just to make sure and grab the p.ball cell one. I want to grab all of this part first, and let's bring in a first Material and it will obviously bring it in on everything as we know. Let's press Plus, we'll click the down arrow I'm going to look for would mean, would mean bring that in. And now let's start messing around with these colors. These colors here. I think I'm going to have them blue or something like that. So I'm going to select each one of these, like so. Press the Plus, click the down arrow and we're going to put this on Award, blue click Assign. We should end up with something like this. Now let's change this color here. So I'm gonna grab this one. I'm going to change it to a different word. Down arrow. Gala would choose from. Let's try this one. Sign. Let's look at that. Now let's create the metal piece in here. So I'm going to come in, grab one of them on Face. Select L, L, L. So something like Man, I'm going to create a little piece of metal and I'm also gonna do this part here as well. Let's come in with the plus down-arrow. Unless Low what metals we've got, we've got an bolts and let's look what we've got metal Light. So let's try the metal Light. Click Assign tab, like so. And now we need the metal dark for this bit. So again, I want to grab this face here. I'm going to press Control plus on the number pad, control, Loss Control plus and then come over plus button down arrow and put it on mental ray Lane and click Assign. Alright, so that is where it should look like. Let's double-tap the eight and overlooked. And yeah, I'm really, really happy with how that looks. Now, you could actually put some metal rings around here as well if you wanted to, or you need to do is press Control or to left-click, right-click. And let's do that actually. So to left-click, right-click. I'm Joe LOL, to left-click, right-click, left-click, right-click, and control law to left-click, right-click. And then while there's all just come in on each one of these, I'm just going to bring them out a little bit just to give it a little bit of something else. Like so I'm gonna press Enter. Want to make sure that I'm on individual origins. I'm going to press S, bring those out a little bit. Now, bro, those out. What I want to do is just give those Material. But again, I'm going to press Control plus on the number pad just to bring this in a little bit. And what I'm going to do is going to come to MetLife, click Assign, press the tab on. There we go, guys, why should look like, okay, I'm really, really happy with that. Now, let's get it into the right side. So let's, first of all, I'd our whole I'm going to actually close that, close this up and close these. And you can see I've got all these parts here which I need to name, and we'll do that on the next one. Let's also high now a human and now I've got this PC and I need to put this in the actual Cabin. So let's surface ball press Control a or transforms right-click, so origin to geometry. And now let's move it across, make it smaller. And let's have a look where it's gonna go. The Press Seven, I'm not going to worry about failure, right? Bang in the center. I'm going to press S. Then I'm going to pull it up. I'm putting in place like so Let's have a lot now what, how big that is. So I can see it's still a little bit big. I'm not going again, worry about it in on the floor. I can pull that down quite easily and the double-tap be and you should end up with something like that. And you can see, it looks really, really nice. Now you might want you when they're to be a little bit more see-through. It's only rarely for if you're doing a close-up of the actual Ship. And it's also a way to show you how to create a Wheel really, really easily. Okay, everyone. So what we'll do on the next lesson, we'll start renaming these, putting them in their own collection, will rotate it round so it fits on the Ship properly as well. Okay. I hope see on the next one. Thanks a lot. Bye bye. 27. Creating the Storage Doors: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left it off. Now, let's stall and we'll rename a collection to our Cabin. So new collection, collection for hearing aids and we'll call it Cabin. There'll be a lot more parts actually still to go onto this. So now we've got Cabin. Let's look at what these parts are. So we'll call this Cabin main. So let's come to the next one down, and this is Hinges. Now, let's have a look at our Hinges. They've still got the babylon, so I'm actually going to apply those. So control a, I'll also come to my handle and that's got no Modifier on it, so that's great. So now can join these two together. So Control J and then we'll do is I'll rename this now to Hinges and handled. Like so. And let's come to the next one. And this is the, the ring holder. So I need to find my Ring, which is this part here. Press Control J again. We can see we've got some issues with smoothing. So let's put that back on and let's turn this off to make it nice and smooth again. And there we go. Just looking around, just making sure I'm happy with the smoothness. I can say it's not quite smooth on top up here. That's going to go shop on there. So it's up to you if you want that on there. I think actually what I'm going to do is I'm going to take that off. So Shift-click, right-click and play shop. Yeah, and I think that looks actually better like okay, so now let's call them. I'm where this is. So if I scroll down a little bit, it's called a torus. So we'll call it Life Ring handled. And again, this is god idea to rename everything in case you want to actually send these search and other project. So now let's grab our Anchor. I'm going to call it Anchor unchanged. So double-click it. Anchor, Chain. Like so. Now let's look. We've got left, so we've got a cube on here. This is all Wheel. So we'll just call it Wheel. Alright, so now we've got plane. So that's our window Spear, and that's our roof and floor. So Cabin, roof and floor Light. So alright, so now we just need to pull all of these parts into our Cabin. So drop those in their purses, arrow to just close it and then let's see, everything hides, which it does. Now, it's up to you. You might want support actually these parts in their own, and I think it will actually put those in and actually we'll make another one. So right-click new collection. We'll call it boat. Like so. And I'm going to open up my Cabin. We've got the Anchor and Chain and we've got let's have a look, Life Ring and handle. So let's now drag these down and put them in Boat parts. Close this up, close this up, and let's see now the Cabin hides and those both sides. So that's great. So let's hide the boat parts. And now we've got just the cabinet and we can come in now and select everything. And now if we've got it on medium point, so let's have look medium point, all X. Now we can actually rotate it altogether, and that's exactly what we want. Now let's come in and bring back our whole and we can see the angle that we need it and we can pull it up. So let's pull it up a little bit first, rotate it so our X. And let's see how far we need to rotate it. And you can see that when a polytope, now, this may be a little bit too much of a tilt on here, and we might need to bring down this floor. So it's always good to actually check. So I'm going to do is I'm going to come in and I'm going to grab all of these like so. I'm going to come in to proportional editing, just make sure that you're on smooth. And then we're going to bring these down very slightly like so. And I'm going to rotate this just a little bit now. On where it's Cabin, scroll down again, grab them all all an X, rotates it now and then pull it up. Joe's to get it into place. And I do want to actually in the floor so you can see there. It's in the Floor there on both of those. And now you can see that not rotated nowhere near as much. And we also might builds get away with a little bit less rotation as well. So let's try. So our X a look, Let's bring it all geost a little bit more. And yeah, I think I'm much more choppy with that. We have got Storage part that's going on here as well. So just to take that into account, that is why we've actually done that. Alright, so now let's close up the Cabin. What we need to work on now is this actual storage Pole. So what we'll do is we'll first of all put our cursor to the census. So Shift S, cursor to world origin, shift a, and let's bring in a cube. So bringing a cube, Let's bring it up, put it in place, make it smaller, like so. And I want this actually leaning against this here, but I want this to be actually a straight. Now what I'll do want is it fit in, in-between these here, and you can see here, it's near enough fit in and it needs to be a little bit smaller because obviously you're going to have some Posts on here which you're going to stick out a little bit. Now what we need to think about is the height. So again, bring any human You've got good idea what the height is going to be. So I think I'll be happy with the height coming down to here. And then all I need to do is press tab, come up to my edge select. I'm going to pull this up like so without proportional editing on. So let's pull it up. You can see it's starting to drift a little bit into there. So what I'm going to do is I'm going to actually pull this all of it away a little bit, like so something like that. And I think I'll be happy with it. Now let's press the tab bar and, and what we'll do is now we'll look where this part is. So you can see it's in here because this one has a great box around it. So if you open that up, you'll see you've got Q. Let's pull this cube out of the way of everything, so I don't want it in everything. I can close that off. Wants to do that is I actually want to put this in its own collection. So I'm gonna do now is I'm going to press a question mark. It's going to go dark. Let's put it on Material and now we have something to actually work with. So let's work on the top first. So I'm gonna do is press tab. And this is gonna be pretty much the same thing as what we've been doing with the Planks award all the way along. So I'm going to grab this top, I'm going to press shift D. I'm going to pull it up. I'm going to press S and X, pull it out just a tiny bit like so. I'm going to press control law and a thing, I'm going to want three each side. So let's try six, something like that. Left-click, right-click, and I'm just checking, so 123, where's the center points? So the center point, as you can see is here. So that was wrong. It's put it on seven or something. So control or try seven, left-click, right-click. And now we can see we've got for each side, which is what we want. Now, while we've got all of these, Let's grab them all with the elbow and I'm going to press right-click. I'm going to mock scene, right-click and I'm going to mark a sharp. Alright, so now we need to split these up. So do we. First of all, when you doing this, you just need to think, do you want to put your edge loops end before or do you want to prominence? Let's problem if Bolger saw can show you so control or for left-click, right-click. And now they're in, and now we just need to split all these up. So L on each one of these, I'm going to press Y. Now that split, and now we can actually work on these separate. So let's split this all from this part down here. So I'm going to press P selection Tab, grab it again. And now I need to make these smaller on here. So let's grab everything. I'm going to press S and X and you can see they're all coming together. And I don't really want that. So let's put them on individual origins. Sns, bring them in like so. I'm not as I want it. And now I want to basically move them over to create more of a gap in here. So I'm going to do is I'm going to come in, grab these two on here with Alt, Shift and click. Make sure this time among medium point S and X. Pull these out a little bit just to make more of a gap in there. Alright, so I think I'm happy with how that looks at the moment. So now let's extra these out. I'm going to do is I'm going to grab everything when I press E, pull them out, making them quite thick like that. And then what I wanted to do is now owned come to each end. So let's grab this one, for instance. Come up to global, put it on normal. Night, can see we can pull them out at that angle. So all I'm doing now is I'm going to pull them out at different angles. And you can also press Alt Z and just rotate them around a little bit. Like so. You can say it's a really, really quick way to make them really on even like so. Now let's do this one. Pull this one out, take them. And just bear in mind that when you actually are rotates and you can see it rotates it this way. And that is because when you're on normal, the, all the zed axis you can see is a different angle. For instance, if I want to rotate it from the top, it would be all an ax to actually rotate it from the top. So just bear in mind when you rotate them. Alright, so now let's split these up a little bit more. While doing is I'll come in with my edge select. I'm going to grab this edge proportional editing on randomness, as we've done many times before, make it smaller. I'm just going to grab two of them, maybe three, hold them all up, put it back on smooth. Now let's move them. Maybe that's a little bit too much, something like that. Just to make them very uneven. And you should be able to now get really, really good at actually creating these. And you can see it looks really, really nice door for very little work. Alright, so that's not middle now we need to work on the actual Chest part, but we're going to start that on the next lesson. So I hope you enjoyed that, everyone. I'll see you on the next one. Thanks a lot. Bye bye. 28. Refining Our Skills: Welcome back everyone to blend the 2.9 design and render a stylized water scene. Now, I'll show you why I left this top one. So if I call them to this part here, the first thing wants to do, again, I wanted to come in, I want to grab this top. I'm going to press shift D, uh, pull it out so you can see I've still got normal. I don't want proportional editing on and pull it out. And you can see that stays at that angle and that's exactly what you want. Now one thing I do want to do now is put it back on global and pull this out. So seven on the number pad to about the right size. So you can say I want it near enough to the edges of these parts here. I'm going to press S and X, pull it out like so. I'm just going to pull it out like that. Now I'm going to do is I'm going to press Control or left-click, pull it along. Control. All left-click play along. Control law. Now a lot, one near the bottom. Controller. So near enough, the same size. Now finally, I won't Control R again, I want to left-click, right-click, and then S and X. Pull those in near enough. But zoom in to the edges of here. And now find the wall wants to do is I wanted to come and grab all of these press shift D and to pull them up a little bit. Now grab Baldwin, press Delete. That says, you should end up with something like this. And now I'm going to do is just put some edge loops on here. So control all to left-click, drag them along. Control law to left-click drag them along. Same on this one. So control law to, control law to like so now we can do is we can grab all of these. So a, and you can see that they're attached to these and we don't really want that. So let's grab them individually with the selection just to split those out, Tab or eager up them. Control a or transforms right flexor origin to geometry. And now Tab again eight to grab them all. Now I'm going to pull them out. So E, pull them out, a to grab them all. And now I'm going to put them in place like so. Now because they actually split up, what we can do is we can actually bend these so I can come in with my edge select again proportional editing, press the G bone and we can just bend them slightly. So the role kind of different sizes. Alright, so that's looking really nice for that part. Let's double-tap the a and have a look what that looks like. Yeah, I'm happy with that. So now let's work on these parts. So we're gonna do is control law to left-click, right-click. Now let's pull them out. So press Control one, S and X, pull them out. Now if I try and actually copy this and then do this on this sidewall up and A's when I bring gain the edges on here and then try and pull them out, it'll actually Bend this so I can't actually do that here. What I need to do is I need to look at the thickness of these and try and get it about right. So I'll show you what I mean if I press control law and just bring him warm and bring that down to where it wants it. And then control law and bring it up and pull that one then to where it wants. And I think I'm happy with how those look at the moment. So now let's come in and make our Posts. So I'm going to grab each one of these, like so. And I'm going to split them up. So pay selection, like so regrab them, control a all transforms. I'm going to actually as well on the solid just so I can see what I'm doing a little bit easier. And then right-click origins geometry. And now it will do is we'll come in to our Modifiers, add, modify it, and we'll bring in a Solidify. Let's bring that out a little bit. And let's also put it on even thickness, so you should end up with something like that. Now what we'll do is we'll work on these parts here. So let's come in and grab each one of these. I'm just going to split them off like so. So P selection, Tab, grab the top here, and that should also grab the ball. We don't need those, so let's delete them. You should be left. Now finally with these, and you can see it's near enough the same way as what we did with our main Cabin, except we've just put a few extra parts on. So now let's come in and we'll pop control law and we'll try let's try three on this one. Yeah, I think that'll look fine. So control or three, left-click, right-click, and now the Sides. So control or three, left-click, right-click. Control all three, left-click, right-click. Now we do want some bending leads as well. So let's press Control or three. Let's pull them up. Let's go round the back. So control or four. Let's pull them around about there. Three, like so and then the front, Let's try a three on there as well. Alright, so something like that looks really, really nice. Now what we need stories need to mark our seams. So let's command. So Alt, Shift and click. We're going to mark seams and Sharps like we've done all the way along. Like so. So right-click, Mach shock, right-click mock scene. Now I'm gonna hide these out the way. I don't need those the moment, so let's hide those out the way and come back to them. And now it will do is we'll go round the edges. So I'm just going to grab all the edges around here just to make it easy for when I split them up, as we've talked about. I'm just pressing Alt, Shift and click. Alright, so let's mock scene and moksha. Now, let's split them up so there's welcome to face legs are more split them all up. Like so. Press the Y G, right-click, drop them back in place. And yeah, I think I'm really happy with those now in each split them off from each other because as we know, we can't shrink them on the same axis. So let's press P selection. There we go. Now let's bring these in. So what we're gonna do is we're going to comb outwards this time because that's the easiest way to do this. So I'm going to press a to grab them all. I'm going to press Enter, make sure that you're on medium points. And then what you're going to do is you're going to press S, Y and pull these out like so. Now we're going to bring them in again. So make sure this time we're on individual origins. S and X. Bring them in. There we go. Alright, so now let's do the same thing on these ones here. So we'll come in, grab these Tab to grab everything. And to make sure that we're on medium point, again, that S and X bring them out. So individual origins and then S and Y and bring them in. There we go. Alright, so we're happy with those and now we need, there's a need to bring them in basically when we brought the residents. So if I press Alt H Now, you'll see that we've brought that in. We need to bring all of these in and we need to bevel them. I'm going to join them up before a bevel them. So I'll grab both of these. Press Control J or Control a or transforms right place at origin to geometry. And now let's bring that down into place. Now you can see that this needs to be a little bit bigger in comparison to these Posts. Or we can grab all of these and make them a little bit smaller. I think the easiest way to do this is to grab all these, make them a little bit smaller. So I'm going to prey on medium point. I'm going to press S. I'm going to bring them down a little bit like so, just try and get this to fit a little bit bad. And I think also then I can bring this over. So pull it over with green, pull it down and I'm just safe and if that fits on top and yeah, that fits on top really, really nicely like so. I'm looking at the back as well and I can see that perhaps going to need to pull these out a little bit actually, so I can do that as well. So I'll do is I'll come in and grab each one of these phases. And hopefully we showed, if we put this on normal, be able to pull those out just a little bit like so. Yeah, like that. I'm not going to worry too much about the little bit of a gap in the top of here. Now the Post could come up a little bit and I'll probably apply the Solidify. So let's press Control a and then we'll come in and see if I can bring these up a little bit. So I'm gonna grab both of these. I'm just going to lift them up very slightly and see if it looks any better. Like so yeah, I think that looks tons bad. I'm not going to worry about this bat bit because we can't see those at all. But a thing that is a really, really nice. So start. What we need to do on the next lesson is we need to bring these piece of wood and you can see the way, way sticking out at the moment. And then we can start getting some materials on this. Okay, everyone, so I hope you enjoyed that and I'll say on the next one. Thanks. Bye bye. 29. Finishing the Storage Box: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left it off. So now let's come in and grab these two first, I'm actually going to go in and grab these all separate, fair. So I'm going to come in and press the elbow and on each of these making sure I've not got the back selected. And then I'm going to pull these in kind of manually Justin's place. I'm just going to pull them something like that just to make sure that they're actually past this point so that they fit nice and easy. And then I'm going to come to the back of it and do exactly the same thing. Just make sure actually that wrong global and not normal, just to make sure nothing messes up. So I'm going to pull those in like so then also I'm gonna do now the Sides. So grabbed the Sides press Tab and I'm going to grab one of these press L on each of these, pull those back like so. And now let's come to the other side, grab one just to make sure we're not pulling the other side. Pull it back leg, sir. Alright, so now let's just Bend these round little bit and fit them into place. So let's call them to the side scene as we've got those, press the Tab button, press a to grab everything this time, come up and make sure that you're on medium point. And let's pull them out a little bit now. So S and Y pull them out, just saw they fit up to the Sides now and now we can come in, grab one of them, put it on a proportional edits and again, and let's do both of these Sides of the same time. So random First G pulled them out. Like so, let's go to the other side. So not too much. Be very careful though it's not too much something like that. Put it on smooth. Grab one of them, G, like so the side. And you can see that it's really, really fast now that you should be able to do this. Alright, let's come in and do this one as well. Again, random. Maybe a bit too much though not quite unwatched, little bit less because it is the firm's van. We don't actually have to worry about all, alright, now let's put it on smooth. One of them. Ban these out a little bit. Okay. So double-tap day and have a little that looks like and I think I'm really happy with that, right? Let's bring in some Materials. Now. What we'll do is we'll put it onto EV and we'll bring in everything else. So I'll press the question mark and that will bring everything back. And you should have something like this now, now let's do these ones first, so we'll grab these. I'm just going to make sure all of my modifiers are actually taking care of. So I can grab this one. No modifiers on any of these. Let's grab them all then. Join them all together. So I'm going to press G. I've just got those two missing. Press Control J, join them altogether Light. So control a or transforms right-click Set Origin to geometry. And now let's come over other Modifier. We're going to bring in a Bevel. When I put this again on angle naught point, naught one that's available that's looking like, and that looks absolutely fine. And I'm all we're gonna do now is right-click Shade Smooth, triangle, also smooth, and that is how they should load. Now let's bring in some materials. So come over to Materials panel. I'm going to bring in the two blues, fair. So Cabin would want, Cabin would sue. And then what I'm going to do is I'm going to grab the top of these, top edge lack, grab both of these. Now I've actually changed them around, so I just need to change that. And then I need to press the down arrow. And then we've got those. And now we can actually assign those. So they should be a different blue now to these parts here. And now let's do these pieces of wood here. So again, plus sorrow, I think we've got four, maybe five or so we've got five of those actually. So we can start bringing these in now. Like so. You can see it's really, really fast now that we've got all these materials actually created. Lexer. Alright, so allow, Let's come in and we'll grab some of these. I'll do the bank actually have to make it easy for me. And let's click the sign. Let's hide those other way. Now let's come to the next one. Like so. Assign H for height. And then click sign. Now grab this one. This one for sine, hide the mountain away. Now let's give these ones here. This one here, five, click, assign, high the mouth away. Now let's come in and do the back. So I'm going to click on this one back to one. And I don't need to hide these because it's just everyone going down. Like so Assign and then Alt H bring everything back, tap, double-tap be, and you should end up with something like that. Now you might want to actually make the top of these blue. I think I'm actually happy with them being green. Now the one thing that I do want to do though, is I want to bring in some Hinges. So I'm going to come in, I'm going to grab this hinge. So I'm going to press shift D I'm going to take off proportional editing. I'm going to press shift D. There we go. We've grabbed it. Let's move it over now. I'm going to press pay selection. Grubby again control a all transforms right, plague set origin to geometry. Now let's spin it round. So all X spin it round. And let's put this in some place. Press three on the number pad and then you can see where you're going to put it. I'm long-winded do is I'm just going to make this a little bit smaller on this one. So S make it a little bit smaller. Like so I'm just looking where it's been in place. So I do want it on the here and just fit in there, something like that. Then I'm going to press shift D, bring it over in, like so. And I'm going to grab both of these control J, join them altogether. Then I'm going to press shift D, drag them over to the other side just in case you've taken a render from the other side. So I'll just make sure they're in place in, inside that. Something like Mount. Alright, so let's look at them. We can see now if we get an image from here, we can see that it looks like something's actually holding it. And I think I'm really happy with that. And the last thing is now I need some Handles on here. So again, we'll come in and we'll still these handles. So L, Ship date, bring it out. Pay selection. Top grubby again Control a or transforms, right-click the origins geometry and I'll let spinning round. So all eggs 90 and then all why? Nine scene we can see that's the wrong way round. So when each spin it round, all why hundred and 80? And let's spin it round. And let's put it into some sort of place. Now, you might want these a little bit bigger and I think could do so. I'm just going to make it a little bit bigger. I'm going to put it in place and then all and X spin it round where I want it to go in and you can see it's locked in in nicely there. And it's at an angle that's good. And then Shift D. Let's spin this around so I'll spin it round. And that's also just move it up a little bit just so it looks a little bit uneven. Now we can see that these as well, the shading, smooth shading is actually not right. So Control J, join them both volt, come over. Your Altos, move up just to get rid of those. And let's also have a look at this because that's the same thing on there. So we'll bring that up a little bit like so. Now we'll do is we'll join these altogether. So we'll grab these Hinges here, these end-user ear. And let's finally joined the door handles. So Control J and we should keep that smoothness there and it should also go on that. Alright, so let's double-tap the a. There we go. There is the actual storage for the patient, things like that. Just make sure that it's been in place here. And you might want to bring it out a little bit because we've done everything now, let's just make sure you can see on here we've got all bevel which we might as well apply. So control a, and now let's join all of these altogether. Now, you don't actually have to apply that. You can actually make it bigger all the same time. Bow thing we're going to apply minds now come onto my little links, click on medium, point, bring it out just a little bit, just so it fits in there. Just that little bit nicer. Alright, so now what we're going to do is on the next lesson is we're going to actually start creating our actual and Chimney that comes up here and round here. And it's quite an interesting lesson that we're going to Use Curves and things like that. So I hope see on the next one everyone, thanks, law abiding 30. Using Curves to Create the Chimney: Welcome back everyone to blend the 2.9 design and Rendering Stylized Waldstein. So now we need to do is we need to pull this little Chimney on here. So while we gonna do that, I'm gonna First of all, make sure all cursors in the center. Then we're going to press Shift a. And you'll notice that just below Mesh you go one that's called Curve. Now Curves are really, really amazing, things, really easy to create. Simple meshes out all the basic curve. So let's bring a Bezier curve in, and then we'll see how this works. Let's bring you up, bring it over. And we're just going to pray and round about the right place. Let's rotate it around. So RY 90 and then all zed hundred and 80. I'm just going to move it in place now. So I'm moving in place, pull it up and let's pull it a little bit closer. Something there or thereabouts. Then what we're going to do is we're going to actually expand this out now. And how are we going to do that? Over the right-hand side, you'll see a curved button. Click that on, come down to where it says geometry, open it up and then bring this depths. If you bring this debt, you'll see that now we can actually make a tube. This tube now we can turn into our Chimney. So now let's rotate this a little bit. So all X rotates it around, pull it down like so. Now from here we can actually start to bring this out a little bit. I'm bringing it down the bottom. So how do we bring this down the bump? If we press the top, we can see that this curve is actually made up of these Handles and these verts is on each of these points. Now if we move these handles around, so if I press Shift Space, bringing in my Move gizmo, I can actually move it around like so. If I grabbed the middle one, can actually move it around like that as well. We can also bring it up. For instance, let cross. Now press E for Extrude and bring it down. And now you notice that we've actually got another one. Now the thing is I need to go back and actually bring that down on the, on the z-axis. So I'm just going to press Enter and then pull it down. And that's going to pull it down then nice and straight for me. And now I'm going to do is I'm going to attempt to actually bend it. So they will actually go into our Cabin. So I went to bend it like this, grab them both, pull it in. And there we go. I'm not going to worry actually how far and it goes because we are going to turn this into actual mesh. So now I'm going to do is I'm going to come to the top. And I'm going to actually create this end here into our Chimney, so much, much wider on here. So I'll need to make sure is that I'm happy with whereabouts it is. And then I'm going to press Alt and S and actually pull it out. And you'll see now that we can actually pull it out in that way. And now I'm going to point you all like so grab them both and pull them out. Like so. Now it is up to you how much Bend you want in here, and we can also do that. So if we grab the center of this one, let's say in the center of this one, what you can do now is right-click and you can sub-divide. Now, you can do is you can grab this one, for instance, press Alt S, and you can bring that one in a little bit. And we can actually now move it a little bit more and give it a little bit more Bend and make it look a little bit more stylized. So you can see from here how easy is to actually create pizza mesh like this. One I'm going to do is as well. I went to grab all these and just pulled him over a little bit just so it's nice and snug against that. And now we need to turn this basically into Mesh. Because once we turn this into mesh, then we can actually start and bring this out I'm giving make it actually solid. But before we do that, this is just a few things. I just wanted to go over it. So the first one is that you need to low down here. The resolution, now we'll, the resolution does is basically how many actually vertices are going down a bit light when we brought in its cylinder. So if we turn this down to zero, you'll see now there's only four sides. So clearly we're going to need a few more sides than that. I think two or three should be absolutely fine. I'm going to leave mine on three. But the amount wants to reduce your them down a little bit more finely as well. I'm just going to bring this out a little bit more, don't think is quite out enough, this ends. So I went to grab this, I'm going to press Alt and bring it out just a little bit more and just make sure that it's not actually go in through the actual Cabin. Now you want to do is press Tab. Once you're happy with it, just makes sure you all happy with it. Because once you do this, you can actually go back unless you create it again or press Control zed or something like that. So the last thing I'm going to do, instead of it going at an angle down here, I'm actually going to pick this part of it. So I'm going to press the Tab button again and went to grab it here. I'm going to press Wong and I'm just going to pick it up on here and try and get a bit more flowers. You can see now it's bending little bit bad. And that means then I'm going to grab this one and pull this one out just a tiny bit just to try and get that. So it's not go those kind of edges in there. Now, I'm going to leave a little bit lighter so I can show you how to actually fix that One chapter with it, press the top born, come up to Object, come down to convert. What we wanna do is we want to convert mesh from the actual curve. So you can imagine we can also to Mesh into an actual curve. That's a good thing to know. And we might actually do that a bit later on in the course. But for now, let's convert Mesh from Curve. So plagued by on a nail, see that little ball now disappears. When I press Tab, you'll see that you've got actual mesh here, instead the curve. So it's really, really great to actually have that. Now I'm going to theirs, I'm just going to hide my Cabin out of the way. But before I do that, I'm just going to mark a seam on here. So I'm going to right-click, I'm going to mock, see why I'm doing nice because then I know the next one down is the one that's actually in there. Now if a command high by Cabin, and you can see that that curve is actually in the Cabin. So I need to pull that out. So I'm going to do is while I've got this highlights, as you can see, the little gray box around there, you can seem a Bezier curves in it. I'm gonna pull it all the way down, just drop in the bottom. And now I'm going to come back home and hide my cabinet where I'm actually going to close it as well. Now know that everything around here from this point here can actually be deleted. So let's Alt, Shift and click. Delete faces, come in, press the elbow and delete faces. Now we can actually get rid of that same. So I'm going to press Alt Shift and click, right-click and player scene. Now we talked about this part here where it's kind of like touching, it doesn't look very good. So there is a few ways you can fix. If I find, if you come in alt Shift and click, Delete, dissolve edges, and that's going to fix it a little bit. And then press Control or left-click, right-click, and then just move this out a little bit and you can see it's trying to bend that way. So let's just make it a little bit bigger. Pull it in the other way. Now you can kind of make them much, much nicer and you can see now it's located much nicer. Let's right-click as well. Wow, here and shade smooth. And that's going to make it a little bit better as well. Alright, so the other thing that we need to do now is actually give this some thickness. So like we do with everything else, control a whole transforms right-click Set Origin to geometry. Now let's come over again to our little spanner. I'd modify it. We're going to bring in a Solidify. And now let's bring this down not that way, the other way. Like so, just to give it some actual thickness, even thickness on. And then we go now think that it's actually not too wet with, and you can see that I'm stumbling, see a little bit. So just come back and shade plot and then you'll be able to see a lot more the actual thickness of it. I think I'm going to be really happy with the thickness of that. So what now I'm going to do is going to hover over the Solidify in object mode, press Control a, and there we go. Now let's come in and out already Sharps. And so I'll press Tab, edge select Alt shifting plague, and we're just going to mark some Sharps down there. Right-click. Come down to mock shop. There we go. Now the other thing is, I actually don't want this to go all the way down there because this inside here is actually wasted, wasted mesh. So the way you can get rid of that, come to the one you can just see, press Alt, Shift and click, press Delete faces. And I'll delete that and I can choose see the inside of there, press the elbows turn on and you'll see that it's actually touching at the front here. So let's solve that out. We don't need to see in here anyway, because that's actually in the Cabin. So delete faces. And now we can come in, grab this delete vertices and then we go, That's nice and tidy, don't know. Okay, so now let's bring this out a little bit when we smooth it off. So if you press tab, right-click, Shade, Smooth, comb-over. Also smooth. There we go. Let's turn it up a little bit. Unless you want these ridges on yours. I don't actually want them on mine. And there we go. I think I need to bring this out just on here a little bit. So I'm going to do is control law, edge loops to left-click, right-click. And let's pull those out just a little bit. Like so. Just to give it a little bit of Bend going around there. Okay, So on the next lesson, what we'll do now will start to put the bands in here, for instance, I'll start to bring this part out a little bit and then I'll put some bolts going round near as well. So I hope you enjoyed that one. I hope you learned a lot and I'll zero in the next one. Thanks everyone. Bye-bye. 31. Learning about Snapping Perspective View: Welcome back everyone. So Blender 2.9 design and render a stylized water scene. This is where we looked at all. Now let's bring in all Cabin this. I will click this on and then Walgreens, I'm just going to zoom in a little bit. What I wanna do first is bring this back out a little bit. So I'm going to come in when I press Alt, Shift and click going all the way around, I want to press the IPO and bring it out and then just pull it back a little bit. And that makes it look then as though it's supposed to be in there, not just stuck through that piece of wood. You might want to make it a little bit bigger just so it's not quite so on the edge of this, but I think I'm actually happy without that. Looks alright, so the next thing we need to do is bring this back out. Now, I'm going to Command Alt Shift and click enter S, pull this out like so. You can see we do have some issues with that in this piece needs bringing out a little bit more. So let's have a locale that's looking so far. I think I'm happy with it. I just think I need to flatten this out a little bit. So I'm gonna do is I'm actually going to come in first of all and grab all of the edge loops. Go around here with Alt Shift and click, hold Shift, click, Alt Shift, click, Delete, dissolve edges. That's going to flatten that out nicely for me. And now I can come in and bring this in or out depending on how I wanted. I think actually instead of doing what did before, I went to press Alt Shift and click press Control B for bevel and just bring it in just a little bit like so. Now you will notice that I actually beveled it twice. I'll just go back and show you what I mean. So control, be bring it out. Like so. And you'll see here that we've actually got two segments on here. I'm just going to turn it down to one a thing, a thing, there'll be enough. And that looks really, really nice. Alright, so now let's pull the bands and going down here. So the way I'm going to do that is I'm going to come in and grab them where I think there should be able one here, perhaps one here, one here. And just work my way down thinking where I want the actual bumps. Think a lot, one there, possibly one there. Then what I'm going to do is I'm going to press Control B again, bevel them out. And you can see now that we've made all bands. And then I'm going to do is I'm going to press E, enter S in your notes. They're coming in a weird angle. Just make sure you're on individual origins. Press the S bone and now you can see, you can bring them in like that. Now we just need some Sharps on here now, just to make sure that these are nice and sharp in it are going all the way around. So I'll do is I'll command edge select on, and we'll grab all of these all the way around like so. And I'm going to actually mock a shop. And they seem just in case I actually want to make these a different material in these actual grooves. So I'm gonna come all the way or down and grabbed the outside of them first mic. So where's all the one there it is. Now work on the inside of them. Very hard to see that one. I'm just going to zoom in. There we go. Let's do this one now. I will show you something else as well. When you actually zoom in into something, you want to go into it. If you can actually go into it, press the five and the number pad, and that will actually allow you to go into it, just changing them Perspective, View. So it means that if you want to work inside Mesh, you just press F5 and the number pad. And if you want to make sure that you don't go into the Mesh, just press F5 again and they won't ally, it's going into the match. So there you see, it just pushed me back. Whereas if I press F5, now you can say that I'm actually in the Michigan, so it's a really handy tip to know that. So now let's carry on just grabbing all these edges. Like so I miss one there. Let's have a look of a miss one underneath as well. Yes, I have. Let's work on this one goal. Although those go all those and the goal those then only the shelves as well. So right-click Maxime, right-click Moksha, and there we go. So that's not so fall. So now we need is our little bolts on here. I can actually still a bolt from here, so do that. So I'll just grab one of these. L, should bring it up. Pay selection. Tab grubby again, control a whole transforms, right, plague, origin to geometry, just like that. And now let's just drag it across. Like so. I'm just going to try and get into the actual top round about that. And then I'm just going to check how big actually is, something like that. I think it's absolutely fine. Now what we're going to do to actually put this against this pipe here, is we're going to actually grab the Chimney first, grab our little bolt, press the top born, and now we can grab all of this with L. And then we're going to do is we're going to come up something called Snapping, which is this magnet here. Click this on, open. This all makes sure that faces on, make sure that activism. And then come down and aligned to target, just make sure those on. And now when you press G, you'll notice that this actually goes Around and holds on to the face. Now is a bit iffy when you come to something like here where it's got basically two phases, it needs to go. So well, it tends to do is attempt to put in place, press R and Y and just rotate it around just a little bit. Now you will notice that when a grubby like this, if I put it back a minute, when I grab it, I can't actually move it with I like pain and go in a strange way again, try and snap to it. But if you hold the Control button and move it, you'll see that we can actually put it in place, all the needs, the result of control born, move it over and just released. And that's the end is going to put in place. Now I'm going to press the Shift D. I'm going to pull it over and I'm going to put one here, for instance. I'm going to press Shift D and then bring it down, put one here, and you'll see how this is really, really fast to actually put these bolts in place. So Ship D, Let's put one on that. Let's have a look around the ball now. We'll put one underneath. So something like here. Shift D, one here, one here, and let's just work our way up one here. And that's now just move that one a little bit in place. And again, you can say that I'm struggling, so I'm just going to press G to move it into place. Like so. Now we're just going to grab this one here. G again, move them around. Let's grab this one and just try and even them out just a little bit. So something like not going to hold the Control button, pull it out. Like so. There we go. So let's have a little desk looking like and just make sure you're happy with it. We can see that this one here is a little bit out. So let's come and turn on snapping all. Let's click on these bolts and grab this one and just pull it out a little bit. Then you will notice now, most of those the double top, the a or in the right place. So Snapping makes really easy work of actually doing that. Now let's give this an actual material as well. There is, I'll think I gave the main part of it this material here. So click on it, which my Material, click the Plus button, click the down arrow, and we're going to look for metal railing. There we go. And now let's make these a little bit lighter on the inside. So I'll do is I'll press Tab. Grab the inside of here. I'm just going to see if it actually looks bad with these, a little bit of a different color like so. Before actually continue, I'm going to grab all those, press the plus button down arrow. Coming down. I'm with my metal metal line. There we go. Click Assign press Tab. And yeah, I think it looks bad, actually like that. So now I know it looks bad. Well, there is I'll press Tab. I'll press Control plus. That will grab it in the next one out, and then click Assign, press tab, and there we go. Now let's come down and also do this bay here. So I'm going to press Alt Shift and click Control plus Malalai. Click Assign. There we go is very, very slight difference. There is a difference nonetheless. Now we've done that. I think I'm pretty happy with how that looks. So I'll do is I'll double-tap the a, and now we'll do is we'll make a stop on our actual key. And that's called nets and, and things got some real ground in things like that. So I'm going to do is I'm going to press Shift day when it comes to mesh, when I'm bringing a cube and I'm going to bring my cue ball. I'm gonna make my cube a little bit smaller to something that will be happy with the size for I'm going to pull it out a little bit. I'm gonna press essence that, pull it in. And then I'm just going to put this down on the floor just to see how big, all small this is going to be. I think I need a little bit over here. And then I'm looking seep of grown-up room for my actual fishing rod and line here. I think I needed a little bit bigger actually, so I'm just going to pull it out little bit, something like that. And just make sure mapping within I think I'm also going to pull it this way. So let's get the right size there. So S and Y pull out a little bit and just make sure they've got enough room. Now, we'll belts all to the size. And what we're basically looking at here is just the initial size. Because when we bring in some of these Modifiers On the next lesson, then we'll bell to scale this all down, whichever been the case. Alright everyone. Hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 32. Marking Seems An Introduction: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left it off. So now we've gone initial side. Let's just pull it up a bit. And the first thing we're going to do is come over and we're going to bring in and modify it. So let's come over to our spanner Como to modify it. And we're going to bring in a subdivision surface again. Once we bring that in, it's going to look a little bit like a Ruby and not of course, is not what we want now and we're in series instead of Avanade on Catmull clock, I'm going to actually put this on Simple. And one going to do now is I'm going to crease the actual subdivision. So I'm going to put this onto when I press Control a over and over here. You'll see now if I press tab, we've got more subdivisions on that. Next thing I'm going to do is I'm going to bring in another Modifier, what he's going to be the same one, subdivision surface. And this time I'm going to keep them simple. Now you'll notice all of a sudden that it's actually round it off, put rounded off much, much better and more the actual shape that we're looking for. Now, if we right-click Shade Smooth, and then we come over and we actually apply this Modifier with Control a. And now when I press Tab, you'll see we've got a fair few subdivisions to actually work with. Now let's make it starts on our actual ropes. One Wednesdays, I'm going to press second on the number pad. I'm going to grab this on these ones going around near where that selects. Let's grab these. So Alt Shift and click grabbed the opposite to that. So Alt Shift and click. And now let's grab these edges here. So Alt Shift and click. And then I'm just looking at, I think it's this one here, Alt, Shift and click and then press S and pull those in. And what we're looking for here is to make it look all the illusion that something's really, really pulling this together and they are gonna be our actual ropes. Now, let's actually creates our rope. So how are we going to do that? First of all, we're going to press the top on. We're going to press Control a or transforms. Right-click Set Origin to Geometry tab born again. Why did die is because the way I'm going to create our row is by using the bevel. And if I didn't reset the transformations, you'd end up with these different sizes. So now we've done that, let's press Control J, pull it out and you'll see now that we get these lines going across and they're all the right size. And because we actually set the transformation now I want to do is actually wanted to split these away from atrial this. So what I'm going stairs, I'm going to come in with my face select. I want to press Alt Shift and click on these two. First, I want to press Shift D to duplicate them, present, to pull them all. And I want to do the same thing going around the other side. So Alt Shift and click, Alt Shift and click Shift D to pull them all. Now what we're going to do is grab them all. So L, L on both of these, press pay selection, not then it's just going to split those up. Now let's press Tab Europe. These again control a old transforms right-click origin to geometry. Next thing I'm going to do is I'm going to bring in a Modifier. So let's come over to the right-hand side. I'd Modifier come down and bring in a Solidify. Now, let's bring this down or up a little bit of Low, which way it's best to go probably this way actually, I think something like that. And you'll notice that it's coming out fairly even all the way around, which I'm happy with. Then let's just make sure that we've got even thickness on just to even them out a little bit, bring them out. Maybe a touch more of a look, a little bit more, something like that. This of course, is how thick you actually want your row. So once you're happy with the rope size command and actually apply this, so Control a, and now I can press Tab, I'm going to go in now and actually bevel these edges off. So Alt, Shift and click on all of these going all the way around. This I feel is an easier way rather than bringing in a Bevel modifier. I think it's about a job actually doing it this way. I've got a little bit more control over it. So we'll do it this way just to make all pieces of rope. So just make sure you've grabbed them all and then you're going to press Control. V just pulled them out like so like that. Now you can see we've got nice beginnings of actual row. Of course we need to bring in him at Cyril and make it look right now we need to there is actually pull these down. So I'm gonna pull these down, pulled them back in place to where they need to go. And you might need to just pull them out a little bit. But if you've done in the way of doughnut, you should be absolutely fine. The only thing I can see is perhaps the needs pull this one here down a little bit and bring these in a little bit, just so they look a little bit types of modal. So I'll do is I'll press top, grew up these first with all. Then I'm going to I think actually they're actually okay looking at that. So it's just this one. So let's grab these. Like so, let's pull it up a little bit so it's a little bit tighter. The thing is what I want to do is I want to actually make sure that the top of these are going over the top. So we'll do a different way. What we'll do instead, we'll grab this one, will come and pull proportional editing on, but this time we'll pop connected only if I grab this one now and I pull this up for instance, you can see now that it's really easy for me just to pull it over the top and then I'll grab this one. I'll do the same thing. Make it go just a little bit over-the-top like that. I'll do the same on this one. Like so, same on this one. Like so. Alright, so let's look now and make sure that we're happy with them. I think I'm going to bring these a little bit in some just going to press G. Bring them in. Just the tub like that. Well, they the same thing on this one. This one. Like so. Alright, so just make sure you happy without the log. And then what we can do now is we can stall bringing in so Materials. Now with this one, I actually want to actually on-ramp these. And the reason I wanted to do that is I'm going to be making a Procedural Material. Bull is gonna be based on it actually be an unwrapped. So I'm going to call them to the actual main bulk of this. I want a high Bow the way and then that's going to leave me with this rope. And I'm going to press Tab on a common now and actually marked some seams. I'm going to actually pause the video in-between here that I'll show you exactly why we're marking seams, because it is actually relevant even if you creating a Procedural Material. So I'll put in now and I'll see you on the back of that open and one, this is the quick demo just to show you why seams are important and basically why we use them the way we do. So here you can see a cube and if I press tab on this view and highlights it, you can see at the moment that each one of these signs actually is represented on the UV map. And you can see how it's flattened out from a 3D to an actual 2D. This is actually how we apply textures and materials on that. So what we need to do now to actually manipulate this is marks on seams. So if I mock, Seems like this, for instance, going round, like this, right-click mock scene. And now actually I grab it and unwrap it. So you unwrap, you'll see now that is own wrapped in the way that we actually want it. So it basically unwrapped it like parcel. Now, moving on to the cylinder, this is a little bit different. So if I grabbed the top, the bottom of it, unimpressed control Lee, come down to mop Seems An hour. Try and actually own round this. You'll see this part here is a real mess. These parts are actually on rat. Absolutely fine. So now if I grab the whole thing and I come up and trying unwrapping. Now, press U on rap. You'll see that these parts here, if you look at the texture, it's a real, real mess. The reason for that is because we've not told Blender where actually the scene needs to end. Base in Blender is just trying to loop this in an infinite loop. So when I talk about infinite loops, That's exactly what this is. So if we moccasin now on the side, just want scene, the right-click mocked scene. And now we actually grab it and try and wrap. You'll see now it on rafts. Really, really nice. I actually looked correct. Now, talking about Seams, the one thing you do need to remember is that you should always mark scenes where the least likely to be scene. So for instance, this was a Southern debt out market, the bag where it's less likely for a player or Camera or Render to actually see the scene, because you can't actually see, if you look very carefully, you can actually see where the seam actually joined. Now, things like what, it doesn't matter too much because it's very hard to see. But when you actually monk in a scene where there's ward or tiles or things like that, it's going to be very easy to see. There is a quick explanation of why we do Seams the way we do. And I hope you learned a lot from them. Hi everyone. I hope you enjoyed that little video that point there. So I'm going to do now is I went to grab this, grab this one. And we're just going to mark all seams on here. So I'm going to grab this one. This one, I'm going to right-click and I'm going to moccasin. Now I'm going to come underneath the bomb because no one can see that when a moccasin here as well, just to make sure that they've got an ending and it's not an infinite loop. So I'll grab these now, right-click and mock scene. Now, let's grab them all. Go to our UV Editing. And now I'm going to do is first of all, press Tab control a. All transforms right-click Set Origin to geometry. And now we're actually gonna press tab again and press U and on-ramp. And you shouldn't note with the mom wrapped like that really, really nice and straight Bow from together. So now let's press tab, go back to modeling and what we'll do on the next one is will start to create this material and for the bag as well. Okay, everyone, I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye-bye. 33. Creating our First Procedural Material: Welcome back everyone to blend the 2.9 design and render a stylized water scene. Now this is where we left it off. So now let's create a Procedural Material. Our First Procedural Material that is, what we'll do is we'll come over to our Materials panel and we'll click the plus new, and we'll call this simply rope. Now, I need to do is you need to go over to our shading panel and you should be met with something like this. Let's get based in the middle of the screen so I can see exactly what we're doing. Make sure you're on EV, and they'll now give you a really, really good idea what you're doing. Zoom out a little bit and you showed already, have a Material output. Let's just grab that, put it over here and a principal now I want to do is we basically want to create rope with two different Simple Colors. Now, you can do this with three, with the way that I'm showing you both for now, let's just deal with two and keep a little bit simple. So I'm going to do is I'm going to actually grabbed this principled, I'm going to press Shift day and then I'm going to pull the other one here. Now, you can actually use both of these principles, join them together, and actually have then a output of two different colors. So I'll show you why me. What we'll do is, first of all, I'll press Shift a, we're going to press Search. I'm going to premix. You're going to bring it into mix shader and drop that in there now. Then we're going to plug this one in to the top. This one into the bone. We've already gone in there as you can see, a knife I change one of these while up and is, it will mix these two colors together. So for instance, if I put this on blue, you'll see that it's a very light blue. And the reason is that this one's why this one is blue. It's trying to mix them together. So you end up with this very, very saturated blue. Now we don't really want that. What we want is actually row. So how are we gonna do that? We're going to zoom out a little bit. I'm gonna come over here, shift a moment to bring in now is a texture coordinate. Now we didn't talk about texture coordinates before. What this node does is lead Blender know how it needs to apply these materials onto this Mesh. And because we UV unwrapped it, we've actually got one that's called the UV. And those are actually what we're going to base our row pump. Now let's bring in another node, and this time we're going to bring in a mapping again. So map, you'll see one that's called mapping. And basically this is going to be, so we can actually alter how there's noise texture that I'm going to bring in a minute is put on there. So let's bring the UV and we'll plug it into the top one. And that is all vector. And then you can see Got location, rotation and scale. So you can imagine that we can change basically all texture or noise texture which bringing in based on all these things. Let's bring in all noise texture. So what we're gonna do is press Shift a search putting wave, and you'll see one that says wave texture. Now this is basically inbuilt in Blender so you don't need to do anything. You just click that on, drop it in. Now it's Pole, the vector in to this vector here. And now obviously we need to plug this all together. Now, let's grab the fact of the wave and plug this into the mix shader. And you'll see now that something's happening. And you can see we've got two very different colors. So now we need to do is actually fix to make this actually look like rope. Now let's change this sign on the wave and let's put that on soul. Like so. Now we're going to do is I'm going to come to the Z on the rotation of our mapping. I'm going to turn this up slightly. When it is come to the Y, I'm going to turn this all. And you'll see now that we start to get something that actually resembles rope. Now let's come down and actually change the colors before we do anything else. So let's come in and change this to a nice brown color, something last, make it a little bit darker, then we'll come in and actually change this color as well. So let's command make it darker like so. Let's change the brown, Something like that. And obviously you can see that the roughness is way, way too high. So let's bring this one. All this is obviously inside of the rope. Let's change the outside of the rope now. So bring that down. Now you can see that this is really, really stones and the light rail. Now let's change the roughness and bring this down so it's less shiny on if you want to change the angle of the rope or you need to do now is just come in, change the scale slightly and you can see now they can actually change the actual direction of the actual row. So you end up with something like this, double-tap the a. And you can see now it looks really realistic actually like row and it's really easy to actually put together. So now what we need stair is, now we've done that, is I'll just zoom out just so you can see everything I've done. You can bring it in with three different colors. All you need to do is just bring in another principle. And then join them up to another mix shader and then they'll mix them in. And then you can put them to the output. We can go further with this and we all going to make mole Procedural Materials as we go along. This is the first one, and it's quite a simple one. So let's now go back to modelling. And what we'll do is we'll press the top board. I'll take, I'm going to save it out. So File Save, then I'm going to give this some material as well. So I'm going to click on this plus new. I'm gonna call this bag or something like that. And then moments do is come to Base Color. Let's calm down and give it a nice kind of brownish color. And I'm also going to turn the roughness up like so. And one looking for is just to make sure that this is looking quite tight around here, which you does analyse, join it together with the rope. So Control J or Control a or transforms, right? Plagues, origins, geometry. And now let's bring it down into place. Like so. And you can see how quick and easy is to create this. And I'm just looking Sea and make sure that I think I need a little bit smaller somehow. All zs spin it round to make it look a little bit more crumpled. And finally, well do now, now grabbed it all. I'll grab this part here, come to proportional editing. Take connection, connected only among gonna do is now just pull it up a little bit. So like this and just make it a little bit more lumpy in certain areas. Just pull it up a little bit. Like so just so it looks a bit on even it looks a little bit too even at the moment. Like so. We go now let's have a look at that. And you can see now, really easy way of actually getting up to lock that way. Alright, so now let's do the naming. So we've got a boat parts we need, we've got Cabin here so we know that this Bezier curve, we'll call that the Chimney. And then I'll grab, whoops, that's Chimney or Sri, name it. Like so. And then I'm going to pull that off and put it into the Cabin. And I've got Q1 and another cube. So this is the Storage and it's all one. So I'm actually going to put this, I think I'll make a new one just so I know that I've got it. So I'm going to right-click Collections, click new, calm down when to call this Storage Box. And I'm also going to call this one here. So Storage Box, it's important that we don't just name the collections that we also named the pulse as well. And then finally this, I'm going to call net scene. I'm going to pull that then in the boat pops and then I'm just going to close that. Now when I bring this arm, you can see now we've got those. I'm just going to make sure that there alright, so a whole the lights human, the Cabin, The Boat parts Storage Box. And you can see there the Storage Box has got these parts in and they are in the Cabin, so I need to move those out. So Hinges and handle. Let's just pull those and put them into Storage Box. Now you can see that let me pull this OK. Bring about the Storage Box, double-tap the a, and there we go. Now we've got full control over these as well. So on the next lesson, what we'll do is we'll start where can our fishing rod and Fishing hook. And basically when we've done that, we've actually finished our first part, which is our Boat and we can start working on our environment. Okay, everyone, I hope you enjoyed that. I'll see you in the next one. Thanks a lot. Bye bye. 34. Windscreen Wiper Fishing Pole Base: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left it off. So now, before I forget, let's just put the little window wide prints. What we'll do is we'll press Shift a, bring in a cylinder. It doesn't really matter away, bring it in. Actually, we're just going to round about the middle anyway. So one thing though I did forget is I'll just delete them. Press Shift a again Mesh cylinder and I need to turn these down because I reloaded my Blender. So just turn these down something like 12. I find that 12 gives you a decent kind of a circle or cylinder when it's actually smoothed off. So that's why I always put them 12. So let's bring it up now. We'll spin it round so our X 90, I want to shrink it down. I'm going to bring it out here. I'm going to shrink it on the Y, so SY, bring it in like so I'm going, I'm going to bring it up. Like so then what I'm going to do is I'm going to make my little Wiper calm down. It's gonna be very simple. So let's now press tab, come into face select. I'm just going to grab both of these palm faces underneath. Now the thing is I should really actually set the transformation. The reason is because I went to use insert, press Tab control a full transforms right-click. So origins geometry. Now let's go back and press the eyeball and bring these in. And I'm going to pull these out, so E, pull them down like so, and I'm just going to bring them in. So S, XX bring them in. You can say I've got proportional and it's unknown. Let me just turn that off. Assets, bring them in. That's basically, never know, follow my Wiper. I'm going to actually bring this in as well. So I bring it out. Like so something like that. Things absolutely fine. Now let's grab all this and what we'll do is we'll bring it down. So let's bring it down and try and pour it in some kind of place. We might need to make these bits a bit longer. I want to press one on the numpad, just go into front view to where I actually want it. So I'm going to want it halfway in something like that. And then one looking at now when a pull it back is how big is. And if it's long enough and I don't think it's quite long enough. Plus obviously the angle, the rotation is wrong, so all X, Let's just spin it round. Like so. And let's pull it back a little bit. And now are the result, pull it down. So in face-like, grab these two bomb faces. Come up to global, make sure you're on normal. That's going to point it down in the right direction. Then let's pull it down a little bit. Alright, something like that. And finally then I'm just going to rotate it now, own the actual y-axis. So I'm going to put it back on global tab. Right-click Set Origin to geometry. And then, oh, and why? And just try and spin it round little bit just so it stops over there, something like that. Then what I need to do is just give it a Materials. So now let's pull it back in a little bit just so it's actually in the window, something like that. I think I'm happy with that. Alright, so now let's come over and give it a Materials. So I'm gonna give it plus new and let's call this plastic black, something like that. Because we might have a few more plastics. I'm not sure yet. Let's come now to the Base Color and we're going to put it black like so. And then we're going to do is I'm going to jaws to the roughness. Just down a little bit. Something like that. Double top the a and there's double of what that looks like. And yeah, I think I'm actually happy with that. I think it looks nice. You might want a little bit shiny and not by wanted to be a little bit grimy or something like that. Alright, so now let's move on to the actual Fishing Pole. So we need to first of all Create, I'll stem. So let's first of all bringing in a cube. So I'm going to make sure all my courses in the center Shift S, cursor to world origin shift a, and let's bring in Mesh. I'm bringing a cubed. Let's bring it up. And I brought in a plane by mistake there. So shipped a Mesh cube. Let's bring it all, make it smaller and we're just gonna get into place. We're not going to rotate it or anything like that. We're going to basically do what we did with Cabin. Going to press seven, squabble the top. And I'm gonna put a roundabout here, a thing. I want to make it a little bit smaller. And then what I'm going to do is I'm going to shrink it down on the zed, zed, and let's pour it into some kind of place. So I'm just looking to see how thick it needs to be pretty thick. This would because it's actually holding up the Fishing Line which has a lot of tension on it. So now let's pull it out. So SY, it's pulling out a little bit and just get all correct dimensions. Just going to also pull it down, something like that. Alright, so I think that is probably still a little bit too big, so I'm just going to shrink it down a little bit more. Like an SRY, pull it out a little bit. Something, something like that maybe is a good stop. Alright, I'm gonna pull it down a little bit more. And then we're going to do is I'm going to bring into Edge Loop. So press the top controller to left-click, right-click Just make sure that you're happy with the distance from here and here. I think I need to bring these in a little bit. I think if I don't bring them in, the post-op, going up will be a little bit too thick. So I'll do is I'll press S and Y, bring them in and make sure I'm on medium point to do that. So S and Y, bring them in. Let's grab this post now, this middle part here and create the post. So E, pull it up, like so, and then E pull it up again. S, bring it down. It's probably a little bit too much actually. Bring it down a little bit, something like, I think absolutely fine. So now what we just check in is how chunky and big this is. I think it's a good style. You might need to be made a little bit smaller. Now, let's make the N bits come down. So while there's all press Control-A, left-click, drag it over like so, and then Mongo and stairs. And when it come down to where it says factor, click on there, control C, just to copy that. And I'm going to come in another edge loop controller. So click on it, control or left-click, drag it over a little bit. Come down to this part here, control V, put that in and then you should have the same distance now from each side. Now let's grab both of these so much grab both of these. I'm going to pull them out a little bit. So SY, making sure you're a medium point, like so. And then let's grab each of these ends. And then that's just pulled them down a little bit, something like that. Now let's bring in a Mirror Modifier and what we'll do is we'll base it on the world. So if I press tab control a, all transforms and that should set the origin right bang in the center of the world. And now we can do is we can come to our level Spanner, add Modifier, bring in a merit, and that's going to same, the opposite side. Now we need to look and make sure that we're happy with this distance from here to here. And I think what he needs to bring them in much, much closer because we're going to have a handle on this side and a real on this side for the actual fishing line. So I'll do is I'll press Tab. We'll grab everything and pull them closer together, something like that. As a work along, we might have to pull it further this way. All more in the center depend on how it looks. So now let's bring in a cylinder to make it where our actual fishing line is going to attach to. So what I'll do it with my cursor in the center, I'm going to press Shift a and we're going to bring game again, a cylinder. So let's bring that in. It's going to come minutes. Well, that's absolutely fine. Let's bring it in. Spin it round. So all white. 90. Let's make it smaller. I'm basically, we're just trying to get the outline of how this is going to go. So I'm going to come around, pull it down, shrink it down, and then pull it out with S and X light. So I'm think I'm happy with the Sides of that for now. I'm going to do now when the press shift D, I'm going to bring this out round here. I'm going to press S and X, shrink it down, and then bring it out. And this is gonna be basically my Handles. I'm gonna do is I'm going to bring this in a little bit, but I wanted to make a bit on the back to actually fit in the post to make it look realistic. So I'll do is I'll press top. Make sure I'm on face-like, grab this face, press the eyeball and bring it in, press the Ebola and bring it out. Grab this now all of it with L. And let's bring it over and pull that into place, something like that. And now we can begin putting all actual handle on here. So what we'll do is we'll come to the front face, press the eyeball I'm like so let's press E and extrude it out a little bit. Then we're going to press E and enter S, bringing out, and then bring it all like so. Now we just need our actual handle on here. So what we'll do is we'll press Control or going around this way to left-click, right-click. And then we're just going to bring these out now. So S X bring them out, make sure you're on medium point again. And now we just need to bring this up to create that handle. So Face Select, select the two top faces and then we're going to pull them up. So E, pull them up, like so, then let's bring these together. So S and Y, sorry, bring them together. Like so. Now the handle will make actually separate. So now let's just finish this off with I for insert, bring it in and then E, like so now you can see it's located actually like an endl. And this is a big handle because actually it's going to be moving the Fishing Line backwards and forwards at the moment, this actual Paul here might need making a bit smaller, but we'll actually see as we go along. The other thing is, I think I will have another edge loop on each of these just to make these a little bit flat. So I'll do that now. So come in to this part here. I'm going to grab both of these. So Alt Shift and click, I want to press S and Y. I'm going to bring those in so you can see now the flattening off. So I'm going to do now I'm going to press Control or left-click, right-click control or left-click, right-click, grab them both. Sy, bring them together like so. And among rents, there isn't going to grab the top of each of these and just bring them down just to make them flat. Now, if you want to isolate off to get them more flat, so just click on it in object mode, press the question mark, and of course, let's put it on object mode lights. So press tab, and let's bring these down now. So I've gotten both press three and the number pad. Pulled them down like so and maybe pulled them out as well a little bit. So ESM wide pull them out. And there you go. Now you've got somewhere where you can actually put bolts on. Alright, let's press the tab, question mark, bring everything back, double-tap the a, and let's actually save it out. So let's come to save. And there we go. On the next lesson, we'll carry on with our fishing line and hopefully we'll get near enough. Most of this Palm Leaves built and then we can work on the rod itself. Okay, everyone, I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 35. Creating the Fishing Post Wheels Handles: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And here where we left it off. So now let's bring in a not the cylinder to make this handle. So what we're going to do is going to press Shift a, come in and bringing a cylinder and it should come in the center where it did before. Again, I'm going to leave it on 12. I'm going to rotate it round, call zed 90, spin it round on the zed axis just to get it going this way. And I'm going to press S three. And what I'm trying to do now is Line you with it. Now there is a way to line it up. Obviously, what we can do is we can come in, press the Tab button. We've got this selected if not, just select it like so Shift S, cursor selected top, grabbed back your cylinder. You should have the orientation already in the center and then Shift S selection cursor, keep offset, that's going to put it back in the middle. And then all you need to do is lifted old black. So now let's put all handle on here. I need it obviously thinner than this so that it looks like Handles. I'm going to bring it out like this. Press S and X, bring it out. And now we need to shrink down these two ends just to make it a little like an envelope thinking when I pull it out a little bit more as well. So let's come in, grab this face, pull it out a little bit more like control law. Let's bring in a couple of edge loops to left-click, right-click Sx, pull them out. Like so. Now let's bring it down. So I'm going to come in to this edge, this edge, I'm going to shrink them down like so. And you can see that there are shrinking too far in the center. So let's put this on individual origins. Now press S and you'll see the shrink down much better into a much nicer handle. I still feel like the handle needs to be a little bit longer. So SMS pull it out a little bit. And I think, yeah, something like that is much better. Just going to press seven so you can go over the top. I just wanted to see if it's actually going to work on there or not. I think it actually wards. So the problem is that I need to bring this in a little bit, which I'll do. I'll come back to this. I do want to make it relatively realistic. So I'll do is I'll grab this part here. I'm going to grab all of these pots around here and I'm going to press Control plus. And hopefully that should take me up then to here, press Control plus again. And now I can actually bring this in. So if I bring this in, you'll see it all comes together. And then I can move this handle a little bit more into plates like so. Now it just needs to fit this handle in place. I'm going to press Tab, grab this face, press the I button, like so, and then press E, pull it out. So actually goes in there and now it looks like a handle. And the last thing I'm looking for is How thick is this handle? I think it's a little bit too wide this way, so I'll grab it all. I want to just pull it back into place just to give it a little bit more closeness that, alright, so I'll think I'm happy with that. So now we'll do is we'll bring in some bolts. So let's still a couple of these bolts. So let's just grab this one here. So L Shift D. And to move it over, pick it all. I want to press P to splits it off Selection. Top, grab it again, control a whole transforms right-click Set Origin to geometry seven to go over the top. I'm going to pull days and place like so. And then I'm going to just in a little bit and I'm going to have obviously have to rotate this around. It's going to bring it down like so, and then rotate it. So all X, rotate it around just so it goes in place. I want to make a little bit smaller as well, like so in a moment, so it's Ship Date, bring it over. Now you can join all of these up, of course, with the, this part here, and that will actually mirror it over the other sidebar. Don't actually think that wants to do that while I think wants to do is just shift. They bring him over to this side like so and then just move them around a little bit. So I'm going to grab this one first. Move it round. Like so, like so now moving today's and went to join them all up together now, so shift click them all, control J, join them all up. Because what I'm going to join them all up together, I'm not going to reset the transform jet. All I'm gonna do is shift day. Bring them over. Like so. Nothing actually. Yeah, I think I'm happy with that. I just need to move them around now. So let's grab this one. Move it round. Like so, let's come to this side and move them around a bit closer, something like that. So look a little bit different and it's join them all up. So Control J. On. There we go. Alright, so now let's work on our actual Sharps, this. So what we'll do is we'll come in. I'm going to grab everything on this, so I'm going to press a, it's also good to do this. Why you've actually got the mirror run, it makes things much easier. I mean, actual face legs, so I need to press Control E instead. And then we're going to do is I'm going to mock shop. I want to press question mark, just do isolate all those and I just need to take off the Sharps here now, I don't actually need those. I don't actually think I need this one on here, but we'll see when actually bringing my smoothness. So I'm going to make sure I'm taking all these off game runs the other side and of course everything I takeoff will already be taken off there as well. Like so right-click and clear sharp. Alright, so now let's right-click and shapes move Come over to our little triangle. Let's move on. And there we go, you should end up with something like that. Question mark to bring everything back. Now let's do the same thing on here. Albeit all I need to do on here is just Shade Smooth and that should be absolutely fine. Now let's do the same thing on this one. This one's a little bit more difficult. We don't want it obviously all shaded, smooth, so we do need to put some Sharps and air just in case. So what I'll do is I'll come in with face select all grab this one, controlling moksha up. And then I'll come in and I think also will mark a seam on here as well. So control a mop seem. And the reason is that I might want this to be a different material from this part and this part. So it's good to think ahead and think if you need to do that. So Alt Shift plate going all the way around here. Let's grab it on the inside as well. Like so. Then let's grab this round here. And we're going to mark another shot going all the way around that. Just shift clicking, Alt Shift, click Alt Shift, plague, and Alt Shift click, right-click, moksha, right-click moccasin. Now, I think let's have a look. We showed malt these as well, so let's do that under the top. I think at the top actually, I do want this ridge on there. So I'll keep the arm that with an actual shot like soaps or right-click Moksha. And don't think I actually need a scene because I've got a seam running all the way around it. And I know this bit will be exactly the same material all the way around. So now we've done that. Let's press Tab. And what we'll do is right-click Shade Smooth. And that's what autos move on. And we should end up with something like that. Question, malt bring everything back and let's have a lot what that's looking like. Very nice now. And now let's call them two are handled. Question mark again to isolate it out and we'll do the same thing on that. So again, grab this end and what we'll do is control a mob scene, controlling Walmart a sharp, and now will come in with our edge length. So Alt Shift and click, going all the way around. So right-click Mount Sharp, right plague mock scene. Alright, I think I need to just bring this one in, so grab the front. So up here, press the I button, bring it in, press E to extrude it back. Like Donna thing that looks a bit better. And finally now let's press tab. And you can see already that it's actually putting that all seems now let's see if it's put our Sharps on as well. Good multi-ton to look in circles or peer calmed down and we're looking to take the Seams off and we can see that, that the shops are on there as well. Now let's come up and put all seams back home. Alright, so now Tom, right-click, Shade Smooth. Let's move on. And you can see we've got a few little ridges there, so let's turn it up just a slight bit. There we go. Now a question while one small bring everything back. We call them. Think I'm really happy with that. Alright, so now let's make a start on this part. So let's press Shift a Mesh, come down to cylinder, bringing us cylinder. And you can see it's come in, right in the center of that. I think actually that's the best place to come. So just make sure that your cursor is in the center. So what we'll do is we'll come back to this pot, grab it with Base select Shift S, cursor to select it. Tab Shift a, bringing your cylinder again, and that will come right way he wants it. And then you can spin it round. So RY 90, spin it round. Aes, bring it out. And this is gonna be the other side where actually the Fishing Line goes on. So S and X bring it in, pull it over here. Like so. I think something like that. Yeah, I think that'll be absolutely fine. Not need to bring this down and obviously put this over this side. So you can see here, I might actually be struggling with the size. And I think what it is actually is I'm going to make them as big as I want it. And then probably I'm going to have to shrink these in a little bit. They're a little bit too thick of thing. Well, there's all bring this in a little bit with Face Select. Like so I'm going to bring it down. So I bring it in and then bring it out. And I want my fishing line to be probably on a real, they solve Sides. Now let's bring this out. So I'm going to do is I'm going to press E and S, bring it out, like so, and then bring it out. Now the one thing is I want to make sure that this part here is a little bit smaller than this part here. Now you might want yields big if I want mine a little bit smaller and something like that. Now we do need a handle on here. So I need to actually really, really think about bringing this in festival. I went to attach this to it. So I'm going to grab this back face, press the I button, bring it in, and then press E. And then I can see that this is a little bit too big. So what we can do is we can come in, we can select this face, this face here, Alt, Shift click, and then bring it in with S. So bring it in. And you can see that it's actually brought in and pull this out of it. So let's just pull it back just a tad like so, and then just make sure that spitting in place. It just needs to give the illusion as though it's actually attached to something. Now I'm going to grab the old and pull it all back. So it's very nice and tight there. And we're going to have to pull it back even further on the next lesson because we're going to actually make Base this, these parts here, these Posts, as we talked about, going to have to make them a little bit thinner. Alright, everyone, so I hope you enjoyed that. I hope you learned a lot and I'll see you on the next one. Thanks a lot. Bye bye. 36. Finishing the Fishing Post Preparing for Materials: Welcome everyone to Blender 2.9 design and render a stylized water scene. And this is where we left it off. So now we'll do is we'll come to these Posts, will press top, will press a to grab the mole. I'm going to shrink them in. So S and X, Let's shrink them in. And then we're going to do is now I'm going to actually apply that Mirror. I think I'm done with the mirror now. I think they're going to be absolutely fine. I just need to bring them over this way a little bit. So what I'll do is I'll press the top comb to my actual Mirror Modifier, hover over it, control lay, press the top bone and I'm going to drag these over. So let's grab this one with all, bring it over, Something like that. And now let's bring over this part first. So we'll grab this, bring it over, put it back in place. And yeah, I think that looks much, much bad. Hello over a little bit more, something like that. And let's bring our bolts over. See all these bolts. So join, so let's press Tab. I'll grab both of these and we might have to squish them in as well a little bit. So let's bring them over like so then just make sure that they actually fit in. I think that's okay. Actually, what I'll do is I'll bring these ones over as well. Like so. Alright, so there we go. I'm happy with that. Now, let's work on this actual handle on here. So what we're gonna do is I'm going to come and actually just create a handle for this. So first of all though, I'll come in, I'll grab it. Face Select grub this phase, press the eyeball and bring it in, bring him with E them to extrude it back, something like that. Things absolutely fine. And then what I'll do is I'll just steal this handled from over here. So I'm going to press top, grab this handle, Ship Date, bring it over, and let's make it much, much thicker. So I'm going to press S and then squish it in. So ESX, like so all zed hundred and 80, spin it round seven. Let's get it in the right place. I'll think of one to somewhere like about there. And then I need to bring it down now I'm putting in place. So if I bring it down, just wanted to make sure that it's sticking name where it needs to be like that and it looks like double-tap the a like they can actually spin this around. And the whole day, the actual fishing line as we spoke about. Okay, so now let's do the smoothing on here. The Handles already been done because I stole it off of here. So let's do this bit. So I'll grab this bit, press the question mark, and then we'll go in, press Tab. And now will come in and grab all of these Pole. So Alt Shift and click all the way around the edges. So these ones, whoops, not that one. This one here. Right-click, mock scene, right-click and mock shop. There we go. Now, let's press tab, right-click, Shade, Smooth, bringing Altos move and let's turn it off a little bit just to make sure they're all round null. Press the question mark just to bring it about double-tap the eye and just have a look round and just make sure that you're happy with it. Now you can see that we have got a piece missing here. I need to bring the smoothness a little bit. So let's bring that up a little bit. Now you can see that it's all smoothed off. Now, let's just make sure yet that's about right. I'm just going to squish this in as well as CNX like so, pull it out little bit. There we go. Alright, so I think that main part of a fishing reel is actually built. What we need to do now is work on the Fishing Line and finally the rod and the little bit of ward in front of it. Let's work on this bit avoiding front of it burst. So what we'll do is we'll grab one of these faces. Someone went to grab one of these faces. In fact, the easiest thing to do here is actually grab them both. Press Shift S, cursor to select and that's going to print bang in the middle. And then walk can do is I can grab one of these Ship date. And this again is thinking headlight we spoke about, press the people on selection, top, grab this one, and then control a all transforms. And then right-click Set Origin, this time to 3D cursor and now come over and modify it and we're going to bring game a mirror. And now you can say it's going to really over the other side exactly where it wants it. Press Tab, grab this one. I'm going to press S to shrink it down a little bit. I want to press E just to bring it out a little bit, something like that, L to grab it all. Let's push it back in place like so. This is basically going to be the metal part and we're going to have another piece of wood going down here to hold the actual fishing line in place. So what I'm going to do is I'm going to grab just this base here, press the button, bring it in, press the E bone, bring it back, and you can see how quickly this really goes together. Now we just need a piece of wood actually on here. So I'll do is I'll bring in a nova Q. So shift a cube, you'll see it comes in here. Another, make it smaller and bring it out. So you'll see it splits into two and that's what we want. So now let's bring it into some kind of place, something like that. Let's press S and Y, shrink it now Now let's have a look how big this is going to be. And seven to go over the top wanting to put it in place. I want it just on the edge of hair going past the edge, like so. Then we just need to look how thick one told. First of all, think it needs to be thinner on the zed, zed, like so they also wanted just leave a little bit of a gap in there. It may mean that we need to make this a little bit smaller to house our actual fishing line. And we'll do that in due course as we bring it in. So now let's comment face select. Make sure you clip in zone like we spoke about, bringing them together. Release a nice shouldn't be able to take them apart and it should be one piece of wood like so. And that's really an easy way of actually doing this. And now all the ones do is I just wanted to bevel just this little bit for where the Fishing Line is going to actually touch. So all will do to do that is will press control law to left-click, right-click, and then let's bring them together. So SNF's bring them together. And if they don't come together, just make sure you're on medium point. Snf's bring them together and let's bring them over like so. And then what we're gonna do is I'm going to bring these down now. So let's see if we bring the middle one down with Mirror run. So we'll grab them both, bring them down, and then bring this one down just a little bit. So before we actually apply this merit, Let's actually mark our seams out, so make sure they've all got seams. I'm gonna grab this. I'm going to isolate it with a question mark, press Tab. And what I'm looking for is to make sure it's all done with Scenes and Sharps. Now a moment we can see we've only got Sharps on here. We actually need seam on here because I want the inside of here just to be different colors. So I've just grabbed that with Alt Shift and click, right-click mock scene. You can see it's not going all the way around, so I'm just going to grab it all the way around and I want to get the inside of that. Let's come in and grab this one in here. Right-click mixing. There we go. Alright, so now let's do this part here, and we're going to just mark our Sharps on here. So I'm going to press Alt Shift and click on these pots here. Right-click, mugshot, come in Face, Select, grab this back, face, control E. This time again, mock shop. On. There we go. Now we can press a top. We can come over to our Mirror Modifier, press Control a to apply it. Right-click, Shade Smooth. And then what we'll do is we'll come over now and also smooth, which has already on. Now we can see we've got a little ridge here. I don't really will not seek and get rid of it to me. And the reason a cone is unjust needs to get rid of this edge loop. So I'll just put that back on 30 minute. Then I'll come in and just check why a connection smooth. But often you can see that I do have an issue here. And sometimes when you actually Joining a merit together, sometimes this can happen. So I'm going to do is I'm just going to go round all of this, grubbing it, press Delete, dissolve edges. Press Delete, again, delete edges. And now I'm just going to rethinks it. So I'm just going to see if I can actually grab all of these. Which account so you can second grabbed them all that. I'm going to right-click and I'm going to come up for each edge loops. I'm gonna do the same. Go in here. Now you can say it's tried to grab the mole. And you can also see, I'm just looking now to save. This has got two sides to it that hard to see. So let's turn off Sharps, Seams. And now we can say exactly what we're doing. So we can see here that does have two sides, which is Gold, someone to grab both of these right-click bridge edge loops. Come round. And let's fix this one as well. And this just shows you how you can actually fix piece of mesh as well. So we're going to actually bridge edge loops. And now let's fix these two in here. So Shift click, right-click, bridge edge loops. Alright, so now let's press top. And now you can see that it is actually smoother. So I'm just going to turn this up just very slightly. And now I'm looking at these parts here, just making sure that it's all smoothed off which it actually is. Alright, so that's finished now and it's looking much smoother like so. Okay. So what we'll do is we'll bring everything back world press question mark, double-tap the a and what we'll do on the next lesson is them. We'll start getting this fishing line in and then we should be able to start work on our actual fishing rod. Okay, everyone, so I hope see you on the next one. Thanks a lot. Bye bye. 37. Creating the Fishing Line Spool Adding Materials: Welcome back everyone to blend the 2.9 design and render a stylized water scene on this, we're left L. Now let's do all fishing lines. So what we'll do is we'll grab this. I'm going to come in Alt Shift and click. So I'm going to grab it. I'm going to press Shift D and P selection. Now let's split off top. Make sure you've grabbed this. And what we're gonna do is we're gonna make it bigger now with S. So just make it bigger. I'm going to bring it in as well. So S and X bring it in. Like so. It's up to you how big you actually want you fishing line and I think something like that. Okay, for now, I'm going to do is I'm just going to press seven, go over the top, putting more in the middle like so I want a little big gap each side. That's why I've done that. Press tab controller and let's try something like seven, something like that. Left-click, right-click just to put those bang in the center. I'm going to do is while I've grabbed these old, I went to press Control V, just pull them out a little bit. So we've used all bevel just to pull them out. And now I'm going to do is I'm going to come in with my face select, I'm going to select every other ones. So Alt, shifting plague, every other one going across. Like so. I think, yeah, I love to maybe grab this last one as well. And then we'll do is I'll press S and you can see now that we can bring them out. So I'm just looking actually. Yeah, we can see we do have a problem with this one here. I'm going to bring this one in a little bit as well. So S like so I'm just trying to make it look as though it's actually a fishing line and just make it look as though it's a little bit uneven as well. Light you can see. Alright, so now what we can do is we can actually grab one of these for instance. So let's look and grab this one. So Alt, Shift and click, and we'll grab this one and we'll just rotate them. So all rotate them around like so, press the Tab button and now you can see to look a little bit uneven and it actually looks like a fishing line. Finally, you need to look and see if you've got enough. So can you see in the edge? I don't think so. So I don't think we need to Solidify this or anything like that. It's already smoothed off because we actually took it from the main part of this room. Alright, so now let's double-tap the a and have a look at that. And I think I'll lobes rarely, rarely good. So now what we need to do is we need to actually bevel these parts off. And we also need to bring in all Materials. Let's put it back onto the EV Shader and we'll see we end up with something like this. And now we can really see the materials as they come in. So first of all, let's look at the parts that we need to bevel off. So you can see here that we've got a lot of parts that are going to be quite hard to actually bevel altogether. So another words what I'm saying is, this is a cylinder and when you start beveling it, it doesn't really add anything, but it does cost a lot in actual polygons. So I don't really want to be beveling. Those are things like this though. I do actually want to be beveling off. So I probably going to split that all from here, all leveling off without the bevel modifier. Let's come to this part first and what we'll do is we'll press Control a or transforms right-click Set Origin to geometry. And let's come over. So I've modify it and we're going to come to babble. And you can see that we do have a little bit of a problem on this poll. Now this bar has been caused me a few problems. So what I'm going to do is I'm going to actually minus of the bevel with the X-bar. And I'm going to actually grab it all and just delete all the way. Clearly, it didn't like the mirror. So sometimes it's better just to do that. And then what we'll do is we'll just make a new one of those. So I'm going to grab both of these shift S cursor to Selected Shift a, and let's bring in a cube, smaller. It's a very, very simple part, so I'm not too worried about actually getting rid of it. So S bring it in. S, Y, make it thinner, like seven to go over the top. And an S and X bring it out. So I want to go in, just pass these, something like that and I'll put it in place. Like so I'm going to lift it up. Like so. Now I just want to bend this bit. So control all left-click, right-click and then control law, left-click, right-click and Control Alt, left-click, right-click. And now we can do is we can bring in these two parts first, so S XX, bring them in like so announced, bring this middle part down. Like so I'm just looking at might need to bring it down a little bit further. So I'm gonna do again control law, left-click, right-click, control off, left-click, right-click. Grab both of them as CNX, bring them in. And now you can see I've got more edge loops. So it can bring these 29 if control these two down without these edge loops, you'll see that it would pull this down. And I don't really want that. So let's bring this down now. Like so. Then you should end up with the light that still with that little groove, I think I need to just bring it down a little bit moles, so I'm going to grab the middle one as well, bring it down, just make it a little bit more rounded like so. We should also have ulcers move on, so it should be absolutely fine. Now I'll just make sure that you're happy with the thickness again. And then what we'll do is now we'll give it a try and see if our actual bevel modifier works. So let's press Control a or transforms. Right-click Set Origin to Geometry. Little spanner add Modifier come down and we're gonna go with a bevel. So this one here, and now you can see it's actually working perfectly. Let's come down and change the limit method to angle. Then let's pull this down to naught point naught one. Let's try that. Let's try naught point, naught point, naught, naught five. Let's try that. Yeah, and I think that looks bad. So no point, no, no. Five. And they are those parts done. Now let's bring in the material. So what we need to do is you need to look what Material do want. I think we want this met along which is the railing metal. So let's come in plus Down arrow and let's come to metal railing. Bring that in first. And then of course I want this to be what we can also see that this is a bit blocky, not smoothed off. So right-click Shade Smooth. That's going to fix that for you. Now we need to change the inside of here and this piece of wood here. So what we'll do is we'll grab this part first. So I'm going to press L to grab it all, come over plus BAD down are out and let's look for Water. Main would mean is here. So I'm going to click on that, click Assign, and I'm going to come to the inside of here, Shift-click this one, and let's bring down arrow. And we're going to have this ward dark click Assign. Alright, let's press top, double-tap the eye and have a look at that and just make sure you're happy with it. So you can see we've got some wooden slats which gonna go down here to pull this up and down. So there should be piece of metal behind me and it's basically going to lift off this actual fishing rod open down. Alright, so let's do these Post now. I'm going to grab both the Posts. These posts are pretty easy. What we'll do is we'll press a Control a, or transforms. Let's just make sure. Yep, I'll Mirror Modifier is but nodded, right-click origins, geometry. And now let's come in Shade Smooth. Make sure that song, I think we did all that before. Yes, we did. And now it's bringing in all Material plus down-arrow and it's gonna be the ward me. There we go. Let's double-tap the a and you can see now it's really starting to come together. Okay, everyone, so I hope you enjoyed that and I'll say on the next one. Thanks everyone. Bye-bye. 38. Completing the Fishing Post: Welcome back everyone to blend the 2.9 designed and render a stylized water scene and this where we left it all. So one thing we did forget to do is actually bevel these Paltz. So I think we've actually already don't reset all transformations. Let's come over little spanner, I've Modifier and let's come down to bevel. So we're just going to bevel those off. Put it on an angle that we normally do and naught point, naught, naught five. Let's try that. I'm not sure. Be absolutely fine. Alright, so let's come to these parts here. And you can see that if I click on this and I'm going to isolate it out, I want to put this on actual Materials mode. And what I wanna do now is beveled these parts off bought. I can't really use the bevel modifier. And the reason for that is because then it will bevel actual the cylinder as we spoke about before. So control a or transforms right-click Set Origin to geometry. Important, we do this even though we're beveling it manually. And now let's go in and actually babbling. Other thing is I need to turn on my Sharps and Seems like so then what I'm gonna do is I'm going to come in and I think I'll grab everything. I want a bevel, so I'm going round. Actually be a good idea if I turn these back off just so I can see what I'm grabbing. And then we'll put them back on when we've actually finished this. So I'm going to grab all these and then I'm just looking now where else I wanted to bevel it. So I think come in, grab these parts. Grew up the inside of here, on the inside of here. Grab these and these, Europe, this, this on the inside of here. Now I'm going to do is now grabbed them all. Just make sure that you have grabbed them all. Press Control. Be pulled them out. And just make sure that it's actually a one press Tab Borden and just have a low keep you happy with that. I think actually on here, if I now press question mark, bring everything back. I'm looking at it compared to these parts here, and I think that's actually fine. So I'm just looking around just making sure that beveled everything off. I want a bevel off. And of course we don't have the option of turning this off now we've actually beveled it boat on this occasion. I think it's the best way to go. Now I've done that. Let's bring in some actual Materials folder. I'll do is I'll make this part here metal. I think I'll make this part here a dark model and this part in here, a light metal I think also I want to actually still one of these Boat bolts, someone's grabbed this one, Shift D bring it up like so spinning around. So all why 90 lots the right way then three and let's just put it wants it in the middle of here. So I'm just going to pull it out. So I'm going to press P, selection, splits it all, grab it again now, press three, and now let's put it in the middle. Obviously the things the gizmo is not there, so we'll transforms right-click its origins geometry. And now I'm not going to line up perfectly. I'm just going to try and put it in, make it a little bit bigger like so, pull it out a little bit. Let some a little bit that looks like and then double-tap the a. And I think he's gonna look nice as long as I've gotten the other materials on. So let's come in again on this part now. What I'm Face Select, calmed down. Let's Paul Sharps and seams on. And then what we'll do is we'll grab this part here, press Control plus go to roundabout here. I think we can press Control plus one small and I'm just looking at the other side now. Yeah. And I think that's absolutely fine. And now we'll do is we'll come over, bring in a material. Obviously it's going to make all of this the same material. So what I should do is put this on metal. So what I'll do is I'll come down, look for my metal, which is here, metal railing. And now press down arrow and put this on, would mean and click Assign. And then you go, That's the easy way of actually doing this. So now I just need to look at what I actually want this part on here. So I think I want this as a dark now, but this part here thinker want as a lighter metal. So what I'll do is I'll come in, I'll grab all of this and you can see that I grabbed it all, but it grabbed it all the way going round here and I don't really want that. So what I'll do is instead, I'm just going to press Alt, Shift and click going all the way around there. That's going to grab them all the way around. And now I just want this top. So I'm just going to press C for circle select and just grab the ones missing. So all those announcements press Plus down our own. Let's look at the other metals that we've got. So I'm going to scroll down. I've gotten metal Light and let's try that. So click Assign. Yeah, there we go. I think I'm happy with it being a little bit lighter than the other one. Now let's come in and do they sandal? So first of all, I just want a bevel these off, but I'm going to actually bring them Materials. I think it's a little bit easier to do it that way. So I'll do is I'll come in and grab this part. I think I'll also grab this part and I think this will be ward. These parts will be mouse. So let's come in, press the plus button down arrow, and we're going to look for different world this timeless tribe would want. And now I've grabbed these, I'll press Plus again down arrow. And I'll bring in mental ray Lynn and click Assign. Okay, So I think I'm happy with that. I just need to bevel these off now. So Tab again, Edge Select. Let's grab This edge here, this one here with alt Shift and click this one in here. And then water is just press Control. Be pulled them out a little bit like that. Alright, so I think I'm happy with that. Now, let's have a look at the other parts. The thing is as well that it looks a bit washed out of the bomb sets per anemia and just check, see what it looks like before we carry on. I'm not looking much, much bad. Alright, so let's do this bit and this bits, an easy one plus down-arrow. We're going to just bring in the metal railing like so. That's that bit Dong. Now let's work on, we'll work on this part in here. Now this is the Fishing Line, so it may need its own actual color. I think this is a little bit too bright, but let's give it a try first. So I'll click the Plus button down arrow, a more potent bolts, a level the actual looks like. So let's press a tap, double-tap the a. Then you can see, I think it's a little bit too shiny, is the problem or it might need to be more shiny. I'm not actually sure. So I'm gonna give it so Material plus new and I will call it fishing line. And then if I need to change it, then I'll be able to change it as I go along. So I'm going to come to bolts down our copy Material, down arrow paste Material minus all. And now let's come in to where the roughness is, which is here, and just turn it down just a little bit. Let's have a look at the metallics on one, so that's absolutely fine. Let's look at the Base Color. You can say it's a little bit simpler than to there. And I'm just looking now to see what that looks like. And I think I think that's gonna be fine once I've brought the ward into this part here. Okay. So let's bring the ward into here. So while do is I'll grab this part and I'm going to bring in my ward down arrow and we'll call it I think I'll bring in Word doc. So let's bring in, let's make it a little bit darker, double-tap down, just make sure you're happy with it. Yeah. And I think it looks bad. A little bit of a different color to this one. Yeah, that looks bad. Alright, so now let's come in and I'm unsure whether to make this a little bit lighter as well, just to give it some variants, We'll try that. So I'll come in and grab that. Grab this one plus arrow down. We're going four would mean sign. Now this part here, which we can see, we need to have all metal that we've put on the rest of it. So we're looking for Mental Ray Lynn. Click Assign, press top. Okay, So let us look combine RI. Let's do all beveling now. So grab these edges. So Alt, Shift and click like so, and then Control B and just bevel them off, like so. Now the one thing is you can see that these don't bevel up very well armed. It's because I press Tab, I need to reset all transforms right-click origins geometry, and now let's try babbling them all. And you'll see that bevel of March much better now. Alright, so that much but there around the same as this. Okay, so think I'm happy with that. And now finally onto the Handles. So again, let's give this probably the same color as they saw. This was absolutely with this. I think we could give this metal and make it a little bit stronger. It may be a little bit flimsy and it also I think, is a little bit too big. If we look at our guy over here, you can see that this is perhaps a little bit too big. So let's come in, make it a tiny bit smaller. Like so, let's push it back in place. Yana think that looks a little bit more. I mean, it's stylized, but it still needs to look a little bit Realistic. And I think that was a bit too much, right? Let's give this word awesome. Me a bit too heavy with the metal will come into place down-arrow and we'll give it the Woodmont, and that is what we gave the one the other side. And then I'll come in and grab this edge and these going round here, like so, I've got just this one in here plus Down arrow. And we're looking for the metal railing. Click Assign. And then let's come in, grab this edge, going round this edge, this edge, this edge, this edge, press Control B. But first of all again, control al transforms plate. So origins geometry, Tab Control B. And you can see all as well diets are very faster workflow now, double-tap the eye and let's look at how that's looking. We're just going to compare it to the rest of the boat and just make sure it fits in. If you Coase's in the weight shift right-click, just pull that out the way. And I think that actually fits really nicely. Let's look at it from a distance which will be doing. And yeah, it really goes together. I'm really happy with that. Alright, so now we need to stall is our actual Fishing Line. We'll start that on the next lesson, of course. So on the next lesson, fishing line and will actually bend Line place and then hopefully we should get that finished. I'm the actual line going down into the sea. Okay, everyone, I hope you enjoyed that and I'll say on the next one. Thanks a lot. Bye bye. 39. 3D Udemy Lesson 38 Blender 2 9 Using Simple Deform Modifier to Create the Fishing Pole: Welcome back everyone to blend the 2.9 design and render a stylized water scene. Now, let's get on with our fishing line. So what we'll do, first of all, we're will put the cursor to the center. So Shift S cursor to willed origin, shift a. And let's bring in our Mesh. We're going to bring in a cylinder and we're going to put this onto 12 again. And then that's bringing it up, bring it out, and then let's make it smaller. I'm not going to worry too much about getting it to be the right size for here. What I'm trying to do with the moment is just make a decent looking fishing line. So I'm going to press three. I'm going to bring it out on the zed. Zed, Ring it out like so. Now we're going to call them to the top of it. So press top, make sure you're in Face Select, you're going to press enter S, bring it in. You can use the insert bone as well on this, it doesn't make too much difference. I want to bring out a little bit more, something like that. And then I'm going to press three and then bring it up to be near enough the same length Uzziah, so E polio, like so. Then we're gonna do the same thing again. So E and S line, so three, then 1 mol. So I'm to s3e, pull it all. So you've got something like that. Now what we're gonna do on here is we're going to use a new Modifier and it's gonna be called a Bend modifier. Now, what it depends on is, at the moment, you can see realistically if we look at all of this going along, we've only got four edge loops. And while actually 3123, it means it can only bend these points. So we need more edge loops to give it more Bend. So all those will come in and I'll press on this first one controller. I'm going to press seven, left-click, right-click, and let's work our way down. So control or seven, left-click, right-click. Obviously you can get away with less edge loops on here, but you won't have as much Bend. So control law, seven, left-click, right-click, control, or seven, left-click, right-click. Now, when I'm doing this, if I was doing this on my own, for instance, I probably would go down and check how many edge loops have gotten there and basically delete some of these all. Well, just to make it a little bit simpler, a will show you this technique of how we doing it and how then we bring in our Modifier. Now we've got all these edge loops in anaphora press tab and come over to my Modifier, add Modifier, and we're looking for Simple Deform. So let's bring that in. And you'll notice at the moment it goes very, very weird. And you can see they've got a number of options here. The one that we want is the Bend. And you can see now that actually starts to bend it up. And you can see we can also change the axis of where bends. I think X is the right one. If I bend it now, you can see that it's actually starting to bend, albeit spending a little bit weird. And the reason for that is because we've actually got all Orientation down on the bottom here. So let's change where the orientation is and put it more in the middle. So if I press tab, I'm going to put it around this point here. So let's give that a try. So I'm going to grab all of these round here. So Alt Shift and click Shift S cursor to select it. And now I'm going to do is I'm going to press Control a all transforms and then right-click set origin to 3D cursor. Now you can see it's bending rarely really nicely. And now if I rotate this around, so all X rotate it round, you can see now that it's looking really, really nice and it's bending really, really well. Alright, so now let's see how big this needs to be. Obviously can say the moment this is way, way too big. So let's pull it down, like so. Then let's press three and let's pull it down to where it needs to go into. Now, you will have a problem, probably of one that this needs to be leaning up against here. And to that this metal is probably a little bit too big or small. Let's pull it across and see where we need it. The other thing is, of course, we need to make sure that this is just not ridiculously big or anything like that. I think actually this size with the chap on there. Thank you. Can pull it back and actually lining up and things like that. So I think the size in on it is actually really nice. Water needs to do is just make sure that this metal piece and this wouldn't piece all the right. So if I rotate it a little bit more, so if I press all an X and just rotate it a little bit more, pull it across. And I'm just saying then if I can get it just to lean up against this, what you can see, it's still not leaned up against that. What I have gotta be careful of how far I actually bring this across. So I'm gonna have to rotate it around a little bit moles. So our Let's, let's see now if that's going to Leno much Baggins, that would so something like that. I think actually is looking much better. I think I've gone a little bit too far actually, so alright, so let's pull it back just a little bit. Like so. And let's lean it against that would like so. And now finally I can say that I need to bring this across a little bit. Now. I don't want to bring it across because it's all lined up for the moment. So I need to do is just make this smaller just so it fits on there. And then S and X and pull it out like so. Yeah, thing that looks actually much better. And you can see that we can pull it back and things like that. And it's about the right angle. I'm looking basically for an angle to come up to this point here which is kind of level and then stop bending over here. Now I can come in and bend this a little bit more if I want to. But for now, I think we're gonna leave it like that. They have a good thing about this is if I come in and click on my fishing rod, I can also obviously take-off the actual Modifier and then bring it back on it. Well, which means then I can put my rings in the right place going up this actual fishing rod. So now if we actually come in so we can see we've got this angle here like this, but we need to actually put in some rings going all the way up. So what you can do is you can press the envoy. And what I'll do is I'll open the Transform panel. And then you've got a number of things going down here. And you can see that you've got one called item. If you come to the rotation, you can see here that you've got one that says 60.8. This is the angle obviously on the X and that's where we've turned it. I'm what you need to do is you need so just copy this or write it down. So Control-C, click off it. And then where you can do is set this to zero, like so. And then where you can do is now you can come down and actually just turn off the actual Bend, like so. Now you can actually start to put your little rings going all the way or PEA, and then turn it back on, join it together, and then put your angle. It is a very, very good technique to actually get this done. What we'll do is first of all, we'll bring in a ring. So I'm going to press Shift a. I'm going to come down to where it says Mesh bringing a cylinder, and here's our cylinder. So let's bring it down line, so make it smaller, squish it in. So as said, and now we just need to make this. So it's actually a ring and you can see probably a little bit too big. So we'll press S and there needs to be going smaller as they go like an actual fishing rod. So I'm just going to get the right size in the right things that are gonna go into the Fishing Line and the Bowman, I'm going to press Tab. I'm going to come in. I'm going to delete both of these faces. So delete faces, grab all the faces. Let's press Enter. Bring it in, something like that. I don't mind them actually bending in a little bit. But if you don't will not just process zed and just pull them back outlines. So now you're going to grab these back faces, you're going to press E, pull them out, then pull them together now. So S and X pull them together, something like that. Grab this now and let's put it into place. Now what we're looking for here is just to make sure that you're happy with the actual sizing. As I said, we need a bigger and then smaller as we go. So what we're gonna do is I'm gonna grab this one. I'm going to press shift D. I'm going to bring it up to the top. So three, so something like that. And then what I wanna do is on a work my way down now, I'm going to press shift D. How many do want the Pole on down to here, Shift D down to here, Ship the like so and then maybe two more, one here, maybe something like that. Now I need to do is I need to make them smaller as they going up. So what I'm going to do is I'm going to grab them all. Like so. I'm going to make sure that I'm on individual origins. And now I'm going to make this one smaller. So I'm looking at only this one at a moment. If I process now and start bringing them in, I'm going to make this one a little bit smaller. Now, I'm going to minus this off, so I'm going to press Shift and Alt to minus that all. And now making this next one a little bit smaller, like so. And then I'm going to work my way up. So shifting out. Then we've got these. So S, where my whale shifting L. Now you can see that we've only got three legs, so S and then shifting out to left. Shipped out. Won't laugh. Like summer. Press three. You should see now the gain smallest modal, smaller, all the way up. Now let's bring them into place. So I'm going to bring this into the top of that. I'm going to grab this one then. Bring it in. Bring it in. Bring it in. And let's have a look now and just need to zoom in a little bit. I do. Just going to grab this one. Make sure that's a nice and snug. This one like so on a conceive out, this one needs to go in a little bit more. This one's probably in the right place. So a look. This one needs to come in a little bit. And finally, that one looks to be in the right place. Okay, so now we need to do is we need to press tab. We need to join them to this rod. So join them all together, press Control J, and then come in and turn on your little TV like so. And you'll see now they bend all the way along with it. Now, they're not going to bend quite as much because they've gotten no edge loops going round here. Well, now all we need to do is you need to comment to our rotation on the X. Press Control V. Hold that back in, press the Enter button. And there you go. Really, really easy way to actually create your rod and create all these little loops going along. Okay everyone, so I hope you enjoyed that. On the next lesson, what we'll do is we'll get this old streets. And now you can see it's really blocky at the moment. And we'll get our fishing line going in, coming out at the end and dropping down. Okay, so I hope to see on the next and everyone, thanks a lot. I buy 41. Finishing the Fishing Pole Line: Welcome back everyone to Blender 2.9 design and render a stylized water scene. And this is where we left it off. So now we've got some thickness. We can actually really start work on actually bringing this down. So I'm going to pull it down. I'm still going to leave proportional editing on. I find it makes it a little bit easier to give us a little bit of tension on our actual fishing line or press seven, go over the top. I can see that I do need to pull this one out a little bit. So like so I'm going to try and get in the middle. Like so I'm Work on each one. I'm going to press adults just to bring myself then pull it all. Like Sun. I just wanted to start on. Then I can see, for instance, this one here. It's bending little bit. So I'm comin, press Delete, delete vertices and that's going to straighten out for me and make it a little bit more tense on that. Alright, so same with this one. What I can do now is I'm press seven. I can pull this across first. So let's pull it across a little bit more and we can see that it's kind of messing up a little bit. So I'm just going to grab this angle, put it straight, and then I'm going to pull this back into place like so we'll to run a buy in the middle, put it in place. I'm going to bring this down. Like so. Let's have a look how high it is. So let's bring it down. You can see now we've got fair bit attention on here. It's pulling it along or given the illusion it is. Now let's do this one. So I'm gonna pull this one over, pull it down. And sometimes you end up fighting with this, and that's fine. That sometimes happens. So let's see here again, look, I'm fighting with it. So again, what I tend to do, I'll delete vertices and then that'll pull that down for me. Now you can see though, that the only problem is I need to get this into the right, into the middle basically. So let's press seven. I'm going to bring this one over, like so. And now that one central. And now we just need to make sure that this one is up high enough. So there we go. You can see that do need to bring this one down a little bit, so that's fine. So sometimes I'll come in now, now come Line dope along here. I'll grab this one. Again. I'll delete vertices and you can see it pulls it right down and now grab both of these, right-click and sub-divide. And then we'll do is I'll pull this one up now I've got grabbed them all that. I don't want to do that. I just wanted to grab this one, hold them up. Now you'll see how easy that is to actually put into place. You can see that still this part here is this one's like near enough level on there. This one here though it's a bit out of the way. So let's try grabbing this handle and just turning that down just a little bit, like so. And it's just a way you just need to work your way along and just start to get them into place. So again, I'm looking at this one, needs to come over a little bit. Like so what we're looking for realistically, it's just to make sure that as the illusion of tension, that is the main thing that we're trying to achieve here. So I'm gonna pull this up just a little bit. Like so you can say it looks like he's got tension on there now. Now, let's say come to this one here and make sure that this is in, it's a little bit too low. And they also feel a lot. The Fishing Line is maybe a little bit too thin as well. That's no problem. No. Now let's pull this down. Now we can see it. I'm probably going to need to pull this over this way a little bit. So let's pull it over like so grab this. Let's pull that over there. Grab this. Like so. Now you can see that's looking really nice and looks like it actually is coming from this actual line here. Now let's see if I press tab and then just turn this up a little bit. So I'm going to hold the Shift ball, pull it over. Just a little, Todd like so. I'm going to press Tab. Just have a low wall thickness that looks like and make sure that this looks as though it's going in there, so I need to pull it down. So when a zoom this in a little bit, pull it down and I'm going to pray in the middle there. Alright, so think I'm happy with that. What I'm gonna do now is I'm actually going to look around. It, makes sure that you're happy with it. I'm also looking now to actually do the front. So I think I'll do that. So while there's all press top tape proportional editing offer minute seven on the number pad E. Let's drag this out. So I'm going to drag it out on the Y just to make sure that it's straight. I'm going to do is I'm looking just to gay straight out first and then I'm going to pull it down like so pull it back. And I want it to come right to the end of year, which means that I need to actually probably rotate this around all put another one in so we can get another one. Anything will be the easiest way. So I'm going to grab the middle of this one, the middle of this one. Right-click sub-divide. Now I'm going to try move this handle down, like so. Let's pull this down And then let's move this along. Like so. Now while wants to do is I want to make this flat. So I'm gonna grab this one, delete that says a knight can see, it's actually pulled it down and made it flat. And now I'm going to come in, grab this handle. Like so. Now I need to move this bank. So let's see. I'll pull this in. Move this, let's say move it that way I needed. You can see that that was the wrong way round. I've just rotate it round. Now I'm going to pull this handle out. Like so. Let's pull this away again. Needs to be fiddle around with a little bit. Alright, so I think that there is quite nice. Now lastly, I want to bring this out a little bit. It's not quite right, should be a little bit longer a thing. Rather than trying to bring this in. A while, there is, I'll comb press Tab, grab this face select, grew up this space which is opiate. And one we're gonna do is I'm going to press E to S, bring it in and then pull it out a little bit. So pull it out and you can see as you pull it out, it's actually being pulled out on there that looks like it's actually hanging on that. Finally then wanting to do is I need to come back to my wife. I'm going to press a three on the number part and I'm going to press E, pull it straight down. Like so. Now you can pull this all the way down and you can use that then to go down to the Sea Floor. Now Tab double-tap the a and you should end up with something like this. Now, I'm not quite happy with this. I think I need to move it across, so it's a little bit straighter here. So I think I'm going to come in and grab both of these and pull them over this way, like so Tab again. Yeah, now, much, much happier without that looks okay. So now let's convert this to actual mesh. So let's grab it. Objects, come down to where it says Convert. And obviously you want to convert Mesh from Curve. So click on that top and they you go. Okay, so now what we need to do is we just need to give this some material. So what Material wins Give it is this once-over, come over to my Materials panel can see it's called fishing line. So let's come to our Fish in line and we're going to click down arrow. And let's look for, you can actually type it in as well. If you've got more Materials, it's easier just to type it in. Click on Fishing Line, double-tap be. Now, it should be the same material as that is. Alright, so I'm really happy without us turn now. Now the final few things we need to do, we need to actually bevel all this fishing line we call come in and actually bevel it off all at the same time where the modifier, or we can come in and do it individually. I think I'm actually going to use Modifier. So I'm gonna do is I'm gonna come over to my spanner. I'll come in and Modifier and comb to bevel. And you'll end up with something like that. Let's turn the limit method onto angle. And what will happen is you'll end up with an angle that comes here. And this basically is stopping these bevel points here. And that's what I wanted to get rid of. So if I turn this up slightly, you'll see they disappear. And now let's turn down the amount to naught point, naught, naught five, like so. Now you can see it's still nice and smooth all the way around there. I'm the actual lab bevel is actually on here. So now I'm very happy with that. Let's double-tap the a and look at how that looks. Alright, so that's it for this lesson. On the next lesson, what we'll do, we'll start work on our actual lab Propeller. And once we've done not, that is the final Pole of all actual Boat and then we can get on with creating our environment. Okay, everyone, I hope you enjoyed that. See on the next one. Thanks a lot of I 42. Tidying up our Boat Scene: Welcome back everyone to blend the 2.9 designed and render a stylized water scene. And this is where we left it off. Now, there's few things I do want to tidy up. First of all, let's come in and I want to change this Roof a little bit. I actually want it, so it goes in just a little bit. So I'm going to come in, come into face, select, select the room, press the eyeball and for insert, and then press E. And we're just going to bring it in just a little bit like so. I think that's going to log just a little bit bad than just a plain plot Roof. Next thing we want to do, I've come round and have saw that my Floor here is actually not in the correct spaces, just poking through there a little bit. So I'm gonna come in and actually fix that as well. So let's first of all grab the whole and I'm just going to hide that a minute and then I can see which parts actually need to grab it, I think is just this part. I'm actually going to hide this part as well. So when to grab this Paul, press the H bond and now it should be able to just grab this. I'm going to do is I'm going to grab I think I'll grab all of these going over here. So I'm going to grab one, control-click one, click one, and click one. And then I'm just going to press S and X and just bring them in just a little bit. Presses have bone, old age, and now let's have a look That's looking like the thing. Let's have a look. It's a bit tricky because obviously you can see here that we don't want to go into fall. So if I press Tab now, I should actually have those grabbed and I'm just looking on, but those grabbed as well. So I'm just going to click these off. So I'll just click on this, sorry, like so not compressed top and I've still got these graphs. I'm going to bring them in a little bit more. So ESX bring them in. You can see that. Let's see what that looks like now. And you can see most of them have come in. And now I've got one point here, one point over here. So let's bring those in as well. So I'm gonna grab this one, this one. I went to press Tab, hide my Anchor out the way as well. Then when I click on it shifts like this one and this one. And then when I press S and X and bring it in. So let's have a law that looks like, and it's just right up to the edge there, which is absolutely fine. And then I'm going to come in, I'm going to grab these two. We've Shift-click, so this one on this one, and then pull up back just a little bit like so. Alright, so that's not fixing. It looks like it's actually in so double-tap the as envelope. And yeah, that looks really nice. Now the Render were taken from ovarian anyway. So the chance of actually scene inside that is pretty remote. You might want to actually take an image from here or something like that. So we still need to make sure it goes up to the edge, but it's far more important and making sure that flows not sticking through there. The next thing we need to do is we need to sort out now our actual Fishing Post and Line. You can see here that the problem is it's not actually on the floor. So you can save a come down here that's stuck up here and it actually needs rotates in brown. The other thing of course, is we've not named anything on here. So I'm going to do is I'm gonna come down and actually rename all these. And I'm going to make a new collection. So I went to right-click and I'm going to make a new collection. And you can see, I think actually it's gone in here. So let's have a look, see if my Collections in there and a thing, Let's have a look where that Collections gone. Here it is, Collections seven. So double-click it and we're going to call it Fishing, Pole and post. So I'm going to move it all together apart from the Fishing Line, but I'm still going to pour it all in the same one. So let's come up and let's double-click on this and we'll call it fishing line. And then I'll come down to my cube. And we'll call this Fishing Post hosts like so. And then just work your way down. And this will be the holder. We'll call it Fishing Post. Older, like so. A lot of the cylinder is and this cylinder is my wind Wiper. So I can call this when Wiper, window Wiper. And then I can grab the window Wiper. I'm going to pull it up and we're putting it in with the actual Cabin. So I'm looking for my Cabin now. I want to close that up as well in a minute just to make it easier, drop it in my Cabin, close this up, and now let's keep working alone. So now we've got this part and I'm looking now as well to see if I've actually got a Modifier on here. So I'm going to wear my way down because hopefully I can join them all up. So I went to come down so I can join these three, certainly hope so. I went to grab all those press Control J, join them all up. And I'm also looking if I press Control Z, they can see that when I joined them up. So Control J again, it went actually a different color. Let's have a look why that is nothing. I've got the right things. I think it possibly our auto smooths not on. So let's click that on an algebraic our way down. And I want all of these I think in the same one, so I'm just waking way down apart from that one. So I went to join them all up to the top one. I'm going to click on this last. So Shift-click this, press Control J, join those all up. Now this is the actual Fishing Post, Golf fishing line there. Then we've got this posterior. So I'm going to join all of these up. So these two here, not that one, just this one and this one altogether On second press Control, click on this one. There we go. Control J, press the G Bowen, and now we just need these bolts and the front of it. So I've decided that I want to join all these up together. So Control J, G. Now I've just got the bolt. So I'm going to grab these bolts and you can see that they're in here. So if I click this down, I can see that one's there. Pull it down. Let's just drop it right in the bottom for now. And then let's click on these bolts as well. And you can see that a bit confusing as I say, they're these ones here. So I'm going to pull these down and drop these in the bottom as well. Now, if I grab all of these, you should be able to just move all of this. I'm just going to move out a little bit and you can see now they're all now in the right place for now. And it means I can solve these out. So as I say, the Fishing Line and the actual Post, I know I've still got this Simple Deform one, so I don't want to split that off. So I'm going to call it Fishing Post. Like so. And then I've got my fishing line of Fishing Post. I can say Fishing Pole and Posts or we can put both of those in now because that Don and then I've got just these three lab which is the bolts and actual pokes out. I will join all of them all to this one I can say I've made a mistake here, so I'll rename it. So I've got them all now, press Control J, join them all up. We need to come in and actually put autosome. Move on. There we go. It's always good if you can actually come in now and actually just look around and make sure that the role okay, you can see here, we've got a lot of problems with smoothing. So just turning smoothing up just to get rid of those and then make sure the rest of it is actually smoothed off. Okay, now because we used a Sharps and things like that, it should be absolutely fine. I'm just going to rename this now we have Fishing Post here that is this. And I need to and we've got a fishing line, so I need to just rename that to fishing rod. And then this one to Fishing Post. So double-click this one Fishing Post. Then let's drop that into here. And now if I close this off and I close this up and a calm and just hide this should hide it all out the way. And that's exactly what we want. And now it's all nice and clean. Now the last thing we need to do is obviously reset the orientation of it. So control Lake all transforms right-click origin to geometry. And that's going to put it near enough in the middle. And now actually I can rotate this around. What I'm going to do is I'm actually going to, I'm just looking to see I'm happy with this not being quiet in the middle. And I think it should be bit more in the middle. So I'm also going to grab these, Pole them over a little bit. I'm basically what we're trying to do now is just tidy this up just a little bit. I'm going to double the top the a and I can see it's poking through there a little bit, so I'm not happy with that. I'm going to fix it with proportional editing. So I'm just going to grab this, press the G been bringing it out a little bit so we don't lose that smoothness. And then double-tap be again. I'm much happier with that. Now let's rotate it. And again, we might need to move this again. So what I'm going to do is I'm going to hide my whole house of the way. And you can see the whole as actually as a float. So that's not good. So let's CMM. Just hide it individually, like so. Now I can actually say if I press three now I can see where I need this. I'm going to grab it. I'm going to press all and X and just rotate it round and then just pull it down just so it's Dawkins place. And then among rents doing I'm just going to come around now and just make sure I'm happy with how, for instance this wire still cancel. Let's zoom in. You can see we need to pull it out little bit. Someone's grabbed one end proportional editing style on G, pull it down. Now let's go to the other side and just put it into place. Like so basically this is just basically tighten it all before we actually call them to do the actual motor on the Ship, just making sure everything's don't. So now let's double-tap the a and let's bring everything back. So I'll teach bringing written back, double-tap the A1 small. And now I have a look and make sure that you actually happy with it. And you can see because we have bended this now, you can see it's near enough touching this and this looks more like it's holding there. Alright, so I'm very happy with that. So what we'll do now on the next lesson, we'll start work on our actual Motor, which is gonna go down there. And then finally, we should have finished our actual Boat. Okay, everyone, I hope you enjoyed that. Say on the next one. Thanks a lot. I buy 43. Creating our Propeller Motor: Welcome back everyone to blend the 2.9 design and render a stylized water scene, and this is where we left it all. So now let's make a stall on our Motor. Now, I want to Propeller Motor on here. And the thing is, when you bring this in, you just gotta be careful that you bring in enough vertices to actually make your actual propeller. So I'll show you what I mean. If I press Shift S First of all, cursor to world origin, shift a, and we're going to bring in a cylinder. So bringing a cylinder, and you can see at the moment because I reopen my Blender that it's on 32. Now if I put this on 18, very important that we put it on that number. And the reason is if I rotate this around now, so all X 90 going to bring it out, make it smaller, and then squish it in on the y-axis. So SY, the reason we picked 18 is because if I come in now and I grabbed three of these, and then I minus three, minus 123 grabbed the next three, minus three. So 123 constraints around here, grabbed the next three. And this should be a gap of three. And that's exactly what I want. I want to do it like that because basically now I've got an even amount of gap between each one. It might be poking out this way, but that's fine because our Propeller wouldn't be exactly level, so or anything like that. So we've got an even number going all the way round. And now we've got three propellers on this. So if I press P and S and pull those out without proportional edits and on.So S. Now you can see that we've got basically all Propeller system with an even gap between each one. And now I'm going to do is I'm going to squish them in on the Y. So that's why pulled them in not too far because we're going to actually do the ends of them. So a little bit more, maybe SY, something like that. And then we're going to do is I'm going to press E to bring them out again, like so. And then I'm going to squish these in, S and Y, bring them in. Then what I'm going to do is I'm going to put them now on individual origins. I'm going to put this on normal. Then we're going to do is I'm going to press S and Y and bring them in. Now you can see because I've actually pulled our normal when I bring them in now, it's going to bring them all in on the right way. So you can see that these are coming in this way, these coming in this way, in these coming in this way. And it's a really, really good technique to actually bring things in like that. If I let this on go global, for instance, I pulled up by com, then I'll press S and X or S and Y. You can say that the logo at different angles, and that's not something we want. Now, let's create the front. So I'm going to do for the front is I'm going to press E and S, bring it in a little bit and then bring it out. Again, S bring it in, and then E, and we're going to bring it in like so then and to S. And we're basically just extrude in and Scaling and just bringing it out now to make all little end of all Propeller, you can also use the eye. So I'm using I now and then bring it out with E and then S. And there you go. You can see now you've got a really, really nice Propeller and really, really easy to actually do that. Now let's just do this backends, so we'll press top again. They select, just make sure you're on that on the thing I'm going to press I bring it in, then E, and bring it out. And this is a really good Start to our actual Propeller. Now we've got that. Let's make a star on the actual box that our Propeller is going to go in with our cursor in the middle. I'm going to press Shift a and when to bring in a cube, I'm going to bring this Q Bow, want to shrink it down to the Sides. He wants to be something like that. What I need to make sure is that is just going to cover this actual bottom bit here. And then we're going to do is I'm going to bevel this top off. So I'm going to come in with my edge, select Alt Shift and click. And if that doesn't work, just click the ones going all the way around scene that was something like that. Press Control B and then just bevel those down, like so. Now I also need to bevel the Sides or peer. I'm going to do is I'm going to come in. I'm going to grab this edge and this edge and this one on this one, Control B. Again, I'm going to bring them in. Now you can see that they're not coming in very well. And again, we know the reason for that. So if you're wrest control, they all transforms, right-click and just set the origins geometry coming again. Why you've grabbed them? Control B, and now you'll see the bevel and much, much nicer. Now, let's say, squish these in a bit, little bit. Why? I've called them, assured they able to just pull them back a little bit like so. And you can see already now, it's really taken a nice bond of what we're actually wanted. So let's bring it up a little bit. Just so it's just underwear that actual Bow of the actual boat is. And again, now I'm going to do is I'm just going to grab these Sides round here and I'm going to bevel them off. So control be actually I've missed one. There we go. Control be, bevel them all. Something like that. Alright, so I'm happy with that now all I need to do is I need to bring this back into place. So I'm just grabbed it. I'm going to press Control one on my number pad. I want to pull this down. What I'm looking for as well is I need to make sure that this is the right size. So I need to first of all bring this, download it. So let's grab this bulb here, press the button, and what you're looking for is how far down you actually wants it. I think something like that should be absolutely fine. Now let's grab this Propeller control one again. Now you should be able to pull it up And press the S button and just make it a little bit smaller. What you don't want to do is obviously catch on there. That's the reason fold up being there. Narcan, pull it back little bit and then I can pull it up, maybe a little bit, something like that. Alright, so now I want to make it look a little bit better than this. It doesn't look like it's gonna be working that well at the moment because actually we've gotten nowhere pipes or anything like that. So we just need to give it just a little bit more. So what I'm going to do is I'm going to bring in a pipe joint. So I don't really want my pipe joint coming in there. What I wanna do is I want to put my cursor over here. So I'm going to do is I'm going to press Shift S cursor to select it and that's going to put it right in the center there. And then marking, losing and press Shift, a calm down and we've got the pipe joints type elbow, bring it in, and let's bring down the number of subdivisions down to 12 like we normally do. And let's put this on 90, something like that. And then at wild ones do is actually wanted to bring down the radius of it. And I want to bring these in now. So let's come down to this one. It's not that one I want to bring in I want to bring you in this one. Like so. I think that'll make a good start. And if it is the wrong size, you can always go back in bringing it up the pipe joint. Then you can see that I've gotten the actual Propeller. I'm just going to grab this Paul press L and now sure. Belts shrink it down without shrinking the other part. And let's get it in to some kind of place. So I want to rotate it around. So all X hundred and 80, Let's rotate it round polytope. And let's put it in place. So press through and the number pad and let's put it in place, pull it off. Now let's bring it in. Like so when you can see it's a little bit too big still, I think so let's shrink it down a little bit more. Like so when the thing that's a little bit too small now, I just wanted poking through that as you can see like that. And then I might need to bring these out a little bit. So I think I'll do that. I'll come in to each of the sides. I'm going to press S and X, bring them out and you can see the knock me now because and I'll medium point now is shields. So S and X bring them out a little bit. Now let's bring this down while there is a command, Alt, Shift and click, and I can just pull that down. Just the bottom of the night. Can see it's looking really, really nice. Now let's bring it in so that we've got something holding Alt on here for instance. So the easiest way to do that is to just use another technique which we've not used before. So I'll show you how that works. So first of all, let's actually hide our Propeller always. So we'll grab our Propeller, press H bond, press Control one. And now I'm going to do is I'm going to use the bicep tool. So I went to first of all, grab this and then we're going to come up to Mesh. And when it come down, you've got one that says biceps. Now you will notice that the right-hand side and all these, it will show you what button or what Schottky can actually press on the bisect. It hasn't actually got one. All we do is just click the bisect on. And now you can do is cut straight across here. So if I come in and actually cut across here, you'll see now we end up with a line there, and that is exactly what I want. Now the interesting thing about the bisector is what you can do with it. Once you've actually got in place, you can see that you can actually change it, undergo. And the other thing is if you come down here, you'll see that it can also change the angle of where this is, for instance. And the other thing is let me just try and put this back to zero. So I'm pretty about that. And you can also play the inner, oh, you can clear the outset and it will actually fill it in when you've cleared it. So if I move rounded, you can see it's actually filled in. So it's very, very helpful tool. Now if I press Control Z, it will go back and it will get rid of this menu down here. But it's a really, really handy tool to actually know about. So again, what I'm going to do is I'm going to press Control one Mesh bisect and let's cut it across. Like so. I just want to move this up a little bit now. And they also wanted to takeoff clear in it. I definitely don't want that on. And you should end up with something like that. Alright, so once you're happy with that, come up to Face Select, and now let's select the face going round here. So Alt Shift and click. And now let's press E to bring it out a little bit. And then let's pull it into place. So I'm just pulling Neil like so now it looks like something's actually holding them there and it's the right angle. Now, let's do this bone one as well. We can simply just use our edge loops. I'll control law, left-click, right-click. And you'll see that sometimes that it's actually an angle and I don't really want this at an angle. So I'll do is I'll press Control warm. I'm going to press S and X and pull it across and you'll see if you've got medium points on that. Ally actually straighten it up. Again. That's another really handy tip to actually be using. Now let's come to Face Select. Old shifting plague. Tend to pull it out and then just pull it into place like so. Now what we'll do on the next lesson is we'll get all the Sharps on. We'll get them Materials and of course will get this mirrored over the other side. So I hope you lintel on that one and I hope you enjoyed it, and I'll see you on the next one. Thanks, everyone. Bye-bye. 44. Applying Sharps Seams Materials to our Motor: Welcome back everyone to Blender 2.9 design and render a stylized water scene. And this is where we left off. Now, the first thing we wanna do is I want to grab just this. So I'm going to press all tastes, bring everything back, and I'm going to actually split you up. So I'm going to grab this P selection. Let's grab this part L P selection. There we go. Now let's hide this bar the way. So we'll hide our Propeller with H and then we'll come in to this poll. Now, I want it to mirror it over this side. Now you can see from mine at the moment, I've got my orientation in the center, you might know. So let's grab this and we'll just grab the bottom of it. Grabbed this bond PC, it's Shift S cursor to selected top. Grab onto your little pipe here, right-click and set origin to 3D cursor. Now let's come across to our little spanner. I'd modify it and we'll bring in a mirror. And that's going to prorate buying over the other side exactly what we wanted. Now. We want our Mirror wrong, but first of all, we might as well, salts are Sharps out. So I'm gonna do is I'm just going to hide this part out of the way. Just going to make sure that I've got no ends on these, which I've not a now let's come in and we'll just start in our shop. So Command Alt, Shift and click on the edges where you want Sharps that we've done many times before. You can see that I've grabbed it. Reason that one's not going round. Let's save this one Doors on this one and this one on this one. This one, right-click Mock Shop. Now I also wanted to seem in there, I think so right-click and more mock scene. And then I need to come around now and see pressing the control click technique that I'm going to grab these go in all the way around. So right-click mock shop, right-click on mock scene. Now obviously if course that will be transferred to this one and that's exactly where it wanted. So now compressed Tab come up with to this side, control a and apply the arm. Now let's right-click Shade Smooth, put on also smooth. And then that's turning off a little bit. There we go, exactly where it wants it. Now, let's press Alt H. Bring back these parts. Let's hide the Propeller and we'll just work on this part. Now, I'm thinking, first of all, I do want this to come in a bit, so I'm going to press I bring it in. And then I'm just going to grab this top part, this part here, and just bring it in with S and X to make it a triangle like so nothing that looks quite nice then will I need to do is, and each coming now, I'm basically add my Sharps. Now, I might as well on this part, odd Sharps on all of this because there's not really a point where I need to round off. So I'm simply going to grab it all. Press Control Lee, because I'm in Face Select and click Mark Sharps and then right-click shapes move. Also smooth. And there we go. Now I want to do is bring my Propeller back. So I'll teach and let's hide the main motor and the pipe, so hide those out the way. And now we can work on here. So let's come in and we need to mark our Sharps. Now this is a bit trickier, so we need to mark Sharps going all the way around there, all the way around here. So I'm just going to war in a way methodically just going round, adding my Sharps in. And then I'll do the front first and then I'll do the Rear. So I'm gonna do the Rear now, comes to the Rear. Same thing again. Follow all the way around. Then we just need to check it. Just before you can see here that I've Mount Sharp in hand. I don't really want mat I want to actually in there. I'm just looking now all the way that. So let's right-click and what we'll do is mark sharp. Like so now I want to do is I need a shop on. I think we'll have them on these two. So these two on each end here, and this pair will have it slightly rounded up. I think that will work actually fine. You might want to do a different way, but for me, I think that's gonna be good doing that. So I'm only mark and a sharp here because I'm going to mount my seams on the middle part of vehicles that I want a different material come in like that Mount Sharp. And now let's come in on these parts as well. Like so and then right-click and moksha up. Alright, so that's not bad. Now, let's mark them here as well because I want this. Yeah, I think not here actually on the next one because this will be where the new material starts. If I right-click ME oxime on right-click and mock shop. So there we go. Then I'll do Alt Shift click all the way round here, round here. And these will just be Sharps. And then this part here, I'll right-click mock shop and then come in to this polygon and right-click and most scene because I want this to be a different material as well. I'll come in face-like. There's control Lee and we'll mock shop on there as well. And now just the Rear of it. So let's come in while we're gone face like what might as well grab this one, control a mock shop, and then Command Alt Shift and click all the way round, right-click Maxime, right-click, macho. Alright, so there we go. Now, let's say Press top, Alt H, bring everything back and then I'll just click on the actual Propeller, right-click, Shade Smooth, and then come in. Click on Auto, it's moving. You should end up with something like this. Now, let's press Control a and resell the transforms right? Flexor origin to geometry. And then what we'll do is we'll come over to our little spanner I'd Modifier and we're going to bring in a Bevel. We're obviously going to put this on angle. And then I'm going to turn this down to naught point, naught one. Let's see what that looks like. Maybe that's a bit high. So naught point, naught, naught five. There we go. The other thing, I'm just making sure that the angle, if I turn this up again, I just want to smooth it off a little bit. You can see there like so just smooth it off a tiny bit. I'm just looking where I wanted something like that thing. So 13 and then we still got a little bit of a bevel going around there. And that is what I'm looking for. Alright, so now we've done that. Let's do the same on the actual Motor. Control a, or transforms, write plates or origins Geometry, modify it, Bevel. And let's turn this down to nought 0.5. Now let's come to the actual Pipes and we'll do the same thing. So controlling all transforms, its origins geometry, bevel. And you can see we've got the same problem. So I'm just showing you the technique to actually get rid of those again, like we spoke about. So let's turn this up. Like so now we showed it should just be trying to bevel those off. So I think I need to bring it down. And sometimes that can happen where you're trying to fight between bevel in it and actually keeping this smooth. And sometimes it just doesn't work. So the easiest thing again to do is just to go in and just grab the edges where you want to bevel it. So I think I only want a bevel it here and here. I actually want this to be quite sharp on this edge. So I'm just going to come in and I'm going to press Control V and just pull it out very slightly. Again. You can use your Ship bone as well to slow that down or speeding up, Something like that. Yeah, nothing that looks much, much bad. Alright, Finally now let's bring in all materials. So we'll come to our Materials panel plus knew I shouldn't have put new on there. So what we'll do is I'll just minus that off and I'll click this down arrow. I'm just going to put plastic because I know that I've golf black plastic in there. I'm going to bring that in. What I wanna do is I'm just wanted to make sure that I'm happy that might not want to keep it on plastic, but we'll see with this part here, Let's command and we'll click the down arrow. And I'm gonna put this on. Let's see the metal railing that we had, something like that. Now, do you want this little bit to be bits of a different color? I think could do. So. I'll come in, grab this. I'll press Control plus on number pad just to see for one to all the way around there. I don't think I do actually. I'll just press Control minus plus down-arrow. I'm going to look for, Let's try the bolt. So let's click Assign tab. And yeah, I'm happy with that. Now let's come to this bit and what we'll do first of all, we will come in and grab all of these round and you can see that I've not got scene going all the way around there, but these are the parts that I think actually want. So I'll do is I'll click the down arrow, will look for we've got one for metal bolts. So we've got bolts here. Click that on the Civil look at that. And that's the actual glass. I'm going to actually change them colleague glass just so we don't get confused with that one. And then when I click the down arrow and put it on bolts, which is this one here. Alright, yeah, I think I'm happy with that. Then I'll come in, grab the back. Grab this part here, I'm OK. Click the Plus than the down arrow and put this on metal railing. Click Assign, like so. And then finally this part here, well, there's our grubby with L plus Down arrow and you should have one called metal Light. Let's see what that one looks like. Click Assign, press the top bone. And yeah, that looks really, really nice. The one thing I'm not sure about is these parts, I think that you should also be metal, maybe not plastic. So I'll grab these press Tab on. We'll just change this from black plastic and we'll come down. Let's try metal like this and see what that looks like. Double-tap the eight. I'm just going to zoom back a little bit and just make sure I'm happy with it. I think I'm happy. The one thing is that feel like this. Maybe should be a plastic or something else. Maybe it should be like this fishing line color or something like that. Let's go in and actually give it its own actual color. And the bottom of it should be metal. So let's give that a try. Give me a case in or something I'm thinking I'm going to do is I'm just going to grab it all like so. And then when I press Alt Shift and click just to minus that off, Shift-click minus Obama and Shift-click, of course, minus this part off here as well. Click the plus button. I'm going to click New. I'm going to call it plastic just for now, just so I know which one it is. And then I'm going to do is I'm actually going to assign it. And I'm going to actually now work on my colors. I actually like it look in their white. So let's zoom out a little bit. Double-tap the a. Yeah, and it might be to contrast in there with the rest of it. That's the only problem. So let's come in and just change the Base Color First. Let's try red. Let's turn the roughness down a little bit. Something rope itself a look of what that looks like. Something like that. Actually, I really like that. Yeah, that's that's the right Cool. Let's see. We bring down make it a little bit darker just to fit in a little bit bad. Yeah, I think I'm happy with that. So we'll call that plastic red. So spaced red. On. There we go. Alright, so let's just have a final look round, and now we just need to make a collection for this one. So Como, right-click new color, new collection. And let's go down and we'll call this the engine Propeller. Like so. Now let's grab this one here. So this is the engine. And then we'll come to the next one which will be the Propeller. Then we'll come to the final one which is the Pipes. And I'm going to grab all three of these and drop them in there like so let's close that up and close the engine of Propeller up and you should end up with a list like that. And finally, just make sure they all hideaway, double-tap the a, have a look round and just make sure that you actually happy with how this actually loves. You can also come up to these doublet link cam. When you click them on, you'll see it gets rid of all those lines and things like that. And now you can have a really good look around, see what looks like. So that is the actual bolt hole and everything finished on natural boat. So on the next lessons now we're working on the actual scene. So I hope you enjoyed that, everyone. I hope you Lenz law, and I'll see on the next one. Thanks a lot. Bye bye. 45. Setting up the HDRI Camera: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And now we need to make a start on our actual environment. But there's a few things to do. Just make sure that you've actually renamed everything. So make sure everything's in a nice actual collection and everything's named within it. Next thing we're gonna do is I'm going to actually delete this collection, the human, I don't need that anymore. So I'm just going to press Delete and that should get the other way. And you'll notice that it actually puts the object down at the bottom, then just click on it and actually delete it. Now next thing I want to actually delete these lights. I don't need so many lights in here. It's going to end up doing, is making it hard to George what the environment is going to look like. So let's delete this slide, this lie on this slide. And then Walgreens do is I'm actually going to pull this little and just pointed amen more at the actual ground. And the reason for that is because we're going to actually bring in a Ocean in a few lessons. And we want the actual light to actually shine into the ocean and make it look quite realistic. Next thing now wants to do actually want to bring some proper light into here. And the way I'm done and do that as I'm actually going to bring in an HDRI. Well, that is, is, is basically an environment texture that goes all around the outside. I'll bring it in, you'll see exactly what I mean. So to do that, come over to the right hand side and you'll have this little icon here, which is like a world with the little arrow or something going through it. And that basically if you click on this is the world environment is, you'll notice that the moment it's gray. So when, now I've got an EV, you'll see the rest of this is actually great. And if I change this, for instance, so if I make it lighter, you'll see the whole scene becomes lighter. Now, we don't actually want to use this. What we want to use if we click on our color, this little dot here and come in and pray on environment texture. You'll notice that goes completely pink like this. All you need to do now is come to the open. Click on there. Come to your course references which you can download again and come to HDRI map. And inside there you'll have one that says day, double-click that and then straight away now. And you'll notice now that we actually bring in the HDRI map, if I just scroll around a little bit, I'm just looking, you can see that there's actually a sum here. It's not in the right place. And this is also a little bit too small I feel at the moment. So what we need to do is actually changed this. But before we do that, we actually need to bring in a camera and actually set our camera, just saw them when we bring in things like all summed Sides of all, I'm environment and the bottom and things like that, we need to have a good idea of judging where all those things are going to go. So what we're going to do now is we're going to actually bring in a camera. And the way I'm gonna do that, first of all, I'm going to make sure that my cursor's to the center. So shipped us because to world origin. And I'm going to press Shift a, I'm going to bring gain a camera. So if you scroll down here, you'll see that roundabout here is a camera. And if I bring that in now, you'll see it does appear in there, although we can't say at the moment. Now all I wanted to do is actually wants to set up a good view of this actual boat. So at the moment, I think I'm going to set it somewhere like that. And then what I'm going to do is I'm going to press Control Alt and zero. And that then is going to move the camera to Whereabouts I am. And that's a really good way of actually setting up a camera based on the view of where you are. Now, all I'm going to do is I'm going to zoom in with my middle mouse to zoom in a little bit. Don't rotate or anything like that. And then what you wanna do is you want to press the Enter button now to open up the transform panel and downhill I've one that says view. If we come down now you'll see one that says Camera to View. And when I click this on, you'll notice a red ball go round this actual frame. And now you'll see that when I zoom out or move round, the camera actually moves with it. So this is really, really handy technique to actually know. Now while I'm trying to do now, is actually get this setup basically where I want my actual Ship. So if a person, I can just move that out of the way. I do want it roughly in the middle, but I do want it zoomed out a little bit. What I want to do is basically put it here where I'm going to have the Sides of the actual Alcove coming down each side light you can see on the reference image folders calls on the sun to actually come OPIA. And then at the top, I want to be able to see palm trees and rocks and things like that. I also probably want to actually get in there, just the actual song a little bit. So I need to point my camera probably a little bit like that. I also wanted to get a little bit of this detail in here. Again, like I said, we put the window Wiper on and we put the Wheel, Boat Wheel in there just in case you want to actually take a different kind of. Now, now we've done that. Let's basically press N to open up the view panel again, I'm going to come down and just turn off your camera to View. Now you need to do is just press the middle mouse button. And now your camera is fixed in place. Anytime you want to go back to your camera now, press the zero button on your number pad and that will take you straight back to your camera. Now that's settled. We can actually put all Sun in the right place. And the way we're gonna do that is going to make sure that we're on our Weld button. And then we're going to come over to our shading panel Now we used to working on the shading panel just with Materials, but you can also use this to actually work on your HDRI that you've actually brought it. Now, we've been using EV up to this point so far. Bolt for actually this course, they actual final render that we're gonna do is gonna be based around Cycles. So what we need to do is we need to come over to our computer here. I'm actually going to put this now from the EV, render it, click the down our own drop this on Cycles. Now, in Cycles, we do need to change some of the options just to make this look really, really nice. I'm gonna do is as well. I'm going to press zero on the number pad just to come into my camera view so I understand where the camera rays. Now, the next thing I wanted to do before actually I alter any of these is just comb-over the left-hand side here where it says Objects, click the down arrow and you're going to click that on world. Now if I move over with my middle mouse, you can see this is the actual setup for the HDRI. And at the moment you can see we really aren't that many options to actually do anything with this. I mean, we can move these around. We can change this from a single image to tiled or something like that. We're apart from that, we can't really do anything else. So now let's bring in some notes just so we can actually alter this a little bit. So I'm gonna do is I'm going to press Shift a command. I'm going to search for texture coordinates, so TeX T, and you'll see there's one called texture coordinates. As we discussed before, this is going to enable us then all Blender to know whereabouts this texture is in space, and then we can actually use a mapping. So shipped a search mapping. Now if I plug this in from the generated because this is not a UV map or anything like that. And I plug this into the top. And then finally I come with my vector, and I've plugged this into the vector of the HDRI. And now I have the ability to actually change how this looks, how stretched it is, things like that. So what I'm going to do now is I'm going to call and actually zoom in, and this is the rotation. So if I change this on the Y, you'll see that it moves up there like so. Now just for this, I'm actually going to drop it back on EV and that then is going to make it much, much easier for me to move this in real time. So I'm just going to print back on EV. And now when I change this, you can see that it moves in real-time, which is exactly well-worn. Now what I want to do is I want my actual song to be roundabout the top of here somewhere. So the first thing I need to do is just move around and just look where my son is, which is all the way around here. So I've got to rotate this on the zed axis and rotate my song. Press zero on the number pad just to go back in the viewport. And now I'm just going to rotate a little bit more and see where that's on it. So it's over there. I'm going to rotate it a little bit more, round zero again in the viewport. And now I need to bring it down. So if I pull it down like so you can see now it's a really easy way of actually bringing us some M. Now the thing is on this, what I want to make sure, so I'm going to bring it down a little bit more, is that the sun is coming from here and looks as though it's actually going into the actual, say, I want some clouds here as well, just to show that we have got clouds in the sky and it's not just a completely blue sky. So with that cell now, you should have a really nice view for it. Really decent render when we actually come to render this out. So now in the next lesson, what we'll have to do is we'll add to make sure our son is the right strength, we need to bring in another light source just to line this up a bit, because if I zoom in a little bit, you'll see it's a little bit dark. It needs a bit of more of brightness just to bring you out a little bit. And then finally, we need to stall creating all Sun, which is where our environment actually sits. And then finally, before we actually create all the rocks and palm trees and things like that, we all going to create our ocean just to get that prepared, ready to bring me all the things in. Okay, but once I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 46. Creating the Base Alcove Sand Material: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left it off. Now what we want to do is we actually want to bring in another light, just to light this up a little bit more. Although we've got a song here and we have got an HDRI, I'd also like to bring in a little light just like this up just a little bit better than more is. What we'll do is while we've got our cursor in the center, will press Shift a will come down to where it saves lives and we're going to bring in a area light. Now if I move this out, so I'm going to press Shift Space to bring in my move tool, move it out. I'm going to make it a little bit bigger. So press the S form just to make it bigger. What we're gonna do is going to try and pointed round about this angle here. So boundaries and when depress all why pointed that way and then all points it this way just to give us a little bit of variance on shadows and things like that. You want it roughly, probably somewhere about this close. But what you actually take your render, just bear in mind, you've got this light here and then you can set it up accordingly. Now the other thing, of course, is we do need to turn this up a little bit. So let's come over to our light panel over here. You can see it's on area. And then what we want to do is want to turn this up to about 5,000, the very low actually these area lights you can see there now, it's really little and it really makes it look like a sunny day once we've actually got in our Palm Trees and all things like that. Now apart from that, I would leave everything else for now. And what we'll do now is we'll come over to modelling and we'll start work on our actual beach. And I'll let allow coal that's going to go down where we are in the modelling tab. And let's now go over and put it back on EV. And we should end up with something like this. Actually, I think it's probably better if we just put it on Materials. So now it'll probably be a bit easier to see. There is actually a way where you can turn off your actual HDRI. But for now I'm going to leave it on and just work like this. So what I need to do is now I need to bring in my alcohol, which is these parts of the sun here. So I'm gonna do is first of all, I'm going to bring in an actual cylinder. So shift a Mesh, come down bringing a cylinder and it's okay to be on 32s. One of the only time that it's okay to be on there because we're still even going to pull even more polygons than that. So let's now press zero and that'll take us to our camera view. And then we're going to do is I'm going to press S, bring this right out. I'm all I'm going to do is I'm going to drop it down like so. And it basically want my actual level of myelin to be somewhere around here. So I want my palm trees to be joules to both the bolts align on a little bit of sun here and then dropping down to the actual Ocean. I also want to make sure that I've got my rocks here and things like that. And you can see at the moment that the sun would come down here. So I need to put this more in the middle like that. Hopefully then we can mess around with the sizing as we go along that the Alcove will come from here and you'll see the rocks and things like that. So that's why we say in the hoplite race, the other thing of course is at the moment, this is really, really deep. So if I zoom out, you can see that the bottom of the ocean floor would be down here somewhere and we really don't want that. So what we wanna do is want to press tab, come to our Face Select I'm just going to grab the bottom phase zero again. And then I'm going to zoom in, press zero again just to get back to my camera and you can see there my cameras a little bit out. So there we go. I need to zoom out a little bit. And now I can start bringing it up like this. Now the thing is, I'm obviously going to get rid of this front and this Midland or things like that. So this is a good start where to start with. Now we can actually do that. So we'll grab the top and the bomb press Delete faces, and then we need to come in. Now. Now I'm going to do is I'm going to just come round to this side. I'm looking for the halfway point and I want to bring it slightly out past the halfway point. So I'll probably want to leave this one and the one opposite. So I'm just going to call them to this one. So you've got the halfway point here and then you've got to past it again, the halfway point is here. And then to pasta is this one here. So if you press seven now, you should see that these two are actually opposite each other. I'm gonna press Delete and faces, and I'm going to come in, grab this without press Delete and bases, and you should end up with something like this. Now, the next thing we wanna do now is actually bring this out. So I'm going to do is I'm just going to grab it all like so I'm going to press E, so S and pull it out like so. Then what I'm going to do is I'm actually going to come over to my little spanner and just be aware that when we bring in our Modifier, It's going to actually shrink it down a fair bit. So you might want to pull it out just a little bit more just to make it a little bit thicker. And I'm going to come over to modify it and bring in a subdivision surface. And you can see now the difference that has actually made. So I'm going to do is I'm actually going to put this on simple. I'm going to turn this up one morning. Press Tab, want to right-click Shade Smooth. And then what I'm going to do is I'm just going to bring this buttoned down now, alt Shift and click. And then I'm just going to drop this down just to even it up a little bit. I want to press there in the number pad so you can see how even And I'm also going to even this up a little bit, even though I will actually be dropping this down a little bit as we go at the moment, it needs to be the same level. So what I'll do is I'll press three. I'm looking at that line. So I think it's actually the backend need to grab instead. I want to pull it down a little bit just so we've got a little bit of a curve going up there. And then we're going to do is as I say, make sure this is on to press the Tab button, hover over it, press Control lay just to actually apply that. Okay, So now what we're gonna do is we're gonna come over to modify it, calmed down and Annova subdivision. And you should end up with something like this. And now you can really see what sort of size it's going to be. So Sky suppressors zero on my number pad. You'll see it takes us into the camera view again. And I can see now whereabouts this is going to come down. Now this part is quite tricky, so I'm going to press top. And what it wants to do is I want to just come up and grab all of these going round. And I'm gonna make this easy so I can pull this down a note whenever I want. So you can see I've grabbed all those. I'm going to right-click Maxime and I'm going to come in now, press L and it'll go right top to the parts where most seams. And then we can press zero. And now I can bring this down a little bit too. Whereabouts want it. And now finally I'm going to come over to add modify it and when to bring in an actual displacement Modifier. So bringing the Displacement quantify it, press tab and you will end up with something like this, which looks a real mess at the moment. Now let's turn the mid levels down to zero, and then let's drop the strength of this down to nought 0.1. The strength of this is basically how strong the Modifier is interacting with the texture that we're going to bring it. So the higher this is, the morph puff drop is basically going to be. So let's put down something like nought 0.1. Now let's come over to our texture panel, which is this bond here. And this basically will be the texture that comes in for our displacement. So if I click this button here, click New, come down to where it says image or movie. Click the down arrow. And you're going to put this down at the bottom. You'll see one that's called Ward. And you'll end up with something Now like that, which is a really easy way to actually bring in some Displacement based off of a noise textures based on what it is. Now if we go back now to our little spanner and we just turn this down something like naught point, naught for something like that. You can see now that we started to get that kind of Sunday Effect pretty easily just using this Displacement Modifier. So now we've got this. What we wanna do now is actually give this some colors. So I want to do is come over to the shading panel. I'm, what I'm going to do is I'm going to come over to my Materials. I'm going to click New. I'm going to call this Sand. And I'm going to zoom out a little bit and you can see at the moment is still on world. So let's just change this over now to object. Now, let's come over and actually just move these over the left, pull this one over here. And what I'm going to do some First of all going to duplicate my principled Ship Date, bring it over. I'm, what I'm doing that is obviously Sand is made up of multiple colors. I want to try and keep this simple. We're going to just use two for this. And then what we're going to do is going to then bring in a texture coordinate. So let's press Shift a search texture coordinates and you should be pretty much familiar now with what actually we're doing here. Next one we're going to bring in is mapping. Then I'm going to plug the generated into the vector of the mapping. And then the next one we're going to bring over it is a wave texture. So let's press Shift a search wave and bringing the wave texture, Let's plug that in there with the vector. The vector goes in here as you can see. And then what we'll do is we'll press Shift a and I'm going to then bring in a color ramp. And you'll see why we're bringing that in. So then what we wanna do is you want to bring you back from the wave texture into the actual facts of the color ramp. And then we need, just need to join these two parts. All the way we're going to join it up is like we've done many times before. We're just going to basically use a mix shader. So I went to press Shift a search makes and then come down to where it says mix shader and just drop that in there. Now I just need to apologize as well that I didn't have my actual key cuts denom for the last lesson, the half of thing I've put them on now, so sorry about that. They're on from now on. So now let's plug in the color to the fact of the mix shader. And then let's start plugging both of these principles into the little Shader nodes here. And then finally, we'll plug this into the actual surface. And you'll notice, of course, nothing happens. And the reason for that is because we need to now come to where it says Base Color and give this some color. And you'll notice straight away now that we've got some strikes. So let's bring the other one in as well and bring that with stripes. And you can see now that this is a really good start to actually making some, albeit the facing the wrong way that the wrong colors and things like that. We're on the next lesson. We'll get this all then I end up looking like Sun, and then we can start on our bottom actual floor of our actual Ocean. Okay, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 47. Creating the Sea Floor: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left it off. Now what we need to do is, first of all, before we actually start messing with these colors, Let's come over and actually just turn these up a little bit. So what we'll do is we're going to turn this scale up just slightly, something like that. And not basically if I turn it up a lot, you'll see that makes the smaller or bigger. Now at the moment, this is of course Sun. So we don't actually need them to be really small or anything like that. The next thing you could turn up is the distortion you'll see now. That makes it a lot more wavy and a lot more like Sun. So I'm gonna turn it up just slightly, something like that. The other ones, you don't actually need to mess with these, they don't really do a lot. The ones that are important though, is the rotation. Of course, if we change any of these, you'll see that it starts to having effect on how our actual sun's going to look. And we want to turn this up to make it go sideways and all over the place. And the thing is that at the moment it looks really, really unrealistic. And that is simply because we need to mess around now with the actual colors. So if I come in and I turn this down, like so, and I come in as well and a term I roughness down. And I turn the roughness down on this one. And then I'll come to the base color on this one. I turn this down and now you can see we're actually starting to get somewhere. So now let's make it a lot more like Sun. So I'm going to turn it up now and try and blend it in with each other. Now, we can come up back to our actual wave texture and just mess around with the distortion just a little bit more like. So you can also see at the moment that this is not quite looking right, because it's actually going round in a kind of Ben. So I really need sort that out. So I'm gonna do is I'm just going to try and just even this out a little bit. Now you can see is looking much, much nicer and a lot more realistic. Now, at this point, we still might have this little band here a little bit wrong. And also the scale might be a little bit too small. So let's have a look at that. So let's bring it down. Something like I'm bringing it up a little bit, not quite so small. I'm just going both ways just to have a look while I'm actually happy with and I think I'm happy with something like that. And I think that looks quite stylized. Now let's come to our dark one. I think it's this one here and just turn it down a little bit like so. Then what you can do is you can come now to your actual color ramp on. What this will do is it will blur them out or bring them in as you can see. And you can also control-click. And what I'll do is it'll bring in another color. And now you can use that to actually really, really fine tune what the actual sun's going to look like. And you can see now that It's really, really starting to look like actual Sun. So I think I'm really, really happy with how that looks at the moment and now it should make a start on bringing in my actual Sea Floor. Ever come back to actual modelling, press the Tab button. And what we'll do is we'll bring in our actual Q for now. So let's press Shift a Mesh cube, Bring it in. So S, I don't want to bring it down to the bottom and I'm just going to get it to actually fit in place first. So S and X, Let's pull it out this way. Pulling bark and an S and Y, pull it out. What he wants to do is actually wanted to fit in. So in here I don't want to actually to drop lower than here as well. Those are press tab, come to paste, select, grab this face and just pull it up just so it's up the bomber there. The other thing of course, is I actually want this to be at an angle. I don't actually want it like this. So I'll do is I'll press zero on my number pad, zoom in a little bit. And now I've got a good idea of where this is actually going to come to. What I want my Sea Floor doing is actually coming up at an angle like so. I'm going to press top. I'm going to just type this out the way. And then I'm going to grab this cube again, the Sea Floor, grab the end of here and just pull it down like so that they can gives the illusion that it's actually moving up here. Next thing I want to do is press Tab. I don't want to come in. So my actual Spanner add Modifier and we're going to bring in a subdivision surface. I'm going to put it on Simple. I'm gonna give it to, and then I'm going to hover over it, press Control a. And then when it come in again, subdivision surface. And now you can see we've got actually something to actually work with. And now we can do is before bringing in a Displacement Modifier again, what we can actually do is we can actually apply this space. So control a Tab. And then you'll see we've got all these nouns play around with. Now if I bring back my Sides of my alcohol and now can come in and I can grab my Sea Floor, press the Tab button and our income in with my proportional editing and I compress G, bring them up the circle and actually start pulling this around a little bit and making it a little bit on even like so, just to make it easier for when we actually bring all proportional editing it. Now the other thing you'll notice is that this at the moment, we've got really big polygons here. I'm really small polygon Z, and we don't really want that. So what you can do to actually fix that is actually I think as well I'll pull this down just to get this down the bottom so I'll grab it all around here. So I'll think I'll press Alt, Shift and click, and I'll see if that scrapped the old way around. So I'm just going to hide that again. I'm going to right-click mop scene and then come in public without Tab. I'll teach, bring back the Sides again Grew up the Sea Floor Tab and then let's just pull it down. So three, pull it down without proportional editing on. Just to get that closer to the bottom. Something like that. So it's just, just, just above that. Alright, I think I'm happy with that right now. Let's salts out these polygons like we just spoke about. Now recommend before doing this, you actually save it out somewhere to go to File, Save and then wandered, going to do is I'm going to come across to my triangle and you'll see one as you come down that says rematch. Now, if you click on here, you'll see one that says quad. So click on quad and then come down to where it says quad, reflow rematch. Click that on. And now you'll see what it does is, first of all, it wants to symmetrized this, and I don't really want that, so I'm going to take that off. It means it will basically symmetrized it over the other side. You'll end up with two of these together. Now what I wanted to do is again, so I'll click on this again. Click this off. Now you'll see that we've got a number of faces here. Now at the moment, this, if I press Tab, I might have to bring this backup, but if I press Tab, so if I turn round and press Tab, you'll see that this is around 3,000 triangles at the moment. That's fine if we actually go to full thousands. So let's press Tab one small, clicking it again, click this off, and then we'll click, Okay, Why wants to save it out before is because it can crash Blender actually using this. So just be aware of that. Save out before, then press Okay. And now you'll see quaternary Meshes actually working. And now it's actually done when actually press top. Now you'll see that we've got uneven polygon mix. And what that enables that to do is warm when we actually bring in Displacement. Now be nice and even for us to actually put that on there. And also to, if you are going to unwrap this, you want a nice even Poly flow. You don't want really big polygons with really small ones. So this has done a really good job of actually fixing that forest. Now let's press Tab and what we'll do is we'll come over to our little spanner and then we're going to add Modifier. I'm going to bring in a Displacement Modifier. So another Displacement Modifier. I want to turn this down again to zero. And then I'm going to put this on naught point, naught for like so. And then we'll come in to my texture like we did in the last one, new image movie, come down, put it on wood, then you're going to end up with something like this. And you can see now it's looking really nice. Let's right-click and shapes move. And what we need to do now is we'll just come over to our Materials panel and we'll click the Plus button down arrow, and we'll put in the sun, which we already created. And there you go. Now you can see it's looking really, really a lot like a Sea Floor. And you can see that this is really looking like basically I cuts out a diorama of the actual seat blow. So now we need to do on the next lesson is actually bringing our Ocean that's the most on part, is also on the hardest parts to actually get right. So I hope you're looking forward to that and I hope to see on the next one. Okay, everyone. Thanks a lot. Bye bye. 48. Navigating the Render Option Planes to Oceans: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left it off. Now before we go any further, let's first of all, actually make sure we're on the right settings to actually before we bring in our actual Ocean. So what we need to do is you need to first of all, come over to the Render Engine and just put this onto Cycles. So it's on the little computer here, and then let's put it on GPU compute. Now you might not have GPU compute as an option here, what you need to do is you need to go over to Edit, go to Preferences. And then what you're going to do is you're going to come to System. And then what you'll see as you've got one, where it should tell you your actual CPU and GPU. And it needs to be on CUDA pretty much. And you need to have both of these tick depending on whatever graphics card you're running and more CPU running then will allow you to do is once you've ticked these on, you can close that down and basically put this then on GPU compute. What it's going to do is it's going to speed up the actual render from the Cycles in real-time and when you actually rendering. So that's why we're actually doing that. And unfortunately, if you've not got a graphics card that enables this, you will have to just use your actual CPU and not your GPU. So now let's actually put this on Cycles. Let it load up, and you should end up with something like this at the moment. And then what we're going to do now is we're going to change a few of these options here. So the first one we're going to change is adaptive sampling. We're just going to take that on. And every time we change something, it will have to actually load up. Next, what we're gonna do is I'm going to put on diane ionizing. And what this is going to do is it's actually going to speed it up and actually clean it off as we're actually building along. So it's going to clean up all these little bits and graininess and things like that. So click on the analizing, click this render on, and then on the viewport, which will take maybe a few minutes depending on what machine you've got. Click this on and then we just need to change it from automatic to open image. Diana is next thing you wanna do. The last thing is come down to where it says column management. Click this on and you can see already how clean now that looks more that graininess has gone. And when we turn this around now you can see it looks really, really beautiful in comparison with the last of all though, if we come down and reopen column management where it says that filmic just below there you'll see one that says Log. Click this on. And what you're gonna do is you're going to print on high contrast. Let it load up. And now you can see that we've got old I was really, really nice colors and it looks at Tom, Tom better. Okay, so that's all the options, they're done. Now the last thing that you want to do is you just want to make sure that your HDRI, your lamp here, and your song or all set correctly. So let's first of all come over to our world. And what you wanna do is just make sure that the strength of the world is on something like nought 0.6. So let's turn it down a little bit. Not have it quite so high. Let the sun in here do a lot of that work. Now, let's come to the song. And what we'll do is we'll come over to the right-hand side where the Bowlby's click on the bulb. I'm what you wanna do is I want you to just to set your strength on something like 2.540. And the reason I'm saying that is because I've actually been messing around with mine and that I've found is a very good number to put it on. Obviously, it's very, very fine layers finally tuned and things like that, but just put it on there for now. And then as you come out to render your own scene, you might want to turn this down or turn it off. Now the next one you want to come to is your other lights. So click on there and just make sure that is on 5,000 watts, just for now. Now that's all done. We can actually make a star on our actual Ocean. So once we've done our Ocean, the rest of the course is pretty much straightforward, using most of the skills that we've already used in the previous part of the course. Now let's bring in our oceans. What we're gonna do is press Shift S cursor to world origin. And then we're going to press Shift a and we're going to just bring in a simple plane. Now let's bring out all Planes, so I'll make it much, much bigger like so. And then let's pull our plane back just so it's pretty much coming in from of these parts here. You can see as well that's not quite covering this. So let's pull it to the side a little bit more. And let's make a little bit bigger. And then let's pull it back a little bit like so. So you want it just realistically in front of the Alcove like this. And you're also looking how high your peers you want you Boat actually sign inside it. Next thing we're going to do is I'm going to actually subdivided. So I five press set-top at the moment, you'll see that my plane basically doesn't have any subdivisions at the moment, and it's just one polygon. So let's right-click and we're going to sub-divide and then come down and you've got a little menu down here, just open that backup and put this on ten, and then you'll see a lot subdivisions come in. Now if I press tab and tab again, and then let's right-click sub-divide again, come down, put this on ten, and then you're going to end up with a fair few subdivisions. Now, however many subdivisions you give it, the more resolution they actual Oceans going to have. So just bear that in mind. You don't want this, however, to be on 50,000 or something like that because it's going to be really, really intensive on your actual render is going to take a lot longer to run around. Alright, so now we've done that, let's press tab. What we'll do now is we'll come over to our spanner, will come to add, modify it down on the right-hand side you'll see one that's called Ocean. When I click this on You can see that icon even zoom out far enough to see the Ocean. And that is because it's actually generated to make an ocean in the whole of the Blender scene. And we don't really want that. So let's now come in and we'll put this on this place, press the dot bone on the number pad to come back in. Now you'll see that it's gone and fit our actual scene or fit the plane that we're actually had before. Now the resolution, however, you turn this again, is going to basically use all of those polygons that we've made and actually times them and make it a much, much higher resolution. If I put this on something like 23, I think that's about right. Next thing I wanna do is look at the Sides. Now the lower attend down this size, the most Omi, the actual Ocean gets because basically it's basing it on the size of this plane that we've got. So it's kinda bringing this Ocean in and then it's making it smaller. And that's why you get a notion like nine, it looks really, really stormy. I recommend you do is bring down the time just to zero, like so. And that will bring that down a lot. And then what you wanna do is bring the size, actually hope to make it less stormer. We don't anything like that. We want it pretty much nice and smooth, but we do want a little bit of the Ocean in that last of all. Now let's bring this down a little bit and see how that's going to put in place. Now we don't want to actually overlapping here. So you can see here it's overlapping a little bit on this side. Now what we want to fix so first is just making sure that the boats and the right place. So you can see here the waves are coming in at the bottom and the going up around here. Now that's fine because what we can do is we can come in once we've applied this, bring these down and then we're going to cut it away. So let's do that now. Think I'm happy with that. I just need to bring some of this down and make it a little bit flat. So what I'm gonna do is I'm gonna press all X and just spin it round just a little bit, bring it down just a timelike. So still making sure that Maxwell Boat is actually in the Walter. And then we're gonna do is I'm going to come over to the right-hand side, press Control a. And now you'll see when I press Tab and it was something like this, Let's move it off as well. So press tops Coins, object mode, right-click, Shade, Smooth. Now let's press Tab again, come in with your Edge Select, grab this edge proportional editing on. And let's press the G Bowen and just bring them down, like so. I'm just going to bring them down just so they're not quite so much going over the edge of our Alcove and don't really want that. So something like that is absolutely fine. Not subtle look at that. And yeah, I think I'm happy with that. I just think this is a little bit too big for my liking, so I'm just going to pull it down a little bit, like so, making sure it's still nice and smooth. Finally, now let's cut away this bit of Ocean. We don't really need it. So let's press seven on the number pad, press the Tab button, press a Among gonna do is again, I'm going to come in now with my bisect tool. So come down bisect and let's just call it your way down the side first. So down here, like so there's the line. And now we want to have this line pretty straight. So this is the angle is pointing up and whatever one is that slight, a really small number, click on that set to zero and that's going to really straighten that all exactly as you want it. Then what you need to do is you're going to clear the notes, the outer, clear the outset. You shouldn't know with something like this. Now let's clean this up a little bit more. So grab it all again. Mesh, bisect, calm down. We're going to cut it away this way this time. And then again, grubby old Mesh bisect and let's clean it this way and you can see it's called the wrong way this time, so just calm down and clear it the other side, a name should end up with something like this press Tab. And that is a great start to our actual Ocean. Okay, everyone, I hope you enjoyed that. And then the next one will stop creating the Ocean Material. Alright, thanks a lot. See on the next one, Bye bye. 49. Creating the Ocean Material: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left off. Now what we wanna do is we actually want to create our actual Ocean Material. Well, first of all, you can see your golf big gap in him. We don't really want map. So what we'll do is we'll come in, press the top bone, come to edge select. And I'm going to select this edge going down here. Now when you select it with alt Shift and click, it should just select this edge going down. And then we're going to do is going to press E and just pull it down near enough to the bottom of the Floor. We can work on how high you pearl or things like that. As we go along, what you can do those processes that then take them. I hadn't seen if you've got it on so as zed and you can actually straighten it all if you so wish. Now what you're looking for mainly on here is that just to make sure that you've not got any ridges or anything like that. Going down here, you can see it's relatively smooth, going all the way along here. If you haven't got ridges, go back to before where you pulled it down and just bring these down a little bit and try and smooth it off just a little bit, just to make it nice and smooth before you bring it down. Now let's right-click, just make sure it's shaded smooth. And now we can actually create our actual Ocean Material. Let's come over to the right-hand side. Make sure you're a Material. Click New, and we're going to double-click and call this Ocean. Like so. Now we're gonna do is we're gonna go into our shading panel. So let's go into our shading panel. And you'll notice that the moment mine is actually set on Cycles render, just make sure yours is set. Now the first thing I recommend you do is just sailed the camera just a little bit better, just so you can see a little bit more. So mean is, I want my camera right in the center here so you can Second zoom out, we'll zoom in, just zoom out so you can re frame, is there enough in this area and then press the button comb-over to View, come down to camera view. And what I want you to do now is just zoom out a little bit and just try and get more in-frame. In other words, what I mean is try and turn it round and put it just so it's more in frame because if I present, what I want is I want some rocks and things like that appearing on both sides. Just so it kinda brings it all in together and makes it a really, really nice image. Now the moment you can see my songs just switch around a bit. I do want my son coming from there. I want to just pull it down to the left. And of course you can come in and actually alter this once you've got your Ocean Material actually created. Now let's press N. And what we'll do is we'll turn off the camera to view precedent again. That just puts that out the way. Now you can see we've got our Ocean. If I zoom out, you can see this is the star of our Ocean Material. Now the thing is creating a social Material. It's a very complex material to Create. So I'm going to ask you to do is just import exactly the same numerical numbers that I'm pulling in. And then when we've finished, you can actually play around those to your heart's content. Just try and get it right though. And then it will make it much easier in the long run. And for you to actually understand the other thing is down on the bottom right-hand side, I'm going to Pose same as they always do. A lot of information about any nodes that we use that you haven't seen before. With all that said, let's get started. So the first thing we're gonna do is I'm going to grab my principled, I'm just going to pull it over here because we've got a lot more nodes to actually put in here. Then what we're gonna do is we're actually going to change this base color. I want to zoom in a little bit and I'm gonna click on my base color, come to the hex, click on here, and then just import this actual code in Pole, press Enter, and you should end up with a nice blue color like this. Next thing you're gonna do is you're going to change your specular to nought, 0.809. And then you're going to come down and put your roughness down to zero. And then finally you're going to come down a little bit further and you'll see that you've got one here that says transmission. And of course we want to actually see through this actual water. So I'm gonna put my transmission up to one. And now you should be able to see through it. You will notice that the sun is kinda creeping all really high up on the Alcove. And that's something that will have to come in and actually sort out. You'll also notice that we've got some glow on actually from all Sand and it's to do with the father would turn the roughness down. Well, when we've actually brought in some rocks and things like that, we can mess around with that and just get rid of these two glowy parts in there. So now we need in this actually we need light coming through here and we needed based on the geometry of the top of here. So higher waves, Low weighs less and less or more lives. The way we're gonna do that is with, first of all going to bring in a geometry node, like so. Then we're going to bring in a normal, creating actual normal setup to base it on basically how high or low this actual geometry. So let's come back in. We'll press Shift. A search will point normal, bring in a normal. And then what we're gonna do is we're going to plug the normal from here into the bottom of here. Now to define realistically whereabouts, how high or low the light ones to be coming in, we actually need to use a color ramp. So let's come to search. Colour Rum, and let's bring that in and then we'll plug the dots into the fact of the color ramp. Now, I'm going to move these up and down. I'm going to give you the exact position. If you pull that in, then you should turn out exactly the same as mine as long as you follow closely for the rest of it as well. So for this left one, if you click on it, it should be the dot one there. And you're going to click on the position. You're going to print nought, 0.2, 936. When I press Enter, you'll see it's like that goes all the way up to the right-hand side. Click on now the white one, it should actually go white. And now you're going to input in position no, 0.968. And it should go a lot closer to the actual black one. Now finally, what we need to do is we need to grab the normal, the bomb, hold the left mouse button and just drag it up so we're going to flip it over to the top. Well, that's gonna do is it's going to mean instead of the light sitting on top of these waves is going to allow them to go through and hit the bottom of here. So now let's move over to the right-hand side a little bit more. Now, let's create a mix shader. So what we're gonna do is we're going to press Shift a search makes and you'll see one that's called mixed Shader bearing that in. And what we're going to plug in is our principles. So we're going to plug in our principal to the top of here, and then we're going to bring in a Lightpath, shift a over the left-hand side here, search Light, and you'll see one that's called Lightpath. Bring that in. What we're going to use on the Lightpath is the actual shadow, right? So let's now drag the shutter, right? Um, we're gonna do is drag it over here and we're going to plug it in the factor value of the mix shader. Now to let less light pass through, we actually need a transparent node. So I'm just going to move this just up a little bit. I'm actually going to unplug this from the surface and plug this one in instead. And you shouldn't innovate something like that. So let's bring in a transparent node over here, shift a transparent and you're going to have transplant BSD, bring that in. I'm going to plug that into the bottom of the mix shader and it should brighten up a lot more. Now let's bring in a mixed Shader RGB. So I'm just going to move these a little bit. Moreover, I want to press Shift a, I'm going to come to search mix. I'm going to add in a mixed RGB. I'm going to plug that in that you should end up with something like that. And then what I'm going to do is I'm going to grab the color ramp and put that in the bottom of here. Now if I zoom in a little, instead of mixing these, if I actually put this on multiply instead. And then what I'll do is change the fact. Now, let's change this all the way up to one, and we should end up with something like that. And you can see now there's a lot of lighting coming in here and making a lot of shadows based on the actual waves. Now you will see that these shadows and things like that all based on moving these around. So this is what's causing all those shadow effects. This is what's basically making all those details. So if I bring these closer together, for instance, you'll see we have a lot more shadows on the bottom of that. Just going to put that back to what it was on. Now let's go to our actual transplant, the SDF, and we're going to put this click on the color, come to HSV. And what you wanna do is turn this value up to three. It's going to make it much, much brighter. And then put this on a nice blue color, something like that. Then it's going to make it the kind of a notion, call it, you might want yours more blue than that so you can turn it up, for instance, make it a lot more blue. I think I'm going to preach something around there. I'm not actually going to tell you what color to actually put that on. I want to let you actually decide what color you actually won't. Now the moment we actually got a lot of shadow along game, we don't really want that. So what we need to do is we need to make another mix shader. So shipped a search makes bring them in, Shader, drop it in, and to get rid of those, what we need to do is bring in another transparent. So I'm going to click here Ship date, search, transpire in the SDF, bring it down, and let's drop it in the bottom of there, like so. Now we want to do is once to bring our shadow ray, bring it over and drop it in the FAQ. And then I'm just going to move this out a little bit because what I want to do now is a wonderful, a mix RGB into here. So I'm just going to pull this down here. I'm going to press Shift a search, makes RGB bring it in and just drop it in like so. Now let's come in and turn this color all the way down like so. And you can see now we're actually going somewhere. And then what you need to do is you can come in and you can just bring this all. And it will make it really glow now. Or you can bring it down the other way for less actual shadows on there. Like so. Now finally, we need to make this Water look as though it's actually in the Ocean. So what we're gonna do is you're gonna come over here. I'm going to press Shift a search type in volume and you want principled volume, bring that in, plug it into your volume and your ID say roll-out Pole. And you'll end up with something like this. Can't really see anything where you can see the light, hand the war and trying to go through. And now the lower you bring down the density. So no point, no false, something like that. Now you'll see you've got light traveling through here and you can see it's hits in the actual flow. Now, again, to bring down these shadows, or you need to do is just bring this down. You'll see you've got no shadows on the ocean floor. So the higher bring this up now, the more actual cost X you're going to have from the actual waves of that. Now you can say it's looking rarely Realistic omega a lot of light coming through. Now the thing is that the moment, as you can see, that this here, you can actually change the density now to make it so we can't see the back of the year, can see, we can see round the back of it. And that's not ideal. We don't really want to see down there. For instance, we want our creature coming out here and it's be a little bit more mercury. So if I put this R naught point, naught eight hour, Let's try that just to make it a little bit murkier. And now you can see it's looking much, much nicer than it did before. Okay, So I think I'm happy with that. For now. We can always keep coming back. I'm playing around with our Ocean. Finally, you will notice these little glowing parts on here. And then I actually ideal we don't really want those sign there. So what we'll do is we'll come to us. One should be able to click on this line here. And what you're gonna do is you're going to turn off multiple importance. Just turn that off and that will actually get rid of those glowing little bowls. Really annoying. It's basically coming from a reflection of the song onto the front of this Ocean here. So now we've done that. It looks really, really nice. And I hope you really enjoyed that, and I'll see you on the next one. Thanks a lot. Rom, Bye bye. 50. Rock Generator Rock Creation: Welcome back everyone to blend the 2.9 design and render stylized waltz scene, and this is where we left it off. So now, before we carry on, Let's do a little bit of tidying up. Let's grab all Area Light and put it into lights. Let's make a new collection for our camera just in case we want more than one cameras. So new collection. And let's name it camera. Let's pull off camera and put it inside there. Let's close that. And now let's look at what these other things also this plane is our ocean, so we'll pull the arm. So let's make a new collection called ocean. Come down and we'll put ocean. And we may put some other things like the rocks and things like that in there. For now, we'll just put this in there. And then of course we've got our sand banks and our ocean floor. So let's call this ocean floor like so. And then let's call this sand banks. Spell that right now I'll do is I'll just close that all, make a new collection and we'll call this sound. And then I'm just going to drop these two in. Then you can call it whatever you want, of course is just for me so I actually understand what they are. Next thing I'm going to do is I'm just going to hide my ocean out of the way. Someone's grabbed it, press H bar and you should be left with this. And then also I want to actually hide the whole I want to also hide the cabin storage box. What I'm doing here is I'm just pulling it down with a left-click and you'll see it hides it very easily in that way. Now we've got our cursor in the center, but we can't actually see if it's in the center because we haven't girl floor on. So let's bring up a lot back. Let's also bring in our x and y. So just click these to one. And now we can actually start creating all rows, which creates our rocks. We need to do is first of all, come up to Edit and this should already be on board just to be sure that it is on. Go to Add-ons, put in extra. And you're looking for mesh objects, extra objects, refresh that, close it down. And now when you press Shift a, you should be able to have you come across mesh, come down, you'll see one that's called ROCC generates it, I think actually on blender to 0.8, if you do a search with Eva Space-bar or F3, you can actually look for your ROCC, generates it, and bring it in. Your notes, Iraq comes in. Let's press dots on the number pad to zoom in and it will look something like that. Now let's do something like eight rock. So we bring this up, you'll see it creates more and more rocks like so. So something like eight should be absolutely fine. And then what we're going to do is going to Jill's turn off the scale to find something like that. And then when it come down and turn up the Y scale to five, and turn up the Z scale to five just to make them a little bit bigger, something like that. Then what we'll do is we'll turn off the defamation to something like nine, roughness to something like three. And of course you can mess around with these to your heart's content. I think actually we'll leave the rest arm. And then what we'll do is we'll come right to the bottom. And what we're going to put them on is a preset and we'll put it on asteroid. Now when you bring that in and put that on, you'll see rocks go like that. You've got many presets here. So for instance, on some other rocks that we're going to create will probably use the river rocks and you can see that changes them like so. Let's print now on an asteroid. And there we go. We're going to do, it's going to actually spread these out. So let's grab the top one and you'll notice now the rock generated disappears and let's grab the next one as we work our way along, something like this. And what we've just got to be careful of with these rocks is that at the moment they've got way, way, way, too many polygons. So if we come over to our spanning now and you'll see they've got all of these on. And what you can do now is you can actually turn these off. Well, let's first of all join them all up. So I'm going to Shift, click each one of them, press Control J, and let's join them up like so. And you'll notice that go like that. And then what you can do is you can actually minus off the subsurface and actually bring them down. I've just missed one there, so I need to bring that in as well. Let me join these. First of all, I'll turn off the subservice on the top of it and then I'll end up with something like this. Now let's join it altogether, like so. And now you need to do is just come over. If I press the Tableau, you can see that nothing really is showing at the moment. And that's because we've still got all of these on. Now I think what I'm going to do is I could turn this down one you'll see they go down a little bit and then press Control a over the top of them, Control a and just keep pressing Control eight from the top. And then it'll just keep bringing them all up. And then we can finally put them all on. And now I can press tab and actually see how many we've got. Now if I come in and actually add a modifier again, come down subdivision surface, turn it too simple. What I'm going to do is apply this, so Control a. And finally now one more subdivision surface just to round them off a little bit like that. Now you'll see they actually look like really realistic kind of rocks, but still with that stylized look, That's exactly what we're going for. Now. We can now come over, press Control J and bring in a subdivision surface. And you'll see that they're not that actually high on the subdivision surface. So now let's press tab what we're going to do. It's going to move these over to here. Now what we're gonna do is we're going to do the same thing. But these rocks are actually going to be four, are in the sun basically on the ocean floor, suddenly ocean floor. So that needs to be slightly different and it needs to be a different color Let's now again comin, press Shift a mesh, come over to rock generator and again it will come up a lot. All the same details on here. All we need to do now is come on and we'll put in river rock and you'll see now that the go much, much different to our other ones. And while we've got them, I don't think I really need to do a lot else to these. I'm think I'm happy with all of these on here. All I need to do now while it brought them always just press S and just bring them out a little bit just to make them a little bit bigger. And again, what we can do now is we're going to spread them out and we need to check to see how many subdivisions are on these. I think it's gonna be pretty high and we need these actually smoothed off. You'll notice that rocks in the actual sea or river, the very, very smooth, they're not very hard light, these are the rocks and we do want some difference in them. In-between these rocks are going to have Carl's and things like that. And these ones are literally going to be sat on the actual seat flow. So now let's join all of these up together, like so, press Control J. And then what we can do now is add the subdivisions. Now I'm going to do with these ones is I'm just going to take off a subdivision and CY actually it looks like without the arm, I'm going to smooth them off, so Shade Smooth, she'll be smoothed up anyway. And then what I'm going to do is when a control light and just bring in all of the rest of these actual modifiers and then press tab and just have a little they look like, I think I need one more subdivision surface just to smooth them up a little bit more. And I'm going to hover over it and press Control. A press Tab on, you'll see again, they're not that high on the subdivisions. Now we need to do is we need to come in and actually give these some materials. So let's make a start on that. So we'll come to these first. We'll come over to the right-hand side. I'm going to press plus nu, I'm going to call this rock rocks. And then I'm going to call this plus nu and we'll call this rocks. See. So there's two different ones there, and let's start on these ones for it. So let's go now to our shading panel and let's zoom out a little bit, grab our principled and pull that over there. So what we'll do now is we'll grab this principle pressure date and we'll bring in another principled them will press Shift a and we'll bring it in a mix shader. So mix shader, drop that in, bring your principled in the bottom of there. And now let's create our next part. We're going to use a noise texture for this one. So shipped a search noise and you'll see one that says noise texture. Let's bring that in. And then what we'll also do is we'll bring in a color ramps or shift a search Color Ramp. Let's drop that in there. And now what we'll do is we'll actually put this back onto our cycles. So I'm going to put this on cycles and you'll see it looks like that press adult bone, that Zoom is in. Well, it won't because we've got too many grabbed. But if I zoom in a little bit now I can see what I'm looking at. Now let's start plugging these all in the color. I'm going to plug into the FAQ. And then when I plug the fact of the noise into our color ramp, and now I'm going to do is I'm going to come down and actually change these columns. So we basically want a nice rock, great, and you'll see it as a changed. And now we start to get a lot more gray around these parts. And if I change this color now too, and also a great color, now you'll see something happening. And now let's turn off the roughness and make them fall less shiny and we don't really want them would shine on these things. So maybe, possibly a little bit more, something like that. And you can already see now if I double tap the a, that they're really starting to actually look like rocks. Now let's come in and actually change the scale. So you can see as I change this scale, you'll see that it moves it further to the outside. And then what we can also do is then you can actually mess around with these points on here. And that will bring them in all, bring them out like so. And all I wanna do is I just want to make some quick rocks. I don't need them to be really, really realistic looking or anything like that. I just want that shading on it. So I think one do I want to come in, make this a little perhaps a little bit darker, something like that. Yeah, and I think that's nice. You can see we've got some nice variations now on these colors. Alright, so now we've got our rocks. What we need to do is we need to actually create our sand rocks. That's what we'll call them. So what we'll do is we'll come to these rocks here, come over to our material. And what we're gonna do is gonna press the plus button. I'm going to click the down arrow. I'm going to go down to rocks so we can see rocks here. And then one way to do is I'm going to copy this material, come to my top and I'm going to paste material. And then I'm going to minus this off. So minus, I'm gonna go to my rocks now. I'm going to zoom in a little bit on these ones. And what I want to do now is I want to make these a nice brownish type color. Then let's do the same. This one here, like so. And you can see nothing is really changing at the moment. Let's go open up another look and make sure we can change. And you can see that that's the reason why I've put my subsurface color on instead. So let's now put this on brown. There we go. Now they're starting to change. Now we do need them a little bit lighter than that. I think I think they're a little bit too dark, so let's make it a little bit lighter by pulling this up a little bit, something like that. Now you can see at the moment they're not really changing color. And the reason is because I've actually put it on subsurface color. So let's come in and put this on a brownie color. And now you can see there's a real big difference. So let's bring them out like that. Now, I think whether they want to be that dark or not is up to you. But I think for now, I can actually come in and play around with these to my heart's content once I've actually got them in the scene and things like that. So what I'm gonna do on the next lesson is I'm going to start building these rocks around here and trying to get some kind of rock formations and then some rocks in the bottom of the sun and things like that. Okay, everyone, I hope you enjoyed that one and I'll see you on the next one. Thanks a lot. Bye. 51. Environment Creation Start: Welcome back everyone to blend the 2.9 designed and render a stylized water scene. And this is where we left off. Now, let's come out of our shading Option. Let's just put it back on materials so it makes it quicker. But when we go back into it, and let's come over now back to modelling. And now we can actually start manipulating these realms. Now what I wanted to do as well as I want to bring in my Sand a little bit on the bottom just so it starts to calm down nice and a nice slope and things like that. Let's now grab all some banks. And what I'll do is you'll see if you've not got them grabbed, just come to the bottom, press the elbows and I'm going to press Control plus and that will take me up one. And then I'm just going to press the S button jaws to scale them in very slightly. I'm going to press Control minus. And then we press the S spool and scale them in a little bit more. And now you've got a nice gradual slope. Now let's come to our rock. So we'll come to this rock here first. I'll make sure that I'm on edge select just to make sure that I grabbed them all. And among Wednesdays, I'm going to press S and I'm going to start putting these in place actually against this rock here. Now it's important that you just spend a little bit of time rarely rotating them round like so, and getting them into a nice place. Now, we've got eight rocks here, so that's god. It means that we can use a fair amount of rocks to make a lot of variation here. But what I'm going to do is first, like I did in the original, is I'm just going to work on actually getting them in some salt plates. Now I'm going to actually leave gaps in-between them. And the reason for that is because we have actually coral that we're going to Create. And we can bring that in as well and really bring this out and make it look nice, like a nice marine systems. So I'm going to press Alt Z with this one, pull it down and just getting somewhere around happy, like so. And I'm going to work on this side first, just build an assault. So I'm going to grab this one now. Bringing in some kind of place, make it bigger, move it along, scrub it again, pull it down, something like that. Let's pull it in place and let's rotate it on the Y and then rotate it on the X just to pull it out a little bit. Like so. Now let's grab our next one. Long Wednesdays. I'm going to work on this side first, and then I'll work my way round and then back down to this side. So let's grab this one now. And we're going to need rocks on the top as well. When's pull this into place? Like so. And then let's pull this up. Then let's rotate this around. So all wireless rotate it round. Grab this one. Press G as well to actually put it in place if you like. Let's make it bigger. Like so. And this is a little bit time-consuming to be honest, but it's worth just trying to get it right. So I want to press all racks and just rotate this one rounds to gains place like so or press Tab novel of what I'm looking at. And now let's come to this one here and we'll have this warm on the top here. Like so. Jules Pokemon there may be going up to something like that just to give it a little bit of variation. And now finally, we've got this one here. So let's come in now. Bring this one over. Like so this kind of sneak him around there, something something like that and let's rotate it. So I'll Y like that. Alright, I think I'm very happy with that. Now. I would keep checking them out. So I would do is I would make sure first of all, that you put your Ocean on. And then what you're going to do is you're going to press the Shader option. And then let's have a lot without looks like press zero on your number pad, zoom in to the actual camera, and now you can see exactly where it's going to look line. You can get really good idea, but double-tap be actually on double-tap again. And there we go. Now that is what your render is going to look like. So if I can see how these rocks are looking and you can imagine if we've got our Coral in and things like that, they're going to look really nice. Now what we need to do is you need to work our way along now, remember, and we're going to have palm trees and things like that in here and then work our way all the way along here. So it's quite a slow job, but it's always worth checking what it's looking like as you work along. Now you can see the further that this goes back. So this rock here, for instance, is really, really hard to see. So you don't actually need that many rocks under the see here. They need to be along here mainly. And then down this side again to bring this out. Okay, so now we've done that. Let's go back to our Materials panel. So let's pull that arm. Let's once again come to our Ocean. We're just going to hide the other way. And now let's press the middle, but, and now we can start working our way around. Okay, so now we've done that, Let's grab some more rocks. So we're going to grab this rock. I'm going to press shift D. I'm going to bring it over and I'm just going to rotate it around and you'll see by doing things like that, you can't really tell that I've used this before. And then what I'm going to do is I'm going to pull it back like so. And then maybe possibly pull it down a little bit. Let's grab another rock. So let's grab this one and then Ship, ship date. And let's pull this one over here, rotate it round so all acts like so. And let's pull it up a little bit. And then let's grab some more. All Ship D, drag it over. Let's put this one in place along here. Let's grab it again, pull it down like so. And then let's rotate this round, round again as well. And let's put it something like that. And remember we've got some leaves and things like that that we want here. Now I'm going to grab this one, Shift D. Let's pull this one back a little bit. Like so I want a bit of sun there so I can see some of the vegetation and things. So something like that and then give it a little bit of height. Alright, like that, That's looking really nice. And maybe now one in here somewhere. So let's grab this one. So L shift D. Let's pull this down and let's pull this into place. Like so I wouldn't go too small with these rocks either. Because the small er, the more you're going have to put on basically. Alright, so now let's work on coming over this side now. So I'm going to grab, let's grab this one here. So Shift D and will bring you over the other side. Poly. Oh, Mike. So then I'll grab this one. Ship Date. Bring it over. Let's make this one a little bit bigger. Spin it round so I'll Y like so. And then let's put this one in place, something like that. Let's grab this one now. Shift D. This one in place. I'm going to go down to the floor of the ocean. So let's pull it in place. Something like that actually fit in in that. Now looks really nice and obviously with our calls and things, now let's grab another one. So Shift D. Let's make this one bigger Light. So what we're going to do as well as I'm going to actually put these in place around here and make a hole in here as well. For all creature that we're going to shift D, ring it back into some sort of place. Let's make it much bigger, like so. Let's rotate it around. So all zed, something like not bring it out. And then we can have our creature kind of coming out of here. And then we'll grab this one because we know this one's a little bit different. This rock. Let's make it bigger. Let's put it right back. Like so. Let's rotate it. So our X, Let's try that. Yeah, that looks nice. And now I just need a thing, one more on that and then just start working my way over Shift D S, bring it up and drop it in place, like so. Now and that's pretty nice. And now let's work our way along here. So I'm going to grab this rock here. So I can also press seven and pressure date and then you will be able to move it right over where you want it. So if something like that and press S, bring it up. Let's pull this one into place, something like that. Now let's just work our way along here. We might need a few more rocks in there, but I think at the moment they're looking absolutely fine. So Shift D, Let's bring this one in, bring it up S, Let's make it a little bit bigger. This one's a little bit rounded, so I'm just going to rotate it round a little bit just to make it less rounded and more pointy, I guess on the top. Let's pull that in. Like so. I think I'm actually helped me. I think I just need 1 mol rock here. And then we'll be good to start on all Sand rock. So let's grab this one. So Shift D, bring it over. It's going to press seven, coming round. Let's put it into place. Something like that. Alright, And again, like I always do, I'm going to pull my Ocean and then I'm gonna pull on my Cycles, render it. And let's have a lot what we're looking at. Okay. So let's also bring in the whole the Cabin and let's bring in the boat parts. Then we can really get an idea of what this is going to look like. Let's put zero on a number pad. Let's double-tap the eight twice, like so. And there we go. I think that we possibly might need some more ropes on hilum and just double-tap there again. There we go. Down here. At the moment, I'm not so sure. We might need a bit more noise as well on these rocks just to bring them out a little bit more. But I think for now, I'm actually really, really happy with that. We also might need to bring golf ball up as well. It might be a little bit too far out there so it can actually see a fishing line and things like that. So there's lots to work on. But you'll see as we start to develop this more and more, it does become much, much easier once we've got the coals in, for instance, and we've got the fish. You'll see it really starts to come together. Okay, everyone, so I hope you enjoyed that. And on the next lesson then what we'll start to do with bringing the sandstones and put these about. And then we can actually work on our Palm Trees. Okay, everyone, so I'll see you on the next one. Thanks a lot. Bye-bye. 52. Creating our Palm Leaves: Welcome back everyone to Blender 2.9 design and render a stylized water scene. So now let's turn it back on Materials. And then what we'll do is, I'll come in, I'll just press the middle mouse just to go away from my camera. I'll hide my Ocean again and I'm Walgreens stores and when to stop working on these rocks. So the first thing when to do is just bring them out. And I'm, what I'm going to do is I'm going to use pretty much all of these. So I'm going to grab this one, L, I'm going to press S, and I'm going to bring it down and put it into place. Like so let's pull it in, something like that. And then I'll grab the next one. So L, G, and let's pull it a little bit bigger and put it into the sand. Grab this one will have that next to another one next to here to make it a little bit variance on the rocks. So something narrow, things like so. Then we'll do the same with these. And we also want obviously a Gold, some Gold actually coming out. So we're going to need one around about here, I think so let's put this one here. I'm just going to press G. Move along. Let's make it a little bit bigger. Let's put it into the floor. And then all Ziad, let's rotate it around a little bit like so. Now let's grab this one and we'll put this OVN and the Bank of things. So S so bring it down. One went to do is I'm going to try and build up this, just this back a little bit. Blue belt, see a little bit of something, not much, but something. Alright, so we've got three more left now to use. So L, Let's put this one maybe over here somewhere. So Ship Date, bring it down, press the S button. Let's just bring it back now. Let's grab. So why whenever we got left, so I've got three more left. So let's grab this one now. So S Ring, get to the back. Pull it down. Oh, why us rotate this one round. This one. I think I'll put this warm over here, so my mic, so and then let's put it just over here. Like so. Look about now called Joe's one more left. So this one here, and it just gives a lot more variation on, you'll see in a minute when we bring actually Ocean in, just really brings it out, especially with the Fish and the Coral. Bring it over again. Like so. Let's bring it out a little bit. Alright, so let's double-tap the a. Let's now pull on our Ocean one small. Let's click on our Shader now. And then let's press zero on the number pad. And there we go. You should end up with something like that, as I say now, it's added some variation, as you can see with these rocks. And it's really starting to bring it out. You can't really see these ones at the back. You can just see them. Now when we render this out, you can actually get much better idea where it's going to look like. Well, we follow render. I want to bring in some palms and want to bring in some calls because then it's gonna give us a much better idea of what we're looking at. We can see we've got a lot of shadows on here, and that's something we can also look at once we've got our Palm Trees in place. So now we've got this bar. Let's bring some palm trees, them, and really try and lay out the scene. So what we'll do it again is will come up and we'll put it on Material. I'll hide my Ocean out the way. Like so. I'll make sure that my rocks are all in the right place so you can see that they're all in Sand and I don't think I want them in there. So let's have a look. I've got rocks one and rocks too. So what I want to do is I really want to put those in their own collection. So I'm going to come up, I'm going to right-click new collection, collection 11 rocks. Then when to drag. These ones have a low alcohol these rocks actually and then I'll call the other ones Sand rocks are rocks, drop those in. And then we'll call the Sun drops. New collection. Coming down, sand ramps. Like so. Let's grab of cold Sand rocks. There we go and drop those in. And now let's close all day Ocean. Let's close up the sum. Let's close all the rocks and close up the sun rocks and we should end up with something like that. And that basically now is everything in there so far. So now what we need to do is you need to start with our actual palm trees. So before we do that, again, what we can do is we can hide everything out of the way. I find that when we bring it out palm trees and it's probably easier to hide basically everything Except maybe the likes. Obviously we'll need them in to see what the materials and things like that look like. What we'll do is first of all, with your cursor in the middle if it's not Ship desk because to weld origin, Ship date and you're going to bring in a actual plane. Let's zoom in a little bit and now I want to show you a little trick that you can use. So first of all, let's press S and X and just bring it in a little bit. Three on the number pad. And let's rotate it round. So all acts like so it's going to rotate it round. And then one way to do is I'm just going to put it more or less in the middle of their life. Now when to visit when depressed, top, make sure you're on edge select, grab this edge three. And now you're going to press these control and right-click. And what you'll notice now is it starts at an actual parts to this actual Planes. So now you can really, really come down and actually start making your palm tree. Alright, so let's go now to the top. What we're gonna do is press Control or left-click, right-click, just so we've got it right in the middle. And then we're going to do is I'm going to make sure I'm on edge select and then come in and put it on proportional editing. I want to grab this edge first. I'm going to press S and X. Rarely, rarely bring that in. To get a real nice edge on here. Basically, we're trying to get the look of Palm Leaves, so like this. And then bring in the edge on the back as well. So SMS, bringing that edge like so you can see they come out, they get fat and then they get thinner and thinner and thinner. And that's exactly going for, and now it wants to do is I want to actually round these off a little bit. So what I'll do is because of the moment there is a problem in that we haven't really got enough edge loops to actually bring this into round it off. So what we're gonna do is I'm just going to grab this point on virtue. Select, press the G without proportional editing on and just round it off in that way for now, one to actually straighten it up, someone just going to come over the top and just straighten it up a little bit. And then I'm just going to bring these in on the S and X is bring them in a little bit more. Now you can see I've actually rounded that up. That is the kind of shape you're actually going four. Alright, so now you've done that way you wanna do is you want to cut some pieces out of here. So what we'll do is we'll press tab, go over the top and I'm going to come in with my actual knife. Now to bring a knife in, all you need to do is press the cable on and you'll see you end up with a knife here. And then what you can do is you compress the left-click and that will actually stop the knife. And then you'll notice at the moment, as I move up and down here, it's being attractive. It's like a magnet trying to attract a here. Now, if you don't want that to happen, just hold the Shift button. And what you'll find is now that it's not actually attracted to it. So this is width, the Ship bone, this is without the shift Bonner's, you can see it's trying to attract to each one of those. Now what we want to do on their essays, you want to put some quotes in. So I'm going to left-click and that will notice then we can Pole and then come back, let it attract to the end and left-click. And then all you need to do is press Enter and you'll end up with something like this. Now, let's make some more cuts along here. Let's make them a little bit different and a little bit varied. Like so let's put one in here as well. Like so. Now let's work our way along. These codes are basically what Palm Trees oven them to give them that kind of nice shapes. So what you wanna do is you don't want them to be kind of opposite each other. You want them to be a little bit different. You want some to be longer, for instance, like this one. And then you want some to be shorter. And that's just giving it a little bit of difference. You can see that's a little bit faster there. And I'm just working my way long now. So coming down like so. So level a little one in their thing and then I'll think the next one will be much, much longer. So something like this. The next one. Finally, this one thing might be a little bit long so I don't know, will lead to see where it looks like when I've put them away. So I'm just going to now just keep working along like so. And I think I love, I think I'll leave these ones on the end Light bell. Now, you'll notice that I've still got them all. And now all the needs theories press, Delete, I'm phases. And now it can lead them away. And you can see already that's really looking like an actual palm leaf. Okay, so what we'll do on the next lesson, it will get these finished off, will actually create them so they're going all the way around the circle. And then what we'll do is we'll start on our actual trunk. Okay, everyone, I hope you enjoyed that. See you on the next one. Thanks a lot. Bye bye. 53. New Ways to Work with Curve Bend Modifiers: Welcome back everyone to blend the 2.9 design and render a stylized water scene. Now wants to do is I actually wanted to bring these round. Now. First of all though, I need to bring these on them the end. So I'll do is I'll press the top. Make sure I've grabbed both of these vertices, press S and X, and just bring those in just a tiny bit like so. So now let's first of all though, a reset orientation. Let's, let's press Control Lake all-trans form. Reset it now to the center of the world. Now we're going to do is you're going to click on our actual palm. And what we wanna do is want to make our Palm go all the way around in a circle. So the easiest way to do that, it's First of all, with our cursor in the center is press Shift a, and we're going to come down to where it says empty. And we're going to bring in plain axis like so. Now this plane access, when you're rendering out it's a plane and you can't actually see it. That's why it's called an actual empty bullets. You can use it to actually do some really great things. So I'm going to show you how to use that now. Let's now click on our Palm. I'm going to right-click Shade Smooth. And then we're going to do is I'm going to come over to add modify it. I'm going to bring in a new Modifier and it's gonna be called an array, bringing your ray Modifier and something like this will happen. Make sure that you rarely do reset the transformations before you bring this in. And then what you wanna do now is you just want to align this up. So if I come in and actually pull this to zero, so if I click on it, put it to zero, is going to put it in the same spot. Now if I move this, not this one, I'm just going to move this out and you'll see now that can move it along. If I press three, you can see that the tip of here, I want it just passed here. So I'm just going to pull it a little bit back. Like so. Now you can see we've got to arrayed along. Now the good thing is about the rays that I can actually come in and grab something like this, press the G bone, you'll notice they actually changes on the other one. And if I go into the space there, it'll try and move it across to keep that distance. When I bring in another one, you'll see that it actually does another one with the same distance. And this is why we actually use array. Now, let's put it on a constant offset and let's press tab. And let's also come down to Objects offset. Open this up. And now I want to do is we're actually wants to rotate this round and we're going to use this actual empty to actually do that. So I'm gonna do is I'm going to come over to where it says object. Now you've got a little pipette, click that on combat COVID and hover over it. And then you should have a little like kind of transparent Paul that says the object that you're hovering over it. In this case it's Objects empty. Click that on, and then you'll notice nothing happens. And the reason is because we need to turn off relative offset. Turn that off and now View, grab your empty, so grab your empty, press seven on the number pad and then just rotate it round. So if I press Alt Z and rotates it around, you'll notice now that we've got another palm. Now if I come back to my palms and I turn this off, you'll see now that they rotate round in that way and now you just come to your empty again. I'm just going to grab my empty and press seven on the numpad and I'm just going to rotate it back. So I'll just rotate it back till they're in a nice orderly fashion, like so. Now what you wanna do is you want to bring now all of these Modifiers together. And then we're going to just basically duplicate this. So to do that, we'll just grab our palms, hover over it or modify press Control a. Come in now and you can actually delete this empty out the way. So delete, grab all poems again, press Shift D, bringing them up, rotate them around. So all Z. And then press the S bomb to make them smaller. Now you'll see that we've got a really, really nice actual palm tree already. Now, if we actually come in now and join them both together. So I'm just going to make sure first I want I think I want it a little bit bigger. And I'm just going to come in, grab them both. Press Control J to join them both together. Press Control a or transforms, right-click Set Origin to geometry. And now I'm going to do is I'm actually going to come in out of Modifier and it's going to be a Solidify. The reason I didn't Solidify is I want to make sure that these have got something to them. I don't want them to be 2D plane, so now I can come in and bring it down the other way. So then I can come in and pulled on auto smooth and you should end up with something like this. And you can see now that they actually look really, really nice for actual Palm Trees. Alright, so let's come back to our little spanner, make sure even thicknesses on hover over it and press Control a one she actually happy with the thickness. You only need a tiny bit of thickness to actually do this. So hover over it, press Control a, and now you've got the beginning of your actual palm. Now, we obviously need a trunk for these palms, so we're going to create that next. So let's grab these poems and just pull them open minute. And now we'll actually start on our trauma. Alright, so let's again make sure that all cursor is to the center. Then we're going to press Shift a and we're going to bring in a cylinder. And let's put this on something like, let's try 12. I think they'll be absolutely fine at 12. And now let's start making our trunk. So we're going to do its best, shrink it down, bring it down a little bit. I'm going to come to the poem now, so I'm gonna press top, make sure I'm on Face Select, grew up the bomb phase and just shrink this palm facing like so. Then grab the top of it and just bring it down a little bit on it looks a little bit like a plump Pole and that's why it should look like. Now, let's grab this now press Control layer transforms Right-click Set Origin to geometry. And now let's come in and modify it. And again, we're going to bring in the array. We're going to put this on zero. And then one way to do is I'm going to lift this up very slightly to actually get the first part of our actual poem. Now on Wednesdays, I'm going to put the council, and that's basically going to create all trunk phrase. And you can see though, that we do have a problem in that these obviously are all the same size and we really need to shrink them down. To do though, all it needs to do now is hover over it. Press Control a. And then if I press tab, you can see we've got Mesh now, which is great. And now all I need to do is shrink these down. So I'm going to do is I'm going to pull my proportional editing. I'm going to grab this top one and I'm basically just going to press S and that's going to shrink them down, bring it out. Getting smaller as we basically go. Now, let's press top. We'll right-click Shade Smooth. I'm not sure whether I want the other parts actually with hard edges. I don't think I do. Now of course, what we need to do is we actually need to bend this. So what we're going to do is we're going to come over again to add Modifier. And then we're going to bring in a Simple Deform. We're going to put this on Bend. Now you can see we've got the ability to bend our Palm in any way, but we want to take this a little bit further. I'm going to show you another technique, how you can actually bend this even further. You might want the bottom of the advents out a little bit. Now, like with the Bend, the technique we're going to use does mean that if you want more Bend in this, you just need to come in and add in more edge loops are more subdivisions. So just bear that in mind as you work along this. So we're gonna do is first of all going to press Shift a and I'm going to bring in a curve, and it's going to be a Bezier curve. Let's bring it out like spin it round. So all why 90? Let's make your biggest. So S. Now let's press the tuple M, and now we're going to grab both of these middles. So both of these right-click sub-divide, that's gonna give us an extra one in there. And now we've got this ready. Basically what we can do is we can come back to our actual palm tree. And now we're going to add in another Modifier. And this time we're going to add in a curve Modifier. Again, come down to where it says Curve Objects. Come to your pipette, come over and grab your Bezier curve and you'll notice your trunk goes like this. But now if we move it over and then pull it down, you can see that not only can we use the bend, but we can also bend it based on this. So if I come back to my Curve now, grabbed the top, press the G Bowen without proportional editing on that is more grabbed this actually and show you. You can see now you can actually bend. Well, especially the middle bit is really easy to bend now. And the bottom you can see now, you can really, really bend this into some sort of place. So that's a really, really nice technique to actually get your actual palms to look really, really nice. Now, what we can do now is we can grab both of these. We can press shift D, drag them over. And then we've got a couple of poems now. And we can actually make this one a little bit different. So I can, for instance, coming now, grab my actual Curve or zed and rotate it round and that's going to rotate my actual Palm a little bit different. Press the Tab button. I'm just going to move this little bit now so it stuck out a little bit different. You can see now how different they actually look just through a couple of tweaks. So what we're gonna do now on the next lesson is we're going to bring in some materials for the trunk and the actual pumps. So I hope you enjoyed that and I'll see you on the next lesson. Thanks a lot of Guam. Bye-bye. 54. Creating Palm Trees Materials: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left it all. So now we want to do is we need to bring in some materials for the actual Leaves of all palm and the actual chunk of our Palm. So let's come over to our Materials born principles, but I'm going to click new, double-click it and we'll call this Palm Leaves. Let's now go over to the shading panel. And what we'll do is pretty much similar setup to what we did for the rock. So I'm going to grab the principled Ship date. Let's duplicate it. Let's bring in and make Shader. So shipped a mix Shader, drop that in. Let's plug them both in now. Like so, I'm just going to swap these around now actually I'm pulled them in the right order as they all. Now let's come over and bring in a texture. What coordinate, so shift they texture coordinates spring one of those in and then we'll bring in a Mapping. So Ship date, map, mapping. And then we'll do is we'll bring in a Musgrave texture this time. So shipped a, just print mu S and you'll see it most grave texture. I'm using one of those just to give us these little details are normally on Palm Leaves and things like that. Next we're going to bring into color ramps. So shift day, Colour RAM. And let's plug the color ramp into the fact of the mix shader. Let's plug the height into the fact of the color around, and let's plug this vector in. And finally, we're going to base it on generated because we've not UV unwrapped it or anything like that. Now we're going to do is we're going to give this to different colors. So we're going to give a one light. And let's also put it on our Cycles Shader as well. And let's now come in and give this one a lightest color, something like that. You can see at the moment no, a lot happening and we can't really see a lot happening. And that's because we need to mess around with this most, most grave as well. I'm going to just bring this down, Something like that. But you can see that it gets lighter as it goes out. So you can see it's a little bit different to the other noise textures and things like that we've used. So let's put these scale on something like 75. And let's also put the detail on something like 16. Now let's put the dimensions on something like 18. I think I'll bring the luminosity down to 1.5, something like that. And now let's also bring in 1 mol of the pointers. So we'll bring that in. And now let's come in and actually mess around with these colors. So let's come in and bring this down much, much darker, something like that. Now you can see on here what we're actually looking for. So you can see we've got all these little details on here. And if we come in now and make these maybe a little bit darker, something like that. Let's see if we bring them down a little bit. Now you can see we've got those little details, what we're looking for. Okay, so it's up to you how bright you obviously have your palms and things like that. It's also what you can do is if you want to make these actually bigger, what you can do as you can come over to your scale, put this on five or something like that, and you'll see that it makes them smaller. So let's turn this down, Let's put it on no point. So let's come down and put this one a nought 0.2. And that's come down and put this one on nought 0.2. And there you go. Now you can see that you've got much, much bigger chunks. I think that's actually a bit lower. I'm going to try, let's try no 0.5 and see if that's any better on each of these. And I think yeah, I think I'm much happier without it looks I think the one thing I need to do is just change this color a little bit. I think I'm gonna go with a bit lighter and a bit more yellow, something like that. Yeah. And I liked how much, much more. All right, so that's looking kind of Realistic and still stylized. So now let's come over to our actual palm trunk. So what we'll do is click on our Palm trunk, click the postponed new, and we'll call it Palm trunk. Like so. And again, we should already have this Material open now, pretty much the same thing. So I'm just going to pull this over here now and then I'll bring in another one of these. So Shift D, and again, shift they mix shader. I'm not sure on this one yet whether one to actually bring in a, another principled as well. So we could try with three and not just two, but let's have a look where we go with this. I'm just going to plug those both together. Again. We're going to print the texture coordinates. Then I'm going to go to a mapping like so. And then finally we're going to go to or noise texture, which this time we'll use a wave we did with our actual Sun. So let's bring it in. And then finally, let's bring in a color ramp, like so. Now let's plug these all in again, generates it. And you should really understand now what we're actually doing here, and it should be pretty easy to put these together. Let's come in and put those in. Now let's give it a couple of colors, so bring it down. I'm going to calm down. I'm giving it a nice brownish color. And then on here I'm gonna do the same thing, so a nice brownish color and bring this down. And the other thing I'm going to do, I'm just going to go in and have a look. I'm going to now bring in another mix shader. So Ship date Let's bring in now a, another principle. So bringing in other principled, plugged that in. And now we can change this color to something a little bit lighter like. So you can see now that it's actually located quite realistic. Now let's come in and actually mess around now with our scale and things like that. So let's turn it up. So I'm just going to zoom in. I'm going to put it on Materials just for now. And I showed them be able to say exactly what it looks like. So you can see it looks like that a moment. Let's, let's try this on rings instead. And then we'll scale these up as well so we can see it's that way. Let's see if we can actually rotate them around as well. I'm not happy with the actual rotation of them, so I'm going to see if I can actually turn them around a little bit, then mess around with distortion now, so bring that up just to make them less distorted. Let's have a look at the scale of and bring that up a little bit. Yeah, something like that. Now we're actually again that will bring the distortion down little bit. So it's not as distorted. Then let's have a look at the scale. Bring that up just slightly like so. Now let's bring in another one of the pointers with control click. And I'm just trying to bring it out a little bit just to give us some color on there. Let's bring the details scale up a little bit. Like so all down a little bit. I'm just trying to get some variation in there when I look into obvious. Now the other thing as well as I need to bring this roughness all it's way, way too shiny at the moment. Let's bring you up on each of these. Like so, so a little bit of shine, something like that. And now let's start messing around these colors. So this is really, really to wear red. So let's bring it up a little bit, something like that. Let's bring it down. And then let's change this. And this will be the overall feel of the actual like so once a bit, a bit, read, something like that, I'm actually happy with I'm happy with how that looks. I'm just looking around just making sure anyway, it's called lot of variations on it. Alright, so what we need to do now is basically comeback to modelling. So now let's grab our Palm Leaves and we will do is we'll put those in place. Let's bring them down like so. Now we'll do is we'll come over to our Modifiers tab, and we'll just apply these. So hover over the top of it, control a control and you'll notice it's changed it a little bit. No, we need to do now is go back to our shading comb to your actual scale on your mapping and just turn these off now, turn them off one-by-one and they go, you'll end up with that Near North like your how did before. Alright, so now let's go back to modelling and let's press tab, come to our Palm. And let's rotate this around. So all X and rotate them around, something like that. Then we're just going to bring them in a little bit. They're a little bit too big at the moment. So let's have a look. Maybe a little bit bigger than that, something like that. Yeah, I think I'm happy with them being like that. Alright, so now we can join both of these together. I've got no other modifications on them, so I can press Control J, join them together. And now you'll notice that they have gone like that. And the reason why is because we just need Altos, move on, then it will bring us back. Now let's have one lobe, what it looks like on our actual Cycles Render. And what we'll do now is just check what they look like. And yeah, I think I'm happy with those. Now, let's come back to Materials and what we'll do is we'll turn everything back on now. So I'm just going to hold it down and drag along. There we go. Let's bring these in as well. Like so. And the only thing I've not gone is my actual Ocean, which is in here and it's told turnip. Ok, so let's now reset RM orientations. So control at all transforms right-click Set Origin to geometry. And let's stop putting this actually in place. So I'm just going to play it back that I want to press a zero to go to my camera view. Then I'm going to lift this soap and start putting it where it actually wanted. So I'm going to print something like that. Then I went to rotate it round now so I'll Ziad, let's just rotate it around where we want it. I think something last, move this out the way. And yet a thing that's okay, Let's just rotate it though. Kind of bending in so RY like so just so the leaves have focusing on the camera a little bit more. Okay, so what we'll do in the next one, it will actually bring a few more Palm cheese and we'll start stacking these Zope. And we'll also then start on natural learn all the leaves, another foliage and things like that. Just to really bring out then this environment. Okay, everyone, I hope you enjoyed that and I'll say on the next one. Thanks a lot. Bye bye. 55. Placing Trees Fixing Refraction: Welcome back everyone to Blender 2.9, design and render a stylized water scene. Now what we want to do is one to actually bring in some more palms. So what we're gonna do is we're going to use this one. I'm going to have three palms. So on Wednesdays and when select this one, press shift D and just drag it over this side a minute. And then we're going to do is I'm going to bring on another one of these leaves, so Shift D, bring it over. Now let's come to this one more I'm going to do is I'm going to bring in materials, so plus down-arrow and let's look for Palm trunk. Let's bring that in. Okay, so now let's go over to the Modifiers tab. We'll press Control a on both of these like so. And now I can actually delete this out the way, and let's bring in our Leaves, make it a little bit smaller. Let's bend these leaves now so I'll turn it over like so let's try and get a little bit more in the center, like so, let's grab them both together. Now, what we're going to do is going to press Control J, join them both together, bringing also smooth. Now let's press Control a transforms right-click Set Origin to geometry. Bring it over. And this one's gonna go, I think if I press a zero, I think it'll be good if it can go somewhere over here. Let's make a little bit bigger, something like that. Just again, so it's poking down. And it looks a little bit different from this one. Alright, I'm happy with that now one more which is going to call them probably OK from here. So let's fix that one now. So again, we'll do is I'll grab both of these this time. I'm going to drag them over and I wanted bending probably close to the water, so I'm going to bring it in here. Then I'm going to spin them around. So all zed, like so. I'm going to do is just Bend this with this curve that we have here. So grab this curve, Let's press G, just bend it over, something like that. Yeah, nothing that looks good. Alright, so now let's grab our actual palm trunk and what we'll do is we'll apply our modifiers. So control a, control a delete the curve. Come down to your Materials and we'll click Plus down arrow will come down to Palm chunk. And just make sure it looks okay. And now we're going to bring in our leaves. So I'm going to press G and now I'm just trying to fit them into place. So seven on the number pad bring them over. So the jewels to over the top thing, something like there. Bring it down. And then let's rotate it on the Y. Like so it doesn't need to be a perfect of course. So I'll just needs to look like it's actually sat on that, Something like that. And that might be a little bit too much. I might need to make them a little bit smaller. Let's have a look. Zero, double-tap the a. I think actually probably get away with them. Tilts in a little bit more down, so all why? Sorry. All right. So let's try to tilt in the middle little bit more down, something like that. Bringing IT bit more into place. I'm going to press G and try and get Justin's plates like so. Alright. Let's press zero again. Double-tap the, I think I'm actually happy with how they look. Alright, so that looks called the one thing I would say is that this is a little bit too small, so let's make it bigger. So grab them both. S, put it into the actual list Sun now, double-tap the a and yeah, they look much Pat. And I'm also looking just make sure that I've applied those air supplied, all of my Modifiers. I'm just going to join these together now. So Control J. Also smooth on top the a and there we go. Alright, so now let's fix these rocks before we go any further. So what we're gonna do is you're just going to click on our rocks when to come to our shading panel. And then what I'm going to do is I'm going to come down to the scale on the noise. While I'm gonna do is I'm going to bring this down a little bit thing. So bring it down. And you can see now that this Don't look a lot more like actual rocks. So something like that. I think it looks much back double-tap the a. Okay, then the last thing that this lesson, what we'll do is we'll bring by mouth or Ocean. So bringing your Ocean, put it on their Cycles. Let it load up. Click on your Ocean Crest zero and the number pad just so you can go in, I think actually will do this in modelling as well. We don't actually need to be in shaded, so I'll put it on to Cycles. I want to press Tab zero on the number pad. Lie my cam rope. So I'm just line myself up with the camera just so you can see what I'm looking at. And yeah, that's looking really nice. Okay. I'm happy with that. Maybe this one wants to come over a little bit over here just to put these two together. So I'll think we'll do that. We'll click on this and we'll just bring it over just a little bit. Just the line animalcules to slapped me it more. And then I'll come back to my Ocean now. Now, the thing is with the Ocean, as you remember with the Glass that we made in here. If you come over to your Materials panel, you will have one that says pass index. Now, if you remember, the moment, if we don't turn this old Refraction will really start to bend things around. So the higher would send the soap. So if attendance of one, you'll notice this rock here. If I turn it up to three, you'll see as it's any old, he starts to come much more out. And he's actually now more or less in line with where it actually goes in, and that's what we're looking for. If I double tap the eight now. And again, double-tap the a. And now it looks much, much by and you can see everything's more in line. Now this is important for when our road comes in. We've got boutonniere, we've got Fish women round and things like that. It can't look too much out. So this is actually how we're going to change it. Alright, so that's it for this lesson. On the next lesson, what we'll do then is we will start to create our foliage, and we will start then just to bring all this out. And hopefully then after that, we can start on our Coral. Okay, everyone, I hope you enjoyed that. See on the next one. Thanks. A lot of I 56. Creating the Foliage: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left it off. Now I think before we go along and I recommend this as you go in along with your environment, always keep checking it out and making sure that everything's okay and try and just tidy little bits here and that for instance, you rocks might not be right, or you're trees might be in the wrong position, things like that. If I put this now onto my Cycles Render, you'll see that, for instance, I noticed that this tree is blocking the sunlight here, and I don't really want that. So walgreens doesn't warns grab both of these trees. We have Shift-click and I'm just going to move them over just a little bit just to let that kind of Sunlight in. So just like that and now failed, That's looking much better and that's that tidied up. Now double-tap the a. And again, and now I'll do is also, I just wanted to turn this tree round. It's a little bit too straight on, so let's turn it round with all Zed. Just turn it round. Joel's disliked bit like so on a thing that looks again better. Okay, so now let's put it on Materials. And what we're gonna do now is create the Foliage. So what I'm going to do is I'm going to first of all, these though, into their own group. I recommend doing that as well, just to tidy everything up. So we can see here that I've seen Collections, right-click new collection, and we'll call this foliage. So collection 13. In fact, we'll call this one Trees and then we'll have a different one for foliage, and then it separates it all out. So we've got Bezier curve here, which we don't need anymore. You can see that's on its own. This is another reason we do this because we end up with pretty much empties, they're called and then basically not doing anything in the scene. So let's delete that for now and then we'll come to our cylinder. Then you've got three of these, so we'll call this Palm one, like so. And then I'll rename this one palm to palm through it. Like so. And then I'm going to drop them into my Trees collection. And then let's close the whole next thing we went to do now is I'm going to actually bring in a plane and then we'll actually hide the rest of this just so it can work. So what we'll do is first we'll make sure our cursor's to the center shift desk because it's a world origin. And then I'm just going to come in now, press Shift a Mesh plane and then hide the rest of these before I do that though, just need to bring out my plane so you can see Planes in here, drop it down, and then it's not in there. And then I can hide everything else. Holding left-click and just going down to the plane. Now the plane, we pretty much going to create this the same way as we created the palm trees. So I'm going to bring it all First. I'm going to press S and X, bring it in a little bit. It's gonna be a little bit different. I want to press Tab, grab this edge and edge select like so press three, bring it up a little bit like so I'm going to bring this one back and then I'm gonna bring it all across. I'm trying to get it roughly into the center there. So I can actually spin this around. Then I'm going to come to this edge three again, and then control right-click and just get them into some semblance like so I'm going to grab it all and I'm going to spin it round. So all X, I'm going to spin this one up a little bit because it is Foliage, it's not actually going to be a palm. So I'll think something like that should be absolutely fine. Then what I'm going to do is I'm just going to come to this edge, put on proportional editing S and X. Let's bring it in a little bit like so. I'm just basically trying to make some foliage, some jungle type Foliage. Let's bring it out a little bit like so. Nothing that looks pretty nice. Now let's join these two together or we can bring them out and then join them together. I think I'll do it that way. So I'll do is I'll grab this edge, press the ball and bring it out a little bit like so. I'm just making sure that it's straight. It's relatively straight but not straight enough for my liking. I'll do is I'll just press E and then just drag it out now along this axis, which is the why, like so. And then I can come around to the side now, drop it down without proportional editing on like so. Now while I've got these two edges, Let's come in and put it on there to select right-click. Come down and your loved one that says merge vertices and just merge and center like so. Again, I'm not sure whether I'm happy about it actually come into a point light that I think actually instead of merging versus what we'll do is we'll just press S and X and just bring them in so they're relatively close, not actually touching anything that looks much, much better. It was too sharp. And for the look that we're actually going for, I don't feel like it really fits. Alright, so now let's bring in our empty. So shipped a calm down and we're going to come to empty plain axis. And then we're gonna do exactly what we did before. So first of all that and weren't bring this back a little bit to make sure it's in the center. Then I'm going to press Control lay all transforms. Now let's come over to our modifiers panel. I've Modifier, and we're going to bring in again an array Like so and then when to stick this over this side. So I'm just gonna put this on zero and I'm going to move, I think it was this one. Nope, not this one. We always go for the wrong one. Let's put it over here. Like so. Now let's take off relative and we'll play it on Objects offset. And then let's pick our object, and we're going to pick the object empty, grab our empty, spin it round. So all zed and you'll notice another one comes in exactly the same as we did before. Now let's go back to our leaves and just turn this off. And now let's get in the right place so you can see it's looking pretty much like a spider plant. Now, if you want to create another type of the Foliage, you can grab both of these, hold them over to this side, and then you can pull them out. So I'll show you what means I'm just going to press shift D. I'm going to drag them over like so. And then one going to do is I'm just going to change these plants a little bit. So you can see this is the one we're working on. So let's come in and pull them out. So S and X pulled them out a little bit like an X. Like so. And you can see now this one looks a little bit different from that one. I think actually as well that I'll let smoothies out little bit. So I'll just come to this edge. I'll pull them out. So as the next, I'm gonna make this one just a little bit fatter than the other one is what I'm going to do rather than have them like that. So something like that I think looks nice and it's a little bit different to the other one. Alright, so now let's press Tab. And what we'll do now is we'll apply our modifiers. So grabbed this one, come over to your'e, press Control a, drop this one come over control a. And now let's come in and grab the empty on this one, delete it, we don't need it anymore. Same on this one. Now what we'll do with this one is press Shift D, and then I'll spin it round a little bit, make it a little bit smaller, like so. And then we go, Let's pull it up a little bit. Like so now let's do the same with this. So Shift D. And you can see how this is a really, really easy way of actually creating foliage. So like so what I'm going to do now I went to join these two together. So Control J and join these two together Control J. And now what we'll do is we'll bring this one over Shift D. And one of them, I'm going to pour a little bit of a plant inside it as well. So I'll come to the center of this one, Shift S cursor to Selected Shift a. And let's bring in a cylinder. So bringing a cylinder, Let's put this on something like eight. We really don't need it high on the resolution. Let's press S to the bottom of there. Let's bring it up to just search sticking out. Let's also put it on object mode just so we can see what we're doing at the moment. I can't really see what maxent doing, something like that. I think it should be a little bit thinner. Maybe press the tab bond. Let's come to the actual face. And what I'm gonna do now is I'm going to press E coli. E coli, E coli or E Poly and Base. So that's gonna give me then something I can actually work with. I also feel again that maybe it's a little bit too thick. So I'm going to pull it in with S and then asset play out like so. And now I need an end on this. So Shift a and let's bring in a actual UV sphere. And let's turn this UV Sphere down so we really don't need this many segments. Let's put it on 12 months, put this on eight. And now we can actually bring this up, make it smaller, and pull it out in the zed, zed. And you can see now that's quite an easy way of actually making a plan on the top of it. Now, let's come in and actually bend this around. So I'll come in, pro-social lead into non, grab this edge here and more the result, press all and X and let's just Bend it round like so. Let's pull it into place. Like so. And there we go, right? Let's move this off. So right-click sheets move. And now we'll do the same with this and the same with this one and this one. So shapes move. And now finally, what we need to do is you need to bring in another Modifier just to solidify this. So we'll do it with this one first add Modifier. Let's go to Solidify, like so. Now let's bring it out a little bit. I'm also going to pull on my also smooth like so. Back to my Modifier and let's bring it out. Something like that just to give it a bit of thickness, I want to actually click on this now press Control C just to copy it. And now it will do is we'll do the same with these others now. So add Modifier, Solidify, control V. Altos moved on. And then on this one, I'd Modifier, Solidify, control the and also smooth on. Now we might want to take us moving up. I'm not sure yet, but we might as well actually apply these now. So click on your Modifier one small control a, and let's do the same for these on this. And finally, now, let's join up this one on this one. So join them both together. Control J, Altos, moved back on, and there we go. Now on the next lesson, what we'll do is we'll start to bring in our Materials and we'll start to place these around. So we're going to make a few of these. And the way we're gonna do is be using proportional editing. Okay, everyone, I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 57. Foliage Materials Placement: Welcome back everyone to Blender 2.9, designed and render a stylized water scene, and this is where we left it off. Okay, so let's now bring in some materials, will come to this one first. And what we'll do is we'll come to our Materials panel, click the Plus button when I click the down arrow and we're gonna go to Palm Leaves and I'm going to press plus new. I'm going to pot this is foliage leaves. And then one Wednesdays and wanted to copy this copy Material, come down, paste material like so, and then minus this one off. And now let's go to our actual Cycles Render, put that on. Let's see what we're not with and which should end up with something like this. You can see it's not very bright. And the reason for that is let's bring in our lights and there we go. Now we can actually see something. Let's zoom up to it, President adult on the number pad. And now I want to do is want to make this a little bit different. So let's go to our shading panel, and again, it should be on there, it's on Cycles. So let's just get a nice position where we can see what we're looking at. And let's First of all change these colors a little bit. I feel like there needs to be either a little bit darker so it can turn this down. So let's come turn this down a little bit like a little bit different from the other plants that we had, something like that. And then let's mess around now with the scale and see if we bring the scale the other way down. Like so I'm just trying to bring this out a little bit. Let's put this on something like five-membered can really see what we do it. And yet it's a little bit too low. So let's put it all PER tiny bit as 12 and see what that looks like. And yeah, I think I'm much happier without that looks and I think that's pretty much everything we can do in that. We can also bring down this detail. Let's see what it looks like. It's brought down. And maybe let's try bringing it up. So something like 20. And yeah, I think I'm happy with actually, let's see what it looks like though with the actual palm. So I'm going to put my trees in now. I'm just going to compare the color. So I'm going to bring it over to the actual palms like so. Now I just want to compare it. Double-tap the a. And now let's zoom in a little bit. And I'm just making sure that it's a little bit different. You can see there's some more shadows on that. I think. Yeah, I'm actually happy with that. So now what I'll do is I'll actually make a different one as well. So let's zoom out a little bit and we'll come to these that we've actually got here. And then what I'm going to do is I'm gonna come over to my actual Materials button again, plus bring it down. And this time we're looking for the Foliage, which is this one here. Then I'm going to call the next one foliage leaves too. So we'll press new copy paste Material. We'll call this foliage leaves. Then I'll minus this one off. Like so. Now we'll do is we'll make this one a little bit lighter. So I'm going to zoom out a little bit. I'm going to come in. I'm going to pull this up. Not quite so Greenbook. A little bit more saturated. Like a thing that maybe let's bring this up a little bit more. I think it's a little bit too bright at the moment, so I need to come down just a tiny bit, but I need a little bit brighter than the others. Okay, something like that. I think I'm happy with that. Let's zoom in a little bit and just make sure that the yellow is actually coming out and see. Might need to bring this up to a bit of a different green and make it a bit darker. Something like that. And the other thing is, I think that's too dark now. So that's telling me that we need to bring this scale up. So let's bring it up to something like 25. Yeah, something like that. I think it was good. Alright, so now let's come in and what we'll do this one is, well again, press the plus down-arrow and we'll put this on foliage leaves. And then what we'll do is we'll come in to just this bit, this bit here. I'm going to press L to grab it, press the Tab button, press Plus. I'm going to press New. I'm going to call this foliage plants. Like so. I went to copy this copy Material, paste material. And then we'll go in. And I'm going to actually assign. And I wanted to come in now and actually change this. Now someone's come into this. I'm going to prey on something like red and went to make it a little bit brighter. Like so. Then when it come to this one, I'm going to put it on something like a yellow. I'm gonna make this brighter as well. And I've noticed that these are probably the wrong way round the moment, so more yellow the other way around. So let's grab this, put it in the bottom. Grabbed this one, put it in the top. That's not exactly what I want. So what I need to do now is I need to come in and bring up my scale. So let's bring up the scale by, let's say 70 will try that. We can see there is something happening there. And then let's try bringing up this scale. So let's put onto and see what happens. And I'm not sure if that's going the right way or if I need to get to go the other way is bringing it up. I just really need to scale this out now. And I think to scale it out, I'm going to bring try bringing these open safe that works. I think I need to go the other way. Let's bring this down now. Like so. And you can see there now it's actually working. I feel though that they actual colors or the wrong way round still. So I'm just going to swap them over it. Let's swap them over. So yeah, that's looking much better. That's They actually a look how it's actually going for one of those plants that you see in a jungle way, it's kinda speckled and it's red and things like that. So there we go. That's what I'm looking for. Alright, so let's bow for those dome. Let's now go back to our modelling. And then what we'll do is we'll put this on actual Material mode. And then I'm going to bring everything back now and actually stopped wearing these in place. So it went to just hold down the left bone, bring them all back. Like so that's not what I meant to do. There we go. Alright, let's say hide our Ocean so I'm going to press the top hydro Ocean on the way. Now, let's talk, print these in place. You can see as well those palm trees a little bit out, bull from the actual possession that we are. It doesn't actually look too bad. I'm going to actually make this a little bit small and put this in place and then move them around a little bit. So I'm going to rotate this round. So RY, and now let's grab this one here. And I really want this one here into here. So I'm gonna make a little bit smaller. And then we're going to pray in place. I'm going to hold G. Let's get into some kind of place. And let's put it in there. Like so. So think either here or over here. Let's try over here actually, I think you might look better there. And let's rotate it round so our X like so I'm just looking to see if I can see it and I need to put it into the ground light, so I need to pull it out of those rocks, of course. But now I'm going to come in with this one, so I'm going to press Shift date, bring it over. Like so. And now I'm trying to do is basically look where I actually need foliage. So just take your time trying to get this right and rotate them around and things like that. So all why let's rotate it and then I'll rotate to the other way, something like that. Double-tap the a and let's press zero on the number pad and look where else we need some foliage. So I'd say we need some foliage here. I'd say that this needs to come down like so, double-tap the a again. And then I'm looking, I'm going to zoom in a little bit. I'm bringing this one out a little bit, like so yeah, nothing that looks better there. Then I think I need some here. I need one here. I think I need just one up here, that one here, one here, and then one over here. Alright, so let's do that. So Shift D on this one, and let's put it over here when you bring it up. Like so I'm going to make it smaller and then just make sure that it's fitting into the actual ground. So let's pull it down like so, and let's rotate it on RY. Let's rotate it around a little bit. Let's put warning here like we talked about. So we called grabbed this one. Let's move it over. Let's make this one, I think the size of this one actually I'll be okay. So I'm just going to rotate it round. Like so maybe it's a little bit too big, I'll make it a little bit smaller. And then finally I want a smaller one over here. I'm going to grab this one actually shift the polytope. All wind, spin it round and X, so it's pointing that way. Let's make it smaller. G. Pull it out. Like so. Alright, let's see if they're in the right place there. So think I'm happy with yeah, I think I'm happy with all these doublets up the ages to make sure. Let's bring in or Ocean just to see where it, It's our Oceans actually hidden at the moment it's open this up. And we can see that this one is what I'm checking for. This one here is too low to low down, so I need to grab it, pull it up like so double-tap the a and yeah, I'm happy with that now. Okay. So I'm happy with that. Now, all I need to do now is just move these around so they're not quite in the rocks and just make them look a little bit different from each other. Again, I'll add my Ocean and I'll come in with my proportional editing. Actually, I don't think we could actually see that one, so I do need to pull that one into a different place. So let's pull it up to that law instead and then spin it round. Like so and then just pulling my Oceans to make sure yeah, that's fine. I think also will just spin it round on. Just a little bit towards, yeah, that looks so much bad. Alright, so now let's come in and we'll come into this one first. Proportional editing on. So I'm just going to grab that, press the G Bowen, bring it in a little bit and just move them around a little bit just to make them a little bit different so they all don't look the same. Now we'll come into this one. I'm just going to yeah, I'm just going to pull them up like that and then I'll grab this one, hold them out. Like so. So, um, that's coming into this one. Swap it on that. Let's press Control zed and just go back. Let's grab this one now. Press the G born. You never go. Now it's moving to in their quiet. So something like that. And then this one, I need to pull it out of the rocks, of course. So let's do that. So we'll grab this G. Just pulling it a little bit out of the rocks. Like so. Yeah, nothing. That's okay now and then this one, Let's bring this as well as the rock. So we'll grab this one. Like so let's grab these lexoffice. It looks like now it's resting on the rocks, maybe this one out a little bit more like so. And then finally, I think not one actually needs to be pulling away actually over these rocks. So let's grab this edge, will pull it. I need to pull it out this way, like so. Then let's pull this in. Like sir. Okay, Now we've got those lips. Double-tap the a and let's look at that. So I'm going to bring back my Ocean. I'm going to press zero on the number pad to go to my camera view. And I'm just going to look at this in Cycles view. So let's click that on itself. A good look. Make sure that we're happy with it. And we can see now I've got a lot of Foliage. You've got some nice plants here and things like that. We're going to put some coconuts on here. We're going to have a guy just hiding me on this tree or something like that. But you can see it's really brought it out and added a lot to the realism of it. Okay, So on the next one, what we'll do is we'll create our Anchor going down to the Sea Floor. And then after that we'll actually get on and create our Fish. Okay everyone, I hope you enjoyed that and I'll see you on the next one. Thanks a lot. I buy 58. Starting the Anchor Creation: Welcome back everyone to blend the 2.9 design and render a stylized water scene. Now let's shut these up a minute and let's make sure they're all in there. So we've got all plants. I think this is all our plants, so we might as well make a new collection. You can see now how busy the actual CNAs, this is really, really paid off. Now we've actually done this. So let's come up, right-click, new collection, come down, and we'll call this foliage. And we're just going to put these in. So I'm going to call this plants in flower like that. And then we'll come down to the next one. I'll just call this plants. So it's called plane. So let's just for a T on it and quiet plant one. Let's call this plant. So let's just call this plant three and just work our way down. Just renaming them. I don't want to join them all up because you might want to actually take them through to another file or something like that. And that's the reason I'm not trading them all up. So Plank for Let's try that. So this one is planned, threonine it as plant. Like so. Now we've got all those, let's pull those into the actual foliage and then shut that off. I've got one stuck out of there. Let's put that in. I'm just going to open it up, make sure they're all named. And yes, they're all named. Now, what we can do now is again, we're going to put our cursor to the center. So Shift S to world origin. And now I'm going to do is apart from the lights and women's clothes, all of these are going down. And you can see it's really easy to do that now. And what we're going to do is we're going to make a start on our actual Anchor. So I'm going to press Three more going to do is again, I'm going to press Shift a, come down to where it says image. And we're going to bring in a background image, and now we're going to find it. So cos references and you'll have one that says Anchor reference. So just bring that in and you should end up with something like that. Then what I'm going to do now is bringing a plane. So let's press Shift a Mesh, bring in a plane and we're going to spin it around. So all wide 90, let's spin it round. Let's make it a little bit smaller. I've put it actually on wireframes, just make sure they actually wireframes. You can see that it's solid. I've gone into wire-frame and then press S and Z. Let's pull it out a little bit, something like that. Now I need to actually create this shape. I'm going to use. I'm going to press the top. When it come up to my edge, select the grab this top edge E, pull it up. I went to bring these two out. So I went to press E and S and Y, and let's pull those out and you can see that they're coming out like that. And I think it's because I've got botulinum non-synonymous process and why now she'll be able to pull them out. And then while I've got these two edges, press S and Z and pull those down. They don't need to be absolutely perfect. We just trying to get some Sides for this actual Lanka. Now let's come to this top one. I'm going to press E and Z, bring it up. And I'm going to pull it out a little bit so as to why Let's pull it out just a tiny bit like so. Now let's come down to the bottom of here. So let's press First of all, 0s. Pallidum is why pull it out. Pull it up to this point here. And then we're going to press pull it down and then pull it down to something round about them. Let's pull these in. So S and Y pulled the men like so. And then E, S, Y, and that gets that little tip there for as like. So now we need to do these ends here. So there's welcome to both the sides here, grab these, and then we're going to press P to S Y, pull them out. And now let's try lining these up. So I've got the ends, I'm going to pull them all like so. And then that's pulled them in as well. So SY pulled them in, could do this through the mirror and it might actually make it a little bit easier, but I'm just going to try and attempt this, doing it this way. And now I need to pull this out up here. So what we'll do is we'll grab again these edges. So while I've got them, enter S, Y, pull them out. Unless stop pulling them up and see if we can get them in place. So when it's pulled them all, when process and why we try and get them in place. And now I'm going to do is use just these edges here. So I'm going to come in, grab this one and this one. Pull them down. Why pulled them in? And now let's do the Baldwin's, pull them down. And let's pull them across as well. So SY and say I probably can get away with something. I think we could actually get away without. We could put another edge loop in Islam and width it. So control or left-click, right-click. And on this side, control law. Left-click, right-click. Grab both of these, pull them down, like so. Now we just need one more on here. So again, let's come in now, grab both of these, pull them up. I think that I can actually use that now to finish these off with just this one. So I'm going to come in Grab both of these, pull them down to the top of there, and then grab this one. And this one. Pull them up as Y, pull them out. And there we go. Now thing that's gonna be enough, actually pull this tall bar Anchor. So now we'll need to do is we're going to grab it all. So L, I'm going to pull it back. So E. There we go. That is the first part of our actual Anchor. And now Professor Gordon, solid, it should look something like this. Now let's press tab. We'll come over to Modifiers, top, Modifier, subdivision surface. Let's put it on simple for now, and then we'll apply that. So Control a and now add modifier subdivision surface. And now you can see we're actually starting to get somewhere with this. And let's put it on to something like that. Now we need to bring this out a little bit. You can see it's not the right size or anything like that as well. Do is I'll just turn this off a minute. And then Walgreens, there's some Joel's going to bring in some seams. So Alt Shift and click. I want to go all the way around here. I've probably should've done this before. I extrude it out. It didn't sound when it's up to do it this way. Like so. Like so, and then just round this side and then I can actually use that then to pull it out. Okay, so right-click, we're going to mark in a scene, come to face legs and let's even grab this now. So just this side and now can actually pull this out. Now, turn back on the subdivision and let's look at, well, that's actually looking like and I think that's looking much, much better. Now, let's bring in these a little bit. So again, I'm going to turn this off. I'm going to call them and grab all of them going all the way around. So I'm going to press Control Click going all the way around. And I just want to see if I can bring these in just a little bit. So Alt Shift and click Control, Click going all the way around, like so. Now let's put this back home. And now I've grabbed these, I can press S and bring them in a little bit like so. Now you'll see that looking much, much nicer. Now, let's come to the edges on each of these. I'm just going to press E for extrude E. And now we're going to round those off. Now let's do the same on the top. So round those off. Now I'll fail is I need to bring these in as well. So I'll bring this one in first. So S XX, bring it in. And I think I need to press Control plus just once and then try S and X again. And now can actually bring this in just to make whether actual circle is going to go. I also need to do the same on this one. On this one, I want to grab all these press Control plus and then S and X and bring these in a little bit. Now let's have a little that's looking like we need to smooth it off as well, so Shade Smooth. And now we start into rarely, rarely get somewhere. Now, I do want some actual shape going down here and round here as well. And I'm going to actually do that using another technique, which I will show you. Well, first of all, we've got these also need rounding off, so let's come in and grab the top of these. Let's hope of these. Let's just press E, enter, just round those off, like so now we can actually make these points on these. So I think I'm happy with the overall shape of this for now. So what I need to do now is a need to work on just putting something in here and maybe something going up here as well. So I'll show you, I'm gonna do that first of all though, I'm gonna come over and actually apply my subdivisions. So control a. And now we're going to do is you're going to bring in a cube. So let's press Shift a Mesh, bringing a cube. Let's make it smaller. Like so, and it's coming in the center, which is great for us. Let's press three on the numpad, bring it down. I'm going to turn it now by 45 degrees. So all X 45. Now let's make it smaller. So S, like so. Then I'm thinking whether I want to put any pronouncing that I could make him more complex if I wanted to. But I think actually I'm gonna leave it just a this, just to show you this technique of what you can actually do. So let's come round now. And what we do is we need to now just get rid of all of these edges. So Alt Shift and click, grab the front as well, delete faces, and then you should just be left with this plane. Now. Now let's grab this plane. Finally grabbed the actual Anchor. Shift-click it, press three on the number pad, press the Tab button. Grubby old now. So just press L and that will grab all the fronts of it. And then what you need to do is you need to come over to Mesh, come down and you'll have walnuts cold knife project clicked on. And now if you turn round, you'll see that you've actually imprinted this shape into this mesh here. And now you need to do is just press E and pull it back. And now you'll see we've got that nice impression there. Now, of course, we do need to actually clean all this so there is a good way to clean this up. So if we delete that now, grab this press Tab, grab all of this again, press F3, and then you're going to look for one that says tries. So let's just go back. If I put in trying, like so you'll see one that says triangulate faces. Click this on. The one that's going to do is just going to triangulate all these. And it's going to make it much, much nicer because what we had them there is lots and lots of Ngons. So if I press Control Z, you'll see that we've got more. This one here, for instance, you'll see 1234, five-sided. And it can't be that because Ngons, Gimbels, these issues here and this we don't actually want. So what we're gonna do is again, I'll just show you screw Control Shift Z, just to go forward with three triangulate faces. And then what we need to do now is just adding a sharp. So I'm gonna come in to my edge select, grew up this edge, this edge, and just work my way around holding Control click all the way around. Unlike that, we can only go up to here and then carry on and then back round to here. And then what I'm going to do as well as I'm going to come in now and actually also mark A-sharp going all the way down the inside as well. So OPIA down here. Like so I'm just looking where the actual one is. I think it's that one that I think it is. Welcome to this one. And then background to here. Remember right-click and moksha. Now I'm gonna do is press tab, come over, Altos, move on. And you'll see now you've got really, really nice actual square in the middle of our actual Anchor. Okay everyone. So on the next one, we should be able to get this Anchor finished up and looking really nice. Okay, Hope to see on the next one. Thanks a lot. 59. Analizing the Anchor Adding Materials: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left it off. Now, what we need to do is we need to realistically bring these out a little bit. So let's do that first. So what I'll do is I will grab a few, one on top of here, one on the top of via press Control. Plus doesn't really tomorrow too much way grabbed them as long as it's around about the center. Let's put them proportional editing. And we'll, what we'll do is we'll pull these, Let's pull them forward. So I've pulled and forwards like so. See them now coming forward. And you can see what that's doing is it's given this Anchor, a little bit of shape. I also want to come in and grab the center of an I want to pull these ones back. So I've just shift clicked on the central via Control plus to bring it out a little bit. And now I'm just going to pull these back just a little bit, giving it a little bit more shape, something like that. Things look, looks much, much better. Now let's press three. And what we need to look at is we need a big link on the top two on the side, and then these ones on the bomb. So let's work on, let's say this one first I'll be the easiest shift day. Come down to Mesh and bring in a cylinder. Let's put it on 12th. Let's spin it round. So Art why 90? And now let's make it hollow. So we'll grab the middle of it. Delete faces L, S, and X. Let's make it smaller without proportionate to non. So S and X S bring it in. And now it's going to have to be much, much thicker as you can see. Let's just get it into the center of that. Now, it needs to be, I think, a little bit thicker than that as well. So it's bringing it up, an S and X, bring it out. So it goes perhaps over the top of there, I would say. Alright, so let's press three and you can see that it's near enough actually the right size. So that's that part. Then let's press shift D and we'll bring this part over and pull it into place. We'll press the S button to make it smaller. Bring it over. Like so. Now we just need to check to make sure it's actually thicker than those pots that would print it in. There we go. Okay, so that's those two pots, Don, and let's work on these straightaway. So what we'll do first is what come in and we'll just mark some Sharps. So Alt Shift and click, right-click mock Sharps. Top control a full transforms Modifiers, tab, Add Modifier, Solidify, three, even thickness, bring it in. Like so. There we go. Alright, so I'm happy with that. Let's apply this now control a. And now finally, let's bring in our bevel. So we'll do is right-click Shade Smooth. Put on auto smooth. We're gonna have to turn that up a little bit as well. Back to Modifiers, add Modifier, bevel. Let's have a lot. We might still need to make these bigger. I actually like how rounded this is with this bevel. The one thing I do need to do though, I need to put this on angle. And you can see now it's calmed down a lot. So if I turn this down now you'll see we can get that slightly backlight. So I'm looking around here just to make sure this part's not beveled too much. Now thing that I want to jaws turn this down just a little bit. So let's have a look what that looks like. And then it goes too much so I can put it a naught point, naught 15. Let's try that. Yeah, nothing that looks really, really nice like that. Alright, so now we need to split this up. I need to apply this as well. So control eight, let's split this up. So I'm going to grab this one. I'm going to press P selection, top, grab this one again. You can see that the orientations in the center, just make sure jobs is I've Modifier and let's bring in a mirror. And then what I need to do is I need to pray over the other side on the Y. And finally now warm looking for is, if I grab this L, S, bring it out little bit, just make it a little bit bigger, just make it a little more stylized, like so. I also want to rotate this a little bit so I'll rotate it back in like so then you can see it's bending a little bit and that's exactly what one. Alright, so top hover over numeric control a. And that looks really nice. Now let's do this bit down here. So first of all, I need to bring in another cylinder, like shrink it down three. And now let's start getting this into some kind of place. So I'm going to bring it here. I'm going to rotate it with our X, like so I'm going to put on my normal because I wanted to pull this back. So I'm going to come in, grab this face. Three, pull it into place, and I also need to pull this out as well. So I'm gonna grab it back on global, not local roundabout in the center of that. So I'm happy with where it is. I think it needs to call them goes this way a little bit like so three again. And they also need to rotate this round. So what I'll do is I'll come to the face. Three again, all acts. Rotate it round a little bit. And you can see now it needs to come in quite a bit, but I'm not gonna worry about that. Yeah, I'm just going to get the rotation right first. So r-x, then E X E X And then E. Now let's work on making the smallest. So while I've got this top part, I'm going to make this much, much smaller and try and pull this in some kind of place. Now you can see we can't really see anything less presses that go into wire-frame. Now we'll grab this edge, all Shift-click S, bring it in. Let's pull it over into some kind of place, like so. Then Alt, Shift and click. I'm going to grab both of these at the same time with S, bring them in parliaments, some kind of place. And you can see this one needs coming out a little bit. Now. Let's grab it again. Bring it out, pull it over like so. And finally then this one. So S, pull it over. Like so. Now let's press that and go back to solid. And that's looking like now I'm happy with the sizing on there. I'm not sure about how, how the edges are unable. There is a nice ball now we can use to actually smooth this out a little bit. So what we'll do is we'll grab all of this. And what we'll do then is come up to vertex and you'll see one that says smooth votes as and when you click this on, you'll see now it smooths it out. All nice for us. Now let's make it a little bit bigger, something that we're happy with. And then I just wanted to pull this out just to go straight to a gentleman here. So I went to grab this, press the a and just pull it out like so now thing that looks much, much bad. You might want to Low Ridge on here or something like that. I think I'm happy with that. My looks. I wanted to shrink missing a little bit as well just to make it a little bit more points in the morning, walls. Press three and let's look at the scale. And I think I'm happy with that. It doesn't need to be perfect. And I'm just checking around and making sure that I'm happy where it is. Now. Last of all, before we carry on with this one, I just wanted to rotate it round so I'm just going to grab it. I'm going to press warm and now I just wanted to rotate it on the Y. So all why rotates it? Pull it more into place like that. And yeah, I think I'm really happy with that. Now let's press top. We're going to do Shade Smooth, also smooth on like so. This is what I'm talking about, the bomb of here. It seems I don't want to use a bevel modifier because there's not enough one, it's really use it. But while we'll do is just turn up the auto smooth a little bit just to get rid of that. And then a thing I'm gonna go in and bevel this myself. So I'm just going to come in, grab this edge with Alt Shift and click press Control B and just bevel that offline. So now let's do the top as well. So I'm going to grab the top. Control, be verbal it off. And that's something that looks like and yeah, that looks much, much nicer. Now, we just need to pray over the other side. So let's press Control a or transforms. Then it'll go back to the center, which is what we want, Modifier, odd Modifier. And then we're going to bring in a mirror. I'm going to put it on the Y. Get rid of the eggs. Control leg. There we go. So that looks quite nice. Now let's bring in some Materials. I think we'll bring in our own material for this, for the Anchor. So we'll do is we'll put it on Materials, Materials tab plus new, and we'll call it Anchor. Like so. Then we'll do is I'll bring in a color. So let's make it relatively dark and can see it's just on this at the moment. I'm gonna give it all, but I might have to change these links for instance. So let's pull up the metallic. Let's bring the roughness a little bit. Let's talk to you how bright you want it. I don't think I want it that bright because obviously it's been in the CFR bit. Let's have a look at this color and maybe bring it. I'm just wondering if it showed be a little bit red or something like done. I don't actually think that suits it. Now let's give the rest of this the same color. So I'll just play close down arrow Anchor. Now let's do the same on these. I'm going to join these up as well. Let's join them up. There's no point to note, join them up at this point. So Control J. Comeback, also smooth turning up a little bit like so. Make sure everything's still fine with it. Now let's finally put it on Cycles and let's see what that looks like in the proper light. And then we go actually a thing that looks really, really nice. Okay, so what we need to do now is just put it back on Materials. And on the next lesson, what we'll do is we'll get this says shrunk down, and then we'll get the chain equipped to this and put it in the Sea Floor. Okay. If once, I hope you enjoyed that and I'll say on the next one, Thanks a lot. Bye bye. 60. Creating the Anchor Chain: Welcome back everyone to Blender 2.9 design and render a stylized water scene. And this where we left it off. Now, let's shrink it down a little bit. I want to press a three and I'm gonna pull it down here somewhere like that. And then I'm going to get rid of my reference. I don't need that no longer. And then we'll do is I'll try and bring in everything else. And let's see where it's actually going to go down to. So I'm just bringing these back and I'm going to obviously hide the Ocean. So let's grab the Ocean, press H, Let's hide that. Now let's look at the size of this. So you can see it's probably a little bit too small nominee, he does need to be a fair size. Something like this is pretty stylized. It's pretty big. But would this fit against data? So you can say if I put this against the, it's really, really too big. So let's make it a little bit smaller. Pull it out. Like so. And will that look okay on the edge of that? Let's pull it in where it would be. And I think that's about actually right now let's press seven to go over the top. I want, I want to do is a kind of one, a lining up with this chain. So I'm going to line up near enough. So you can see here. Now this is about Line dopes and let's move it a little bit over here, something like that. And now let's pull it down because we know it's gonna be around there into the actual seat flow. Like so I wanted sticking in there and I want to rotate them around so I'll zed less rotates it around a little bit and then also, let's pull it out. It looks like it's just on there. Let's rotate it round. So our X. And finally let's also rotates it back. So all, why rotate it back a little bit? And I think that loves kinda nice. The one problem we do, our vase, we don't want you to sign this rock over. Say we're going to have a Chest and we want the Anchor to be right near the chest. So I just want this Anchor kind of leaning up against this rock and then a Chest to be here or something like that. Now, let's press tab and come back to our Chain. And what we're going to do is going to grab this chain. Now. I'm going to go from the bottom up. So I'm going to grab this Chain shifting, like so. Then I'm going to try and press dot and put this in some salt plates so I need to keep the size. The one thing I do also want to do is split it off from the rest. So I'm going to put it in place like so. Let's rotate it round as well. So I'll rotate it round, something like that. Okay, that looks quite nice. Now let's press P selection Tab, grab it again. Tab again. I'll grab it, Ship date it. All. 90, make sure it's fed in place like so. Grab them both Ship Date, bring them up. Like so. Now let's grab all of them. Shift D, bring them all. Okay, and now let's keep going. So Shift D, Let's look how far we need to go up. So something like that. So it's probably going to be worth me grabbing them all. So let's grab them all. And you can press a you actually to grab them all Scene As we've only got these, Let's press shift D, wearing them all. And then Shift D and hopefully they showed meets the middle, something like that. And you can see that the dual action Meet, which is really hundred. So if you all's don't meet, you'll have to actually make these a little bit bigger or something like that. Now what I'm going to do is I'm just going to get rid of this to delete vertices. And now I need to basically manipulate this into it. So I'm going to actually just grab this one, proportional editing. I'm going to press the G ban and hopefully manipulate these. So I'm going to pull it right out. I'm trying just manipulate this into place where it needs to be. So something like that. You can see it's nearly in place now. Let's pull it back a little bit, pull it down, and then we go. Now it wants to do is I'm just looking now to how this looks. I don't want this to be to straight, so I'm going to manipulate this as well. I just want it kind of looking like it's coming out this bit is a little bit to Ben as you can see. So I do want to straighten this bit up a little bit, something like that. Let's just have a look and make sure that we're happy with it. So let's press Tab, double-tap the a and just look at it going down and make sure they happy with it. Now, let's bring the Ocean back and you should always check this. So just open up the Ocean, bring it back. Let's press zero on the number of pods going to Camera View, Zoom in, framing camera. Pullback on you Cycles and let's have a look. Now. Okay, let it load up. There we go. So we're looking now how much we can save. This chamber is going to zoom in and that'll give me a better idea. I think that's actually going to look really nice now we can see that maybe as we talked about, especially on Ocean, if we grab our Ocean and come over to our materials that we do have this index. So let's try turning this surpass index off a little bit more and see what happens. How far is it going to move it over, basically wanted to get it so it's a little bit closer to the actual Chain here. This is what I'm looking for, is perhaps a little bit too far away. So the martini apigee can see the closer now It's actually get into there and now it looks a bit more realistic. So that's exactly what I'm looking for. I'm also looking for how clear this actually looks. Because at the end of the day we need to be able to see the chat. We need to be able to see this chain. And it's only things that are back from here, from this perspective that needs to be a little bit more in shadow. Now as I say, when we've actually finished all our environment, that is when we can rarely work in this Ocean and decide, is the water murky or is it too dark and all that, sort of things like that. Okay, but for now, I'm really happy with this chain. And now we need to actually start on is our actual Fish all fishing line. And I'll Boot 61. Turning a Wildlife Reference in a 3D Model: Welcome back everyone to blend the 2.9 designed and render a stylized water scene. And this is where we left their home. So I think what we're going to start now is our actual clownfish. So what we'll do is we'll come in, I'll just hide this hole and then I'll just left-click hold it down. I'm just going to hide everything else. I've also got assaults out this plane. So let's look maps the actual Anchor. So I'll just have to put that in there, but I think I'll create the clownfish burst and then we'll actually do this. So what we'll do is now will bring in one of our references. So I'm gonna press three on the number pad just to make sure I'm facing straight on from the side view. When I press Shift a calming down to where it says image, I'm going to bring in a background image, go-to calls references and you should have one that's called clownfish Reference. Double-click it, double-click again. I'm bringing it in. Now this Fish, it's, it's quite hard to do the first time and you creating something like this. But after a bit, when I've showed you how to do it, you should have the, I'm going to be able to create things like squirrels and other things like that from a reference to a fairly good the degree. Some old days will press Shift a and we'll bring in a plane, spin this plain round so I'll wind 90. And then I'm just going to line the old to try and get all this Fish in frame of this. So let's make it a little bit wider and then SY, let's pull it out. Little bit in like so, let's move it across. Then S MY little bit more, something like that. Now let's press that, go into wire-frame. Press the top one, right-click and where you're going to do is sub-divide. Come down to little menu, which is, which can open with this, put it on there, ten. I'm not sure if B then quite adequate to actually stop this. And now we're gonna do is we're going to go in and we're going to actually use our ninth again. So let's zoom in a little bit. I'm going to start from probably roundabout here. And I'm just literally going to go along coating along the actual reference. Now don't worry too much about keeping it right in the line of the reference, or you need to do those, you need to first of all, go round the main part of the fish I'm holding Shift and middle mouse just to move it across. And again, you can hold the Shift button as well when he caught him. And you will actually go towards these lines. So you'll find it much easier if you hold the Ship bone just to cut around this actual Fish. Don't worry as well about how many cook Jamaican or anything like that. The most important thing is just to get it relatively close to this reference. So you can see, I'm just quoting round here. I think I'll make this a little bit rounded. And on these Betsy, you can see that I'm not actually doing the things yet, so I'm just caught him round like so Let's middle mouse shift, move along. And we're just trying to get back around to the start now. So I'm just going to come up now. Now let's do the mouth. I'm just going to middle mouse. I'm also going to zoom in a little bit. I'm going to put it there, put it there, put it there, and then press Enter, and you should end up with something like this. Now, let's come in and actually make these bands. So we'll do again is we'll use the K for knife command. Cope with these bands. Then we'll do the next one. And it's a little bit tedious, I guess during this part, but just try and do it the best she can because the better job you do on this, the easier it's going to be in the long run. So that's that one. And a guess on this one as well. We have to guess where we actually want this. So I'm going to start from here. I'm going to come around here, then background to here. And then we'll do the same on the next one. Like so Alden, the Ship Wheel and again, just to go pass those back down to there. Then let's do this FInal band here. Like so. Then we will come now to this back thin. So I'm going to press K Again. I'm going to start, I think Romney, I'm not going to actually do it exactly to this reference. I think actually will stop on here, something like that. We don't need to make a exactly as I say, I'm going to hold the Ship bond just to come around now, these corners like so, and then come back to something like that. Now let's work on the actual, these fins here and then we'll come to this thing here. So let's come in and we'll start somewhere like here. So I'm just gonna go round the top part of the thin First, like so. Then I'll do the next one. The hardest part, actually splitting this up. So once we've done these, we can start splitting up and then pouring. These are the colors here, actually in with a knife as well. So let's come in and do this one now Holding the Shift button and just going around the corners and then trying to join it by Koch, where I think you should join them. Alright, so the last of the outside thins. Let's come in. So hold the Shift button down and one That's cool, my coat to that. And now let's do this main fin here will come in. And it may tell you a few attempts to do yours. Don't worry about that. When I first start doing this, it took a lot to actually get these right. So something like that. Alright, so now we need to just split them up. So the way I'm gonna do is I'm just going to come in. I'm going to use the seaborne and I'm going to make it really small. And I'm just going to try and grab all of the ones where it can see where I've got the FIM. So you can see I've got some down here, I've got some here. Something like that should be absolutely fine. Now I'm going to do is I'm going to come to the next one now. And again, sometimes it's it's a bit hard to see. You can possibly put it on to solid instead. And you should have an idea of seeing this a little bit easier. So that might be a little bit easier. Just make sure young face leg presses, seaborne, a name should be able to grab them like that as well, make it a little bit smaller and grab these. Now let's come to this ball. We're going to leave this actually on the fish. So we'll come to this bottom now. Like so. And now let's come to this one. Like so. And let's do this one now. So just make sure you actually get them all. View. Click on the wrong one, just middle mouse to go off. Something like that. Alright, so I'm just making sure I've got them all now think. Now going to do is I'm just going to press Shift Enter and just drag that back without proportional editing on lexer. Now we need The main bulk of the actual fish. So same thing again, but this time we're just going to grab them all the fish on this pen here. So let's go in and do that. So say, let's make it a little bit bigger. Let's come in and grab all of this Fish round here. And we're going to actually grab this thin as well. Like so as minus those off all the way up to where they spin starts, making sure you've got them all around the back of this bin here. Like so. And I've missed one lattice you can see, see again. And just make sure you got it all before you do anything. And then what you're going to do, same thing again, Ship date, drag it out. And you can say that I've got them all that together. It doesn't mark and just come in now and get rid of all of these. I'm just going to grab all of these. I'm going to press Delete and it should end up with basically a fish, all the things and this main thin on your Fish like so now we need to do is we actually need to do is mark our seams. So I'm gonna go in, I'm going to mark some Seems like so these basically the bands that are going down. So you can see my Banza here. And they also need to mount the buttons going around there as well. Now, once I've grabbed all those, you can see here that I have got one missing. So just be on the lookout for those. Now. A girl these I'm just going to press Control B for bevel and just pull them out very slightly til the relatively thin, something like that. Why I've done that is because then it's actually going to break it all when we come to actually give this more polygons. So let's come in now and we'll just fix this one as well. Someone's grabbed their scrub this, press the Eckbo and fulfill and just fill that in. I'm going to just hide this cell the way now. So how L high now the way, and you should be left with this. Now I'm going to press three. And you can see now that I've got my Fish back now what I need to do is I need to make these black, so these kind of black parts of my thin. So I'll do is I'll press Save, go back into wire-frame. And now I'm going to do is I'm going to press the cable and when it's come round now, Start Here, hold the Shift button and just make these parts here. Like so. Let's do the same on this one. Bit hard to say. I know you can turn it round so you can look where you need to start and then press three and then you've got a little bit of an easier time with it. You can also as well come to your actual background, come down here. And what you can actually do is turn on transparency and then turn this down and you'll see that you can really turn it down and actually see much better now what you did. Alright, so now we've done, now let's click back on our actual Fish. Let's hide this again, how the way with top three. Now, let's come in with a cable and then we'll go by can finish these fins. So let's also do this one as well. This main thing here, I'll come in around here, like them. So they're not have got two more, which is these Baldwin's, so K like so. And then finally this one, all the way round, like so. Okay, so there we go. So on the next lesson then what we'll do is I'll start turning this into an actual fish. So I hope you enjoyed that and hope you lead law, and I'll see you on the next one. Thanks a lot. Bye bye. 62. Finalizing our Fish Shape Adding Materials: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left it off. So while I've got these grabbed, what I'm going to do is exactly the same as what did on the other part. So I'm just going to press Control. Be pulling out a little bit. You can oldest Ship Bonnie if you need slowed down. It doesn't need to be that thicker or just something where there's actual line. And then we can use, you can press Alt H and bring back your Fish, double-tap the a and it should look something like this. Now we're going to do is we're going to mark some seams. So I'm going to come in and I'm going to come to both of these and just work my way down now. And we're going to mark all of these is seams. And you'll see why we're gonna do that when we finished it. And it's gonna make it very easy than to bring in all different colors of all actual clownfish. So let's grab all of those Right-click moccasin. We're doing this basically before. We extrude this, this out. And the reason for that is when we extrude it out these seams, them will actually go around the side of all Fish and make it a little bit easier as you'll see when we extrude it out. So just make sure you go mole line. So what could have done instead of this is I could've actually mod the Seams when I actually beveled them all, that might've been a little bit easier and a bit quicker. So just in case you want to really speed up that Workflow, probably better off doing it that way. Alright, so let's come to this back. So we don't need to mark any Sharps on here is literally just mocking. I'll seams that you can see this one here. It's got a little point there. Let's see When say that one off. Yes, we can. So that's good. Take that we're now let's work our way round and we'll do the same bit on this as well. So come down, Shift-click in this time on both of those. And then Alt Shift and click. And let's go all the way around here. This one here and making sure that Missoni and if I do miss any, you will know because when we come to press L with the face select, as we've seen, as we've been building along. It will seep through the island if we've not got them actually mock seams properly. So now let's right-click and mock scene, and you should end up with something like this. Now let's come to these ones and we'll do the same thing again. Like so. You can say I've golf face missing there as well, so I will fix that. And the other reason I'm fixing the faces is because when it comes to smooth it off, mock scene actually messes around with a smoothing. So I might as well fix that. So grab this one on this one, F filled up phase. And now let's look what else we've gone. I'm going to hide the fish out the way a minute. And now we'll do the same thing on here. So I need a siem going around here. Like so all the way up here, grab that one on this one, right-click and mock scene. So now let's come to this one. Like so. And I'll mark those seams actually just to make sure I've not missed one. Alright, it looks like I've got them all. I think this is the last one. Look. Right-click monk scene. Yeah, Not ones. The last one. Alright, I'll take bring back the Fish. And now we're going to do is you're going to grab them all. And I'm actually going to triangulate these. So press X3 on your keyboard and you'll be able to coma and just put it in, try like so. And I'll say triangulate faces comma, and then you'll end up with something like this or not now enables those to actually subdivision it in a really nice way. We're gonna do is now we're going to extrude them out. So I'm going to press E, pull them out this way. Relative thickness, something like that. And then you're going to delete this back-end. So I'm going to press delete faces. There we go. Now, let's move these up a little swan. Wednesdays, I'm going to grab everything again. I'm going to come up to where it says vertex, come down. You'll have one that says smoother. Let's bring that in. Let's do that couple of times. So smooth it says, you should end up with something like that. Now let's right-click Shade Smooth. Now let's bring these parts into where we want them. I'm going to grab each one of these fins first. So these are the top and the bottom ones bring them in like so I think also will have to make this Fish a little bit faster as well because these fins are the same thickness as the fish. So let's do the Fish now. So I'm going to grab it, Sx, bring it out, making it a little bit five. But when we bring the mirror in is the main reason why I'm actually doing that. So something like that. And now let's bring in this spin as well. So we're going to bring this out like so. And of course I need to put this in place and then turn it so I'll spin it round. I'm just pull it out a little bit. Like so. Now let's get these lines will propagate. So I'm going to pull this up. I'm gonna pull this one off. Like so, pull this one down and then I'm going to actually probably stretch this one out of it. So pull it out a little bit and then pull it down into play, something like that. Now the next thing I wanna do is we need solvers to get some colors on here and bringing our subdivision surface. So let's come on and put it on auto smooth. And let's bring that smoothness soap like so. And let's bring in a subdivision surface. So over to your Modifier, Modifier subdivision surface. And then we go, That's move that off. Really nice. And now we need to do is bringing those colors that we talked about. Now we're not going to apply this subdivision because as you can see at the moment, I can still actually bring in the different colors with relative ease. And if I apply, this is going to make a little bit harder to actually bring them in. So now let's come over to our Materials panel. Click on that and we're going to click three. I'm going to click new, new, and new. And the first one we'll call Fish orange. Let's one more coal Fish white. And then the final one, I'll call Fish black. Okay, so the Fish orange, Let's put it on their Material node at the moment. Let's just come around here. Come to our Fish orange. Let's put it on a nice orange, something like that. And we'll take down the roughness a little bit just so it's not as Roof. Okay. Now I'll do is basically I'll come and copy this copy Material. And then we'll just paste material onto each of these like we've done many times before. And then I'll come to my Fish wide. Let's pull it out on actually a white color. So I'm going to put it right in the middle. And I'm also then going to bring it down just a little bit like so Fish black. Let's put it in the middle again, then just bring it down. We don't want to completely black. It might look a bit Dr. if it was like that. And now we need to bring in all colors. The way you can do that is you can actually press three and you'll see that you've still got this image here. And then you can press Z and you can come into wireframe. Now you can see through it now because we've actually got all seem Stone Mountain here. If we come back to our Fish, press the Tab button, and then come up to face late. You should now be able to select this one, for instance. And you can see it goes all the way over comb to Fish white now and click Assign, and then just do the same with these. Now you might come to somewhere. You might have missed a scene and you're just basically have to go in and just remarked the scene. So you can grab this actual island. So now let's Fish why assign? I think that's the three bands. And now I need to do is these black bits up here. So I'm going to do is I'm gonna do the top part of the fins first and they spin, can see, I think grab it there. So let's see when grab it from here instead. There we go. This then on this, then finally this Rear thin and they're going to be Fish black assign. Now let's put it back on Materials. And there we go. I press Tab. Now you can see you've already got really, really nice-looking Fish. Now the last thing we need to do is obviously bring this over and actually Mirror it. So we need it more in the center here just to make it a little bit easier for us. So I'm going to do is press Control eight all transforms, and then right-click just for now and set origin to geometry just so I can move it over. Something like that. I'm going to press seven on number pad. And now I'm looking at is the thickness of my Fish. Now I want it quite ball How ear when I start, because then when I bring this in is going to go quite thin. So here you're going to use clipping with the Mirror Modifier and then I can start bringing this outlet. Okay, So that's it for this lesson. And on the next lesson, hopefully I'll get this Fish finished off. Okay everyone, I hope you enjoyed that Sand the next one. Thanks a lot. Bye bye. 63. Fixing Refraction Placing Our Fish: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left off. So now we just need to make sure that all courses in the center, so Shift S, okay, sets world origin, grubby Fish again. And what you're going to do now is you're going to put the orientation into the center. So right-click, Set Origin, origin to 3D cursor, come over to you, little spanner. You'll still have your subdivision modifier on those. Absolutely fine. I'd Modifier and come down to Mirror and you should end up with something like that. Now let's pop clip it on. So just make sure that's on. And now bring this in. The way we're gonna do is we're going to grab just the Fish for now. I'm going to bring it in, rubbed it. Let's come up to edge select, grab all the fish. Let's pull it in. And you can see now while I'm mean, you can say as we get closer, I'm going to put it on object mode as well, that it needs to be a lot faster this Fish, I'm going to press S and X and pull it out a little bit and now join it together. So I just wanted to make sure that old Jones together and then release press the tab bar and you shouldn't know but something like that. Now we need to do the same with these spins. So we'll do this fin and this thin. Let's been on this poem thin. Bring them together. Then look, see if you want to make them any font or not. So I think actually when my bill to Jill slipped and together when oppress top and just have a look. And yeah, actually I think they've gone on. Okay. And now finally, let's main thing, let's grab it, bring it in. Like so. Now what we can do is we can actually come in, we can grab a pot here, bring on proportional editing. And where you can do is now press the G Bowen, bring it in a little bit like so, and actually start to really bring out these Fish mount need to make a little bit bigger. You can see now it's really easy to get some depth D official as well. I'm going to bring this out as well, like so now I want to bring these fins in just a little bit thinner. So I'm going to press G, bring in and just make them a little bit thinner. Make this spin Fish a little bit thinner on the top. Looks kind of Realistic and also the tail. Let's make that a little bit thinner as well. Like so I think on here would be quite far. And I'm looking now down the bottom. So I'm going to come in G, bring it in G, like so. And then this video, I think, would also be a little bit thinner, like so. Remember, we're only viewing this from quite far away. So it doesn't need to be perfect. It's just showing you the technique to actually get this job done. Alright, so I'm really, really happy with that. Now what we need to do is you need to apply both of these subdivisions and the mirror. So I'll do is I'll hover over it. In object mode, control a, control a lot call Materials and you should end up with something like this. Now finally last thing. Obviously you need some eyes, so let's press Shift a Mesh, come up to UV sphere, and let's turn this down to 12. Press tab, turn the next one down to 12, and that should be absolutely fine like that. Let's spin it around. So all why 90 S bring it down. Now let's just get rid of this biochem because we're not going to need it. So Command halfway point in his ear. Alt Shift and click delete faces grabbed the bank. Now delete. That says grab this one. Now let's put it in place and get it the right size. I've got my slope, my proportional, and it's almost take by all three on the number pad S. Let's make it a little bit smaller because it stylized. It needs to be still the eyes needs to be quite big. I recommend you put it somewhere around here. Make the eye pretty big. Then let's put it back in place, like so, something like that. And then what we'll do is we'll just come in and we want to rotate so you can see it needs rotating around a little bit. So I'll rotate it round because we need it kinda pointing forwards, fishes eyes 0.4 is normally come in with the face leg. Click on one of these faces, Sea up the middle parts of it control plus. And then what you're gonna do is you're going to come now and join it to this other patient. It probably will go orange. So let's join it together. Control J. So now I'm going to do it. I'm just going to actually grab the whole of it, come to my Materials panel and give it the white, so Assign. And then I'll come in now. See, grabbed this middle one, control plus Fish, black, Assign, tab, right-click, Shade, Smooth. There we go. Now, last of all, I need to now split this off. So pay selection. Grab it again. We've still got MR. orientation in the middle Spanner add Modifier Mirror. Let's apply that just makes sure that you're happy with it. Double-tap the eight to make sure that yarn thing Can I am. So let's apply it. Control a There we go. Now, finally join it altogether, one small, and then we go, There's our Fish. Now last of all, we need to do is we need to bring in our whole Cabin. We might as well bring all these and actually just put it on, on object mode and then you can drag it down much easier. So I'm just going to bring gold these back-in without the Ocean. What I'm trying to do with the moment is just scale this up. So I'm just going to bring it out. I'm going to make it a little bit smaller. I'm going to come across to where my plane is. I'm going to call this Fish. And I'm also this plane here is actually a click. This on is my Anchor. So I need to call the Anchor like so. And now I've got my fish to be the right size. I mean, there needs to be bigger normally than what they normally would. But what you can do now is if you press shift D, So this will come as Fish to them. What you can do is Command, press the tub ban, grab one side. Proportional editing on all Z. Bring it out quite a lot. And you can see now you can really Bend this Fish round and actually bring it to Line. So all Z, let's spend it the other way. Like so. And then you go, There's your Fish don't. Okay. So that's said that Paul done. Now what we need to do is you need to bring everything back and put these in actual groups. I'm going to bring everything back leg. So while I also wanna do is check to see what those Fish actually like as well. So what I'm going to do is I'm actually going to press zero to go into camera view. I'm going to bring in my Cycles render. I'm going to double-tap the a. Now let it load up double tough day one small. And at the moment, I can't really see a lot. And that is because we've really not got this close enough to the camera. And we probably need to take down how murky this actual Walter is because we actually want to be able to see our Fish. Let's do that now. We're going to put it back on object mode. And I'm going to move this actual Ship because we've named everything. It makes it really easy to move everything. The other thing of course, is I need to also put my Ankit in with this part here. So you can see here this is the boat parts. So let's call them, make sure the chain is in there, which it is wanting to do now is I calmed down my Anchor and I'm gonna put that in my boat Paltz. So that's all that. And now we should be able to move all this together. Let's hide the Ocean now the way, and then what we'll do is we'll just close out for just 1 s. Close that one up as well. And I'll also get rid of this empty. I don't need that anymore. Now let's grab all of these. So Base have all ones do is I want to hide the lights. I want to hide everything from here. So if I get rid of all these, like so now I can do is I can grab all this and then just bring the Ocean back because I will give me a good idea of how everything will look. So let's bring the Ocean Bank like so. Now I can drag this out a little bit more line. So I'm just looking to make sure everything's still there. And now it's a little bit closer. I'm going to press this arrow on the number pad. I'm going to just bring back everything now, like so I'm just going to put it back on Materials just for now, just to get an idea of whites looking like I still feel like it's, it's still not close enough to the camera where it still looks right? Basically, it still looks like it's in the Alcove, so that's exactly what I'm looking for. Let's put it on Cycles now just to make sure. And there we go you can see our anchors moved over here. We still struggling sailfish a little bit, but we can see our fishing line. Now we can say all Fish just T alone. So what we need to do now is finally we'll go to our shading panel like so. Let's press zero on the number pad and we can still play around with this a little bit more. It's just getting it setup so we're happy with it. And then we'll come to our actual Ocean, put it on Cycles, and let's turn this density down. So naught point, naught seven. Let's try that and let's see if our Fish really, really comes out. We still obviously need to move the fish as well. So I can see via zoom in a little bit, zoom in a little bit and see if unsee my Fish now. I can see the Fishing Line. I can just see the and it's Pole this Fish forward a little bit and then it should be absolutely fine there. One thing of course, is we did speak about the Refraction here. Now, I said that over the right-hand side it was the past index. But checking back, actually it's not over there, is actually over here where the IOR is. If you put this on something like 1.2, you'll see now that that actually moves that Chain over. So it's better actually changing it on here on this material. Now I'll do is I'll just come up and we'll actually turn this makes fight down and you'll see your up and then put this on 1.2. You'll see now it's much, much murkier. As you can see. We can still see the Fish where you're pointing out one point, 0.9, something like that. You can see you've got a lot more light through there. And now we can see the Fish much, much clearer. Now, let's finally come up to Material. Just hide our Ocean out the way. And let's bring that Fish little bit closer. So we're going to pull it over here, like so, and we're going to put it near a natural line. I'm going to spin it round with RX. Didn't like that. I'm going to actually use this one because I don't actually want to rotate this when I want this as kind of like the fish I always used to put them all the places. So I'm gonna pull this Fish year, I'm going to rotate it round like so I'm going to grab this Fish in the press N. And what we're gonna do is we're gonna go to the item and we're just going to turn the rotation back to zero and that's going to pull that back. Then that is a template for my Fish. I'm just going to pray over there. I'm going to bring this Fish out a little bit more, something like that. And there's gonna be obviously a boots on here and things like that. Now as I said, The Boat might be a little bit too far this way now when we're still working on it, but let's give it a try. So I'm going to press Alt H, bring back my Ocean, press zero to go into my camera view, like so. And fight will do this on modelling as well and make it a little bit easy. Tab, double-tap the a. Now let's put on our Cycles render and let's have a look quickly at what that looks like. Now, what we're looking for is they refractions fine. Now, when we're looking now to see if we can see all Fish, which we can see all Fish. Now the other thing to remember is that this moment is rendered out very low level. So it's pretty hard to see things on this actual render. What we're gonna do though, over the next few lessons as we start to build this environment up to finishing it, then what we'll do is we'll actually render this out a test render before our final render them. The other thing I wanted to do on this lesson is I just wanted to turn these up a little bit so you can see these are not quite bright enough and the rocks just need bringing out a little bit. We're also going to do that now as well. So we'll go back to our shading panel. I'll put it on Cycles. You're going to click on your rocks. And then now let's bring these up a little bit. So why don't wanna do, is I want to bring this scale, I think would bring this out. Let's see if that's the right way. I think it's back the other way. So let's turn it down and gets just a little bit more anal knows rock, something like that, they're looking much better. Now, let's zoom up to this palm tree. So I'm just going to grab it, press adult bone. What I wanna do is I want to bring down this yellow a little bit more than moment. It's a little bit too light. So let's come in. Let's bring this up just a little bit more. Maybe that's a little bit too much, something like that. And what we're gonna do now is the same on the actual foliage. So this is foliage leaves. Wanna do is I'm going to zoom with those with adult bone. And I'm going to come out and just bring this up and see even get a little bit more lightness. So I'm just moving the Soviet six a little bit dark. I don't really want it that dark. So I'm going to turn this down a little bit like so. Let's go with a different green. Bring you a little bit, Something like that. And we'll also do, is, I'll try now bring this down a little bit so it doesn't look quite so obvious. That looks actually bad. This one here, I think we can just come in and just make this lighter. Like so. And then that looks actually like that. Alright, so just those little details that I just want to fix, just to kind of make it a little bit. If nothing, I've actually gone probably a little bit to fall. So let's comin bring this down. Just a little bit. Not quite as much. Double-tap the a and double tap the a again. Then we go. Alright, so now I'm happy with, now, let's put it back on solid, ready for the next lesson. On the next lesson, what we're gonna do is I'm going to start working on the bill and the hawk. And then finally we'll start working on our Coral. We've got a few extra little details to go, but they should be quite easy to do now because you've increased your skills to such a level that most of the things are modelling now, you should know exactly what bonds press. And finally then what we'll do is we'll create a tentacles that are going around the actual Chain and things like that. Okay, everyone, I hope you enjoyed that. Say on the next one. Thanks a lot. I buy 64. Creating the Procedural Coral Displacement: Welcome back everyone to blend the 2.9 design and render a stylized water scene, and this is where we left it off. So what we need to do now, I'm just going to actually hide my Ocean all the way. So I'm just going to click Knit, press H to hide. And let's sort out this Anchor. For. This Anchor really needs to be in the ground. We might need to pull it back a little bit, but I think actually bringing up this ground a little bit won't really make that much different. So I'm just going to grab it. I'm gonna make show proportional editing news on, and I'm just going to bring it up just a little bit just so it's actually in the Floor. I'm just going to look around and make sure I'm happy with it. So now it's in the Floor. I'm happy with that. Next thing wanna do is we need to put these Fish in an actual collection. So I'll come to my Scene Collection, right-click new collection, come down to the bottom and let's put in Fish like so. And then let's drop both of these Fish into there. Then when we come to actually duplicate these fish out, we can actually make sure they're actually don't in there. Okay, So now what we wanna do is we want to actually create some coral. So one way to do first is I'm going to turn everything off except the lights. Come down, left-click, just hold it down all the way. It should actually hide everything out the way. Now I wanna do is press Shift a and we're going to bring in an actual cube. And then I'm gonna come over to my actual Modifiers tab. I've Modifier, I'm going to bring in a subdivision surface and then turn it off to something like that. Maybe one more, three. And if we look down on the bottom, down here, you can see at 768 triangles at the moment and then going to hover over it and actually apply it. And I'm going to add another Modifier and a subdivision surface. And now we can say that it's up to 3,072 polygons. And if we turn this up, yeah, actually goes up to 12,000, I think 12th thousands, a little high. But you might actually want to bring it up to there to actually meet your Coral. Just stand out a little bit more. The more subdivisions it has, the better the Coral look basically. But I think around 3,000 should be absolutely fine. I'm just going to put mine down one and then my Wednesdays, I'm going to come over to my Materials panel and click New. And let's name it Coral. I'll call this one coral red. Like so. Now I'll do is I'll come over to my shading panel. And you should end up with something like this, which we're quite familiar with by now. And let's press dot one just to zoom in a little bit. Let's move it all. And let's then put on our Cycles Render. And it should be a little like so. Now this material is actually fairly complex. So let's start putting these around somewhere where it can actually work with them. So Material out Pol Pot over here and I'll put my color principled over here. The first thing I'm going to bring in is the displacement. So it shifts a typing this and you'll see one that's called Displacement. Let's bring that in. This Displacement then can plug straight in to the displacement of the material output. Let's click on all Displacement and then what will goes with gum over to the right-hand side. Now, make sure that you're on the material and then come down and you'll see one that says Displacement here and it says Bump only. Just click that down and put Displacement and bomb. So now let's bring in all first setup. So what we'll do is we'll come over here and we'll bring in a texture coordinates. So bring in TeX texture coordinates. Let's put that there and then we'll bring in our First noise texture. It's just print V0 and you'll see one that says VR one texture. Let's plug that there. Then let's bring in a Colorado. So do search, Colour, Hello Ram, and let's put that there. Now let's plug these in. So I'm going to plug the object into the vector. Now let's plug the distance into the FAQ. And then what we'll do is we'll just zoom out a little bit and I'm going to do is I'm going to plug the color into the Base Color. All principled just to give us an idea of what the actual noise texture is going to look like. I'm just going to zoom out a little bit. And now I'm going to do is start messing around with these actual color ramp node. So if I turn this to something like that, and you'll see now what I'm trying to get his little pockets like what you would have an actual Coral. And then we're going to do is I'm going to press Control and bring in another one. And I'm going to turn this one down a little bit like so. And I'm also going to make this one black. So let's bring this down and put it on black light. So and you'll end up with something like that. And let's also put it on B-spline and I'll turn up this middle one to white. Like so just to bring those out a little bit, Let's put this on B spline. And you should end up with something like that. So you can see that what it is we're looking for is to try and bring these parts out. So we're based at the moment, we've got this plugged in to the actual principled. Now, if I plug this color into the height, hopes like so, and you'll see now nothing happens. That's because I've actually plugged it into the volume. So let's plug it into the Displacement, take it out of volume, and there we go. So you can now see that we're starting to really bring this out to kinda get that Coral. Now let's put the mid levels on zero. And then what we'll do is we'll turn down now the scale. So no 0.3. And now you can see it's looking a little bit like Coral already. So now as we work along, you can see that on one hand you can have a look at how it's looking on the normal based on color. So for instance, you can see that the lighter values raise it up much, much higher You can also save a comb-over. Now, what we're talking about this spanner and turn it so you can see now these end up much, much more rounded like coral. And that's the thing you can either go with this on 12,000 polygons, but remember you're going to have a lot of coral or you can turn it down. I think for now actually I'm going to just believe it on this. And then when it come to put it in the scene, then I'll decide whether I want to put this back down on. Now it wants to do is you need to bring in a little bit more bumpiness to this. So the other thing is as well that I didn't say is that if you turn the scale up, you will make many, many more of these. So if you come in and you send me something like 20, you will see now you have a lot more of these. I'm gonna leave this on five for now. And then when I've actually finished this, I'll decide whether he wants to turn this up or not. Now let's bring in another noise. So we're going to press Shift a search and then we're going to put noise, texture, bring that in and let's pull in the object again to the vector. Then let's grab this color ramp, so Shift D, duplicate it, and now let's plug it in from the color this time. So because this is a noise texture, I want to plug that into the fact and you'll see that nothing happens. And the reason nothing's happening, of course, is because we're still plugged in from this color around. So what I tend to do is I tend to grab the noise, this one in this time. So I'm going to grab the color here, plug it into the Base Color. And then I'm also going to grab it from here and plug this into the height. And now I can see what this actual noise is doing at the moment. Now, with my noise actually wanted to make a lot more kind of bumpy. So if I turn the scale on this that's available, that's going to do something like that. Let's turn it. Although even highlights turning up something like 90 and have low that's going to do. And then let's come in now and actually work on our color ramp. So I'm going to do is I really need the, so you can see all these little bits here. That's what I'm kinda looking for, but I actually, I don't want this in here. So I'm going to do is I'm actually going to bring in a new color ramp. So I'm going to press Shift a search Colour ramp. Let's bring in a new one and then we'll plug in the color down to the fact of this, and now plug this into my base color, and then I'll plug this into my height. And you should end up with something like that. You've got a lot of graininess on here now, and it's really going to make it much bump here. Now, we do need a way actually to plug obviously these two together, or we won't be able to use them both together. Of course, I'm also now as well going to come in and just pull these up a little bit, just to kind of bring them in a little bit to make it more spiky and things like that. Now at the moment, this might be Set a little bit too. Highlights, bring it back down again, something like that. Yeah, it's not quite as spiky. So when we've got our actual Coral over the top of this, it should look a lot there. Okay, So I wanna do now is join these together. So I'm gonna do that isn't going to press Shift a and when to do a search, I'm going to bring in a math node and it's going to be a AD to start with. And what I wanna do is I want to plug the color of this color ramp into the top and then the color of this color ramp into the bottom. And this is a great way of actually adding two together. So now if I come in and I put that on there, like so, and then I bring it from here and plug it into the height. Now you'll see it's basically mix them both. And now we need to do is just change where it says Add to. I'm multiplying, which is this one here, not the multiply add. A knight can see that color Coral Effect and you've got the lumpiness underneath it, which is what we're looking for. Now what we're gonna do on the next lesson is we're going to work on this little bit more, giving a little bit of dots and things like that in here because the moment they're a little bit too smooth. So we'll work on, on the next one. Okay, but once I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 65. Procedual Coral Colour: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left it off at these corals. So now let's bring in a nother setup, but we'll use actually these sets up. So I'm going to grab both of these. I'm going to press shift D. I'm going to bring them down to the bottom like so. And the paws, I'm going to plug my texture coordinates. I'm just going to put this down a little bit further. And then I'm going to plug the object once again into the vector of this one down here. Alright, so now let's see if we can actually make those bombs. So what we'll do is we'll turn these scale up to something like 50. And then what I'll do is I'll actually plug this now into the principal, like so. When I plug this one into the actual height, like so now I really need to bring this down a little bit. So let's do that now. So what we'll do is we'll come in and actually click on this middle one. And where you're going to do now is turn down this color. And one that's going to do is this is going to reduce the high on this. So if we come in, turn this down and you'll see Knight makes it much, much smaller. And now you should up when you join all these together, little light, little pockets like this, like little suckers and things on the main bulk of the actual Coral. Now, how do we join all these up and still have some control of how this actually looks? Well, what we'll do is we'll press Shift a and we'll bring in a mix RGB. So bring a mix RGB, let's put that there. And now we need to plug these in, in a way where we can actually put them altogether. So what we'll do is we'll bring in our multiply and we'll plug that into the top. And then we'll come to our bottom, Colorado, and we're going to plug that into the bottom, like so. And now basically we can unplug both of these. So let's unplug this one. Don't need Diane. And we'll unplug this bottom one. We don't need that as well. And now it's the case of plug-in our mix into our base color like so, and then plugging it also into our high of our Displacement. And they should end up with something like that. So you can see now what we've done is we've actually brought in a lot of little kind of soccer's and things like that. And the main bulk is still there. Now, you can't mess around with these, of course. And you can also bring them down, like they say, can bring this down to bring them more out. All Light cell, bring them up a little bit. So you've still got that kind of Coral look on top of all these little sulcus. Now instead of using the fact like this, Let's have a little bit more control over it. So what we'll do is we'll press Shift a and we'll print color again. Like so. So bringing in a cooler RAM, pulled out that and then we're going to pull in the color from the color ramp into the mix and then not then it's gonna give us more control. So you can see now if I zoom in and bring this up, for instance, you can say I can bring those out a lot more. All I can bring this in as well and then bring game, all of that detail like so. We can also put this again on the spline and that will rarely bring it out even more. So this is basically all control over the overall look of our actual Coral. This also helps us as well with the actual color that we're going to bring in now. So let's just first of all, put these in a nice place or that they're all nice and easy to see. And you can see the actual setup I've got here. So I'm going to plug this over here, like so. And that is what you should end up with for now. So now let's look at column. So let's bring in another Veronica texture. So shift a search V0, one texture. Let's bring that in and we'll put the scale on something like 50. Now, again, let's plug in the object to the vector. The other one, noise texture. Now let's bring in another node, and this time we'll bring in a invert. So search. Alright, and the invert, let's put that there. And then what we need to do is now need to bring in another color ramp, press Shift a search color ramp. Let's put out there now let's plug all these in from the distance to the color of the invert, and then from the color to the fact of the colorRamp, and you'll see nothing happened yet. And that is because at the moment, everything is plugged into the Base Color from all these noise textures we're trying to do now is get a setup from our color. Use these noise textures as well to help the color actually go on this. And then finally plug it into the base color of the principal. So let's press Shift a and more gonna do is we're going to bring in a mix, mix RGB, and this enables us then to put in a couple of colors. Now what we need to do is we need to plug our color ramp into the fact of the mix. Now let's give it a couple of colors. So we'll come in and we'll give one red. And I recommend that when you give them the colors, you make them as bright as possible. So I'm going to try red and I'm going to try something like yellow. Now let's unplug the mix. So the principle Base Color, let's unplug that Like so. And let's duplicate this because obviously we need something to plug in. So we've got two colors here, but we can't actually put them on correctly. So we need to actually mix this with something else. And then what we'll do is use that fact from all of these noise textures. So we're going to press shift D, duplicate that over. And then what I'll do is I'll plug-in the color from here into the color one of this mix. Now we'll do is we'll grab the color from this color ramps are the top collar. I'm not the one that actually changes. How are noisy textures go on. So I grabbed this one here and we're going to drag this and plug it into the fact of the actual mix Line. Now, let's put this on blue or something like that, something a little bit different. And what we'll do now is we'll plug this color into our base color of our principled and you should end up with something like this. Now you can see at the moment, now we've not got a lot of red or anything like that. It's just the case now. I've just messing around with these colors. Like so when you can see now if I go in and change this to green is something that is the overall effects. I'm going to put this actually on red line. So now you can see that we can really start changing the colors of this actual Coral to our heart's content. So now basically all it, all the a's is messing around with your coral and deciding which colors you actually want it to be. You also have control over your actual Coral. If you start turning these up, you can see we can bring our red much, much more in, or we can bring our actual green. Actually it should be yellow. I'm going to make it a little bit brighter, so I'm just going to turn it up a little bit and then I'm going to pull this down and actually bring that. Not that way, I think bringing the red like so. And then still end up with that yellow kind of speckled. Look, I'm actually going for something like that. I think looks much, much better. Okay, So this is how we actually create Coral. Now we need to do is we need to actually put this in place. I think just before alleviate here though, we'll bring this up just a little bit, just to get a little bit more variance on our actual coral. So something like that. Yeah, nothing that looks much, much Node Set. Okay, so now we've got it. Let's actually go back to our modelling. So we'll come back to our modelling like so. Then what I'll do is I'm going to create a few of these curls. So I'm going to press the top BAD, come over to my Materials panel. Let's click the plus arrow. Let's make one yellow, the main color yellow, and maybe one purple, something like that. So I'll do is I'll hover over it, click new, new Coral copy Material and we're just going to paste it on each of these. So pays Material, paste Material and that's renamed them. So Coral. And we'll call it yellow. We might change them. Not to be these clauses. It's whatever action what looks best. So I'm also going to call this Coral purple. So now let's get these in place. So first of all, I'm just going to press Shift date and I'm going to just bring that over there. And you will notice that if I make this bigger as well, you can see that the actual Coral Sides has actually become bigger. So just bear that in mind when you're actually pulling this round because you can go in and change these them to be smaller to fit. But I prefer not to really do that. So I'm just going to put this back to that size. And then one we're gonna do is I'm going to put this now just onto Material mode and then I'm going to bring everything back in except the actual Ocean because I actually want to see what I'm doing. So let's bring everything back in. Like so then I'll grab my first well, in fact, I'll grab them both first and just pull them down a little bit like so let's grab this one and let's pull it over. And I'm going to make it a little bit bigger. Like so I think we need in that big. So now if I need them that big, I'm going to grab them both. Want to make sure I'm on individual origins and I'm going to make them both bigger at the same time, something like that. And now I know when to come in and actually change the actual Sides of them. If I'm not happy with it, I can just change them both because they both start out the same size. Now, let's come in and put this against here. Now in each stretch this out. So I'm going to just press Tab. I'm actually just going to put my Materials on because that is easier than actually putting it on our Cycles. And then we'll do is, I'll start to grab this and manipulate it around. Just make sure that you've got proportional editing on, press the G ban. And let's start pulling this around and into place, making this look like cross or make it go around the rocks like so, make it come down here, something like that. Now I just wanna make sure that it's not bent out here. It doesn't really go like that. It should realistically be nice and flat up against the rocks and things like that. Alright, so that's not winning. Let's bring in our next one then. We'll pull this over. And I think we'll start with something like that. Now the good thing is we don't really need to go round here because we really won't be able to see back here. So let's move this one out. So I'm going to press G Hello. Let's pull it over into this kind of place over here. So G, I'm gonna make this one obviously a different color. And I'm going to pull it down a little bit like so. Let's pull it down here. Like so. And let's bring it to something like that. And then I'm just going to pull it back. Latin, not Rock still come out. So something like that. Now, let's come in. As I said, we'll change this color now, so we'll go back to our shading panel and we're still on Cycles. So if I press the dot born now in the actual viewport, I'll take me to it. And now we just need to change this color a little bit. So let's come in and let's put this. So this one was, we call this, what did we call this one? Coral yellow. So let's say click on it, will let, grab it all and just click Assign tab. Now let's change the colors. So let's put this on something like yellow. Let's bring this on to bring it up a little bit. I'm just trying to work out what color would actually like it, something like that. And then I'm going to bring this maybe something like this, something like that. So they quite different in their colors. So yeah, I think I'm actually happy with that. Now one thing we must do when we actually apply our new material is that these materials they won't actually have becomes a Displacement. Scroll down, it will be on, scroll down a little bit further. Bone Palm Leaves. So let's just put that on Displacement and bump. Now you get the same look as what you've got actually with this one. And that's exactly what we're going for. Now. We need to actually have to on the other side. So I'll do now go to modelling. I'll grab this red one. I'm going to press Shift D and just bring it over the other side. Like so I'll put this one in place. So I'm going to pop kind of three in here, maybe something like that. I want to press zero actually on the camera just to look so I can see that with this one, I really needed to come up against it. So let's do that now. So I'm going to grab this part here, press G bone, just pull it up against the and then pull it out. Like so. And I needed coming down as well, something like that. I think as well. I love it poking in like that. The moment there's I'm just going to press shift D, bring this one down. Now let's try and get this one fit in, in this part, and we'll press tab and we'll give it the yellow. So let's grab it all signed, like so. Now let's grab Paul that, bring it in. Try and fit it in place around these rock so it can see here needs to come back thigh bit. Like so. Let's bring it up over here as well. Okay, so something like that. Now let's say, let's have a look what this actually looks like so far. So what we'll do is we'll just bring back corrosion. Press zero on the number pad. And then let's come in, double-tap the a, and let's put on our Cycles Render. And I forgot to put my Ocean on. So open that up, pull back on our Ocean. There we go. And then you can see now how that's really, really standing out. Now when we obviously Finish this before we render it, what we need to do is you need to probably work on our Ocean a little bit more. As I say, as we keep going, we'll keep working on it where you can see now that it's really, really coming together. I'm really got some nice Coral actually under the ocean. So that's it for this lesson. On the next lesson, what we'll do is we'll actually start work on our Boot, will move these Fish around a little bit to make them actually come to the Coral. And then when we've done that, we actually can start work on our chest down here. Okay, everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 66. Finalizing the Coral Fish Starting the Boot: Welcome back everyone to blend the 2.9 design and render a stylized water scene. Now, this where we left it off. Now, I think the one thing that we do need to go before we go into further, it's just scale this up a little bit. It's looking a little bit too big. So let's call them, make sure that you're on call red. I want to press the top just to make sure that I can click on here, make sure you're on call red. Let's come over to our shading and just to turn these up a little bit, just to make them a little bit smaller. So if you come to your top rami texture, which is this one here, so you've got three, it should be the top one, coming a little bit and just turn this up something like 20. Let's try that and see what that looks like. Now you can see that that coal is looking much, much nicer. Think it's possibly a little bit too high. Let's try 15. I just want to get those little silk is actually coming out and yeah, that might actually look better. Now let's come to our other one, which is this one here. I'm just going to try and click on it. If a cone, I will click on this and then come to my coral yellow. And I'll also turn this up is 15. And then what I'll do is I'll come back to modelling and let's see what that actually looks like. It'll load up. Again. Like I said, it's always the same. We can play with this to our heart's content. We're just trying to make it fit the scene and there it looks much, much better now, rarely Realistic and Stylized at the same time. So now let's work on off Fish. So let's come in and we'll put materials on. And then I'll press Tab. Grabbed my Ocean. I didn't want small. And now let's work on these first show. I've got our Fish here. I want to use this one as my template. So I'm going to do is I'm going to press Shift D, shift, D, shift D, and then finally Ship D. So we've got five Fish year thing that should be enough while do is I'll make them now a little bit smaller, some of them, so psalm like this in Psalm about that size and some a little bit smallest, so they're all different sizes. Now on one thing I do want to do is spin all of these full round. So making sure I'm on individual origins, I'm going to press Z on June at just to get them the right way that I want them. And now I'm just going to put them in place. So I'm going to pull one down here. I want them basically looking as though they're actually eating things out of the Coral and things like that. So one over here, maybe one, maybe over here and one a little bit higher ropes, something like that. And then this Fish actually want also trying to nibble at this, whatever is in this Boot. So all said when donate see like so, so a little bit low down, it's going to be a little bit smaller. I'm going to also rotate them around this way. Now. It's just basic playing around with these, just trying to get them in the right position that you want them. I'm just rotate to them, given them some randomness, like so. And then Walgreens, today's I'm going to press all an X and just tilt them now. Open down. So if some of them there'll be, some of them they'll be down like so think about one is actually nice. And this one here, we'll have him also tilting up a little bit. And now finally, let's actually come in. We'll just grab a pall of it like so, make sure you proportional editing, zoom all Z, bring it in, and now just give them some actual bandwidth like real Fish, mental. Let's come into this one. Same thing. So all zed, like so. So I'm on this one. Then finally this one. So let's tilt him the other way. So There we go. Okay. Let's double-tap the a and have a look at that. And yeah, I'm really happy with how those look right now it's time to start work on our actual Bu. So again, like we always do, we're just going to hide all of these parts. Actually, we still need to name these, so we'll actually named me. So I'll right-click new collection come down. Let's call this coral lives. So and then let's have a look. So we've got full piece of coral it, I'm just literally going to call them Coral one and coral two, etcetera. So let's call this one Coral to Coral three. Then finally Coral full. And then let's drop these into the Coral like so. Let's have a look at the Fish now because I did copy them. So I just wanted to make sure they're all in there, which they are LA and they've gone on OL four or five, but that's absolutely fine. I'm not too concerned about that as long as are actually in the fish fish collection. Okay, so let's hide that. Now what we'll do is again, our whole and we'll also do actually, I'm gonna grab my whole and just try and put it down one. So I'm just going to try and put it in there and leave the lights at the top. And then what that means is now I can just come straight to the next one down and just hide them all out the way you like. So then it's just a little bit easier rather than clicking the whole lot and then coming down and doing that Alright, so now let's make sure first of all, that way you are inside useless press three on the number pad, Shift a. And we're going to come down to where it says Image, think Britain and a background image lot we've done before, and we're going to look this time for all Boot reference. So let's double-click, double-click again, and you'll end up with something like this. Now, we just need to create this Boot. It doesn't need to be to Realistic or anything like that. We just don't want something that actually looks like a dirty monkey or some fish swimming around it. So let's come in and we, I suggest that you start with the, the end of the built here, The TO calm. So let's press Shift. What we're going to bring in is an actual UV sphere, and of course it will come in way, way too high. Let's turn it down. So something like 12. Well, let's turn this one down to 12. And I think that would make a great style. Now I'm going to press top and I'm going to actually delete all of these going round here. So you can see going round here, I don't need these. So going around the bottom as well, like so I'm going to press delete faces, and then I'm going to try and press Save and just delete these parts. And you can say, I've grabbed it roundness. So see again, middle mouse, Sea top parts, delete. Now let's leave all this delete faces. Now let's just delete this part going round. And so Alt Shift and click delete faces. Delete that Susan, that is a good start to our actual bill. Now what I'll do is I'll Command Alt, Shift and click. Grabbed all the way around that three on the number pad. I'm just going to pull it out little bit for now. So E and wide, let's just pull it out a little bit like so. Now let's put this into some kind of position without my proportional editing on. So something like this. And as I say, this reference is actually going to be quite hard to work with bolts. I think it's actually good practice to actually do it like this. Now, let's bring this up so we need a gap in here. So I'm gonna grab these three, for instance. And let's grab the three the other side and see if I can actually work with that. So when I press E, Y, pull those back like so now of say I need to join these with together basically. So I'm going to press E and why pulled them out a little bit, S X, bring them in and you can see that they're not coming in. And that is because a need this or medium points. So S XX, bring them in and then E, Y, and then bring them in a little bit more. Now let's join these together. So right-click bridge edge loops. Okay, now let's bring gold. This part here. I don't actually need this part. I actually want to make the actual and Boot. So if I take off these now so you can see a press Alt Shift and click OK, rubbed them all the way around. Let's press C now and just take off these ones that we don't want. A number compressed E and Z and bring them all. And now we can pull this out just a little bit like so. And you can see now we've got the star of our actual Boot. Now before we actually put on the heel and things like that, Let's actually bring this out. So I'm going to press S just to bring it out, something like that. Now I need to solidify it. So I'm going to come in to my little spanner, going to press Control a old transforms. Right-click the origin to Geometry, modify it and we're going to bring in a Solidify like so. Let's put it on to object mode so I can see what I'm doing. Let's shapes move as well. And now let's pop even thickness on. And we're just going to bring it in this time, something like that. Alright, so that's looking pretty nice already. Know, obviously I need a middle bit as well. So can I use this middle bit from here? We could try. So let's bring this pop in and see if we can actually use it. So you can say I've grabbed it there, I'm going to press E. And you can see it's getting thick as it comes up again, again, again. And obviously I need to now just put them more in the census. I'm going to press one, pull them over now trying to get them more in the middle. So Alt Shift and click, Alt Shift and click. Like so. Now let's just pull them out a little bit more. Grab all these like so, and let's pull them up as well. Alright, so, yeah, that's looking really nice. The one thing is, I need to round these off a little bit. Now I think I'll probably round these off a bit when I've actually applied my Modifier. And I think at this stage I can actually apply it so well do now is I'll come over, press the Tab button, hover over, Solidify press Control a, let's apply that. And now let's come to these parts here. Press Control B, and let's just round these off just a little bit. So I'm going to turn this then up to two, something like that. Yeah, that's looking quite nice. I just need to bend them in a thinker as well on here. I'm going to press control law. Now it needs to bend them in a little bit on here, but you can see if I press Control or that I can't actually put an edge loop going all the way around. So that's not very helpful. So I'll do instead is I'll just come in and I'll press Alt, Shift and click and try and grab them going all the way around. If that doesn't work, just press Control and go all the way round. Control, control, click, come back round to the front. Now what you can do as you compress a three on the number pad, and let's bring in again our bisects. So I'm just going straight down here, like so. And then one way to do is I'm going to do the same thing again, someone's click on one of them. Click Control, going all the way around. Now, I'm just going to bring him one more edge loop using my bisects, so something like that. Now let's come to the bottom up here. I think I've got actually that actually Alma and I don't want those on. So I'm just going to press C middle mouse, like so. Three on the number pad. Mesh bisect. Let's bring in 1 mol, like soap. Now, let's bring these back a little bit. Bring them back. On. There we go. Alright, so they Low, much, much nicer. Now the one thing was well done not be with is a need to actually bring out these a little bit. So let's pop proportional editing on S and X, That's bring them out. So let's pull this out. Like so. Alright, so that's looking pretty stylized. I think I need to bring this back as well a little bit, so we'll do that as well. So just grind trying to grab both of these. Now, let's rotate it. So let's see from rotates and see if that'll get us look. We're actually going full and then pull it back on. Yeah, that's much, much nicer. Okay, so what we'll do in the next lesson, age will start to bring game all heels of our bill. And we might even put in some actual holes using the Boolean. So I hope see you on the next one. I hope you're enjoying it. Thanks, everyone. Bye-bye. 67. Boolean Finishing Boot Modeling: Welcome back everyone to blend the 2.9 design and Rendering Stylized Water Scenes. So what we're gonna do now is I'm going to call them to the bottom of the bill. I'm actually just going to mark a sharp on here. So right-click and come down a mock shop. And I think we need auto smooth on. So let's bring the arm, Let's pull this up then, just to get that actually to be Sharps, are there we go, something like that. Announced press Tab. Mobile days will come down now and grabbed the outside of here. So I'm going to Command Alt, Shift and click. I want to press E. I'm going to pull this in just a slight bit. So S without proportional editing on S, bring it in, and then B, Z. Let's pull it out now. So S like so and then pull it down just to get that bottom part of our actual boom. Now we do know that on Boot normally, this part here normally comes down, see over there, over here. So let's do that now. So controller, and you can see again, I do have a problem in that. I can't actually pull a loop in here. So, um, there's, I'm just going to grab the whole thing. I'm going to press three. I'm going to come in now with Mesh bisect. Let's put it down where we want it. So I think the heel of the Boot should be around here. So that's why I've pulled up there. If you're not happy with it, of course, you can move this backwards and forwards now. So you can move it like, so. I think something like that will be absolutely fine. Now let's come in. And I'll grab control block, grab all of these round here, and then press E and Z and pull those down like so. Now obviously I need to fill them in. The easiest way to build them in is just to take off the back part of this. So you've got them grabbed all the way here and all the way here, right-click and you're going to bridge edge loop. So come up for a general. Oops, there we go. Now let's fill these two ends. So just simply going to press F. Then I'm going to press Alt, Shift and click. And then when you use mill the bone, which is Alt-A, and that'll fill those in for you. Now, we need to actually bring this up a little bit and pull this down because at the moment it's looking a bit too straight. So we'll grab, this will pop proportional editing on WordPress three on the number pad. And let's bring it up like so. Now you can see we're getting a nice bend in that in a moment. There isn't going to grab the top of their three again. And I'm going to bring this down a little bit, bring it out, and just get it to be a little bit more of a nice shape. Like so and a thing called so I just need to bring out the top of the Boot. Now. I'm going to grab this, zooming it in little bit and just bring it all Light. So, alright, I think I'm actually happy with how that looks. I do need to show up on here as you can see. So let's bring in a sharp. So I'll press Control H because I'm in Face Select, come down, Mach, shop. There we go. Now, let's put some holes in here for leases as a very easy technique to do that. So what we'll do is we'll press Control a or transforms, right-click. So origin to geometry and then shift a must come to Mesh. And what we're going to bring in is a cylinder. So bringing a cylinder, Let's put it on as well. We don't need it the high and I want to press all. And why 90? Spin it round. So let's pull it up. And what do we need to make sure is that I don't want to go into the tongue of the actual bill. Let's press S and X and pull it out, something like that. You just want to decide how big you want your actual whole thing. Little bit smaller. So S XX, pull it out, pull it up a little bit so we can see that the holes are going to be here. Ship Date, bring it down. So a lot, one just a little bit back like so and then maybe one more. So Shift D, bring it down again, just make sure that your tongue is not in the way. So I'm going to pull it out a little bit, pull it back, just making sure that tone is not in the way at all. That's the thing that I'm concerned about now. I'm just making sure you can see the tongue is in the way that I'm gonna pull it back a little bit. I'm not very happy without that actually is. So for now, what I'm gonna do is I'm going to grab my blue again. I'm going to grab this end and I'm going to just pull it out. So I'm going to pull it just this Taung Child pull it out a little bit. For now. I'm going to come in and grab this and pull it out. And I can pull it back. Once abdominis Pole. Let's come in now. Grab this and put it more into line. And I'm just going to go round the back, just trying to say again, I've still got my tongue a little bit in that. So let's bring this out as well. Like we really don't want my end. Like so the mommy bear actually to actually split the tongue golf, that Kodak should work there. Well, I'm going to try it like this because it needs to be a bit rough and ready anyway. Now let's join all these up. So Control J, like so. And let's right-click Shade Smooth. Put an auto smooth, you should end up with something like that. Now that's a good way of actually starting to actually put our little holes in for our laces. So now let's come to our actual Boot. And what we'll do is we'll come over to our Modifiers tab, I'd Modifier and come down and you've got one that says boolean Now we just need a actual objects. So click your little pipette, come over and click on your object and you'll notice this happens. And then what you need to do is now you just need to apply this. So if I apply this over and over it control a command grabbed my Booleans that we use, delete them all the way, and now you'll see we've got some holes in our actual Boot. Now let's come back to the do and let's look at kinda making those look a little bit better. So I think what we'll do is now we'll just mark all Sharps. So let's come in mobile do is we'll grab them, going all the way around here and just try and grab them again, because we're not actually bringing in textures and we're not actually going to be unwrapping them or anything like that. I'm just actually going to leave the face is like this. Now the face is, as you can see, they all Ngons and you shouldn't really be having Ngons. Saw recommend if you've taken this out into another games engine or something like that, that you really work on actually making these. So they're triangles or quads and things like, let's right-click now come down malt shop and you can see now they look much, much nicer. Now we'll show you the easiest way to do that. So if I grab both of these, for instance, and we're going to press F3 and triangulate faces. Now you'll see how much bad that actually looks. So let's come in and we'll do the other two as well. So F3 triangulate faces, and there we go. So they look much, much better as you can see. Now. I need to come round and actually do the same thing on the inside of both of these. So let's do that now. I'm going to come in, grab this one control click and try and get going all the way around. So Shift-click, control Plank going all the way around. Like so. Click Control, click, like so. Now let's do the other side. Okay? Then this warm. And then finally on the outside. Then we'll just triangulate the faces as we talked about, just to make them look a little bit back. Again, it's in the ocean, so we're not going to be able to see this that, well, it's rarely a rural for alpha Boot that we've created here. Just to give us the impression. All the boots or right-click moksha Planks, so on. Now finally, let's command will grab all of these faces. We're going to F3 and triangulate faces like so. Alright, so that looks nice. And now let's come around to this side on we can see we've got some issues. Ear can see actually we've got a lot of them Sharps if some reason I didn't mean to do that. So what I'll do is I'll just come in with the Sea, grab these ones here, going round. And hopefully I should be able to just take these off. So I'm going to now right-click. I'm going to now press Control a and come down and clear shop. And you can see, I've got rid of some of those Sharps and amino, little bit of a mess of it. So let me come in now and just start the Sharps by Ken. All the way up to there. This one. Like so. And let's right-click on mock shop. Alright, so they look much, much nicer. Now, let's fix this tone quickly. So just come in and I'll actually put this on connected only. So now I should, let's see if I can, yeah, I can just move it like this now because it's obviously not connected to that. I just wanted to bring this back a little bit. Like so let's bring it back in. Mckinsey, we're not grabbing the actual back. And that's because it's obviously not connected, so that's not actually working. So let's just turn it off. Now we should build to pull it back a little bit. And I'm going to just pull these back a little bit more as well, something like that. Okay, so I'm really happy with that. Now, let's bring in a couple of materials just to finish this off. But what we'll do is we'll do that on the next lesson because this lessons gone on there already. Okay, everyone, I hope see you on the next one. Thanks. Bye. Bye. 68. Creating the Hook Boot Materials: Welcome back everyone to blend the 2.9 design and Brenda stylized what's seen on this where we left off. So we have this boot. Let's bring in a couple of materials. So I'm going to press plus twice, three times actually. So we'll come to the first one, nu, nu, nu, and we'll call this leather boots. Call this bottom. In fact, I'm going to call it boot bottom. Actually it makes more sense to put the Buton first. So I'll call this boots leather, like so. And I'll call this boots metal like so. Alright, let's put this on their cycles and let's bring in all materials now. So the boot lever will make it a kind of brownie color. So we'll do this. So what kind of orangey type brownie color, something like that. Let's say turn down the actual roughness of this or turn it up a little bit, making it less shiny. Alright, that's looking nice already. Now let's do the bottom of the boot now. So I'm just going to press top. I'm just going to put this on materials just so I can grab them both. And then we'll check it out once we've done that. So I'm going to come in first. So I'm going to press Alt, Shift and click Control Plus. Just need to grab the bottom parts of it. And let's come into bu button. And we'll put this on black. And we'll click Assign, like so. And I needed a little bit more black than that, I think so. Let's bring it down, something like that and let's turn up the roughness just so it's not quite as shiny. And now let's do these little pockets in here. So what we're gonna do on these, I'm going to press Alt Shift and click grab each one going round on the other side as well, like so. And then press E and S, bring them in and to S bring them in. And you can see I've got fortunately that sense. So S bring them in, can see they're all coming together as well, which I don't want. Let's put it on individual origins. S, bring them in and then S and X and pull them out like so. Then you're going to press Control plus and then you should be able to grab them all like so. I'm just looking to make sure that some of them I've not actually grab, so I need to go back and actually understand why I've not grabbed them all. Let's come in now and grab all of these. So Alt, Shift and click, just make sure you grab them all. Like so. And that will start again. So this bottom one as well. So Alt, Shift and click. Make sure I'm grabbing them all like so. I'm going to press E to bring them in a look now, neck when a much nicer now, and then S and X. Let's pull them out, like so. Now let's press Control plus and nutshell grabbed them all for you. And now let's give them a metallic color. So I'm going to command click Assign, bring up metallic, like so. I'm going to press Tab. And I'm going to bring this down a little 69. Creating the Mask Utilising the Emission Node: Welcome back everyone to blend the 2.9 designed and render a stylized water scene. Now before we carry on, Let's just hide our Ocean now the way and what we'll do is we'll just fix these parts here and actually name them and put them in whether needs to go. So this is the Fishing hook. So let's just grab it and what we'll do is we'll pull it up into the Fishing Pole and post. We'll put it in there for now. And I'm hoping that the Fishing Line, let's click on there. And the Fishing Line shouldn't be in here as well, which is there's a fishing line. So now let's come to our Bu and we might as well put that in as well. So let's call this Boot. Let's again drag this. So we're going to put it in the Fishing Pole and post as well. And now we'll do is we'll look at this empty in a thing. If I press three on the number pad, that should be yes, it is. So that is I can grab it. There we go. That is our reference. So I might as well delete that now. Alright, so everything's named now, everything's nice and tidy. Let's now start on telling a little bit more of the story. So we're going to have a mom with the spirit. Well, not so much of a man, it's just going to be a Mask and a sphere over here. We're going to have some coconuts that we're going to put in and find them. We're going to have a treasure chest with Gold spelling out. So let's come to this palm will just pour a couple of the coconuts down here. Well, there's all press Shift S Curves to selected and then shift a moral bring in is a UV sphere. Now, let's bring down these. We don't need them nowhere near the site, so we'll put it on something like 12. And I'll also put this on 12 as well. I'll right-click Shade Smooth. And I'm just going to move out. Now we're going to make it much, much smaller, so S and then pull it out. And there we go. It's as simple as that. So now a bit smaller I think so we'll pull out there, put it in the sand like so. Let's make another one. So Ship date. Then bring it up and then I'll spinning on its side. So why all something like that? Now all wanna do is I just wanted to give these a color. I'm just going to join them both together. So Control J will call them coconuts, cannot and will put those in the tree. And then what we'll do is now let's give them a color. So plus new, recall it coke, Coca notes. Like so. Then the Base Color, I'll give it a brownie color, something like that, maybe not that brown. And then let's bring the roughness just so they're nowhere near as shiny. I'm gonna, I'm gonna do a lot with these, just as simple coconut, something like that. Alright, so now let's come to our Mask. So one Wednesdays to do the Mask, I'm going to actually hide everything. There'll be a little bit easier. So what we'll do is what we've done before. We'll just come down, grab all these, all the way down like so. Now press Shift S cursor to world origin and then Shift a. And what will bring in is, we'll bring it in a plane, I think to start with, that'll make it quite easy. Let's rotate it around. So all why 90? Something like that. Now let's give us some edge loops to actually work with. So while those I'll press Tab control law. Let's try five, maybe something like that. Let's press three on the number pad, just soy straight on adults on the number pad. Then just to zoom in. And now let's bring these in. So I'm going to grab the bottom one. I'm going to proportional editing on. I'm going to press S and Y and just start bringing those in just to kinda make my mask, take it off, SY, bring it in even more like so. And now I think I need to make it much thinner, so I'm gonna grab it all. That's why bring it in. So now I need maybe three, something like that. So let's try controller. Let's try three, left-click, right-click. And now I should be able to pull these back. So I'm going to do is I'm going to grab each side of these portional edits and on again. And I'm going to pull them back like so let's bring it up and see if I can actually think, instead of pulling them back, what we'll do is we'll just press G and next and then try pulling them back. And you can see it's not quite getting the look I'm actually going for. So what I'll do is I'll take proportional editing. All. I'm gonna come down now, alt, Shift and click on each side. I'm just going to pull them back like so without that arm announced in to get somewhere so I can pull them back a little bit further. Now let's grab these two, pull them back like so. And then finally let's grab both of these. And then we'll press S, Y and just pull them in a little bit and we need it on medium points, not planning correctly. So SRY, like so and let's have a look at that. Yeah, I think I'm very happy with how that looks. Now, what we need is we need first of all, some eyes. So we'll just make some eyes pretty quickly. So we'll press three, will come over alt Shift and click Delete the Sides. So delete faces. Grab this face, delete faces, come to this side, press the Tab button, make sure that your orientation is in the center. So right-click, so origin to 3D cursor Control lay, all transforms come up with T Modifier, add Modifier, and we're going to bring in a mirror, want it, I think, on the Wildlife. So now let's pull in our eyes. So what we'll do is we'll just use a simple knife tool. So I'll do is I'll press K. Like so like so like so something like that. And the square markings, let's pull those on now. So again K and let's bring them out to something like this. Like so Mike, so that's one and let's do the next one now. That doesn't have to be anything at all exact. So one can see that it's tried to call over there. We don't quite want that, so let's put it back, something like that. There we go. Now the last thing we need to do now is actually give this some actual solid newness. And also we need to give it some colors as well. So let's come in first and we'll do the colors first. So what I'll do is I'll come over to my Materials tab. I'm going to give it three. I'm going to call it Mask main eyes. Let's call this one first. So Mask main course, you're free to use the other materials if you want to do that. I'm going to keep them separate. So Mask eyes, Mask markings, like so. Now let's come to the mass mean, make sure that you Material buttons on. And what we'll do is we'll come in and bring it in materials. So let's bring in a nice darkish Materials, something like that. And we'll change the roughness up a little bit just so it's not shiny and I'll also Shade Smooth. So I'm going to press Tab Shade smooth, like so. Alright, so now let's come in to the eyes. I'm just going to grab these are come to the eyes. A mall do is I'll put this on yellow, something like that. I'll click Assign that we go and you can see I've missed a phase out there, so let's assign that one as well. And now let's make it a little bit brighter. I'm going to click on my skies. Little bit bright at something like that. Still no sign. There we go. Now, let's also turn the roughness up a little bit on these. Now you could have it where you use an Emission on these just to make them glow bit. I'm not mine be a good idea to do that. We might do that in just 1 min. So now what we'll do is we'll also come to the markings. I'll come down, I'll grab all these. Like so I'm going to put these on a nice red color. So let's assign them. Read like so. And let's turn the roughness up a little bit, something like that. Okay, So I think I'm happy with those. The one thing I do, one is obviously these eyes. Let's try changing the principled up to a Emission, like so. Then what we'll do is we'll just change the Emission color to yellow. And then you can also change the strength over here. So let's try something like three. Let's try that. And then let's just quickly put it on to RM Cycles Render. There you go. Now you can see they're really glowing now. The high uterine itself, obviously the brow beat. So if you put this on something like 20, you'll see that they really, really glow now. They're really actually stand out. A time that will stand out a little bit actually the back because we've got a lot of sunshine in here. So I'm gonna do is I'm not going to have them quite as high. I want to put them on something like five just so we've still got that yellow color just there as you can see now. Alright, let's put this back on Material. And what we'll do now is we'll just use our Solidify. So I've Modifier, I might as well actually apply the mirror as well. So I'll hover over it, control a, and then I'll press Control a or transforms. And now bringing all Solidify, let's pull it out a little bit about way, the other way, something like that. Then what we'll do is we'll make sure that even thickness is on. I'm just making sure I'm happy with it. And then we're going to do is I'm going to press Control lay over here. Like so now I'm just going to bring in my shop. So I'm going to come in, bring in my Sharps all the way around it. Like so. On the front and back light with domain E times before now we should know exactly what we're doing with these. The way down. Again to save on time, you might want to actually put these in before you actually Solidify it, that will be a bit quicker. And let's also mark Sharps on our corners. Like soaps or right-click and come down and mock Sharps Tab, Let's right-click, Shade Smooth. Also smooth. There we go. Now, do we need to turn it up? I don't think I want this ridge down here. You might want yours down there. So think I'll turn up my AutoSum a bit like so. Let's see how to turn it up, something like that. And I think I'm happy with that. Alright, so what we'll do now on the next lesson is we will finish this mask off. We'll put it where it needs to go, will give them a little Spear, and then we'll actually start on our Treasure Chest. Okay, everyone, I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 70. Finishing the Mask Spear: Welcome back everyone to blend the 2.9 design and render a stylized water scene. Now, let's bring this where we need to bring it. So what I'm going to do is I'm going to actually just bring in my trees and then I can actually have a good idea where it needs to put this. So I'm going to press a three on the number pad, want to bring it up now, I'm going to put it in place. And this is going to tell basically a story of you being watched base as the guy is Fishing alone. So now let's make it a little bit smaller. Let's rotate it on the X, I think. Yep, they Excellent. So, um, let's now put it behind the trick so I'm going to press one. I want to pull it right back. I'm going to press dots. Now I'm going to try Pull it just so it's peaking out like so. Now let's make the actual sphere. So I've still got my cursor at the center. Three again. Let's bring in a cube. So Mesh. I'm just looking to make sure yeah, I'm in object mode, so that's gold, so shift day Mesh, and let's bring in a cube. And let's shrink it down. And let's make it a bit thinner on this XES. So ESX make it a bit like so. Now let's make it the shape of a sphere. So control law, let's try five, something like that. And now what we'll do is we'll grab the top portion, let it sit on S Y, Bring it in. There we go to samplers that to make that sphere. Now let's pull this part down. So I'm going to press, take that off, press E, S, Y, bring it in. There we go. Now the other thing is I wanted to go thinner as it gets the top. So again, I'm going to grab this proportional editing on, and this time I'm going to press S and X and just bring it in. Like so, just to give it to a point. Now we need a bomb on the sphere. So while I've got all cursor in the center and while we're in edit mode, will bring in a cylinder. Let's bring this all the way down, something like 12. I'm not shrink it down without proportionate xenon, like so. And then essence said, let's bring you want it. So I just want it peeking in there. S. So essence add something like that. And there we go. That looks actually quite nice. Now, one thing is let's actually give this song bevels. So Control B when we come to it. So these sides like so control be, bevel it off a little bit like so. Okay, so I'm happy with that. Now, right-click Shade Smooth. Can say we do have an issue with this at the top. So let's also smooth and that's going to get rid of that. And I can see here that the problem is, you can see these overlapping here. Now we don't really want that, so we can actually stop that up. And then we're going to press Alt Shift and click to go all the way round delete faces. And let's delete this face as well. So delete faces and let's grab these and just remake it then. I'm not sure be absolutely fine. So Alt Shift, click E, pull it all, and then pull it in, and then alter just a proton on there. And let's press dot. There we go. Alright, so now let's give it some materials. We can give it the coconut material for this one. So I'll come into this will come into our Materials panel plus twice. First one. So let's put it in coconut. So there we go. And then this one here, we'll give it one of the metals. So if I scroll down, I'm looking for, Let's try metal white. Let's click assign. Something like that looks absolutely fine. Now the one thing I do need to check is this here. You can see that my cylinder's not rounded, so I'm going to shade smooth. I'm going to look at rounding this off a little bit more like so. I'm looking at round in all of the often not sure whether it wants to all rounded off. So again, what we'll do is we'll just come in and bring in some Sharps instead. Like so, right-click mugshot. There we go. Alright, so I'm happy with that as well. Now, let's put this in place. I'm going to just press three on the number pad. I'm going to bring it up to where it needs to go. Can see it's way too big. Let's make it smaller. Like so. And you can see it went in there and we know the reason for that it's control lay, all transforms. Right-click, Set Origin to geometry. Now let's make it a little bit smaller, Something like that. I'm going to press seven on the number pod, bring it all the way back to near my Mask dot on the number pad now and now I'm going to pull it in its place right next to him. Like so and then rotate it round. So all X. Let's rotate it like so. And then I'll also rotate it this way as well. So all why like so now let's double-tap be. I'm going to save it out as well. So File Save. Then what I'm going to do is I'm going to bring everything back now. Let these things load up. Like so. The one thing I've not got as my Ocean in, so let's bring that in. It should look like that. So now I'm going to press zero on the number pad. I'm looking for my coconuts now. I'm looking for my mask like this. And I think what I need is just another Little bush or something like that. So I went to grab this box. I'm going to press shift D. I'm going to drag it over to here. And you can see it's actually behind that. So I need to put it in from sublevel impressed dots. I'm going to make it a lot smaller when I pull it up as well. Let's make it smaller. Let's just put it now in front of our little guy here. Like so. Let's press zero on the normal pattern, double-tap the a, and let's have a look now. It's getting better. It's still needs to come up a little bit, so we'll come in Tab portional editing on. Now let's grab it. So G. So now let's try and just pull it around. Just so it looks a little bit bad. Doll kind of fighting with this at the moment. And I need to make sure I'm pulling all this out. Like so I want it like this. Like so. Yeah, nothing that looks good. Just pull it as well this way, maybe. And then press zero on the number pad Tab, double-tap the I, zoom out yet and that looks nice. Now the one thing I haven't done on my mask, if I come open up, press the Enter button. On a come to my item. I just pulled the rotation bucket zero. I'm just going to pull him out a little bit because the one thing I forgot to do is actually put a top on this Mask. I'm going to also isolate two out while I'm actually on Material mode. And now let's put a top one here. So what we'll do is we'll press Shift a and we'll bring in, I think we'll bring in another cube again. And that's gonna be over there. So that's not where you want it. So I'll do is press Shift S because it's a selected, grab my cube Shift S, selections, cursor, key, pulse sat, there we go. Now gotten the right place and then bring you want to make it much, much thinner. So S and X. Then S and why it's make it thinner. And let's also make it thinner at the top. We'll grab it and we'll press Control or let's try to. I think that should be enough. And then let's just grab the top and make it a little bit thinner. So S and Y ringing. We go and now let's just rotate it around a little bit. So all, why? Like so. Alright, so we don't want some to even, we do want some a bit thinner though, so let's grab them. So S and why bring it in like so and let's pull it back now. The making them a little bit of muscle that as you can see, because the thing is I just wanted to rotate. If I wanted to rotate a little bit better than that. So let's try that again. So all why? Let's rotate it, but we'll pull it out. That's better Now you can see that's much better. And I'm going to rotate it again on that. Like so now I'm going to try and pull it out little bit. There we go. That looks much, much nicer, more good. Now let's grab the whole thing. Pull it back into place, squeeze it together. So S MY just a little bit thinner. There we go. Alright, so now when you want some more coming out and I want this one to obviously be a bit taller than the others. So something like that. The migrants vision when I press shift D, I'm going to then rotate it around. So all put it in place, make it Vanessa said, Well, then let's do another one. So Shift D, bring it out, rotate it round so our zed, like so and make it a little bit smaller. And then finally this last one, so Ship date, like so. Let's put this one in place. So it's going to go around that I'm going to rotate it. So let's make it a little bit smaller. Like so. Maybe a tiny bit more. All right. So yeah, I'm happy with that. Now. I just wanted to make these fluff these out a little bit. So I'll grab the middle WAN port proportional editing on, make sure that I've got connected only. And then what I'll do is I'll just move this around a little bit, something like that. Rotate it so all white, like so and then G. And then I'm going to grab the next one, G, make it a little bit smaller. Like so. Unlike so, there we go. Now, let's make this white as well, so we'll call them now. And before we join this together, actually I need to split these up. So L, just the three P selection controlling old transforms. Now we can see that my cursor is here. So we might as well press right-click set origin to 3D cursor. Now let's come to our Modifiers tab. I've Modifier and we'll come to Mirror, mirror them over the other side, take off the X, something like that. And now let's press Control a. And now finally let's join it altogether. So Control J. And now let's give these a different color. So we'll just grab all these Materials and we'll click plus new. And we'll call it Mask white. Like so. The Base Color can stay the same. Let's just bring up the roughness. And let's also his sin. We go. Now, let's put this back in place now so we'll isolate it with a question mark and now zoom out a little bit and let's put it back in place like so. I'm just going to rotate it around. So all X. There we go. Now it's sticking out a little bit too much. Near that smear, something like that, I think. Right? Let's see, Actually, well that looks like from the camera point of view, let's zoom out. Double-tap the a. And yeah, that looks much, much nicer now. Alright, so I'm happy with that. So now on the next one, what we need to do is we need to start work on our chest. Wants the Chest don't then we can start work on our Kraken tentacles coming up to the chain and things like that. And then we've nearly finished. So I hope you enjoyed it. I don't see on the next one. Thanks, everyone. Bye-bye. 71. Modeling the Treasure Chest: Welcome back everyone to blend the 2.9 design and render a stylized water scene. Now, we want to actually make all chest. We now want to make it very simple chest. So let's hide a walter out. The way. I think what I'll do is I'll just shift right-click and I'll just pull my cursor here. I should be absolutely fine. And then what we'll do is we'll press Shift a and I'll come in. I'm going to bring gain a cube. I'm going to look now whereabouts I wanted, so first of all, I want the signs of the chair, so S and Y, Let's bring it out. So something like that size. What we want to do is we want to spin it round eventually, but looking at the size of the boat here. So we want to talk Chest to be the gold to be something like it turnaround the top, maybe it's beyond here and the gold spilling out here right next to the actual change. So then what we're gonna do is after Kraken and actually pretending to actually protect it. So let's make it a little bit bigger. We don't want any quite so big. Let's pull it up. And then once we're happy with the size, which I think I am something that size is a fair bigger chest. And then what we'll do is we'll press question mark just to isolate it out. Now, let's bring in our pause for all chest as well. I'll do is first of all, I'll press Tab Shift S cursor to select it and that's going to make it much easier. Now I'll do is I'll press Shift a and I'll bring in a cube. Like so. I've still got proportional and it's nonsense. Turn that off. Let's bring it. Make it smaller. Seven on the number pad to go over the top. And I'm going to look how big I actually want these parts of the Chest to be. So I think Something something like that, I think will be absolutely fine. Let's grab the top now with faith select polytope, like so. And yeah, I think that'll be, that'll be good. Now let's put this now on the other side as well. So what we'll do is we'll grab this press P selection, top, grab it again. Control lay, all transforms. Right-click the origin to 3D cursor out of Modifier. Let's bring in a mirror and let's put it on the X and Y. And there you go. That's made that easy. Now, I'm not going to actually going to apply this yet. I don't see the point in doing that. I might want to change these a little bit. So what I'll do now we'll come back to my main Chest and I'm going to delete the top and the bond. You never going to see the bottom. So you might as well delete them. Then what we'll do is we'll just split these off. Now, I want to split these off with why? Press G just to make sure they are. And then let's press Control or maybe I should have put my edge loop seen before splitting them, but never mind. So let's put them in now we'll do it the hard way. And on the two sides. So control or kind of grabbed this. There we go. Three, left-click, right-click. And then control law. Let's see if can grab it. If you can't, you might just have to hide. There we go. Three. We're about to put. So let's try three. Note that's not going to do it. So let's go back controller. There we go, three left-click, right-click. Now let's split these up, so we'll grab each two of these. They're already split up from the others, of course, so it just makes it a little bit easier. Let's press Y, G just to make sure they are. There we go. Now what I also wanted to do is just make sure that these are split, which they should be, and now they're all split off. So let's play a press a or press Control a will mark our Sharps or press Control a. And we'll, Markov's Seems like so. Then what we'll do is now will bring in the Solidify top, control a, all transforms, modify it and let's bring in Solidify like so. I want to put it on object mode just to make it a little bit easier so you can see what I'm doing. I want to now bring them. I think we'll bring them out like so and then I'll make them smaller. So let's press S. You can see that coming in at a weird angle, right-click. So origins geometry S bring them in a little bit. Like so. In essence, add, let's pull them up as well, something like that. I think absolutely fine. All day thick enough. I think they still need to be thicker, so I'm going to bring them bring them out even further. S again, bring them in. And I just don't want to go to fall weather going past that point. So S said, I'm just trying to give this Chest some thickness. It's gonna be a fairly chunky chest. Now, I'm going to bring these in a little bit more, I think. So. Let's pull it in. Like sir. Alright, so I'm happy with that. So I'll do now is I'll come over and I'll apply this in object mode. So control a top. And now let's come in and grab each of these. On each of these I'm just shift clicking each one. So I'm just gonna then come up to my little links, put it on individual origins, press one on the number part and then S and Z Bring them down like so. Now let's drop these down a little bit. So I'm just going to pull them down just a tiny bit just to make sure bombs are on. Now I'm just wondering if I should pull these bombs out a little bit. I think probably it's a good idea for do. So what I'll do is I've got my Mirror on so I can work on this one on its own. So I'll do is I'll press Control or bring it now, like so. And then control law. Joel's to both sorry, below that one there. Then let's pull this one out. So I'm going to come to the bottom. I'm going to press S and pull it out little bit. And that gives it much, much nicer shape to our actual chest. Now, let's do some kind of local, Something like that. So what we'll do is we'll press Shift day and we'll bring in a cube. Just make sure that your cursor is somewhere in the center. So it shifts a cube, Bring it round to the from S, make it much, much smaller. S and X. Let's pull it back. Like so. Pull it up. So now let's bring it down a bit. We'll grab the bottom, bring it down. Now let's press E and Z, pull it down, and then S and Y, pull it out. Pull it down, and then ask why? Pull it back together, something like that. Now finally, let's grab these two. Press the eyeball and then press E News. Pull it back a little bit, just make sure you don't go past that Wooden part. Okay, So that's looking good so far. Now one thing I think is perhaps we need a top on here. And then finally we can put the actual main top on here. So we'll do that now. So what I'll do is I'll just grab the top of these. So I'm going to come in, grab the top of these. So let's press shift D, bring them up and you should end up with something like that. Not quite what I wanted. So what can do instead now is I'll do it the, another way I'll just grab both of these. I'll press F and then I'll grab the top of the year, like so, Ship date, Poly alt, delete vertices. Well, let's pull it down and get to the signs that we want it. So something like that. You can see that I've got a lot of these left and I didn't mean to do that. So what happened was that, as you can see before actually lead to this I, it needs to be in edge select, press out on and just make sure that I'm actually grabbing them both. So we already know that we split them up and it just caused an issue there. So now if I press delete that says you can see now we've got rid of them all. Alright, so now let's grab this seven to go over the top. Let's make it a bit, bit, bit bigger like so. Let's pull it all the other way. So ESX, like so. And then I'm going to press, I bring it in. And I'm going to delete that all the way. So delete faces. I'm not scrub it again. Now let's pull it down to small. Pull it down. That's press E and extrude it out. Grumpy one small Let's pull it down. Needs to be just fitting inside there. And then I'm just going to pull up the edges of it. Like so, something like that. Alright, I think I'm happy with that. Now, let's say join all of this together. So we'll apply our Mirror and then we'll join all of these two together. So just press G, make sure you've got everything. I need this as well. Control J, join it altogether. Control a, all transforms them. That's right, place Set Origin to geometry. And now we'll do on the next lesson as well, Create the top of this. And then we'll start actually, I didn't the bevels and eventually then we'll have our gold in place. Okay, everyone, I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 72. Finishing the Treasure Chest Modeling: Welcome back everyone to Blender 2.9 design and render a stylized water scene on this where we left it all. Now, first of all, let's put in our Gold where we're going to have it. So I'll do is while I've got my cursor in the center, Let's just make sure it's Fish seven. I'm not sure actually, if it's in the center of that. I think it's I think is, I think what this is the origins a little bit out because we've got this bit on the front. So I think this is in the perfect place. Let's give it a try. Let's press Shift a, and we'll bring in a plane. Let's make the plane a little bit smaller. Press S and Y, just pull it out a little bit, something like that. Then what we'll do is we'll bring it all and then just rotate it a little bit. So our next rotated a little bit round, like so if something like that. And now I want to do is I need to top on here. So I'm going to bring in a little plane. Now, this basically is the plane for the gold. And maybe I want this coming down a little bit as well. So I'm actually going to do that. So I'll press Control or left-click, right-click. Come in now, grab this bottom and just pull it down, like so. Yeah, and I think that looks so much bad. Now let's press Tab, Shift a Mesh, bring in a plane. We need this plane to be a little bit bigger, so it fits over the top of our actual treasure chest. So let's press seven again. And then we'll press S and Y and pull it out, Something like that. Now, let's bring this into, make this easy. So what I'll do is I'll come in, Face Select, make sure you've got this face selected. I bring it in and then pull it off. You go. So really easy way. And then I again pull it in and you can see what I'm bringing this in now, that it's not coming in evenly and we know why that is. So let's press Control a or transforms. Right-click Set Origin to Geometry tab. Now when you bring it in, Shankman, absolutely fine. Now let's pull it down. So a0, something like that. And yeah, I think I'm happy with how that looks. Let's bring this up as well. So what I'll do is I'll grab each of these. I'm just going to bring them up slightly, so E like so. Okay, now let's split these often when a press Control plus you can see I can't grab all those, so I need to Command Alt Shift and click vowel, just go back 1, s, and now the Alt Shift and click leg. So why split them off? G should look something like that. And now we can actually bring in our edges on here. So if I press control law, come down to the bottom to left-click, right-click. And let's bring these out now. So S, Y, pull them out and you can see the knock coming out from the center. So I need medium 0.0, S and Y. Pull them out to a want them. So something like that. Calm down. Then you can see that the Y value here is 2.501. Click on it and let's copy it. So control C, Let's now come round to the other side. So I'm going to press Escape, come around to here, control or down to the bottom, to left-click, right-click. And then you just going to press S, Y, enter, come down to the Y Control V, and then it'll be exactly the same as over there. Now let's do the same thing along here. So we'll do this one first controller to left-click, right-click, and then S and X this time and pull them out to where you want them. So something like that. Again, now it's on the X, so Control C, escape around to the other side. Control law to left-click, right-click Sx, Enter Control V. There we go. Alright, so they look really nice. Now let's grab this one on the rest of them now. So we're going to split these off. So I'm going to press Y. G is make sure they split. Now I'm going to actually, I'm actually going to press P, actually split them off totally. So let's grab them like this control lay all transforms right-click origin to Geometry, modify it and let's bring in a Solidify. Let's make them a little bit bigger, going this way. Like so. Let's also put even thickness on and let's save and make them a little bit thinner so they actually go into where I want them. Like so now I'm just kinda fights him with how this is going to look. I think the top of the a should be a metal. You could have y'all. So it's actually what we could do it that way instead. But I think the top yeah, I think it would be Mel, I'm gonna grab these parts now. I'm going to actually grab all these as well. I'm going to try and get these into some sort of place. So I'm going to make them smaller. Like so I'm going to pull them up just so they fit. Actually under there. So a little bit smaller. Hold mole. Yeah, something like that. And then S and Z. Let's pull them down a little bit. And then I just need to pull all these out so we'll come in and select that one. These edges on the bottom. Like so, make sure that Ron medium point. And now let's pull them out. So S like so. Then let's pull them up. We're just trying to get them to fit in place. I think that should be absolutely fine. Now we just need to give these some thickness. So I'll press top control. A whole transforms Solidify and let's bring them Down this way, like so. Yeah, nothing that looks, looks great. Now let's apply that. We don't actually need to not apply it. So control a, let's make sure we apply everything else on here. So Control a. I'm just making sure the rest of it now weird. So I want to basically grab it all now. So I'm looking now. When I grabbed this, yeah, this is all grew up together like soap. So I'm just looking, I need to grab this this part. It's press G. Yeah, that's everything. So Control J, join it altogether. Let's pick it up. And let's put a bottom on this. So I need the bottom to be this sort sizes you can see I'm going to do is I'm going to press Shift S. So to selected Ship a, let's bring in another plane. So Mesh plane seven to go over the top. And I just wanted widen this, I'm gonna hide this part all the way as well. So I just wanted to wider than this part yet grandma plane SY, bring it out like so. Now let's pull it down to where it's going to go. So something something maybe like that. Yeah, I think that'll be good. And among going to do is I'm going to press Calibrate selected, bring it in like so. And if it's not coming in quite as much on these edges, you could reset or you can just now process the next two, bring it in like so. Delete faces, grab it again, so I'll pull it down. Lightpath may need polynom little bit mall to make it a little bit thicker. There we go. Okay, So that is an easy way how to actually make a Chest. We've made it in pretty quick. The other thing is you might want to bring these in now. These are quite easy to bring in now. So all you need to do is just grab each of these. What we'll do is we'll grab the top. We'll press H for height, and then we'll come in. I'm just looking where these are. So you can see here, I can grab them like this. Now. When I compress all teach. And now on here, press Shift and L and that will deselect them and make sure that you've only got these selected. Now with your medium points on, press the S button to bring them in, like so. And now you can actually lift them up. So lift them up. And you can see that we do have a problem in that they're sticking up through that. Now, the easiest ways rather than messing around, let's bring them in a little bit more. So S, bring them in much. Pull them up like so where I want them. And now find, let's just bring this up a little bit more. Maybe it's a little bit low anyway. So press. Okay, and now we just need this bit to come up as well. So let's pull that up. Probably it's something like that. Alright, so just have a look round, make sure that you're happy with it. And I think I am. And then let's join it altogether now. So Control J and let's also joined the rest of it, except this gold piece. So I'll teach, let's join this unless together. Then we go. Now, what we'll do is we'll start actually making some materials for these. So what we'll do is we'll come in to all Materials panel. The thing that I'm going to press three times, something like that. And I'll call it chest ward. Let's come to them a couple of woods actually. So let's quiet Chest. What one? New new Chest? Gold. And then I'll call it Chest metal. Lock. The next one New and I'll just call this Chest mental main, something like that. Let's try to see from get away with this money. So what we'll do then on the next lesson, nerves will actually bring into Materials, put them on, and see how they actually look. And then on the lesson, on that lesson as well, we'll probably get round to actually creating our gold. Okay, everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 73. Creating the Treasure Chest Gold Coin Materials: Welcome back everyone to blend the 2.9 design and render a stylized water scene. Okay, so this is where we left it off. Now, let's bring in all would first. So let's put it first of all, I think we're going to have to actually put it onto our render just to see what it looks like, which means we need to bring everything back. So I want to press the question mark first. And what I'll do now is I'll just hide my Ocean. And we'll do pretty much what we've done before. We're going to hide everything except the lights. So let's come down. I'd everything. We've also heard all those planes, so let's bring those back. We can see that these are part of those, so let's hide those on the sphere. Then we go, we'll make a new collection for these in a minute. So let's now print and render that we go, That's what we're looking at. So let's click on it, press the dots, zoom in. And now let's see if we can make this look not so chest. I want First of all, let's bring the Base Color darken and we'll put it on the brown color, something like that. And I already liked that color. Let's now bring up the roughness. Bring this one. All right, not to make you nowhere near as shiny. And then what I'll do is I'll copy this one. So copy Material, grew up. The next one. Pays Material. Now let's come in and what we'll do is every other one, we're going to change it. Let's grab in edge select all of these. Nothing a fuel struggling like I am just put it on Material just for now and we'll just change these lines. So alright, something like that. Come down a sign. And let's change. Now. This material, just to be a little bit different, something like that. It's very, very close as you can see. And of course we're going to check it out as well. Now let's say come to the mat lock. So this is this part here. We'll grab all of this, will give it a dark Base Color. We'll click Assign tab. And then what we'll do is we'll turn up the metallic or the way we'll turn the roughness up a little bit, something like that. And then we'll make sure that we're happy with how that looks. And now we'll come to the inside of here and I'll need to make a new one. We'll just call it Chest hold. Like so I'm will do what we did on the Anchor, where the Anchor goes in, in fact, I call it actually user. That's not a bad idea actually. So I'll just remind us that off. So I'll do is I'll come down and we'll look for Anchor. Anchor. And we might have one. We've got Anchor that and we should have one that says whole. Let's have a look. Yeah, yeah, hole here is let's say click on. Select both of these. Like a sign on the whole like so. Alright, now the Chest metal me, Let's grab this and I'll grab this one here and select. So. What I'll do is I'll click on this, click Assign. Now, what I want to do is change this. I'm going to change the telecom first, like so. Now I'm going to actually put on my Cycles render. And then I'm going to check the color that I wanted so I can see that's nowhere near Bryan off. So I'm looking to get it maybe a little bit darker. Let's say also looked see if we can change it a little bit green or something like that. Actually, I think that looks nice. I need to bring down the roughness a bit as I have a look. Something like let's bring it up a little bit. Maybe not that high, something, something like that. Now the way that we'll know how this actually looks is will be able to put it on here. So if we press Tab now, grab these parts. Like so. I'm wondering whether just to do this one and then the top a different color. So I will assign that. Let's have a look. And I'm wondering whether this green is okay for it minds, it might clash too much with the actual list scene. So I'm going to just put it a little bit of a tinge of green, a little bit more wine, something like that. Alright, so I'll think I'm happy with that. Now fold this top. I need to give this a different color. So let's come in. We'll click the Plus button and we'll click the down arrow. And let's bring in one of all metals. So I'm going to scroll down, I'm going to look for metal. I've got metal railing. I think we'll try that. So let's actually try that. So I'm going to come to the top Tab. You're up this talk. I'm the signed on click Assign, like so what that looks like, actually, I think that's better than the green. So I'm going to grab the rest of it. I'm going to come in, put it on Materials and make it a little bit easier for me. I'm going to grab the rest. Like so I'm the outside On the inside of here. And let's put it on. Now Aurelian, like that. Now let's grab each of these now. And what we'll do is I'm just looking on the inside as well to make sure that I've grabbed them all. So we've also got insights there. Just make sure you grab those. And then what we'll do is we'll put the metal Light on so we'll come down, will look for metal, and we've gotten that live there. Let's assign those. Now. Let's have a little that looks like and yeah, I think I'm happy with that. Now, you could go in and make this award or something like that in mind look better. But I think I'm actually happy with how this looks. Okay, so now let's put this in place. So what we'll do is we'll bring in everything now. So let's bring it all in. Let it will load up. Let's hide our Ocean as well. So I'm going to zoom out high the Ocean, bring everything else in except the Ocean. Like so. Now let's pull this into place. So first of all, I want to press Control a and all transforms. And then I want to split this off. So I'm going to come in and split this off. Well, let's grab it all. Now we've done that. All of this part here. So even the inside of here. And when you've done not just press G, just to make sure you've got it. So G and you can see, I've got a lot missing. Come to face, select all on each of these G again. And there we go. Now grow paint selection. There we go. Control layer. Now I'll transforms and we'll do the same on this control a or transforms. And now finally, let's come in and give it a bevel. So I'm going to right-click Shade Smooth. Also smooth Modifier bevel. And let's turn it down to 0.1. That's what that looks like. And I think they'll be absolutely fine for this. And now we'll do the same thing on here level. We all know 0.1, like so. And you can see naught point, naught, naught five. Let's try that. That might still be a bit low, I think actually no, 0.1 is going to look nice for full days Chest. Alright, I think I'm happy with that. The one thing I do need to do though, is that just don't really want this beveled off. So I'm just going to grab it, press G, and you can see I've not grabbed that one, so I'm going to try and grab this. And I think this is actually split off. Yes, it is it split off anyway, so that's good. Now I'm going to spin this around. So I need to right-click Set Origin to geometry and I can spin it. So let's spin it round. Like so. Let's put it right against there. And then this one actually go into the side. Once again, control ALL transforms right-click sergeants geometry. And now let's put this to the side and bend it over. All. X wants to be lying on this rock somewhere, something like that. And then I'll think I'll turn it the other way as well. So all why spinning around this way? Let's lift it up. I'm going to have to turn it as well. So RX like that once it lean against those roles, maybe a little bit closer, maybe a little bit. Something like alright, so let's have a low then. Yes, I think I'm very happy with that. Now the next thing is we need to pull a spirit in air or something to actually create our goal. So we'll do that now. So we'll press on here, Shift S, because to Selected Shift a, and let's bring in a UV sphere, will give it a song. Mole actual polygons. So 16, 16. And let's bring it up, funny down. So I said, now I just want to put it in place and now wants to pull it out as well. So I'm going to grab this edge. Portugal edits in on. I'm going to press G, going to widen that out a little bit. And I'm just going to put this in place where I want it, so I want it spilling over a can, of course change this. Once I've got it, Where need it, and once I've got my Material end, but I'm just going to put it in place now. So it looks like some gold is actually spilling out there. Alright, so let's shade it to move as well with their double-tap the a. And what we'll do now on the next lesson is we'll actually start creating our Gold material. So I hope you enjoyed that one and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 74. Gold Coins Materials: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left it off then. So all gold. Now let's come in first of all, and what we'll do is I'm unsure. I think I've showed join these up actually, so I'm going to join these together control J, want to press Control a or transforms right-click Set Origin to geometry. Now let's bring in, first of all, a Modifier. It's will bring gain is a subdivision. We'll turn that up to something like that. I need now to actually bring this out because I do actually want to keep this on relatively smooth. I think so. Well, they'll do is I'll come in and I'll grab this and I'll bring it out. So S, Let's come in, S and Y, and let's bring it out just a little bit. And you can see it's not really going into the place of want. So what I'll do is I'll leave that there for now. And then when we've actually applied these, we can actually move them around them into place so that might be easier. The moment you can see you've got all these little gaps in there and I don't really want those. Now, let's bring in another Modifier. So I'd Modifier bring in a displays. Let's put the strength on node point to. Let's leave the mid-level or nought 0.5. Let's come over to our texture now, new. And what will bring in is a cloud texture, something like that. You can see already it's looking quite nice. Okay, so now let's go over to our materials. So if we come over to the Materials tab here, you're going to press plus we're going to come down. And what we're looking for now is our Coral. We're going to actually use that as a base. So coral red. Let's press Plus again. New. Let's call this gold. Coins. Come up to Carl. Little down arrow copy Material, down arrow, pace Material. Let's minus this off. Now we can work on our actual gold Coins. Let's come over now to our shading panel. Let's press Alt to zoom into it. And now we just need to put this onto our Cycles Render. Now I think for this part we will just put it on Cycles random. We should be able to see quite easily like that. I'm just hoping that we can actually mess around with these while we change this. So let's pull this up a little bit just so we can see a little bit more of this because it's quite a lot to actually look up and change things on here. Let's also just rotate round, going a little bit closer. Now let's work on our actual Shader. Let's zoom in first of all and change the colors will come into this one. And we'll put this on a yellow color, something like that. And then will, I think actually that might be a little bit breathless, brighten it up a little bit, and then we'll come to the next one. We're going to make this on the yellow, but much, much darker. So let's turn it down. Something not quite that bright, something like that. Then we'll come to this one and we'll put this on yellow, like so, and also make it a little bit darker. Alright, something like that. And you can see some things actually happen in. Now let's come over to our principal. And what we're gonna do is going to turn the metallic. We're going to turn the specular off. And we're going to turn the speculate tint. And then the roughness we're going to put down to zero. Now you can go, you can see it's already starting to look very metallic now. And now we need to do is you need to just bring in a couple more notes just to really make this stand out. And then we can find the golden cross, a mess around with all of these randomness on our, all our noises over here. And just make this look a little bit. Okay, So the first one we're going to bring in isn't Emission. So Ship date search bring in a Emission and this node basically likes things up. So that's exactly what it does and what you can do with this actually, if you plug noises and things like that and as you can light things up in certain places, or you can let the whole thing go. Well, we're gonna do is pretty much like the whole thing up. And the reason we're doing that is under the water, it's quite hard. Seed the gold. So we need to like to open some way just to get it Glint and, and things like that. So now let's press Shift day and we're bringing in a mix shader just to actually bring this together. So make Shader, and let's drop it there. And then what we'll do is we'll plug our principle then to the bottom. Plug our Emission into the top. Let's plug this into the surface and you'll see why it starts the lights off now it's way, way too Lit up at the moment. The other thing is, of course it's not yellow, so let's Pro and yellow First, something like that. And then let's turn this off to nought 0.950. And now you can see it's lit up, but it's not, it doesn't look too stupid. If you'd like to talk too much, then it's gonna look kinda crazy and it's going to look more like a light and actual gold. Now let's come out and what we'll do is we'll come over now to our noises and our actual color ramps and we'll work on those. Let's come to this one first, which is the actual color. So all we're changing gears a little bit of the color. Let's try putting this on five, something like that. I think that's given a lot more variation on there I'm not going to mess around with a color ramp on here. What I'm gonna do now is I'm just going to come down to the next one. I'm going to turn this down just a little bit. And of course it's up to you how you actually stop you gold. But I'm just going to mess around with these, turn these down a little bit, just trying to get a little bit more of thickness on there. And now I'm gonna come down to my next one. So you can see that we've got 3/1 and a noise and over one. So we're coming to the top one. I'm going to turn the scale up to something like 50. And then one going to do is I'm going to actually bring these down a little bit on all the time. I'm just trying to mess around and seeing how much I can make this look like actual gold. A not so much like the Coral that we had. Alright, I'm going to leave it on that for now and I'm going to come down to the noise texture. And I'm going to turn the scale-up of this. So 170, something like that, Sunlight, what that looks like and you can see now we're going a lot more variations and some bag of coins in there. And then one going to do is I'm just going to turn the scale up of this. So let's turn it down that way. And then let's turn this one up a little bit that way. Like so. Then let's come down to the bottom one. Now. I'm going to put this on something like six. Let's try that. There we go. Now, let's turn down these things a little bit. So we'll pull these down altogether just a bit more to the left-hand side. Let's let that load out. There we go. Now we see we gained some real glenn. It looks like actual gold. You could obviously bring up the scale or bring down the scale a little bit just to make it a little bit more Coin. So for instance, if I put this on one, you can see that we've got a lot more like kind of bumps and things like that on it and the bigger as well. So you can do it like that. I think actually I'm happy with how that looks now. I'm going to do now is I'm just going to come to modelling again. And I'm gonna move this around now just to try and get in place. So I'm going to just make sure it's on actual material. So they go and I'm going to press the top, just have a look, round it and let's try and pull it out into place. Now, let's grab this portional editor and just make sure that it's unconnected only. Then that's press G and let's just move it away just a little bit the side, and let it flow a little bit over here, a little bit down here. So something like that. And I think I'll pick this up now. Like so. I'm going to flatten this out just a little bit, like so. So I still want to see the actual law commands, basically what I'm going for. Let's pull it down a little bit more. Like so let's put it in camera view and have a look. So it looks something like that. I needed to be a little bit closer to the chest, so I'm going to press a dot, zooming a little bit more. And now I want to just pull it back just a little bit, like so G. And let's pull it all this way now. Like so. And then I'm just wanna make sure that it's actually pulling out like that. Alright, so I think I'm up without the one thing or not. So sure if it should go up to here, but let's check that out. So let's press zero first and we're going to check it out now with our actual render them. So let's put our Ocean by com and then we'll pull the Cycles Render on now and let's have a little Dumbo looks like. Let's let it load up. Take a while to load up and just make sure you're happy with it. Again. It doesn't need to be so obvious. And you can see now that that's looking pretty nice. The one thing now that we need to do is just put some gold Coins or something like that down there. Okay, so I'm looking now just to make sure it's a bit hard to see. So while there is, I'll just move down and I'll zoom in a little bit, a little bit closer, like so. Because I know about when actually do the final render. And it's a 10,000 samples or something like that. This obviously is going to show up a lot more. So if this is looking like Gold, the closer we get to it, the buret is. I think that's looking very nice. I think I'm happy with that. Now you want some, you might want to make your Emission a little bit higher, just get a little bit more detail in there. And the other thing I always say just to remember is that the viewport render is one, it said to two. So you've got to just take that into account. Now why tend to do is I tend to build all this out. Then want to do is at the end is I come in and I all to all the little things. So I'll alter the way the rocks look and things like that and just try and bring it altogether. So I recommend you do that as well. Now let's put this back on Material mode. And what we'll do is we'll just hide out our Ocean again. And I'm just going to put some Coins down there now. We'll do is I'll press Shift a of bringing a mesh. Let's bring in a cylinder and we'll put this on 12. That should be absolutely fine. Make it a little bit smaller, pull it out, and then I'm going to press S squishy and then bring it in like so. We don't need these Coins to be really big. We just want some time. It kinda just placed around here, something like that, just sticking out the sum. So all wine and then all X Like so. Now let's say safe, they look okay, given these the same as the, so join this up to this plate you Coin Shift-click you Gold Control J, and there you go. It should look something like that. Now, the one thing I'm not the way that I think that the Coins maybe should just have a different material on something. So I'm going to press controls that actually and go back just to split those up. I'm going to right-click and shade smooth. And I'm going to come in to my Material. I'm going to press Plus New. And I'll just call these Coin like so. I'll put it to the yellow color just to try and match that. I'll turn up my metallic like so I think, yeah, that's looking like that gold that I'll make you a little bit smaller than one I'm going to do is I'm going to shift D, shift, D, shift D, like so maybe 1 mol, so Shift D, Let's put it a little bit and pull it down. Like so. Now let's join all these together. So Control J. Let's see if we can actually randomness like this. So we'll put it on or under and then we'll do is I'll press all why? Yeah, and you can see that we haven't gotten much randomness going off there because they're all while mesh. So I'll have to do this individually. So I'll do is I'll just grab this one and I'll put it into some sort of place. I'm just going to rotate it. If I press, although it will rotate on a random access just on its own, Let's grab the next one now and we'll do the same thing. So I'm just going to put this in some sort of place like so. Let's put this a little bit closer. Scrub it with L, little bit closer like so. Put it in the sand. Let's rotate this one so all you can see that not grabbed it all. So again, it's not grubbing you. I'm not sure why. We go. Now let's try all. There we go, That's bad. Now let's put it a little bit closer. Drop it down. Like so. Alright, now let's double-tap the egg and have a little that looks like. And one final time. Now let's press zero on the numpad, zoom out. So we've got Cameron View. And let's come off and put our Ocean by com. And let's press the Cycles Render button. That looks like this is a bit of a long lesson, but soon and get this right. So one way to do is I'm going to put it back on Material. We're just gonna give it another quick render just to see what this looks like. So come over to the Render button. You want it First of all, onto 100 samples. When also save it out, and I'm gonna hit the Render Render Image. Now what I'll do is I'll speed this up now. Then when we come back, we'll just have a look and make sure that happy with it. Okay, there we go. We can see what we're actually looking at now. Now you can see my Gold does need a little bit more work. It needs to be a little bit brighter and things like that. But we have girl good idea of how they overall scene is actually going to come together. Now, I'm happy where it's actual placed. I can see the little Coins and things like that. I can see the BU, and I can see the fish around here. So it's really starting to come together. So what we'll do on the next lesson, it will work a little bit more and just game is correct. Then we can start working our tentacles. And that basically then is the whole scene nearly finished. Okay, everyone, I hope you enjoyed that and I'll stay on the next one. Thanks a lot. Bye bye. 75. Creating the Tentacle Mesh: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And we've just got the Tentacles to do. But before we do those, Let's actually tidy these up again. So we'll just come in and hide our Ocean. And let's see what these parts I'm sure that to do with the Chest on our little man over here. So I'm going to call this sphere. I'm just going to check what the next one is also, let's click on the next one. And I think definitely is some a look if I move this out the way, or we can see that the Coins, so let's pull that as Coins. Then we've got another plane. Let's see what that is. That's the Mask. Let's click on the next one and this is the gold. Then we've got another plane which is the bottom chest. So we'll call it Chest bottom, like so. And then this one should be the Chest top. Like so. Now let's make some new Collections. So we'll call one Treasure. Then we'll call the next one. And then we'll make one more collection. And we'll put this humanoid like so. And then we've got the Chest bond, the Chest top Coins, the gold, and we're going to put those into the Treasure. Let's close that. And then we've got the Mask and the sphere, and we're going to put those into the humanoid collection. Now let's close all those open, make sure they're all okay. Let's close that all. And it's all really nice and neat. So what we're going to do now is actually create our tentacles and we want to be able to have some control over the Tentacles. So the way to do that is first of all, we're just going to hide all of these like we normally do, just to give us a nice start. And then what we're going to do is going to put our cursor center. So Shift S because it's world origin. And then we're going to bring in a curve, Bezier curve. Let's spin it round. So all dead. 90, something like that. Yeah, knots fine. And now we just want to straighten this out a bit. So I'm just going to press seven going on number pad. I want to press Tab and I'm going to grab this handle and just straighten this out as best account doesn't need to be perfect or anything like that. Finally them, what we're going to do stretches out. So S and Y just pull it out a little bit, something like that. Press adult bond to zoom into it. And then what we're going to do is we're going to grab everything now. So a It's this long at the moment, this might be a little bit too long, but we can shrink it down so that's no problem. And then what we're going to do, he's going to right-click, come up to sub-divide. And then we're going to turn this off to something like five, something like that now gives us plenty of vertices to actually wear with. Now let's press the top on. And what we'll do, we'll come over to our Curve panel. We're going to make sure that the resolution this time stays on for we do need some resolution on there. And the reason for that is that we want to be able to bend all tentacles and place them wherever we like. So now let's come up to the debt and turn this up, something like that. And what you should turn it off cherries the thickness that you want your actual Tentacle. Now I'm going to do is I'm actually going to squish it in on the Z S that brings him without proportional editing on. So asset squish it in a little bit, something like that. And now let's work on getting this the right size and a nice shape. So we will come off proportional editing and we'll put it on smooth. And I'm also going to press Tab now and just make sure that connection connected only as off. Don't really need that on. Now I'm going to do is come to the first one. So this one here, I'm going to press Alt and S, and I'm going to bring it in like so, like something like that. So make sure it's quite thin on the end. But remember, you probably going to have a socket near the end. So just make sure it's not too thin that it's, you won't be able to plot anything that Let's come to this one now, make this a little bit thinner as well. So all tests again, like so, I'm going to bring it in a bit like so. And you can see we're getting some Shape now. So now let's come to this one. So all tests bring it in. Luxor. Alright, so I'm really happy with that shape of it. That is a shape that I'm actually going for. So got little bits of puffiness coming out here and it just makes it a little bit more interested. And then if you come around to the bite, you can see it's squishing a little bit and that's exactly well-worn. Okay, so now I want to do is actually convert this into mesh. So I'll do is we'll press tab, console. Objects, come down to convert and again Mesh from Curves. So click that on. And then when we go and we can see now we've got something that looks like this. Now the moment, I think we should bring in a subdivision surface Modifier just to make it a little bit more easier to bend them, things like that. So what we'll do is we'll come over to the right-hand side. I've Modifier and we're going to bring in subdivision surface and we just want it on one. I'm going to apply that. So Control eight, press the Tab button, it should look something like that. So now when we press tab, you can see that we've got a lot more vertices to actually work with. Okay, so now let's work on the actual soccer's that we're going to bring guinea. So we're gonna do is going to press Shift a and we're going to bring it in a cylinder. Let's bring it down to 12 like we normally do. Let's make it smaller. So S without proportional editing on. And let's put it into the place where the first one is going to be. So I'm gonna put the first one around about here. And then going to make this one a little bit smallest, a little bit too big. I want to pull it down. So come to Face Select, bring down this face again without proportional editing onsets, bring it down. And then now let's work on rounding this off a bit. So I'm going to do is I'm first of all going to press the E just to pull it up a little bit, press the I to bring it in, something like that. Then eight bring it in S. And then I, and then E, and finally S. And that is something that we should be able to work with. Now, let's just do the top of it. So I again, and then E and then S. Okay, so that looks good stuff. Now let's pebble off some of these edges. So will level off both of these edges. So grab them both, control B, level the mouth and that's going to give us a nice roundness to it. And now let's do the same thing. I'll do the outside first. So control be like so. Then let's do this inside as well. So Control B, like so, let's smoothly off. So Shade Smooth. Yeah, that's looking quite nice. That's actually about the right shape I want, let's just try if we want to just squish it in a little bit like so. Yeah, Not mine actually a little better rather than being just actually round. Alright, so now we've done that. Let's press Control a. So all transforms and then right-click cell origin to geometry this time because we are going to bring in another Modifier. So let's add Modifier array zero, and let's move this one. Oh, so something like that. Then let's have a look when we put this up to where it's going to go. So I feel like that's probably too many. So let's move it up a little bit more. To maybe this one. Look at one more. Yeah. And I think something with this one. So what you can see, isn't there an holding the Shift bone down, moving them up and towards the end and a thing that's going to be absolutely fine. So we've got seven on at the moment. Let's have a look. Get by. I think seven should be absolutely fine. Remember, we're going to make these smaller as well. So let's apply that hold hover over it, control a. And now let's grab this one. And we need to make it smaller and put it in place. So I'm gonna make it smaller, bring it down into place. Like so, Let's now grab the next one. Is smaller, obviously bigger than this one. Let's put it into place. Like so. Let's way to the next one. Like so like so little bit. And then this one, obviously only a tiny bit smaller. Then let's look at those. Alright, so I think I'm really happy with how those local express top double-tap the eye on. Let's have a look. Yeah. Okay. I think they look pretty stylized. I think one thing we need to do is just do this and now so I'm going to grab the actual Tentacle. I'm going to come in, grab the end. I want to press Alt, an app, and I'm going to come up, pull my propulsion, let's and on press the S button and just bring it in is making it nice and small at the end. And then I'll come into this one. I'll just pull it down a little bit into place. I'll make it a little bit smaller as well. Alright, that looks about, about run, this one maybe a little bit too small. Let's make it tiny bit bigger. So S something that we'll talk the a and yeah, that's it. That's why should look like in the end, of course, you can do yours different if you want to, but I think I'm very happy with how that looks. Okay. So on the next one we'll do is we'll bring in our Materials and then I'll show you how we can actually use a Armatures to bend this Tentacle. Okay, everyone, So see on the next one. Thanks a lot. Bye bye. 76. Working with Armatures: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left it off. So what we want to do now is we want to actually bring him some materials for each of these, and then we want to bring in Armatures. So let's do the Materials first. So I'll do is, I'll click on the Tentacle, come up with the right-hand side Floor. New, and we'll call this Tentacle like so. And then I'll go into my shading panel, zoom out a little bit, and then that's fine it in the viewport. So dot on the number pad to zoom in. Let's put it on actually the Cycles Render so it can see what we're doing and see what it looks like. So we've got this to start with. Now, let's start creating our simple material. Because now you will have a good understanding of the nodes and the materials. Let's move pretty fast. So what we'll do is we'll grab this principled Ship Date. Moving over here, let's create a mix shader. So search makes like so. Let's plug both of these principles in to that and then into the surface. And now let's create our noise texture. So shift a search noise. Copy the noise. So Shift D again. Let's bring in now colorRamp. So shift a color ramp. And then let's plug this color ramp into the fact of the mix shader. And finally then let's plug both of these into the Colorado. Alright, and nothing happens, of course. Now let's just mess around with these a little bit. So what we'll do is we'll put this on minus five, will put this on a zero. This comes down nought 0.5, and this wants to be on three. Now let's come to the next one and we'll put this on 15, will pull the next detail down, 16, and that can stay on nought 0.5 and the distortion, Let's put that on the 12th. Now let's come to our colors. This color wants to be our red. And then this Colour wants to be, or black or something dark like that. And now we'll do is we'll just turn up the roughness. We don't want it quite so shiny. Something like that. It's not quite shiny. And now find, let's come to our color ramp and let's bring this up. So we'll bring the ALT, bring this down. Now you can see we've got some nice detail. And then of course, the further you bring this up or Thursday bring this down, the more red that's going to come in based on the black. So if you bring this in now, you can see more black actually comes in giving us that kind of look. Now, I'm not sure whether it should be black or green or something like that, but I didn't go with this color in the original one that I creating. I feel like I'm quite happy with that. What you want my one to make yours a different color. It's just giving it some kind of stylized texture on it. Alright, so now we've got that. Let's now create our Tentacles swell. There's all join these two together now, there's no reason why we shouldn't. So Control J. They'll go the same color and obviously we don't want that. So now what we'll do is new and we'll call the soccer's like so. Then when I press tab underneath to grab each one of these now so I'm going to make sure that amine edge select. Let's move down and grab this one because I've got the front there. So I'm just going to grab each one of these like so I'm going to close this salt by pressing the button just to close that. And then I'll come in and grab those. Like so. Alright, and if you want to live there so you can just pull this up and down. I think that mine's a little bit lifted doping comparison to yours. Maybe. We'll come over, I'll click Assign, and now we'll press a top. I'll come over to the Tentacles, copy Material and paste Material. Alright, so let's now come down to our soccer's and what we're gonna do is we're going to put this on a nice yellow color, something like that. And you might want to bring down these little bits. So what you can do is you can come down and change the scale. So if you bring the scale down that pull it all, like bring it the other way and put them in a little bit closer together. I'm not really focused really on making these as realistic as possible is supposed to be stylized. And I just want some kind of creeping out there and looking well, kinda fits in the scene. Now, the one thing you might wanna do is make this red a little bit darker that it's one thing that we might do. So let's come to our tentacles and just make it a little bit darker. So Command, grab this. Let's bring it down. Not quite so dark or a little bit darker. Let's put in a little bit more red, something like that. Now it looks a bit washed out, so I don't think I can actually get away with quite so dark. Let's try that. Let's come in and bring that down a bit as well, and that's nowhere near is washed down now looks much, much about the SOC has can be a little bit washed out. Let's double-tap the aids. Well novel, look at that. Alright, so that I'm think I'm pretty afterwards Okay, so now let's go back to our modelling. We should end up with something like this. We can leave Materials on, that's fine. Let's press the Tab button and let's have a lot what we're looking at here. Alright, so I'm happy with that. Now, let's bring in a Armatures. So if we press Shift day, come down your lab, one little man here that's called armatures, not then we'll bring in a bone. Now these bones based that'll help poles move this into place. So first of all though, I need it pointing the right direction, I'm going to press all X 90 or not. Then it's going to point it in this direction, heading towards the end of the Tentacle. And that's exactly what a warm. Now if I come over to my little running man here and then come down to viewport display. You will see that we've got one that says in from now they say is, well, the old Blender used to have it was called x-ray. It's now called him from clicked on and then your belt to see actually through the mesh. Now if represses three, Let's bring this over to something like here. Let's press Tab. Now I'm with Tab press. You can actually grab the front of it, press Shift Spacebar to bring in your Move Gizmo, and now we can move it by. Now. I wouldn't have hundreds of these things. And if you press E Now, we can extrude along this y-axis to the next one. And that's important because what we need to do now is press E and just keep extruding them alone. China keep in the middle of the actual Tentacle. Like so. Like so a non the end. I want it to have quite a bit of bend in it. So I'm gonna give it a few less, as you can see, to actually put the end of it around the actual chain. So something like that. When you can see now the role nice and fixed in place. If I press 70 can see they're all nice and even. And that is because we did it in side view. Now we need to join these up to these tentacles, to this armature. The way we do that is we grab all Tentacles, we Shift-click All actual armature, we press Control P. Then you'll have a menu. It says Set parent to. Now within here, if you put an empty groups, for instance, you'll end up with a load of weighted groups, but no actual weights in them. So we're not really going to go into waiting and Armatures or anything like that. We just going to use this just to show you how easy is to actually use an armature to Bend things. Now, we want to use the one with automatic weights. And what that means is it's Blender is going to wait this actual Tentacle for us, which means that each one of these bones, so each one of these is basically going to be weighted to this Tentacle and it will move it appropriately. So I did just press with automatic weights, so just click that on. Now you can do is click on your armature, come up to the top and your loved one that says Pose Mode. Now when you click that on, it will go like this. And when you click on one now, it'll actually turn blue. Now if I grabbed this one, for instance, presser X, you can see now that we can actually rotate this based on where these bones are, you can see how easy that is now to actually rotate this around. Now, let's put these back. So to put them back, what you need to do is you can grab all the buttons at the same time. You can press Alt and that will put them back. You can also grab bones and press the S button, and that'll also make them bigger and you can move them with the G been like so and the OH bond to rotate them. So that's all G and S. Now, to put all the bones back in place, grabbed the mole, all the one that you've moved, it's up to you and you're going to press all, all tall. That all. Then reset the rotation. All G will reset the movement, and all tests will reset the scale. So you can see how easy it is now to put them back in place. So that's important for when we're actually moving these bones round. Now let's put these back on object mode. And what I wanna do now is I want to grab both of these because I want actually full tentacles. So I'm going to press shift D and then shift D. Shift D again, like so. Now the next lesson won't wanna do is one's actually put these in place and then them round with the chain and things like that coming out of that hole. So that's what we'll do in the next lesson. So I hope you enjoyed that one. I hope you learned a lot and I'll see you on the next one. Thanks everyone. Bye-bye. 77. Placing Tentacles Finishing the Environment: Welcome back everyone to blend the 2.9 Designing render a stylized water scene. And this is where we left out. Now, let's put this on individual origins. And what I wanted to do is I want to spend these round if I can altogether. So why hundred and 80? Spin them around like so. Now I just want to make sure if I come to one of these on Pose Mode, that it's actually going to move the correct way. So I can see that I've spawned these around. You can see there what I've done, so I need to actually spin everything round. Let's spin it round. So all why hundred and 80 spins around that way. So all why 90? Let's spin it around that way. Alright, so that's everything spawn around. It was 90. Now let's come to this one, put it on Pose Mode, and let's see the Bend the right way now. So our X and yet there's still bend in the right way and that is what I want. And you will notice for something like here as well. If I bend it, you can see the soccer bends with it and that's exactly what we're one. Now, let's put it on object mode just for now, just so we can get these in place, then what we'll do is we'll call them and bringing everything back in except to our Ocean, of course, like normal. So let's bring them all in. And now the Oceans already headed. So now let's come in and grab all of these on object mode. So we'll grab all of these like so. And I'm going to make them much, much bigger at the moment, the way too small. So let's bring them out and you can see that that pollen from there. Let's try and bring them on medium point. There we go, that's better. And then one going to do is I need to see how big these actually, I'm going to turn them around. So that hundred and 80, like so I'm just going to put them into place down here. So this is where there'll be coming out. And now what we need to do is make sure that they're coming out and they're big enough to actually look kind of scary. So let's make them a little bit bigger. I think something like that. Now this is the hardest part, trying to get them into some kind of place. So what I'm going to do first, I'm going to grab this one, for instance. I'm going to be then pull it down and try and put it into some kind of place. I'm going to rotate it round. So all X like so. Then let's grab the next one. And I'm making sure that I'm grabbing them with the actual bones. And I'm going to spin this one round. So all something like that. Let's move it a little bit more. Like so. Then let's grab this one. I'll put this in the top there. So let's try and get this one in, let down, then all spin it round. Like so I'm just making sure that they still look like they're in and I'm going to rotate this as well. So all X, let's rotate it, pull it. Now. If we have to, we might need to move up this rock a little bit, but we'll see. And now let's grab this one with the bones. Rotates it so all zed. And let's get this one into place. So we'll also rotate it on the X as well. Hope likes, wants to go into here, something like that. Alright, so now let's rotate this one round so we can actually move this one. So what I'm going to do is I'm gonna grab this and I want it actually come in around this chain. So first of all, I wanted to go in with my Pose Mode. Let's rotate this so our Z. Then, all. Whoops, let's a little bit weird. So I'm going to hold the Shift and just I want to actually reset that. So that's going a bit weird. So all zed, there we go. That's a little bit that just me, I was actually moving it. And then all Ziad. So I don't want it coming around this chain. So let's do this all like so, so oppressed dolls that twice then just to get it to come round and then I'll zed on this one. So all zed. And you can see that it changes the angle. So let's try it like that. Then let's get the end of it. Spin this around if you want to go the route where you just press it again. And it should be able to get in some place. And you'll notice as well, when actually press Tab, it won't actually go to the place that I actually want it. So what we're trying to do here is basically get them in place. And then once we've got them in place, so I'm going to press Tab now and you'll see it goes back, Kate, and that's because it's an object mode. Don't worry about that, that's absolutely fine. That's where it should do or you're trying to do is get these in some place and then you can actually work on them and change them whereabouts they're going to go. So now I'm going to come to the next one. So I'm going to go into object mode. I'm going to grab this one. I'm going to press the top, go back into pose mode, and now let's pose this one as well. So we're going to rotate it. So I'll rotate it a little bit. Let's rotate it the other way as well. Our X, like so all the way. Like so I want this one kind of creeping up towards the boat. So like so Let's rotate it down a little bit. So RX, something like that. And now let's grab this next one. I wanted, this one wrapping around the Treasure. One went to do is I'm going to come to the next one. I'm going to put this back on object. Come to the next one. Now let's grab this, put it on Pose, and now let's rotate this around. So first of all, we'll rotate it up. So all X. Then let's rotate it around. So all said. And then all zed, something like that, like his protecting his treasure. Like so. Now let's point this down a little bit. So all eggs, like so. Yeah, Not looks nice. Then I'm just going to bring this round here, I think so along this actual rock maybe let's try see what that looks like. So again, Unwin's grab this object mode, come to the next one now, Pose Mode, like so. Let's bring this one out. So while zed, zed one. So now let's point this one up. So our, why, why? Point to this way? So our X, like so. And then that's pointing this one down. So our Y, then all Y. So, um, let's see, are like so. Alright, so let's have a look at that. Lower, What do is put this on object mode again. Double-tap the a. Let's put it first of all, our materials. So we've got a good idea where it's going to look like. Let's also now and put it the Ocean max or will come in. And we're looking for are Ocean which is here, put it back on zero to go into the camera view. And then let's zoom in a little bit. Like so, let's put it on Cycles and see what we're looking at. The moment. Let's see if I can actually see these. Yes, I can. Yeah, that's looking really, really nice. Now what we need to do is we need to actually, we've got these in the position that we really want them. Now what we can do is we can actually apply our actual armature. And once we've done that, then we can actually work on moving these around a little bit more. So what we'll do is we'll put it back onto object mode. I'm going to hide my Ocean out the way. I'm going to come into my first Tentacle. And what you're gonna do is you're going to come up now to the little spanner. If you look on the right-hand side, then you'll see that you've grown Armatures. Now, if I come in and I press Tab now to go into edit mode, you'll see that straightens out. Now we don't really want that. So what we'll do is we'll come over to the right-hand side. We'll press Control a and apply the armature. And now when I press Tab, you'll see it stays in the same place. Now you can come in and actually grab the armature and hide it out of the way. Now, the armature is all four of them are down here, so we can put those in somewhere. But for now let's do the same thing. So we'll come to this Tentacle, control a column to the armature, hide it either way. Let's now come to the other one. Control a will do this one at the same time. And then we'll hide this way. And we'll hide this out of the way. Now before we do anything else, what I wanted to do now is just make sure that these look nice. So while there is, again, I'll bring back my Ocean. I'm going to bring in my cameras, so zero. And let's do now a quick render. So what we'll do is we'll come up to the top left-hand side Render and just make sure that it's still on the same sign. So we've got allows them to hundred it. It's still a very low render. That's exactly what it wants to come up. Render Image. And now let this render out and see what it looks like. We showed. Hopefully be able to see some tentacles in here now and make out the actual soccer's on them so we can see what they actually are. So let's see how this Tentacle turns out. And again, it's all about telling a story that is what we're actually trying to do. So we can see here that this one is maybe a little bit high because I don't actually like this where it's, the Refraction is causing this to look a bit silly or peer. So we need to put this lower down. Then what we're looking forward can see this side. I'm just going to see why it comes over on the left-hand side. Okay, everyone, so that's that Finish. Now, what I'm looking for is I'm looking to see how these tend to cause low. So you can see this one's Reaching out the back by one's fine, this one, the other Refraction. And I tend to make notes about this. They Refraction is not good at all. So I want to bring this down and make it turn around this bit here, and this bit here, I actually want to bring goal. So what we'll do is we'll actually come back on the next lesson and we'll actually get that sorted out. And on that lesson, it's probably going to be the final lesson where we sold out all the Ocean and everything like that and just really bring it out. So it looks really good, ready for all FInal Rendering. Okay, run. So I hope you enjoyed that and I'll see you on the next one. Thanks everyone. Bye bye. 78. FInal Rendering Reaching the Course Finish Line: Welcome back everyone to blend the 2.9 design and render a stylized water scene. And this is where we left it off. Now, let's sort out those Tentacle pots that we said. We want this one to get away from the Refraction. So I'll do is I'll come into this one first. I'm going to grab just one of these. Make sure proportional editing news on, make sure it's on smooth, of course. And then what we'll do is we'll try and move in this then, just down a little bit. Let's make it bigger to move it. You can see by using this that we're actually going to get a bit more smoothness. So I'm going to press all an X and just try rotating it a little bit and then Move in this round, like so, something like that. And we're gonna check this out again. Of course, you can see one of the problems we had when we moved it with the actual armatures. It's just a made it a little bit blocky. So we're just gonna go in and just fix these issues just a little bit, just trying to smooth it out. Like so. Now let's call them to this one. And this one's actually too low to the floor, so we'll come to this and will lift you up. So G Poly, oh, like so. Let's pull it up. And let's also bend this around. So all zed, then it round. Bring it in. Like so. Let's bring it all the way in. So it's near enough, touching the Treasure, something like that. Then let's look at this one now. So I want this one to come down a little bit. Mic. So maybe around there, something like that light will look like he's grabbing the chain and it's coming around the Treasure. And then it's just been his way round ready to burst out and actually grabbed the Bow. And that is the kind of story that we're trying to tell. Now let's do one. I'm not an actual render. We just look at this on our Cycles View. We'll double-tap the a, just to say we're looking at that's what it looks like without the Ocean. Now let's bring in the Ocean again. Let it load up. Just to give us an idea. The thing is, I'm glad I want to get rid of this Refraction. So this is fine. Now I think how it's coming out. This is a really nice so it's coming around. I like to come around the rocks. And this one here we can jaws seeing the distance is jaws Reaching up to the boat. And that is the kind of story I wanted to tell. Now what we're gonna do now is just have a look at anything that we can fix with the Ocean or with the rocks. You might want to make them a little bit more come out on the actual noise texture and things like that. So what we'll do is we'll start to work on that now. The first one we'll do is just work on this Gold a little bit more. So I'm just going to put it back onto Materials. I'm going to hide the Ocean out the way, of course. Now let's bring this gold out a little bit. I'm just going to zoom in a little bit. And we can see that it's not very lumpy at the moment and that's something that we need. So let's come over. We've got subdivision, we've got another texture on. Can we bring the strength off of this just a little bit, something like that. That's looking better already if we bring up the levels of the gold. And I think that looks much, much better. Now what I'm careful of here when I'm bringing this up is if I bring it down, we can see it's adding about 30,000 extra polygons to it. Now the thing is because it's still on a Modifier, it won't use as many resources as it was down. So you can see here the memory use here. This is what we're looking at. If we turn it up, we can see it goes up very slightly. Now if I apply these, it's going to go up a lot more because then it's actually applied those 30,000 polygons. So for now I think that's going to actually look back. Now let's say a look at the rest of the scene. So what we'll do is we'll try and fix a few things. I think the first thing we will look at its Fixing the principled on the Ocean. So if we come in, bring your Ocean in, and let's go to our materials. So if we come over to our Shader, Let's come over first, put it onto our Cycles Render. Let it load up. Let's zoom out, press zero to go into Camera View. If we come over to our principal volume and we're just going to put this off to zero and that's going to Create a lot more light for us. Now, let's click on our gold again. And then we'll press the adult bone just to zoom in a little bit. And then I just wanted to change some things on the actual gold just to bring it out a little bit more. So first of all, let's come over and we'll just change the scale up to 6.5. Then we're going to work our way across. I'm going to bring this down just a little bit. Just to the end of this RGB. And then I'll bring this one down as well. And then what I'm going to do to bring out those actual gold pieces, I'm just going to bring this down much, much darker than white walls. And I'm also going to do the same with this one. And then with this one that more maybe. And then with this one, I'm actually going to make it much, much lighter. So let's move over. Let's bring this up to be much, much lighter. Like so. Now let's look at our Emission and we're going to turn our Emission up and also plug in the color from there to get those variants on someone to grab this color, I'm going to plug it into the Emission and I'm going to turn the Emission or something like five. Let's see. I'm not sure make it glow a little bit more when we actually come to render it. And now let's actually go along to the actual Noise textures that we've got here and let's mess around with some of these. The one I want to bring up is this one here, the noise texture. Let's bring that up. Let's zoom in a little bit. And I've actually played around with this in my own. So that's why I'm looking at now my own and comparing it to this. I'm just going to bring this up a little bit like so. And I'm just gonna look at the bottom one and make sure I'm happy with that one. I think I'm going to turn up the scale on here and put on something like 12. Now I think that will be good enough to look god in the actual Render. There are a few more things we need to do as well. So let's first of all come back to our modelling. And we can see that in our last render that this actual light for instance, so they see it. Let's press the top come to this light. Let's actually pointed at the Ship. So we're going to pull it back and we're going to have it pointing at the Ship. Just align this up a little bit. It was in a bit too much darkness, to be honest. Now we'll come to our Ocean and we do need to fix a few things on here. So what we'll do is we'll press tab and we need to fix this going down here because it's actually messing around with our renders. So what we'll do is Alt Shift and click. I'm going to actually delete faces. And I'm going to grab this edge, this one here. And I'm going to press S and X. I'm gonna go over the top. So seven, you can see at the moment, it's really, really wonky and we really don't want that. So let's press S without proportional editing on S and X, and let's straighten it all. So just keep pressing S and X till it's nice and straight. And then what you can do is just pull it out a little bit just so it's not overlapping those there. And then you're going to press E, pull it down the bottom of the ocean floor, something like that. Then one went to do is I'm going to give it some edge loops on here. So control law 30, left-click, right-click. And now you can see how smooth that actually is. Now not actually going to interact with shadows and things like that. And it's going to make it a much better overall render. Next, I just want to go to shading. I'm going to come over to where my principle, this, so this one here. And I'm gonna turn down the density just slightly. Late naught point, naught six owed, something like that. Then I'm going to do is I'm going to now, let's have a look at the Tentacles. So back to modelling again. Tab, hide the sample way. And I want to bring this Tentacle down. So I want to bring it down a little bit. So I'm going to grab it. Portional edit, denom, make sure connection only it's not on G. And let's start bringing this down just so it's looks as though it's actually coming towards the actual to sink the ship or something like that. The next thing is, well, I want to do is I want to come to this end here, and I want to just bend it around just a little bit. So I won't Wednesdays, I'm going to press 0 and zed. Spin it round like so on them. Let's bring it round like so. And I want it actually just kind of trying to grapple with the actual chain. So something like that looking like it's trying to grab around it so I'll spin it around a little bit more. I'm just being trying to be careful not to actually break anything on there. Now the other thing is you can see that here we've got it's quite chunky and quite sharp here. So let's see if we can actually fix this. I'm going do is going to press the G and just try and smooth it out a little bit like so. So you can see now it's a little bit smoother more. Let's do the same on here, so GI, smooth it out. Let's bring it out just that little bit, like so. Just be very careful when you do that as well on this bit here you can see it's again, a little bit too sharp. So let's try just bringing it down. I'm going to see if I can bring it out like so and just make it so it's not quite as sharp on there. Alright, so I think at the moment That's looking quite nice. Let's look at this one as well. Can we actually smooth this one out as well? I'm going to press G and a little bit smoother. Now what I recommend you do now is you post your actual render on a little bit higher. So try one-thousand, like so. Then what we're going to do is I'm going to double-tap the a, I'm going to bring in my Ocean. And I'm just going to make sure now everything is named. Now you can see here that all of these parts are not named. Now these basically all the Tentacles even though the cold Armatures. So I can come in, I'll just add my Ocean out the way and just show you. So you can see at the moment that we have to press on this little triangle. And this is because it's actually got an armature attached to it. Okay, so we don't actually want to show these, but we do need to put them into a collection just to make sure it's nice and neat and we're mounts on name them. So let's double-click on this. We'll call it Tentacle. Then I'll copy that Control C, come to the end and just put one. Then let's do the same on this. So Control V, control V three and Control V Full. Okay, so that's all I'll tentacles and now it's make a new collection. Right-click new collection. Let's call this tentacles like so. And then we're going to drag these and drop them in. Okay, so let's close that. Oh, we've got now Bezier curves. So that also part of these Tentacles as well. So I'm going to grab all those and put them in. Now will that should be everything in there. So that's nice and neat. And I'm just looking now just to make sure everything is nice and neat and it's all in its actual collection. And now older is finally come over to our little TV. And then we're going to put this on 1,000. So put this on 1,000. Bring back your Ocean. So just open up the Ocean, bring it back, close that up, and then just put this on object mode. It just makes it a little bit quicker. Double-tap the a, and now we're going to go over to the Render. Now I'm going to click on Render, Render Image. And we're going to have a low while this looks like. So I'm going to speed heal from here and then went to finish. We'll talk through it. Okay, everyone, So there is the first pre-render. Now what you want to do now is actually check all of the good things and all of the bad things and then make a compromise on what you want to change. So first of all, their overall scene probably needs to be a bit lighter. And with that, I mean, the actual sky and things like that. Second thing is, I'm really happy with the density of the water. I'm happy with the light shots. I'm happy with the fish. I can just make them out. I'm happy with this Coral. It looks really nice. There are a little bits come in through here, but not really noticeable than they actually looked like bits of Fish and things like that. So they're absolutely fine. I'm happy without the tentacles are coming out. I'm wrapping around this actual chest. They're looking like they're coming out of something. And that's really what you want. You can see here, it's kinda disappeared into there and we're not able to see what's really in there. So that's great. I'm not happy with this palm or P can see that it's just poking through here and it doesn't quite look right. And apart from that, the rest of the scene looks really, really nice. You might want to actually make your bot a little bit bigger in this scene, but I think for me, I'm actually happy with it. And finally I'm looking at the Refraction. So I can see here the lines coming down the boots, the right size, and the changes coming down here. So the one thing I do need to do is tilt my camera. I'm not quite happy with this Refraction that have gone here. So now what I suggest you do is you go back, you put this onto hundred to actually fix fix those problems. I want to press a zero now and zoom in and get my camera into where I want it. And now I'm going to do is I'm just going to put this on Material and I'm going to tilt this up and then I'll put it on the cycle view. All the ones to do is I want to tilt it up just a little bit. So again, we're going to press N. I'm going to come to view, play, caught Camera to view. Press N just to pull out the way and then just tilt your camera all poor little bit like so. And now we're going to print on Cycles Render. Let's have a look at what we've got there. Now you can see that we might have got rid of this. I'm not sure yet where you can see that our Palm tree is definitely in here now, which looks a lot better. So now all it needs to do is I need to come over to my world. Let's just turn this up and try one. And then what I'm going to do now, again, we're going to give this a quick Render. We're going to see where it looks like and see now it's much, much brighter. And then finally we'll do our final render. You can see we've still got that little bit of Refraction on the water there. So let's try to Tilton our camera up a little bit more just to try and get rid of some of that, something like that. We can come and tilted back so don't worry about that. So once you're happy, then press N again, just to open that backup. Let's put it back on Material. Let's turn the camera to View off and against close it up. And now let's do a quick renders. So Render Image, what we're looking for here is those things that we wanted to fix. So first of all, we're looking at the overall brightness. Then we're going to look at the Refraction of the wall to with his Tentacle and make sure they're actually happy with it. There we go. So now the one thing that I want to change before I do my final render is this song. I want to bring it up so it's actually in the sky. So let's solve that out now. So we'll come back, put it on Cycles render, I'll come to my world. I might ask to obviously go now into shading. I'll go into a shading on Cycles render a already come to my weld, go to Objects, come down to weld, press zero in the actual viewport just to make sure Ring camera view. And now let's lift up this song. So we're lifting it. I think it'll be, Let's have a look. If it's on the Y The thing is we've got the same problem as what we had before. So let's come over, put this quickly on EV, and then we can lift this up. Much, much easier. So now let's bring this up. We go and put that up. So it's just in the sky there. And then just think, do you want it in the middle or do you want it to the left? Alright, I think I'm actually happy with where it is now. So now I'll put it back on Cycles. I'll come back to modelling. I'll put it on Material instead. I'll come over to my little TV and we're going to put this on 10,000. 10,000 is pretty high. It's gonna give you a really great render. So just make sure you're happy with everything before you do this. Because when you do this, It's gonna take probably depending on your machine. Anyway, we're up to 2 h, something like that I imagine for poorer machine is going to take a lot longer and I wouldn't recommend for any of this high. And if you've got a really kick-ass machine, them rarely, rarely turn this off higher if you want to. Okay, so what we'll do now is we'll go to render a more Render Image. And we'll talk about this when we've actually finished. Welcome back everyone. So now if I zoom in a little bit and let's take a look at our final render. Now, what you should do on your final render is always look for things that you can improve, but bear in mind that you never really going to have something that you're hundred percent happy with. So just bear that in mind when you actually do this. Now, what things I'm actually really happy with it. I'm really happy with the actual build of this scene. I'm really happy with the Coral, I'm really happy with the Fish and things like that. Then you need to look at things. You could have done, bad, things you'd like to improve. So for instance, on my own, render the sky not quiet blowing off. I'd go back in and make it a little bit, blew it. This little guy here, I'd probably use a novel like just a light to mock that little bit more is a little bit too much in darkness there. The Tentacles, I would make them a little bit more rounded and play around with them and just make them a little bit more smoother than what they are now, I'm finally the gold of work a little bit more on my actual Gold Shader, just to bring you out a little bit more and make it a little bit more, Lindsay and things like that. Now, I do also recommend that when you've done your final render, take it into Photoshop or something like that, and do a little bit of post-processing on it just to get it to a higher standard than what actually Blender can actually render it out. And that's a standard procedure actually taken a final render and post-processing it. So with all that said, that brings us to the end of the course and what a journey, It's been a sudden the beginning, I'll be teaching you how to create a great looking scene that tells a story. And I really hope I have achieved that if you made it this far, I'm sure by now, you have a very good understanding of Blender 2.9, most of its functions. And with that knowledge, I'm sure you can now go forward and create great looking stylized models that you'll want to show off and be proud of creating. I really hope you enjoyed the course and got a lot out of it as much as I enjoyed putting in. If you haven't by now, please leave review as Alps or this learn. But more importantly, if you can leave a written review, this really helps to cause get traction and get into the hands of more students. I also love to see people's FInal render results. So if you can please post them with all that said, again, thanks a lot for taking the course. Happy modelling everyone