Transcripts
1. Blender 2.8 course introduction: blender 2.8 is a major update. Everything is different. Interface. The shortcuts, even the behaviour of some tools has changed. If you want to use the latest version, older toggles, older courses won't help you much. They're outdated. And if you are a beginner, you want to get the basics right. In this course, I will get you started fast in Blender 2.8, using best practices for modeling workflow, and you will learn how to use reference images. Create a model like the scene, said the camera, using the rule of thirds shade, the model using variations of materials. Best course gives you both the techniques and the confidence to do more. You will be up and running fast in Blender 2.8.
2. Blender 2.8 Introduction and Interface: a lot has changed in Blender 2.8, compared to 2.79 or any earlier version. 2.8 is a major upgrade. The interface, the functionality, the behavior, the shortcuts. A lot has changed, and it's important when you are a beginner in three D model in that you get the basics right before thinking off, making fancy spaceships or cool models. It is extremely important that you get the basics right. Your workflow needs to be neat and organized, and this is my objective. To get you started really fast in Blender 2.8. Let's start with that. Our indifference. What do we have in the interface in here? Um, we have a very well now organized now it's very well organized in terms of workflow. You've got modeling sculpt in you, the editing. You've got extra paint shade in animation rendering compositing. This is the sequence off events for work from, and this is a major change compared to what we had earlier now it was all over the place, but for now we have taps clearly show the sequence of events when you start your model and you go up till the rendering script in is something that is different. As you know, this is for Peyton programming. If you want to customize your workflow. Okay, let's go back to the molting. The interface? Um a lot has changed her, Bob. The most important part is you okay? Your experience. So how do I get you started in this interface? Very simple. How do you move around on How do you move things around? These are the two most simple, important things. I will explain the interface by working, not just by taking you step by step. Okay? This one does this. This one does that until you fall asleep. The idea is that you are going to to make them all. And I do not Actually you do not want to just keep watchin. I strongly recommend that you do everything I do as I do it and that you reach my result. Hopefully better than about because you have your creativity and your going to tweak it. And you may even work on on a different one. A different style, different model to customize it to your liking. Okay. As I finish so that we really this is This is something you need to start unfinished really fast that you get not only this is my objective as well. Not only the techniques also the confidence that you can do it once you get your first render and it looks cool. That gives you a boost to move to turn to the next model. OK, now let's get started with this. Once you start, I need to get to give you the tools to move around and move things around is after two more simple. So how do you move around? Remember this middle mouse? That's your key again. There are many ways of doing things, but because I need to get you started fast, I'm giving you the shortest quickest ways. And then I leave you to find out the other ones for yourself because you would have already started doing things. Middle Ness is your key here. If you could on move it, you're moving your rotating around the center. Okay, that's one. If you press on shift, then you are Panin. It's OK. If you would like to zoom, then you used a screw. Everything happens with the middle. Mel's okay when it comes to moving around the second part off moving thinks around. You can do it here, Under on the left we have, um And then you hear. Now this menu can be or may or may not be visible dependent on how your default is going to be. But if you want to show it on sometimes mostly I do not recommend that you remember shortcuts, but some shortcuts are really important to keep in mind in this case, on the left. T on the right. N o k t is to get the list of tools. You Presti, it disappears. You press rt again that it reappears again. Now what are these icons like? OK, I have. Ah, it's much better now it's It's has killing a description of what it does. But if you want to see the text, you just come here. C Mark Rison has changed. Just push it around like this and you'll get the text description. This is going to defer. Defer. It's gonna be different compared to the context. What context, Dorian? I'm in object mode. Okay? Object means when I select up, I said a full object. I'm not selecting the face on edge or Vertex If I move to edit mode, it's a different story. And it's a different list of tools because these tools now are added to the object ones on these are for editing on important remember object mode and edit nerd are completely different, not just in terms off list of tools in terms of sequence of events. There are some things that you can no longer do once you move to edit mode, so you better fix them, right? I'll show you what these are. You get them rights before you move to the antidote. Because once you Mr Edit mode, you can change them. OK, so this is now to move around. I have my transform, which is a bit like everything if one of everything about this, like, move it, then you come. You can come here. You get this handle. Then if you want to rotate it, you can rotate. If you want to scale, it can scale. Um, it's you have. This is an all in one solution. Let me controls that a few times just to go back to where it was. Let's go back to the You have the move tool, which is a non here. You get the hint of this. The shortcut is, um the shortcut is here. Okay, that was just you get the shortcuts here. Shortcut space bar G got rotate right on. The shortcut is space bar are hand scale, and this is a shortcut. Okay, Now, there are other tools on the interface that can help you move around or cannot move the object. Move around in here on the top. You have this hand. Now, with this one you can do exactly you could move around like this. Okay, um, you can zoom. Just bring it back on. You can grow date around it. Okay, So if you if you don't want to use the middle mouse, you can use these ones. Or is this another shortcut? Here? We have tea for tools. Another shortcut to open the parameters on the right here. And it's either click on this plus to get it or you press n so n is to show or hide it. Okay. And And he would have, of course, the perimeters, Lukashin rotation, dimensions and stuff. But one thing is not there. What is that background image? And this is one of the most important things you start with before even touching or even creating a primitive the background image because we want most of the time. Not always, because you want to keep believe some room for your creativity. Most of the time you want to be used in reference images, but we need to bring in a background image. But the banker images lost its. It used to be here. What is it? What is it gone? It is now much handier, much faster, much better. You don't even need to bother about it here. I'll show you how to do that. But let's first look at the rest off the interface not in terms of detailed walk through, but in terms off. The most important, thanks most important things. Sorry to get started. All right, doesn't press the energy to remove this, and we have hear these are quite important. You're going to need these ones. This is to show or hide the rest of the world. Let's call it like this the other things. So the grid, the camera, the light. It's like everything it controls here that you have for scaling. If you have moved or skill, rotate If you click on this, just say OK, Just don't show me anything. Just show me my model. Just that object. Okay, this is to remove them. And then here I recommend that you come to the overlays, come to geometry and you click on wife rain and you increase this toe one because why frame in two point? It has disappeared from the normal way of doing it. There was a short cut for that. But now this is how you want to do it. You have here. If you want to show now. Thea, just remove presents. Director, I'm not in object mode. Of course. And let me move this round. Um, I have here the wife a mode. I can move to the solid mode, and then I can go to the materials on. I could look at that friend er version of it. Okay. Now, rendering is a different story. It's gonna happen in the rendering. Stop here. All right, but you can still preview your under here, and this is done. You can do it with render engine easy. Okay, um, you can change this to cycles. If you say no, I want to have the realistic cycles renders it is more like for real time 100 in the view port. You want to see things as you work on. That's brilliant. But when you want to look at the final results, you may want to choose cycles. Okay? Because it has, in terms of shadows, he has better shadows on what you don't more realistic shadows or it. This is, I think, the most important part. Of course, we have here on the right and everything. What do you mean? You skipped the whole section on the right here. This is going to be changed based on what we work on. But the most important part here is the tree view. The tree view, if you see here is you've got same collection on gun collection. One. What do you mean, collection? What is a collection? It's basically a group. Okay. It's a group. It's a tree. View off your seen. What do you do? You have in the world amazing. The terminology from view world. What do you have in your seen in your world? You've got a camera. You've got Cube, which is theirs, and you've got a lot. That's what you've got coming up, Cube. I love that she had something else. Like God, Mish. Something else like blame. All right, then you've got a plane. I don't see the plane for simple reason that the plane is here. So it's all in the center. If I click on move on movies around, This is the plane. I can scale it, of course. Scale. I am using these. I normally use shortcuts, but because I want to align myself to your starting point, I'm using these words as well. Okay. But otherwise used. This s and then you can do like this. It's the same to think you have it here. Shortcut. All right, then. I am going to come back to move on the back here on. Let's say okay, I know that this one is is down here. We can move it. Come back to the Cube on that movie. It's a bit like this, and this is what I'm now moving in the perspective. All right, So this is the collection on. I'm moving into perspective. What if I want to see from top or if I want to align this Precisely. How do I see that you have views view planes and you could select which have the one you want. Now you can, over time, remember the numbers. The idea is not to memorize them. Now you start by coming here to view viewpoint to select the one you want, what time you get used to the 13700 for the comrades. You look for the camera. If I look at this, this is what the cameras looking at. And then you have your view Port. You've got the young front, and this is what you need. If you want to align things from a gap respects like you don't want to have a gap. So you come to your move to learn you're going to bring this one down, right? Good. So something like this. And then as soon as you use the middle mouse and you turn, it changes back to perspective. You don't need to go back. View on viewpoint. Let's go back view and then go to perspective. Autograph IQ. Okay, this is well, this is different now. Respectable photographic is when you lose a three d perspective perspective. All right, Now the light and you can change it of course, can click on the light and then we'll come here, lump, all right. And then you can move it around. You can move anything. You come to the camera here or you selected. Sometimes it's difficult to sex from the view port. Come on around. You can move it around. All right. You can move it around, say local. Okay, Local. I've just changed. Say this change based on what do you want to transform based on the global, then it's going to be different. City development is different now because it's global or local, right? It's all it's all a matter of choice, dependent on what you need right now. This is for your view ports now the view port. I recommend you work with the wood one view, but you have a choice. You have the options, say you working on different views. Anyone to you have reached the level where you want to work on detail and one is not enough . Then you come here and down at the new drag. When you drag gets another one, I guess what you can keep dragon until you're tired Events you could create as many as you want What? If you want to get rid of them, then it's exactly the same thing. You drag and you push and you see this. See this arrow here? This is studying you. You are going to collapse to the right. When you do like this, it goes away and then same story collapse to the right or you can collapse to go up or down . You can do. You can do it different ways. You could do like this and then come here and push it down. It's important that you work for the most of the time. You work in one view, right? But when you starts working on details, you can you may need more human and more, so it's important that you know how to open them on how to close them. All right, of course, when you open any one of these that it's not gonna be the same. You're gonna be changing what it does, right? So you can come here on change it to say, for example, I want to work on the shader editor or I needed to be I don't know what have you the image you could be working on different ones. Let's close this store for and go back to our right menu. So there's a collection here. They've got all sorts off. Everything in here you can create a new collection is basically means a group, right? So they've dropped the technology of group infections of group, and now they working with collection. You want to create a group. That's how you create a group by creating a collection right click new. That's the collection. You double click and you call it whatever you wanna call it. Skip the collection to whatever. And then, um, you drag and drop something. The plane Come, let's bring the plane here. All right, this is your plane. You want to create a cylinder and cylinder? What is that cylinder here? If it's a year and then bring where's that cylinder? Or it's already because the collection, too, is already there. I was planning to put it in a collection to what could move it off for for a change, right when I move it to call actionable one and it's there. So this is have you group and move your restaurant. All right. Now these are primitives, but I'll show you what? You can do this primitives. Okay? Do not underestimate a box. I don't understand it. This this the cube here. Okay, you can do a lot with a que I'm quite fast, actually. Quite fast into a lot. Quite fast with Cuba or a cylinder. All right, now, year, we've got our usual list off para meters per area. Shall I call it? Yeah, I've got your render stuff here. You've got a lot of things, but we'll be working Mr With the render with the object with the modifiers and with the materials materials, I would recommend that we work in shading, but if you prefer, you can do something here. You still you can still work on your shaking here, but it's recommended that you come to the shade and it's it's much more fund. Yeah, you can. You can do more. It's designed for shading. Right? Okay. And so you've got you've got your own, um, a few a few areas here with prime it is that we're going to touch on the rest of the interface we will cover by doing okay. So the next part is going to be moving to the model in workflow
3. Blender 2.8 Modeling: Now, let's start that modeling workflow. Okay? We're going to choose one model, and we're going to make it. But let me first get rid of this stuff in my scene. How do I remove all of these things when I select one of them? I can't select all of these. How do I do that? I just press a when I press a I select everything is like all. And then I can press X to delete. Now, I will not do that. But also even how to de select, um to de select either out a or a selective again or you double click twice. Um, you you double click on a okay. Quickly like this, then you to select it. Okay. No, I selected Press Texas, and I will delete. All right. What do I start with? Okay, of course. There's ad and you go to mesh when you get something. Hold on a moment. It will help you a lot. If you have step before this, let's go back. We're not gonna add anything yet. Reference images. They will help you. OK, you do not always need to work with reference images, but they do make a huge difference. We are going because it's important to get started small. I have to get up and running faster. We're gonna start with sophisticated spaceship. We're gonna start with the vase. Okay? Something quite simple. Let me bring in here a browser and I'll show you. What do I have? I have vase. So quite simple. I just look for vase, all right? And I get something like, OK, I'll just pick something. I'll choose this one, right? This one over here. And Google model this one. All right now, the objective again is not to teach you how to model that wall is to give you the techniques that you can move this, that that you could use for modeling this one or any other shape, right? It's about the techniques, and it's about you. It's about the artist and the tools of the artist. It's not about what you see right, because the same tools and techniques that you can apply to do on model something else. But it's important to start small when you have a final rendered result that looks good. That gives you that boosts your confidence to me. Father. Father. All right, we're gonna do this one, but this is how I would recommend to do it. All right. Is it just a matter off? Okay. I looked at it. I remember it. Fine. Let's do that. That's not what I meant. What I meant is we're gonna bring the image inside of lender before proceeding in the further If you for the next step, want to go for something different. Like you want to experiment with more things. Technical drawing. You just look for a technical drawing on and you find here. Also stuff technical drawings. OK, but these are great starting points. If you feel like it with a car, would guess what? There are technical drawings for cause so you can bring the whole picture on model that on and model inside with that reference in front of you. Actually, you are using the reference for your for your model in okay or flu plan. If we're talking about the house or anything, you have flu plans. If you want to go for a medieval mediaeval Castell, um, we click on that and then you got floor plans for that. Complicated ones, easy ones. It is a starting point now you are not. Of course, you're not required to stick to the plan. Say you want to do this one on this one is quite easy actually to make Oh, the picture is quite small down, but it doesn't matter to a solution. You could just scare the open without a problem. We don't care about resolution here because it's just reference. If you want, you can take a reference, and you don't need to stick to it because you are the artist's creative. Once you have it, you can change it to your liking. Changed. You can depart from it. Okay, but having reference image is always a good start. Let's now get rid of this. Let me show you the one that we said we are going to choose. I said I'm gonna choose this one. I'm going for this big one over here. All right? Um and I'm gonna do it differently. Writes I'm gonna different. Do not have just the same material. I'm gonna do it differently. This is what I meant. Like we're not going to reproduce something because that thing has already been produced. What's the point? The idea is to make something you. Um, let's let's do that. No, This image, I have it. So how do I bring it here? How do I look at this? So I need to keep looking, but it to decide, or something. Or maybe just do. Come here and add something like this and then go to UV. What is not You've image editor and image, and then open and then go grab. It's I don't want to do that. I just show you how sometimes you find these things being done. Blender whirs. Blunder, Blunder. The new folder that surveys. Then you stay open image, and then you find it here. They think you're fine. Yeah. Cool. That stood out. Uh, no, this isn't how it works. This is not how it works. Because you need to be working directly in the view port. Your image should be directly in the view port off the modeling. So let's take care of that. Let me to get rid of this of this stuff. Just close this one, um, like this, right? How we bring in a reference image is actually quite simple. First of all, you need to come to edit user preferences and under import exporter. You need to find them. Just increased the size of this window. And under import export, you need to find image as a plane. Import images explained this one. See import export import images explain. Activate this one saviors or settings. Then you close it and then we just bring it here. Our Windows Explorer or your finder on your dragon. Drop its in the middle, and that's it. That's that simple. All right, Now I'm going to get a big loser, all right? With what you talked about how to move around and had to move objects. I'm going to have to raw data. I'm going to have to rotate this this image because it is now on the floor on the ground. And I needed to be vertical to model Teoh to use it. Other as a reference. So to do that, I'm going to select it, and I will find it here. Now, this is an empty It comes in as an empty just created a little bit more space for this stuff, right, because a zone in jail double click. Just calling my reference, uh, image. Okay, this is my reference image. I click on that and I'm out. I come here to rotate on. I will be able to rotate it when I use this red. So this is for the X axis. But if I want to have precise movement on a click on control, see if you look here on the top as I am moving, there's a number that that number is like run, not runners like 2.91 or for press on this, it becomes five. So you're living in fives. Okay, So what? I need just to move it like this. And now I have it, sir. A line that what I need to do is to go to my front of you. Because this is what I had the use into model on, move to the moved all on. I think the image is too small. So what I'll do is just scale it ob significantly. And you notice that when I'm skating, I could only see the Green Party, which is moving birth them, the blue and the red access to visit on day X. But if I move here, I'll be able to see the red under blue as well. It's each one is for I am to access a day once. Okay, so let's not go back to our front view, and I just best one, OK? Because view of the view port front. That's one on the number, not the numbers above your letters. The non part. Okay, so I'll be using these numbers now. You know where to find them. Okay, I now have This will be increasing this a bit. Andi, use my move to but it like this. What I will do is I'm sorry. I need to have the vase base aligned with the X axis. And I want this to be in the center because this is the one I've chosen, right? Okay. Something like this. Now I may need to increase its further, but let's look at our mesh first. Let's bring in the national when I bring in a cylinder. Yes, only to increase them the image when I bring in the slender Very important. You get a dialog box here on the left, you get the chance to change its before you move to edit mount. Once you moved to edit mode, you will not be able to change it again. OK, so I will need, for example here because 32 is a lotta yes, you may be tempted to say Yeah, that this one looks very smooth. I'm gonna need a lot of sense, a lot of vortices. That's not true. What you need is a good starting point. But not that many were talking about. Smoothing for rendering is a different thing. Like starting point is one thing, and then advance of divisions later as another thing. Right? So all I need for now I think is about six ish something about six. Six were 12. Maybe I'll go 12. Yeah, like a week. Week? We can do 12. We could do 12. Yeah, that zoo 12. Okay, so when Oy, that should be fine. Although we will have more Vergis is to worry about before now is fine. 12. This kind of Okay, you could do it with six if you want, but subdivision is gonna come later. All right, So once, now we move everything on, we start working in the edit murder. This is gonna go. All right, but this is your chance. Solitude making changes you need. All right now, I need to increase the shape artery that the size off my face and one on the move I just need to increase compared to reference image and increase the size again. Something like this. Okay, um, is it a bit what you can do? You can hear you have a cylinder. Okay, Well, if you click all that, it disappears from view Port visibility. Now, this visibility off is for the view port, and this war is 400 restricted under visibility. So if I click on this because still sees in the view port, but it will not render. Okay, so this is for selecting. If you click on selector, you were able to select them the just do a few coins. You want to select whatever you have now disable from selection. This is now disabled A cylinder, so I won't get selective just to show you. Ok, I think this is fine. I'll just remove this, I think is kind of fine. And it seems in the Senate Good. Okay, Now I don't have it exactly from the image is not really in front. You see, that's a little bit from up, but it's just reference image. Okay. Just for for France reps is on the brink in my my cylinder. And now when I click on the cylinder, I can start working on this. Let me bring some the opera bits turned. It starts working on this, we're going to move to the edit mode, right? Object murders won't. Thinking it mode is where you can select your for titties. The faces on the edges. Now, what do I need to do? I need to come here and make sure that I am on the wife remote. Make sure that I have here y frame selected with one and make sure that this one is also selected. Okay, Why this Say, show whole scenes respond. This will help me. When I select the front, I'll be able to select the back as well on this. Makes a big difference there. So you need to have best this on this. Selected to get this to work. Okay. How do I select is far to see Snow I have here the vertex, the edge in the face. What do I need to to select? No, I need to work on my verdicts. So what I'll do is press be okay? When I pressed be. Then I get the possibility to draw a box selecting a box. Okay. I can also select if I want. I can press See that I get this. If I start doing like this, it will be selecting it. All right, Let me de select all because by the way, when we moved from the object mode to edit mode, everything is selected. So what do I need to do? I need to press, aren't a or double double press A to disable everything. Let me go back to my normal mode. Um stress escape on object mode. What I will do is make sure this one is selected on Come to my edit moder and just the select everything. I have just pressed twice on a okay or all day as as you like. Now I come and I would be able to either you see on drool if I do like this have selected My Virtus is okay If I want to do it by books then as I showed just control said on de selectable So just press escape Onda dis electable. Okay, York, you're going to need to get used to the double A and a and the beef, Right? Because this is mostly you're gonna be using B But if you want to use it with C Fine. So ABC are quite important. A for selects everything. Double A for D selects everything. See for select just some things that you draw, take double, then press escape done double a, then be and that's what I'd like to use. Now it just select this. Now what do I get if I do that? I need to make sure that I get also diverted sees that are behind That is true. I got them now. What you notice is that the edges somewhat are half selected. But we don't care about that Just telling us that. Okay, Vertex for text that seemed between these is selected for it. No, I will then scale them ok, scale them to match this for me. But its use of the scale used the skill on. And we will do that. Actually. You know what? It's time to use some some short gods. So it's going s on. I'm going to scale. It's be careful without something like this. What? Good. No, it just happens to be that I only have two lines here where this is not enough. Absolutely not enough. So what I need you to do is no escape and the double A to de select. I'm gonna need more lines in hair edges. Okay, so how do I create them? Control our now, when you cook press control, are you? Get this pink line, this pink line. Basically there's you. Okay, We're ready to start at in line now. It doesn't mean it's gonna be exactly there, but it always start in the center. So if you click once if you click wants, you can move it. If you If you could take the second time, you have decided where you want it to be, so I'm going to bring it down here and click the second time. Once I do that, then you've got a few options here. I do not need to change any options for now, so I'll just go back to my front view, okay? And I'll do the same. Actually, I will just work on it because it's still selected. Can just work it now by person s and I can scale it a little bit. All right. On press now, probably I wants to have one here. That is a bit tighter, but you notice that it's because the image right, the image is not taken exactly as front. You will have some differences, but that's fine. See? So this is a bit more than here. Anyway, what I'll do is control are again press one. So bring it a little bit down. It just depends on the shape, right? How many do you need? It all depends on the shape. So in here, I'll just press s again align it's and express a second time to make a second time with them with the mouse left, of course. And then control are. And it's gonna become quite useful thing to do every time you're modeling. Okay? Just a just a line in. Of course, it looks to energy in terms of its Z, it's too sharp. But that's just the starting point. Now they come back on the control or again, and this on I increase. I think I'm gonna need more for the for the edges. But let's it's just one here. Sorry on this I do like this. Now I know that I'm covering the edges here. Chances are when I will work on it is gonna be smaller, but I need to have them wider just to match to shape. But it's a matter off. Um, there's DoubleClick in A that they will press a That's a matter or from off. Just check in, actually, whether the form when rounded and when subdivided, matches what you need again, it's just reference. You may decide you want to go creatively with a different look. Fine, but this is reference. Now let me press on B and I will select this and bring it up. So how do I bring it up? Just G and I'll be able to bring it to right. And I could you see if I find if I bring it up, But I'm not constraining leading it's it can go in different directions and that's not good . I can constrain it instead, right? I presses it. Okay, so I just press myself. I press it said, and that constraints instead is them. Normally you would find why is, But this is like that is up. Okay, that is that stuff. Vertical. Um just need a little bit hope, actually. So g and When I move in, I press zed in a press. Where does G come from? It comes from news shortcuts, G. Okay, so first I show you where they are and then you can start using your shotguns. Let me now use s scale around scaled down here now I live. I need I need some war. I need some more lines of control are and click Bring it down here And it is, um do you get the point? OK, I'm repeated in this. This exercise now and is like this and control are and as yes, sometimes really pushed to falls tends to To where things. Now you get a bit closer oppressiveness again snow right now. Is this enough? I don't think so. But you know what? It's a starting point. This is starting. Want What I want you to do now is something very simple. I want you to come to the to give the shape you need to give it some shape to check if our shoes, if the shape matches, let's say our objective is to match it perfectly. Right? What we'll do is come to them with the fire. See this one here that's your modifier. Does I like your pre made tools to work on to add to your ship? Let me go to the object mode, right? And have the cylinder selected. I'm going to double click and call it main. Um, vase body. Now, why, you might say in May, vase, main vase body. It's because I have the intention to do something with it later. There's something that is not gonna be main. Okay, So Ah, but I'll show you. Okay, so this is the vase I add, You hear someone? The fire again. You come to this one? Normally your Here he comes to the here to 20 fires admitted fire. And with the vase object selected, you come to solidify. What does solidified? Let's come back to our come edge here. Sorry. Oh, something else, actually. Let me just remove Solidified. If I could convince you notice this is closed. I'm gonna need to get rid of this one. This is closed. Used to be closed. Find that makes sense. But this one of the top needs to be removed. That's actually before even applying the modifier. So let's do that. I'm going to go to edit mode and go to the face here. You've got Vertex Edge face, click on face. Then you're going to select that one on nothing. Assist selected. Fine. Then you just press pigs and delete faces. That face is gone. Fine. That's all I need. I need to be open. All right. Now that it's open, I can come back to my Albrecht node. You need to be able to move with the object mode on it may, depending on what needs to be done if something is to be done at the at the object level. Clearly you need to be the object note. So I want to give more thickness to this because this is, like, very chic, very thin. It's like paper, so I need to give thickness to it. I'll do it with a modifier, but he needs to get object mode, right? So with this, they selected animal. The fire. Come to the here, and it's solely defiance, defiance. There's gonna give something else. We click on this and has given something, but it's not visible on offer. Were you may click like that just to give it a bit more. Please be careful if you're going to make a glass. Also, this is gonna impact it because grass refraction is precise physically in nature, espressos and the victory of glass. The mawr Look, you have decided to have what? So I'm just gonna go with something that is kind of OK for Okay, All right. Know that I have this. What I will do, I will not apply. I device you. Please. When you are starting is a beginner on when you do not know where you're going. Exactly what you are. Object that you're experimenting us. Okay, let me just try something and see. Don't apply it yet. It's visible in the view port. What it will look like. Don't apply it yet because you may need to do something you may need to change you okay? Unless you know for sure This is not the steps that we need to do. Then you apply to new move on. Right. But in the beginning, don't apply it yet. I'm gonna have another one. And why do I add? It's because it's needed. But at the same time, I need to see if it matches. If my shape matches what I was looking for. Subdivision surface. Click on that. I'm very starting to look a little bit more like something that is getting towards the Smith. I will come to the subdivision, The view rendered that is not too different. View port And when you render So I just click on three movie 23 and move it to three Here. Good. All right, Now, this doesn't look very bad. What? Something needs to be done about it before we reach this. This is why I'm saying don't apply. We need to do something. Can you come here and look at? They just use one. Aren't even disable. Actually, the young the reference image is able to reference image. Let me move it up a little. This is very important. When you are modeling, like, really important and in terms of sequence of events, you need to get it right. This is why if you employ, it's too late. All right, let me just You're gonna have to do more work. That's basically what I mean by too late. Let me get closer. I look at this. This is round. This is Norman to be around. But when I asked for most of divisions, it's other most of divisions to everything. But this shouldn't happen. See? So this is why I never apply. What I need to do is make sure that this is flat because it's meant of you Put on a table or anything. Its support needs to be able it this way. It is gonna fall is gonna fall on the side. See, this one needs to be flat on the surface. I don't mind the top parts because I think this makes better sons like this, but it's fine. Just that I think, in terms off edges will need a little bit more something like this. Okay. Yeah, something like this. All right. No. What have we don't We've just visualized using what we intend to do. You intend to solidify? Indented divide? Guess what? Thank you. Visualized it. It looks like kind of It's okay. Other than this problem, let's sort out this problem. So what I'm gonna do, remove subdivision Remove. Solidify will come back to you again. Let me come back here and fix this. This this thing? How do we do that? Every time you're going to use subdivision, you need to be very careful with that subdivision warning. That's all. That's all you need to keep in mind. Subdivision, You have a warning. You need to do something before subdividing. Have I done my homework? What's your homework? Making sure the edges that need to be sharp. Stay shop this one over here. Mr. Stay Shop. How do you keep a job by adding an edge? That's the trick. So let me come here. Your number with added all of these edges over here. So you just kept adding lines. Let me go back to one. I just kept kept adding lines here one line one. And how did you do that? Control our toe at the line and we keep moving it exactly the same thing. But this time, the objective is different objectives to make sure that the smooth does not hurt the sharp edges that need to stay. Shop control. I mean, go back to edit mode, right? Edit mode. And we're going to do control our it gives me in the middle, correct on it. Once I can move a don't click again and bring it really low here. Okay, so what am I doing? And then click What? I've just done I am protecting that lower part from being soft in to the point where it becomes just not flat. Okay, so this is how you protect the edges? I could do it at the top, but I do not want to because I want to get this stop part two to be to be round. So this way, if I now come back to my edit mode just d selects everything. Eight. Going back to my thick mud. Let's Ah, um it's just one down. Go to to I just pressed the one again. So no, I'm no longer telling what I'm doing because it's front in terms of how I do it. I mean, because you know where they are and you know the number shortcuts again. As I've agreed, I hope you're not just watching after just you're following and doing exactly what I do. Even if you go to oppose it, do the step. Go back again. And yes, by doing the article that the subdivision and then showing you the problem. It's intended because if you're going to build a castle, it's a nightmare. If, after subdivided in a price of division, you want to go back and think, Oh, actually, the stone is not a stone. It looks like different because you haven't added the protective interest. Let's call them like Okay, Okay, now let's go back to our objects murder. And now I will apply my solidify. Actually, I have a problem. Solidify the problem doesn't come with solidify. So I could have left solidifying without any issue whatsoever. But I just did I just tell you that there's some homework to be done before working with modifiers. Then I need to come here to This is the warning. So division surface gives you beautiful round edges off then. Now it's a different story. Okay, Now this one is protected. Let me just increase it. Three. This is now different. See, this is different. You could even doom or bought. It is different. This part here is still little bit elevated. What? We could've done it. Just push it even further down which we could dough, which we could do right now is appreciative and further down. Remove this one. Go back to edit mode. Okay, fine. Is it too late? No, it's not too late. And it's actually a great opportunity to show you another thing, which is how to deal with moving things that you avoided. But in their these edges are not fixed and set in stone. I could move them. I can come here to the edge selected on this election One. Okay, When I press, um hold on I click ones. It gives me everything the whole round thing. Nice. OK, so what can I do? It it I'm pressing one again to go back to the front view. I come press G when I could move it down. Now this is now moving everywhere. Like wood are the one. This is dancing because I need to constrain it. So, Zenda on this constraint, I don't fishing it really low like this. So when I do that, I make sure that it is protecting the lower edge. Right? Let's go back. Dis elect with a or all today I want to go back to object murder then bringing that warrants of division. Okay. Should we call it like that and move it to three This way it is much better. Okay, this is good. Now always make sure that what needs to be flat is flat. How do you do that. You add your protective edges. Good. Now, that could be anywhere, top or bottom. But in this case, I will not do it. And, um, don't move it. No, I didn't. Just check. Think of moved in. I'm used it by accident. Um, I want this to be around. Now. Let me go back on. Look at this in with reference with reference. Let's bring in the reference. Okay. Now, is it exactly what I want? Well, I've got some missing here. Guess what. Let's make it as big and white as it is here. So it stood up. Let me cool back to the city of Moat, and I'm keeping this subdivision right. I'm keeping the subdivision on. What I will do is just increase. You know what? I'm gonna have another one. Gonna control our had another one. Okay. Turned up. Increase it a bit. Something like this. Something like this I will do is I'll just come to this one Old select. Oh, of course, we have everything selected. I'm just turning around here. Go back, press one on the num pad to get the front view, and we'll do is about press s to scale it a little bit now. It does look a little bit weird here, but when you go back to your object mode, it's much better rights. Probably a little bit here. It's not exactly precise. It's it's not gonna match it because the perspective, the picture of the one who took the picture, they didn't take it straight 100% in front of it. But it's fine because we matched it overall shape. That's fine. Do I want Do I want to have it like this round, or do I want to respect the shape of the head in here? It's your choice. It's your artistic choice, actually, because I have some plans for the top part and you'll see what the plans are. Let's match what they have. Shall we do that? Let's go back to edit mode and I'm gonna add another one here, so let's make sure everything is the selected with a control are when I click here and I'll bring another one. Now when I do a doctor, then I will just ever so slightly increase it just a little bit tiny bit and come here to the top one and press old and click to select all and slightly increase it. All right. Now, what I will do is go back to my object murder. See, this is fine. I think this should be a kind of OK. Probably make it a bit whiter. Just a tiny bit for the last time. So what I'll do is just press s again Just is selected on making like this. Let's go back to my edit mode. Well, have you noticed every time I go object mode and then edit mode on the object management think, Well, isn't there a better way of doing it? Of course there's a short cut for everything. For most things, there's a shortcut. We started with this. Now you know where they are Now we come to the shortcut it stop when you press w moved to and it moat that begin to object mode. Tap tap tapped up Simple. But I need you to know where things are a short cut. If changed, we'll get you confused, but we always find them were there. Okay, Now this is kind of OK, this works for me. Now that we have this, we can decide whether we need more or less subdivisions, but I think for our purpose here on it is fine. This is enough. Please be careful with two dividing. It's crazy in a crazy way because it's gonna be heavier in type. Really, It's It's gonna be too high point. Too much information, more than what you need. And if you're seeing is gonna be have a lot off objects and each one of them is heavy poorly. It will impact the performance. Whether it's for TV, for film, for games, it is gonna impact it forms for Andrew and for for a lot of stuff. Good. This is enough for us. All right, now, this image, thank you very much. We don't know you anymore. I'm gonna just disabled from here. I definitely disable it from the render. I need to disable its from the render. Okay, now that this one is gone, what will I do with this? You can even remove, actually, but for reference purposes, just keep it there. What do we need to do? I need to have some background for this. Um, I go into shaded now that might go into add color to it, like moved to the material here. If I move to materials, just remove this stuff. This is the default stuff. What you see here is default. This is not like material. You still need to work on materials we've got. Is it like a default? Something to to visualize when you click on it really clicked on the render. So this is material render This really shows you that you have nothing. But this is like the gray color for you don't have material DJ, you need You need to to apply matter, OK, but it's like the foot default look. So we're not going to do that now Because I need to have something else in the jihad at the floor to the plan. Sorry, the plane, The plane. Let me bring in the rest of the world in here. I'm going to a plane. That's gonna be really quick. The idea of the pain is just something to avoid that we have it floating in the air. Let me just increase this systems s and we increase the plane about enough to um cover everything that will do is come here selector. Go to my edit mode. Vertex and de Select all with a. Then I will click on B and select these two. And now it's time to use some of the modelling techniques because guess what? We haven't used them for the vase. We're gonna use it for the plane. And it's the fancy extrude press e for extrude. And when I move that I'm extremely in these vortices now Oh, it's going all over the place because I didn't constrain it. It needs to be constrained using the vertical axis, which is that so I present. And now it is constraint. I move up and it is where it's meant to me. This is a wall. It's meant to be war. It's meant to be the plane on descent. This is the wall, but this is too sharp. This isn't good if I come here on a price of division to this one, Still, this one is gonna be shop. Let's go here. Where's my plane? This is playing okay, this is it is better to keep it explain, undermined Abdullah's subdivision and add under object. This is gonna look really weird. I mean, unless you want to go for this, but it's because it has so little information and the edges were not protected is so round . That's no, It's getting into our options. I can't do that. So division warning. You need some homework before that? That's moment. Let's go back. You know what we're now?
4. Blender 2.8 camera and lighting: now the camera position and the lighting. Now the camera is here right by default we need to do is to make sure that we get the frame that we want. Now the free mean the easiest way on the one that you will find handier is that you come here and you choose the framing with the perspective. Say you want to have this training on for the framing. There are references in terms off what frameworks you want to use. Like you could be using guides. I mean, the rule of thirds or the golden ratio, something that is aesthetically pleasing. But I leave that up to you. Okay, but process references that you can take into account. Let's say in this case, we want to use the rule of that's or its Now I want here my camera to take exactly what I have in front of me. But it doesn't mean everything, because here is there's no plane here. Uh, but just from this perspective from from here, Okay, something like this. How do I do that? How do I tell the camera to come and look at what I am looking at? I need to come here to view a line view and a line active camera, each of you. Now, when I do that, then I am already I have moved the camera to where I wanted it to be, and I'm looking through it. This is a little bit tricky because this isn't what I wanted. I needed to hold. You have to have the whole thing. That this isn't about changing the cameras, focal am. I just need to place it to place it right now. If I start moving, this is my object. I need to move the camera. How do I do that while still looking through it? Now I need to create another view. And this is where the views are useful. And come here and use the middle mouse. Um, and just move around just to see my camera. Good. No, I have moved. I can see it here now if I come to the camera selected and have the move here and start moving, that's what I need. Okay. I can move it here and bring it a little bit back. Something like that. Of course I can use the focal. Um, but I think this is a much faster approach. Good. Now, this is why I wanted to have the rule off. That's if you split the screen in three. This is gonna be here. There's gonna be one line here. And if you split this one in three, it's gonna be one line here and one line here. So this is an intersection. This is an intersection. Andi bases an interactive section. What is this? It's empty. No year. I want to have the shadows. OK, so I have at least three intersections of our populated, so this is, like a little bit aesthetically pleasing. All right. So to say that the light in the shadow needs to be here means the light needs to be on the right. So it's now work on the lighting. I have finished now the part off framing. So all I need to do is close this. No, I push it like this. You see this arrow? That means it's closed. If I released, I will get closer. Now they're lighting. Let's go to the lamp. Select. Get me this lamp over here and let's come to this. Okay, Data object. Click on that one and we will be able to work on the scale and go on. Um, on the this is this is a point. It's important by the way, light you've got point Sun Spot Hemi area in this gaze, I'm going to use an area. OK, so let's move to the area in a delicate area that I get also the size off them size six and why this is a joint d Tiny, tiny um think over here. If I If I increase it in terms like, say something like 50 m 30 meters, why 50 meters? I think it is a bit much still. OK, this is good. This is good. Now in terms off muddling you notice here this is 50 meters and I think this is big, is it not? It is a matter off when you are modeling to scale is one thing with your model in, just like without taking the skin to account. That's another thing, but it's always useful to model to scale, meaning that this needs to match. Actually, you're the real life scale. Okay, But that's something you can do it. You can do it in the beginning. It's better. But you can also do it at the end. All right, so now I have this area on. I'd like to move it over. Let me get a bit further here. It needs to be pointing from the right. Like to have some soft shadows. And I'm going to run day to a little bit like this on a bit like this, right? Look, I'm just trying to places like that. This line. What does that mean? Does it mean it needs to be pointing to the model? Not necessarily. Because this is an area. It all it says this is a center for its point into. Okay, now, I'm fine with that. And what I can do is come here where it says that rendered and click on that. When I click on disable this stuff, then I get this. All right, This is big, but I don't think I have enough light. Yes, it is very soft, but it's not enough. So how about I come here to the energy and increase it to something like 50? Is this enough? Probably. I don't know, because now I need to move to shading. Lighten. Um, is better seen when you have your materials. It's a matter off. How does your material react to light him? All I needed to do is to have the general place of the Latin. In the next bit, we're gonna be talking about the shading and then tweak and delight in too much dark shading.
5. Blender 2.8 Shading & rendering: now for shading. Where do we go now? You can absolutely come here on when you select, say, main vase body. You're gonna be able to come here and see material. You can click here on working in materials. I strongly recommend you don't do that because when it comes to shade in, you better do it in a shading workspace. So let's come to the shading workspace. When you look at that, it is designed for shading. Let's move. Same thing. Vieux Port is the same thing with the middle mouse. Okay, with must. Now, what is this? You've got just some default thing that is applied for visualized for visualizing for visualization purposes. But I need to create a a method for each. Okay, How do I do that? Let me start with the blame first. Actually, no. Let's do it. Let's do the young face. Four the face What I will do when we come back to the lighting. Okay, because we've agreed that light in. We set up Jin general structure like General, set up off the lighting. But then the to weaken happens after you. Ado shading. Now let's work on this. What is this when I click on main, Do I have a material? No. Let's come here to the material and you see that I do not have a material What you see in here? It's a default thing that is applied just for me to see it. So there's no material I need to create, one that's important. I need to create one. I think I want to make it more visually appealing than just one uniform material. If I decide to have the top part. Okay, let's say this is a is gonna be like an expensive looking thing. Piece off off decoration. Not just a vase like that is gonna be are expensive porcelain one with in the middle and ring off gold on top, a ring of gold and in the bottom Here, um, is gonna be gold as well. Okay, So golden here golden here on golden ring in the middle, and all the rest is going to be whatever you want to be. Actually could we could live in a ploy glass, But let's go with porcelain. Are I'll show you even how to do glass, OK, but the final result is going to be porcelain like white porcelain with gold. Let's do that. Well, hold on a moment. How can we do that? Because this is just one object. And to be able to apply the materials being need to have thes areas selected to be identified as separate for another material I recommend for the workflow purposes is that you go back to your modeling space, activate this stuff. Um, I think it's better to be from this side. Right. Let's look at it from the site. I'm going to view port and any side, right? No, that's not good. Does not go. Let me get front, actually know. Okay. The front is here. Actually created them the plane this way, Which is good. That's fine, actually. Just what's all right? Whatever. Whichever one, like, looked like this, what I'm trying to do is not to have the blame at all. In my way, I have got no the main Facebook buddies selected. What I recommend you're gonna need this later If you want to take your model in any other application and you want these separate parts to be seen and treated as a civic parts like guaranteed, why don't we have them a separate models like several objects, are individual objects. I went to isolate the football. The middle part on did low part. How do I do that? Go to edit mint. In my edit mode, I'm just press twice in a to de select everything. And what I will do is go back to the subject matter and see here. Do you remember and will the fire You remember We have put these modifiers, but we didn't apply them. Now we've reached the point where we are going to shade. We don't need to make any changes anymore because the form is there and everything is in there. Cool. So time to apply. Click on apply. Click on apply. That's it. Now, even if you go to edit mode, you are going to get the applied. So now we're going to get the full details, right? So when we entered before a plane, we had the initial shape that wasn't so divided. Now we've got everything. So no, I need to do is come to the other faces is go faces. But make sure you are in why frame mood with this lovely thing selected here to make sure that you select all of the faces. So when I click on B to do something like this, this is not exactly the place I wanted to choose, but just to show you and I turn, you see that it's the whole ring. Is there? Okay, it's up to you where you want to have the ring. I'm just really press on one again to have my front view armed. Let me de select double A to de select. And what I'll do is simply take some parts that are going to look somewhat equal. Let's get this pot let's get and then press on. Be again. You don't need to press shift or anything. When you press B, it's automatically taken that, uh, as an addition into account. You select this as well. Okay. By 10. Got everything. That's cool. Yeah, All right. On. I'm going to move it up a little and come to the bottom party, press B and select this bottom ring. Okay. All right. Not this way. Even if I look Hey, you're noticed that the that face that's down here? Well, you have got in here. Those faces are also selected. So this is what I want to put in gold. It could be a different selection for you. Be creative. Just do whatever you want, but let's go with this one for now. Okay. Um is it enough symmetrical, etc. Maybe. Yeah, I think it's kind of ok has one more lining. Yeah, this is kind of OK, this is a bit more like symmetric in here. I have a bit more pleasing stuff. Okay, cool. This is now selected. What do I do with this? Off selected. The faces I need to do is create a new object out of these so that when I want to buy my material, I could apply it to this object separately. We're not. You don't need to do that in blender, okay? You can apply it to a collection. You can put it in a different you can use group in or whatever, but I strongly recommend he's going this way. Why? If you take this to Houdini to my 233 DS max, if you make models in new plan to sell them, then you would like the other people to be able to use them properly. If it's exporters and fbx that new ones these other things. Sorry. These these parts to be individual parts that they quickly click on in the node graph and just apply a material to it or do anything they want to them. And they're isolated. And it got a name if they have a name. Okay, so I will come here to Mish. Okay. Mish on. Simply separate selection. Okay. We haven't done a metal responsible, I think just we've selected when you click on that notice. I haven't clicked yet. There's main base body. There's gonna be another one created. So mish separate selection. This is another one created start when I click on this one, I just could it here and double double press on a two d Cenex everything if I pressed. So which one is which? If I pressed now I go to the right to object mode and I press on this. The 2nd 1 is the ring. The top one is the main body. Okay, so the 2nd 1 is that you won't let me describe, confess and say golden drinks, whatever silver rings, whatever you want to call them. In this case, I'm gonna use Cold. Sold its do that golden mix, Um and just it just jumped up because it's done alphabetically. But anyway, whatever. And this is the main vase body. Now you know why I have chosen Main face body? Because I'm planning to have a non main part. Good. This is done. Let's go back to our shading workspace. No, with the golden rings. Or you know what? Let's starts with them. Yeah, let's go to the golden rings first. Andi, bring in a shader. If I select this you see, there's no material so simple. Just click on new material on you. Why did that for us here and then on the 2nd 1 Let's go back to school. Let's go back. I breast here first and then I breast here. Why? Why do we have to? Why just not one click on this one and move on? Because if you want to have more on, this is just the choice because we don't have this case here. If you want to have more materials applied, er object, then you can add as many slots as you want. These are going to apply the applied to one object but separate part of an object now in our case, we created a new object, so we don't need another. But still, I need to highlight this for your other modeling carcasses. Click on this one to see. Okay, you. Now, this is gonna be what? Golden rink, Golden ring material on the bristle. What do I get? Do not get if you have not worked yet with notes. Don't get intimidated because I'm gonna give you really way out of this. Select. This principle B is the whatever press. Still it gone. Say the problem is solved right now we're gonna go simpler. Um, we have the material output now. This is just the view in what is the output? This is them. What you have as a default. It's like it's great. It's great. Nothing. What I need to add is gold. So how do I do that? Add shader and look for that. Where's gold? I can't find cold. Actually, gold. You could make it with glossy make silver with girls. See, you could make a lot of stuff with glossy, right? So I'm going to use glossy. Let's put it here and just connect. This wanted this one because you have to the output to the input of this one. So has something changed? No, but it looks look a bit more silver now because this is a glossy material. Now what do I need to do? Let me get this one bigger. Because I only have two here, right? So you connect these and then I come to the color to make it, um, to make it gold. I need to come and give it a golden color. Something like this. Right? But it is not in offer to give it a golden color you need to work on. Okay, so this is a golden color. But what we need as well is roughness. So roughness is going to make things. Um, the behavior, nothing. How it looks on the interaction off lights with the material is gonna be different, depending on roughness. If it's 0.1, then it is more gold like, but if you make it, you notice here what you've got It doesn't look like it. Smooth properly. Why? Because there's something we should have done in model in. Go back to Marlin. I'm going to go back to the object model. Select this golden ring object. Smooth shade smooth and click on that. I come to the main vase Object shade Smith. I may go back to my shaded on now it looks better, right? Because in model, it's not only enough to create subdivisions on please. If you see this what we had don't solve it by adding most of divisions. It's by adding that smooth shape. OK, now what do I see in here? I see some trees and stuff. What? What is this? I don't I've gone tracing here. What does it come from? Well, the lighting by default in the scene for shading just to help us would shading to see what we're doing. There is an HDR I applied. OK, it's a picture and HD arrive picture applied with the sky and trees and stuff Exterior one is just for us to visualize what we're doing. But I don't need this. Okay, Uh, once we move actually to rendering it will disappear because it's not part of rendering is just for us to see what we're doing. Now let's move to the main face body the main phase. What do I want now? I want to show you a few options, right, But before doing that, I want them to be in contrast with the foot with the background. Let me go back again to Morlin because that's something I need to do to the plane as well. Object mode. Go to the plane and same story object and shades me Now what you could possibly do to select all the or Brexit once and press shades myth. Let's go back to shade in and you will notice that now are the background is much smoother . Looks much cooler. Okay, let me change the background first because to be able to work with the foreground, it's better to have the background. Let me get my claim in shading creating you. Now. I don't need to create to press here because I just have one. So I just press here and it's automatically creates one slot and I'm just gonna call it plain material. There's not, especially by the plane, but I'd like it to have a particular color that I have in mind. What is this? Um, tell you what. You can use the principle be stf boat. What I can do is just go straight to shade. Uh ah diffused BST which looks much simpler as a beginner. We're just trying to get you started here, Okay? To get to get you the right confidence and using the tools that will get you there faster. There are more bells and whistles and the principal shader, but it's just get started with this one. Now, what I need to do here is get a color that I believe is going to be something like this chick I've got already have a color in mind. And what you can do is actually wants you. You can choose the exact hicks. Um, para meter. What? You tried it with this one. It looks pretty cool. It's blue. And then maybe thinking, Why did you choose the blue or you don't care? Actually, you should care. Why not? Because I've chosen it. Or because it's blue because of the reason why I have chosen it. I tell you what, moving something I'm going to bring descript amusing. Another one. It'll how? Um um okay, let me bring this one over. Could a real what we have? Just take this one away. What? We've got gold. Gold is kind of yellowish, right? It is a yellowish. Okay, I'm just trying to have a pleasing combination of colors. The color wheel. When you have where is the gold? The gold is most likely to be here. What? What's the opposite of gold in terms off? You've got the bluish. Okay, so it's scion even here. See, this is a gold ish and this is science, right? So this is the only reason Just try. And when you in your combinations to make contrast According to the color wheel, you are going to get interesting results. You can depart from these. These are not rules. But they do help a lot to give a quick, aesthetically pleasing look. All right, so this is the reason I've chosen to believe it could have been any other color. But because off this contrast and because I have the intention to make this one white, not another car This is why I have chosen also to just leave the yellow and the blue to be contrasted with each other. Now enough talking about the color wheel. Let's get this going. This is enough for me. And before I proceed any further before I proceed any further, what am I doing? I just find that this is important. So I will open a bracket. What am I doing? I'm shading. Shading is all about color. Color is unique. The monitor needs to be giving you The monitor needs to give you accurate. Not really extremely accurate, like a professional monitor. Color grading monitor you need to have reasonably accurate. Ah, a lot biased. Let's say that not biased colors. Why am I saying this? Because I am no recording in the evening. And that happens to be a great coincidence, because if I had recorded in the morning, I wouldn't have had to open this bracket. When you are working with colors shading extreme, whatever that has to do with colors and you are working in the evening. If you have a Mac and you've got night shift on, guess what's going on. Your colors are biased because the blues have been removed. Found why? Because it's to remove the men. The night shift is all about you having a better sleep so that it doesn't impact your sleep so that you can wake up for early morning full of energy. You know this story. You can search that in Internet, and you'll find about the blue light of the impact of the blue light on your health on your own sleep and on your following days on your life. It's a lot of stuff. Um, the night shift. This is what? This isn't back. I'm not using the Mac. I'm using the windows. So we windows. I've got something called f looks if look slim. Just think is not the purpose for a lecture, but it doesn't backed a lot. I don't want you to wake up the following morning. Yeah, something like this. Okay, this is it. Right? So this is a flocks. This is for Windows. If you're using this one, this is exactly the point, right? This is brilliant. Just click on this one to see form able to enlarge it. No, I content largest anyway, right? So what we have you, um this is the This is during the day, and this is what it looks like at night. Now, about this. I'm recording evening, if you are working with a flux own. And I do strongly recommend to have something that I don't care about its influx or not influx. But I think it's the only one out there for now. I'm not sure there is another one. When I found that, just I stick to it. If its windows its mark, you already have it embedded. I think as a night shift, you find it tonight, but as well that you cannot shade with this part on because this is, like, completely biased. You wake up the following morning and you get the it. Everything looks orangish. So what do I have now? I already have it supplied. So what, you look out now, these are biased colors. So what I need to do is come to my what ever, If locks on, disable it for, let's say for an hour, something like that. And you're going to notice colors and now change him. See? So this isn't good, actually, for my sleep, but it's I'll do it just quickly now for the shading purposes, right? So that we have some backyards, colors. I'm going to close this bracket. But the idea is it's better to have any sort off night shift on a long time. Eso that it switches on depending on your location. It was gonna take the sunset and sunrise times. And if you have any, uh, color grading. If you're talking film or you have any texture in or shade in, do it during the day. Otherwise, just remember to switch off this for for for an hour or something, it automatically switches on again. Cool. Now this gives me much better colors. Now this is what I want. Let's finish about the plane. Let me go back to my golden rings. That's fine. I'm OK with that. What is not what doesn't look good is just the HDR I It's standing in the way. Actually, I can't see a pure gold thing because it's see the reflection of trees. But I don't care for now because I'm just working on the material, not for rendering purposes, not because this is not rendering them. But if you want to look at it as rendering weaken, come back to modeling or weaken completely, render it. But for now, we haven't been finished. The main vase has got no material whatsoever, so I need to give it one so it creates a material and I get off course by default. My person Principled bebe SDF. Now I do not need that one. I will get another material. But before proceeding any further, I'd like to change the renderers. All right, let us go to the modeling. Let me show you. Ok, what do I have here? I have under the stab render engine is e V A V is for mostly for Vieux port Re time rendering something you want to see when you are working. Okay, We're going to change that to cycles because the purpose of this is to render it in, like just not in the view port, but to export on image. So I'm gonna change it to cycles. All right, let's go back to our shading. I won't remove this one because I want to have here porcelain. All right. I want to have here porcelain. So let me come to add shader on. Probably even before starting the porcelain. Let's go with a different flavor because I want you to have a few options to experiment with options. Let's go with glass. Of course, the final results will be in force. Elaine, look, But now let's try glass. OK, connect this one click on the surface and then we get the glass. Look, of course, there is reflection off the HDR, I'd HD awry. Here is, of course, with all sorts off trees and outsider landscaping stuff. It's all reflected in here. All right, When we come back to the model in and we click on this, then we get the Renda used using the glass. Okay, so the lighting is not enough. We have just about enough light in to see what we're doing. But the lighting needs to be two week. There are two stages in lighting. First enough light to see what you're doing, and the second is tweaking it for the render. Now, let me change it to cycle to E. D. Okay, you just able to visualize what's going on. But if I go about two cycles and got the more realistic look, okay, you get the more realistic look. I then need to tweak the lighting. So let's go back to shade in and the lights. And should we do that before I proceed any further with the porcelain? Look, let me show you what it looks like a glass, so I will go back to model in here. I'll go back to any of the other looks that do not have rendering and let me work on the lighting for the lighting. I had increased this one. Right. I have increased this one to, um, like to just cover the whole area. But this is not enough because I need to have more strength in terms of flight. So come here to lighter. Select. Delighted here. Okay? And you will notice that we have under the area. Um, every lump we've got here, the sizer and we also have many click under use notes. So we have this trump on industry up here. I can increase this to, um I don't know, something like 500. See what it looks like? Let's go back to Denver. Can get a bit closer. I don't think this is going to be enough. Maybe have it something Something like 10,000 dish that's gonna have a good start. Okay, Now it is a big area light, and it is soft. This is why I'm trying to have a soft light first. And I'm going to add another one. Another light. So I come here to add light and point lights. Why do I want the point lines? Because later on, when I want to have the material for the purslane. I want to have those lovely reflections in terms off the reflections on the purslane off the light, the reflections off the registry. I just remove. Just go back. Sorry. Go back here and remove everything here. If I come here closer, I have the reflection on the glass. Now, of course, it's a bit noisy because it is still calculating. Yeah, it's calculating. Gives me time and remaining. Um I mean, let's be honest. E V is for Vieux port rendering, but cycles in what you is what you want to use for the final rendering. And I prefer to use it, too, to see how much knows they have, because there is another step where we need to denies. Let's go back now for the lighting. I have reflection here off the area lights, and I'd like to have another reflection of a point lines. So this is why I want to come to to add lights and point lights. I added the point like you know where it is. This is where my protest in the centre. So I will go back now to the general view, right? So just this one. It doesn't have anything on. I won't. Something. My point. Lights, Here's my boys lights in the tree view. I will select it. And I just click on this to view older, uh, all the controls on the view port connect on this one and bring it up. This is my point lights, Of course, because my camera, if I look at the few come back cover of you, I would like to have the shadows on the left here. So the point light also needs to be on the writer. I can move it a bit outside of the camera and have it like this. I won't increase the strength off this point. Like to something like 300. Let's look at what it looks like in here. This is starting to look a bit better, right? Okay, Now the background is blue. The glass is gonna look bluish because the back on this blue, but, um, this is your glass look and it is going to depend. May go back here. There are a lot of things to talk about. This it's important that I need to talk to you about everything when it comes to when you start talking about shading. A lot of stuff comes to the surface. You see how think this stuff is? It's a decision. It's a choice. It's your artistic choice to have it that thick. This is going to impact the look off the glass. You want to dinner, then you can bring it thinner. See? But that's something you have to do during the modeling. All right, let's now go back up to or camera view and go back to the modeling. Sorry to the rent of you here on. Um, this looks fine. So this is what, your final? Um, this is what your glass will look like. You know what? Why don't we go ahead and render this one is glass, Andi, Then come back and make it personally. Shall we do that? So let's tweak the settings, because I just want to give you more options under settings. Now, one of the residents settings is some plain. Let me see. Maybe have already changed this one. No. So we have selected again cycles because I want to rent it this stuff as any much, um, we would like to have the proper something. The more the more samples you have the better quality, the more time it's going to take clear. Okay, Now I I'm going to bring it up to, like, if you divide. If you keep dividing by two, you get the right number off samples in terms off how it works up 1 to 4 and then you've got 2 56 and then you've got 5 12 So I'm just gonna go with 5 12 in here for the view port . I do not care much. I just need to have an idea. But for the render, I wanted to have 5 12 Simple. There's another thing that you want to be careful with this because cycles is known for noise. So because cycles knows that it's known for noise, it has a noise setting to be tweaked. So I come here to the tub next to surrender, and I find the noise in psych. Click on this one. Please do remember to click on this one. This is not impacting your view. Port. This is impacting your render. Right? Let's get this one done. I'm coming back. What have you done? Checklist. Render some Run the samples. I'm going to go through the simple checklist and the symbols. I've got enough under samples here. 5 12 and I've got my d noise. Cool. I've got my lights properly there in the view port. It seems like this is what I would like to see on. Let's go for the render. I'm going to the render tab. Okay, I will Then come to the render on Click on Render Image. It is going to take some time. I may need to stop the recording and then take it again because I don't want to keep you waiting. But when you click on this, let's start this. This is what we get. We get a rendering that is going on. What I will do is I will stop the recording or probably speed this one up and then come back when it's friends. Okay, It's the rendering has finished. And this is our glass vase. Now what we want to do is a few more options or probably just go straight to the porcelain look. Okay, so let's close this. You know what? Let me Just first save it, save ours, okay? And physical. Call it vase. Glass girls. Okay. Save image and close the render on. I go back to my shading rights under the shade in bed. Here. You have noticed that we have not even changed the default. A musical box, right? This is this is emission. This is for my lamp. I need to select my main vase body this glass material that you find under Add shader on the glass. This is the default one and I have not even change it for simple reason, though you can change it. But this is a scientifically like If this is the physical setting or from the glass the index off refraction 1.45 You can tweak it to change the look off the glass to your liking . What index for a fraction is something that is physically, scientifically set for water for glass in a lot of things that got refraction. All right, so this is one look on. What we could do is just delete it and come back and add. Now, the porcelain look like the final one. What I want to do is come to the Shader and to get the porcelain look, I need to get what is called a, um I'm gonna need tohave the diffuse. That's number one and I will need another one. Not just a diffuse, but I need Shader Google, See? And this is glossy, right? And how do I mix them? Because I want to mix these two not to mix them. You come to Shader on there is mix shader which is basically just a mixer. All right, so I do this on then it needs to be connected. So I connect this to the first input of the Shader on its 2nd 1 to the second Trader on I connect this one to that one and I get some sort of a look now this is not the final Well I need to tweak not for the diffuse. I can keep it as a default because diffuses just diffusing I'm given color right now I need for porcelain as you know It is reflective. Quite reflective. This is why I have brought in this glossy white. So they are both white Porcelain is why this this look that I want is wife. So I need to tweak the glossy part and how much off it is going to be mixed with the diffuse number one What's the method for porcelain? It's better to go with Beckmann. Okay? Not DDX, not a default. One big month. That's number one. Number two for the roughness. I'm gonna need to go down to 0.1 The The more roughness you add, the less shiny it becomes because then light is stopped by roughness somewhat. Okay, so this is now very shiny. But I think Oh, this is too shiny for for a porcelain. This is why we're not mixing them by 50 50 factor like give me 50 off this and 50 of this. No, I just want to have 0.5 that's all. And what do you do this then you get a porcelain Look. What have we done? We have changed. We have left the diffuse as is default. We have changed the glossy right changed it the method and keep the core of course and roughness. And then you make sure that you get a little bit off it. Know all of the all of it like 50%. And this gives us to look, Let's go back to our Modlin in here on what we could also do is if you like because even render is also something don't you may want to look at. Let's change it to either Under Okay, even render is giving us this. Look, I prefer to give to stay with cycles. Okay? Because cycles is what you use again For the third time you use for your unders making sure that let me go back Let me go back here That I have didn't deny reason is on that I do have as well My something is still the same Like I have was my something 5 12 What I will do is just to avoid, um any double computations with others live here to the non render view to the your white friends You on I'll go to rendering and in the render here now still have the image from the from the earlier one It's already been saved. I can move on I could just click rendered image And now I'm going to render the porcelain look with the golden rings And it started to render I will again stop the recording and come back to it once it is done And this is the runner off the person in look But when you look at this, You think something doesn't feel right? You are right because the golden rings do not look realistic at all. Why remember we have changed the lighting and shading is not just the color shading is the interaction off light with your colors with your materials. Okay, so it's not just about your materials and colors. That's also how does the light interact? And would we have used the shader for the golden rings? We have set a perimeter for office. Now it looks clearly that that perimeter forgiveness is not enough to give us the realistic look off gold. Yes, the color is there but we need the rough look off cold now It doesn't have to be really rough, but we can tweet the roughness. Let's go back now to the modeling are sorry to the shading Yeah, it's all about shady. Now we go to the rinks. So Golden Ring, sir, on roughness is zero point when this is absolutely not enough. This is important too Two highlights because when you feel something is wrong, chances are when delight in tracks with that material. Something weird is happening because the light has got too much tax system to material, so roughness is giving it less of an access. So I'm gonna go with 0.2 or even 0.25 and we're going to start the render again. Let's do not. Okay, Render image. The rendering has finished with the new settings off, the roughness applied. And now we can see the golden rinks and the porcelain with the reflections of the the point light. Okay, we have here the general soft light off the area light. Okay, But it's always nice to have in addition to your area, like to have some point like that is gonna give some more reflections. Okay? And the objective, the objective is to get you started really quickly, giving you the basics, but also giving you the workflow in terms off. What should happen before you move further. Right now, I really and I hope. And I hope you have not just been watching. You have been doing it as we go. All right? Please go ahead. Take another reference image, right, and do the same thing. Do it a few times. I know that once you do with the first time you get the comfort and the self confidence that you can do it and you can do more. But it would be really nice if you can take a few shapes on do different ones on Shade them differently. So it just a matter off practice in, over on over and over again. So do a few of these examples, please, Andi, I can't wait to see what you do with it.
6. Rendering Variations of your model: I wanted to show you how I created these variations. But number one how did he die? Creates more models. Well, simple. You come here to modeling, and actually, you just select Let me just spiritually here. I have selected this. Impressed shifts and select the other one. Okay, so golden rings on porcelain. Buddy, how did I create the other three? Simple. You just duplicate them. How do you do that? You come to the operating room, make sure you are inoperable and becomes object with these with the object that you want to duplicate with object selected object on duplicate objects. Simple. OK, but remember we had split the main body from those rings. Okay, so we need to select both of them. Where, when we duplicate with duplicate. But at the same time, when you do that, you just press escape. Because if you duplicate and keep moving your mouth, you're gonna see that it's following your amounts in it and start panicking like, Whoa, it's just flying in the air. You just press escape and go to your move, tool. I'll just you move it around Movie to decide or whatever. Get this. How duplicate. Now let's move to the next part of shading. But before I need you to remember that when we create a duplicate off a shaded object you have duplicated the material as well. Meaning what? I mean, But you are using the same material. That's what I mean. You have not created a new material. So if you do not do anything, you know, if you don't create new material and delete the old material, you are going to be changing for one. And it's gonna be reflecting all four. Meaning you change. This one is gonna be black. All of them are gonna become black. So you need to delete the materials for the new ones. Let's go back to shading. Okay, I've already done that, but let me just tell you, show you what I mean, this is number one. This is number one. Okay, it is number two on the bridge. 23344 Why twice? Simple. Because there's the main body under there. The rings, the golden rings and person anybody. Glass body and sufferings clear. Okay, now, when you click on, say, for example, gasbuddy. Now, I've already done it, But if you do just duplicated it. You will find exactly the same material that you had for the original. I wouldn't say duplicate the original Copy that you duplicated. All right, just remove this new update stuff, okay? You found the same material that we don't want that we need a new material. You may be thinking. Is it better that to duplicate it before shading? Absolutely. Yeah, Find. But just in case you have already shaded it, I want to show you that you may think that every time you change one, all of them changed at the same time. I mean, we think in panicking is like, what is going on? If you duplicate something after shading it, then you just need to come here. The miners on delete delete forward for the duplicate for the new copy. OK, but don't just delete the material and create anyone creating new on same story to suppress the plus on. I'll just press the plus. Um, well, we've done it in the first time. Right? Say that same plaster that used to be here with new same thing. Click on that one. You name it. Whatever you want in this case for me, I said exit blast buddies, and he called the glass material simple. Now where do I get this one's from? Because when I come here, if you notice I've got so many notes, don't get intimidated by the notes. Only one of them is used. This one. I want to have these Dude, that's here. That's what I have. This was un accused. These ones. You can experiment with them by putting a glass eating and then connections. Okay, let's bring something else on the brakes just connected for a while. You can delete it. You can clean, and by the end at the end, you need to have a clean note graph. But when you're working, it's OK to experiment with a few combinations and leave the notes there. Say what if we add this one to the other one that went to the hour. See so. But when it comes to the gold, that's what you've got. Just one of them. Don't get intimidated when you come here to the last body that it's only one divorce talks . I think about the glass. A simple ad shader undergo glass. How do we keep it at default? Because if I remember over to talk about this one day in index off refraction is scientifically, physically set to 1.45 You could tweak it. You're like it if you want to take it in a different direction in terms of look, the glasses to look different. Fine. You can tweak it. But this number is a great one to start with, especially also for okay. And if you want to make a water, it's a different number. Okay, so I think it's 1.351433 Okay, but you can find them. It's dead easy. Just type index off refraction in your search engine on whatever stuff you want. Index off refraction for water and you'll get it. The exact number. Okay, it just on you put their simple All right. So that's what about the glass? The silver? How do we create the silver? It's like the silver one. I've got a glossy. Why is it glossy? Simple? Because I just took exactly the same material as gold and I want to turn it. It's silver. Fine. What did I change? Of course, the color, because it's not gold, is a silver. So It's got to be what? As starting point of flights, but we need to tweak it so it's not really, really white. I need to move it. Light Grey age. Okay, lightest gray is your 0.8, OK, 0.8 Everywhere you can tweak again the color as you want, but the roughness is different. Remember when we started with the Golden wanted to put your point? Want to show you how unrealistic can look with the lighting And we added for the gold to make it 0.25 You could live with 0.2 if you want, but I wanted to give it a rougher an older kind of gold. OK, 0.25 Now, if you want silver I want for 0.3, you could make it more. You could make it less and see what it gives. If you want to have a very old silver thing, you can push it slightly more. 0.35 report for and see what it gives. Okay, but starting point is always good to have 0.3 Good. This is for silver. Let's move to the next one. Purple body. Okay. Simple is exactly a copy based, and that's actually good to Mom to mention this copy paste, because that's exactly what I've done. You just go to the porcelain look and again he don't get intimidated is just one that's being used. All of these are not just come here. See, it's just this combination has been used all of this. 1234 not used. So I just copied this one Selects would shift unprecedented a select on the new Come to your own purple one on just based it Simple on connected and change the color purple on. Then you've got the yellow rings and then they go on a moment. Why purple with yellow? Why is it not purple? We dread or purple with whatever like I think, Or green Simple. If you look again, the same trick the color wheel. If you look at the color wheel, Purple was the opposite. Exactly. That's why we've chosen the yellow is the yellow okay. And again, it's always about contrast the opposites, you and the opposites together you're gonna under put something really, aesthetically pleasing without making too much effort of thinking and being too creative because you have a great safe starting point for aesthetically pleasing. Look, the color wheel. Okay, everybody starts there. Okay? You can doom. Or it can do. You can do different. Go ahead. Fine experiment. But it's the color wheel is good starting point Now why do you notice that the purple is saturated on the yellow is not that much saturated. So let's look about the yellow. It's too shy, is very shy. It's very close to the center. Very close toe white. It's not really close to the real Oh, okay. And I know I know again I'm recording in the evening on F locks. The united shift is on, but I'm fine. And 40 done my shaded urine today, so I'm fine with that. I'm just showing now. But here we could initially see See the values, like visibly would concede it where it stands. Okay, so this is and not so saturated on this one is quite quite pronounced. This is spread saturated again. The contrast. Okay. You you put a saturated one with a not so saturated one. You get a more aesthetically pleasing look. If you make it a saturated yellow is gonna look too strong everywhere like fine, make one of them stronger. They want a little bit less just a tiny bit of difference to create the contrast within the contrast of the color wheel at another contract saturation. And that's how you create your layers of creativity. Okay, to have an aesthetically pleasing look good, let's move to the next one to the black body. You guessed it. A copy based again would tweak in the color, which is just moving from the powerful bubble. Two to the back. Good. Now the white drink, this one, you guessed it. That's even without tweaking. I just taking the the porcelain material on basted it there, period. That's all. You can experiment with. Different shapes, different variations off shading, lighting even. Please go ahead. Get reference images again. You drop need to stick to the reference image, but it's good to have it as a starting point, especially when you're a beginner and especially when you don't know what you want to do. Just get something and you don't need to stick to it. It just okay. Midway, you say, Guess what? I'm gonna change him. Fine. That's great. You making your own version? Okay, Aunt again, I can't wait to see what you do with it.
Film VFX
