Blender 3 The Ultimate Medieval Scene Course

1. Blender 3 The Ultimate Medieval Scene Course: Welcome everyone to blend the three, the ultimate medieval seeing class I've tried to take just about everything I've learned about Blender over the past day is unpack it into one great class. If you're anything like high walls in the beginning of my 3D modeling journey and dreaming of creating amazing look in scenes like you see in professional renders from social media to Hollywood. While in this class is gonna be something absolutely want to check out the current through everything from start to finish, to create this amazing looking medieval farms in exactly the way you see it now, we'll be using the brand new blend, the three, and most of the features that come with this powerful 3D modeling software. In other words, will be image create a scene that looks like it fell out of any game. You can find out that right now. I will just create a class where anyone, whether you're a 3D modeling beginner, all a season blended Jedi can follow along and then out to Craig are very own realistic. See, that's the goal and I think I have achieved it here. So let's take a look at some of the skills that you'll be learning on the class. 2. Learning the Basics of Blender: Welcome everyone to blend the three, the ultimate medieval sinkholes. As you can see, I am using Blender three-point. Oh, you can use anything really from blender to 0.8 onwards. For those of you that all use in Blender below 2.8 or 2.6. So 2.7. I don't know why I still use in lab. Boy, if you liked the actual version, then you can still probably follow along. There will be some things missing, like EV, for instance, that won't be in a lot of the actual viewport options will actually be different. You might melt, follow along, but I do recommend anything from blender to 0.8 onwards. Okay, the next thing is you can see on the left-hand side, we've actually got key casting on. If you're ever not sure of what I actually pressed, all, you'd call on my accent too. Well then just hold down the left hand side. You will say whatever key strokes I'm actually pressing down on the right-hand side, you'll see animations telling you exactly what bonds depress. These will actually be there for the first time that we learn about a new keystroke or anything like that within blender. The other thing is on the right-hand side. If something needs more of an explanation, then that will also be down on the right-hand side the first time that we actually use it. Now we blend the three comes the blender asset manager, which is all new to blend a three. And it's something really, really great. And it's something I really want to get into and show you. So we will be making a lot of use of thought. So let's start off nice and steady. I might start off on creating something with this actual course, you will actually have a download pack. So just make sure you've got it out. Pull my node now, here is the download pack. As you can see, we've got grass, we've got HDRI, we've got references, and we've got textures. And the first one we're going to actually make use of is the actual references. I'm actually going to build one of these out and then we're going to save it out as a blended asset. Before we do all that, of course, we need to go through the blend, the basics. Now some of you may already know all of the Blender basics. And for those of you that do, just head on over to lesson. Alright, so everyone else, here we go. Then I gave you blend the basics. Thanks a lot and I'll see you in the next lesson. Hello everyone and welcome to the Basics of Blender part of the course, I recommend grabbing a pen and paper or a Word document and joined down these keyboard shortcuts. Here will be going through the very basics of blended and the keyboard shortcuts you will need. We've all that said, let's get started. On the left-hand side, you'll can't say I have key casting on. This will show you the keys and pressing in real-time. And this will be on pretty much, if not all of the entire course. The next thing I'd like to show you is any new keys we use. There'll be a small animation Delpit down at the bottom right corner. This will only appear the first time we use that particular new key. And I think it really helps keep the flow of the lessons to a decent rate, both for beginners and those more familiar with Blender, because they only appear once. They won't pull up the screen. And there's always screencast into rely on. Also down the bottom right-hand side, you'll see a detail animation of anything that needs more contexts. This is useful if you're new to 3D modeling in particular, because there's a lot of jargon and technical terms that needed Dietz an explanation or more contexts of why we are doing something. I recommend. Then if you need more information, jumping onto the blender website and checking out that detailed explanations or pretty much anything blender related. So now when we mentioned blend the viewport, this is actually viewport. You can see all of this gray area here is actually the viewport. Now if we go to the UV Editing ball or peers, you, you'll see the overlap downside. It's now on two screens. And if I say the UV Editing viewport, all that means is just this gray box over here. Now let's go back to modeling and let's go a little bit further into how to move around in actual blender. So the first thing I will discuss is the middle mouse born. Actually, if you hold it down, you can rotate anywhere within the blend of viewport. And then if you want to zoom is just scrolling in and scroll in back. Now you can also press Control Shift and the middle mouse, hold it down and then just push it forward. I'll push it back and you can scroll in very, very slowly. Now to pond or you need to do is you need to hold Shift born and the middle mouse. And then he compound from left to right and to zoom to the object, which is very handy. Let's say you're really far out and you really need to zoom to it, or you need to do is press the dot on the actual number of pod and that will zoom your rights in to the objects and you want to Zoom too. So for instance, if I'm zoomed out and I want to zoom to my life, for instance, it's very easy then it's come across DCMP collection. Click on your light, press the adult on the number pad and that will zoom you write it. Now the next thing we need to discuss is just deleting objects. To click on an object is just left-click. And then where you can press as you can press the Delete key, and that will just delete out of the way. So I've just laid to my light there, and now I'm gonna come across to my camera and actually delete that out of the way as well. So the next thing I want to discuss is if we click on this queue and when you press shift D, well, you'll notice if you move the mouse now, it's actually going to make a duplication of my actual cube. If I don't actually click anything on my mouse and I just clicked the right-click bond, it will drop. In place. Now you can't see there's actually two cubes and here at the moment, well, there actually is. So we need to bring in a gizmo. And the gizmo is basically something that we can move things, let them rot opened down, things like that. So if I press Shift Spacebar, come down and you'll see we've got one that says Move. And now we actually have our gizmo. And if I pull this to the right-hand side, you can see now we can pull this away and now we're able to move this around. You can also freely move this as well. If you press the G key, you'll notice if you've got selected now you can move it basically anywhere around the viewport. You can't drop it back with a right-click. Or you can put it wherever you want to, g, and then you click, left-click and it will put it wherever I wanted to do. Now also why the dartboard on the Zoom to burn is important is if a person dot bar. Now you will say that if I just zoom out and hold the middle mouse and rotate around, you'll see that I actually rotate around the origin of this actual q. Now if I click on the other queue and oppress the adult bone, you can see now that I'm actually rotating around the origin of this cube. Now the next thing we want to discuss is object mode and edit mode. At the moment we are in object mode, we can't really do a lot with these cubes except move it round. Now if I press the top bone, we will then go into edit mode. And in edit mode, we can actually do a lot more things with this cube. Up on the top left-hand side here, you will see that we've got three different icons. One of them, this one here is versus the next one across these edges and the next one across his face. Now if we're on vertices and we come over to this vertex, for instance, I then if I press Shift Spacebar to bring in my gizmo again, I then can move this around. Now if I come into Edge Select, I can grab the whole edge and move this around like so. By never come into face select, I can now grab a whole phase and move it around like so. Now the other thing is if we come to, are there to select, I can select a versus. You can also select another vertex or another object, awesome denounced like that, just by holding the Shift button and actually click in on the other vertices or the other object. If we come to face like for instance, we can grab this phase shift, select the second phase, and this is how we can select multiple objects. Now the next thing we need to discuss is the axis. We can see we have a red axis and a green axis. Now, just to show you what this actually relates to, if we come up on the top and I'm right-hand side here where you've got these two interlocking balls and you click this little down arrow, you will say that we can turn on the zed axis. Now we're just going to turn this on, just to show you why me, I will turn that on now you'll say another axis appears here. Now, the green axis is representation of the y. So if I want to scale this out on the y, all I would have to press S and Y. And now you can see I can scale it out along the axis. Now if we wanted to scale out on the x, so that's the red axis. I'll press S and X and I can scale it out along 56. And again, the same thing. So S and Z, the up-and-down axis is dead and its essence add and then you can scale it up and down. Finally as well, this also important if we actually wanted to rotate it because we're rotates it on an actual axis. So what I'm going to do is I'm going to grab the whole of this by pressing the a button. Then I'm going to rotate it around. So I wanted to rotate around the y-axis, so it's all y. And then you can see it will only rotate on the y-axis. And no matter where I put my mouse, it will always rotate on my axis to click it back to where it was just again, the right-click. And if you want to turn it all, you need to press these all and Y again, and then let's give you a degrees. What we're gonna do is we're gonna press 90 on the actual number pad, so 901, now you'll say it's rotated by 90 degrees. So just to summarize that S is scale and all is rotate. Normally when we scale something or a room takes something, it's followed by the actual access, and then it's followed by a number. Specifically when we rotate something, normally when we scale something we just hit scale, pull them outside and we'll scale it up. When we rotate, something is normally all followed by the access, followed by a number on the number pad. Now the last thing I wanted to discuss is if we go to object mode now, we need a way to actually view this a little bit easier than the way it is at the moment. Let's first of all turn off the z axis. And what we'll do now is we'll use the pneuma pad to actually view this. If I press one on the number pad, that will go actually into this front view of our viewport. If I press three on the NOPLAT, that will go into the side view. And if I press seven on the number pad, that will go into the top view of our pupil. Now the opposite to get to the opposite, all you need to do is you need to hold control in this occasion will press control and seven, and that will bring us to the bottom of this object in the viewport control one is the rear of the object and controlled Three is the opposite side of the object. Now before we finish this section of the course, I need to show you something that's also very important. So if we come up to the top left-hand side, you'll see if golf ball near that says Edit. And if we come down to Preferences, one thing they should always do that when you first download a blender, you should always put on the status bar, which is this button here. If I click all of these on, you will see now, if I click them all on and I close that down, down at the bottom right-hand side here, you have all the details that you need. So for instance, we've got how many phases and how many triangles are actually in the scene. I'm the objects during the scene and the memory and v round lights actually take note, this is really important if you wanted to get a good idea of how much power you computer is actually using and how many polygons and triangles are in the scene. Polygons and triangles you'll learn more about as we progress through the course. And that pretty much COVID is the basic blender. And I hope you all found that both helpful and informative, but more importantly, easy to understand. Now as they say on with the show. 3. Setting up Blender Asset Manager: Welcome back everyone to blend the three, the ultimate medieval sinkholes. And this is where we left off absolutely no way. So let's actually get started. The first thing we want to do is just click this. And what I want to do is I want to show you how to say your asset manager ready then to use that for all your models or textures or even HDRI and things like that, which we're gonna get into a little bit later on. So first of all, let's come in and we're going to delete our camera and then delete our actual light. And I'm gonna delete the default cube. So let's leave that out of the way. The next of all we want to do is want to head on over to this little plot. Now you can see on top of it, if I click on each one of these, you can see it takes you into different kind of viewports of within blender to make it easy then to navigate around. So let's say you want to unwrap your model. You can then go to the UV Editing straight into the UV editor. Let's say you want to do some actual sculpting. There's actually one that's actually sets up here with a nice viewport frictional sculpting. Now, normally we will be working mainly in modelling, because modelling is basically just a viewport. We've nothing really in it and it settled basic modeling. If you have layout, you can see here that you've got a timeline down here. And that's not something particularly you're going to want all the time. It may as well start off in modeling. So that's the first thing I want to do is we want to bring in a new one of these. Now what we want to do, as you can see, if we come over to the right-hand side, you can see I've got all these options on here. Now you may have one on the ear actually called assets, but I've actually not going to do is I'm gonna come over and I'm going to right-click, I'm going to click duplicate. And you can see that we've got this here. Now if you double-click that, we're going to rename this and we're going to call it assets, like so. And then what I'm going to do is I'm going to right-click, I'm going to pull it out, reorder two. From there we go. I've got my assets now at the front. Now anything we do within this viewport now, when we click on assets, it will actually be that we're gonna do is you're going to come down to the right-hand side here. You can see a little kind of cursor appears it. And if you click and drag this up, you can see now that we've got, she'd gotten on the screen, what we want to do is we want to sell these assets for all actual asset manager so that it's ready to rock and roll for when we want to send things through the blend files and things like that. What we now need to do is come over to the left-hand side. You'll see you've got this little drop-down menu here. And if you click on There, we go through, we've got one called asset browser, and that's the one we need to click on. Now the moment you can see that nothing is actually in here. And why would it be? Because this is not actually sets out to actually have assets in. So how do we get around that? So I'm going to pull that down a little bit. And then what I'm going to do is I need to save out my blend file. So the first thing I'm going to do, I'm gonna pull this back on mobile in first. I'm gonna go across the file. I'm going to come down. And what we're gonna do is we're going to come down to where it says default, I'm going to save this file. Now what that means is it's actually going to save this starter file without the camera, without the light with APA cube and things like that. And it's basically going to open up exactly as you see now, albeit as well with the asset's actual top in. That's great, that's exactly what one. So let's do that. So file, default, saved starter file, like so. And when you make a change this default file, just make sure that you re-save it out because we all going to make some changes to this. We are going to bring in some Adams and things like that. So we do want you want this to be our default file with the Adams and things out. So let's come in now. What we'll do is we'll go to Edit and we're gonna come to preferences. Now you will notice down at the bottom here on my screen, I've got a load of options here. Tell me how many visits, how many objects, things like that within my screen, and you might not actually have that. Let's come over to interface and you'll see one that says status bar in the status bar. And just make sure that all of these I take Tom and then you should also have these down here. Now again, once you've done that, close it down, come to File. And then what you're gonna do is default, Save Startup File. You can see that in quite save it, save stock pile a. Now every time you open a blender, you actually going to have those there as well. Now the next thing we want to do is we need to tell blender where to actually look for all blend assets manager. I'm going to quickly explain this. Well, I'm going to do is I'm going to open up my desktop. Here. You can see my desktop bit of a mess. So now I'm going to do is I'm actually going to right-click. I'm going to create a new folder and I'm going to call this blend the assets. So blender assets. There we go. It's just an empty folder at the moment, and that is exactly what album. Now let's actually put this down among went to do now I'm going to save out this file. So I'm gonna come down to Save As. And then we're going to find that on my desktop now. And you can see it's it blend the assets. I'm going to call it, let's just call it Blender assets so we know exactly what we're doing with it. Like. So there we go. Now I'd say dot and you can see up at the top here, it should say bled into assets or whatever you called it. Now what we need to do is you need to actually tell blender, this is the place where we need to go to actually and look for different models or different textures and things like that. Any assets that you want to bring into another blend file needs storing within this actual file on your desktop. So that's very important because what we're gonna do now if it comes to Edit Preferences and you need file paths. And you can see now that this is the file path where he's gonna log. Now you can see that I've got mine set up on a different one. And the reason for that is I'm actually already been using the blend assets. You might not have anything you wanted to do then is go to the plus. Click the plus, and you're going to come to desktop and you're gonna click the blending assets, an asset library like so. And there we go. Now you can't give it a name as well, so let's call it just blend assets. In fact, I'll call it pharmacists because that's their short course. It's about farms. So let's call it farm assets, like so. And there we go. Now, all you need to do now is close that down. And then what we can do is we can come to our assets. And you can see now that we've got two files, farm assets, and we've got 3D 2D. And you can see into my 3D 2D it, I've got all of these already in there. Now you can see how easy that is to actually do that. Now let's go back to modeling and then what you're gonna do is file. You're gonna come down to default, safe starter file again. And now blending knows exactly where to go to look for all those assets. So a bit long-winded, a nova hopefully now that you actually understand that, I will just show you quickly how it works. Now, let's say I want to bring in a doll. Doll from one of the previous things I've actually made. I'm just going to drag that in. And you can see it comes in. Now, vegetable, not only does he come in, well, if we go over to the right-hand side here, which we will go into more detail. So if you're new to blend and don't worry about this too much of the moment. But over on the right-hand side, you can actually say that we've got materials on this as well. And if we come up and we click on our image, say Rows button here, you can see that they all the material, not only have we got an actual dollar comes in where we've got the materials as well. I'm gonna do is I'm going to just delete that out of the way with the delete button. I'm gonna come back over to my modeling. And now we're going to actually get some modeling Donna, and I'm gonna go through and show you how to create. Alright, so we'll stall out in the next lesson. I hope you enjoyed that. I hope you call it out and I'll see you in the next one. Thanks a lot. Bye. 4. Setting up References within Blender: Welcome back everyone to blend the three, the ultimate medieval sinkholes. And this is where we left off. Now let's think about actually create to know first actual model. Let us create something very simple, which will be one of the wall barriers within the actual phone. So I want to do is you actually want to bring in an actual reference. So how do we do them? First of all, what I'm going do is I'm going to print a press Shift a, and then I'm gonna come across and you can say that we've got one where it says image. And what I want to bring in is a reference image. Now I'll show you the wrong way to do this first, and then I'll show you the right way to do this. There's come across reference and then you want to go across to your resource download Power BI came with this course and we're going to bring one of the references in. So here's my resource pack. And you can say that I have one that says references here. And then you can see what we've got a load names here. Now if you wanted to view of these, all you need to do is click on this. And what it'll do is it'll show you the images which sometimes is much, much heavier than the other way. You can also come down and click this and you can actually change the size so you can have that on large as well. So you can really say exactly what you're doing. Now the one that we're going to pick is this one that says what way you can say it's pretty simple, just a few pieces of wood and that's the one that we're actually picking. The other ones you might want to bring it into the same. So you just have an idea of what you actually creates an if you've not seen it yet or something like that. Now let's double-click this. And you can see that at the moment we bring it in, it comes in a really, really funky angle. And that's not something we're particularly one. And the reason it's done that of course, is because when we brought him, we will look in at this angle. We don't want that, so let's delete it out of the way. Let's press one on the key, on the number pad and then we'll give you a central view looking straight on. In other words, if you press three, you can go to side view. If you press seven, you can go to the top view. If you press Control and warm or controlling three or control and seven, it will basically go to the opposite. So if I press Control and seven, I'm actually then coming from the OEM, the sign of whatever I'm looking at. Again, let's press one and then we're in front vehicle. That's exactly what we're going to press Shift, come to image reference. And let's bring in that walkway image which is X1 here. So bring it in and there we go. Now you can see that we've actually got reference image bolts. We don't actually have a human to give as an actual scale of this. And that's something we actually want. In other words, we want to bring in a reference that tells us, Hey, this is the scale of, hey, human for instance, and we need to build around that. Do we have a human? Yes, we do. Let's come up to File. And then what we're gonna do is it's going to come to impulse and then you're going to go down to OBJ. So let's click on the OBJ and now you're going to go back to your download pack and there is mine. You'll notice that we have one that says human reference. So that's bringing in all human reference. So double-click it, double-click the human reference, and there we go. Now let's grab our actual image first. And what you need to do is you need to press Shift Spacebar just to bring in your move tool. So you're just going to come down to where it says move. I'm gonna move it over to that side. So here is our human reference. Now you will notice that each one of these squares is a meter in height. So you will see that E is around 1.8 meters tall, which is around the average height for a human being. And that is why we use them. Because it gives us a really good idea then of how tall were actually making something. Now the moment you will see that it is orientation is over here and that's not something we want. We want these orientations be pretty much in the center of it, all down on the flow. But I think for now what we'll do is we'll just move the orientation into the center of him. I'm going to right-click Set Origin, origin to geometry. And that's quite right in the center of him, and that's exactly what we want. Now, before we move on, let me just show you them out. The assets actually works. So you can see over here, it says human, 1.8 meter group. Let's just actually rename that. So we'll just call it human reference. Like so. What we'll do is we'll come up on your right-click and you'll see one that says mooc as assets. Now if I'm mark that as I've said, and now you'll see that we've got this here. Now actually, if I come up and I save out my blend file, I want you to do is I'm gonna come up and we're going to save out this blend file. Let's call it following assets, so we'll call it up. So let's come down to where it says save us. You can see here blend that assets blend is actually what it saved us. So we could actually save it over there, but I think we'll just save this out as assets, something like that. And let's just save it out. Now one thing I did forget to do before actually putting my origin back is inch press Control a, and come down to where it says reset all chromosomes. This is very important with anyone you build or anytime that you move the orientation of something. Because if you don't do this, then blender still views this as a certain size or certain scale or even the rotation coming around and things like that. So always make sure that your reset all the trunks forms with Control a and then right-click and set origin to geometry like so. Now let's save this out. So I went to Save As I'm going to save it as my farm assets like so. Now what I want to show you now we've saved that and we've actually made it as a actual assets. I want to actually show you how this works and in real-time. So if I come down and I open up a new blend file, we all my new blend file and you can see itself with no camera, no lights, no cube as we actually saved out. And then what we're going to do now we're going to call them to where it says Assets. You'll notice that I've got all of my assets in from 3D derivative. And then what I want to do is we want to come down and click on the palmar side one. There it is. There's my human, as you can say, we bring demand and he's ready to go. Now the thing is you might want to actually also make some extra options here. So you can see here we can change this. I'm told there's two reference for instance. And then what we can do is we can actually drop our human actually in it and save it out. So you can see it's really, really great to have loads and loads of access. And for HDRI is all materials or humans. Whatever you need to have in there. All right, everyone, so let's close that down now. I've finished explaining that. Hopefully you understood it and hopefully now when we actually use it a little bit later on in the course, you're actually going to be able to use your own. Alright, so this is where we left off. Now what we want to do before we start is we want to make this actual reference as big as this human so that we can see the actual scale of this. Because you can see at the moment, if I made this, this size is head will be binding on the bottom of here. And that's not something we want to do is I'm going to grab actually this reference. I'm going to press the exponent. I'm going to scale it all until this human here is about the right size as my human here. So you can say for bringing them over is a little bit too big and we scaled back a little tiny bit. Let's see if it's the right size. Now, bringing them over. There we go. I think that's going to actually do We don't need it perfect or anything like that. All right, everyone. So what we can do now is we still want to keep this year when I want to keep them in the same because it's very, very honored to have while we build out all of our farm buildings and things like that. And then what we'll do is on the next lesson now, while actually finally stopped where now the thing is, this course, unlike other courses where a belt the whole building out, and then we put materials on and things like that. We're gonna do this a little bit different. That's all I'm going to show you some really easy ways of actually putting materials and textures onto the actual models. And second of all, we're going to build something. We're gonna actually texture and material it. And then we're going to animate it if it needs animating. And then we're gonna move on to the next building. And that's where you're going to do it because then it's gonna keep things a lot more interesting than just building a whole scene out and then doing everything at the end. All right, everyone. So I hope you enjoyed that and I'll see you on the next one. Thanks a lot. 5. Creating the Walkway Greybox: Welcome back everyone. It's a blend of three, the ultimate medieval seeing costs and this is where we left off. Now, let's bring in a cube first. So what we're gonna do is you can see at the moment I've got a cursor in the middle. Yours might not be in the middle if you shift right-click, shift, right-click it. Yeah, there we go, shift right-click. You'll see that we can put our cursor anyway, won't. Now this is really handy, but not handy for when you want to do right now. So let's, so Shift S. So the world origin, It's gonna break buying in the Center for us. Now let's bring in a cube. So shipped a mesh and come down to where it says q. And then longlines do is I'm gonna grab my cube in object mountain. Now, what is object mode? We have object mode and we have the edit mode, as you probably saw in the blender basic. So if I press tab, we can go into object and edit mode. Now in object mode, I want to scale this down, so I'm going to press S, scale it down. What I wanted to do is I want to get round about the same size as these parts here. And then we're going to build this out. So let's bring it over. I'm gonna come in, scale it down a little bit more, like so. And I'm gonna bring you all to the bottom of that, like so now the next thing I want to do is I want to press top, constant phase select grandma. Top phase shifts baseball because we all in edit mode, so we need to bring in the move tool again. I'm going to press one again the moment. I'm just going to bring that to them. Now I'm going to press Tab again. And you can see at the moment that might orientation is right down the bottom of here because we've reached, scaled it up. The best thing you want to do is control all trunks, foams, right-click set origin to geometry is going apart right in the center again. Now we need to duplicate this. I'm going to press Shift and then I'm going to bring it over like so. Now just be careful that you only press shift D one so you'll end up with multiple duplications and you don't really want that. The next thing I want to do is I actually want to join these together. So I'm going to grab this one with left-click shifts like this one. And then I'm just going to press Control jag and not then it's just going to join them together. Now I want to twist these round, so I want to turn them around basically so I can get the kind of how far away each of these all. So I'm going to press all zed 90. And now you can see that because we're actually from this view, we've actually turned it around and there we go. We've got how long it actually is, but we don't have how the width of it basically. So try press will now come in, bring this down to here. And now I've got both of them. So now all I can do is I can press shift D. I'm bringing them to the other side. Like so. Don't worry if it's poking out over your route for anything live. I'm just making sure that the both in the rack position lab that we're going to actually solve that out. So don't worry too much about them. Okay, so we've got basically all actual first ball, ball building. Now we actually need to put a roof on here. Let's make a simple rule. Again. I'm going to press one. I'm going to then grab them both now. So Shift select them both, Control J. Let's join them all low. Let's now reset the transformations that we've talked about. So all transforms, Let's right-click then and set the origin to geometry, putting it, finding the sentence it. Now let's make our actual roof off. So I'm going to do is I'm going to bring in another queue. Let's bring in a cube. So shift a bringing cube and you'll notice that my cube came over here. I don't really want that, so I'm going to press Control Z. I want my cue to come right in here. So you'll see that wherever we bring something in, wherever I'll cursor is, normally, that is where it's going to come in. If I press Shift S and go cursor to select it, this one down here. You'll notice my cursor then comes to the orientation of these actual blocks. Now I have a pressure if day mesh tube, my cube comes in exactly where I wanted. So now we're going to shrink it down. Bring it all a modern-looking to do now is I'm looking to bring you out to round about the same size as this actual roof here. And this is why we picked this reference, because this one is pretty easy. So we can actually really like nail down our actual skills before moving on something more complex. So let's press S and X. I'm just going to bring them out. So that roundabout here like so. And then I went to do is I'm just gonna come around and I want to join these two together now, so we want to press top. And I'm going to call him too. I'm gonna come to that. Select click this and this. In a moment. There's want to right-click, come down and merge vertices and at the center, like so. And I'm gonna do is saying where these tables, so select this bit shifts like this, but right-click measured says at center line, so fresh one on the number pad. And now I'm going to do is I want to really bring this down to get the right height. So I really want to go into my head select now grabbed the top of the airway, Black Plague, press one on the number pad and let's bring it down to where they are so you can see if I approach somewhere, live on pretty much halfway through, maybe a little bit further down, nice halfway or all the way along. And we can hide that from that. Now the next thing we need to do is rarely. And we need to bring this out a little bit because at the moment not actually being supported on anything. So let's solve that out. So I'm going to grab it with L. I'm just pressing L and grabbed all of this. And then I'm going to press S. And I want to scale it on the actual y. And I'm going to scale it on the wine because it's already in the center now you can see I can bring it out like so. All right. So we've actually got the basis there of it. You'll know as well how far it comes out this way because it wasn't the center. It will also come out on this way as well. So that's perfect. That's exactly what we want. Now we do have a few problems with all bits of wood sticking out here, but we don't actually want to do anything with those yet, because we want to actually create this first. If it creates this first, then we'll have a good idea of how far out are actual posts sticking out here. So that's what we're going to do. Now, let's press tab. Let's grab them both. So I'm going to grab this and went to shift left-click base. And I'm just going to move them to the left-hand side just so and I have an idea of how it actually looks. You can see at the moment our roof should come further down here, for instance, on our panels they're a little bit cell pass the root. So that's what we're actually looking at. Now let's actually create these panels. First one went today is I'm gonna grab the top of my roof, press the Tab bone comb to my actual face, select it. And then what we're going to do is I'm going to press Shift D to duplicate it. I'm pulling out like so now there are many, many ways of doing these things. And at the moment I'm going to show you the wrong way of doing it and why certain way of doing it. You can say at the moment, if I do it like this and I want to make these lines across here. If I come in and try bringing an edge loop in, I can't bring it in. So if I'm pressing Control law, you'll notice it won't come in yet. If I come to this side and press control law, you can say that we can bring edge loops and how am I doing that? I'm pressing Control Law. I'm moving the actual mouse wheel opened down and that's bringing in them more edge loops. The problem is, we can't actually bring edge loops in to something that has a point. Now in other words, a triangle or a pyramid can't bring edge loops in. What we need is something pretty flat and then to bring orange loops in. So let's actually leave this. So I'm going to grab it, press Delete versus I'm going to then come in, grab this face here, Shift S cursor to select it. So that puts my cursor right in that press Tab. Then we're in object mode. And now I'm gonna bring in a plane. So shift day, come over 26 plane. And now let's spin this flame around. So all why 1990? And there we go. Now what we need to do is make sure that this plane is the right side. So if I press one at the moment, as you can see, I can't see anything. So what it needs to do is I need to press Z and go into wireframe. So I would come into wireframe. Now, you can say I can see right through that this is the size of this actual triangle here. Now if I grabbed my axial plane, press S and scale it down, what I want to do is I want to scale it just enough so it actually fits. Well, I'm going to do is I need now to grab the bottom of this. So I'm gonna press top going into edit mode, edge select, grab this edge, pull it up just to the bottom of that, like so. Now if I press Control, all you can say I can actually bring live soon. How about that? That's gonna make it much, much easier than. So let's have a look. We've got 1234 edge loop. Let's hover over the left-hand side and then scroll on Maslow 23 full times, something like that. And then what are you going to do is you're going to left-click. You'll notice when you left-click now you've got freedoms. Move these wherever you want. Now we don't really want that. We want a problem buying in the center. So it needs to do is just right-click and I'll just drop them right in the center. Like so this is exactly what we wanted to. The only thing is of course you can say that we've got massive, massive gaps. I'm going from here, for instance, and we don't really want that thing is, when we've got a roof on, we want these to be a bit longer. In other words, we want to be able to control how far these actually stick out here because we don't want them sticking through the roof or anything like that. So that's kind of important. So what we're gonna do is we're going to grab the whole thing without having to press S and X and just pull them out just a little bit further. And now they're ready to actually create our actual root. Now let's press that and go back into solid mode. And then what I'm going to do now is I'm going to actually create this actual room. I want to create one side of this first and then duplicate onto the other side because I feel that's much, much easier. Let's press top. I'm just going to pull this out and then come to my roof among went to do now is I'm going to press Tab. I'm gonna come in. I'm going to grab this part of the roof first and I'm going to press pay more. That's gonna do is it's going to basically separate it out from the rest of the roof. And that's exactly what the reasonable nice because if a separate now pay selection. And now we can grab the other part of the roof, which is this part here. Just press Delete. Now what you should end up with this piece of wood here, which are going to use to the sides. This piece of wood here, which we're going to use obviously for the top. And now we can start creating something with this. All right, everyone. Again, I hope all that makes sense. It will be harder in the beginning. But as soon as you've got the actual workflow that we're going to do here. You'll really be able to create the bond and things that fairly easily. All right, I'll see you in the next one. Thanks. Bye bye. 6. Working with Planks of Wood: Welcome back everyone to blend or three, the ultimate medieval scene calls, and this is where we left it all. Now let's actually create a roof. Let's do that first. So what I'm gonna do is I've got pretty much the sizing. This at the moment. I really don't really need anymore of this. I don't fail, so I'm going to actually delete my actual reference. I've still got my Monday near as well. So if I need to reference the size or anything like that icon there, I think pretty much I've got everything I need from this. I'm going to delete that out of the way. Then that's going to free meal to actually build around what I've got here. So let's first of all come to our roof. A moment to do is I'm going to actually press Tab. I went to press Control Law. I don't want to bring in some blue coats that are basically going to enable me to create the actual roof panels. So I'm gonna scroll up. I think I'm going to have something like that that looks about right. If I left-click, right-click and I look at my man from here you can see these are fairly size planks of wood. They're going to make a good route of ethane. Now the next thing you want to do whenever you do this is right-click and come down and democracy. And the reason we do not then is because it's going to make it really easy to actually split these up. So I always get into habit of actually mark in a scene once I've actually brought in my loop clock course, now I'm only marking seams on the way that the actual words go in. You know, these are going down and wouldn't marker scene going this way, for instance, now I'm going to do is I'm going to bring in some more edge loops. I'm going to press Control all. I'm going to scroll up once. I'm going to left-click and right-click and drop them right in the center. Now what this enables me to do now is it enables me to make these very varied between each other. And that's exactly what we want. Because now I've got actual edge loops in here. I can actually bend These little bit. If we don't have these edge loops in here, we can't actually bend them all. So that's why I've done that. The next thing then I tend to do is split. These'll come in now because we've actually marked to seem, it means that I can come in to each of these and press L, and it will only actually go off and grab the island up to the mark scheme. As long as you're in face selected. If I'm in Edge Select and acclimate in, press it out, it will grab the whole thing. If I'm in face-like, grab the top one, press L, then L, and then L, then L and an L on every other one, you can see how it only grabs them up to the seams. And that's perfect because that's what we actually want. Now I'm going to do is I'm going to press the Y button. And what that's gonna do is it's actually going to split these off of these other pieces of geometry. Press Y now, then a press G, which is free movement. You can see that the role split off. As long as you don't click on anything on your mouse, you will be able to move these wherever you want. And if you press right-click on your mouse and I'll drop them right by chins place. Now the moment they don't actually a lot like to split off, but they actually fell on Wednesdays. I'm gonna press a to grab them all. Then I'm going to do is I'm gonna come up to my two interlocking links here. Click this down arrow and I want this on individual origins, and I'll show you the reason is if we have this on medium point, if I press S and Y and scale these, you can say, see we can scale them right from the center. And that's not very useful to us right now. But if we put this onto individual origins, an interest, that's why I can scale these in individually. That's perfect because we want to create these into plants and water if our scale these in very, very slightly, you can see now how easy it was to actually create these as planks of wood. Now the next thing is we don't want all of these planks of wood to look exactly the same. The moment you can say they look exactly the same and that's not very realistic at all. So let's actually create these to make it look a little bit different. I'm gonna show you a really easy technique to actually do that. What I'm gonna do is we want to press Tab. I'm gonna come up and put on my proportional editing. And warmer today is I'm going to click this down arrow. I want to print on a random like so. So we've switched on, we've got a random, a knife or come and grab one of these. I'm going to grab this one here and I try and move this now you'll see that as I tried to move this, all of them move. You can see that I've got a circle and I have a scroll out my actual mouse wheel, you can see now I can pretty much move all of these. Now we've set it to random because what it does is it grabs and moves them this way and this way, and it's very, very randomized and that is exactly what we want. So what we're gonna do is I'm just gonna go in and slightly move them very, very slightly to give them not random log. Normally do is I'll come to the left, I'll come to the right and move them sideways. And then I go in and actually move them out of it. So I'm gonna pull it out a little bit like so. And let's come to this one and pull it in a little bit like so. And you can see how easy it was to actually get that real randomness go in. And if I press Tab now, you can say the look fairly random. Now the one thing you can say is that they're all straight at the bottom. So that's the next thing that they're so first of all, I go in and I move them sideways and then he pulled them out a little bit and then move them down. Now I went to go in and you'll notice that if I click on here, it's going to move out here and that's not something they want or maybe it's something you want, but I particularly don't really like doing that. What I'll do is I'll come up and I'll change where it says global. And I'll probably some novel. Now you'll see pretty much it's following the way that we wanted to go. So now I can pull this down. Like so I'm bringing this one, for instance. Like so. And you can see now that the fairly, fairly on the event, and that's exactly what one. Now the next thing you want to do is you want to actually make these into a solid piece of mesh. So how do we do that? First of all, you want to press Control a and reset or your Trump's foams, then you want to write plate set origin to geometry. And now we want to bring game office modifier. Let's come over and add in the modify it. And what do you want to do is you want to bring in solidifying, more solidified. Does this basically turns a 2D plane into a 3D cube or anything to d can be turned into something that is 3D. The moment you can say it's fairly thin because I'll thickness is very low. But if I bring this out, so you can see now how we rarely, rarely stopped to get thickness. Now the best thing about this is you want to bring game you all month and just pull him over to where you actually build in. And the reason is because you wanted to just have an idea of how thick the actual wood is. So that's why I tend to do go back to my actual panel and then probably bringing it out a little bit more. The other thing is you can really, really slow this down if you grab it and just pull it to the left or right, hold the Shift button. You'll see that really slows that down. How fast you actually pulling that out. I'm gonna say to something like that thickness. That seems about right to me. Yeah, I think I'll be actually happier with them. Alright, so I'll think I'm happy with how they are. Now the next thing we wanted to do is have courses. We want to bring them a little bit closer together now because we don't actually want to see in that, how do we do that? So again, what we're gonna do is I'm going to press top, I'm going to press a to grab everything. And then now I'm going to set this back onto Global. I want to set my interlocking links onto individual origins just to make sure they're on that, I'm going to press seven square over the top and now can see in-between those. And then while I'm going to do is I'm going to press needs tech fortunate it's enough. So just take that off and then I'm going to press S and Y and just bring them a little bit closer. Again, you can use the ship bonds, real slow it down. So just bring them closer together. Just saw the nearly touching not so they overlap in just so the nearly touching. Now the last thing I want to do is I want to make sure that I bring in my bevel modifier. And the reason for that is because in real life, nothing is ever a straight re physical side like this. Normally, especially on would you have a bevel going along here whether they're plants wherever. It's sometimes very slight, sometimes like with things that you'll see on railways. And when they have those planks of wood, the very, very actual big bevel on the edge. What domain? Let us, let me just show you what I mean. If I come over to where it says Add Modifier, come down and you'll see you've got one that says Bevel. And as soon as I turned on, you can see exactly what I mean. All this looks a bit crazy because he's set too high. So just come down to where it says amount a normally naught point, naught one. Like so is normally an open. You can see now they've got a slight bevel on them and it makes it look a whole lot realistic. You want to really be doing this, but every piece of wood in this actual scene. And then it's gonna turn out really, really nice when you actually get your materials on the textures and things like that. All right, So we've done that bit. Now let's think about our next base. We'll come to this side panel. If we press tab, we can see that we've already got in these actual pulse ready to go. The one thing we do need is we need some loop costs coming down here, just so we can bend these out a little bit. Library did this and I said this technique we're gonna be using over and over again. Now first of all, we know that we need to really have some seams on here, so it makes them very, very easy to grab all my news and went to right-click come down and you'll see Mark seems is here. And then I want to bring into more regular I'm going to press control law. Let's try. Let's try three, something like that. So left-click, right-click, and then we want to split these up. So I'm gonna come to Face Select. I'm going to grab this one hand, press L, L, Y, G, just to make sure the split right-click drop them in place. That's the second time we've done this technique now. So you can really actually get a good idea of what we're actually trying to do. All right, so now we don't have a problem in the never going to fit in here. As you can say, I didn't grab them all when I press the top and then pull them back. So you can see that if I pull these by something like that, probably going to have to pull them out a little bit further just so they're not going over here. I'm gonna solve out and I'm just going to pull them out. I'm going to stick them actually against that. And they'll say I followed that, come out when we've got oscillate, if I want to think that'll be the best way to go. So something like that. Let's start with that. Now. Let's split. Now they all split up as we can see if I press G, they're all split. Welcome to do that is I'm going to grab them all and we're basically going to do the similar thing to what we did on this. I'm going to press one moment that doesn't want to come on. It's where these interlocking links off, make sure they're on individual origins. Press the S and Z. And now you can say I can make them on each one of these and actually give it as though the illusion that planks of wood and they've got gaps in between. Next fall I want to do is I want to bring in my actual proportional editing. Switch that on, come to edge select. Let's grab this one. Pull them off very, very slightly user shipboard. And if you need to again, pull this one out very, very slightly like so, then I'm just going to pull them out a little bit from mainly from something like map and then pull this one in. Something my mom. All right. You can see how quickly and easily now you can do that. Now we do have a problem in these, as you can see, that not correct because going way, way over here, and if I try and call them from these points, you can see we'll still Absalom WHO ranks. So that's something that we actually sold need salts out. Before we do that though, we might as well pull all actual top. Hello won't weight onto the other side. So we got basically a roof. At the moment. We've only got half a room. That's something we'll have to actually do the next lesson. All right everyone. I hope you enjoyed that and I'll see you in the next one. Thanks a lot. 7. The Powerful Bisect Tool: Welcome back, everyone has blended three, the ultimate medieval seen costs and this is where we left off. Now, we've got these a bit uneven and things like that. We just need to bring this over to the other side. Now the thing is, we can actually duplicate this. So if I click on it, I could actually duplicate it. It will make it a little bit harder because I've got to actually fit into place. I don't, I don't really want that. So what I want to do really is I want to mirror it over to make sure it's buying in the right place now, how to do that? If I'm narrating, I need to make sure that wherever I have golf, my origin, this little yellow thing here, that is why it will be mirrored over. So I'll just quickly show you if I can move to add modifier. Come over to where he said he's mirror. You can say it mirrors from hand. If I pull this across, it'll just move the whole thing ends up a little bit of a mess so I don't actually really warm. I'm going to scroll down and just click off my mirror. And then while I want to do basically set the origin then to the center of this actual walkway and then mirror it over. So I didn't do that. Well, let's come to actually these blocks here because we know that these are all basically the center of what we're trying to build here. So we can see that this is the center here. So if I press Shift S to select it, my cursor that is going to come to the center of these blocks because that's where the origin is. If a comeback now to the roof, select it and press right-click set origin to 3D cursor. Now my cursor is gonna be exactly where I wanted to, because it's gonna be right in the sentence. It, I haven't come over to add, modify it, come down to mirror it. And now you'll see that that was as easy as that. We've just put it over the other side. Now the thing is, you don't need to worry really about this side looking like this sudden the reason for that is when we bring in all textures and materials and things that we're going to actually apply different areas of the texture amount to these plants, would they're going to actually look very different from each other. So don't worry too much about that. Now let's actually crack home with making these side panels. And what we need to do now is we can say is we need to cut them away because at the moment they're way, way out here and that's not something we want. We can also see the bottoms up here in the right place. So let's solve the office. So it comes outside, Paul, I'm gonna press one. I want to pull it up very, very slightly. And then what I'm going to do is I'm just gonna pull these out now. So I'm gonna press S on x and pull those out, making sure that the ring, these pieces of wood here. Now, realistically, if I want to call this, I need to call them probably about halfway where my actual bodies here. So halfway along here, then that'll make sure that we can't see in the gaps here because we didn't rather warm up. So let's say I press tab. Let's press a to grab everything unless come over to mesh, come down to a button that says bicep. And I really like this tool, so I think you're also really going to like it. So let's click on the bicep tool. Let's come over to the bottom now of this actual roof here, left-click and drag it to the top. Like so. Now you'll see nothing happens. Both actually, there is a coat actually in there. So I'm going to now come down to the bottom left-hand side and we've got an actual menu here. And if I click this open ankle down and clear the inner, like you can see that all I can clear the outset and you can see that now it's actually cut out wafers and that's perfect. That's exactly what I wanted. Now how did they actually worked? I'm going to show you how that actually works now. I'm going to just come in, Hi my roof all the way. Just to show you, I'm going to grab my planks of wood. They can see now that if I grab, let's say I grabbed these, I'm just shift clicking. I'm going to grab all these lives. So then what I'm going to do is going to come up to my mesh dissect. I'm just going to coat from here. So let's call it from here. You'll see that only cuts away basically the ones, first of all, I had selected. So you can see it's actually let these on here. You can also say how it actually works with the actual code follows the mouse. You can also see once you've done that now we can move this backwards and forwards and pull it left or right and actually caught further or more in. We can also play the init or we can clear both. Or we can clear that out to all we've been clear norm and actually just pull an actual alignment. Now let's press Control Z. Among these days, I'm just going to bring back my roof now, so I'm going to press Alt H. So it's hard my roof and press H to all night. It would press Alt H and I want to come back to my side. I'm gonna cut this part away. So I'm gonna come in, I'm gonna grab the whole roof. It just makes a little bit easier with the airborne. I'm gonna go to Mesh, come down to where it says bioseq. I'm going to grab it from here and put it straight down to the bottom off here. And then I'm going to clear the DNA play at the outset. And there we go. Now we've managed to cut this away from this roofs and answer the in perfectly in place. Now we do have a few problems as we have with this roof. First of all, the god knows thickness. Second of all, they've gotten no beveling or anything like that. And that's something else we need to look out. So first of all, let's bring them closer together though. So what I'm going to do is I'm going to press, Okay to grab them all. One, I'm gonna press S and Z, takeoff from our proportional editing. I don't need that on, make sure they're on individual origin, so we're pulling them together. So S and Z pulled them together. Like 70 can see we've got a few gaps in that and that's fine with the side panels. You can have a lot more gap in the side panels and you can't be taught to make it look a bit more real estate. Alright, now, something else we've not discussed. As you can see at the moment on here, we've got some lines. They don't want realistic and you'll also see if we come around it, that we've also got some lines on this piece of wood here as well. We really don't want these, so how do we fix those? What's causing it? Actually, the thing that's causing it at the moment is not blend. It is just basically flattening out all of these. So it's flattening them out. And that's not realistic. We need things based on the angle of how flat something needs to be. You'll notice if something's very flat and you don't really get these. And it's because that they do with the shading is how they are shaded. So for instance, if I come in, I'm right and I shade smooth, you'll see that it basically rounds everything on that again, it's not something we want. Always though you have to shade smooth, so you need to right-click Shade Smooth. Then come over to the little triangles over here, come down to where it says normals. And what we're gonna do is we're going to actually ask blended to Altos, move it based on an angle of 30 degrees. And now you can say they look under actually perfectly smooth and that's exactly one. So now let's do this to the side panel. So I'm gonna grab it, right-click Shade Smooth. Ulcers may. And there we go. Now we're ready to rock and roll with all solidify and bevel. Exactly the same thing as what we did before. We're going to grab it, multiply it, solidify, come underneath just so we can see what we're doing. Let's bring it out. Let's first of all pull it back a little bit just so it's nearly flat against these. Then what we'll do is we'll bring this out now holding the shipboard. And you can see that it's gonna be a little bit thick and it's gonna come a little bit over our roof. Well, we're not going to worry about that now. That's probably a little bit too thick, so let's bring it back a little bit. Something, something live, are things fine? Then what we want to do now is bring out our roof. So I'm gonna grab our roof. I'm going to make sure this time among medium point because I wanted to pull from the center. I don't actually want to pull these individually. And then all I'm going to do is I'm going to press S and Y and pull it out just so it goes over those. And when I hold the Shift button as well to make sure that position it exactly where I wanted. And I think something like that is absolutely perfect. Alright, so I'm really, really happy with that. Now I want to do finally is I wanted to dabble these off exactly the same way as we did our roof. So I'm gonna come over and modify and come down to bevel. And then we're going to put this dot point. No one is upset and double-tap. And then we go, now I think we can bring these a little bit closer together. It's a little bit too much a bit of a gap there. So I'm gonna grab them, make sure I'm on individual origins, press the top bone, bring them close together, double-tap. And there we go. Okay. So now I'm happy with that. I'm happy with my roof, but I just need to put this now on the other side as well. So I'm going to do about now. So I'm going to grab this side. I can see that I've still got my cursor in the center of these, which is basically the center of the whole model. So I'm going to Control all transforms. I went to right-click that. And I'm going to set the origin to 3D cursor. Now you will notice when I reset the transforms that this actually altered. And the reason why is because I was suddenly, and when I actually finished building this, I didn't reset the transform. So now every set of the Transforms, It's slightly pulled it out a little bit as you can see. So let's go back to our roof and just pull it out a little bit more. So S and Y holding the Shift button, pull it out a little bit more. So it's going over those lines. So now let's go back to all sides. And now let's bring in a mirror to pull out running on the side. I'm gonna come over on modifier. Condemnatory says, where is it, merit? And you can say, nothing's happened. Well, if I scroll down, I need to put on the y, take the excess off, and now we're right on the side and he shook be perfectly in place on this side as well. Alright, let's double-tap. There we go. You should have something like knot, which is exactly what you want. Now you will see that we do up some problems. If we, for instance, a walking in a game or something, you can say that all planks award the, these posts are old now. They come up to here that's not really where warm because it looks like It's basically floating on top of it. So let's fix up before we end this lesson. I want to call them to my posts. I'm gonna press tab. And then I'm gonna come in to this one. And this one just come around this one and I'm just Shift selecting each of these this one. And then while I'm in today is I'm going to call them, grab my open, just pulled them up. They actually fit in place and you can see now they look really, really nice. Alright, so now we do not. Let's reset the transforms because we've moved them around a little bit. So I'm going to press Control. All transforms right-click. So origins geometry. And now finally, I'm also going to bring in a bevel on these as well because the moment they've got raises signs on them and that's not something one as we've already discussed. So let's consume. I'd modify it, come down to where it says Bevel and that's pulled these naught point, naught one. Oops, I'll put it on. There we go. Now you can see it looks really realistic. Double-tap the egg and there we go. Now in the next lesson, all we need on land is the top of this roof. And then finally, we can actually work on bringing in all textures and materials and things like that and saving this out as an actual asset because that's the main point of this. All right, everyone, so being enjoyed that and I'll see you in the next one. Thanks a lot. 8. Learning about Textures and Materials: Welcome back, everyone is blend the three the ultimate medieval scene calls, and this is where it left off. Now let's bring in the top of our roof and let's bend it a little bit. We don't want to be perfectly straight or anything like that. So long lens theories, I'm gonna make sure first of all, my cursor's in the center which you should pay. I'm gonna press your day and just bring in a simple cue. I'm gonna pull it up and I'm going to press the X bar just to scale it in a little bit. I'm gonna say raw on top. Like so. Basically why we don't want referencing as well at this point is because I wanted to give you some freedom to create it, how you want to create it. So you might want this a little bit thicker and I'm on board mine a little bit, they know or something like that. You might want to scale it in on the z. I said, just scale it in and just create your own actual walkway here. Now let's trust S and Y and play out over the end of the year. And then you might want to also bend it a little bit just to give it a little bit of a curve on there. Think i'm I do though, so I'm not gonna do that. I want to press top, I want to press control law. I want to bring in three edge loops. So scroll mouse three times, left-click, right-click. And then when I went to there, again, I'm going to use my proportional symbol this time instead of an LME random, I'm just gonna say on smooth. And that makes now a nice smooth gradual bend in it. So if I come in and I press Alt, Shift and click twice, you'll see that I grew up the edge loop going all the way round. Now if I come in and pull this down, you can say I pulls it in nice and smoothly unless exact role on. So I'm just going to pull it down very, very gently, just to give the illusion of a slide bowing of the actual wood because it's weathered and things like that. So we want this to look a little bit wetter than VT to know. The other thing is, of course you can come into your posts and you could bend these out a little bit and things like that. Now I tend to actually leave postdoc going straight so I don't really bend them too much unless it's something with the law of weight. So something like this, it hasn't gone away. The chance of it bend in a post like this is very remote. You don't really get this on kind of a roof or something where this older floors on it, all the actual weight of all those taus of the room funding or something like that. So really think about that before Boeing, something the reason why this would be bowed out is that festival is pointing sideways. So it's sideways. Is that a lot or rain coming down? They're cold and warm makes it warp and things like that. So that's why the top of them would be Ben, same as these pieces of wood here. Exactly the same reason. And the side piece was a lot of range or pin on them and things out. So all that to think about. Alright, so now let's come in. And again, we'll go through, I'll set routine of what we do. If we right-click. First of all, Shade Smooth, also smooth on. And then let's control all transforms. Right-click Set Origin, geometry, come over to modify it and modify it. And we're going to bring in not solidified because it is a 3D object. So all we need to bring in is a bevel. Bringing out Bevel, set this naught point, naught one. As I said, it's normally not pointing out one, but not always don't guarantee it. So when you put it in whole point and just make sure that you check it and you can see at that mine is located. Absolutely perfect. Alright, so that is basically the walkway pretty much modeled and done. So now we want to do is we want to actually apply all of our modifiers, join it altogether, and then bring in all textures. So let's do that now. So the first I'll click on the top of it, I'm going to press Control leg, all inconsistent little down arrow and click Apply control light to apply it, come to our actual roof. And then one link today is I'm going to scroll down to the bottom. I'm going to apply the modifier. So Control a, I'm gonna hover over the bevel control leg. And then finally I'm going to hover over the Slidify Control a, and now just go and make sure that it's correct. And you can see here that it's not, it's actually missing the bevel of fear. So I'm going to press Control Z, control Z, control Z. And you can say that I need to go the other way round. So I'm going to come to the top control light, comes to the bevel intro leg, and finally come to the merit control light. I'm just showing you that how the way that you are applying these actual modifiers really makes a big impact on whether they actually work or whether they don't. So just take that into account. So now we know that we can come to our site, Control a, Control, a, Control a, and then come to our posts and control. Finally, now let's join all of this soap. So I went to come in and went to join it all up together. So Control J joining, all look like so now on Wednesdays I'm going to press Tab and I'm going to actually get rid of all of these seems close. I'm gonna show you a really easy way in this course of how you can actually unwrap things really, really quickly. Now because we're basing this in Blender, this actual technique you can use, as long as everything looks correct, there is no reason why you shouldn't use it. You can go in and Latvia, the courses show you how to unwrap things and things like that, which I'm going to do. And actually, once I've got through this small speech that I'm going to make. But basically if you keep it something in blended and you're not sending it through, and you basically going to be putting on a seamless materials and things like that. But now I would actually use this technique. What we're going to do is we're going to actually grab everything. I'm going to press Control a, because rain, because we want to actually take away these themes. Now I'm going to come down and we're going to play seems. That's basically going to get rid of all those seams. Now I'm going to do is I'm going to show you a short video of materials and scenes and things like that. So I'm going to play that now. So you're going to watch that and then you're gonna combining, understand how we're actually going to add seems and things like that. And then we're gonna totally turn it on his head and not actually use that technique. And the reason I want to show you that is because you still need to know actually how to do it. But the way we're going to do it in this one is a really, really fast and simple technique. All right, everyone, so I'll see you on the other side of that on the next lesson, and I hope you enjoy it. Cmax one, thanks. Bye bye. Welcome everyone to the short introduction to marking seams and shopped part of the course. Before I give you examples of what makes you talking about, let me just briefly explain what they are. Seams you can think of like seams on a piece of clothing, like a ship, all pair of trousers. The main job of seems is to make sure the texture that you're trying to place on your mesh goes on correctly. But more importantly, gives you control of how that texture will look. Chops them out like seems, but save an entirely different purpose. We use sharps to give us control of how sharp and soft angles off on all meshes. This makes them look realistic. It is also important we do this not only for rendering in Blender, but also sharps carry on through till the software or games engines we really want to use like substance painter, or Unreal Engine as an example. So with all that said, let's get started. So here we are in blended with our star n cubed. Now if I click on my cube and go to my UV Editing, you'll see that the cube is basically unwrapped in this actual way. So basically it unwraps like president. Now if I come across and I grabbed this cube and I press Shift D, and then we press Shift Spacebar to bringing out gizmo and we move it across. And now let's say I wanted to alter this cube a little bit. What I'm gonna do is I'm going to press the top button. I'm going to go into face select, click the top face Shift Spacebar to bringing the move tool. Bring it all like so. Now let's say I want to unwrap this. Now if I grab this with L, just to grab everything and I press the button for unwrap. You'll see that it unwraps exactly the same way. Even if I reset the transformations of this, it will still on-ramp exactly the same way. Now let's mark some seams and say how the US is an actual effect on our actual home route. Let's grab the top and we'll come down to the bottom. What we're gonna do is we're going to press Control a and then come down to where it says mop seems. Now it's important to remember that it's controlling to mark seams in face-like. But if, for instance, when edge like, so if we come to this edge, if repressor control, you will get this optional as well, mock seams bolt. You can also right-click in Edge Select and you can also say, we can mark scheme this way as well. So for now though, I'm not going to actually melt the same. What I'm going to do is I'm going to grab the whole thing with l, like so. And I went to press on rap and you can see it unwraps completely different. Now let's bring in some textures so you can say what exactly I'm talking about. If I press a top a Como to my materials panel OPIA and I'm going to give this material, I went to come out across to the right-hand side, click on my material button. Let's now bring the material I've already prepared. So I've got to come across this little down arrow coming down, you can see I've got one here called Wood, and let's click that on. Now you can see what's happened. We've actually applied our material to this object. We can see it's pretty much a mess. The top of it looks fine. We'll debate going around the side is all Ben and skewed. So if I zoom out and I press Tab now, you can say that the reason is that It's not actually UV unwrapped correctly. So how do we fix that? If we come up to edge select, let me grab this edge. And now I'm going to do is I'm going to right-click, come down. Tomorrow seems. Now grab the whole thing again. I'm going to press U on rap, and now you'll say it unwraps. Absolutely fine. You can see that world is looking really, really nice actually on this mesh. Now, what this does, the seams do is actually gives you control of how this actual texture is placed on this mesh. You also need to take into account that this is, they say an infinite loop. So if I come around and I look at this face and this face, you can see that the going round, if we have no sane, when I talk about infinite loops, It's basically going around and around and blend. It doesn't actually understand how to unwrap it. So you'll end up with that mess we had before. Now the other thing to take into account is if I turn this around, for instance, while I'm going to do and when to come over to the left-hand side, the viewport of my UV Editing, press a to grab everything, all 90, spin it round. Now the other thing I want to show you is that where we join these actual seems old is also really important because you'll never, ever gay, perfect, on here where there's an actual C. Let me exaggerate this a little bit. So I'm going to do is I'm going to press top. I want to make this a lot smaller and I'm going to move it into the center of my UV map. I'm then going to press Stop. Now you can see that these edges don't line or whatsoever against this other side. This texture here doesn't line up with this texture. And the reason is because we've got a scene down. They're not as actual break in the texture. Yeah, If we come around to this side, I spin this round. So if I grab it all z 90 and now go to this one where we can say, you can say that these lines are perfectly, the reason is because obviously there's no seem that the seam is here. So you need to take that into account on your own meshes and objects that when you're applying textures and materials that try and put seams where you're not going to see them. If it's on a door handle, for instance, and put them on the inside where no one's actually going to see them. So always bear that in mind when you're actually marking it seems. Now let's discuss sharps. If I bring in a new primitive. So if I press Shift a and I'm going to go across the mesh, I'm going to bring in a cylinder. Now you'll notice that this cylinder as all these little edges around there. And let's say you wanted to make a couple of something. The last thing that you want is all these hard edge faces in there. Now they're all things we can do to sort this out. So the first one we can do is we'll bring in another cylinder. So I'm just going to move this one out of the way. So Shift Spacebar, bringing my gizmo, move it out of the way, shift a, bringing in a, another cylinder. And this time I'm going to come down to where it says Add Cylinder and turn up the vertices to 100. Now you'll notice that we do have a rounded edge, but the problem is that we brought in a 100 volts is to actually achieve that. And that's not something we want. We want to use as few polygons as possible while still getting a really good-looking match. So how do we achieve that? Well, there are a number of things we can do. First of all, we can come across to this right-hand side. What we can do now is come to where it says normals and click on auto smooth them. We can right-click on the viewport and click shades moon, and now you'll notice is actually been smoothed off. Well, the problem with this is if I turn up my auto smooth, you can say for turning or pulled away, it goes really, really funky. And that is because 170 degrees blended decides that these edges along here needs to move it up. So it doesn't give us a lot of control if we do this on the other one, server grub, this one, right-click shapes, move, alters, move on. You can see again, even with lower amounts of polygons were still able to smooth it all. But if we turn this off, we still going to end up with the same problem as what we had before? How do we solve that? Well, if we come in now press the top button, come to the top, grab the top, shifts like the bottom, press Control E because we are in face-like and will command a marker shop. Now you'll notice if I press Tab Not now, he's got hard edges on there. This gives us control. So this is why we actually use sharps. No matter what I turn this up to 180 degrees, which is the highest it goes, it will not get rid of those shops that we mark. We can also mark shops around the edges as well. So if I grab this one and this one, and now of course we're in edge select. We can right-click, come down, Market shop, press the top bond. Now you'll say you've got hard edges on that. It's very important that you mark sharps where you're gonna actually warm hard edges. It's also important that against the habit of marking sharps when you're actually marking seams. And then what happens is when you join two objects together and you turn off the auto smooth if needed, you're not going to end up with some meshes like this. Okay, everyone, I hope you enjoyed the introduction to marketing scenes and shops. And as they say on with the show. 9. Applying Materials & Textures: Welcome back and runs blend the three, the ultimate medieval sinkholes. Now the next thing you need to know, of course, is how to bring in materials. We know about the seams and we know about the shops and why we should use them most of the time we can get away without using the sharps. To be honest, it seems a very important if it's cycling through to another games engine, are you taking it through to something like substance payments dependency or something like that. But as I was saying, this one, we are going to get away with using a automatic way of unwrapping within blender. Well, you still need to know all about materials and textures and how to actually bring them in and things like that. All right, so Wolman's disease, I went to play that. Now, go and watch that. And I'll see you on the next one if you know already how to do that, then move on to the next lesson and we'll see your over. All right, thanks. Bye bye. Welcome everyone to the short introduction are important texture maps and creating materials within blender, he will be going through basic materials setups and easy ways to import your texture maps or within blender. Then we'll be moving on to an explanation of what maps do and why they're important. So with all that said, let's get started. So in this basic scene that I've set up, you will say that I've got these three objects and the role UV unwrapped. So now let's come to our first object and let's say we've already marked OSCE seems as you can see. Now let's come up to Edit. First of all, what we're going to be bringing in is a add-on called Node Wrangler. And this is gonna make it very easy to sell materials within your scene. So let's come to edit, come down to Preferences. Come over to where it says Adams. And then we're going to search for node NOD. You'll see one called Node Wrangler. Make sure that's ticked Tom. And then let's close this down. Now I want to do is actually create our material. If we come over to the right-hand side, you'll see this little football kind of icon. Let's click on the plus. And then what that actually does is create a new material. And let's click New and give it a name. Let's call this would because I've already created awarded welcome up as water dot 001. If you've got a 001, it will come up as a Word doc zeros 02, and so on. You'll notice as well that this is command as a principle, BSD F, and this basically is the magical node shader within blender that makes it easy to import all your maps and things like that. So now we've got this. What we need to do now is we need to head on over to our shading panel, which is this button here. Once in the shading panel, you'll see basic setup same as what we had in the modelling panel. And now if I zoom out here a little bit, you'll see that we've actually got a basic setup already. We've got our material output and of course is where all the nodes ended up in the end. Then we've got our principled, which is why I told you about is the magic kind of blend the node. And if we zoom in a little bit, you'll see we've got all of these things where it can plug things in. All we can mess around with these without actual math plugged in. Now let's come and click on our principal, BSD f, and what we're going to press Control Shift and t. And that then will open up the file of where you want to actually find your maps. So make sure you store them in a place where you know where they are going, find them, and then you should end up with five mops. Normally it's five maps that actually you can download. One is the base color, the next one down is metallic. Next one down is roughness. The next one down is height. And then you've got normal. They're normally the basic five maps. So now what we need to do is come to the first one and shift select the bottom one, and then I'll select them all. And then come over to where it says principle texture sets. And click the Home. And there you go. The vault actually come in. You'll notice blender was ultimately set everything up for us. This is part of what the Node Wrangler actual dose. Now if we zoom in a little bit so we can see what we're doing. And now we can actually go through some of these notes over here. So let's zoom into here as well. The first one we've got a texture coordinates. Basically this node tells Blender whereabouts to place this texture on this object, you'll notice that the moment is basically clubbed in from the UV. Now if we quickly just go over to the UV and I grab everything, you can see this is our UV map and this is how basically this texture is placed on this. So for instance, you can see that this one has been termed round. It's going the correct way. Now let's go back over to our shading panel. And if we plug in the generates and instead to the vector, let it load open. You'll see now that blend it is trying to generate how this texture is actually going to go onto this object. This is useful for when you create textures within blender itself without maps, but useless if you're actually bringing in your own mom. So let's put it back on UV. Next one them across is called mapping. This basically is how this texture is mapped onto this object. You can see here that we can actually move the location of our actual texture and this space, these kind of move in the UV map. Now if we call me, you can also scale this up as well as you can see. So you can stay like smaller and bigger. And it gives you a lot of control within actually the shader, to mess around with the scale and things like that. Normally, I would actually do this in the UV map. But if there's any small details that I want to make, a little bit smaller or something like that. I will do it within the shaded. Moving across, you can see that all of these nodes over here, which are all maps, are plugged into our mapping node. So let's come to the first one. The first one is color. And basically down on the right-hand side here, I'm going to be showing you exactly what they mean. And then if you want more information, you can go onto the blender website and find all of the rest of the information now about all of these maps that we're talking about. As I say, the first one is the color. And if we unfold that, it's basically what we can say is it's just the base color. Now sometimes you will get college where the commitment with ambient occlusion. And I'm going to talk about ambient occlusion just in a few minutes. If we plug this in, we can say, we can actually alter the color with other nodes that we can kind of slide into here. So I'm quickly going to show you that. So if we press Shift a, do a search and we're just bringing a gamma, which is going to lighten or darken all actual color. Now, I've pulled that in nine. You can see if it bringing that down. I'll bring you up. I can make it much darker, much liked it. That's something that we can actually do. And the Node Wrangler enables us to bring in a new node and just drop it in there. So I want to do now, I'm just going to delete that and I'm gonna plug that in. Now to go on to the next map is metallic. So I'm just going to head on over where I've actually brought in a metallic texture. So here we are in our setup now with our actual and metal texture and material. So if we zoom in now, we can say that we have the next one down which is metallic. And we can see that if we calm and actually unplug that, you'll see that not a lot happens. And this is because this metallic is very close LI based on the metallic that's already there, which is 0. It's quite a dull metal. Now if we come in and return upon metallic, you can see that it goes really, really, really metallic like so. And you don't have to actually use a map to make something metallic, or you need to do is turn off this metallic. Now normally when we're doing things like using this slider here and no math, even something is metallic. So if I turn this down or it isn't liked, so we don't really have anything in-between when we don't actually use an amount. So if we plug this back in now to our metallic and let it load open, There you go. Now the next one down is roughness. And roughness is basically if you think of a sheets of glass, when you look at it, it's not completely see-through. You might have certain scratches on there. You might have things like smears, Han mark, things like that. Basically that is what the roughness map doors, basically the roughness is determined by this map. If I'm plugged this map, you can see we've got a lot of the kind of shinier parts and dolor parts on here. So let's unplug this and then you'll see that it's pulled one kind of shine. You can also save a command and actually turn the roughness up, alternate down. I can make something like ice or I can make something very, very dull. This is why we use this map because it gives us a lot of control of how much smearing and things like that and makes it look a lot more real estate. So now let's move over back to our wood. And what we'll do is now we'll come down and look at our normal map. If I double-tap a quick play that I'll just highlight this. And then we can just zoom in a little bit and look what this normal mount those. As you can say, the normal map always plugs into a normal map node and then we can mess around with the strength. So if I turn the strength right, you can see now we've got a lot more pushing through of the actual texture. Now just be very careful when using this node. You can turn it up too high and it will, it will look, it won't look very real, in other words, so try and just get it somewhere where you're really happy with it and it still looks realistic, for instance. And you do get some wood which looks like this, where it's really kind of elevated from the base. But I wouldn't go again to high witness. Okay. So that's the normal map. And now let's move to the displacement map. For displacement map, I'm actually going to bring in a new material now, so I'll head on over to that one. So here we are with our cobblestone texture, which we're going to use for our displacement example. What displacement does is it basically gives this texture. It basically pushes it out. It's like using tessellation, as you'll see shortly. The one thing is if you're using this displacement map, you really need to, you really need to know two things. First of all, it doesn't work in EV. Second of all, it really needs a lot more geometry than what you would normally have. So here we can say we've got a flat plane and we can see that they're slightly pushed. And you can still see that this is a basically a 3D texture. How do we create and displacement on this? First of all, we're going to do is you're gonna come out with two alleles fauna. So first of all, we're going to do, we're actually going to sub-divide this a couple of times. So let's press tab and what we're gonna do is right-click and subdivided. Right-click sub-divide. Now what we're going to do is I'm going to press Tab and we're going to bring in a modifier. And what we've done now is basically increase the geometry a lot. So let's come over to add, modify it. We're gonna come down to where it says multi-resolution. I'm going to soak divide, sub-divide and again and again all times. And if you press Tab, you'll see that it's still actually looks like this. So you can't really see all the subdivisions on here. But when we finish this, I'll actually apply it and then you'll be able to see them. Next of all, what we need to do now is we need to put this on cycle. So if we come over here and we change it from EV and we put it on cycles. And then what we can do is we can come down now to our material, which is this button here. Scroll down and you'll see one where it says Settings. And under settings you'll have one that says surface. And what you need to do now is change this. It should say Bump only change this to displacement and bone. Once you've done that, then all you need to do is go to your cycles shader, which is this button here. And there we go. You can see now how actually realistic that looks. Now you can actually mess around with these, so it can really, really bump up the scale is you can say I'm we can also change the mid-level, like Sir. I rarely push it out off. You can rarely pull it in as well. Okay. So that's a bit of an explanation on there. Now as I said, I will move over now to the actual Spanner where a modifiers on, I'm going to press Control a to apply that, I'm going to press Tab. And now you can see just how much geometry that actually taught. Now you can get away with a little bit less geometry. So I have a press control Z and just bring it back and just bring it down one. So if I bring this down one, like so, and you can say that it's still looking quite good. If we put the viewport level up a little bit, it's nowhere near the level of this, so I didn't put it on three press Control, a president tempo. And you can see now there's not so much geometry, but we're still getting a pretty decent effect. So the last thing I wanted to show you is if we come back to our material shader and we put this back on EVs overcome to our computer. I can't put it back on EV. And now we'll just scroll around and zoom in to this word. Now what does ambient occlusion do? So I'll pull a brief explanation down the right-hand side of what actually ambient occlusion is. What we can actually enable it by coming over to our computer, putting us on eBay. And you'll have one that says ambient occlusion. When you click this on, you can see already that we really, really get much more shading on here, much more realism and things like that. Now as I said, you can get textures where they are. Ambient occlusion already built in, but I find actually doing it this way generally gives you a better result. The other thing you can do is you can mess around with the ambient occlusion. I'm rarely bringing up or down mesh around with factors and things like that and really get the shadows that you really want on the surface of the actual object. That concludes the material and texture introduction part of the course. And I hope you all got a lot out of it and have a much better understanding of maps and materials within blender. With that said, let's get on with the show. 10. Working with Nodes Hue & Saturation: Welcome back everyone to blend the three the ultimate medieval sinkholes. And I hope you enjoyed that. I hope you got a lot out of it. So now let's actually crack home with doing that. First of all, though, we can see that this is not in a good place. It's actually below the actual viewport line here, so we don't really want not. Also the orientation is right where the roof is. That's also something that I don't want I wanted to do is I want to come in, the Press Control, lay all transforms and always get used to doing this before you unwrap anything and bringing materials and things like that, then what we're gonna do is gonna right-click set origin to geometry. Then momentum is going to bring it all and just sit it. So the actual posts a juice below this line here. Think of this line here. So if you press one, this red line, I'll press three, this green line, the one that goes sideways, Bass lake as your ground. So if you're bringing in this here, you basically want this part here is set below the ground. That's very important. I'm also going to bring up my mom. I'm gonna put it in just on the ground. So he was actually walking on that line. So you can say now a nice That actually looks alright, so back to this race, our orientations. Now on the actual lesson that you watched previous to this one, you will have sold that we brought in something called the node run lab on. And it's very, very handy for bringing things in. So let's do that first. Let's come to edit, come down to Preferences. Let's go to where are they? Unless put a node, just made sure I was tiktok, you can see no rank lit tick Tom, great. That's what we actually want. Now let's close this down. Now. I want to start bringing in my materials. So I'm gonna come in on bringing a new material. So this bone here, click on New, I'm gonna double-click this and call this Main. And I'm going to press Plus, I'm going to bring in a new material. And Nicole days would. Now as you saw on the actual lesson, we can actually go in and alter materials and things like that. And even based on the textures, like warm sap textures. And that's actually what we're going to do in this. In other ways, you can bring in five texture maps and you could create ten different materials out of it ulcer knowing exactly how nodes were contains like that. So now let's come to our Woodman. And then what we'll do is we're going to head on over now to our shadings panel, which is this one here. While I went to do is I'm gonna make sure first of all, it should be on material so you can see what you're doing. Now we don't have a light source in here or anything like that. We're actually going to come to that next. Well, first of all, let's get our textures and materials in. So let's come over to our principled and like you saw on the actual tutorial, if you press Control Shift, you can now bring in if you go to your resource practice, I'm just going to go to my resource part. Here is my resource pack. I'm going to go to my textures. I'm, what I'm looking for is the one near the bottom that says what we can see. I've got one that says wooden planks. We just want the one that says, what did the moment an ARR, five textures, these textures, all 2048. So two k textures I used to do to caring for k. But to be honest, people's machines were an opt to have in the scene full-up for k textures. We weren't getting a lot of value from it. I actually brought these down now to just do k texture. And I think the much, much easier to work with if you do out problems we've seen loading or something like that, then just convert these to warn k as many resources online where you can just bring in files across and just quickly convert them to wear one K textures instead. Alright, so now we've got these, let's say grab them all. So I'm gonna select this one, shifts like this one. Click the principal texture bond. There we go. Look an absolute mess. That's not what we want. Let's come in now and actually do some UV unwrapping because clearly these aren't new VM run correctly. Clearly we've got pieces of wood down here and things like that. What I tend to do is attempt to split these open on rub them separately. Let's come over to UV editing, which is this bone here. You can see this is the reason why we haven't run home routes anything basically. Now we call it rarely see anything UV map. So Watson to do is I'd said it's a set this all ready to use. So I'll pull this over video. I will then come up to where it says material, then click them. And now what I'll do is I'll let come in with edge legs and I'm going to work on the sphere. So again, it's a real quick way of actually working with these. So if I come in and grab each of these and then come in and grab each of these. Then one went to do is I'm gonna press U on ramp and you'll see nothing happens here. What we need to do instead of doing it that way is you smart UV. Press OK, and there we go. We can see the ballroom routed really, really nicely, albeit they're all going to the actual runway, which is not something we want to do now is I want to come over to the left-hand side to my UV map. I want to press a To grab everything. I don't want to spend them around. So all 90 spin them around now because we're in a 2D plane over here, we are not going to be able to spin them around the z axis or the y-axis. All the exercises or something like that. We basically just spend them around. So it's all 90, spend them around. Now we do have a problem in, you can say that don't fit in the actual UV space in. Well, let me just pull this out a little bit because responded around then they don't fit in there. So we need to fix that. So first of all, you can see that I've got my proportional editing on, just gonna turn off or don't need that. Then I want to call it to where it says UV. And what I wanna do now is pack islands. So once I pack islands, it should repack them within this UV space. And that's exactly what one I could come in and make them scale them smaller and things like that. But I find this is an easier technique of action doing so cool to UV, come down to where it says Pascal and we've got a problem. It's Pac-Man, but it's turned them all around again. I don't want that. Now if you come up with this menu down here and you click on rotate, that will then stop blender packing items and rotates in them. Now once you click this on, whenever you do the next one's a short, not actually rotate them until you actually reload blender again, so bad I mount you reload blender, it will start spinning around again. Also, we aren't saved out in a while. So let's come to file and we're just going to save that out. All right, so now you can see that we've got these dawn and they look really, really nice, actual realistic piece of wood. And it was really, really easy to just make sure that these sides as well, going in the right way, which you can see mine off. Now, don't worry about the lactone yet. What we're gonna do is we're going to get the materials and textures on this one. And then we're going to bring some lights. And in that we've got our lighting setup as well so we can bring that through to our actual fall moment. Actually call them to create it. Now the thing is at the moment, I call wood and it all looks pretty much the same. I'm gonna pull this across this way now because we don't actually really need to see too much of our UV map. You can see that the world looks pretty much the same. Now as I said, I want to use this word and turn it into a different word. In other words, I want to basically use these texture maps but have two different color variations of the world. If I come over to my material, you'll see that we create something called main and we created the wood line, I will say that would mean has an icon now that is not Blanco White because actually we brought our materials in. What I'm going to do now is I'm gonna come over. I want to click this little down arrow. Copy material. I'm going to call them to mom would lie. I'm gonna come down. I want to paste material that you can say that they're both exactly the same. Now what we wanted to do is I want to come in grabbing all these because I've already got them grab on to want to assign them. So the worldline, even though I'm not changed that yet, so I'm going to assign. And you'll see nothing really happens. Now let's press the top and go over to our shading panel. And this now is where we just going to change this world a little bit. So I'm going to come in. I'm gonna move my material output over here, move my principled over ALL that. And all we're going to bring in is just a very simple change Today's which is a U and saturation. So if I press Shift a to do a note search, I want to click on search. I'm gonna put it in. And you'll see hue and saturation comes on. Now if I just drag and just left-click, it will drop it into place there and you'll see nothing happened jet. Now let's turn down the saturation to nought, 0.1. Now you'll say there's a huge difference there. Now, I'm going to do is I'm going to put the volume up to 1.390, like so. And then I'm going to leave that at one. And now you can see of the same actual texture map. So same texture maps. We've got a huge variation in the ward. And the reason I've done essays because I like this would look like this because to me, these flat piece of wood there gonna be a lot more weathered than these parts. For instance, these parts of fairly sheltered. Now the top pulse normally treated all that. They're flattened normally do a lot better actually than these ones that are really, there are a lot chunkier as well. These thin pieces, there gonna be a lot more discolored, there's gonna be a lot more broken because they really actually open to the elements and things like that. Alright, so now let's work on the next pulse. So I'm going to do is I'm gonna do my side, my top, Let's do the top first. I'm just going to crop the top. I'm gonna press element. I'm going to go over to my UV editing because I've got my actual materials now, all it needs to do is unwrap and apply. I'm actually not going to use the woodblock on any of the pulse of this, just these policies. So that's fine. You can also save the press tab from here to here. They're all looking very different. And that's why I'm saying about, even though we've married it over the other side, they look really different now and they look in rarely realistic. And that's the actual points of this. Alright, so let's come into the top pop, impress you come down to Smart UV project. Click okay. And number something like this. Again, let's spin them around. So a 90 UV and let's pack islands. And let's make sure yep, it is. Some would manage. You can say a naive looking really, really nice. Now the one thing is you might want to spin these parts rounds. Sometimes I do that. So I just go in, grab the edges and then press OK. 90, spin them around because sometimes to me they look a bit better that way than the other way. All right, so now let's come into the sides. So we'll do exactly the same thing. So I'm gonna come in, grab my sides with L and just work my way down. Come to the other side. Like so, press the U born smart UV project. Okay, and let's see if they're going in the right way. No, they're not. So we need to spend these rounds. So a 90 UV islands. And you can see now the way that I'm showing you this technique is really, really easy, really straightforward and gives you great techniques and it's really fast, really fast. Where Club, Alright, so let's come into walkouts. Just make sure you always grab them with edge just to make sure you're grabbing everything. So LLM, you smart UV project. Click Okay, Let's spin this around now. So 890 UV pack islands, top. Double-tap the eye. Then we go. Now, before we finish this, let's come up at the moment. This is called a cube. We don't want that and we're gonna call it a wooden walkway. And then we're gonna come up, right-click, Right-click and Mock. As I said, No, you need to do is you need to come up to File. Let's go down to Save and just save out of the way a knowledge. Come back to modelling. And let's put this on material that we're going to do is on the next lesson is we're gonna work on our HDRI to bring some light into this thing, but also to make those assets as well. So that if we need to bring our HDRI into another scene or something like that, it's very easy to do. This is a fact, UH, DRIs, I've got four actually didn't this course and an HDRI setup, which you're going to find really, really nice. All right everyone, so you enjoyed that and I'll see you in the next one. Thanks. 11. Creating HDRI Assets: Welcome back everyone to blend the three, the ultimate medieval seeing costs. And this is where we left off. Now the thing is we want to bring in some lighting into our scene. And eventually when we create our farm scene. But the other thing is we actually want some lighting where we can put it into a blender. I said packs and things like that. And then just bring and drop illustrates him without having self any HDRI is or anything like that. So how do we do that? Well, that's what you're going to learn next. So the thing is, you can see at the moment where I'm material, if we put this though onto our render. Now, the moment if I come over to this little TV, you'll see that we've got our EV render on at the moment. Now, I'm just going to leave this on the EV just for now while we actually build these out. And the reason for that is because we're gonna use cycles in the end, but to just see our HDRI and things that we really don't need to change away from even. Now in the bottom right-hand side, I'm gonna pull what exactly EVAs. And then when we move on to the Cycles Render, I'll actually pull all that noise as well. Now there is another thing as well. To use cycles rendering, we are going to have to actually sets up a few things. We're gonna do that a little bit later on in the course. So just for now, just having uneven and just let us see what we can actually do with that. So let's come up now and put this on our render, which is this bond here. And you'll see at the moment, well, we can't really say anything because we have no light sources in the same whatsoever. So the first thing I tend to do is when I'm actually craved thanks. I always tend to bring in the plane. And the reason for that is because the plane actually bounces light off it. If you don't have a plane in that, the light comes down, it basically goes infinity, basically just carries on straight going. That's something that's not realistic. It's not really going to give you an idea of what your actual models are going to look like. So let's press Shift S cursor to weld origin shift a. Then let's bring in a plane, and let's make this play much, much bigger. So we're gonna bring you out like so you can see all guys a little bit washed out that actually there's a plane. No, it's not raw material alone, so that's absolutely fine. Now let's do what I talked about. So I want to bring in now our HDRI within the resource packet is actually a blend file as well, which contains the HDRI sets off the offsets are ready for you to actually use and you can check out and see how it's actually don't. So what we'll do now is welcome to file and we're gonna go and come down something that says append. So here's my resources. And you can see I actually have one that says HDRI. If I double-click on here, you'll see that there is a blended day HDRI setup. Double-click that. And then you can see that these are all the files within that blend file. We're not interested in any of the other ones, except the one that says, well, within the world you'll see there's a HDRI setup. So if I come to this now and bring that in, you will see nothing happens. And that is because we haven't actually said this OBS. So now we've got the ability. So if we come over to our world, which is this one here, and we come down and click this little down arrow. You'll see that one that says HDRI setup. That's what you want to actually click on. I'm going to actually keep this name as well. And you can also see it's saved it out as an actual asset. Think you can clear our set Right-click Mark as I said. So there we are. We've got an asset actually already marked for us. But hey, it's pink. This is not the line that we want them, right? Yes, that's right. But what we need to do is we need to actually set this up a little bit. What I'm gonna do now is I'm gonna come over to my shading panel. I'm also going to put this on world. You can see it says HDRI setup. I'm actually going to rename this in a minute. So what I'm going to do now is I'm gonna come over to where it says objects on here and put this on world. If I zoom out now, you will see this is this HDRI sets all. The moment doesn't really look like anything. Let's pull this. Evie again. Unless come in now and you can see we've got environment texture. Now. This is why it's pain. It hasn't gone environment texture. And what you need to do is you need to bring in HDRI, environment texture. Make sure that you're not bringing in any old, just any old texture. It won't work because it doesn't actually have the light actually built into it. So that's why you need to use HGRI. I'm going to click Open. I'm gonna go back to my resource part. You'll see in my resources that we have them called HDRI. And now you can say these are the HDRI that come in free with the course which I've found and download, and these are free to use. So you can see we've got a cloudy field, we've got a hobbit, we've got our sunny Paul and we've got stung well with some god rays coming through that. Now again, if you can't see yours, just make sure you put new size on regular and also makes sure I think actually that's saying you should be able to see them from that. So let's bring in our first one. I'm gonna bring in field cloudy HDRI, double-click it and hey presto, There we go. We've got our HDRI ed, and you can now see that all of this scene is lit from this HDRI. You can see it's slightly overcast and many other courses we used to use it a day one probably helped secure using that one. So I've got four different ones for you now. But this setup isn't the best thing about this sets off. The best thing about this setup is that we, first of all, we'll call this so we can see its field cloudy. So let's call this HDRI setup and we'll call it, we'll just call it filled cloudy so we'll know which one it is field cloudy. And what we'll do is now I'll show you actually how to use this setup. If you come into this, you'll notice that the morning it says HDRI options. Hdri BG, call it BG gradient BJ, if I plug in this color instead, like so, you will see now that the lighting is still there. Both. We have a collar around me and if I change this BG color to red, you can see that we can change our color of our background book. Keep all item. That's rarely great, right? The other thing you can do is instead of that, you can actually plug in a grade here. While I can now do is I can put this onto white, for instance, it a bit lower down, put this one on doc, Put it on white. Now you can see we've got a beautiful gradient there. You can see that these two probably the same, nearly the same color. So let me just darken or lighten one. Oh, there you go. You can see how easy and how beautiful that gradient is. And best of all, we actually keep all lighting and that's exactly what I want. This is what I've actually gulps and actually gave to you. Again if you just want your actual HDRI. So plugging your NHGRI. There you go. The other thing is how this is set so we can actually change our light source around. So if I just come up to here, just turn this hey presto, we can actually you can see the lights on. Turn this around to where we actually wanted the lighting as well. So really, really nice that now we need to where we've got three of HDRI. We might as well use them because this is going to be our blend that asset part. If we use them, we can just then drop them in. All right, so let's do that then. Let's come down. What we'll do is we will create a new one. So you can see this here. So new world, create a new one. And then what we'll do is before renaming it will bring in new one. So if I get rid of this cloudy field, click the Open button, go to HDRI. So always on the left-hand side, a lab where you went last space lease. So go to this one and let's pour in. This is the Hobbit. So double-click. Here's your Hobbit. Let's rename this now. So I'm just going to rename this hobby. Like so. Then I'm going to right-click. I'm going to mark as I said, and I want to come again to a new one. I'm going to minus this off. I'm gonna open it down to the left unsigned again, this one is Sunny Park, so we'll double-click it as your Sony park. Let's change the name. Sunny. Like so. Let's mark as I said, so right-click markers. I said, There we go, go there, they're like on that. And then finally, let's make another one. So we should have clouded field harbor and then we will want moles. So I'm going to click this again, come down minus this off, and then I'll open the soap down the left-hand side. And we'll just call this. God raises something like that because you can say, it looks really, it's a bit more subtle. This one in mind be really nice for actual farm. The point is though, took our assets and we can just drag them and drop them, drag them, drop them really, really easily. And that's exactly where I want. I'm just going to come in now. I'm just going to call it Sony. God. And of course you can call it whatever you want. Right-click. Let's mark, as I said, let's find the goal to File and Save. And now we've pretty much got all our lights in it. You're able now to quickly select through them and change the lights. In our view, one can God raise on, or also napalm, which is the cooperates there it says. And we can also then spin this around to change the lighting. Alright, so I hope you really enjoyed that. I hope you've really going to make use of this. You can see how handy this really is, and I'll see you on the next one. I have wrong. Thanks a lot. 12. Creating the Barn Greybox: Welcome back, everyone is blended three, the ultimate medieval seeing costs. Now, before we go on, I just want to show you why we've done all that way. So let's go back to modeling. First of all, we've got are rare seen in, I'm gonna leave it as this is the moment. I don't really want to change that. The other thing I forgot to show you is you can actually turn off the strength of the HDRI. Just turn the soap and you'll see it gets brighter or not, but it still keeps the actual light. And so I'm just gonna leave it out. I've got a really good idea then allow this actually looks. Now if you're not happy with the light and the other thing you can do is you can press shift and you can, I think I'm actually on Edit mode. Let's press top, Let's press Shift and he now come down. We've got one that says light. Let's bring in a song just so I can show you, there's a fair amount of lives saying you might want to bring one of these and I'm going to bring in a song, bringing it all. And I'm gonna rotate it around, so all y rotates it around. And now you've got some shadows. And that's the main thing about HDRI. You really want to bring in some shadows in with a simple song or something like that. So I'm just going to bring in this song. I'm gonna spin it around a bit. So all zed makes some nice shadows that, and then what we're going to do is I'm just going to turn this down just a little bit and you can really see what they looked like. And there you go. You can tell it looks really, really nice and regard shadows in. All right, Well, the best thing is now what I'm going to show you is if I open up a new blend file now and going actually save this file, save, right-click open a new blank file. Here is all salts ope c. Now let's come over and give this a try. So come over to our offsets. Click here. You can see I've still got my 3D Tutor assets into amplify Como and come down to where it says farm assets. Now you can see that if I bring in this wooden walkway, Let's zoom out. And there you go. Comes in with all of the materials and everything like that It's bringing online as well. You go, you can see when we come to build that, I'll see now how easy this is actually going to be. You can also say that if I come over and put this onto an EV, let's bring in our HDRI said, drop it in. Presto. There we go. It's as simple as that. So let's bring this one in. There we go. You can see now how easy is I wanted to change my line. And let's bring in this one. Let's bring in this one. You can see you've got a real light load of lights that you can bring into things. And this is why it's so handy to IV like this. Alright, Once I thought I'd show you that, Let's close that down now and let's go back to our main belt. So when we're comfortable that our farm, you can see just how easy it's going to be. Now the other thing is before I go on, you can actually, if you don't like seeing the HDRI, you just come over to the right-hand side, go down to where it says, though, we're under this computer icon here on the film and then just put it on transparent. And then you can just see this, which sometimes I find is a little bit easier to work with. They were thing is the sun at the moment, it can say is kind of in where we build it. You can just really put your sunrise over it because it is an infinite light source. So I never, it's not like a Canada where only likes a certain area. It just shines forever so you can put it right over that doesn't make any difference to the shadows or anything like that. All right then so that's the first-world way belt. So let's put that over to the left-hand side. And now let's think about what they'll direct you going to build next. I'm not going to be working on their particles or a smoke or anything lambda. We're just going to get the main buildings done, although we are actually going to be working on a little bit of animation for the actual wind melting and, and things like that. So the reason I, it's, it's very basic animation. It's really good if you can actually learn just the basics of animation, saying up a simple rig and things like that. So I would either recommend doing that, but for now we don't want to do that. What we're gonna do is we're going to press one to go into front view. We're going to press Shift and we're gonna bring in, whereas we're gonna bring in an image and a reference. And we're gonna go to our references. I'm going to make this bigger, the reference that we want to bring in now, let's bring in, um, something that's yeah, let's bring in our barn. I think that's gonna be the next one because our actual house is much harder to build on our actual bond. Although these ones are simple, they require a lot more techniques and these are also animated, so we'll leave those to last. So we'll bring in our barn now, let's bring that in. And again, what we're gonna do is we've got our little man here. Let's make him the right side sphere. So I'm going to scale this up and fight. I'm gonna pull it back a little bit. So he's actually informs of that. I'm gonna press one then we're really scale. They saw the size I'm a mom wants to be, So I'm gonna pull this down. You can see stay law smallest bring him down again. That was a giant Nearly there, bringing them all. I do want him to be pretty much the right size, so I'm gonna move them across now. And there you go. Can see he's nearly, they're not quite but nearly there. Let's bring them all. But I wanted to get this as close as possible to be honest. Let's bring him down. Yeah, and there we go. I'm happy with that. Alright, that's given as a real dangled scale. Now the problem is, if I move this one across, is that going to be the right scale as well? Just always make sure that when you've got a rep and you can see it's roughly the right scale. So we can actually work with this. You can also say, well, no reference who golf full kit. We've got a ladder here. You can see it for care. That's something else we're going to have to make as well. We're not going to worry as a say, about the the hay or anything like that. We're basically just trying to make the base of our actual involved. Alright, so let's get started. So the first thing we want to do is I want to actually hide this sound wave, this actual plane. And then I want to do is I want to make sure my Kirsten Center. So Shift S cursor to world origin. Press one. Nice Bring gain a cube. Let's press Shift a and we're gonna bring in a mesh and a cube. I'm going to put the cube, roundabout it yet, because I want to base it on here how high this is going on. Alright, so let's press S, make it smaller and let's put it in its place, something like that. We can see that this is all line hand. So basically want to make sure this, as you can see, is about on this line here. So then it's easy to build from. Now I'm going to do is I'm gonna press top. I'm going to grab the top of that with face-like. I'm going to press one. I'm gonna pull it up to the top, then something like that. And now base I've got the center of my actual bonds. So anything to build on this side, I can actually mirror them over to the side based on this. That's why I've pulled item first. Now I'm gonna do is I'm gonna press Shift a. I'm gonna bring in another queue and then make this a little bit smaller than the first one. Like so. I'm going to press Tab, want to call them around, pull this whole bringing, something like that, you can save the difference in the size here. Now we need to think about the roof now. And then finally, we can turn it around and actually work on this way. So we need this size. So let's work on the roof, all the parts of the world that make up the room. So I'm gonna again, you can see that this course is over here now and I don't really want that. So what I'm gonna do is I'm gonna come to my center Shift S because it's a selected tap shift. Let's bring in another cube. Something I brought in the plane that don't will not. So let's leave that says, Let's press Shift a, bringing in a cube. Let's bring it up. Make it smaller with the spawn. So let me pull it up. Then I'm going to pull it out. So S and X, let's pull it out. Like so. All right, so I'm thinking that these pieces of wood are probably going to fit just under those perfectly. So that's quite nice. So let's again now press Shift S because it's selected announced bringing another piece of Q onto the piece of wood, basically shift a, bringing a cube. Let's make it smaller. And let's say bring this into place now. So I'm going to bring you in to here. I'm going to rotate it. So all y to rotate it round, like so I'm gonna make it smaller just so it's round about the same as this because I know that this is a really nice size. So something like that you can see sulfate and in really nicely and then moment. So I'm gonna press the top. I'm going to make sure I'm on facelift. I'm gonna grab this face then when we first one again. And you'll notice that the moment that this is pointing this way, and I don't really want that. So I'm gonna put this on normal and now it's pointing the way that I needed. So you can see it ends somewhere around here and then the hate carries on after it. So I'm gonna pull this down to here. Then I'm going to pull it up here, something like that. Alright, I'm really, really happy with that. Now we need to get things in the right way. In other words, this should be a little bit behind it. This should be in front of here. So let's come to this 1 first and pull this out. Let's make sure that I'm happy with it. So that's coming out of there. Then this thing needs to go a little bit closer, something like that. Then finally this, yeah, it needs to be the end. They're like, alright, that's really great so far. Now we need to basically mirror these over to the side. We also need to, as you can see, bringing this, all, we need a piece of wood that goes out just to give us this base here. So let's do that first. We'll bring out this piece of work. So I'm going to press one. Again. I've got my cursor in the center. Let's pull this back on global. Let's press Shift day now, bringing a cube, Let's make it smaller. Bringing it down. Let's make it smaller still. Like so let's bring it over into place. Let's also pull out because we want it to cover this all pull this one back. So I'm gonna pull this out probably to there, something like that. I want to make sure there's probably a little bit more of a gap them while there is a moment, I'm gonna grab both of these. We've Shift Select and then just pull them both back, press the top bone, grab this one, and then just pull it into the center of here, like so. Let's go back now and see where we are with this double-tap the ages to say. And I can see Maps rarely, rarely coming along really nicely. Now we do have these parts to build out, but rather than do those, Let's get the actual overall base of this ball and actually sell and then work from that. So what I tend to do is I've got these parts. These parts are gonna stay in the center. So it tends to do now is I grab all of these. So grab them all. Control J, joining them all together. Control layer, Let's reset all the transform, so all transforms. And now we know that this cursor is right in the center. So we're gonna right-click the origin to 3D cursor. And now finally, let's bring in a mirror modifier, modifier, bringing a merit, double-tap the Amiga, you can see how quickly and easily it wants to just get this part of the bond nailed down. What we're gonna do that on the next one is we'll start working, as I say, on the sides of the bomb. And then we've got the overall size, and then we can start building this out. All right, everyone, so hope you enjoyed that and I'll see you in the next one. Thanks a lot. 13. The Art of Creating Roofs: Welcome back, everyone has a blend of three, the ultimate medieval sinkholes, and this is where we left off. Now we've got all mirror modifier in. And let's actually apply that. And then we can spin it around and make this longer. So the length is going to be an M. Really start working on how this is going to slow the actual front of the bomb. I want to make a little bit different. The back. You can also see the bond. We've got a wall going across here. We've got a wall at the back, as you can see in this part here. And then this part is pretty open. You can see that, Hey man, things like that. So that's exactly what we're trying to replicate it. The whole them. Let's come onto our American press Control H. Let's then join all of this together. So I'm going to press Control J once I've shipped selected everything. And now I'm going to do is I'm going to spin it round because the center of this is actually in the middle. So just make sure you all sensors in the middle so that when you suppress all and zed is actually turning on the center of it. So if I now press Alt Z 90, that's my side view now. And now I can do is I can bring this the place I want it somewhere like that. Now can work on bringing this a little bit further out. So let's say grab the front of the ear, press one. You can say we're a little bit high, but let's not worry about that. It doesn't need to be perfect. So I'm gonna bring this out a little bit like so. And I want to come to the back of it, press worn again. I'm gonna pull this all the way back when something like that. Now, we know that we've basically got the structure of the actual from, so we basically need to just bring this to the bank. So all I'm going to do is I'm going to grab all of these without press one. I want to press shift D. Not lying, not us. I'm going to press Shift D and then just drag them all the way to the back. Like so making Show him happy without ball. That's actually, you know, fifth. And I'm gonna press one again, just make sure they actually happy when they say, you can say that we have two strokes in here. Now I'm one store in here. And we can also say that we need a stroke going underneath each one of these just to make them look realistic. Okay, so let's make the strokes first of all, on this part here, this roof Paul here. So we need a stroke realistically going from the and it's gonna be the, the support of the actual R2P. We can also see here that because we just brought this out, that this is a little bit out. So we're not going to worry too much about what we told simply going to do is you're gonna grab both of these and we're just gonna pull them back on the interplays. And then I'm just probably going to just grab this and pull it by just a little bit, like so. Finally then I'm just going to probably also pull this back just a tiny bit and then grab the top of here. I'm polyphonic just basically getting everything. So, all right, so I'm happy with that. Now let's come in and bringing a stroke along here. So I'm simply gonna grab this one and this one here. And I'm going to press the F button. So I'm not gonna make that stroke for me. And then I'm going to press Y. And as I always do, press G and then you can see free movement and it's actually explode. Now find the wall wants to do is I want to make this a little bit bigger. So S, pull it out little bit like so. And then I'm going to extrude it up and turn this into an actual piece of woods. So I'm going to press E, pull it up, like so. Then I'm going to grab it all and put this into place. Now I find normally this will be stuck out a little bit over here. So in other words, if I pull this down, like so, and then if I pull this a little bit this way, like so. So you can see now that the woods slightly overhanging here, here and here, and don't forget, we also need the actual roof going along here. So we might need to lower this down just a little bit. So I'm gonna come to Face Select, grab it, and just lower it down, like so. Now let's create the roof and then we'll say exactly where we need this. And the roof is important on this part because we're gonna have an inside top part on here. So it's quite important, Let's actually do that now. So to create the roof, I'm simply gonna come in and grab this one. And this one because I know that these are exactly the same level. So when you go to open again the bending or anything like that, I want to press F and there we go. Then I went for us, y and g. And there we go, We split you all. Now we want our roof not to come right down to the bottom. So I'm gonna grew up this bomb here. I'm going to come in making sure that I'm on normal. Then I'm gonna pull this up a little bit and just try and print place. Now you can see it wasn't going exactly. Don't worry too much about that. It doesn't need to be fits in exactly because it needs actually pull it in. Now, if I grab the whole room, I need to pull it by a little bit. And this is why I'm saying the roof knees pulling back a little bit. So we've got a tiny gap going to make it look realistic. But you can now see that we do have a problem in this piece of wood is actually overhanging a bit and we don't really well, not the only thing is as we go further, if I zoom in, you can see that we've got a bigger gap here and a smaller gap pulpit. I'm going to do is I'm just going to grab the top of here with how I went to press H. And then I'm going to command the top. And now I'm going to move this a little bit away, like so, creating a much more even gallop, like so. Now finally, let's bring in now this down a little bit. You could even probably bring it to the left, just the top of it. But I think actually, let's think about this. The rate should be doing it that way, I think so. Let's just pull it over and then it's been a little bit on that logs. Absolutely fine. Now finally, what I want to do is I want to extrude this out. So I'm gonna put this back on global, makes your mom face select, grabbed my roof face and now I want to extrude it out because we want this not to be a 2D plane. We wanted to be 3D. And the reason I wanted it to be three days, I might use palsy is to create a hay, but also the inside of the roof. We're going to have a fluorine here where the mind key bales of hay and things like that based on where the ladder goes up. So what I'm gonna do now, now, grabbed that, I'm gonna press the IBA And you'll notice when I press it you get a line that, and as I pull this out now, you'll see now that I've created an actual 3D cube because it's extruded out like so. Now, the next thing we need to look out because it's always a good idea when you extrude anything. Let's press Alt H, bringing up the top of it. But what? You need to check, the normals are normals. I'll put a description on what normal is all done on the right-hand side and how we check the maze, we come up to the children's Lockean links, click the little down arrow and go down to where it says face orientation. And you'll see exactly what I'm talking about. Whenever you extrude anything, it's very easy to bend it inside and out. So if you have extrude anything or when you finish a model, makes sure that you actually check in your actual normals. You can see here that this one's perfect. We didn't extrude anything yet. I'll not one, but you can see on this one it's absolutely wrong. So all you need to press a just to grab everything he doesn't mind. You don't need to just grab the ones that are red and then you just press Shift N. Elders blend of them will recalculate normals and spend them by around via, and you should end up with something like this. All right, So now I'm fairly happy with this. I just need to turn off my face orientation so that I can count on where can so I'm just gonna turn this off and went back here. And let's just have a quick look round and take stock of where we all now of course we can say that we need this over the side. We need the roof over the assigned before we can carry on. So let's do that now. So I'm just going to grab this without going to grab my roof. I'm going to press P then and separate them out. So selection, top, grab them again, control a less resell the transforms. And now hopefully if I press three, you can see not quite in the center. We need it in the center to put it over this side. So I'm gonna come to my main support here. So I'm gonna grow up it Shift S because it's a selected come back now to my roof. So this Paul here. And then I went to right-click set origin to 3D cursor. And now it's in the center base of the building and exactly where I want it. And now I can bring in a merit mirror modifier, put it on y tilde x. There we go, bang in the centre. Let's actually apply that because we've done that now. And now we need to do is we need to work on these posts coming down here and these posts coming down here. So you can see the actual bomb. It only has on this side, one more post, and then the backside it as two smaller posts. So let's do that first, I'm going to actually hide my reference all the way just for now. And then when I went to do is I'm gonna call, I'm gonna use this postdate. So I'm going to command, grab this one. I'm going to press Control. Want to go round the back of it. And then Wyoming to do now is I'm gonna pressure date, duplicate it. Let's put one somewhere here. And don't worry too much about the spacing. We could go in and make the space in absolutely perfect. But generally with things like this, we don't need to do that. I'm going to press shift D again, bringing it over and then put it in that you shouldn't know if it's something like like bow and just making sure you're happy with everything. I'm just making sure about this. Say it looks a bit sharp. Let's say we're just making sure that these are underneath it. Okay, we can see that the coming out here, but we're going to have a floor on here, so we should be okay. So now let's work on this side. So I'm gonna grab one of these and then shift date and pulled them over. I'm going to put this right in the center of like so. And then we should be able to see that, hey, that we're going to put in that. Alright, so now let's create the actual floor on top of the, while we've got this in the center, we might as well let you stop. I'm gonna do is I'm going to press Shift. I want to bring in a cube, press the spawn. Bringing it up. I'm gonna pull it out a little bit just so I can see what I'm doing. And there we go. The thing is about this floras. You're not really going to see how thick is or anything live, but only where they actually go. Sorry, so we don't need to worry about that either. So let's make it a little bit thinner. You can see though, that I'm making it thick enough so it's actually believable and realistic. Now let's press S and Y and pull it out to where it needs to go to. So you can see it needs to go into these here. The thing is that don't really do I want it poking out above that? Actually might work out better lie that I've pulled it out a little bit, just a little bit. Grab it with Alec M and then S and Y, pull it out just so it's right tucked into that. And I'm going to grab this end. And now we're gonna pull out and actually turn into the floor. Pull it out into this other pole. Now you can see the problem we have besides dropping down here. But the thing is we're going to have planks of wood in here, so we're gonna hide out of the way. So nice little trick to just hide out of the way. We're also going to want to hold in there eventually as well. I think for now, if we start working now on the outside because it's pretty much sorry on the planks because we've pretty much got everything. Don't know, unless we can actually start turning this into a building. So I think we'll start on the actual letter. Next lesson. All right everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks law online. 14. Adding Realism to our Models: Welcome back everyone to blend the three, the ultimate medieval sinkholes. And this is where I left off. Now let's start making this did not realistic. So what are we going to do is I'm gonna come to, you can see at the moment we don't have a problem in the front view is the actual side view. Don't really want that as well. I'm going to do is I'm just going to grab the whole press Control a. I'm just gonna make sure actually if I press G first, you can see I've not actually grabbed you all there. So what I'm going to do is I'm gonna press B and just click and drag to make sure that great all I'm going to press Control J to grab it all. And I'm hoping it actually have no, he didn't he didn't have a mirror modifier on. So that's fine. Now I'm going to do is I'm going to press Control a while transforms, right-click, sorry, geons geometry. And I'm going to press one, I'm gonna spin it around. Minus 90, minus 90. There we go. Nice face in the right way and not then it's gonna make it much easier. I'm also going to prey on material mode, because working on material mode is much easier actually than trying to work and in the EV renderers. So there we go. Now go really good view. The other thing is you might want to put it on object mode. Sometimes when you're looking at, you know, these groups and things like that, it just makes it much easier if you can see them. For instance, I know the item one, my roof on this bit to be this fall down and being as this part is open and I really want to hide out the way I'm gonna do that first before I start anything. So I'm gonna call him my planks of wood and I'm gonna pull them down below maximal roof. I also want to make sure that these policies are a little bit further back. They're a little bit too close to it. And you can see that these parts here on coming out far enough. So let's pull these back first. So we'll grab both of these, pull them by like so. Then do is now I'm going to grab both of these policy it, I'm gonna grab this one, this one. I'm going to pull them out. So S and X pulled them out. And if it doesn't pull out, the reason is young growing medium points. So just proud medium point and the next, next, and pull them out really, really easily. All right, so let's start with, if I press one now I can start work on this from again. What I'm gonna do is I'm gonna grab this. I'm gonna press out Shift S cursor to selected. I was gonna prove bang in the middle, even though when we wake and on the other side. So that's exactly where I wanted. All right. So let's bring in first of all, a nother plank of wood. So I'm gonna press Shift a in object mode, bringing a cube, make it smaller. And let's bring it over here. Like so. I'm gonna make it smaller. And I'm also going to grab my mom, pull him over, putting in place, let's say stored on top of the ball. He wants to be able to basically look over here down to the floor. So that's why I'm going to work on. So I'm going to grab my cue. I'm gonna pull it up. Like, I don't want it big enough so the gap wants to be randomly. It's like a little type of window or something. I'm on Windows, I'm going to press S, make this a little bit smaller, and I'm going to press S and X and pull it out. Like so probably it's something like that. It makes sure that it's actually into the woods. So something like that I think is absolutely finding Kinsale guys ride bike violence. Just pulling pulling it a little bit further forward so you can actually see out there something like that. Yeah, okay, now let's drop this cube again. We'll use it for the big going down he announced, so I'm going to press Shift date and then all why 90? Spin it around. And I wasn't this rather than seen that flushing because they're exactly the same on the x and y-axis. Let's just make it a little bit bigger, like so. And then let's bring it all down into the floor first. So into this over here, let's press Tab. Grab this face, and let's pull it up into place, making sure it doesn't go through. They're all coming out of the back of it or anything like that. Alright, so I'm pretty, pretty happy with that. Now. We need to actually make the planks of wood so you can see he's got enough room to lock down there, shine to his workers or something like that and kind of build up a story and you had a y is actually doing this. It makes him which actually easier. Alright, so now let's calm and make these plants would first. So how am I gonna do that? Again, if you remember on one of the first or second lessons, we call an actually loop coat to make planks on board if it's actually a triangle or something like that. So we need to bring in a plane. Always easy. It's bringing planes, it through planes just makes things much easier. So I'm going to press Shift, bring in a plane spinning around, so I'll buy know all x 90. Let's put this into play. So I'm gonna put this first plane in here, making sure that it's going to fill out this part here. This part here that's the main pile and I'm gonna call takeaway here, like we've done before. I'm also going to use this plane and do this part here as well. I might as well. I'm going to press shift D, bringing it over this into place. Now we know it's right this side and this side. So minus will press top then grab it, bring you down. Like so and then grab it. And I'm going to just leave it there because I want to be able to see what I'm doing if I pull it further across and I'm gonna be having a problem of trying to work with this because I love to keep hiding this part, so I'm just going to leave it there. Now. Let's work on this pathway. So we'll come back to this plane. Press one, I'm going to press Control a control law. And based on what I'm looking at is this bottom one here. So what do we mean by that? If I left-click now and then right-click drop those in the center. You can see that my smallest plank of wood would be over here and that's fine. You don't want it search right in the edgy, just a tiny piece it because you'll have to delete it because there'll be too small. Something like that, I think is absolutely fine. Now, once you've done that again, get into the habit of right-clicking a mocking seems straight away. And then you're going to be able to separate these very, very easily. Now let's press Control Law, and let's bring in a few more edge loops. So left-click, right-click, and then I'm going to do now I went to call this away. Alright, so again, we'll do what we did before. We're going to grab the whole thing with a gonna come to mesh bisect. And I want to catch it probably a little bit closer to this because we know this is actually sign in there. So I'm going to call them probably it's around here. Called say something like that. And you can see because we were at edX itself is cleared, the outs are on there anyway. Now we've got something like that. So let's come in now. What we'll do is we'll split these up because we've got all our edge loops. So again, gall seems on, you can see how easy it is now split result like so, press Y, press G just to make sure there's flit to grab them all. Make sure that your own individual origins press one and then we're going to press S on x, bringing them in. And you can see how easy that was to make those lines a woman. Now let's pull them out, make them a little bit and even like we have done before. So I'm gonna grab this one here, make sure I'm on random. I'm gonna press one. And then I'm just going to pull them over very gently. I'm gonna bring in a little bit. You can see that was a little bit too much, so something like that. Let's come to this one, pull them over. Let's say as well, bring this one out. So I said left and right first, then pull them out, bring it in a little bit, pull them out like so, and then pull this one in. And it's just a very fast way getting things on even. Alright, That's something I'm really happy with. Now again, the next thing we do is we right-click Shade, Smooth, Altos, move on, control lay, right plague set origin to geometry. And now we're just bringing a modifier, so modify it. Bringing in first of all, the solidified. Let's bring it out now. So for bringing out that way, this way, like so you can see how thick roughly. Let's say nothing. Another modifier, which would be the Bevel, set this to no point, no one, so no point, no one likes double-tap the eye. And I will look at that. And there you go. You can see how easy that was to do it. And that's exactly workflow we're always going to follow. Now let's crop these again, tap age just to grab everything and I'm just going to bring them a little bit closer together without my proportional editing on. So I'm gonna come down individual origin, press one, and then press S and X because we don't want that gap to be so much tap, double-tap. And there we go. You can sit really coming together already. All right, I'm going to actually leave those modifiers on at the moment while I build out the rest of this. So now we're gonna come to this and you should be able to work really fast now actually, you just really based on how thick you want these planks. So something, Let's have a look. Something like that. I'm looking where the bomb plant kids and top plank kids. So I think something like that. I'm going to left-click, right-click along, want to do on these actually I'm going to right-click against multiple seams. I'm gonna come in with face like I'm going to grab the top and the bottom one. I'm actually going to leave them so ugly faces. And then I'm gonna come back, grab them all, and then put this onto Medium point S and Z and just pull them into place now because they didn't want the two small planks there like that. So something like that I think is absolutely fine. Now in which there isn't gonna bring in some more edge loops. So controller, I want to bring in three, and I'm gonna pull them over to here, left-click, right-click. The reason I'm doing that is because obviously over the side, we're not gonna see them. We're only going to save from the air. So that's why I'm actually doing that. Now finally, while one studies I want to grab them all. So I'm gonna repress. I'm going to press S and X, bring them in, pull them over, them in place, like so. Alright, now we can come up to face legs, grab one of the faces, dropped the one after l, want after l, y, g split them up. And then let's individual origins. Essence zed makes them smaller. Propulsion, let it in and let's say pull the edge like Let's pull this one off just a tiny bit. Like so pull this one down. So let's pull out. Pull the same, like sir. Alright, control layer will transform, drive clicks, origins geometry. Let's right-click Shade Smooth. Let's now move. Let's then bringing a modifier. So we'll bring in festivals solidify. Let's pull it out into place. Round about. Let's then bring in all devil will pull this point. You can see here that these, as I said, normally it's okay, no point, no one. Sometimes you'll get where it's just too much on this one here is too much. So let's put it on no point. No, no, fine. And there you go. Now you can see that looks March, March back. Alright, so now let's press one. Let's bring them closer together. So I'm going to put this on an individual origins top, grab them both. S, Z without the hall. Said, bring them closer together. Tap, double-tap the eye. There you go. You can see how easy that is right now let's say the mirror them over the other side. So let's grab this one. We can say that our cursor is in the center. We can actually right-click set origin to 3D cursor, same with this one. Right-click origin to 3D cursor, modifier and merit. So noun to where is it? There we go, unless now call him too. Yeah, we need to also do this one, so we'll do as they sexually. Yeah, we haven't actually got that. So control a Ultron Psalms, right-click Set origins geometry. I'd modify it. Where is it beveled? That's my bevel. There it is. No point. No one. Now let's right-click set origin to 3D cursor modifier mirror. And now let's do the same for this one. We couldn't have done this at the same time. Kinda joined the up to this one. I'm gonna, I'm gonna press Control eight all transforms. And then I'm going to grab this one, Shift, select this one. I'm going to press control jag, join them together and hopefully it should bevel them which asked, I'm putting over the other side, so that's really cold. Now let's grab this one add modifier mirror. There we go. You can see now how quick and easy that actually is to do that once you've got materials on, you really see how you can really motor along a really cool things like this together. All right, everyone, so I hope you enjoyed that. A bit of a long one, and I'll see you on the next one. Thanks a lot. 15. Filling in the Barn Frame: Welcome back everyone is a blend of three, the ultimate medieval seen costs and this is where I left off. Now we've got a lot of modifiers on April. We know we're gonna worry about those yet. What we're gonna do now is we're going to probably work on, Let's start work on the virus. So we've got our cursor in the center here, but let's bring it around to this side instead. So I'm gonna grab this one. I'm going to press Shift S because it's a selected tap shift a. Let's bring in a plane, let's spin it around. So all rags, 90, let's press Control. Want to go around to the rear of this. And now I'm gonna do is I'm just going to bring you up just so it's going to sit on the bottom of that. I want to press S and X and just play around to where I want it. So something, something like that. I'm just going to pull it up a little bit higher. And then finally, I want this top to come up to you because obviously the plants award in one of them to be a little bit different from the front of it. So I'm gonna grab the top of it, pull it up, something like all right, now let's make these into clients and what exactly the same process. So Control Alt, left-click. Let's bring them down again. Make sure that, you know Andy no, with a really, really tiny piece over here, you can see these near enough fit perfectly into it, which is exactly what one. Now we're going to do is again before we do anything, right-click moccasin. Now let's bring in the edge loops going the other way. So control all left-click, right-click, something like that. And now let's call it this way and then split them up. So let's come in and mesh. Bisect. Cool, way. Like so, that's that side done knowledge come in with the other side. So mesh bisect called these way you can see it's going the other way this time. So I just need to change these around, like so now let's split these up. So I'm gonna come in with l. Think there's one in the middle as well, and we'll solve that in a minute. So I'm just going to split these authors like that. I'm going to press Y G, split the mole. Now, I'm just going to come in and just hide this out of the way just for now. So I'm gonna press Hake to hide it. Come back then to this and I can see that this one here, I really don't want, so I'm gonna grab this one without delete that. And you can see if the belief versus they actually got rid of that. So I don't really want to do that. I wanted to delete faces and then that's going to get rid of it. I'm going to grab this one then just make sure that split off. So all these should be split off now, which means that if I grabbed them all with make sure that I'm only vigil origins, press S and X and the shield shrinking all differently like so. And that's exactly what you want, exactly as we've done many times before. Now let's command and put it onto random. Make sure when I select, grab this one unless just pull them, pull them out. Sideways, load it. So let's grab this. Like so now let's do the back as I've showed you. So we're gonna grab this, pull it out, bringing you, we'll, oops, let me to do lambdas, pull it out a little bit, bringing your wheel a little bit. Let's do the top of this one. Let's do now this one. There we go. Alright, let's say I right-click Shade, Smooth. Also smooth. Let's now bring back the rest of all bombs. So I'll take, I think they'll still keep our reference. So I'm just going to hide the reference out of the way. So now I'm gonna come back to here. I'm going to pull them out with a modifier so I'd modify it, solidify them out like so. Let's bring in now bevel. So add Bevel modifier. Let's put this on naught point, naught one. And I think the thing is, did I reset all the Trump's forms? I don't think so. So control a ultrasounds homes soured June to geometry. Now they should look fine. Obey the gulp too big of a gap. So control one, top, a takeoff, proportional editing. Make sure run individual origins and pull them closer together. So double-tap the a, you should have no picked something like that. Alright, we're really getting somewhere now. Basically all we need to do is we need salts out of the little hole in our flow. We also need to put a in Psalm would go in this way and going this way. So let's do this side first. Let's press three and I can go to the sign-up thing. I'll do is I'll grab one of these planks of wood first. So I'm gonna grab this one. I'm going to press Shift S because just like to tap, Let's press Shift a, bringing in a plane. Let's spin it around. So I'll wine 90. Let's press three, and let's start all playing. Kind of halfway in here. So go nearly to the bottom of it. We do want a little bit of gap. This is actually in the flow, so that's fine. Let's then grab the top. And polyols, just so it's in just like the top of it. And then let's bring this probably to here. Like so Let's now grab, I'm thinking whether I do this all in one go. Probably, Probably, Probably. I'm I'm just going to pull it I think called the bomb selected. I'm just going to select this side. I'm going to pull it all the way over here, like so. Yeah, I think I'll pull it all the way over to that corner. And then what I'll do is I'll grab the whole thing, press Shift D to duplicate, and then I'm gonna spin it around now. So all zed 90, let's pull this one in place as well. So something like that. Let's play over. So it's right in the center of that. And then let's first of all bring this up. And then let's bring this this way. Like so. All right. So we've pretty much got all that laid out. I think I'm happy with that. Okay. So now we need to hide the floor away just to make it a little bit easier to see what we're doing. Now we need planks of wood in here. So I think what we'll do first days will make the goldfish way first and then split them up. I think that will be easier if I press three. Basically, I press Tab and now press Control Law. And I bring this up to the size of the planet. So one of them, so something like that, fairly chunky plants, they're all denote the ball and after old. And then there's comrades to the other side now and grab these and press Control. In this way, they're not gonna be exactly right, but just make sure the roundabout the same width as the plants on the other side. So left-click, right-click, something like that. Now we wanted to do, as you can see, I'm going to have to go in and Alt Shift click again because I forgot my workflow, which is right-click, I'm oxy. Alright, there we go. Now first, let's say putting some edge loops going this way. So control are just bend them out. So yeah, that should be enough. Something like that. Left-click, right-click. Let's go to this side. So control law, left-click, right-click. All right, Something like that. Now the thing is, we might as well use the plane going all the way over here. There's no point really split in the mall because you could split them up into each one, their management individually, but it's just gonna take a lot longer, severe we really wanted to do, but I'm fairly lazy on most people. So I'm gonna do is I'm just gonna come down, split them all. Ok, So I went to come to this one. Split all these up like so why G, make sure to split, drop them back in place? Now, the thing is I need to say where bend them on the Z. Luckily for us we can do them altogether. If I press this little icon and if I press my links, an individual origin, S and Z should be able to do that with them. Now let's put our proportional and Denon and let's go through these. We'll come to this 1 first on edge. Let's make it a little bit bigger. I don't want to go and pass directly because I would do one of them is doing individual. In other words, I want to bring these down or rope without actually altering and this side or this side so much I'm just going to pull that back and grab them in more in the middle. Like so. And you can see that split them a little bit too far away. So it's a little bit hard to tell how much we're actually doing it. Not to worry, we'll bring them back with that anyway. I'm just gonna do this side. It is very subtle, as I've said, it's very subtle. Let's pull these out. Let's pull the xin out, some of them. Now let's do this side. Pull those in, pull this one out a little bit. Let me just pull this one in. Them, pull this one out and maybe this one in. And I think that should be good enough. All right, so now we've got them. Let's press Control a or transforms, plague, origins, Geometry, right-click, Shade Smooth. I'd modify it and we'll bring in a solidified. And we can see we didn't process to move on. So let's move on. There we go. Now the low back. Now let's bring in our solidify or out. I'm going to bring it out. I think something like that. I'm looking at both sides just to make sure that I'm happy with it. So we can see this is the thickness of the wood and I'm fairly happy with that. The one thing I'm not happy with is that these are little bit too far as you can see. What I'm going to do is I'm just going to come to the back of these and just grabbed all of these like so. Then I'm just going to pull them without proportional editing on, hold them back this way just so that kind of halfway, these ones look absolutely fine. The thickness of the world looks absolutely fine. So I think I'm happy with that. Alright, now let's bring in a Bevel. No point, no one has normal. Let's see if that works. That's absolutely fine. I'm finally now let's grab them all in edit mode eight, grab everything, press three, and then let's press S and Z and bring them all together. So S and Z bring them all together, double-tap. And there we go. They look absolutely fantastic because you can say, alright, so you can see we've got really big gap here, which actually looks really nice. Sometimes it works out like that. So hopefully you ohms worked out as well. Okay, So we've done the whole bond. The only thing that we're actually missing then is the hole where the actual load is going up. But the thing is, we also need the Hadean ear as well. So how do we make the height? Well, let's make now in the next lesson because it's a little bit more complex than just making a cylinder or something like that. All right, everyone, so I hope you enjoyed that and I'll see you in the next one. But before we leave, make sure that I keep forgetting. Say evaluate. Always say about you wake after every lesson. Alright, wrong, Sam, excellent, Thanks a lot. 16. Working with Dissplacement: Welcome back everyone to blend the three the ultimate medieval scene calls and this were left out. Now, we need all hanging here, so let's actually sold out. So what I'm going to do is I'm going to actually, where's my cursor? My cursor is way over there for some reason. I don't know why, but I'm going to put my cursor around here. I'm gonna grab this again, shift S because it's selected. And let's now bring in my head. Well, bringing something, Let's press Shift. I mash, come to UV sphere, and I'm gonna leave this on 32. I need Allows segments to actually pull this out and you'll see why in a minute plus all. So I'm gonna leave the bottom and this bottom one here. So now I'm going to call this exactly in half. So let me show you what I mean. If I come in now, I come to, you can see the halfway point, of course one is here, going across here. I don't want to come to that. What I wanted to do is I want to come down to this one here. So it's one below, grew up this with Alt Shift and click press delete, faces come to the bottom, press L, delete and verts isn't the reason person versus on this time. Because if you press faces, sometimes you end up with some little versus leftover. And I try and eliminate as much as that as possible. They're called MTS. Normally, when we finish building everything, we always check to make sure if you're going to empties and things like that. So just bear that in mind. So when you first delete this line, press delete faces, bottom line, press Delete. Alright, so you shouldn't be left with something like this. Now let's bring this out a minute. So I'm going to grab this. I'm going to bring down, going to press S just to make it a little bit bigger. Now the moment you can see that just looks like a UV sphere that's been quite off basically, let's say right-click Shade Smooth. Let's press Control a or transforms right-click set origin to geometry. Again, I'm going to show you a really easy way to do things like this. What do you need to do? First of all, come off, do you modify it? Bringing the displays, it'll just get big. It doesn't really do anything. And that's because we've not really displaced it on anything. In other words, you need to use something to say, right? You want to displace it in this way. That's normally a noise texture or something like that. So let's actually do that. Come out of it to checkered flag. Click on it, click New. Now go back to normal because it's like, oh, you want to displace this on something. Now you're gonna do is where it says Open, click the Open. Now what you wanted to do, you want to click New. We don't know what you want to do. You want to come to where it says image or movie. Click the down arrow and click one of these. Basically I have picked the clouds because that's the easiest one to displace it on to make it look the way I wanted to. If I click clouds, you'll end up with something like this. Looks really good, right? But not quite there. Now I want to do is I want to turn down alter the size of the displacement dependent where you want to displace it against, for instance, with hay and things like that. We don't really want that much displacement because it's just little bits of hanging over. A lot of normal maps are gonna do the work and also we're going to have a political system on top, so we really don't want to turn this opportunity. And so what I'm gonna do is we want to turn it up a little bit. And as you can see, as it turns though, the clouds get big, which means that the displacement gets bigger. Also, we've got to remember, if I press top, we've only got this many polygons and it can only bend to the east wherever there is a little liberty. So it can only bend to that. So the more polygons you got on here, the more displacement you're going to get. But we really don't want a lot on this. Let's put it on that. Let's thank comfortable modifiers units called displacement on. And let's turn down the strength to something like 0.1 or something like that. Now you can see we've got a tiny bit of displacement. Let's put it on no points, a little bit more, and that's all we rarely going to need. Now what else we need to do is we need to put this in place and then bend it around. So I'm gonna pull this into place to where I want it. I'm going to press one just to get the right height. I'm going to drop it in just below the floor, so it's bending out like that. Put it into place. I want it right pretty much in the corner that now this is the moment is a little bit big, so I'm going to make it a little bit smaller. We don't want to pile the same size as the barn or anything like that. So I'm going to drop it down millions place, like so pull it over and there we go. Now let's actually move this out. So again, we can make use of all proportional editing. Let's put it on smooth. And among Wednesdays, I'm just going to drop this part here. I'm just going to press the G bar and pull it out a little bit like so. If you're worried about the bomb, just make it smaller a little bit and then just stopped holding out. Like so. When you press Tab, you'll notice that you've also still got your displacement on it, which is still displacement, which is really cool because it's like an extra kind of manipulation to it makes it look a bit better. Now I'm trying to series. I'm just trying to get them back to the barn walls, for instance. I'm just making sure that I don't want to talk to you. Go through the bombard, do want to make it look like a pile of pay someone to shovel over here. We don't want to round a definitely not too rounded, so we wanted to look a lot more organic. So something like that. Pull it in its place, like this press tab. And there you go. That looks really nice except they didn't bother width for new up against the ball molar. And if a knight can say that looks much, much better, now one thing, just make sure it's not sticking out there. We're all going to have to come in and probably cut away the hay and things like that. I would also just pull these back a bit as well, just to get a tiny bit better in a place. Like soap. Alright, that looks really, really nice. Pop and let's put, let's put it back. Here. We go. Double-tap, and then we go. All right, let's stop. That's done. Now let's make a hole in our actual roof. And for that we really need to first of all create some lattice. So I'm going to bring him down my little ma'am, because I need to say he's width base layer. I need to understand. If he's walking up alotta, he needs to be able to walk up and it doesn't need to be a massive ladder, anything. It doesn't need to be too short where you can actually gaze feet in or something like that. Now, to do this, I'm actually going to use my cursor against my mom. So I'm gonna press Shift S because it's a selected when a friendship day bring in a cube. I want to press S and bring this cube right down. Like so. I'm going to break the size of the lattice. So if we press S, bringing it down to his feet, that's come around now to the other side. There's also a little tree you can do instead of trying to zoom in to your cuboid, but you can just simply place the little dot and the number path, and that will zoom in and it's much easier. Now we're going to do is I can see this is my lab. I can see that I'm going to have to pull it out a little bit. So something like that. You can see I've got proportional to its own. I'm going to pull it out a little bit like that. That might be perfect. Let's try. We want to obviously to be higher than the actual bodies to be a fairly highlighted. So I want to pull it. Remember it's going to be actually rotate a little bit. I think something like that is a really, really good Stop. Now we've got all this in the middle, so we might as well use this to mirror it over the other side. So now if I press Control Alt Trump's foams right-click. So origin to 3D cursor modifier, bringing a mirror. There we go. Now being miserable cursor in the middle, we might as well bring in another piece of words. So let's press Shift day, bring in another cube. Let's press S. Like so, let's press S and X bringing out. And you can see this is way, way too thick. Let's bring in again. So S then S and x. Like so you can see now we're starting to actually get somewhere. This is actually starting to look a little bit like a ladder, albeit this needs a poly bag. Little bit. You can see I need to move my guy forward. So Connection, see wondering, Let's pull it back. Like so. So there we go. That's looking pretty nice. Now the one thing we need to wear realizes, well, you know, how, how I hope a lot of risk because it's not so easy of just putting wooden mean, you need to make sure that his legs, he's going to bend enough to step on this piece of wood here. Because, you know, if you have a knee height, your margin, you have to lift your kneel to basically where your waist days to actually step up each pod these, it's not very realistic. So what I tend to do is I tend to just make this at the bottom of the coffee. You can see here this muscle here, that's where I tend to put it around there, and that is about them, the right height of the actual ladder. You can look up the ladder and you can see how you wanted, but that's what I tend to do. Now we need to obviously this going all the way up to the top. So the way we're gonna do is I'd modify it, bringing in an array, make sure it's on the X. Obviously we want it on the z-axis, not the X. I'm gonna put this on 0. And then when I went to do is I'm gonna pick up the x. Like so again, if this is on the call but they wanted to about the same for me. It's in here. So something let's say from yes, something like that. Let's try now. Let's pull this up. You can see we get more of these like so generally the top one, you get one right on the top is actually going to step off of that onto the actual room. Now let's say just make sure that we're happy with this. There's a few things I'm not happy with. First of all, a ladder to cut down awake. Normally they actually bevel these off of that day on each side of these normally bevel off the actual atom. These parts here as well, the actual where the actual load guys want to step on. So we need to solve that, but we'll still out in the next lesson. I make this little less trunk because at the moment is looking at a little bit too chunky. All right, everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. 17. Creating the Barn House Roof Entrance: Welcome back everyone to blend a three, the ultimate medieval seen costs. And this is where I left off. Now let's do what we said. So let's come in and first of all, in salts out of the other moment, as I've said, these need bevel enough because they, you can see we've got mirror on that, so that's really good. So what I'm gonna do is I'm just going to select each one of these. I've just got these sides selected. I'm going to press Control D, and that then is going to enable me to actually bevel them off. So you can see now already and he's looking now a lot more realistic. And now I want to do is I want to work on these policy because these again are too thick now, while, once theories, I want to grab this, I'm gonna grab each one of these and I'm gonna do the same thing. I'm going to press Control and Bevel them off. And you'll notice there's a pull these in. All the rest of them get beveled off as well. So now you can say probably a little bit too much on these. So let's press Control Z. Unless press control They just a little bit like so. And then we'll grab them all. So l and then S and why and pull them in and then S and Z, like so you will notice because I'm still not that this has been now pulled down and we don't really want that. We need to get back up to where it was. It's all you need. So you just need to call pull it back coal. And there you go. There you go. Now you can say that looks a lot more realistic of a ladder. Now the thing is as well, the tops and the bombs would also be leveled off. They wouldn't be flat like this. So let's come in. Top graph the top there, you need to grab it on my side actually because we've got a mirror up. Then we're going to crop them, press Control big like so. Now you can see that lead is looking much more realistic. Now the thing is all the tops. I'm going to actually properly change this because this actually is an angle. Really don't want anything guns. And in my scene, I want to call it down as much of those as possible. Down on the right-hand side. I'll explain exactly one Anchiornis. But the problem is if you have any guns, it can affect your animations, can affect your lighting and things like that. So realistically lazy and get away from having any incomes in your scene. The bedside, all sorts, good practice in case you want to send it through to Substance Painter. Zbrush. Zbrush is a real pain actually, if you send me through with angles and things like that, the mesh, I'll just come through invisible. Then it's very, very hard to add subdivisions and things on camera during guns is always the best thing. So what I'm gonna do is I'm just going to right-click. And the very easy to get rid of right-click come down triangulate faces and they go and GMS gone. Alright, so that's that. Now this ladder you can say it's looking really nice. So I want to do now is come over to the mirror control Lei, come over to the array control leg and then just join them both together. Control jag, like so. This one, we don't actually need to bring any bevels in now because we've already gotten enough pebbles in here anyway, the one thing we do want to do is right-click, Shade, Smooth. Altos move, right-click and control leg ultrasounds, right-click, salary June to geometry. And the one thing I do want to do is seen as a finish these near enough. I just wanted to rename it to ladder. Like so. Now I'll undo is also right-click and I'm gonna mark it as an asset. And of course, we need to add some materials and things out, but we're gonna do that. So now let's work out where we want this. I think something like that. I'm going to rotate it. In fact, to not gonna do that because we're going to bring this thing into our main scene. So it's probably better off rotates and, and things like that once we've got it into the scene, the reason is of course, if I rotate this, then he's gonna be rotated whenever bringing into our scene. And maybe you don't want this ladder rotates it in your actual scene. So I don't want to do that right now. So what I'm gonna do is I'm going to just bring my mom. I'm going to pull in to the ladder. So let's put them to the ladder so that you can see the latter is looking really, really nice. Let's call him up now. And now what we're gonna do is I'm gonna bring in a cube to make sure the ladder and the man are here. So let's do that. So I'm going to press Shift S because it's selected. Bringing in a cube, make the cubed smaller. How big do you want the whole thing? Actually, that size is kinda because you wouldn't have a whole open the bond. That's absolutely huge because you won't be able to support it. You will not be really tiny, so you can just guys had to read it. So I think this is about the right size. So I'm gonna do now, I'm just going to go in, having a look around. I think I'm happy with the place that it is. I'm hoping that if you saw as you can see it, if I'm taking a view for me, we can actually see that gap and a lot of PO cow, that's the main thing that I'm looking for. So something like that. Let's grab all bomb. And then what we'll do is we'll come over now, modify it. And we're going to bring game a Boolean. And the boolean of course, is gonna be this cube. So I'm gonna come in where the object is. Click on my cube. We can see everything disappears. The reason for that is I think that we've got some load. Well, as the flow goes, Was it during it must be because we haven't reset that Trump zone. So let us press Control light, Ultron, Psalms, plagues, origins, geometry. Then let's come in and add in Boolean again, what we're going to pick for it. Well, it's going to be the cube. It's there now again, both require fast. Hopefully that should do it. I'm hoping we can see we've got a little bit of a gap in minutes, so I'm hoping out there. So let's say now from fast because we don't need to worry about being exact. It's just a hole in the flow. So all it needs theories just come over, press Control or MAC, you hide out of the way. There we go. Hey, presto, you've got hauled in there, so that's really good. That's exactly what I wanted. Now let's press Alt H. Bring back this. I'm just going to hide all the way on the floor, out of the way again. And then I'm going to use this cube. So I'm gonna pull this cube down. Just want the top of this cube, a little technique and you're going to learn here. So grab the top of it, press the Y, move it over, grab the rest of it, press Delete. That says make this a little bit bigger. So click on it, press the, I now, bring it in and you can see what I'm actually trying to do here is for a piece of wood that's gonna actually make it as though like it's the frame Alltop hole that we've actually worked on. So that's exactly warm, tender. Delete the center, delete. This one, this one, y g, split them up, press a, E, extrude. Remember what I said? You want to turn these around just to make sure the rise coming into Luckin links. Thanks, orientation. They're absolutely fine. So that's good. Take that off. Now we're gonna do is just make them a little bit smaller. And the reason for that is because on each split these up to the moment, it just looks like that and that doesn't look realistic. So we want to split these up. So I want to press Alt Shift and click Alt Shift and click on both of these. I'm gonna press Y G, split them off as you can see, to grab everything S make them smaller. And now you'll say that we don't have a problem in, well, these avant-garde fits it 20 things Let's see. Although so delete faces to grab everything. I wanted to fill these holes in. They don't look very realistic. If they've got holes in them, in the piece of wool, going to mesh, cleanup, fill holes, and there you go, they're all filled in. Next thing we want to do, and it's bevel. These also control light transforms, right? Plagues origins geometry at modifying bevel, no plain don't warm that, see if that works. Like so. And now let's press Tab S, bring them out towards each other. And there you go. Now you can actually say as someone's com and actually built a frame, exactly what we're trying to do. Let's come in now, press Control legs, grab them again. Press Control a or transformed takes the origins geometry. And now finally, let's put it in place, making sure that it fits. Now you can see we do have one problem in that I didn't measure on my floor. That's because I need to bring this floral pits way, way too thick because you can say Walmart instead is I'm going to come to the top first. Make sure I'm happy outfile this is Stoke out, which a ham. And then come to the bottom of my grandma flow. What I'm gonna do now is grab the bottom of it and put it into place. Like so. What I'm making sure of as well is that this round here is correct. So you can see that this is the backup this and it's not far out, far enough, so I'm just going to pull it out a little bit further on both sides. So this side I'm just trying to find actually, this is not the right. Yeah. There we go. There we go. Play out a little bit. Finally, let's now just finish these parts so you can see that these stoke allo bit to false. I'm going to just grab this one, this one, this one properly, this one. Bring them back just so they're in its place. Just bit of tidying up. That's what I'm trying to do now. Just tied and it will look like so. I don't want you thinking that would be alive. I think I'm just going to leave it lot of time. It will tell me, no one's gonna see around you my milk to see it through here. That's the problem of goal. All right, so now I'm looking at that and making sure I'm happy with it. We can show my guys in place. Yes, I think I'm actually really happy with this now. All right, so on the next one, what we need to do is then just having a look at this. What we need to do then is obviously bringing in all of our materials. That's really, really fast job with techniques that I've already showed you. So we shouldn't have any problems with this whatsoever. And finally, the last thing is probably to do is we'll just create a, a quick Pitchfork or something like that. Now the ladder at the moment I'm probably just going to bring out here. I'm going to bring my mom down now because we don't actually need him that pull him over. Like so. All right. I hope you enjoyed that. I've gone and I'll see you in the next one. Thanks a lot. 18. Applying Materials to the Barn: Welcome back everyone to blend the three, the ultimate medieval sinkholes. And this is where I left off. Now let's bring in some materials. We've got a few different materials here actually. Let's bring in those first. So welcome to the roof. This part unwrapped certain parts of it and height of the part. So I'm going to think I think let me have a look, see if it's all joined. Yeah, I think I need to join it altogether first, it's gonna make it much easier. So I'm gonna hide this part out. I want to grab these parts, then I'm going to actually come in first control and just join them all up together. Same for these like so. I'm just looking around now making sure to hit Control a, Control eight. That wasn't Gandhi. And now I'm just going to join them all together. So I want to grab all of these making sure that there was no modifiers on when I was doing a press Control J. And let's press Alt H. We're going to hide the floor again. And I'm gonna hide this again. Now I'm going to show you as well, I'm a bit later on how we actually keep those hidden because I don't want to keep bringing them back already easy way just to hide them out of the way. So now we've got this, Let's put it on material first. And then what we'll do now is we'll come in and join them all up together. Let's see. We need to join these links Control J, G, make sure it's all joined up. And then what we'll do is we'll right-click Shade Smooth will make sure ulcers movies on which is a. Now finally we can come in, start actually working on this. Let's do these, these planets would first, will come in. I'm gonna grab this one, this one, this one, and this one. I'm gonna come in and bring in my face material which will be what main? I'm going to press U and smart UV project on wrapped. You can say I gotten the wrong way. Obviously, let's go to UV Editing. Let's spend them around. So a all 90 UV pack islands press adult bond to zoom in. And now they should be absolutely fine really up to with those. Let's hide them out away. Now let's come to the next one. So this really, really big chunky bond, you small UV project 90, UV pack islands. Now one thing I should mention, this material is near enough, seamless. It is a little bit out, but you can, if you want to get away with just making this a little bit bigger. And you will see that you do have some joins here. And this is the thing I'm talking about. You can bring your own and you can see now I've moved the old, I've actually gotten rid of those in the woods. Look in a little bit bad. As long as you're careful, you can actually get away with doing that. Alright, so let's hide. Those aren't the way I'm just going to press H to hide those. Let's now grab these ones. I'm going to grab these. I think I'll also grab these as well. I'm going to press you smart UV project, okay. In 19. And you can see that I'm workout, so let's go back. So controls it all. 90 UV CG-islands. Have a look at those either way. Now let's come to these. So I'm gonna grab this side, this side of thing. I don't want the same time, like search. Make sure you grab those little pieces that you smart UV, UV and CG-islands. And then we want to do is you just want to close down arrow would light like assign. And there we go. You can see, wow, they look really, really cool. Alright, let's say how those other way. This, you can see the way I do is I just UV unwrapped, hide out of the way, and then just check on the actual object mode and then just rinse and repeat. So you smile UV project, okay. 90. Uv islands assign. You go. How cold does download? Rarely, really easily. It looks like he goes together so well. All right, so let's press Stop. Now we can see this flaw. First of all, has some problems in that it is a n gone and we don't want that. First of all, I'm going to do is I'm gonna right-click. I'm going to, you can see at the moment that I don't have triangulate faces. And the reason is I'm actually on edges and each me on faces, right-click triangulate faces. And now you project from view. And there we go. Now we need a new material on this one. So let's bring that in. So we're gonna click plus new planks. Like so. Let's go over now to our shading panel just while we're bringing it in. Make sure this is on an object instead of world. Let's come around, actually zoom in so it connects. You. See what I'm doing. Click on my principled. Make sure you're on planks which I am control shift T with the Node Wrangler, click hold. And if you scroll down, you should have worn that says, where are we? Have a look, Tree bulk wooden wooden planks. There we go. This one here you can see these little like planks. Shift, select the first one, shift, select the last one, click the principal button, and press the tuple one, and then click Assign. And there we go. And you can see they look really, really nice. One problem we do, Abe's way, way too big, so we need him much, much smaller. So let's go back to our UV Editing. And then that's grabbed him and press S and pulled them out. And now you can say that looks really, really nice to look really good in that they actually live is slow pieces of plants and that's exactly what we're looking for. All right, so now what we can do is we can hide those other way. I actually forgot to hide these out of the way, so I'm just going to grab these in Edge Select. You can see also that I'm not actually got rid of my seams because we don't really need to get rid of them actually, because when you smart UV and Rob Fleming doesn't take into account the seams or anything like that anyway, so we might as well just leave them. You don't want to get rid of them if you send it out to another piece of software, for instance, both for this, you should be absolutely fine. So let's come to this top plank now. We're going to press out you smart UV project. Spinning around on 90 G, G. Let's make it big. S kinda get away with making it a little bit bigger tab. Just going to have a look at that on hand. Not really happy with how this looks. I'm just going to move it up a little bit. I'm not happy with I don't think I can get away with this so much. I'm going to press S and bringing in a little bit. I think I'm gonna make it just a little bit small. I'm going to pack it in place against pack islands. Think actually is going to be absolutely fine. I just want to turn these around. Let's have a look at this. You can sell as well. The other thing is, I have not done something which I should've done. So I'm gonna have to go back and actually look at that. I've actually not beveled off these, which is something really important. I'm going to press off 90, spin these round. Then what I'm going to do is I'm gonna press tab. I'll take bring everything back. And what I wanna do now is I just want to go and Bevel off all of these before I actually carry on. You can see that all of these in a beveled, it's just these are the goals. So unfortunately, I have to go back in and grab all of these pieces here. Beveled off, although they're all done. I'm going to also bevel off, not those these ones in here. I wish I had stopped doing that. I don't know why it's doing that. There we go. These ones here. All right. Okay, So let's split though, was this one here as well. Let's split these off just for now. So P selection, grab them, Control a or transforms right plane region to geometry and modify it. Let's just bevel. We'll put them on naught point, naught, one, naught point, naught one. Simple open making sure that bevel or an object. Now that build off control, put it back onto materials. And now let's have a look at that double top. And there we go, the beveled off now and then load much, much better always, rarely, rarely to shop those edges. All right, so now let's come in and hide the ones we've done. So we know we've done all of these. We can also see that the split off still, I'll leave them split off for now, it should be absolutely fine. So now we can come to these which told us this flow. You can say actually it's gonna make it allowed for as should. I. I'm thinking I'm thinking I'll join them backup together because it's gonna make it a little bit hard for asic, we do it that way. So Control J, let us join them all back home. Got to hide them either way anyway, so that's good. So now I'll just hide these the floor because the floor is actually done. Sometimes I'm making a little bit hard for myself and I don't really want that, so let's make it a little bit easier. Like so we'll do I think roof actually next. So let's hide those off away. Yeah, there we go. Let's do this fault that is because this is false. And so you smart UV project 90, I think actually next time I make this word, I'll just put it through the way round we've seen is every piece of wood wants to go that way round. So pack Islands. Let's have a quick look at it. Yeah. And there we go. All right. That's looking good. I'm happy with that. Let's come to our roof. So I'm gonna grab one room fed time. You smart UV project. Let's come to our material. Planks. Can see probably going do you want them my way round? Not sure. Yeah, I'll do this other one as well. So you want UV project? Sign grew up them both and then let's make them like so. I'm thinking probably better off the other way round. Let's try it all. 19. Yeah, I'm thinking that's gonna be much fat as long as you hey, just gonna call it, they sold most of it anyway, we are going to see them on the inside, so just make sure you're happy with it. I think I'm happy with that. Like I was a little much background in that way. For me personally, it's up to you what you'd like. I think they're a little bit too big, so let's make them a little bit smaller. Like so. Yeah, nothing that looks much better. Live up or I'm really happy with that. Now let's hide those out of the way. And then the next one, we should actually get the whole of this sexual bond finish included in the hay and probably the ladder as well. All right, everyone. So I hope you enjoyed that and I'll see you in the next one. Thanks a lot. 19. Creating the Ladder & Fork Models: Welcome back everyone to blend the three, the ultimate medieval seeing costs and this were like Dell. Alright, so now we're really, really motoring along with this. So let's come in and we'll grab a thing. All of these, I want to pressure you smart, you reproject, spin them around as always, UV and Pascal, and you should really be getting into a nice flow now, you click on it, just make sure they're okay, which they should be going to check the next ones. I'm just going to grab them. Grab this one in hand and approach you. A 90. And because I'm grabbing it from onesies, just actually making them actually different on the UV map. So it's really mixing them up a bit. And this one, and this one, I'll let you read them wrapped together so you want you reproject a UV. Cg-islands high the amount of weight. Then we'll do the last 30 on here. Like so Ninety because we would do one of them to be round about the same size. It's always got to take into account. So pack Islands, I'd mouth away. That's why we're not doing too many in one go. So LLL ALL. And then wrap them first. So small UV projects, like 90 UV pick islands would light, click Assign and they go, Don't tell me, I just have a quick look at it. They look really, really different, rarely radical. Now let's come to what we've got left. So I'm going to hide those other way. I'm going to do these now. So LLL ALL, all the way down. I'm the new more UV project. Okay. There wasn't pointing as well where L used to be able to hold it downloaded, actually just go down them. I don't know what's happened is that it doesn't seem to work in Blender three. So if any of you guys have any idea how to get that back, would be great if you'll let me know. So I'm gonna come over here now, I'm actually going to pressure you smart UV chambers making sure 90 UV pack islands. We also would like to assign high them out of the way. And these ones, you smart UV UV pack islands. Assign an old page, double-tap the a and tab and let's have a look. And there we go. Hopefully it should be done. There we go. Doesn't quite look right with other young softball. We can still have a really good idea. Alright, so now let's come in with our hey, so I'm gonna click New. I'm going to call this, hey, hey, what should we call it? Let's call a bomb. We'll just call it that so we know what it is. It just so there's no confusion. Let us now come to shade him. Let's also unwrap this. I'm just gonna go round top. You. Smart UV project. Again, this is going to be COVID in actual age. So just remember that control shift T. Let's see if it'll actually go. I think I don't think the hay Oh, we have there we go. Let's bring in Ohio. We can see that it's way, way too big hay doesn't look like that. So let's go to UV Editing. Got them all s, bring them out. And there you go. You can see it looks much, much bigger. We have got some lines down here. You're not gonna see those A's gonna cover it up anyway. The only thing we want this voyage really just to see like we can see through any bits just to make it look as though it's got a lot of depth to the, hey, that's what we're actually going for. So there we go. Now let's come to in fact, I'm thinking I've got displacement also a mouth swab. Give that so Control a, and then let's join this to the bombs. So Control J, joining us to the bottom, make sure the bond actually moves. Let's quote, and we'll call this bond like so. And then of course we're going to right-click and we're going to mark, as I said. Then I'm going to also control a whole transforms right-click. So origins, geometry, space ball bringing my move up over there and there we go. That's the bottom dome. Now let's come to the ladder. I'm going to top. And mom melts gateway with smart UV projects on all of this. Like so let's call it two materials down arrow, I'm gonna, I'm gonna come in now and spin it round. So a 90 UV. Cg-islands top hilltop. There we go. Okay, really happy with that lattice already been marked as an asset. Let's pull this over here. Now let's make our actual folk, folk song relatively easy. So welcome to modelling. We're gonna put our cursor in the center. So Shift S, because it's center. You can see it's no continents. So Shift S because it's a world origin. There we go. Let's now bring in a cylinder. You can see when I bring in the cylinder at the moment it's on 32. Don't really want that. So I'm thinking instead of bringing the Sunday yeah, I'll bring in a cube. We'll start with a cube and I'll show you a different way of doing this. So bringing a cube, so shift a mesh cube, come over to the right-hand side and you just going to bring into modify it. And you've got to bring in a subdivision surface. You're gonna end up with something like this. Doesn't look like much. Just press the dot on the number pad just to zoom into it. Now let's press top, make it smaller. And then I'm going to show you an easier way of how to create something like this. So what I'm trying to do at the moment, I'm going to bring it to him just to make sure it's the right size as you can see here. Welcome to face. Like grabbed the top face and pull it up. I'm looking to base and make sure that this not that high is about the right size for a folk. At the moment, you can say that the ward where he grew up seeing with these ISAF taking off or no, not quite sure yet. I'm going to press control law, bringing an edge loop, bringing it up to the top of the warm red to do is I can see this is probably way too high, so let's bring it down. So I went to come in, grab the top, we face legs. So grabbing the top phase. And then you can press Control plus on the number pad. Based on what that dose is, it actually increases the selection of the next edge loop over. So Control Plus again, you can see it goes all the way down. I'm going to show minus also a minuses them off. Now I can do is I can pull this down to the height I want it. I can also now check the actual width of this and I can say it is a bit too thick. I'm also going to bring in another edge loop, so control all left-click, bring it down. And now I have a really good idea of the actual thickness of it. And you can see way, way too thick. Let's grab it all. Let's make it Senate. Let's press bring it up. Now you can see that dot is round about the right thickness, albeit it's too hard. So I said let's shrink it down a little bit. All right, Something like that might be absolutely fine. Now let's come in and make the bottom bit. So what I'm gonna do, I'm gonna come in, grab the ball. And you'll notice when I press a, it will get rid of this indentation there. So if I press Enter, you'll see plants it all out. That's exactly what I want to make base actually into my actual falx. If I grab this side and this side and press Enter, and then I press S and X and pull them out. They won't pull out the moment. And the reason is we've now got this on medium point. Now you can press S and X. You can see we can pull them out. Now, is looking good? Yes, it is. Let's press Control Law, left-click, right-click, control law, left-click, right-click. And I can see just how easy it was to make this actual fork. I'm gonna do now is I really want to keep this kind of edge here. So I'm gonna do is I'm gonna press Control Alt, left-click, right-click, control, left-click, right-click. And then I went to pull these out a little bit. So I'm gonna grab all of these. So Alt Shift and click on all the way around Alt Shift click and then we're just going to pull them out just a little bit like so because I do want this little bit of water on here. Alright, so now let's create the fault-based. So what I'm gonna do is I'm gonna come in, grab this one. And this one. I'm going to press the eyeball and just to insert them like so. Then we press pull them out like so. And I'm going to press E to pull them out again. And now let's move them across because of close to folk actually has actually been a little bit like. So you can say, wow, that was really easy to do, right? Yep. Alright, so now I'm really, really happy with that. I'm going to smooth it off. So Shade Smooth, bringing my auto smooth like so. There you go. One folk exactly the right height and size. Now let's bring in some materials. While do is I'll actually come in and apply my subdivision, so Control. And then I'm going to grab it now, a new smart UV project. Now let us come in and give it a material. Wood main lopes going the wrong way again, as we can say. So let's come into UV Editing. 90. Uv, CG-islands. Don't zoom in top. All we need to do now is replace. I think this one needs to go the other way round. So I'm going to, I'm going to Alt Shift, click OK shift click Control plus Alt Shift click just to minus that off. The thing. While I'm going to do in studies, I'm going to press all 90, spin it around. Now it looks a lot bags set this bell peers you can see and I think these are these parts. I'm just going to press B. Grew up them all, all 90. And there you go. Now you can see that looks at tone back. And now we've just got the last best to do. So I want to commend out Shift-click, Shift-click, hold, Shift click Control plus all the way up. And then what we're gonna do is bring in a new material. So plus nu, going to call this iron, will have two types of iron, but just for this one, for now, come over to shading panel. Click on your friend's full control shift C, Go back and you're looking for I am. So this one here. The first one, shift, select the last one. Click frames fold. We go zoom in. And let's have a look what they looked like top assignment. Let's, Here we go. Well, they look really, really nice. Now let's come back to modeling. Then we go, all right, And folk. Now I'm just wondering if this workshop with a liar, what's I'm just going to change that to light. Yeah, I'm not looks actually bad. I'm happy with that. So Patrol or transforms. If we click on it, on Charlie, all transforms, right-click, sorry Jen, to geometry. And let's call this folk. Unless right-click and markers. I said, There we go. Alright, let's pull this in some place. I'm going to put it in my ladder. We've got a lambda, we've got our folk, and we've got our bond on now we've got Hayden record this on the next lesson. Then I think what we're going to work on, aids will work on the actual poem, the voltage. All right everyone, So hope you enjoyed that and I'll see you on the next one. Thanks a lot, and I hope you enjoy it and don't forget to evaluate. I forgot about that. All right. See you. 20. Building the Water Pump Greybox: Welcome back everyone to blend the three the ultimate medieval scene calls and this where we left off. Now let's create something a little bit different. We made a lot of wooden things so false. So let's create something a little bit different on a very simple animation. So what we're gonna do is gonna create the actual pump. Again, I'm going to press one. I think I'm seeing as I'm pressing one, I'm going to move everything over justice way little bit. So I'm bringing my reference it or not these things interfering with it as well. There is actually unhide this reference and show you. If you click on this, you can actually come down to this point here. We can actually go and change those. So if I come over this little file here, we'll change it to home. There we go. That's how easy it is to change out. I have a pressing need him to be the size of this. I'm going to bring you OK. All right. Look. Yeah, that's about the right size. So we can see now beg our actual contents of a bringing this over here. Like so then I'm just going to bring my mom, I'm upon poll, just to the top of my actual ground plane. All right, so let's start work on the actual pump. So I'm going to actually also, I think bring these over it just so when a bring in new object is gonna come near enough in the sensory and just make it a little bit easier for me. Okay, Let's bring in, first of all, we're bringing cylinder. What we'll do is we'll turn the number of inches down because we really don't want so many votes as I mean, it's going to born Pope or polygon count a fair day if we're using 32 vertices, I'm going up here. So we'll keep those down a little bit more upper and something like 18. And the reason why I'm printing on 18, I still want to keep them fairly low on the polygon count, but I still wanted to look rounded. So in other words, if I right-click now and Shade Smooth, come over to alter smoothened prey on. You can see I've still got a rounded, if I have thought on something like ten, for instance, on the venosus, you'll end up with a very blocky of parents. And being as this actual particular build is focusing not on stylization but on realism. We actually written while not to have that rounded look of the piece, I'll actually creates him. Alright, so let's press one and let's make it a little bit smaller. And I think what we'll do is we'll bring it down to something like this so we can say it goes up in our And then like that S and Z, bring it down, bring it out. And there we go. Something like it doesn't need to be exact as long as you're relatively close to what we're actually building. So I'm gonna pull it up just a tiny bit and then press the tuple and come in, grab the top of it, press one moment, do now he's gonna press eight to extrude it. So E, pull it, pull it in. So we're only way it came with extrusions, inserts, and scale basically. So now I'm gonna press eight polytope, like so. Then my Wednesdays, I'm going to actually use an insert. Want to press Alt to zoom in and press I to insert, like so, I'm going to press one again. And then a monument to do is I'm going to extrude. So you can see it's a little bit out. So the way to deal with that is if you grabbed all of the sides, if you press S, you'll have a problem where you'll start scaling in there, as you can see, it's going in there. So don't actually just press S, press Alt and S and pull it out. And you'll notice, now, if I press alternate, we haven't got that problem. That's a really great or good. Now press one. Let's bring you up to here. And then I'm going to press bring you out like sewing. You'll notice we went to first bring it out. We haven't got that problem anyway, so we can just use S. Then let's press bringing it up. Then let's press I, bring it in. Like so. Let's press one analysis scaleable. See where it probably a tiny, tiny bit out. So I'm gonna do is I'm gonna grab all of these. I'm going to press Alt and S, scale it out just a little bit. Grab the top now, one, bring it up again. There's another way that we could actually do this as well. So what I'm gonna do is I'm gonna bring straight up to the top. Like so I went to then press Control. Left-click, put it right in the center where he wants it. Then you're going to press Control D is o, you're going to bevel it and you're going to bevel it off to run about the right size. Then you're going to press T and then alternate and bring it out. And that's another way of actually doing that same procedure. So many ways, some ways you're gonna find a quicker than ways that under him. So now let's press top, grab the top of this again in face-like. Let's press one again. Let's press P to bring it out. And now let's bring you off. So I'm going to press E and I'm going all the way up to here now. So then S, like so. And then finally E again, then S because we don't actually want this to be flat on the value. You can see how build this. Again, bringing it in and down, like so. All right, so there you go. That's the star of our actual pump. Really, really easy, right? So now let's come in and pull this side shoulder, tap on that. And before we continue, I'm actually going to save this other way. So File Save. Okay, so let's now put the actual handle on here. So we'll, we'll do actually the gripper here as you can see. So let's come to the backend VFS. So if I press a time coping with Face, Select, Grab this back is 75, press let's say control three. We can see that's perfectly in land, so I can press Shift S because the selected tab shift a and let's bring in another cube. And then what we want to do is I'm just going to make base a little bit smaller, Something like that. I'm going to fit it into place and then maybe a little bit wider. Because what I wanted to do is I want this to actually hold on to my handle. I don't want it to make it look basically thinking of that it looks like it's actually going to hold something. I've just opened it a bit further on the y-axis. Now let's put all handling place undue the top of here, we have an idea of how actually long we need to have a handle, and I think we need to have it. That's the most important thing because you don't want something that's so flimsy that it looks like it's just going to snap off. I see this in a lot of renders and things like that. Now things are just like little dinky salts that are really, really long and they just would snap quite easily. So let's solve that out. I'll come back to my opponent. I'm going to press Tab. I'm going to come in, grab the top face on here. I'm going to press the I button. Insert bringing it in and then I'm going to press E, extrude, bringing it down, press the S put on them just to make it a little bit thinner. And there we go, that should be absolutely fine. All right, so now let's put the underline. So what I'm going to do while I've got this in the center of that, I'm going to press Shift S, cursor selected, and then again bringing a cube, some shift a cube. And the reason I keep pressing tab and do this in object mode, just I find it a lot easier to work in object mode for New Paltz. And then I've joined them all up and that's the easiest way that I found to do that. Let's first of all, get the right width of this. So I'm going to press S and Y. Then I'm gonna press one. I'm going to bring you up. I'm going to basically shrink it on the z. I said like so bringing it down. And let's have a look at that. I'm basically located that looks round about the right thickness for me. So I'm quite happy with the thickness. So if I press one now, I can actually call them, bring out to where it needs to go. So if I grab this face like so press one again. I'm not happy with the thickness on the end. Nothing camps, so I'm going to press E, pull it out on this one, D again, pull it out and then S, shrink it in, like so. Now let's come around to the back of it. So I'm going to press one. I'm going to pull it out to here. I'm going to press E and then E, then E. Holy life. So I'm going to shrink this just a little bit, so S, shrink it down, like so. And now I just basically one of my handle on here, so I'm just going to press E. Then I'm just going to pull it down like so. And I'm going to use this, of course from a humble. But before I do that, I need to round these edges off a little bit. And they also need to make a little insert in there. It's just to make it look a little bit different as you can see, we've got it there. So it's kinda comes from here to somewhere around here. So let's do that now. So I'm just going to press Control Law, left leg. Let's put a roundabout here. So we've still got that little handle on here. So you can say it's going to probably start from the center of it. So I need to pull this bar somewhere around here is gonna be the actual arm that goes down. Basically what it does is it causes a kind of suction as a metal plate on the end and when it goes down, it falses pressure and then when it comes back hold, it basically pulls the water along with it a bit like what you would use to unblock a toilet base of the dots exactly where it goes. Alright, so let's come in and grab both of these, both of the sides. And then what I'll do is I'll press I bring it in and then I'm just going to use extruders. I'm gonna press E followed by NSF, not move the mouse or anything like that. And then I'm going to press and pull it in. And if it's not going in, of course, just make sure you are on medium point. Alright, so let's press top and number. Look it up. Okay, I think I'm happy with that. The one thing that I need to do now is I need to round off these edges a bit. So I'm going to do that before I make an actual handle. So I'm gonna press Alt, Shift and click. And you can see that we only go up to this. Now if you press Control click near the end the way you wanted to do it. So let's say over here, you'll see that grubs or in all the way along. So that's another easy way of grabbing something. If you shift click, move up to the end, control-click, Shift-click. Control-click. You can see how quickly and easily than we can grab these points. So Shift-click and control plane. All right, now we've got those points, Let's bevel them off. So we're going to press Control Bay and just pull them out very slowly holding the Shift bond. Now I want to be really carefully because I definitely don't want to go over these points as you can see. So I want it to still be a decent match, an IPO price tags, you can say that's what we've ended up with. A nice piece of rounded male that is usable as you can see. All right, so let's come now to descend among going to do is I'm going to bevel they send off so we can make our handle. I'm thinking Yeah, Shut up, Babel it off on yeah, probably. So I'm going to press Control and bevel this off. Like so. I'm probably as well just going to turn this off one mole. So have a look what that looks like. Yeah, nothing That's looking much better. Alright, so now let's make them the law of the arm. We're gonna do that. Well, I'm going to grab these two that are already grabbed. I want to press Alt Shift and click. And then what I'm going to do is I'm going to press Enter and then Alt and S and just pull that out slowly. Like so. Have a look at that. I don't think I actually pressed then sublevel. Is that coming out of the way I want? I'm just going to press S and just pull it out little bit more. I think I'm just going to pull it by myself actually because I want it rounded slightly on this end. So I'm just going to pull it down and just do it by eye. Actually. Nothing That's looking much better. Now you can see that I've really got to pull this big bag because if we press one, you can say it shoots way over that. So let's do that now. So what we'll do is we'll grab the inside of here. So Alt, Shift and click. In fact, congruent on the inside of here because I need to bring this back to this point as you can see. So let's say I'm going to grab all of this. So Control Plus delete faces, and let's fill this back in now. So hold shift and click. I'm going to fill this in with F. So just an F Control plus Control plus, and now I should be able to pull that back. Let's see if operate on normal kind of actually pull it back on that. It's a better angle as you can see. So probably going to do that. Then I'm just going to pull it back and then pull it all just a slightly just to get more of that shape. And now let's put it back on Global, Press the top on, and let's have a look at what that looks like. Alright, yeah, I think that looks pretty nice because he has to get his hand around this to actually pump it. But it's not so big way he's gonna need two hands around it. So if you grab your mind, you can always check up and press seven. Just bringing my and just imagine his hands on the end of this first dot zoom in. And you can see now it can basically do this with one hand. And that's based on what we want because we don't want this point to be Newt or anything like that. Alright, so I'm happy with that. So what we'll do them on the next lesson, we'll get this actual top-down, will actually get this handle held onto something and this actual ongoing in that. And then finally, we'll actually look at actually creating the rake to actually animate it. All right everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. 21. Preparing the Water Pump for Rigging: Welcome back, everyone was a blended three, the ultimate medieval sinkholes. And this is where we left off. Now let's come in and actually create models. Won't do the pomp and authors. So what I'll do is, I've got my cursor there. If you've not got yours, I just grabbed out, put it in the center pressure today and let's bring in a queue. Let's bring in a cube. Let's bring it down to something like here. And then I'm going to do is I'm just going to bring you up. I'm going to just create this pump. All know, it's going to go down here. So you can see that it needs to obviously be attached to something on each of these signs. So while I've got this air might as well bring in the side points as well. So I'm going to actually grab the handle again, grab this sexual facing. Press Shift S, cursor selected tab again, shift egg, unless bringing in now another cube. And we'll make this smaller Nick Short, come back to nearly that point when I pull it out. So I'm just going to pull it that way. I'm just going to pull it out to here. Wants a little bit of leeway on that price top. Grab this face, and then just pull that in. So, alright, I'm gonna press, so now I'm just going to put this into place. You can see at the moment it's a little bit out of, is that really in the center? I know that this is in the center, so I really need to move this actually, I'm going to grab it all without pull it over. Like so now I'm just gonna work on how actual thick I wanted to. I think the actual thickness of this is looking about right? So I'm going to grab the bottom. I'm going to pull that down. There it is. That's where it should be swinging from. Actual long because I want this to actually come back, lift up. But this still to actually swing and let that do its work. Alright, so now let's round off the edges of this. In Festival, I'm going to press Control Alt, left-click, right-click just to put that right in the center. And then I'm going to do is I'm gonna grab each one of these ends. I'm going to press Control B and Bevel the moment we've actually got on two segments, and I think two segments works a lot actual bad. Now what I'm looking for is to make sure that I'm happy with the thickness again of this. And I think I just want to follow it out a little bit more. Thank you. It's looking a little bit flimsy. Always be aware of that never makes something too flimsy. Now I want to do is I want to bring this point home. So I went to press Control R again, left-click, bring it up. And then what we're gonna do is I'm gonna come in and grab each of these. And I'm going to press S and X and bring them in like so. And among went to do, I think actually I'll leave it like that. I think actually that's looking absolutely fine now. Now I want to do is you want to put it on the other side. So to do that, I need space to put this in the sense now we do know all cubes in that sense. So if I grab my queue, press Shift S because the selected come back to my handle, then control lay all transforms and then right-click and set origin to 3D cursor. Now you can do is you can come over at modifier, come down and then what we can do is add in the mirror, put it on the y, take off the eggs, and there we go. Now listen empathically place another and actually apply that. Yeah, I'm just gonna wait. Do this bit first and then I should be able to apply that in a minute. All right, so now, all we happy with this at the moment, I think I am. I think this is just a little bit too big at the moment. So I'm going to do is I want to make it a little bit smaller. So something like now. And then I'm going to press S and wide. Just pull this out a little bit. Now once there is, I want to make this a little bit rounded, so I'm going to do that now. So I'm going to do is I'm going to grab each one of these sides like so I'm going to press Control. They beveled them off like so. Now you can see it's nice and rounded. Now let's press control law to left-click, right-click. And now we just want the handle that's going to go down there. The first thing I'm going do is press Alt Shift and click. I'm going to press Enter and then Alt and S and bring this out. Then I'm just going to grab the bottom of here. So I'm gonna come in from a palm, hide it with age, come to the bottom. Now, press the top button and then I'm just going to grab all of these like so. And I'm going to pull them down. So I'm going to look actually are longer wanted. So probably, as you can see, probably down to something like here. So I'm going to press E, pull them down like that where no one's actually going to see them and that should be absolutely fine. All right, so I think I'm happy with how that looks. The one thing I'm not happy with is just the amount won't this rounded off a little bit, it might be a little bit to square. So if you do want that, quite easy to do that as we've done, just don't use two segments. It's so small, I would just use warm, so I'm just going to press Control P that will vary slightly like so. And then just turn this down to one, like so. All right. There we go. Yeah, really happy with that. Now we want the actual desk to come to the sides here, so we're just gonna take that into account. So let's bring it out now. I'm going to bring these out. So one Wednesdays I'm just gonna see if I can actually get away with pressing S and Y. Let's see. So you can see they're a little bit and bake and that's probably not ideal. So yeah, do I want it like that? I'll do I want it to keep to the inside of movement on the inside. I want it to have the illusion that something is on the outside actually moving this. So I think what I'll do is instead of doing them, I just put these back. So SY, then what we'll do is I'll press the I button to insert. And then we'll press E and S and Y and pull them out like so. Then what we'll do is I'll actually bevel off the end of it. So if I press Control V now bevel of those items, like so. Now we can see we're a little bit out for some reason. I'm not sure why. I think it's in the center of hey, I just think it's these parts that are a little bit out. So let's say let's fix these as well. Yeah, I will move these slightly over so I'm gonna apply my Amharic, so Control a. And now I'm going to do is I'm going to press Control Alt transforms. Now I'll grab the center of this. So if I grabbed, let's say these ones here. So if I press Alt Shift and click, hold shift and click Shift S, cursor, selected, tap. Grab these, and then let's right-click origins of geometry. Now let's press Shift S and now we'll move them over. So I've got a shut-off dot right in the center. And now we're gonna move out of there and I'll have to lift them up. So selections because to keep offset. And now you can say that buying in the center. So now we can actually come in, lift them up, Live. So where do we want them? Probably want them actually. Don't want them around here. Yeah. Probably somewhere right around here. Yeah, I think that actually looks looks good. So they're actually going to swing from man. Yeah, that looks good. All right, one thing I want to do then finally for this part is just babbled ease off. Dns. You're gonna be using this. Probably a lot of times you haven't needed and I've seen or anything, you do actually want it to look good and realistic females will put the wicking. Alright, so let's grab these legs, press Control D and just bevel those off very slightly like so. And now that's located. Absolutely fine. Okay, So I'm really happy with that. Now we just need the point now to actually hold all these handles. So if I press hold, teach, bring back everything, and now grab my black handle. And I think I could probably get away with pressing control law to left-click, right-click. And now let's drag these ohms. I will do it in the eye. You can say I want it clean back here though first. So I'm going to press Control Law. Left-click, put it to there. Grab each one of these phases and then we can actually work and everyone's who brought these up. So if I press E Now, we can see that we are caught in through there and things like not, that's not something we were in. The one. We want this basically to come on there. So the handle actually moves from these. So let's pull them up a little bit further. Let's bevel off them as well. So bevel off the tops of these just to make them a little bit more rounded, a bit more realistic. Let's then press Control. They beveled them off. Like so unless round them off a little bit more than just one like that. And now let's bring them out of it because you can see that they're located probably too thick on each side actually. So let's do the inside first. So I'm going to press S and Y, pull them out, like so. And now let's also bring the main, Probably, probably on here. So let's bring them in like now, both of those. So SMI bring them in. And then what I'll do is I'll bring the bottom in a little bit more. So S and Y, let us see. Let's have a look at that. All right. I think I'm happy with how that looks. That's looking fairly, fairly realistic. There's enough room as well to actually have this. If we grab this, for instance, you can see it can calm down so it rotates around and comes down to actually hear. What I mean by that is if you grab the grease pencil over here, you can see that this is gonna rotate round to here and they are calm and lean against this all nearly to this. So you can just click on your grease pencil and then you can left click. And if you wanted to delete it, just press Control and you'll actually delete off as well. So really easy to actually show people exactly what you mean. Alright, so I'm happy with that. Now what we want is just a bolt in here or something like that. So what I'll do is I'll actually, I think I'm gonna move this by thinking the bolt will just be inlet. I'll just make a very easy bulb. So let's put it back on move. Let's come to this one. Let's probably grab, need basically the center of the. So if I grab this one and this one is gonna be near enough close, so shift as case it's a selected and then Walters, I'll press Tab again, shift a and let's bring in a UV sphere. Now, the UV spam bringing in for this, I want it really, really low. I'm gonna put this on object mode is awesome and see what I'm doing. And because it's got 32 segments, 16 rings, these are the segments. These are the rings going down, and I really don't want that many. So I'm gonna put this on something like 12. I want to put this on eight. And I recommend every time you make bolts and things like that, you always turn them down really low because the continental crust near lot of polygons. Now I'm going to do is I'm gonna press tab. I'm going to grab this and here press Delete. Remember we did last time. Faces press L, delete vertices just like that. Then what you can do is now you can actually grab the whole thing. So L, z, squeeze it in, and now let's spin it around. So let's spin it around. Let's try and get this in place. I'm going to press one. I'm going to bring it down. I'm going to press estimate this smaller. I'm going to put it where I'd lecture like it. So somewhere, somewhere around here, I think it's absolutely fine. Wherever I put this, remember, that's where I'm going to have my actual bone that's gonna go in there. I'm happy with how that looks. I just need now a bowl that is going to go through here. I'm just going to pull this out a little bit. First of all, I'm going to do is I'm gonna grab this edge like so. And to pull it and then the y here on the Y. So EY pulled over. And now finally I can pull this over into place. Like so. All right, so I'm happy with that. Now, obviously, I once put it on the actual other side. So I went to do to do that. I'm just going to grab this grab each one of these shift S because it's a selected grab this control leg, ultrasounds, foams, right-click set origin to 3D cursor, add, modify it, bringing in a mirror, put it on the y, turn off the X, and presto, There we go. Alright, so we nearly finished with this on the next one. What we're gonna do is we just want to finish this up and then we're going to start bringing the rigs and things like that. Obviously, I didn't the textures and things. If you don't want to animate it. And then you can just skip that call out. You don't really need to animate it, but I highly recommend it's only three bones. It's a very small animation. I highly recommend that you actually take the time to learn it or be probably ten minutes at the most, just so you understand that. And we're also going to animate the actual windmill and things. I was really, really handy if you know how to do. All right, everyone. So I hope you enjoyed that and I'll see you on the next one. Thanks a lot about it. 22. Blender Extras Pipes: Welcome back, everyone has a blend of three, the ultimate medieval sinkholes and this where it left off. Now, let's think now we've got this, we've got the handle in, we've got hold on something. What we need to do now is actually bringing in all top. Let's bring it on top. So what we'll do, first of all, I'm going to bring in a cylinder in the center, of course. So let's make sure first of all, we can say this is in the sense that if I press Shift S, customer selected shift a and let's bring gain, that's not shift a. Shift, Hey, let's bring in a cylinder. There we go. It comes in at state two and that's because I reload of my blender in, extend this down a bit. So I want to put it on something. I think 14 should be enough. It's going to again, again, always check it. So Shade Smooth, also smooth. And you can say that is kept its actual smoothness. Now I'm going to actually show you what I mean by that. So shift a mash cylinder, put it on. Let's bring in all sorts of shapes, move, move, and there you go. You can see that I have to turn itself really, really high to actually get that roundness now. And because of that, if I joined this to this, it will be set on 53 or something around that to get the roundness of this. And that will basically round off everything on here. It could even round off. You won't actually called edges like these hard edges. You might actually want those hard edges and you know, Gmail to do that because this is set too high. Now of course you can use shops and things like that, which we actually showed you. Well better I find just to delete it, bringing a cylinder, cylinder, then just set it to something full team, I would say 12 is the minimum our go-to normally, right-click shapes, move auto smooth on. And now let's spin this around. So all 90 S test1, and let's bring it to where it needs to go. So it's going to top out around the body. Like so, something like that. Now you can see I've got my pipetter now rather than actually creating the pipe from this, there's actually an easier way you can do that. What I tend to do is I'll come up to Edit Preferences. We're going to go to Add-ons and what we're going to bring it into some extra, just bring these are actually built-in within blender. So just make sure that you've got them ticked on the very, very handy. There's a lot of extras to do with curves, a lot of extras to do with objects and things like that. And I find that a lot of the time I don't use them for ages and then also now need to use them, but allowed the tree sampling and things like that. So they already built, so just make use of them. So take them both on, close that down. And then what should happen is if I press Shift S now, because the Selected Shift a, and then what you'll do is if you come down to where it says mesh, you will say that you've got Walmart says pipe joints and I'm going to bring in a pipe elbow and this is how it comes in. Now, the thing is, if I spend this round, so if I press all zed 180, it will disappear that menu, and I don't really want that one wins there is, I'm actually going to delete it, shift a, bring in my pipe again. So I'm gonna come down to where it says pipe elbow. And the first thing we're gonna do is turn down the number of this is on here. This is the divisions. Clearly, we don't really want not many. It's way, way too high. So let's put it on again, 14, something like that. And then what we can do now we can bring down the radius of where we want our actual top. We can also bring down to where the lens starts and where the lens finishes. And you can see now that you can get a really, really nice angle of how your tongue is going to look. You could bring this the other way round if you want. So five prices, so warm for instance, I can change the angle of this. I can put this on 90 degrees instead. If I put this on 90, you'll see that it's perfectly bed now in the right place. Sometimes I actually do it that way. And then what I'll do now is it makes it so easy. So if I press S Now, I'm bringing it down and then put this into the place where I want it. So I'm going to press S. And now because I've brought in and start from there, it just makes it a lot easier to work with. So now I can actually come in, grab the bottom of here. So I select o shift and click one. Hold it out. Like so. Let's pull it. They're going to into some place and then I'm going to rotate it. So why rotates it like so. All right. Then what I would do is I normally bevel this part off. So I'm Alt Shift and click press Control Bay, bevel it off. Now you can say that you've got a nice round top and that's really actually easy to do it that way rather than trying to do it yourself and make this bend and things like that. All right, so now we just need an end on this. So press one again. I want to actually extrude this out. So I'm going to grab this end Alt Shift and click and press eight. Pull it out. You can see it pulls out on here. Do I really won't? Probably not like that. So I'm gonna do this a little bit different. I went to press Control Z because it did press eight and they don't actually warming some edges there and I can't actually see them. Now on Wednesdays, I'm going to stick with normal. And you can say it's a little bit out, but I'm gonna pull it back into place to where I wanted something like that. And then instead of doing it that way, it's going to pull this buckling global. I want to press control law. Left-click. Bring it down. Something like that. Then what I'm going to do is I'm going to grab this edge Alt Shift and click. I'm going to press Enter and then Alt and bring it out. How I want it. Yeah, something like that thickness, you can say as well that we need to fix the inside of it because of the moment, it looks as though we don't want to stay up this top, but again, it's one of those things you might as well fix it while you hit actually here. So what I'm going to do is I'm going to, instead of trying to extrude in and things that I'm just going to add some thickness to it. It's just going to make it easier if I press shapes, move at the moment. Let's come in and put in the auto smooth. And you can see already looks really, really nice. We just wanted to fix the inside of here. So all I'm gonna do to do that is just grabbed this edge. I'm going to press S, bringing it in. And then I'm just going to press eight, pull it up to where I wanted to. So if I press, you can see that when I pressed, it went to the side. I don't really want that. Now if you press a one, you can press the email and you can drag it straight up like that, press it on the Z and that then we'll keep it there and then we can move it across and that's just a much easier way. And then of course I can fill it with the F button. And now you can see that top looks really, really nice. Alright, so now let's join all of this up together and making sure that we've gotten no modifiers on. Let's have a look. And it looks absolutely fine. So let's join it all up. All these little parts. Let's press G. Once we've dropped them all, you can say I've got polymers in that. Let's see. There we go. One merit, we've got one mirror on there, so let's just press Control Z, join the rest of them, will shift select this one, Control J, and then we'll grab this one, apply the mirror. So control joining up to here, Control J and then G, move it over and there we go. Yeah, it works now. Now let's press Control a or transforms. And I don't think that all transforms right-click origins geometry. And now let's move it off. So shapes move. And then let's just make sure alternate moves on 30, which is okay, so now let's bring in some actual textures and materials. What we'll do is we'll come over to the right-hand side, will come to our materials in. The first material bringing in is our ion. So bringing your eye and let's pull this all materials so it can actually see what we're doing. And of course it's all messed up. So let's press Tab to grab everything. You, Let's go into smart UV project click Okay, and there you go. You can see it looks fantastic already. Now what I wanted to do is I want to actually create a note that ion, because I want to have some variations in my hand. So I wanted to make this a little bit of a different color. Let's come in and click the plus new. And we're going to call this iron in dogs. The one Wednesday is we're going to click the top one. Click the down arrow copy of material. Click the second one down arrow and paste material. Now let's go to our shading panel. Make sure you're on the iron dog. Let's just pull these over. Just a simple technique of using a gamma. So shift a, Let's do a search, bringing in a Gamma, drop that in here. And let's set the gamma 2.31, like so. Now let me zoom press adult bond to zoom into my pump. Let's put it on material and I'll just show you what that looks like. Now. Let's grab, let's say, Well, grab the bottom. We'll make that a different color. So I'm going to do is I'm going to press, it'll shift and click Control plus Control Plus come up with tomorrow. I ended up click Assign, and there you go. Now you can see how easy it is to actually change that. Now bearing in mind, if you do have some lines up there, they're going to be very odd to see where the metal to start with, but you can move them around on your UV map just to get into that place. You could also actually UV unwrap this properly if you wanted to actually do that. Ok chip click Alt Shift, click Control plus, and then I ended up click Assign. And now let's work our way of thinking, right? We don't want my other class. I think I wanted to in the top, so I'm gonna grab the whole of the top. I end up click Assign. I think I also want it at the top of it. So I'm going to grab the top Alt Shift click Control PostController plus I ended up click Assign. I'm also going to grab the handle. So the all of the unknown, I'm going to click, Assign, I think several. Nothing that's actually going to look really, really nice. Alright? You code out the handle to be something completely up to you. I'm just thinking what I will not would it fit? Let's have a look. We'll grab Alt Shift click, trying to go around here, look so Alt Shift, Control plus Control plus and a moment to plus and click the down arrow. And let's go to my word main and then click the Sign. Does not fit there. Does it look right? Actually it doesn't doesn't look right. I'm going to minus that off. And we'll just keep the iron doctor thing. Alright, so where else DO woman? I wanted to hit on these bolts, go all the way through and we go like so I wanted to on this part here as well, I want this to be dark metal. So let's come down IN dog, click Assign, like so. All right, Finally the last thing I want to do now is actually grabbed everything. Make sure I'm in place. Let's right-click and we're going to triangulate faces. The reason we're gonna do that is because we had a lot of actual ankle bones with the cylinders reuse. And then what you do is you right-click tries to quads and basics only then going to triangulate these actual phases that we're guns and things like that, then makes it easier than I am. Because we're actually going to animate this just in case so we don't have any problems. Alright, you can see the bottom now, probably don't need the bottom on here. You might do so I'm gonna leave it. But normally I would say get rid of the bomb is not a lot of polygons. So, alright, now let's say I press tab come up with, and let's name it. So we'll name it Walter poem. Like so. You can see. Then what we're going to do is I'm gonna come down with multiple and there is a right-click. We're going to mark as asset. And there we go. All right, so on the next lesson, what we'll do is we'll actually animate it and I'll make that lesson just about the animation. It could be a couple of lessons actually, not sure yet. We'll make it though just about the animation. And then if you want to skip the next lesson that you can do, just go to the lesson after it. All right everyone, I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 23. Weighting & Animating the Water Pump: Welcome back everyone to blend the three, the ultimate medieval sin cos, and this is where I left out. Now let's do our animation. So we've got all of our materials on everything like that. Let's come to modelling. And then one Wednesdays I'm actually going to, I think I'll hide this out of the way. I don't really need this at the moment. I'm going to hide this out the way. And I'll also had this other way just to give me a really, really nice view. Now this pump is bang in the centre. If yours isn't, just press Shift S, cursor to weld, grab your punk press Control H all transforms and then it should put it right at the bottom and Nika press Shift S and selections Kursk kickoff set, and that will then part of that. Now you can put the orientation wherever you want to, of course, but I prefer mine. I think down near the bottom, where it's important that you do actually reset all of your transforms before you actually start animating anything. Don't ever forget that. Also well-endowed, a little bit of a mess. All right, so the first thing that we want to do is bring in a bone because we need a rig before we can actually animate something. If we press Shift a and come down, you'll see that we've got something that says armature. We've got a single bone. Now the first bone you bring in should always be near the bottom. This is the root bone all the way down bone, if you want to call it that is the most important bone. It basically what attaches this actual objects or any other object to the actual flow. So we really actually need that end. If you don't have that in, you can't get away without it. But most of the time when you send it through to somewhere else, it normally ends up messing up our rotates in over here or something like that and it just doesn't work. So always make sure you've got your roof bone, it won't now Wednesdays, I'm just going to rotate this repo down round, so I'm going to press all y, rotates it around this way. And I'm gonna make it just a tiny bit smaller, like so. Now, it's important that when you bring in the next bone, you need to be in edit mode so that we bring the bones together rather than joining them all. So I'm going to press top, I'm going to press a to grab this bone. And then you can either press Shift D to duplicate or you can press Shift a and it'll automatically then bring in another bone. So here's our next bone. I'm going to press Shift Spacebar then to bring in my move tool. And basically I want one bone to actually move this one bone from here and one bone in here to make this kind of moved left and right, bringing the actual pump all the illusion that the palm is actually being moved. So let's do that now. So I'm going to bring this up. I'm going to rotate it around. So all x 19, So rotates it around this way and then you can actually make it smaller and put it into place. I want to make it smaller. You can also pull it away this bit if you want to. It doesn't need to be buying in the center or anything like that. I want this bone to be basically here while I went to do is I'm gonna come in. I'm going to grab this bulb, the bulb the other side. So I'm going to press Shift S, then cursor to selected, and then going to press top, come back to my bones, grab this phone, just make sure you've got this bone only Shift S and then selection to cursor, keep offset. Now you can see that's buying in the center. The point that we want in the center is this bit realistically, so you can move it to the sides if you want a better view of it, it will still them rotate from this point here, and that's exactly what we want. We can also make it smaller as well if you want to. Just so you have a bad view of what's actually happening, we thought. Alright, so I'm happy with that now than I need one more bone and it needs to be comment from probably this point here. One Wednesdays, I'm going to come to this point here. I'm gonna grab this ball here. Then you can see that it's going all the way down. So that's really not gonna work. So I wouldn't do is I'm just going to grab the outside here. The outside here, so we can see about two kind of squares here. Shift S, the selected tab. Go back to my bone. Tom again, shift D. Drag it over here, Shift S because it's selected. Whoops, messed that up a little bit. So let's go back. I might say grab both of those. Shift S gets the selected tab, grab them a bone, and then Shift S and selection too. There we go. You can see it's buying in the center of that. Again now I can actually pull it out and you can see that I didn't quite pull it out properly, so I need to pull it out on this green just to make sure it stays in the middle. I'm going to press the ice ball and make it a little bit smaller. Now you can see hopefully, hopefully it's short, rotate from this point, which is not. So I need to move it again. So let's press Shift S and see if can move it. So cursor selections cursor. And there we go. Now you can see it's actually pointing to that and that's exactly what one. It just will have moved when I actually moved, this just makes sure that it's actually pointing through them. Now the next thing you want to do is name all your bones. So if I call him to my bottom bone for instance, we can come in and you can say that this one is called bone. Comes to the next one, Bonollo. Bonollo won't, don't really want those. So let's call this one roof bone. So let's come to the next bone and we'll call this we'll call this the pump on. So welcome to this one and call it home. I always end in bone because then it's easy to find. So just make sure you do that as well. Just get used to doing that. So compound bone. And then welcome to Walsh. We call this the palm, palm. This is the arm, so this will be the I'm just going to call it the pump swings. So I'm gonna call it Just so I understand what that is. I don't actually know the name of that pumps wing bone like so. Alright, so now we're pretty much ready to go. What do we do now? What we do now is we press Tab. We make sure that we are in object mode. We press control all transforms going to reset all of the transforms of the bone. And then we've already reset the transforms of the actual pump. Then what I'm going to do is I'm going to grab my phone first, release the bones, shift, select the bones now, press Control pay. And then you'll have a new menu where it says Set parents. Soon as you come down you'll see you've got one with armature and you've got one with empty groups, envelope weights and automatic waves. The one that we want is with empty groups because we want to actually wait there. So in other words, we're going to be using weights to tell the bones how much actual exertion it has over certain parts of this match sounds complicated, but it's actually very simple. So we're going to use empty groups. Now you'll find that if I click on my pump, come over to the right-hand side that we've actually got a modifier added, which is the armature. So great. Now we need to do is we need to tell blender or the bones which parts of the arbitrary we want to move it. So if I come to my bones again and I press Tab and I come to this bone for instance first, so this is the arm bone. So basically I want this to move all of this. You know, if I'm rotate this or something like that, what I want to do now is basically come over to my pump and I want to come over to this little green triangle here. And you'll notice now that we have vertex groups, actually don't know. And this is because we made it with empty groups. Now if you come over and you put this on a white paint, you'll see that the entire thing is blue, Even if I click on these. And the reason it's blue is because we put it with empty group. So I'm just going to show you now if we go back to object mode, and now if we come to our pump on, which is this one here, we want this to influence all of these songs. So how do we do that? If we press tab and we come into Edge Select and we grab the whole of this. And then what we do is we've got pump on, we assign one, which is basically red because it's a full weight. If we sign that. And now we press Stop and then I've come back over to wait paint. You'll see now that this is bright red. If I click on the others though, you'll see that it's completely blue. That means that this bone now is assigned to this arm basis. This bone, if I move, this will move this arm up and down or wherever I wanted to actually move it. Now the next thing we want to do is we want to assign this to this bone. So basically the same thing. So I'll go back to object mode, come back to my pump, press the tuple on, come to my pump swing. And then one went to do is I'm gonna grab this part in here, the bolts and will be selected on the other side as well. And what I wanna do now is actually assign the full weight to this bone. So the pump swinging bone, click Assign now the root bone we don't need to assign anything to. There is one thing though that we do need to do. We need to make sure that these bones, when this poem moves upwards, this bone actually comes with it. How am I gonna do? I'm gonna go back to my bounds, are going to press top. I'm going to grab this bound first, then this bone press Control Paik, and we're going to keep offset. Now you'll see a little line goes to this form. Now let's see if this all works. So basically what I wanted to do now is I want to come to pose mode. I want to click them up ohms comb to pose mode. And now we can say that they've gone Bloom. What does that mean exactly, it means now when I move this, let's press on why. You all see that everything on here moves along with it except this part here. So we clearly need to add this to this bone as well. So good actual job actually don't know, just so you can see that site works. Alright, so now let's go back first and then it comes to object mode. Come back to my palm, go to my palm, and then I'm going to press top. I'm going to grab this part here, so L, like so and I really, yeah, let's have a look. Do actually want to go down there? I don't think so. So let me just grab this part on its own. There we go. And then grab this part on its own like so. And then what we're gonna do is we're going to click Add sign. Now let's envelope to see how these bones are looking. So I'm gonna click on my bones. I'm gonna call now to normal bone Sarah, my palm gonna come down to weight paint. And now we're going to have a look. This arm bone, as you can see is this one here so red. Then the pump swing bone is this one going all the way down there. So that's exactly what a warm. Now let's come back to object mode and go to all bones now back to pose mode. And now when I move this, hopefully the whole thing should move. So let's press R and y. There we go. Now this should also move, so RY, and that is exactly what we want. We want this to move and misdemeanor. And it also basically move along with it so we can actually animate this. You can see that I've gone way, way too far as well. It's gone through them. We don't really want that, so no problem. All we need to do now is press Alt. You'll notice that they actually pops it back to the original state that it was in. And it's basically based on when you press Control H reset all the chunks forms. This is the state I will put it back into, even if I scale it, even if I move it over here, I can also put those back as well with Alt S to set the scale and Alt G to reset where it's actually gone. Now let's say I do the same for this, so altar and put it all back. And then what we'll do actually on the next one is we'll actually start animating this out. So I hope you enjoyed that and I hope you learned a lot. I'm going to leave mine on hose mouth because I'm gonna need that point. It actually animates it. All right, everyone, so I'll see you on the next one. Thanks a lot. 24. The Water Pump Asset Completed: Welcome back everyone to blend the 3D ultimate medieval sinkholes. And this is where we left out. Now what I want to do is I want to actually animate this, to animate it based on what you want to do is you want to be a layout, because layout actually gives you this timeline along here. I'm just going to click on my layout. I'm gonna pull this up a little bit. Just talk a little bit of room so I can see what I'm doing. The simple animations and things like that. You want to be on layout. And when we do more complex animations and things like that, there is an animation button over here. Now, my wonder I don't want to put this on material amount, want to do is I just want to change the material slightly on here. I'm just going to commend Tim upon. I'm gonna grab my palm, go into edit mode and grab everything with a. And then I'm just gonna come to my UV Editing and I'm just going to grab all of these on this side. I'm going to press a press the S bar and scale them up a little bit. I just wanted to move them just to make it look a little bit more realistic. It looks a little bit small on the UVA mom, so that's looking a lot better now. Okay, so now we can go back to Layout, and now we can actually start animating this at the star animation if we put this onto pose mode, now, I want these to be basically where they all now, because that's perfect. So you always want it to be on one. And then what you want to do is you want to press the eyeball and come down to where it says rotation. So I want to basically have the rotation in this place on frame one. So I'm gonna click rotation and then I'm gonna come to this one here. And I'm also gonna do the same thing. So I rotation. And now we're gonna do is we're gonna go over it because this is going to be 800 frames, is going to be quite a long the animation for the whole scene. Now you can put yours down if you want. As long as you follow along wondering the beginning, then you'll have a great idea of what to do when you want to crop this down. So let's come over and first of all, put the frame ending on a plunger. Now I wanted to do is I'll come to this 1 first. I'm going to put this on frame on a 100. So you can move it over as well with this, or you can drag it and pull it across. And then what I'm going to do now is I'm going to rotate this around. So I'm going to rotate it so it comes to just along here. So basically when it dries off and why I'm rotate it round. So you can see that it comes to roundabout that basically the handler going open down that moment there is I'm gonna press I on rotation again and I'm going to come to this one. I'm going to rotate this round so I'll y, rotates it around just so it's pointing straight down line. And then you're going to press I and you're going to click rotation. Now hopefully you now have it where it's going up and this part is staying in place. That's exactly what we want. Now you can hide this other way, for instance, and you can still check it out. So now you can see it's actually working as intended. That looks actually really nice. Let's press Alt H that and bring back all bones again. And then what I'm going to do rather than trying to rotate this around again and not get it in the right place, I wanted to come back home to basically the bottom of it. So if I grab both of these bones now, come over to my timeline among Wednesdays, I'm gonna press B and I'm going to drag and click. Now hopefully I should have grabbed both of the states of these bones at frame one. So now what I'm gonna do is I'm gonna press Shift as I drag them off. As you can say, we get an actual yellow bile and that means because they all exactly the same. So now if I go past the 200, sorry, go pass the 100. I'm bringing it to 200. We shall now if I press Space-bar, go back to the actual position where we were, and that is exactly what we wanted to do. So now all you need to do, you need to call to the 100, be dragged because there is another point behind you because we've got two bones here. Then you're going to press Shift date and you're going to drag them over like so. Drag them over 300. Now, you can actually then go and grab all of these and drag them all. But honestly, I find that it actually messes it up. I don't know why I tend to do is I just grabbed them and just do it the old-fashioned way. Shift D, bring you up to 400, grab these ones B, and then Shift grabbing onto where 509 just do it this way because I realized that this for me, it makes it a lot more simple. Make sure they're nice, correct. And I don't have to go back and actually do anything again, shift day of 700. And then finally this last one, I'm just going to grab this with B and then Shift, grab them up to 800. Now let's just make sure it works before we do anything else. So what I'm going to do is I'm just going to set this back to one base layer. Then I'm going to hide these bones with h, and I'm going to press the space bar. And now this should move up and down. You just wanted to just go quickly through the timeline. Venus. I'm going to actually export this out to many different projects. And you just want to make sure it's actually correct. So he's looking really, really nice at the Bowman. The one thing you can see is that when he starts out, it's really slow and then it will probably join when it gets to 800. So let's see if it also probably speed up a little bit or slow down a little bit. And that's not something we want. Don't forget as well. We also timing this with the water that's going to come out here in the actual render. Let's see now, you can see that I really, really slows down. Alright, so it's going to open down, it's going perfect. So now all I wanted to do is I want to try salts age, bring back those bones. Then what I want to do is I want to come down to my timeline, press a and then what you're gonna do is you're gonna right-click and you'll see where it says interpolation mode. What you basically want to do is we want to come over and put this on linear. If you put this on something like constant, I will prone constant and show you where it goes. So you can promote constant ping. This interpolation mode actually makes the animation reacts in a completely different way. Now for something like a wheel or something, you don't want it to start out really, really slow in the beginning, then speed up and then slow down again. What you want is just a constant speed. So when you press Right-click interpolation mode, Linear is going to actually give us that constant speed. So you'll notice now when I start this straightaway the same speed, it doesn't actually slow down. It just keeps going up that same nice speed and that's basically what we're looking for. All right, So I'm really, really happy with that. So let's put this back to here. And that base two then is the animation. Now if I come in and put this on object mode, double-tap the a, like so, and then press space bar, you'll see it moves. And you'll also say that if I move this now, you won't be able to remove it altogether. But if I grab this and move it, it will move all together and that's what we're looking for. So even if I put it over here, even if I spin it round now, you'll still say that it moves exactly the same way as I intended, and that is the main point. Now the other thing is if I press Alt are all j and put it right back where we started. And now I actually save out this file. So save the file analysis load a pinata blend file, the new blank file, and now if we call them two assets and hopefully if I come to my farm assets, we should have a pump. And if I'm bringing my poem, bring it in and there you go. Yeah, actually works. It's actually got the animation name. It's called the textures and then everything. And that's exactly what a warm. So now when I bring this into my scene, I'm going to put it over here, Let's say when it's finished round, you go easy, resides rarely, rarely cold. Alright, so I'm really, really happy with that. Now I'm just going to close this down. I'm going to now move this it over somewhere else. So I went to grab this press Shift Spacebar and let's move it with my other assets. So I'm just going to move it over here. So now you can see that we've got a pump, we've got our ladders, we've got our folk, so we need to look which what we're actually going to work on next. So if I go back to modeling now, we go and open up our reference. So if I open up our reference which is here, and let's make this a little bit bigger so you can actually see what I'm doing. I'm just going to pull this out, make it bigger. Alright, so you can see that this is what we've got left. I'll think what we'll start to do on the next lesson is I'm really reluctant to welcome the house because I know it's the holidays phone, but I think That's probably work on the actual windmill first. All we cold work on the logs. If you notice, if I double-click this and I pull this over, you will say that we actually have some logs in here and we have a tree stump in it, I think actually will leave this to last, will leave this to last. And what we'll do is we'll work on the actual windmill now. I mean, it's really fun to make the women anyway, so let's do something, something really fun. All right, everyone, so I hope you enjoyed that. So on the next one we'll bring down this actual reference. Thanks a lot. 25. Scene Collections & Starting the Windmill: Welcome back everyone to blend the 3D ultimate medieval sinkholes and this where we left off. Now let's put all cursor back to the center. So Shift S to weld origin. Then let's bring in our next actual reference. So I'm going to press Alt H, hopefully, press top. I'll take, bring everything back. Alright, so we've got our collections here and I should really sort these out just so I can see what's actually going on. Let me just click on our rendered view and we can see we've got all sewn and everything. Got our M2 here. We've got all playing here. We've got awesome. I'm really, I don't really want it like this. If this is gonna be kind of a blend of firewall, we keep all of our assets and everything. It really needs to be sorted out in some way. Wildland do is I want to change the name of the collection. I'm gonna call it to assets. Like so. Then we went today is we're gonna right-click this. I want to make a new collection. So new collection, and you'll see it's called assets. I don't really want it to be called that I'm going to call it lighting. Working, something like that is wow, call it. Okay. And then what I'll do is I'll drag this up, uh, both the assets and there we go. Now, I can do is I can actually click on any of these projects. They've gone armature. And that's basically if I press Dalton zoom in, we can see that's the armature to this, so we don't want to mess with the empty. We can actually drag and drop into lighting and where can we can also bring the plane and awesome. So I'm going to click the plane control, click the song, drag and drop in lighting. I'm working and then I can close up. I can close this one. And now you can see just how clean and tidy or is. It also means now that if I come over, you've got these, I see it. You might not have this ion here. So if you come up to where this little filter icon, and you can see that we've got one that says disabled and renders. Just make sure that's ticked. Tom in mind may I don't know, then what you want to do is you want to make sure that if you take this aisle, you'll see it gets rid of everything, the ground plane and everything that's exactly weigh one. If we take off this one, it'll make sure that we've got rid of everything, all of the assets and things like that, this space and makes sure that we are disabled in rendered. So this is really handy if you want to disable, let's say, your ground plane in the render. So you just want to take an image of the ball or something like that. And then it would just, even though it's here in the viewport, it won't show up in the render, so that's really, really handy. So what we'll do now is just turn off my lighting and working ado. I'm just going to turn it off for now just to show you how it actually works. I think also we should bring in our guy. Let's bring in our human reference. I'm also going to stick him in lights and, and working. And then now you can see that's exactly how it works. All right, let's put that back on now. So for now though, we need to actually bring in a new reference. So when it comes to my reference, make sure we've clicked on this and then we're just gonna change the reference. So the moment we've got All Walter pump reference, we need to change that. So I'm gonna click on this. The one that I want is a window reference. So I'm going to double-click kit, and here is our windmill. Now, we're going to have to make this a lot bigger because this windmills of fast, I said if I press one, just going to press S, then bring it up, scale it right, OK. And you can see that it's still not big enough. Let's scale it up a bit more. Let's bring them on. You can see there's a bit of a giant at the moment. So let's scale him. Bring him down, scaling a little bit more. Bring him down. Tiny, tiny bit, bring him down. And there we go. That's about the right size. So now you can say just how high this actual lab windmill is. All right, so we've got a very, very good idea from this reference, how this is put together, can see how it's actually pulled onto here, how this is actually built. And this is really important because when you're dealing with things like windmills or not, then not so simple actually, it's pulled them together. I think the first thing we'll do is we'll create the actual wooden parts that actually go will appear, which are fairly, fairly simple. All right, So let's, let's get started with a so I will, first of all, I'll bring it into roundabout the sentence on here you can see this is on the ground plane. And then what I'll do is I'll bring in a cubed. So let's shift a mesh, bringing a cube and let's make it small. And you will see that at the moment it's gone into edit mode and just know it's nice and object mode, It's because among random most Let's put it on object mode, in fact will go on there, well-preserved object mode. And now we can see exactly what we're doing. All right, let's press one. Let's make it smaller, so S bring it down. Let's pull it into place. It's about the right size. So something something like that looks about right. And then I'm gonna press tab, make sure my face like I'm going to grab the top of this, then press one again. And I'm going to grab it and drag it all the way up. And then all the way across to something just on the way, this actual planus, so something, something like that. Alright, so I think I'm obviously happy with that. Now the one thing you can say is how these actually come in. And what you can do to actually get that is come back to your reference and spinning around. So all X minus 90, so our x minus nine to spin it around. And let's bring this. Over and down, seven to go over the top. And then if I bring this just where my piece of wood is, so I'm just going to bring it to where it starts. I know it's not perfect, but you can have a good idea at night. You can see how far that actually goes into, which means now you can grab this piece of wood, grab the top of that, and pull it over. And now you're going to have some idea of how it's going in. And you can see now that it's actually looking quite realistic. This is important that we have that because I want that to be based around the center of here. Now, that's exactly what I'm going false. So in other words, now I want all of my pieces of wood to come from here. So I'm gonna do that as well. Basically, I'm saying I need this in the center. I'm gonna do is I'm going to hide my reference out of the way. Now, the sense it should be on here, so I'm gonna test is basically bringing a mirror. So I'm gonna grab my piece of work. I'm going to press Control lay all transformed, right-click and set origin to 3D cursor, which you already should be commended. Add a modifier, we're going to add in a mirror, mirror modifier. And you can see that I've actually crossing over and that's not what we want. So how do we fix that? Well, we come into edit mode, the press L, and we pull them out like a natural, put my reference back. So if I press Alt H, bring back my reference spinning background. So all x 90, let's pull it back into place. Let's press walk. Let's lift it up. Pull it back into place. Now you can see that these first of all, the not steep enough. Now we need them as steep because they're going to quit coming. Okay. We based it on once we brought them in this deep enough, it yes, They all steep enough. They just hated me on that. All right. Now the steep enough they're under there, all we need to do now is move them across. So I'm going to call them to them. Make sure I've grabbed them, press a and move them over. Like so now I'm just gonna work on probably moving these over. I'm happy with Alba is I think I'm going to move them over, so I'm gonna grab the bottoms, press one, move them over a little bit, like so. Now I can see that we've got this nice angle here. We've got a nice angle here, and we use that. We got this angle by using this one here. Alright, so now we need to put it over the other side. Now, can we won't be able to do it with the mirror as its satellite. That's because if I put it on the y, you'll see that it's set like that and that's not what we want. We can still use the America because if we pull these out, we can bring them so that the narrow enough in the middle like so. Now the one thing is that if I bring them together like this, you can see that if we put some water on there, it's not really going to look realistic because they're too close together. So what I'm going to do is I want to pull them out a little bit like so. And then I'm going to pull it out a little bit like so. Now I can say that if I put a flat piece of wood like this on here, it's going to look much, much better like that. This is quite hard to actually get right. So don't worry if you takes a little bit of time to get this right. Alright, so now I'm happy with that. I'm going to actually apply my merit. So I'm gonna come in, control lay apply mirror. And now I can actually start working on the top of here. So let's now start first of all with the planks award on the top. So you can see this is how the plants will go. I'm gonna do is I've got my cursor in the center. I'm going to press Shift. I am going to bring in a plane. Bringing the plane. I'm gonna pull it up an inch place to where I wanted. Probably something like that. Maybe that's a little bit too big, maybe let's bring it a little bit smaller. So I'm going to press S bringing in just a little bit like so. All right, I think that's looking really good. Now let's make these planks of wood on top as well. So I'll do is I'll press Shift a. This time I'll bring in just a cube and I'll show you the reason I'm doing that as well. So I'm going to bring you press the S Bowen, make it thinner. So as I pull it over, press seven on the number pad. I'm gonna bring it over. I think something like that. S and X. Pull it out. Yeah, and I think my ward. So these ones are gonna go this way and these ones are going to go this way. Now again, let's check. So you can say that they just go in the other way round yet, we've got a little bit of room here, so we just need to make sure that we're making enough room with this. We might need to make it bigger in the long-run is all I'm saying. Alright, so now we'll do it. I'll press Shift D to duplicate it, pull it over to this side, and now let's create this bit. So like we did with the bug, we're basically going to come in, we're going to press Control Law. Let's try three. Left-click, right-click, Right-click. Boxing, analysis, control law. Left-click, right-click. And now let's split them off. So grab each one of these, so make sure you're on individual origins, S and X, bring them in. Edge Select, grab this edge, random, pull it over. Just a tiny bit on these, and I wouldn't lift them up either. So just a very tiny bit tab. There we go. Let's start with something like that. Alright, so that brings us to the end of this lesson. In the next lesson, we'll carry on. Hopefully, we'll actually get this sexual or windmill into the place where it needs to be. All right everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 26. The Right & Wrong Way to use Array: Welcome back. We're on to blend the three, the ultimate medieval sinkholes. And this is where I left off. Now let's fix these and then we can actually create this fun. Alright, so what we're gonna do is we're going to do what we did with the bond. I'm going to grab these control AOL transforms right-click origins geometry I didn't modify will bring in a solidify first, we'll bring you up the other way. This way, like so, make sure it's fairly chunky because it's actually held in a fed bear weight on the top of this. And then what you want to do is just make sure even thicknesses on. I'm finally then let's bevel it off as well. So add, modify it, bringing it bevel. I'm going to put this on naught point, naught one as we did before. And then one Wednesday is going to come to the top, Control a, Control a, and then put those into place. All right, so now let's join both of these together with Control J. Pull them down now into place and now we should be able to pull all fun actually on here. All right, so how do we create the farm? They got to make sure that you can see on this that the fans turn this way. I might actually turn it around the other way and make these little bits in it all, make this a little bit bigger and pull these out a little bit. I'm not so sure yet we're going to create this, but we'll see once we got the fun actual size in place because we can see how thick the finance from this. So we might be able to do it from there. Let's have a look anyway. So what I'm gonna do when actually hide my ground plane at the moment. So press H to hide it and I'll put my phone here. I'm also going to pull this back a little bit. So I've got something to work with and I want to keep this really in the center. So I'm going to create my fun with this actually here. The first thing we want to do is I'm going to press Shift a and we're gonna come over to where it says Match, bring in a plane, press seven, a moment series. I'm just going to move this out or PE and I'm doing that for an actual reason. Just move up along this y-axis, so it's looking a little bit like mine. Now we need to make this into the shape of a fun. Now, let's make it much, much wider on the Y. So let's bring you out, Let's make it smaller. Then SY, Something like that. One it really needs to do is I need to see what size actual finance. So I think what I'm going to do, I'm going to once again bring game my reference. I'm going to press all on X 90, then all 108 to just spin it around the right way. I want to bring in my fund now, so I'm gonna pull this down. I don't want to make it smaller. I want to actually put it into play. So where's my phone there it is. All right. So now I'm going to bring it over seven squared at the top. There we go. Alright, so let's Hopefully that make this the right side. So I'm going to grab this now. I'm gonna press and bring it in. I'm going to put it like so. And then when we went to do is I'm gonna grab the bump, pull it down without a proportional and it's not gonna make it smaller. So S and X make it smoke, come to the top and then snacks make it bigger. And then move it slightly over society grabbing all of it. So something like that. And you can see now I've got the right size. Next thing I want to do because I'm actually going to bend in it. I want to give this some insurance. So I'm going to press Control Law. And let's pour in three edge loops, left-click and right-click, just to put them back in the center. And then what I wanted to do is I want to call them and grab each one of these. I just so just these two edges it full proportionality to non, but let's put it on smooth instead. And among gonna do is I'm just going to press Zoom round. Just wanted to pull these off, so pulled them up. Bringing mouse in. You can just get a little bit of a bend like so. And the thing that's a little bit too much and went to bend it again. We're going to press L Now, grab it all, pull it. And I just want a slight bend as you can see, not too much. So I'm gonna zoom in my mouse again. Again. Oh, there we go. Let nice gradual bend is basically what you actually are looking for. So it actually looks like and you don't want it to show up. I mean, it's supposed to Glad With the Wind, so that's why we're actually making it lighter. Now I want to do is we actually want to rotate this around. So if I've grabbed this here and I press all I'm y without again proportional, it's a non anonymous on why just rotate it slightly like it would be we can rotate this most, don't worry at the moment if yours is not rotated correctly. All right, so now what we need to do is you need to make sure that this fund is right in the center of a before we do anything else, let's come and do that now. So what I'm gonna do is I'm gonna grab my phone, press Control a, I'm gonna all transforms. And then going to right-click set origin to geometry. And then I'm going to press Shift S in such a world origin and then Shift S selection to cursor. That's gonna put my thumb right bang in the centre. Now I want to do is I want to level this funnel, this actual reference to basically the sensory. So I'm going to press seven. I'm going to hide all of this out the way just so I can actually see what I'm doing. Grabbed my reference, and let's put my reference right and center of where you want to go. Now if you can't see anything, it's just because you just need to drop this below. Drop this below that line, the blue. You can see I'm making it smaller than that. Don't really want to do that. So I wanted to do is I want to grab this and now I'm just going to pull it. And there we go. Now you can say now I'm dropped below that. Nac can say exactly where I want. I want this to be right in the center of this center. I want in the central fear. So I'm going to pull it up just a little bit. It doesn't need to be perfect, just needs to be there. So you've got a good idea of what you're doing. Now let's press top, grab muffin, pull it up, and now you can see that that's lying. No. And this is where I wanted to come from, surround the center. I wanted to go around like so. Now the next thing you need to do is you need to put your orientation of the actual fun down to this point here. So if I press Tab and I come in with my edge highlight, grab this edge and this edge. And then what I'll do is I will shift S. Then what I'll do is I'll Shift S because it's selected tab right-click set origin to 3D cursor. So why did they actually set the orientation that I said, the orientation that I just to show you how not to do this. And now if the Mesozoic, what you need to do to actually fix it. Now with that done, what we need to do is we need to bring in a modifier and we're going to bring in an array. And you'll see straight away, it goes over here. Now the thing is we need to look how many fans Paltz we've gotten there. We'd go 12345678. So let's put this on eight and you'll notice that it goes over there. And that's not what we wanted to all. Now, let's come in and take this relative offset off. And then what we want to do is we want to pray on the Object Offset and which object or we want to pray on. I want to pray on the actual empty over here. So we've got mTOR one. Just make sure that you don't click on this, for instance, you'll reference because that's also, I think class doesn't empty, which is, this is classed as an EMT, shouldn't really be that. But anyway, let's come back now and click on our empty. And there you go. You'll see that that happens. And the reason that's happening is because my orientation isn't in the right place. If I come to my phone now and I pull Shift S cursor to world origin, and then right-click set origin to 3D cursor. Now you'll say they all disappear, which is exactly what we want. Because now if we come in and we grab all actual em empty seven on the number pad. And what we're gonna do is now rotate it around. So all zed rotates it around and you'll see that now we end up with a beautiful fund. Now you can say that at the moment I've rotated around, I'm 45 degrees and that's what you want yours on. And then you will end up with something like this. And you'll see that each one of these is actually been over. Now of course, the one thing that we are missing on this is that they don't actually have any thickness. And that's not really any code because that's not really going to look realistic. Let's come back once again to all funds. Add modifier unless they started bringing in, I solidify. And let's also bring this out this way. Like so, let's shave them smooth so shapes in there so we can see what we're looking at. And let's put on altars, move and there you go. Now, maybe these funds are a little bit thick. I'm not too sure. Yeah. I mean, they have to be quite thick. Book this thick. I'm not so sure. So let's make them a little bit thinner. So I'm just going to combine, bring down somebody phi just a little bit, something like that. These things would be Hamad basically really, really thin. And the guy probably on the phone would have made these. So something like that I think looks really, really nice and that's a really good start to our actual funds. What we'll do then on the next lesson is will actually finish off making the short job. This time, we'll get this round paste in here and then we can actually flip it over and actually start working on the mechanism. All right, everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. 27. Creating the Windmill Turbine: Welcome back everyone to blend the 3D ultimate medieval sinkholes. And this is where I left off. Now we've got everything in a really remote as well as start applying these. So I'm going to apply my modifier. So control Les, Let's see if I'm actually apply it. So I'm hovering over it. Apply unless apply all solidify as well. Then what I'm going to do now I'm going to come in. I don't need this empty anymore, so I'm just going to delete out of the way. I'm going to as well Market Mercosur, banging the center. I'm going to press Shift I, and this time I'm going to come across to curve and I think I'll bring in a circle. So I'm going to bring in a circle. I'm going to press seven and we're gonna make it a little bit thinner. Smallest, sorry. You can see that don't quite fit there. It is fitting in line with our actual font. It's just the references a little bit out of my grandma reference and just kind of move it over to the side just a tiny bit. Does it fit a little bit better? A little bit, but it doesn't really matter as I said. Alright, so go back to actual circle because this when I brought in was a curve. You'll notice that you've actually got a curve option over here on the right-hand side. And if you click this on, it's really easy to create things like this. Working with kids, these kind of circular pulse. So that's why I've done it. Now what I'm going to do is I'm gonna come over to the right-hand side and we've got a ton of options here. I have a Calm down to where it says geometry. And then what we're going to do is I'm gonna come to where it says debt and I'm going to turn this diethyl. You'll see straightaway why it's actually so easy to use a sudden your pillow a bit more. We've got a piece of metal now that goes in there and fixed really, really nicely. Now the thing is about curves, they can cost a lot on polygons. So as long as you understand how to turn down the resolutions and things like that, that path really great to you. So we can say that we have a resolution here. And if we turn this down, you'll notice that it becomes kind of jagged in a way. And the reason for that is because we're turning down the resolutions that are going around each of these. You can also then come up and turn down the resolutions on this way as well to a point where you can't even make eyes as circular anymore. Let's turn this off now to something. First of all, there was turned down the resolution on just on the depth. Then I'll turn down the resolution on here just to get the way that I wanted. So you can say that's still looks like a kid. It looks like it's been hammered actually into place. And I think I'm actually really happy with how that looks. All right, so one chapter with it. Let's come up now, go to where it says object, come down to where it says Convert and now convert it to match. Basically you want to click the button. You can convert meshes two circles as well. But we want to come this one in this case to an actual message. Just click that on. The actual option will disappear now and your curved and effort press tab, you can see now that is a beautiful piece of match, exactly what we're looking for. All right, so now let's join this with our fans. So press control J, joining with it. And now let's calm and try and pour it in some kind of place. So let's press Alt H, bring everything back. Let's grab our reference. So I'm gonna pull all reference. I'm gonna spin it round. So all x 19, let's spin it around. Let's get into some sort of place again. I'll reference gonna come over here and lift it up. So that looks like run by in the right place. Now let's grab our actual font, which is here. Let's pull it. Let's press all and X 90. And let's see if we need to make this any bigger. Like sorry if I press one now, import it into place. You can see it's right about in the right place. Now, let's just hide our reference all the way at the moment because while, once there he's got a good look at this and make sure that I'm actually happy with our logs. You say sometimes when you build these things, you might not like how small this is already built-in again, should have say so I think I'm just going to try and build it out. I'm going to make it a little bit bigger, actually, Something like that. You've got to make sure as well that it's not gonna catch on the bottom of it. So just be aware of them. All right then. So now I want to do is I actually want to create the rest of this font attached to these parts here. The one thing I can't say, it's probably that these parts in here, the probably first of all, this is all going the wrong way round because this is coming back this way, so it needs to be placed in here. And second of all, these are probably a little bit too thick, so let's come in and fix those first. I want to come in on each of these. I'm going to press S and Y and pull them away from each other. Now can't do that because of not one individual origins. First, SY, not men. Medium point. There we go in SMI. Now we can pull them away. Alright, That's better. Now let's spend both of these rounds. So I'm gonna grab both of these and zed, and you'll see it's spinning from that. Don't really want that, right, plague origin to geometry. And now spend 90. And there we go with the spawn the right way round. Okay, So I'm just making sure that the soul level now I want to do is I want to build this out. So again, I want to bring back my reference now and I'm going to spin it around. So I've got some little caps. So you can see here, this is why I wanted to look at so all z minus nine, minus nine. And let's bring this down. So I'm going to press three, Bring it down into place. Like so. Like so and now have something roughly to actually wear with. All right, so let's build this bow first. One went to do is I'm going to call them to the center up here. I'm going to press Shift S cursor to selected shift next spring in. I think what will bring in first is a cylinder. So let's bring in a cylinder. I'm going to put this on 18 because it's very much out in the open. People are going to see it. So we might as well give it a few more edge loops rather than 14 to make it a little bit more rounded. So I'm going to put it on 19, like so I'm gonna spin it round. So all x 90, let's get it into place. So now I'm going to press S, bring it in to probably something like that. I'm going to pull it back just a little bit. And now I'm going to do is I'm going to round off just this edge. So I'm gonna pull it back a little bit more. And then I'm going to come in, grab this face, press the e, and then press S. I'm rounding off life. So always work into my actual reference or I can say that's roughly what it is, doesn't have to be perfect. Then let's pull this back. Like so, let's press the eyeball to bring it in. Like so. Let's then press the e, bring you out. Let's press I again. Then let's press E and bring it all the way out. So how far it's going to come. So if I press three now, I can say roughly, if I pull this out, so E, pull out, that's roughly where it's going to come, but you can't see my reference on there is a little bit out. Obviously, it needs to come a lot further back than that because it needs to come somewhere out here actually. Now we're going to do is I'm gonna grab my actual fund, pull them out a little bit. I'm just getting more into place. All right, so now let's call them and actually also lift it up a little bit because we can fix a little bit too low. Now let's make this backpack first. So I'm gonna come back to this tall. Then I'm going to press Control. Left-click. I can see that this paint really starts coming out from roundabout here. So it's rounded by a where I can see that I'm gonna do is I'm gonna come around to the park. I want to press S and Z, pull it like so. And I don't think I need to bring it in on the x or anything like that. I think s and z is just going to go. Alright, so now I need some parts in the middle. So let's do those pulse first. So I'm gonna press Control Alt, left-click, right-click, press seven square over the top. And I'm thinking, I'm probably going to want them right in the center of here is where it's going to come down and actually fix on here. So a little trick once you've put them in place, press Control Bay, and that's then gonna make it so that you'd call bevel in there. So something like that. Turn down the segments and then it's just going to cut down the amount of polygons you got. Now you can see you can actually create this bit here. So what I'm gonna do now is it, I'm going to press Alt S and then just pull it out this way. Like so. I'm really happy with that. Now let's bring in the other edges that we got it. It's kind of a support to make sure that it doesn't bend or anything. That's why they've got those bands on there. So I'll do is I'll press Control Alt, left-click, pull it over, do the same. And this one Control Alt, left-click of it and then Alt Shift and click. So we've got both of those grabbed control bay miles, we'll do them together like so, and then enter alt and S, pull them out. Not quite as big as this one, just a little bit, so it looks like that. Now let's do this bit. Coming down here. I'm gonna do is I'm going to come underneath. I think I'm going to grab all four of these. So I'm gonna call them from here, Control click to here. And then moments to do is I'm gonna press eight, pull those down like so. All right, so that's looking good. I just want to flatten this out now. So I'm going to press S and Z and just flattened it out. Like so. There we go. Now we just need the platform of where this is going to actually go into to fix it to these planks of wood and things like that. Then finally, we just need to put the plants Award going down to here. That's quite an easy job to do that anyway. Alright, so we rarely really motion along with this. Now. The next one, hopefully, we should at least get them modelling finished on this. All right everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. 28. Finishing the Windmill Model: Welcome back, everyone has a blend of three, the ultimate medieval sinkholes, and this is where I left off. Now let's think about putting this on here. So what we're gonna do is, I think first of all, I'll come over the top of it. I'll press Shift sb and as I've got that graph, so because it's a selected, I'm going to bring in a plane lands. So bring a plane, magma plane smaller, one more plane. Basically it's a fit along here, probably halfway in-between each one of these, I'm going to press S on y and just pull it like so. Now I'm going to do is I'm going to press control law. And I want to go across my plane twice. So left-click, right-click and you can see now, and I've actually gotten that line going in there and that's exactly what I wanted. All right, so now I want to do is I want to make this. So it looks like it's actually going to hold something in place. So I'm going to press control law to left-click, right-click, and then I'm going to drag these two each way over here. So what I mean is if a person S and Y, I can pull them then like so. And now you can see that all these even now I'm gonna do is I'm gonna grab each one of these. I want to press Delete and faces. And now finally what we can do is we can just extrude this down. So I'm gonna grab the whole thing, press eight, pull it down, and then I'm going to press out, pull it down into place. Like so. You can say it's really actually starting to look really, really nice. All right, so now I want to make these look as though they're actually position on the air with bolts and things like that. So we're gonna do, is I'm gonna come in, ground, each of this one, each of these edges. We're going to bevel them all just to round them off a little bit. Like so, like so. And then press Control be beveled above. And you might want to on here. So just check out if you have to go with the two or if you want one thing now looks that looks pretty cool. Now we won't Mau, Mau peace on a, because this looks a bit flimsy at the moment, is also looking at tiny, tiny bit thick. So I want to make it a little bit thick to thin it. I'm going to do is I'm going to click on here, Control, Click, shift, click Control. You can shift, click, Control, click, grab it, all. Just make it a little bit like so. Now I'm going to grab it, grab the bottom of that. Don't think so. What I'll do is I'll just press Shift S cursor to select Shift. Bring in a cube, made my cube smallest, so S make it smaller and less person that S there we go. A thing that looks yeah, that looks like it's going to actually hold that into place. All right, so we've got that big now we need some actual LED bulbs. I think what we'll do is I've got my cursor here. I'll press Shift a again, bringing in a UV sphere. And again, because I had it set on this before, I'm going to use this to actually the bolts again, like we did with the other pulse that we've done. So Bolts 128, and that's what I always use. And then I come in again, delete the the halfway point. So delete faces, come to the barn, owl leaves. This is, you can say it's very, very fast. Workloads actually out, find MerkelMain, then squishy up a little bit, and then press S and let's start getting these bolts in. I think. I'm gonna want some bolts in the wooden planks on this because it needs to be fairly strong, so let's bring it over. So let's put that in place and then below that quad big bolts and then go back through those ship date. Put one this side, grab them both. So we don't need to worry about mirroring. We don't need to get these perfect. In my opinion, you might want to, but I'm just going to move mine over here. And then we're going to do is I'm gonna pull another couple of bolts in each one of these. So I'm gonna grab this one, press shift D, bring it over, make it smaller because we don't want them the same size. These would be a little bit thinner because it goes into the steel there. So there's a bit more holding them on rather than just the word. And then when we went today is I'm gonna press your date, bring it over to this side, grab them both, then L, then bring it over here. Like so. All right, so finally I think I just want an end on here. So I'm gonna grab this shift S because it's a selected and then moments There's going to press Shift a, bringing all the UV sphere this time. Then I'm gonna put this on a little bit higher. So 16, let's say something like 12, something like that. And then all x 19. Again, I'm going to get rid of the halfway point. So Alt, Shift and click delete. Faces, come to the back out Delete. Now let's grab the pot we've made. Let's press one to go into front view. Let's press the S born. Shrink it down. This is where I wanted, just on here, like so. And it might be a little bit too rounded this while there is, I'll just press S and Y and just squishy just a little bit. Now put in place. Tap double-tap on. Yeah, I'm fairly happy with that. All right. We can see we've got a lot of shade him. We've got some beveling to do when things like that. But let's carry on. I want to do now is I want to make sure that my award, We've got three layers of world one or PA, round about one year and one here, something like that. So let's get those in place. So first thing I'm going to do, I can say that when I click on these, my orientation is right in the center. I'll use, I'll press Shift S cursor to select it. Then bring in a piece of wood. So Shift, bring in a cube. And I'm going to bring you over S. Now let's bring it out to where it needs to be. So I'm going to stretch it out first, so S and Y, and let's pull it out because then we've got really good idea where it needs to be. I'm gonna pull it into place. Now, these pieces of wood, they wouldn't be actually tilted did probably more than likely the straight like this, the wooden till and probably go towards there. Now, when you do this, just make sure that you want to hear how you want it. So you might want it tilting slightly so you can see that at the moment, this is fairly flat. So they probably would've made it flat, hammered it in, and not really gone like this. They wouldn't have probably bent it like that. It's whatever you want to do with yours that you think looks more realistic. So I'm going to bend it a little bit. And it's probably, as I say, not how they probably would do when I press and bring it in just so it's COVID inlet. Now let's make the next one so they probably would get a little bit thicker as they go up. So there's that taken together account. So I'm probably going to make this just a little bit thinner and then just pull it out just so it's past those points. Now once you've done that, let's make the next one. So Shift D, bringing it down to the next place. You can see we've got three on the head. You can put them where I pulled them or you can just put them in yourself. Press S on y, bring you out, make it a little bit thicker. So you can see that on the end it needs pulling this way a little bit. So I'm gonna pull it in this way a little bit like so, making sure that it's natural whatsoever and y like so now let's do the final one. So shift date, bring it down. Asked him why bring it out, pull it out. I'm gonna press one on the number of pounds of three. Yeah, then I can say low that Rabbi in the right size anyway. So now I'm going to press S, bringing this one out. Then let's put it into place. So you can see it's fitting in both sides. Sli bring it in. There we go. Double-tap. Make sure you're happy with it, which I think I am. Alright, so now I want to do is I want to put these beams going round. So let's see if we can actually get away. We've joined them all up. So Control J, join them all up. And that will do is we need to set, you can either set the origin to where your cursor is. All. There's another little trick you can do if you press a little sideways being next to the question, well, you will see current with a menu like this that's a little sideways V next to the question mark on your keyboard. And then what you want to do is you want to put it onto 3D cursor. And you'll notice that the actual orientation actually changes. Even though our intention is they actually goes to the cursor. It means it's actually now I can move these around based on that cursor. So this is really, really handy thing to have. Now if you press Shift Enter and then press all zed 90, it will actually move them around to this perfectly in line with this. Now unfortunately on this, you can say the award is not actually perfect. We're not perfect going this way as it is this way. So what we wanna do is you want to press all said 90, spin them around again, and now they will fit perfectly in place like so. Now all you need to do is you need to grab them again, shifting and then all 90 and then pull them out into place. So get these ones into places where I'm saying I'm going to work from the bottom 1 first. I can say the miles out in the news, I'm gonna press S and X, pull them into place like so. I'm gonna make sure that I'm happy with this one in here, a little bit too close to here, so I'm just going to pull it out a little bit like so and then went to work my way up. So I'm going to press Tab now, grab this one with L. I want to press a little V again to come back to the individual origins so I can actually move this or pull it into place like so, come up, grab this one with out, pull it into place. Then when I went to this, I'm gonna press top. I'm going to press a little sideways V1, small 3D cursor Shift D. And then all zed 280, spin them around to the other side, global south the eye. And it's as simple as that. Now let's press a little sideways V wounds small, put it back on individual origins, and now we're ready on the next lessons, CMM level these off, install, bringing some materials in. Then finally gal bones and again and get this animated so you can see it's a fairly quick process now I've gotten their stone. All right, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks. Bye bye. 29. Applying Materials to our Windmill: Welcome back everyone to blend the three, the ultimate medieval sin cos and this where it left off. So we've pretty much got everything and don't unless the only thing that we need to do now is smooth level and get some materials on. So let's do that. First of all, I'm going to do is I'm gonna come in. I want to actually click on these balls because I don't actually want to bevel the bolts off. Of course, I don't want to give them more polygons or anything lambda. So what I'm going to do is I'm just going to select them with the elbow. I have noticed as well that my actual key strokes was clicked off and that's because I shut down my computer. I forgot to put them back on some really sorry about that. There will be on from now on. So hopefully you should have got through them. All right, so I'm basically going to select all of these. I'm going to also select this from one. And when I press P selection and just separate them out, then I went to grab everything else. So I'm gonna make sure I have grabbed everything. All of these, all of these going all the way round. I'm going to press Control J and just grab everything and then press G just to make sure to see, well, if not grabbed and you can see I've not grabbed these, so I'm gonna grab them again, Control J of the mole G. And I can say that I've got my bolts, this part left. Alright, so now let's say right-click Shade Smooth. Let's come in then and pollen auto smooth and it should already come like now, which is really, really nice. Now let's calm and beveled. Ease off a little bit. Now just make sure they're happy with the thickness of these policies. If you're not, what you can do where you can just come in and grab each one. I think I'm gonna do this actually, I think they need been a tiny little bit thicker. I'm doing is pressing Shift, click Control, click shift, click Control, and just going over them like that. And then I'm simply just going to pull them out a little bit like so just to make them a little tiny bit thicker. Alright, so now we can do is we can press Control. Elt transforms, right-click set origin to Geometry unless come in now and add in a Bevel modifier. There you go. You can see it's already looks a lot more realistic. Now in the old blender, It would've been on non. And you can see that if it's unknown, you end up trying to bevel off the sides of the cylinder and that's not what we wanted to there. So what we do is we put an angle, so it should come up on an angle on Blender three. But as I say on older versions, it won't come up on that. So just make sure that you've got this angle set and to say two degrees. Alright, so that's looking really, really nice. I'm just gonna make sure my reward is okay. And it looks to me like on this one, and we know going actually have to turn down the amount. And sometimes that happens, especially if you're dealing with complex shapes. Sometimes it will just go right from the officer. I want I'm gonna do now is I'm happy with that. I'm going to press Control a, and then I'm going to grab my actual bolts, right-click Shade Smooth, put it on autos, move like sewing. You'll see this Tolkien, that smoothness, which is what we spoke about. Now let's join them to this. So Control J or Control a or transforms right-click set origin to geometry. And I'm just doing that just to make sure I'm happy with it being reset before I bring in my actual materials. Let's now bring in the actual wooden material. Let's do that first. So first of all, I went to grab the whole thing. I'm going to press, I'm actually not going to on rocket altogether actually I'm going to come in with Edge Select. I'm going to grab, I think I'll grab these for now. And then what I'll do is I'll click the down arrow I'm putting this on would mean will also put this on material so you can see what we're doing. And you'll notice it pulls the material over everything. That's not exactly what we want. Sometimes when that happens, what I tend to do is make a new material. So I'll click plus new. I'll just call it. Great. Then I'll come down, turn the base color to a little bit darker, and then grab the whole thing, click Assign, like so. And now actually I fairly, it's much easier to actually work with. So now I can come to the board waned main, Sorry, I can grab both of these. Press you come down to where you say smart UV project, click Okay, and click Assign. And now just go and turn these around. So I'm gonna go to my UV editing because I've got a lot of weight to work on with these. Press the adult bone. I'm gonna come in now and spend knees round. So let's zoom in. So 89 say pretty much the same thing we did with all of the rest of the things. The one thing is about this causes a site. We're not actually marking seams or anything. We're working entirely in Blender. So it makes it really, really quick process. So let's command pack islands. And you can say because of restyle blender, it's rotating it again. So just click that off and there we go. All right. So I'm happy with those legs come and do the other side now. So LL you and smart UV project and eighth of 19 UV pack islands now because I don't want these look exactly the same as this. I'm going to click Assign, and then I'm going to press G from y and just pull them up a little bit just so they look a little bit different. All right, So, so far, so good. Now let's hide these other ways so we can say, Hey, we've done these unless come in now and do these. You could get away with probably doing all these together. They're not too big, I don't think so. Let's see if we can use smart UV project 90. Let's click Assign. And let's also make sure the pack, because you can see that overhanging a little bit. So UV and pack islands, Let's click Assign because they didn't assign them. Let's go in and have a quick look at that, Just making sure they are happy with it. I think that looks absolutely fine. Now let's calm and hide those other way. Let's come and do the next part, which will be these. Now these ones, I'm going to rub them, but I'm gonna give them a different material. So I'm going to press you smart UV project, okay. 90, make sure they are packed. So pick islands, close down arrow unless the ward light for instance, click Assign. And you can see as well because we've done all that work just how easy Israeli now to actually bring in the materials and things like that. The other thing, of course, is that you really want to be saving these materials out. It's something I didn't forget about when we talked about what you want to do with the ways you want to right-click and you want to mark, as I said, now you've actually got that material. Marx is an asset. It will appear then in the blend file, which means you can drag this material and just drop it onto any building night you doing. I'm also going to come would light right-click Mock. As I said, I'm not going to obviously use the gray one. Alright, so let's say I'm, as we build this soap, I think it's most of the materials we've used. I think we've got hey there, which we should also do. So I'm gonna come to my hay. Hey, bomb, right-click markers, I said, planks, right-click markers, I said, and you can see that these are already marked as I said anyway, that's pretty much all the materials reviews. I think we've got a lot of tie-in right-click markers. I said, alright, so that was a fast job. Now let's come in and will probably bring in another ion as well. So I'll come in and actually do that now. So welcoming without bolts, I'll actually hide those other way and don't forget hatred, hide. And then I'll come in tomorrow volts now. Gavin, each one of these bulbs, like so. And let's come around and press the double bond and get lost. Unless grandpa for these, these from, and then what I'll do is I'll click the down arrow and we're looking for I in dog. You can say I've not got it as an asset, so I'm going to right-click mark is an asset. And then what we're gonna do is I'm going to click Sign. I'm also going to depression and smart UV project. Now, they should have opened. Absolutely fine, just making sure that I'm happy with them. On ones like this really big ones, you could go in. And instead of unwrapping like I've just done, you can just face it straight on, impress. You. Come down and project from view and you'll see that happens. Press, bring it out with S. And now you'll see it looks a tomboy. Because sometimes on these things, what blended tend to do is just actually break it up. And sometimes it just doesn't need that. The bolster social that we haven't got to worry about those anyway. All right, Let's press tab. Let's hide that one out of the way and let's come to our other pulse. So I'm just going to hide them out of the way. Always gains hobby, I have harden them out of the way because then you can see exactly what you got left. Like so so hide them if you want to say how it's looking so far, just press the tab and you'll bring it up anyway. So that's the way that you can do that. Now let's come in and we'll do these funds, will come in and do these parts. So I'm gonna grab each one of these. So I'm going to press U and smart UV project. I'm going to also put this on. We need the other ions, so I'm gonna press Plus down arrow. I'm gonna bring in, IN this one here. I'm going to click Assign. And let's have a little they looked like. And then we go Really nice. Let's hide those out of the way. Scrub this ring. So with this, I'm probably probably just going to mark a seam and do it myself. So I'm going to grab this here, right-click mock scene, come around the back because that's where I really want to seem to be Alt Shift and click going all the way around, Right-click, mock scene, grab it out. You are on route and you'll see now that it's on wrapped in that way it's a bit cleaner. And then I'm going to do is I'm gonna throw an ion dark click Assign. And there you go. I didn't want to actually see a scene just on that point as the central view of that carbon again, hide out of the way. Now let's come to this part and see how this part on ramp. So we're gonna grab the whole thing. I'm going to click you smart UV project. Click Okay, then one way to do is I'm going to click Assign on the ion fish. So assign this like so you can see it looks really, really nice. Let's put a rendered view and just have a quick look of what that looks like. Yeah, you can say it looks really, really nice now we've put it on that. Then what I'm going to do now is some of these parts don't want, actually wanted to be this. I want them to be the dark ion. I'm going to do is I'm gonna call him, let's say to this part here. So I'm gonna grab hold shift and click shift, click OK, chip cliff, Control Plus. Just keep going with control plus until you get up to these edges here. And then we'll just click on the end-all, click Assign, press the Tab. A knight can say just makes it look really, really different, makes it kind of looked like something's actually holding it to get where the different types of iron up to you, of course, if you want to do that. And then what I'm going to do now I'm going to come in to hide those. I want to grab these policy. I'm going to click, I'm going to have this as normalized. So I'm gonna click you smart UV project, okay? Click Assign, hide it out of the way. Let's now come to these parts. You smart UV project. Okay, I am dog, click Assign. Hi down the way. And then finally the two pieces of wood. You smart UV project. Okay, Let's Spend most ramp because they all the woods so we know the wood grain or be a different way. You may like islands. Unless put it on would mean click, Assign, tab. Double-tap. There we go. Actually don't actually windmill is actually done, didn't take longer all just walking around making sure I'm happy with everything, which I think looks really, really cool. All right, so on the next lesson then what we'll do is we'll get the bones in and we'll actually get this animates and then there'll be another one down. Basically all we're left with with the hardest structures to actually build them will just be the house. And to be honest, the windmill is probably harder than the house anyway. So there is that taken into account? So yeah, I'm really, really happy with how this is turning out, alright, for one, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye. 30. Animating the Windmill: Welcome back everyone to blend the three the ultimate medieval sinkholes. Now let's come in and to lay out because then we've got our actual timeline. Let's put it on 0. And then what we need to do is now, now actually the bone structures in this, I'm actually going to hide everything else away. So I'm gonna just going to call them to my collection here high to allow the way because I really don't need it, is actually probably easier than the actual poem. Whereas all points there it is. It's probably easier because he's got less bombs and it's only got two bones in this. And one of them is the actual root bone. So with that said, let's first of all bringing our actual route bone rather bond by shift day, come down with the exact already before single bone. Let's twist this around. So all x 90 spending around make it much, much bigger on this because we do want to move this and be able to grab it and things like that. Then what we're gonna do is exactly what we did before. Press the top button, then we're going to press Shift a and bring in another bone. Now you can see at the moment I have not no movement to alarm, so I'm just going to click Shift Space bar bringing my move. You can also say that I do have a problem in. This needs to be buying in here, so I'm gonna spin it around first. So all x 19 goods get it in place. And the moments there's been a colon, right? So this center here, Personal take to bring everything back. Click on here without shift as curse, It's a selected. Now let's press top. Come back to our bone, press the top, make sure you've got the bone actually selected. And then you're going to press Shift S selection to keep offset. I'm gonna make this bone just a tad bigger, like so, just so I can actually see what I'm doing. Alright, now before you do anything else again, it's always a good idea. Click on your main actual building or asset or whatever it is, press Control a or transforms. You can set the orientation to the actual structure or down to the bottom. It doesn't really matter. Then come to your bones and again, control all transforms. Then when you want to do is grab your bones, grab your Assets, Control P, and not that way round. So grubby, grubby bones control pay, and then come down to empty groups. Now, you will eventually learn to use the older groups. But I wouldn't use them on assets section is very red. I'll use anything apart from empty groups. It's normally on characters when you want to use, for instance, ultimately, weights on that blender, do the work. But on something like this you never wanted to do automatically because it's just going to mess the obese, basically going to give weight to all of this, some of this. So when this rotates is gonna rotate pulse of this and things like that. So that's why I do about, alright, so now let's come in. We didn't forget to name them this time, but we can come in now and name them. So let's come in and we'll call this root bone like so. And then I'll come in and I'll call this fund bone, something like that. There we go. Now the only one that we need to give weight to is the sexual fund bone. So I'm going to now come back asset, come over it a little green triangle. Let's come to the farm bone. Let's press Tab among ranch do is I'm going to grab all of the parts that needs to have some weight. You will see that this part here, it doesn't need to turn, it needs to be this part and this part are not there. So if I grab all of this, you will say that grabs all of that up to that, and that's not something that one. So the best thing you can do for something like that, It's just grab this. So Alt, Shift and click, grab at the other side, hold Shift, click, right-click. And what are you gonna do then is marketing. What that's going to enable you to do now is come in with phase leg, press out L and now grab all of those except this. Now you can basically come in with your Edge Select again and just go round and grab the rest of it. There we go. Now we'll welcome to our thumb bone. Click Assign. And now if you go to waste paint, you'll see that I'll read exactly the way you want today. And also naive or come back to object mode, come to my actual bone, put it onto a post. Like so. You'll see when I rotate this round on the why not the whole thing rotates around and it actually looks like it's actually in there rotating within that. We didn't have to make any more mesh. So that's exactly what we want. Okay, So it just saves a little bit of work. They work on this. Let's put this on 1 first of all. And then one way to do is I only want to mess around with obviously rotation of this. I don't want to actually mess around with a scalar. And if in law, not only do, first of all is do I didn't last one, click on rotation. And then what you're gonna do is you're going to go to 50. I recommend 50 is a really good number to rotate this around. So if I come to 50, now instead of just pro and 50, instead of rotating this, I'm putting in an insert keyframe. What you can actually do is you can do this automatically makes it so much easier and so much quicker. So where are you going to use? You're just going to click this and it says Auto key ring. And now I'm going to do is I'm going to spin this around so I will just press tall. Why 90? You'll notice it already puts a keyframe. Now we can see we go this way. This way. Sorry you don't. If you come to 100 now, then you press all. Why 90? You'll see already pulsating. Now why am I doing this? If it's going to be a circle, surely I can go from 0 to two hundred, three hundred and sixty degrees. No, it won't wait by that it'll actually start spinning one way and then it'll spend the other way. You can try that if you want. But I've found that the easiest way is just to do it this way and do really fast in this way. You can also grab all these we've shipped and then mirror them and things like that. That's also a way you can do it. But honestly, instead of doing that, put it on auto key ring. Put it up to your 150, for instance. Press all why? 90, next one to 100 and just go like this and you will find it really, really easy if you do it this way. So that's what I'm recommending. So let's put it on there to 50. And then all why 90? And what I tend to do is I tend to go into 300. Then why 90? And just give you a quick test before I do anything just to make sure it's spinning right. I'm not worried about foster or anything like that. I was going because we know that soon interpolation mode, I'm just making sure just carries on going all the way around, all the way up to 358. And then I'm happy with that. Now let's put it on there. 350, let's spin it around. So all why? 9400? And honestly, by the time you've messed around with the mirrors and things, you probably could have already done it. Now obviously, if you've got thousands of these today, yeah, you're gonna really wanted to wear, probably use the mirrors and things. But for just something like this, over a 100 frames, I recommend just doing it like this and then it's not gonna mess anything. All why 90? You can see roar again near the end. Just our easy actually is so 800 plus one. And then line 92. Now let's just make sure they're going through. So I'm also going to come down Right-click interpolation mode. Just make sure you press day and you've got all these grabbed. Right-click interpolation mode, put it on linear because the space bar and let's say you wanted to do is just basically go all the way through restart gonna 800. So that is looking really nice. Of course we can put this on object mode as well. We don't actually need those on, and we can actually have the bones on the way if you really wanted to. Now before we end, now what want to do is we can say that this is moving now you've got to be very careful. When you move these. They actually turn this off because you'll see not common put this on pause mode again. I grew up this move it, for instance. You can see that we've actually put in one there. So I'm gonna put this back. I'm gonna put this on object mode. I'm going to turn off my auto key ring. Make sure you turn out very, very important. Now I want to do is just do the final thing. So if I open this, I'm going to call this windmill. Like so I'm going to right-click and I'm gonna mark it as an asset. And when also called geometry wind mill mixture. Like so, I'm also going to come up to where he is my overall mixture, this one here. So this is the water pump. So let's call it water Pullman, mature, like so. And finally, now we can say that all windmill is not in our assets. If I turn this off, you can see it's still less so I don't really want that. So I'm gonna grab the top. They are mature shifts like the bomb, drag them in to my assets. Let's now close that up. Now hopefully if I move this, so I have a grub this, move it over here where once it like so, press the space bar and it showed actually stay there like that and actually go round. Alright, so let's give it a try. Let's come in. And if by the way, you think disappears or pay this, sometimes I've been just pull that up and then it will come back. I don't know why that happens. It must be a bug or something. Let's come to file. Let's save it. Unless open up another blend file. So right-click blender. That's just check our assets, making sure they work. All right, so now we're gonna go to Assets, we're gonna come to farm assets, and then we're going to bring in a windmill. Let's drop it on there and let's make sure it actually works. There. You can see it's actually working. Let's move it though. So let's put it over here. Let's rotate it, making sure it still works. As you can see. You can see also we can bring in our pump at the same time, rotate it round all z also still works. So you can see now, rarely really easy building up these Paltz, rarely really easy to bring them in. So I'm going to close this down now. And on the next one, we're actually going to start work on our actual main house. It's the largest building. Once we've got that out of the way, we've got a few fences to build. We've got some worms, some leaves and things like that. Well, that really, really easy. So now we're on the home straight basically, I've actually modelling the parcel. All right, everyone. So hope you enjoyed that and I'll see you in the next one. Thanks a lot. 31. Starting the Main Farm House Greybox: Welcome back everyone to blend. And three, the ultimate medieval sinkholes and this where we left off. Now let's go back to modeling. So we can actually work in our viewport correctly. And then while wanna do is I want to bring back my reference and my flow. And what I wanna do is I wanted to change this reference now for perhaps the kind of the most complex part of the build, but only because it has so many pulse. It's not because it's more complex and actually creating these animations or anything like that. Since it was quite complex because of AI is actually built bulk. Anyway, let's come back to now reference over here, and let's change it out for its coal. Let's put it on there so we can actually see what we're doing. Now, this one here, the house reference. So if I double-click that, you can see this is all house reference. When you start with something like this, you need to make a point of which side you actually want to work from thinking about this reference. So the moment it's going the wrong way round. So I need to spend his reference round, zed 118 spinning around, and that's bad. This is the way that I actually want it. Alright, next thing we need to do is what we did before. Let's get our little MAN. Whereas there is, let's bring him over. Let's Spend them around as well. So we can actually say MLK, roundabout this woman, then we can start from this side. I'll probably be easiest way. So all zed 90. And then I'll press three. Not three. Control three, is it? Yeah, Control three. There we go. Let's bring this down now to make it the same size as our guy. So I'm going to press S, scale him up. Let's see if it's the right size. Think ease. Just a tiny bit too small. So let's make them a little bit bigger. Like so. Something like that tiny, tiny mall Bringing down. Let's have a look. On the right side. Near enough pathology the right sides. Alright, and I didn't want to stick to these because it's really, really easy if you do stick to these to get everything to be the scale that I've got it when we come to actually render things out and start getting the ground and, and things like that. Very, very easy then to see how things are going to fit in place. Alright, so now I want to do is we actually know that we've got the scale correct. So let's bring in a plane. I think we'll just, we'll try and get the scale Craig first before we start building rounded. So what I'm gonna do is I'll actually bring in a mesh, bringing a cube. I'm going to bring my cube out. So I'm going to bring it out here, like so. I'm going to then pull it into place. Press Control three to the size I want to, so it's going to be about this size here. I'm going to press top, come to face legs, grab this edge of material, press one, note control three, Pull it back here. Then control three, Pull it up to where it needs to go. So something like here. And then we're going to do is I'm going to extrude from this pulse, so pull it all and that's where the realistically needs to go. Now on need to do is I need to calm and put it on here to get the right actual width. While I'm going to do is I'm going to a think, I'll try. Let's have a little easiest way. Probably spit my actual reference rounds, so I'm gonna spend my reference round. So all why 90? And let's bring the reference up. Like so. And then I'm going to spin them around. So all zed. And now I should've done in the right place. So seven square over the top and pull it this way. I'm gonna pull it this way, but there you go. Now you can see that we've got a rounded by in the right place where it needs to be. Now I'm just going to pull my cube actually have, so I'm gonna grab this one and this 17 again pulling out like so. Then when we went today is I want to grab this little one right-click and we're going to manage that says at center and then do the same on this one. So right-click management says at sentencing a now, if I press Add wireframe seven, scroll to the top, you can see it's narrow enough levels. So now we know that we've got the scale just about right, which makes it really, really easy now to actually create by. So let's press said, go back into solid. And now we'll build around this. Let's reset all reference. Let's see When do we all know that's not gonna work, so I'm gonna have to rotate it around. So all why? 90? All eggs. 90. Let's see if that's the route. Wait, no, it's not. So all zed 198 and there we go. Alright, now I should be able to work from now. I think I want to start working first of all, from him while I'm going to do is I'm just going to pull this over here. I'm gonna press Control three. So let's put it a little bit lower. Getting the right place. Something like that. Let's start with that. Now let's come to our cube. And then while the result per exit, control three on that. And let's bring in some blocks now. So we can say about one blog right up here, one up here, and then going across the US. So I think we'll bring the first one in across here. So I'm going to press. A shift I bring in a cube. Then going to make it smaller. I'm going to base it around this one I've already created. So you can see that I'm going to bring it down, make it a little bit smaller, like so. Now let's bring it out over here. And let's grab the face of it. Press Control three, and I'm going to bring it out to the end of here as well. So I wasn't poking out, they end up there. Each of these now might be with that, Let's say grab it unless put it into place. Now let's think about these and I'll see you. Again. They don't need to be perfect. You can see though that I've made them this way so that all guy can actually fit through here. Maybe it's better now if we're actually bring this and just put it, refresh control three rods, abacavir. And then I'm gonna get a real good idea where it needs to put these blanks, what it's just going to speed up the process for us. I'm just gonna pray that I'm going to grab this plank of wood. I know felt this in the right place. Press Control a or transforms right-click set origin to geometry top now Shift S because it's a selected. And now when I bring in another cube, so shift day bringing a cube, it's gonna come perfectly where I needed. Now I'm gonna press guards wireframe, and now I can actually start building in the surround. So I'm gonna do is I'm going to press S, Bring it down, the one to bring it back as well. Just make sure you've probably going to want to go into object mode because you want to make sure that these all back, rather than having to pull them all back later on, when I press object, I'm going to just pull it down to here. Like so just so I can see that it's fitting back behind nice slightly like so I'm gonna probably download it like sir. All right, Now I'm gonna press tab. Come to my face. It's always the holidays bit. Just start in this hour, of course. Press Control three prices ED, going to wireframe now, unless bring it down, like so. So bring it down to the low. How they're coming down, press L unless put this one into place. Like so now we're meant to do is I'm gonna, I can see it needs to be a little bit then it's a little bit too big. So I'm going to press S, make it a little bit thinner, like so. And then what I'm going to do is I'm gonna grab that self-control free again. I'm gonna pull it all into place, like so. Then when we went to do is I'm gonna call them to the bottom of it and pull that down a little bit. So Control three again, pull it down just a little bit, like so. And now we can do is I can grab the whole thing without pressure, bringing it over. Bring it over. Then let's grab this one, shifting, bring it over. Then Shift D. We can see where quickly creating this now, so it should bring it over. Like so. Now I want to do is I want to grab this palette I've already gotten, I think I can grab it. Whereas it go There it is. This one here. Press Control three again. I'm going to press Shift key. I'm going to bring it up and pull that into place, like so. All right, so we showed if we have Loaf now go into solid, say that we've already got the beginnings of our actual house farmhouse. What I'm gonna do, I'm going to also pull this back a little bit because of the moment. If I'm not gonna pull it back in middle of them and leave it like that. But you can see the problem of boys that I need to pull this out a little bit. So I'm gonna pull that out like so and just make it look a little bit bad. And when it was, There we go. Alright, so now let's hide this reference just quickly out of the way and won't do. He's now I'll put this on the other side. So I'll come in. My house. I grew up the center of here Shift S because it's a selected come back now to this. Wooden parts joined them all together. So Control J joining them or low, control lay ultrasounds forms, right-click origin to 3D cursor, modifier, add, modify it unless mirror them over the other side, like so. All right, so on the next lesson then we can really start working. Then on the roof, we can say that this might be out a little bit. We might need to pull this all back in space. I think I'm actually going to do that now. I went to grab them all and I'm just going to pull them back just a little bit because I think they're a little bit too far on anything that looks a lot better. Now hake and then come down. I think I also need to think about pouring this. Actually sits on top of those, so I wanted just sand top of those so my hay can come down to here. And then probably going to go over that. We might not even need this part in all. At the very least, we should make it a little bit thinner. So I said let's pull it down. It sits on top of that. Yes. Something like that. Just starts poking out to where the wall is, maybe a little bit more like this because they will come down to EFN and over it. Okay, I'm happy with that. What we'll do that on the next lesson is we'll just carry on building this out. When we go out, we just then just pull the materials on our course. All right, everyone, so I hope you enjoyed that, say on the next one. Thanks. 32. Blocking out the Farm House: Welcome back everyone to blend the three, the ultimate medieval seeing costs. And this is where I left the office. And now all I wanted to do is I want to bow out the top of this root flow of it. So what I'm gonna do is I'm going to call them to my roof. I'm going to grab this one, and this one, I'm going to separate them out. So y g, Just make sure they're separated. Pay selection, top, grab them again. And now there is a one to bringing some edge loops. I'm going to press control law. Let's bring in H5. Left-click, right-click. And unless they're the same on this one, so Control off, you can click five on the number pad as well. And I'll do the same thing. Press Enter, right-click, and then you've got them both. And then they'll just wanted to bevel the sorry, bend knees in Lopez. I'm going to call them to these ones here. I'm going to make sure my proportional ends in his own, make sure it's on Smith. And then I'm just going to press S and X bringing out and then just bend them in. Just a little bit like so. I'm not showing them that way. I'm just going to hide the house out of the way. I'm going to have a look now. Not very happy without actually work. So let's try again. So S and X. Yeah, I think I've actually gotten the wrong one. So let's have a look. Medium point. Let's try that. That's an x. There we go. That's bend in which bads, let's go back. Grab them, make sure the fly again, come back to them, put them on median point, and then test an x, bring that in. There we go. Now we can see we've got a nice slope that now maybe grab this one and this one do the same thing. Just a tiny bit. Yeah, that looks much, much better. I'm very, very happy with that. All right. So now I wanted to do is I can actually come now and probably get rid of this ball here. So if I press Delete, I can get rid of that and I'll just be left with this Then while Wednesdays stays, want to call them to my roof. And I'm going to use these pods to actually create by roof. So I'm gonna come grab this edge, this edge, I'm going to press Shift D. Shift D, bringing it out without proportional editing on. Sorry. All right, so now I want to do is I want to create these into a piece of wood. I'm going to do is I'm going to press eight. Pull it like so. There we go. Now let's grab the whole thing, pull it down and you can see that it's got that flow now of the actual roof. Now on today is I want to pull it back the other way. So E, pull it back this way. Like so. Now let's just get into place. So how far out do we want to stoke out? I wanted to just a bit, so I'm gonna pull it back just a little bit like so. And then one Wednesdays I'm going to pull these pots bond. If I grab this, I'm going to pull it with police. Pull it down, like so and then do I need to pick this up a little bit? Probably. So I'm gonna grab the whole thing. Figured up a little bit. There we go. Now the one thing I don't like and don't like these end in flop. So I'm just going to call those away. The way I'm going to call those ways if oppress one, come to match, come to come to mash, come to bisect and just cut those way at an angle. So something something like that. Then while there is I'll just clear the inner, like so. All right. I'm not happy with those. I think I am now, do I want to pull this out a little bit more so I'm gonna press one again. Let's go on to normal. And let's pull it out. Slightly. Like so. Yeah, I'm not dealing with that. All right, let's fill that in with f. Then what we can do is we still got cursor in the sense. So let's split this office. So Shift S, whoops, sorry, selections, let's say control lay, all transforms right-click origin to 3D cursor. I didn't know modify. And let's bring in a mirror and let's put it at the other side as well. So x and y. So that's both sides. Trash control. Unless apply that. Let's now bring in another cube, so shift a cube, make it smaller. I'm going to sit this route on top of it. Like so let's make it longer. So S and Y pulling out. Like so. Yeah, that looks really good. And you can also, if you really want to press Tab, press control law, bringing a few edge loops, grab the middle edge loops or Alt shifting place, make sure you're on smooth proportional, I did say, and then just bringing Are you sick and bring it down just a very slight, they're just start a little tiny bit of character, make it look like it's literally bowed. Just that tiny bit. Alright, so I think I'm happy with that. Now let's come round. And what we build a noun is the main structure. Because once you built out the main structure, the rest of the building, printing a little bit saying is really easy. This is actually how you would build a house in real life. I tend to stick to that because I find it much, much easier. Alright, so I'm happy with this. I wonder is I'm going to save my wig, so File and Save. And then we're going to do is I'm gonna call them round now to this side, Let's say work on this sphere here. We're going to have a window in the back here as well. So I'm going to press Shift. Bringing a queue. Let's bring the cube to the back, make it smaller. Let's fresh one. Bringing it down to where a warm set press S and X pulled out. I want out to about that, probably a little bit too much less so as an ex, bring it in, slide, Let's pull it back now and place. We don't need to worry about this because we've got some planks of wood which are gonna be over here, but I do want to pull it back just so the planks of wood can say in here. So S and X, whole district board non-leaky needs like so. All right. That should fail left perfectly. I'm looking at the gap here. That looks really, really nice. I'm really happy with that. Now let's bring in another plank of wood. So we need to plants award. I'm in here. So what I'm gonna do is I'm gonna grab this one here. I'm going to press L and then language there isn't gonna press shift D as a bringing solve it without proportionally the denominators should bring the other one aim. And that's exactly what I'm looking for like an India, I'm going to have an actual window and then also pull these back just a little bit. So the thing is placed behind my like, so that looks really cool. Okay, so what I'm gonna do now is I'm gonna press at the top. I'm going to press Shift a, bringing in another cube, Bring it down here. Press the press warmth. Let's bring it on. I wanted level with this, probably around the same size or maybe, maybe a little bit smaller actually. So S S X into place. Like so like so. Just making sure that sits in there rarely nicely. All right, So I'm really, really happy with. Now let's work on the top part of this. One is a p squared across it. You can bring up your reference again. Have you referenced on the screen? Sometimes that's why I'm actually doing it. It makes it much, much easier. I'm gonna do now is I'm going to bring in a cube first. So bringing a cube, make it smaller, roughly the right, maybe a little bit smaller than this one. Pull it down, press one, Let's get in the right place. So something like maybe a little bit smaller. So something like that. That's an x. Just fits in place. So it's hitting me, I'm bring it out. So you can see it's a little bit smaller than this, which is perfect. That's exactly what one because we don't want she wanted to go now into this bear or anything like that. And now we can simply grab this Shift D and then all 90, shrink it down a tiny bit. And zed, zed, there we go. Pull it up. And you can see the reason why is because the globals not on properly pull it into place. There we go. And now finally, let's make the other parts. So upon going, no pay a pug grown up here. So I'm going to press Shift D. And then we're going to all, why spend it over, press the S born, bring it down and let's try and fit this into place. I'm going to fit it into that. Just making sure they stayed in place. Yeah. And I think I'm happy with that. Now I'll need to do is I can just I think I should be able to grab this, join it together. Not with, not with this one. Press Control J. And there we go. We've fallen mirror over there as well. So that's really cool. That's a really good way of doing that. Double-tap the eye. There we go. Now on the next lesson then what we'll do is we'll start working on the other side. We've pretty much called the backside Donna thing that's going to stay pretty much like not pop from obviously the chimney that we're going to create. We're rarely, rarely mulch in the long run, this one now. All right, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye. 33. Establishing a Professional Workflow: Welcome back everyone has a blend of three, the ultimate medieval seeing costs. Now, this is where we need to mirror this over the other side. So I'm going to grab, you can see that these up, all of these are really well. Now what I'm going to do is I'm going to graph this one. I'll grab this and I'll separate it. So P selection and now I'll do is I'll actually apply this mirror. So control layer, I'll grab this, this, this, this. And you can see that's Pahlavi. So I don't really want to do that. I want to grab all of those control J come to these parts. I'm going to grab this one. Selection around them again, control leg, apply those. Now I can grab this, this, this, so Control J. And there we go, got everything. Alright, so control life all transforms. Right-click its origin to 3D cursor and modify it, bring in a mirror, put it on the y, the x. Hopefully, they should be in the right place. Just double-tap the a and I'm just going to envelope to make sure I'm happy with where those are. I think they're a little bit our let me just have a look. Yeah, I think they're a tiny, tiny bow. And it's probably because this is an dying in the center of each of these, but no problem we can move those. So I'm gonna do is I'm going to press Control leg to apply that. And then I'm just going to move the part where I need to move in. So for instance, this one and this one, I'm just going to move, I want to move that one out there. So I'm happy with that. Or is it by maybe back I'm going to bring back a little bit since those bad. Let's put it something, something like that. And then while there is, I'll pull these back. Just a little Todd microscope. We can mess around with those as well. So that's no problem. On the final one, I think I'm going to just pull this one back a little bit as well. About sorry, I said that that is the basic structure of our actual townhouse. So now let's think about getting the word actually into place. So what I'm gonna do is I'm going to bring in a plane first because I find working with planes a little bit easier if you during this all why 90, spinning around. Let's bring it out. I'm gonna put it right in the top of that. So bringing it back, so it's gonna be in here. Like something like that. Bring it down. Then he was just in there like so. Let's grab the bottom of it. I'm going to press Control three, bring it down to the bottom. So we know at the moment, you can see that this is not under the flow and I really need it on the floor so I can see what marks you're doing. So I'm gonna grab it all. I want to then pull it down. These are actually on the floor and that's then gonna make it much, much easier to work with because my plans wouldn't need to realistically be in the flow. So I'm gonna come back to my plane now. I'm going to grab this side of it, pull it over to here, like so I'm going to grab this side. Sometimes you can actually grab it through or the meshes, you just won't be able to see it. So I'm gonna grab that, pull it over to this side. Alright, so that's the bit that will do is before I do any work on this, I'll grab it again. I'll press shift D, all Zed, Ninety, spinning around. And let's get this bit in here as well. You can see that it's a little bit high for this fit. We'll just bring it down festival that I'll pull it into place. So something, something like that. Maybe let's pull it down. Like so. Just pull it across. Like so. All right, There we go. So we've got both of these parts it now, now let's give these some edge loops to make it easy. So I'm going to do is control three. I'm going to press Tab and cosecant see-through where we lose press said, put it in wireframe, and then we're gonna press Control Alt left-click and just drag it across. I'm just going to Control. Left-click, drag it across and just put it in-between each of these beings. So Control Alt, left-click, left-click, drag it across, control off, bring it down to the center. Now Guy, basically a polygon here on each of these and that's exactly a while one. Then I'm going to make my wood from these, and I'm going to make my stone wall from this part. So now let's go around to the other side. So I'm going to press one. I'm going to do exactly the same thing. So Control Alt, left-click, control law, then control off into place. All right, so that looks really good. Now let's think about now split and these old because we need to split these up to make our planks award. The thing is though, before we split them up, you might as well make it easy on yourself. So I'm gonna do is I'm going to press Control Law. Bring in some plants award. So many clients who were doing something, maybe several looking for it takes him away. Yeah, I think I'm going to want a few planks of wood in here. And I'll see you can say that I'm not happy with dot top plank woods so much, so I'm going to lift them up once you're in here, you can see also the top planks of wood or actually it didn't. So don't worry too much about it. Just make sure you're happy with the size of the planet. So what, I'm going to left-click, right-click. And you can say that about seven in that. Let's try on the other side. So I'm going to press control law. I'm going to press seven. It's seven. I'm going to actually press control law and press seven on the number pad and to right-click drop them in place. And there we go. So you can say the not quiet the same height as the don't worry about that. They don't really need to be because we consult those out when we bring them into place. Alright, so I'm happy with that. One thing I didn't forget to do. Sometimes do is I should have. Obviously, mama seems, makes everything so much easier. So right-click mock seams. All right, now let's bring in some Angelou. I'm going to press Control. I will do this 1 first. And you can see because this has got a, basically a natural loop in here, it's only going to basically allow supplied slips knee, which is fine. So control law, Let's pray. I think three on each one should be fine. We don't want to go totally overboard. So control law three, controller three, and just work your way around. Remember, we're going to mirror this on the other side as well. So that's gonna make it a little bit easier. So when I got to do this work too much, this one here. Don't worry too much about I just put two in that control law because that's where the dog is gonna be on one of them anyway. So control are three. Control all three. All right, Now the one thing I've done here, which I should have thought about before, is I've put my edge loops, indiana really don't want those in. So what I'm gonna do, I'm just gonna fix up Alt Shift and click. And then Alt Shift click, I'm going to press Y G, makes sure that split. And then what I'm going to do now is I'm just going to get rid of these ones here. I really don't want them in a little bit more work, but at least you'll learn how to actually do that in case you did. I'm just shifts selecting each of these and then we just going to press Delete. And you've got one that says dissolve edges and just dissolve the edges. And what you'll find is now you still got each of these sections because we've got an edge loop obviously going in there. Alright, so we're nearly ready now to create a wooden pulse. So let's actually come in now. And we showed where you can say that we still can't split these off. I'm going to do now is I need to pull basically mark down here and split these off so we could do it. There is an easy way to do this. Instead of doing that, what we can do is you can just shift select this side control, select control, control, control, control. Then you want to do every other ones I want to shift select. And you basically just going to control select. And what we're doing this fall is just to split them off from each other. So split these blocks off from each other. We've only had to do too, and we only need to do one on this side, cipher control, select an Aquafresh, Y and G. You'll see that they're all split off. Right-click from there we go. That is what we wanted. Now we can come in and we can go down each one of these like so and split them all off. And then we can actually make some planks award from leaves. I'll grab not the top one and the second one. I'll do the same thing on this one. So, alright, so now we can press Y G, split them off like so, drop the whole thing. And unfortunately, I don't really want to do this with these because I'm only working on my planks of wood. So now's the time to come in and just split those off away from applying. So what I'm going to press Escape selection, split those up. Grandma would again, which is this one here, top, grabbed them all. And then let's press essence ED with individual origins on so S and Z. There you go. Now you should end up with something like that. Alright, so what we'll do in the next lesson that needs will actually make these based on what we've done with the bond. Exactly the same process. And then we can mirror them over the other side, do the topics. And then we pretty much got the windows and doors to do. And you can tell when the chimney ball, those those things aren't that difficult anyway. All right, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 34. Notching up the Modeling Difficulty: Welcome back everyone to blend the three, the ultimate medieval sinkholes and this were left out. Alright, so now let's go around and make these a little bit different. So what we're gonna do is I'm gonna come in, pull days on random, so proportional editing. And let's come in with Edge Select. And we're just going to do exactly what we did before. So I'm gonna pull these down. I'm actually going to try and do ff year. So you can see that if I'm careful, I can get quite a few dome at the same time to make them pretty uneven. So I'm just gonna go round. You can see if you careful. It's a very, very quick process. So let's come around the side now. Just not too much, just very, very delicate. Sir. Alright, so now let's pull some out. So I'm going to grab these. I'm gonna pull them out very gently. Like so. I'm gonna pull this one in. Again very gently. Shake it all about. So let's do this last one. Alright, there we go. Now let's shake them smooth, fair, so shapes move, let's say for alternative, move on, Let's now bring in a modifier. So we'll bring in a solidify. Let's make sure first of all, to going out the right way because sometimes they got different ways. So let's say yep, they're all gone now, hopefully. Yeah, the right way. So that's exactly why one now I don't want them too thick. So I'm just located to make sure I'm happy with a thickness. I'm looking to make sure as well, these ones here as you can see, that coming out a little bit too much. So I think while dairies and grab with the try and grab all those, control plus jump them all. Make sure you've not got any grabbed over here. I think I've got one grab their press G, take off proportional editing. You can see I've got just thought one, grab this, so just go to it, press Shift L, and hopefully then G should just be these. That's, that's pretty good. All right, Let's pull these back a little bit because there were just to fall forward for me. And I'm looking now at the other side. So instead of trying to mess around with the other side, well, I'm gonna do is I'm just going to hide those other way. Press a and now I'm just going to bring these ones are a little bit like so and now the thing much, much bad, press all tight, bring everything back. And now I should be able to make them a tiny, tiny bit thicker, like so. All right. I'm happy with that. Now, let's come in and Bevel them off. I'm going to add modify bevel. And I'm not sure that actually resell the trunk stones, they're going to reset them. So control lay, all transforms right-click origin to geometry. And now I'm gonna turn this down to no point, no one. There we go. Finally then let's say I bring them closer together again. So a, to grab everything, press one, and let's bring them close together. So like so. Unless have a lower diagonal line. There we go. That looks really, really nice. We can slightly see-through here. We don't really want that, so we need to bring them a little bit closer together. So S and said that mall close together. And that looks much, much bad. Very realistic. And that's exactly what we got in full. Alright, so the last thing I want to do is probably want to get rid of these ones on ADR, really one of those half ones on that. These look absolutely fine. It's just these look a bit a little bit of a mess. So what I'm gonna do is again, I'm just going to grab all of these. I'll always check press G. You can say I'm going to press Control plus just to grab them all and press G. And then one Wednesdays I'm going to lift them all. So I'm going to get rid of these ones. So I'm gonna come in and pressing L on each of these, and then press Delete. And there we go. Alright, so now I don't know why that one. I don't know why that happened. So let's have a look. Why did you go over that? And also show, let's try and grow up. You want to actually have about why the oxygen there we go. Because I deleted it. I don't really want to delete that one. I grab this one, so I'm clicking on it, click on this one, click on this one, delete. There we go. All right, so now let's come in and apply all solidify, apply our Bevel. And then we want to do is I want to mirror them over to the other side. I'm going to grab these comptroller all transforms. I'm going to grab these hip because I know my center point will be a nice, I'm going to press Control a or transforms right-click set origin to geometry, Shift S cursor selected. And then one minute to do is I'm gonna calm these plants. So what now? I'm going to press Control light. I'll transforms, right-click the origin to 3D cursor, add, modify it. Let's bring in now a mirror. Mirror. It should be on several OK. Yeah, it shouldn't be on the x and the y. Hopefully, sometimes when that happens though, we will probably have a problem with, you'll end up with extra parts in there. So I've got to be really careful because if I apply this now, we'd probably got a load or extra pulse because we're applying it on the X and Y and that's something we have to be careful. I'm just going to try. I'm just gonna, I'm just gonna be careful of this. I'm not actually going to do that. Well, I'm gonna do instead is I'm going to duplicate this myself. So Shift D and then all zed 118 and spinning around like that. I'm going to do it that way. And then I think it's gonna be much cleaner actually, so I'm gonna do it that way. Then I'm going to join them all up. So Control J and I need to do the same thing now with this. So exactly the same control lay all transforms right-click set origin to 3D cursor, and then shifting all zed 118, spinning around itself. And that's why you should be left with. Ok, so now we need to actually do the planks of wood in this part here. So again, I'm going to bring in a plane, so shift they bring the plane, Let's spin it round. So all x 90, bring it out. Press one. Let's press S and make it a little bit bigger just so it fits in there. This next, pull it out. Like so. And now let's bring the top of it. Someone press one again. Top, grew up the top. And that's pulled up to that. Alright, now I want to do is I want to actually create my plans towards plants. So we're going across this way. Let's do those. So control law, Let's bring a few when probably not many actually, I'll make them a little tiny bit thinner than the ones below it. So left-click, right-click. So I've got these planks of wood here. And now I want to right-click and I'm going to mark my scene. Now. I want some plants weren't going up this way as well. So I'm going to press Control Law, bring them out. Probably. Yeah, actually they look quite nice. So left-click, right-click. These is what I'm looking for, these going up here. So I've got to be careful though because I don't want to yeah, I love to mark some seams done and then split them off. So I'll have to do the hallway, right place mock scene. You should end up with the mess like this. Don't worry though, because we've got to fix it. All right, so what we need to do now realistically is we need to call these away now. So I need to cut this going all the way up here. So let's do that now. I'm gonna do that is I'm going to press a wireframe. Want me to do is I'm going to call this a wafers because I wanted to call exactly the same along here on the longitude, we could mirror it over the other side, in fact, won't give up. What we'll do is we'll simply just couldn't from it and then put it for me and we'll do it the easy way. Alright, so how do we do that? Well, let's come in first and we'll press K. And that brings up the knife tool, come to this corner and then just basically comb, try and follow where the actual, you can see where these into joining edges go. Try and click on those if you can. It makes it a bit easier. So then you can press Shift middle mouse and moving up. So again, I'm going to try and comb to where this is interlocking here. And I'm going to come down to here, come down to maybe here, and finally, come down to the last one here, press the interval, and hopefully you should end up with something like that. Now there is a problem. Normally I would mark a seam on along here. I think we will do that. We'll right-click and I'll Marcuse, and you can say I'm in face-like so I need to press Control a to market seen Gaussian marked on that. Let's press one now. And then what I wanted to do is now I want to cut those all the way. So I'm gonna come in, I want to grab just this one here. And then when I went to do is I'm going to press the seaborne. And now I'll bring up a circle select, move your mouse a little bit out so you can select them all. And then I'm just going to go in now and see if I can just cut that way all the way up. Like so, making sure that I've not gone on this bit as you can see, just following the old, just making sure I'm happy with it. And then I'm gonna come now to the other side. You have to right-click, take that off, and then you can press it again once you've moved and do the same thing on this side, making sure pretty clean like that. Press the yeah. I'll get the rest of them first actually. So yeah, the rest of them can say I miss one then looking down, make sure it's clean. And then press Delete and faces should end up hopefully with something like that. Now, we can see that all plants they need to come up to here, let's say we need the splits off. So again, I'm going to use say, gonna come to here. Then when I went to do is I'm gonna press Y G, split them off. And now I can do is I can actually, well now they're all splits off. Now we can actually use the ones that we need. So we really don't need these two little points in here. We don't need those old, so let's get rid of them. Delete faces. The other thing is, I need splits off these actual planks of wood now. Just go way, way too many. The edge loops going up this way. But I think for now, I think we'll keep them. I think it'll make it a bit easier for us anyway. Now let's come in and split these off. So I'm gonna come to the n1, come to the last one, and then know where my way up. So Shift-click, control-click should grab it all the way across. Shift-click, Control, Click, shift, click. Nope, that's the last one. Actually, it stops here. So now if I press Y, G, split those up, and now we should be able to split, these should all be split off. So if I come in now, impressive way that select, you can see now they're all split off. I press P selection tab. There we go. That's split off from those. Let's now compressing zed come into solid. Now let's split these ones off as well. So if I come to these now, I'm going to have to probably go into wireframe again onset. I need them going on basically these ones. So yeah, I'll go into wire-frame on small under it that way. So Zed wireframe. Then we'll come flips and split these up. So I'm gonna call him, grab this one. We're going to shift select Control, select, Shift select, Control, select Shift Control. Why g? Now tap and they're also slow, so Zed, solid. And now what we'll do on the next lesson then is turn these into plants award live. We've done these ones and then mirror it over the other side. All right, everyone, I hope you enjoyed that fit of a fiddly one. On the next one, you'll really start coming together. You see on the next one, Thanks a lot. 35. Working with Ambient Occlusion: Welcome, like everyone's Blender 3D ultimate, many of our scene calls and this where I left off. Alright, so now let's do these phosphates. So we've got these, let's split them all blind. We'd been doing all the way along. So if I press one, press Tab, grew up these, now we should be able to shrink them down. So I said about the mole, and that's exactly what we're looking for. Now let's come in and just move them around. Like so, just to make them a little bit uneven. Alright, let's then pull them out as well. All right, So there we go. Now let's come in and press Control a or transforms. I'm going to right-click and set them to the cursor because I'm gonna pull them over the other side anyway. So right-click. So origin, 3D cursor, add, modify it and come down to solidify. And let's bring them out. Bring them out this way. Like so. Then let's bevel them off as well. So I'll quantify it. That will where are you? There you go. No point, no one. You can see they look in a little bit. Misshapen are nice because we add shapes, move and also, and move on. There we go. Now let's put these into place where they're gonna go. Sorry if I press Tab S and Z. Without that, S and Z, pull them back together, top double-tap. And there you go. You can see just how easy it was to actually do those. All right, so now let's do these top ones. So we're gonna come to, I'll talk ones. I'm going to grab I think I've actually gone bankrupt that I don't want to knock, grab them all. And then S, Let's see, S and X bring them closer together. And again, just the same thing again, we're going to come in to this one and move it over with most lended denom. So let's move it over very slightly. Let's pull them out very slightly when you pull them out. And now again, control all transforms right-click cell origin to 3D cursor, add modifier, bringing in a solidified pulleys. Pulleys. We go pull them out. I'm trying to make sure that they're round about the same out as these ones. Which I think may all. Let's bring in a level. No point, no one. Alright. And I think they look really nice. And that's again a, unfortunately it's no snakes pull them together. People, it's healthy. I have a little round. There we go. How easy was that? Alright, so now let's apply those. So Control a, Control, a, Control a, Control a, join them together. So Control J, Let's say smooth them out. Associates move, put an auto smooth. There we go. We should have already have the origins of these to be a toxicosis. So now we shouldn't be able to just come in and modify it and bring in a merit rounds to the other side. Blank, so good. What's up? There we go. That's looking really, really good. Now I think at this point, probably that Ralph bit bold, probably with built in this. So probably better off bringing in some materials. The name carried out with a belt. That's probably the best thing to do. We've still got mirrors on here, which is good because we aren't granted in Arizona there actually, I should have kept them on religion sample. I didn't. Never mind. We can go in and do them in little bits at a time. Alright, so welcome. Make sure raw material and mobile during is I will come to the bombs sphere. So I'm gonna grab all of these. So I'm going to press U and smart UV project and then we're going to bring in our stone. So if a com to all material, which is this one, I went to make new material stone. Let's go to our shading panel. Zoom out a little bit, click on My friends bulk Control Shift T. And let's find our resources. So I enhance, I click pulp calm then to stone, shift, select, Shift, select. Principled bringing them in is actually the wrong stones, so we don't want that. So I'm just going to press Control zed, It's not the right stone. Press Control Shift C. We can see it. If I go back. This one's called stone and we don't actually, well nine we want the one that says wool will shift, select shifts like and we've also Stonewall occlusion. We've got an occlusion here as well, so we might as well use that. It won't come in when we face bringing in another way. We've got six textures here, not five textures. So I'm gonna show you actually how to use that. So bring them in principled and you'll end up with something like that. The reason you end up with it like the actually is because it's trying to bring it in with the occlusion as the actual base color. I have a minus itself. And then I open it again, come to mobile and bringing this one, the color. Now you'll say it looks back much. You just want to check something if I unplug that. Yeah, there we go. That's what I'm looking for. I'm just making sure that the normal moms actually awake and let's flip that back in. Now you can't see, we'd have no problem in that. These are all going the wrong way. What I'm gonna do is I'm gonna call them to my UV Editing first. And then I'm going to spin all of these rounds. So 890, let's spend them round. Let's also come around and make sure I'm happy with the size of the stones, which I think actually they're a little bit too big. So if I make them a little bit bigger, and the other thing is just make sure that the stones underneath, they're actually not halfway. So in other words, it just underneath it. It doesn't matter so much about the stones on the bomb, although you can't fix those by pressing S Y, just bringing them in like that and then moving it up so you can press G and Y, holding the Shift and bring them up to make sure they're a little bit more level. Now, as you can see, where the soul is going to come up against these stones anyway. Alright, so I'm happy with the way the stones are the moment. Now all I need to do is go into my shading panel and just change them a little bit. So we'll do that now. Let's add on over to our shading panel. Let's make sure we've got our actual EV on. Now I'm looking at what these look like. Alright, so they look a little bit light to me and they are going to look a little bit lighter because we haven't actually gone occlusion now with a stone walls and things like that, It's really a good idea to have an occlusion map included. So I'm just gonna move this over, move my principled over, and I'm going to grab my base color. I'm going to press Shift day, bring it up. And you can actually come in and change the name of this. So if you come over, press the N open now you can say it says label, base color. Let's just change that to weigh. So AO, AO map either way you know what it is now. Then we want to bring in is you want to bring in a mixed RGB. So Shift A Search makes RGB drop-down there. And then we want to multiply this. So click on where it says mics come to multiply. And then what we're going to do is basically multiply this over the top of the colors. And now if I drag my color into the top, dragged my color of my A0 into the bottom. Let's set this to no, 0.792. Then finally, let's plug this now into the equivalent. And you should end up with a much, much darker wall. And this is really, really now great control. Can you see how it's actually doing that? You can see it's not so much game rid of. You still got these light pulse on the year. It's dark and in the end parts of them rather than the whole thing. And that is exactly what we want. Alright, so we're happy with that. Let's put it back on no, 0.792. Then we want to do now is we want to work on all wooden parts on the other side, basically one window. We, instead of doing that, I'm just going to grab this delete, grab this one, Shift D. Is that, so for that, whereas my actual sensor hoping my sense is here. So Shift D and then zed 118, spin it around and that's not done. Alright, that's an easy way of doing it. Now let's do this one here. So we'll do these. We might as well do these, just didn't chunk, so just the normal wood. So again, we'll do though instead of adding that material longer engineers, I'm just going to click my down arrow, bringing my gray click the down arrow. And we're going to use the wood light, would light this one here. And then what I'm going to do is I'm gonna go back now to me UV editing. I'll come to this 1 first and then I'm gonna make sure I'm on edge select. And I'm going to grab all of these. I'm going to do to it, Thomas, and I think that'll be enough. So grab two at a time. You smart UV project, okay, men 90 and then u, v pi CG-islands. Just to make sure that pack, click Assign. And there we go. Now let's do the next one is, and hopefully it should come out a little bit different demand. Now, you can see on these, I can see through them. Hoping might need to move these over. As you can see, we'll have loved ones who got these in, but they might need moving overload it. I think they will do that well with us. So S and why? On medium point this time I'm Indian Point, press three. I don't know why that's actually happened, but never mind S and Y. Move them over a little bit. Let's press Shift Spacebar, bringing our move tool, move them over into place. And then I'll just grab these and I'll do the same thing. So I'm just gonna move this over. Move more into position, and then pull them out into place. All right. I look sick. Got again. I'll fix it because let's just say it's gonna be going through probably to a number of bills. So you smart UV project like Okay. Hey, all 90 UV and pack islands. And let's just see when I assign these, if they look different, so I don't want them look the same. And you can say that actually looked different except maybe this one here. So I'll do is I'll just grab this one and Y, pull it down a little debt, and there we go. All right, now let's come to the next one and do exactly the same thing. I'm going to go round the corner and do the same thing on here. Impression you project, smart UV project, click Okay. Spend the amount again. We could, instead of doing all 90, we could do minus 19, spend on the other way, and then u, v, and it spends them around. So the other thing you can do is you can come up to where he says UV, Meredith, and just mirror them on the x. And then that's another way you can actually get away with. Mirror them around. Alright, so they look really cool. Let's do the last one then. Like so. Unless fresh you smart UV project. Okay. 90 UV part Carolyn's, then assign light would make sure they look different. And there we go. Come on to file and save it out. All right, so on the next one then we'll just carry on. I'm probably going to delete these and just spin them around, making it a little bit easy because we had those problems. Probably those problems were caused by the way because we actually Meredith over so I'm actually just do these on their own. I think I'll do it that way, make it easy. All right, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot tonight. 36. Creating the Chimney Greybox: Welcome back everyone to blend the three, the ultimate medieval seeing costs. And this is where we left off. Alright, so what we're gonna do now is back on the road to actually do in May. So I'm gonna grab these two. I think I am going to just suck it up and leave them. Not actually just duplicate them. So a 90 UV pick islands, assign the light would like so There we go. Alright, Where can our way along every so the reason we're doing too, by the way, he's just so we make sure that the resolution of the board is the same old way around. In other words, if we have these really big or really small, it has a real impact to now the actual wood block. So you smart UV project, a 90 UVA package islands unless assign. Okay. Is a look in the same note, they're looking different, so that's fine. Let's do these ones. We're going to come in. You smart UV project, a, 90 UV pack items are assigned. There we go. And now the last two of these faults, you reject, okay? 90 UV, CG-islands sign. We go. Alright, really happy with that. Now, let's come to the other parts. So we'll do the actual roof. Now, what we'll do is we'll press Control H all transforms. Then we'll actually shades move and then we'll plot are also moving on to get rid of those lump the lines that we have there. And then what we'll do is we'll bring in our plants would, so I'm going to come to my material down arrow should be on the planks. Planks of wood. Tab you smart UV project. Okay, Let's Spend these around now. 90. Let's make them smaller. So S no larger. There we go. Alright, That's looking good. I mean, they're gonna be hidden in any way. They're just there to show rarely. Now let's come to next pulse again. Just want to make sure that I've got no mirrors on or anything like that. And now I'm coming into this, the main bulk of this you can see here we have a, I'm just going to press Control Z, joined that together, Control J, hide out of the way. And now I'm going to come to the rest of it. I went actually apply m, sorry, I apply this mirror and then joining with this. So Control J and then press Alt H and then hide my reference on the way you don't need that. Joined them now altogether. So Control J and then G, and then should be left with something like this. All right, so now what we can do is again, we can press Control a or transforms right-click set origin to geometry. Now let's quickly start wave committee. So if I come to this top one, I want to unwrap this separately because I wanted to give you a lot of space. Actually come to my little lab material, I'm gonna click down arrow, I'm gonna pray on gray. And then I'm going to click Close down. And we're going to have this on the wood, wood main, this one here. Alright, so we've got that. Now let's press you smart UV project, okay, 90 UV and islands. There we go. Now we haven't we need to assign it. There we go. All right, that's looking nice. Now, let's hide this one on the way and then work on the next one. So I'm going to grab all of these, this, this, this, this, and this pressure you smart UV project. Okay, let's see if these unwrapped where I, we might need to split these up and I think it's going to be the case. Yeah, they're not gonna rock, correct. Live out. So I need slip these also I want to do is Alt Shift and click, right-click mock seams. And then I'm going to grab this one in face-like L and then y, g, split them all. All right, now let's see if they actually overlap properly. So I'm gonna come in, I'll actually do the same thing on there as well. Models, we'll do them all at the same time. So right-click, Maxime, face-like. Grab this one, L, Y, G. There we go. Let's come in now. Save these actually all around bad. And while they did, so l, you smart UV project, okay, and there you go. 90 UV islands would mean click Assign. We go. Beautiful. Alright, let's hide. That was out of the way. Let's come around to the other side now and we'll do exactly the same thing on these. So L U Okay. Let's will leave those, we'll just pack them so Islands. Sign them either way. Now let's come to Let's do think we can probably get away with Elise. Go grab that one needs you can see by mistake. So I'm just going to grab this one. You want UV project. Pretty much a rinse and repeat. It's all I'm going to do now. This particular Paul, I'm going to split this though, probably into these and then the two larger ones. Let's see if we can get away with. So sine planning. Go away with actually look absolutely fine. So let's come in and grab these. But what do you can't see is the actual limb. The way we do this now? The workflow, just extremely fast and you can see how easy it is to put these buildings together, doing it this way. Using lenders, ultimately wrapping based layers, what it is this smart UV projects. It's always been that I think it's been improved over time, to be honest. Um, and as I say, I wouldn't use it all the time, but I would use a F always doing something like what we're doing here. Because I think it's speed up the process immensely. And as long as you already know how to mock scenes and UV unwrapped correctly, There's nothing wrong with the avenue. A quick way of marking things down to the final wouldn't know. Uv pike islands. There we go. Now we've just got these pods to do now. So a thing and I got away with doing all of this one, I think it can. Let's see if we count. So you won't use for your project. I just need to check base to make sure I can get away with all these thing. The problem is what actually has happened in ase needs takeoff the same. So I'm going to clear all the seams of that grumpy again, you Let's see if they actually interacted with them. Yeah, Now you can see it's much, much cleaner. Now what we're gonna do is we're going to go down. I'm going to bring in the woods. Just typing board would lie. There we go. You can see we all need they will need spinning round, so a 90, spin them around UV, CG-islands tab delta tough the AI. Let's put it all material. So it can actually say, There you go. You can see really, really nice. You can see we've missed two here. Let's come in and I think they've actually been they've actually been in RREF. We just didn't assign them. All right. Good job. We sold those. And then yeah, they've been married anyway. All right. I think find double-tap the eight now. We pretty much don't know on the base of that. So that's actually gone quiet false. Now we need to do is we're actually need to work on the actual chimney. Now you just need to decide that this is nicely, So you need it on this side, this is going to be where the chimney, Let's say let's crack on with our chimney. So what we'll do first of all, we're bringing a cube. So shift day, bring any cube. Now fold this. You might very well want to use your actual reference. So let's bring in our reference. If I press Alt H and bringing them or reference, one just needs to do now is I just need to align it all. I can say that I need to spend this round, so put this on the other side. So all zed 180 spinning around and then just bring this and what you're trying to do is just line this up. I find bring this for instance, just to that press Control one, is it no, control 33. Is it three? I don't know where I'm gone. There we go. Yes, I am. It's just very confusing with it being there, but let's pull it down. Just aligning to the bottom of that. And you can see now where he's actually going to call it. It's gonna come here. Let's pull it out a little bit. And hopefully you can see now they lie no, narrow enough Perfect. So we can get this now where we want it. So let's bring it down here. Unless press S and wine, play out a little bit. Unless now look how far that's actually out. You can see it's a myeloma and we don't really want last, but let's deal with the height first. That'll be easier. I'll come in, grab the top of it, like so three and I'm gonna pull it up. I'm going to press E just to extrude it. I'm going to press S and the only one coming in on the wide because I wanted to keep the I don't actually want it bending in this part. I'll do I you might want it to I'm not so sure. I think I want it quite flat going up. Let's have a look where actually it looks like we do bend it in. So if we do in this part in like so I was told to you if you want to live that you might want to live that? I don't think I do personally. I think I'm gonna keep it alive now. I might change my mind, but we'll have a look. Okay, so let's press three. Press E. Let's press C again. There we go. Now let's do the final. So it's so Alt Shift and click. If I'm not gonna do that again, actually, I'm going to just hide this out the way. I'm going to bring this in Fez to where I want to is way, way too thick of the moment as you can say. Let's grab this and bring it in. I think that's about the right thickness. And I think if I brought this and as you can see, I think it would make it a little bit too thin and that's what comes in me. I think the one thing that we can do if we press Alt H and look at our reference one small, so I'll take a look at our reference. Yeah, that's how far it's going in as you can see. Sorry, it's going in. It's about that we could bring it in a little bit more thing. I'm just going to move my reference. I'll come back to my chimney, press the top. Maybe just pull it a little bit more, making it a little. Yeah, I think that looks just a tone bend. I'm happy with that. Now let's come into the top. I'm going to press Alt and tests and just pulled out probably a little bit too much. So I'm just going to press Control Z alternate, went out to shift just to pull it out. Like so. Yeah, nothing that looks much, much bad. Alright, now let's make the actual chimney. So what I'm gonna do is I'm going to press, I bring it in, then I'm just going to illustrate it down. So e, bring it down. Like so. The final choice where you could do, I guess, as you called, Alt Shift and click and grab this. Pull it up. Yeah, nothing actually makes it a low-pass, so I'm happy with that. All right, so in the next lesson, what we'll do is we'll get the rest of this bill done. We'll get these parts, don't, we'll get the the Boolean that's gonna go in here and just finished building this out. Of course, we've also got the witness to pull in and we've got the actual layer, the steps and things like that, that need doing bulk. We rarely, rarely get on with this now and you can say it's really coming together. All right, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot online. Okay. 37. Working with Booleans: Welcome back everyone to blend a three the ultimate medieval seem calls, and this is where we left off. Alright, so now let's first of all make our Boolean. I think that's gonna make it a little bit easier on us. So what we'll do is, I'll, first of all, I've got my cursor, as you can see it on my orientation. So if I press Shift S testis selected, and I'm also going to go into modelling while I actually create these, just gonna make easier and I can see a bit more. I never presses three I think is hide my reference. And I can see exactly wondering, alright, let's press Shift and we'll bring in a cylinder. Comes in 18. I think actually 18 should be absolutely fine. All why 90 spinning around? Let's make it a little bit smaller, Something like that. Basically what we want to use this fall is to actually put all our logs inside and things like that. We wanted to commend probably just below this halfway point. So I'm gonna pull it down a little base, so somewhere around here. And then what we wanna do is we want to actually cut this way a little bit. So what do I mean by that? I mean, let's get rid of this side. And this side, let's first delete faces, and let's now come to the halfway points which is here, and delete faces. And then again L, delete versus now let's call these parts. Let's press three just to make sure they are level which they all, let's press bring them straight down with Z just to make sure they're on that z-axis. Let's press F to fill them in. And finally, now let's fill these in. So grab this side, press the F4 on this side with all shift click press the F4 on top. Now you should be able to pull that into place. Now you want it to come. So it's not actually going through the wall. Of course, you don't want anything live out, but he wanted to be long enough to make sure that you've got logs in there that look realistic. So we might have to bring it up. You can see probably you can see there's a bit of what that poking through, what don't want that would poking through. So once it through, Joel's talked to the board, probably something like that. I'm probably thinking I need to pull this out just a little bit. So I'm gonna do that one we're gonna do is I'm going to grab it from here. I'm going to press Control T here. And I'm going to press Control click to here. And I'm just going to pull it out slightly like so I just want to make sure there's enough room in there. So it looks realistic with an orthologs and things stored in there because it gets too thin, the lobes would be really, really dinky and we don't really want that. So now let's come to this park. I'm going to press Control leg, all transforms, right-click origins, geometry. And now we're gonna do is you're going to actually bring in a Boolean modifier, Boolean, grab your cylinder. There we go. Now let's apply that with control. Let's call him to a Boolean, delete out of the way. And you should end up with something like that. You can see it. What a sad about this plan curve would molar I'm going to do is I'm gonna come in, I'm gonna grab, press Alt H actually grabbed this plank award. I'm just going to delete it because I really don't need this one anyway. So delete that says, There we go. Something like this. Alright, let's get some materials on this straightaway so we can actually see what it looks like and then we can put some wooden planks and things like that. So what I'm gonna do to make this a little bit easier, I'm actually going to grab this. I'm going to press Shift H to hide everything else out of the way just so I can work on this a little bit. I'm just gonna make easier as you can say. And then one we're going to do is I'm gonna come in, grab all these going all the way around, all of these going all the way around. I'm gonna right-click a magazine. I'm going to right-click, Right-click mock scene. And when I then take off the seams on here and here, so right-click placing. And then I'm gonna also delete the Bulmer. Really don't need that. Delete faces. Now I went to there, I'm gonna see if this actually unwraps correctly. Let's see if it does. We might need to actually bring gain and other see, sometimes on things like this, you can actually get away with unwrapping a with smart UV project. It just won't harm wrapped correctly. So one wins. There's instead, I went to my seams out. So Alt Shift click, right-click, moccasin, and then I'm gonna come down, grab this, grab this, grab this right-click boxing. And hopefully now that should be an all to unwrap. Sometimes it is, sometimes it's not. Now, probably not the same in here as well. This one. And now I'll try right-click boxing. Alright, so let's see if that going on right now. So what I'm gonna do is I'm gonna come in without L, L, and L. And I'm basically just grabbing these from here. Now you can see I do have a little bit of a problem in that this is bending here. Now, I know this isn't the wall. Well, I hope it's in the wool, but still I want to straighten now just a little bit before we actually carry on. I'm gonna press one. I'm gonna pull this out just straight up a little bit. I think it's in the wall, so I don't think I'll be a problem. Let's go back in and grab all these now. Like so, let's press U and just UV, unwrap it the normal way. And let's now go to UV Editing. Let's zoom in. So first of all, a DLT zoom in and let's see, well these are actually going to round like so what I'm gonna do is we want to bring it down. I'm gonna put them gray. And then I'm going to click the down arrow. I'm gonna put this on wool. We don't have any cobalt. What's it called? Stone, is it because we need to change up? Yes, it is. It's called stuff. So I need to change that. Let's assign it first, and then let's rename that to instead of stone. I'm also, while I've got this, I'm going to right-click and I'm going to mark as I said. Okay, so now I'm gonna do is I'm just going to look around and make sure that they're all going in the right way and you can see it not the null. We can see that these, all these ones rounded, definitely not. So I'm gonna grab this, I'm going to spin it around. So all 90 g, I'm just going to put it near enough level with the others. Just sorry, it's kind of leveled off as you can see. The other thing about this is we haven't got bevel on yet. So I'm going to bevel it all file. I'm going to bevel it off on my own. Now the VM re-uptake, so I'm just going to Alt Shift, click, Alt Shift, click, Alt Shift click, and now try bevel on it. So Control B. Let's see what that looks like. And you say now that actually looks really rounded and quite nice. We didn't really want it straight too much. And it all fits together is while you can really, really calm, see how the seams mall there anything left eye, it's actually gone really well. All right, so now let's call also right-click Shade Smooth unless bring gay and smooth. And now we can actually own wrap this fall here. So I'm gonna come in and grab it with you on Ralph. Let's say, let's say Arial. Click Assign. There we go. Now we can say that, that way, way too small. So let's press a, we bring them out a little bit. Just try and measure them. Be round about the same size as the one on the outside, like something like that. Now the other thing is I want to press Alt H, bring back everything else because you can see that these breaks that rarely really too big in comparison to be able to. So we need to make sure that they're correct. So what I'm gonna do is I'll just come in, grab the whole thing like so. And then walking there is a compressive S Now. Bring them out and just make them a little bit smaller, like so. All right. So then more in line, there are a little bit bigger, but they probably would be a little bit bigger because we're actually building a chimney. So we've got to make sure that all right, Let's come to this bike. Well, now, grub dot on the route, and there we go. Let's click sign on the wall. Let's spin it around. So all 180. So we go to the right weight. Let's press S. That looks really, really good. The last bit now let's put in some stone while the result grab all of this going all the way around with hold shift and click Control plus Control plus Control plus. And it's going up to there, which is fine by me. And then while I wanted to do is I want to bring in a new material now, new and I'm actually going to call this one stone. And that's why I changed the name of the last one stone. Let's go to Shading. Let's zoom out a little bit. Control Shift and C. Let's come to where it says, Well, we've got one that says stone here. So let's bring that in. Select Shift, select principled. Zoom in on this because I've got everything selected for some reason. So I'm just going to click select delta zoom in, and there we go. Then one way to do it, I'm just going to sign this as stone when it comes to you. And I'm gonna small UV project like so because it is stone, you never going to see the difference there anyway. Alright, double-tap the. There we go. Looks really, really cool. Let's now think about we need some blocks in here for where our logs are actually going to be stored. So let's say Come in. I'm just some, just something very simple actually. I've got my cursor in there anyway. So I might as well press Shift day, bringing in a cube, press the S BAD. Go back to modeling because I'm not gonna actually, I didn't emphasize the moment on these because I wanted to be doing the rest. I'm actually going to also high vowel the white. And then we go and then compress three and put these into place. Now the logs hold is I wanted to be a little bit smaller than this. And they're going to go in the sun, the wool like so. I'm going to press S and X, hold them out, hold them back into the wall. I'm gonna grab my mom, bring him around because I've gone out in the air how big the logs needs to be. So it can actually say from this man studying whether these are too thick or no, whether there needs to be pulled bit lower. I think that looks about right. I actually now I'll do is I'll press associate day. I'll bring you over to the other side. Stick it in the wall, like so. And then I'm going to press U to bring in a cube. And then S and Z, like so, and then S and Y. Let's stick it on top of it. We go, so it's level on there and then pull it back. Now let's put a little one in. So Shift key, bringing another one. Alright, that looks really good. Let's grab not all my unless grab this, this wooden faces. Press Control J. Let's press Control a or transforms right-click region to geometry and modify it, bevel null pointer. Let's apply that with control. Let's press tab, grab everything. You smart UV unwrap. Let's bring in all Maine would would spin them around. So a 90 UV pike islands dot zoom in, top, double-tap the eye. There we go. All right, I'm really, really happy with ABA is coming along. Now in the next lesson then what we'll do is we'll build this kind of shelter where he's going to actually coat the planks, award and things line up. All right, everyone. I hope you enjoyed that and I'll see you in the next one. Thanks. Bye bye. 38. Planning out the House Shelter: Welcome back everyone to blend the three, the ultimate medieval sinkholes and this were left out. Now I just noticed that I'm actually got some markings on here as you can see. So I'm just going to change those actually. So I wanted to come in and grab these and just have a look why that is. So then it looks like they're just probably just need moving up. So I'm just gonna grab them, shrink them down just a little bit and then move them up somewhere else and safe. That's got rid of them which has knocked. So I'm just wondering for several of Sica is not actually those as you can see if the other one so I'm actually just going to put those back and then I'm going to look at which ones they actually it may be this one. Let's see if it's this one. Yes, it's this one. You can see the reason is because it's actually split this up into two parts. So let's just see if it's that one as well. Yes, it is. All right. Let's come in and let's see if we can unwrap this one a little bit better than where it is. I'm just going to press you smart UV project. Click OK, and then a 90, spin them around UV and pack islands. Let's turn off rotate again because I've loaded up my lambda. And there you go. You can see they're just a tone band now sometimes that happens and you have to go in and actually fix them the same for these, as you can see. We're just gonna read them, wrap these smart UV project. If you see anything like let's just make sure you fix it. Because obviously we're gonna make taken this through the scenes and things like that. So you might as well fix them when you see them. I'm just going to pack items again on this one. And now that one should be fixed as well. Alright, so now let's create our actual shelter. I'm gonna do is first of all, I'm just going to build it out the same way as to do everything. I'm going to put my guy here. Remember it's going to have a tree stump here, is going to be of an axis, is gonna have some logs down here. So it needs to be a shelter where he actually caught ward base layer is worse than I felt. So let's command and first of all, I'll bring in a plane as I always do, just to get the sizing of our wants it. I think the size will be probably from here to here, something like that. I'm going to press S. Why pull it out? And then what we want to do is I'm gonna pull it all to the height, which is probably going to be something like that. With this, you don't want to actually too high, it would be fairly low overhanging. Alright, so the next thing we can do is press tab, come to the edge loop here and just pull it down. Now I'm looking to do is just pull it out to the size that I actually wanted to. And it's probably going to be something like that. It can imagine the range of benefit your wallets chopping up here doesn't have enough room on the hair to chalkboard. I'm thinking that if he raised the Naxi probably would have quite enough room. There. All the things that you need to actually be looking at when you thinking of doing this. All right, so now we've got that we can actually start building the house. So the first thing attempt to do is we'll suppose so I'm going to actually grab the whole thing on the impacts not well, I'll just grab this idea. Press Shift S, cursor selected Tab Shift a, and let's bring in a cube. Let's make the cube smaller, and then I'll bring it to this side here. I'm going to make it a little bit. And then because it doesn't have to actually be that thick on these because it's obviously just hold it up there so it's something you will have put together on his own actually. So you want to or need any help to build like the top of the house or anything like that. All right. So let's pull this up to something like that. Then while I tend to do is I'll do beside now. So Shift D, spin this around. So all why spinning around, bring it up to where I actually once it and now I can actually make this smaller ones. I've got this in place. I'm going to put these on top of that rather than this on top of that. I think I will I think I'll do it that way. What I mean is I'll pull it down here. Spin it round to narrow enough the right angle, pull it down, then you can say it's going to have to be pulled back into the wall as well like so I'm just checking my angle out. Why? That looks about right angle. Pull it up. It doesn't have to be perfect, of course. Now the next thing we want to do is I need to think, don't want this overhang in and this part not overhanging. So is this, it would probably bet this walls over the top of this, it would just be stronger. So we have to think of that when we actually do this, what I want to do is I'm going to grab the whole thing, press the button, make it smaller, then pull this. So it's actually underneath like that. So you can see now that this, this has been supported by this piece of wood here. And that's why I'm saying it's probably gonna make it smaller. I'm going to actually hide my bottom out, grab the ball me, and then just pull this down just to make sure it's in the actual floor. All right. So I'm happy with that. So thought I think I am. Now let's do the next support. So I'm going to again grab this, I'm going to press shift D. I'm gonna pull it back, press the button, and then just spin it around. So all y. And let's just spin it around. And it might obviously need to make this smaller as long as it goes into this here, this is where I'm looking to put it in because that then is a perfect support. You can either have it in the top of there. That would be a support or economically in kind of like this. That's also a good way to support things and what they would have actually done. I think I'm going to put mine into this. I think it's probably needs to be a little bit wider. I'm not sure about the thickness. I think the thickness should be fine. So what I'm gonna do is press S and X is not coming out on that. I don't know why it's doing not necessarily assume y, there we go. That's better. So something like that thickness, I think it's gonna be fine. And now let's do let's pull this down first. If we pull it down and it can stop near the base, I'm gonna put this on my normal. You can see now that follows that way now so I can pull it into place if Adobe's properly like so. And there we go. Let's dive in place. Alright, so now we've got this. We need a palette that goes probably the bark, probably in the middle and on the front as well. So let's put this over the other side first. So we've got all of this join, Let's press Control all transforms, and then right-click set origin to 3D cursor because we know that's in the center. Come over Adam, modify it unless bring in a mirror. Let's put it on the y takeoff the x, and there we go, We really cracking along with it. Alright, so now let's bring in the other pieces of wood. So while I've got my cursor in the center, shift a, bringing the cube. Let's make the cube March smaller, and let's pull it back to where it needs to go. So in this part here, like so and don't worry because the plants Award are going to hide the top of that. Just make sure you're happy with the actual thickness. So I'm going to press S and Y, pull it out like so, and then just pull it down just a little bit. I'm also going to save our work as well. Don't forget to save it out and then just make sure that the bottom of it is in there. Like so I don't want it poking through or anything like that. I'm actually thinking I'm going to rotate text all in white. I'm just going to rotate it a little bit like, alright, now I'm going to use the same piece of what's on, which is press Shift and date. Let's say I'm still a normal mechanic, pull it down. Now we count bytes, it's a bit closer. So I'm gonna put this piece in the middle. I'm gonna have this pace a little bit smaller, but before I do that, I'm going to press Shift D and bring it forward into the front hand. I'm going to have this on the front lines, so that's really nice like that. Then I'll just shrink this down and then pull it out, like so. All right, I think I'm up here. Now. One thing I need to do is pull this out now. So I'm gonna come back to this part here, grab the from and just pull it out so it's overhanging. And then when I went to do is I want to split yourself now. So Control. Left-click, right-click, Right-click, and we'll mark a scene and then control law. Let's make our plank wooden planks of wood. Left-click, right-click. And there we go. Again, moccasin, like so. And now we'll do Control. Three, left-click, right-click, control law to left-click, right-click. Alright, I think I'm happy with that. That's gonna look really nice. So these are the planks of wood, of course. So now what we need to do is just come across and grab all of these. So if I press C and just go across all of the bottom ones, split those up with Y, G just to make sure display, I always do that. And then one went to do and I split each of these off. So I'm just gonna go LL every other one might we've done all the way through the process of building these and then press Y, G just to make sure. And then a. And now let's have a look at how they're gonna look. Now you might want these pieces of wood to overhanging a little bit on this side, we can actually really do that if you want to. But for now what I'm going to do is I'm going to press S and X and bring them in, making sure, first of all, among global and making sure that I'm on individual origins. And I'll press S and Y, bring them in like so. Now let's come in and also we're going to have to split them off this way as well as you can see, but you do want them to be only even so what I'm going to do is I'm going to press S and X and just split them up very gently, like so. And now let's make them a bit uneven. So I'm going to call them my proportional. I'd say I'm going to call them. I'm gonna press seven square over the top, making this really hard for me because I'm in the UV map. I could have been in modelling. I'm gonna just go into modeling and make this autonomy easier because I can see so much more. All right, so now I'm gonna do is I'm just going to move these. As you can see, because I've got my things so vague, actually worked out really, really good. Alright, so that's looking really cool. Now to lift them up, I'm gonna make it a little bit smaller because it's gonna be a thing. Not right. Then I'm going to press Control said and then let them. All right. So I'm pull this one down. This one. Because I want a little bit more control. I don't want small line now, these will be just probably all plants won't die align around no, something like that. Alright, so now let's come in and take off proportional editing. Fact, could we leave it? I'm just going to put this on normal and I'm just going to pull this five, pull this one back. Let's see. Actually I come, I'm going to print them random. Let's see if I can get away with just randomizing them. See if it works any better. Might actually, there we go. Actually, it does look like it works. Donate either myself. All right. I'm happy with them right now. What we need to do is actually give them some thickness like we normally do. So let's say press Tab, press Control a, and let's all transforms. And then right-click the origin to geometry. Let's bring in modifier, so add, modify or bring in festival, a solidify. Let's pull them up this way so they wouldn't be too thick. The ISA would be relatively thin. Again, he has created these gonna hammer a load of nails in these and things like that. So just bear that in mind. I'm modifying a bevel, no point O 11 naught point, naught one. There we go. All right, I'm happy with that. Now the next thing we need to do is bring these obviously closer together and bringing close together on here as well. So first of all, I'm going to grab them. I went to press S and I'm going to take off that first. So let's bring them closer together. Like so why is why is the opinion with the actual loads of lines on that is because you've got a normal and what it does is it tries and pulls them out individually on the right axis. So that is another handy tool to have. Now let's pull them out on the x-axis. You can see here, because I've got a normal again, if a process an x, it's actually following that actual line. That makes it really, really easy then to pull them together like this. Now the one thing you just got to be careful of this is that they don't overlap or anything like that. You want some gaps in there. Basically, you can see how nice that is actually located. Let's also as Shade Smooth and let's say for on, autos move on, and then it's gonna look even better. Now you need to make a decision. Do you want these overhanging over here or do you want it like this? I think I want mine over hanging. So I'm gonna do is I'm gonna problem global. I'm going to put this on medium. And then when I pull these out now, so I semi, I'm gonna pull them up from the center and I want them slightly, slightly overhang itself, something like that. Alright, there we go. Really, really easy to do. But now on the next lesson we'll do the numbers obviously will bring in materials, textures and things like that will bevel these off. And then we'll get on with the tree stump and the actual logs. All right, everyone. So I'll see you in the next one. Thanks. 39. Creating Realistic Tree Stumps: Welcome back everyone to blend the three, the ultimate medieval seen close and this is where I left off. Now let's come in and do these parts first. So let's just first of all, make sure is that Marist alanine essays. Let's press Control. Let's then join all of these up. So all of these press Control J, G, just to make sure you've got everything which I have. Control a then all transforms right-click set origin to geometry. And finally now let's come in and bring in a Bevel. Let's put this on naught point, naught one. And there we go. Let's apply this. And let us come to these planks now and apply the solidify and apply the devil. Let's join it all up now. So Control J. Finally, let's just make sure we go ultra smooth on, smooth it off like so. And now we can name this. So what we're gonna call this, we'll call this shelter. Wouldn't shell. In fact, we'll call it shelter then wooden. Now why are always do that is I always called it the name night A's and then followed by what it's made out of. And I suggest you get in the habit of doing that. And the reason is because if you searching for, you don't want to be searching for wooden gentlemen, you want to search for shelter because it's more direct basically, you said for shelter and then you'll have a list of shelters and then wooden, metal, etc. Rather than if you search for warden, you'll end up with tons of things coming up broadening because there's a lot of things that are made out of wood, so there is not to bear in mind. Now let's do the top of the shelter face. So what I'm going to do is I'm gonna come in, I'm going to grab, I could probably get away with doing. All of these are quite small and they said, Well, let's see if we can. Obviously we're going to give them the type of wood I'm gonna do is I'm just going to press U, it's right, UV project. Come over to my UV Editing. I'm going to zoom in and I've loved, I think he needs to spin them around. So all 90, let's make sure that packets or UV and pack islands. And then we'll come in with all materials and bringing in the woods. So let's just make sure they're all going the right way, which they now let's come into the other parts. So I'm gonna grab, I'm going to grab all of this side and then this one as well. I'm going to click Plus, and then I'm going to click downwards arrow and click Ward. And I'm going to bring in the word main, gonna click assign you smart UV project, okay, and then spin them around. So a 90 and a new v Pack islands. Now let's do the same fold ones that are left. So L, l, L An owl. And then you and then small UV project like okay, and then NK 90 and UV and CG-islands. Now I just want to make sure they're not the same because I need to assign that. Let's just make sure that look in different, which they all as you can save. So everything is looking different unless double-tap. Now, I'm probably going to split these up once I've built this. So I'm gonna move this over here somewhere just so we've got, as I mean at the moment it is a separate part. I mean, if a comb-over now press adult bone, takes me down to the wooden shell that and then all I need to do is mark, as I said, and then we've actually got this asset at the moment. Each can see that we've got a lot cubes and things like that because, you know, obviously, we can probably get away now we've joined in this household. Let's join it all up. So I'm just going to go so many posts. So first of all, I just want to make sure that those parts, the role, they're all connected. So I'm gonna shift this one, shifts like the last one. Press Control J in natural pupil lines so you can see there that we don't problem. I didn't check to see if we've got mirrors on, so I'm going to quickly go in and just check. So no modifier hide, no modifier Hyde. There's the mirror control way. This Hide. All right, There we go. So I'm sure there's nothing on it. Let's press Alt H, bring everything back. Let's hide my floor now. Let's hide my reference. Don't need that right now. And let's come in and grab the cube. Grab the last one, press Control J, joining all of Shade Smooth, alters, move on. And there we go. We've got everything back to how we want to do. Alright, so now if I press G, it should be all of that moving together, which is control a alternate forms right-click salary into geometry. Now we've got to finish the house yet, so I'm gonna leave it as a cube. But of course when we've actually finished it, then we will name it and basically put it as an asset. Alright, so now we need to work on is actually our logs on our tree trunk. So let us say work on our tree trunk first. I'm going to do is I'm just going to press Shift day. Let's bring in a cylinder. Bringing a cylinder probably on something like a tree trunk. You can probably get away with leaving this on faith too, because you are going to need a fair few of vertices if you wanted to look kind of realistic. So I'm going to leave it on that. One we're going to do is I'm just going to command, I'm going to press control law to left-click, right-click, like then what I'm going to do, I went to grab the whole thing. I went to make it smaller. So bringing it down to the right size, all the natural tree trunk or something like that looks absolutely fine. And then on Wednesdays, I'm just going to come into my face and let's put this on random, make it smaller. You can see it's already starting to kind of bring them in like that. And then I'm just going to mess around with this now. So what I mean by that is. I'm just going to come in, grab something like this side and bring it in and do the same on prompts, this one, bring it in, I'm gonna replace the top of it, so don't worry, we just need to make it a little bit uneven line, so bring it bring it in, just don't go too much so you end up with it too bent out of shape. You really don't want that. But obviously a tree is gonna be pretty Ben. Just like this when the textures are on, you really not gonna see this. Now what I want to do is I want to bring out this thumb. So Alt, Shift and click. Let's come off and put this on smoother than, and now we can actually bring you out. So I'm just going to bring it like that. There you go. Now you can see that stock tree. Look. Then finally now let us put it on their random again. So click on random amount. Let's move this out. So if I pull this outline so you can see just how easy that was to create this. And you'll see what even better once we've got actual materials and things like that. All right, so that's looking really good now if I shade smooth, so shapes move, I'm putting on an old system, if you will end up some lumps like that and you might want to keep those. We'll see in a minute once we've got our actual material on, Let's as well, I think we'll get rid of the bond. We never gonna, I don't think you'll be turning this around. It's very simple to create as well. So just in case I'll get rid of the bottom and the top while there is. First of all, I'll bring the inline because you want the actual bulk to come up to here. And then the actual would've the tree to be here. What you want to do then is of course press Control a and Mark seem so you've got some control over it then. So in case you want to actually select this, you need to right-click and triangulate faces. And you can see now we've not gone in, gone, and it's very easy. I'm just going to press L in case you want to drop that. And that's the reason we're doing that way, just speeds up that workflow and that's exactly what we're looking for. Now this material is a weird one as in it's altogether. So you'll see what I mean. Let's go to material. Let's click plus a mobile, call this as nu, and we'll call it a tree bulk. And then we'll go over to our shown in panel now. And I'm going to click on my French, but I want to depress dot again just to zoom in to where I am, Control Shift and say, and let's bring in not stone, we want our tree box, so we've got one that should say, where is it? Gross I am logs. There we go. This should be the one. I just want to save it. Yeah, this is the one. So you can say, well, God, tree bark. And we've got the ends of our logs and this is what we're looking for because we're going to use this then to create a logs and of course our tree book, we can also say that we've got an occlusion in here as well. We might as well actually use up. We have got one missing, which is the metallic, but we don't really need a metallic anyway. So let's try and bring them all in first, it'll probably only bring foreign, which it has. As you can see, we now need to make all actual world. Do we unwrap it first? I don't think so. Let's actually make the material. First of all I'm gonna do is I'm just gonna pull this over, pull this over here, and I'm gonna grab this one. I'm going to press Shift date, bring it up again. Let's change this to o CC. Occlusion can put collusion all that. Let's open this then. Bring in our log occlusion, which is this one here. And now let's multiply those of light we've done before. We're going to bring in a mixed RGB. Rgb, Let's put out there. Let's bring in our colon output in the bottom, the base color, put it in the top. And now let's plug this into the actual base color. And now we're gonna do is we're just going to put this on no, 0.617. Just let that load offer a minute. Oh, we need a multiply. There we go. Now no 0.617. No 0.617. Gonna go darker. Let's pull that on just to make sure. Nope, not yet. We've gone occlusion in. So let's have a look at that. Yeah, you can say the occlusions work and nice. So that's good. I'm just going to pull that back. And then I'm also gonna do is I'm also going to bring in a Gamma. So search Gamma. Let's drop this in the base color, like so. And let's put this on 2.100400. And there you go much, much darker. Now that might be too dark. It looks, it's actually looking at a little bit shiny and I'm not quite sure about, I'm gonna actually also gamma on my roughness because it shouldn't be this shiny. It looks a bit like mod rather than tree bark. So let's press Shift I, bring in another Gamma. You can use gamma is basically underneath pots of these like so. Let's see if I can turn. Yeah, there you go. That's looking actually a bit bad and I think it's probably a little bit too dark. That's looking a lot more realistic now, as you can see, we've not got that shine on their rarely anymore, it's a little bit dull. And again, if you want to just turn this down even more. And it's also probably because we've not gotten metallic and let's have a look at we don't want you don't want that upper or I think everything That's right. Let me have a look at also seen as we're here. You can also be normal much strand and bring the open, just make it look a lot more realistic black bar. Alright, I'm really happy with that. On the next lesson then what we'll do is we'll actually unwrap this properly and that's probably going to look a lot better. Then we'll actually start work on the logs as well. All right, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. 40. Creating Logs with Curves: Welcome back everyone to blend the three, the ultimate medieval sinkholes. And this way we left off. Now let's come back to UV Editing. Let's actually unwrap this correctly. So we can say at the moment this is really nice because normally blended in the UV editor normally brings in the last kind of Mount be brought in. So that's not exactly what I wanted. So I want to actually change this over. You can see if I just move this to the side, you can see it says logs occlusion. We don't want that, we want logs colors, so click the logs color, then you're going to have a much better idea of what we're looking at. Now pick the biggest log thorough reached the top of it. So I'm going to press S to bring it over. Put that in place, then I'm going to check out. Let me press bring it over, get it right. And the place where it needs to be, something like not. Now I'm just going to check out this because I'm sure that it's not gonna be done properly. So this is how it looks. So you can see you've got top of there on here. Let's see if it will look. You can see I've got my ninth there, so I'm gonna make it a little bit smaller. I'm going to press S and then bring it down land into that place. And I'm going to grab this here, press G tab, and there you go. Now that looks really, really nice, as you can see, might be still a little bit too dark. So we might as well work on not just a little bit more before we actually carry on, Let's go to shading. The other thing of course you can do. And we've got our render on here. Let's double-tap. It can actually see what we're doing. You can actually come in and also use the hue and saturation on your color. That's something else we could do. Let's say actually do that first. So wherever not gamma rays, I'm going to press Shift a, I'm going to bring in a U and saturation. I'm going to drop that in there. And then one way to do is I'm going to bring down the, I think bringing up the volume. So just to make those, you know, those pieces of the world actually pop out a little bit and now think we're getting somewhere now we can actually bring down the, you are bringing up the you sprinkled to you a little bit, that's making it look a little bit back. Then let's have a look at this, this gamma. Let's look at this camera now. Going to hold the Shift button down just to get it to where it wants it. All right, so now let's look in a bit wet and it's looking, really went on here. That's looking pretty realistic. I'm very happy with that. Now let's go back to mobile. And now of course we need to rename this. So if a grub, it will call it a tree stump, I'm will actually save this out as another asset. So tree stump and then right-click on Mark is asset. Now I can put my trees don't in my assets. I can put my shelter in my assets as well. So when I hide those out of the way, let's have a look actually. Yeah, It did it didn't hide everything, so I'm just making sure they're all hidden much. That's great. All right, so now let's say I may call logs. How am I going to actually make logs? What we're going to actually use curves is going to make it very, very easy to create lungs. All right, so what we want to do is first of all, I'm going to put my cursor over here. So I'm going to Shift right-click just to put it there, just to get it. So mad, Shift a and I'm gonna come across to where it says curve, and we're going to bring in a pap so you can see, if you can't see up at the top of your push up and you'll say, Well, we don't need a curved pump. Let's put it round. So all white. 90, that's the wrong way. Let us press all 096, so we've got more going that way. Let's make them the right size to start with. So I'm just going to press S and something like that. Size. Looks looks about right to be logs. Maybe that's even a little bit too big. Let's make it a little bit smaller, something like that. And if you press Tab now, you'll say that you've already got a few vertices to actually work with it. That's great. So now I want to do is I want to copy this. I'm going to press Shift date over over what? I'm going to press shift D. We go shift date, grab all three of them. Shifting demands will make a load of them, and then ship date. Let's make 12 of them. We can reuse them anyway. So something like that. Now, let's grab them all. Grab them all, join them all together. Control J. Now we want to do is bring them out. So again, let's come down festival to depth. You can see you geometry is already open here. Bring them all to make them the size of logs. And you can say that a fairly nice size. Now, if I press Tab and you come to, let's say this one. So just make sure I grab this one, make sure that you're on. Again random. So put your proportional editing on. Now if you press S, you'll see that we can actually start making them random. Now the one thing is I wanted to make them individual origins. It's not gonna work. I don't actually, let's press alt texts instead. There we go. Now it works. So old tests just grab random ones. And then all tests showed you how to make them badly. Random. I don't think that's actually working too well. So what I'm gonna do is I'm just going to go through, and I'm going to click ALT tests and just making them a little bit smaller. But I'm actually going to. You can see I've got a little bit of variation in that and that's why one, but I need more of it. So I'm going to do now is first of all, going to look at Turner resolution. Now happens if a term that resolution now to one, because I don't want too much resolution. I don't want these hundreds and hundreds of polygons. There you go. You can see this is the one that I needs to none the most. You can say this is the thing that's making them all round. So if I put this on five-year, so now the more rounded, so I think that's what I need to do. Now the thing is I think I'll turn the resolution of two to something like that. Then what we're going to do now I'm going to apply this kind of fills the ends of them, isn't one that says Fill ends. I'm just looking now. A full month take the third campuses can fill the capsule using that, that will make it a little bit easier rather than filling all these members talking rounded decide making shoulder felt. Yes, they are. All right, so now let's go to object and convert to match. Let's press tab. And there we go. Brilliant. Alright, that's exactly one of them. Is it? Well one though? Probably not. Probably not because these cups now filled in, but we don't have any seams on them or anything like that. So what I need to do is I need to press Control Z, just go back, don't fell in the caps. That will make it much easier for me. Now let's come to Object and we'll go to Convert and mesh. Alright, now if I press Tab, now we've got more like base, and now we can fill these ends in while I'm going to do, I'm going to come in and I'm going to, first of all, I'll mess around this. So let's say I grab this piece if I come to my proportional editing and now oppress the S button or something, let us say now you can see we can actually get away. We're making them a lot more jagged unless exactly what one. So it's very, very soft soil. What you're doing, what you want to just pull them in. I'll pull them out, for instance, just to make them and all the shift born as well a little bit on the event like so. And that's going to do the job perfectly. Alright. There we go. Now I'm happy with those. Now we want the ends of the maybe. Actually people normally pull the ends out, but if you look at a log that are actually pulled out, it's just a swelling where the water gets into the ends of them. I think I'm actually going to leave mine might not want wouldn't do though is I'm gonna come around each of these ends. I'll do these ones first. Like so. Then what I'm going to do is I'm going to right-click and magazine, and then I'm going to press Alt F, and that's going to fail all of those for me. So altough, they're really easy way to fill those in. Now let's come to the next ones. Im route these actually on my own. What I mean by that is Armand, my own seams on these, it'll make it easier, I think so Alt F, so I'm gonna do is I'm going to press Control seven, go around to the underneath of them. I'm going to take off my proportional editing. Grab this here, press control here. I'm wondering is I'm just making sure that my seams are actually going to be on the bottom where no one can see them. And then I'm going to unwrap them yourselves. Reason I'm doing that is like I said, you need to know basically how to unwrap things without the blenders. Automatic UV unwrap, because it's always handy for things like this. You can see that again when you watch the video of how to unwrap things that we unwrap them like apostle, so we don't want infinite loops. And then another words, so right-click marketing, and you should end up with something like this. Now if I drop them all now, in fact, what I'll do first, I'll reset them. So all transforms right-click. So origins geometry. And then we'll do is right-click Shade Smooth. Bringing my auto smooth and nice should end up with something like this. You might not want these lumps and things like that if you don't just turn it up a little bit, should only be a tiny, tiny bit. There we go. It's not even a Faltys and everything's smoothed off, so that's what you probably won't. Alright, the last thing is then that we can say that they're all the same size and we don't really want that. It's not very realistic. Let's put on our proportionality. And again, can we get away with actually doing that? Probably not doing that. So let's say if we can get away with putting this onto smooth, Let's try smooth. Can we get away? Yeah, it's not as smooth question. Let's go back. I'm putting on smooth. There we go. And let's also put this on connected only. Now if I grab one and actually pulled up by y. So that's exactly what one now you can see, I'm pulling them by making them all of different sizes. Just by grabbing one part of it. Now go to these. And again, it's always the same thing. If you want to use these on anything, you might as well just take the timeout and make them look really, really nice because then you can reuse them over and over again. That's another reason as well. While we've made so many of these were probably don't want to need 12 of these, but we'll see we can just bundle them all together and then we've got logs and that dog. All right, so that's not caught them. Now let's grab them all. Let's fresh you let some rub them. And we showed if we go to our UV mouth, have them olam wrapped like this and you can see they're not unwrapped correctly. Let us have a look if I missed my ends. Yes, I have I forgot to actually market seam on these ends. That's a bit of a pain to be honest. How do we fix up? Probably just gonna have to In the hard way and sometimes, sometimes this can happen. On the next lesson, what I'll do is I'll come in and I'll mount my seams going all the way around because I can't really get rid of these now. It will be much, much harder to do that. So I might as well just soak it all. A mama saying, so I did figure out sorry about that, everyone. All right. I'll see you on the next one. Thanks. Bye. Bye. 41. Texturing Logs for Realism: Welcome back everyone to blend the three, the ultimate medieval seeing call sign you can probably hear outside, I've got a lot of rain actually coming down here in Cyprus. They actually faced the same very well because we do want it to be rainy, windy scene, so that's quite nice. Alright, so let's come in. I'm first of all, I'm going to click on this edge. I'm gonna press the dot born just to zoom in. And then one way to do is I'm going to press Control click and just go all the way round and fix those problems. I'm thinking I'm going to Shift click it. Is there a quick way I could do this? And I don't think there is actually, so think I'm just going to have to do all of these. Coming over. Shift click, Control, click. At least we can control-click though. I don't think that's always been available. Speed things up because you call him to Alt, Shift and click up vaginally on these because obviously they've got a lot of triangles and things like that. I don't want you to warm up there, so it won't sit here. I'm gonna actually right-click and democracy start again. Let's say comb and control-click or right-click on my team. I think we're nearly halfway through, so it doesn't actually take too long. We could have probably just deleted the faces of the air. Maybe. I'm thinking if they would've been a quicker way of actually doing this. I've been bought by the time I figured it out. It maybe maybe I would have already done this. That's the whole point of this. Let's go round. And whenever they announced, so right-click most seeing how many people fall for nearly there. Okay. So how many minutes did that took? About two minutes. So not too long of a mistake. There are two minutes long though. I mean, I've made the mistakes after cows to fix or not save workout and things like that to do things all over again. So I follow not the worst mistake of made in blend, I'm showing you all the same. All right, so let's get rid of that one. Right-click among seen on the last two. And then finally we can move on and actually UV unwrap these and get them looking really, really nice. So among same and then the last one. All right, now let's say safely unwrap. So a U on the route, and there we go. They'll grab beautifully. It's really, really cold. Now let's put this on material. You can say, I can't see my, my, my thing at the moment. So let's put it on there. There we go. Now we can see what they're going to look like. Let's pull this a little bit this way. And let's also bring in all materials. So material will just called a tree bark. And then we go, Let's press top double-tap. Now you can get a real good idea what they're going to look like now. I'm just gonna go in now and just grab these parts. So one window is gonna come in with L, grab all these Paltz. I'm going to basically fit them into here. Sorry if we went to press a, make them smaller G and just make sure that they all fit in here and not actually on here. I'm just going to have a low. And there you can see how well they actually know. Now you can say, oh, we need to do is get the ends. And then we can mess around with these lobes if we wanted to. Let's get the n. So we'll press H, and now we'll grab all of these ends. I'm going to go ahead and grab them one at a time because I find that it's much, much easier. Today. You can see that they're roughly around the same size, which is really good, can actually grab more of these. I'm just going to look, if it's gonna be easier doing it in that way. They're all really good size, actually. Just shrink them down first before you actually move them in. All right, so I'm actually really happy with how they've turned out, made it much easier. So L, G, G, and if you need to just shrink them down with x on the UV map, then trying to make them as varied as you can as well. And again, it's the same thing because you're probably going to use these. A lot of scenes. Might as well take your time and just make them look really, really nice. That's why I made a few of these logs as well so that we can have the opportunity to do. Again, if you need to use the same one, we shouldn't do. But if you do, just rotate it as something, just make it look a little bit different. Say, try and use as many as you can. Like here. I'm just going to rotate it so all spinning around. Thank You. Look a little bit different. This one is just over again. I'm just going to come in, make it a little bit smaller. And of course I'll check these before anyway, just to make sure I'm happy with him. Let's make this one much, much smaller. You can see as well that we've got a lot of variation in these, which is really, really cool. So I'm gonna do now is just going to press B, grab those, GI, pull them up, grab these, the G, move them over here. Now can zoom in and actually work on them. Now grab this one over that and make it much, much smaller like so. Can't wait to see what these actually turn outline. Let me again, I'm pressing X over that. I don't want to be doing that thing. They're going to come out really, really nice. Some variation in the final one. I'm going to pull this on, not one that I see I spawn bring you do. All right, let's have a look round leaves and there you go. You can say just how nice These actually look. Now you can't see that some of them might be like this one here. I've actually done this one. Several of you can say this one's not in the right place, so I don't know why that happened. Well, let's put it in the right place so it actually looks the same as this one. You can say. Again, not in the right place. So I'm just going to pull this one here. This one here. Again, I'm going to press Tab. I'll teach and grab this one now. Come out. And you can see that this isn't actually own wrapped correctly because of not versus CDNA. Good idea that we actually went around and check them all. Always good to do that out. You open around, make it smaller. I'm going to put this in some place so S, someone like that. So all this one this one here I'm not very happy with. I'm just going to go in and change this one. So a G or something like that. I'm much happier with that primer on the other side now checking them, they all look really good on this side, so that is rarely, rarely good. Now, that looks really nice. So we are happy with those. Now what we need to do is just come back to modeling, stack them all on top of each other and we will save them out. So what I'll do is I'll come in and I'll just move them making sure proportionality and it's not on the next to each other. So let's grab three, press one, bring them over to where they need to go. So you can see stacking them on top of this, like so. And then I'm just going to grab this one with edge legs. Make sure you're grabbing them with legislators. You want to grab them all same for this one. Like so. And then I'll grab the next one. Next one, next one. We want again. Bring them over. Don't want to yeah, probably just gonna get away with two. And I'm just going to see how they fit in. Then. I'm probably going to stack these a bit more. So I'm going to grab this one, put it here, grab this one. The reason for that is because we're going to actually be saving these out as an asset. So I'll warn them all stuck together basically. Okay, like so. There we go. Alright, so now we can say though they're going to easily fit in there. We can have some over here and things like that. So let's press Control leg I'll transforms right-click set origin to geometry. I'm not going to put these in place at the moment. I'm now going to take this and put it over here. We need an x as well, so we mountains will do that. Now let's put those over there. I'm going to call those logs. We're also going to right-click then and Mark as I said, and then drop that asset into all assets. All right, that's looking really nice. So what we're gonna do now, well, we'll do it on the next lesson. We'll create our acts quickly and then we'll probably stall. I think we'll start printing out windows and then really bringing this together. So we'll stop print on Windows. And then finally we've got the door and we've got the little walkway that walked down here, and then pretty much the house has finish. All right, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks. Bye bye. 42. Planning out the Windows: Welcome back everyone to blend a three, the ultimate medieval sinkholes and this where we left off. So now let's come to our trees. Don't begin. Let's press Control. Old transforms, right-click, origins, geometry. We did actually have a husband. I said, I think let's press adult tree stumps. Actually, they're just making sure because I didn't actually reset the transformer or anything like that. So now I wanna do is I want to press Shift S because it's selected. And let's just make a quick acts. Nothing rarely a spectacular. And again, let's bring in a cylinder. You're gonna put this on a full team. You probably could get away with 12. Well, let's make it pretty decent act. So have a look at a reference for an export unfairly shoulder. Fairly simple, a simple act space. There's gonna be a small pulp the same. It just wants to be a kind of basic acts I want to do is I'm going to press, I said pull it up like so something around that size. He wants to be a handbag. You might want to do a big avant-garde x, but I think for me, the quiet small these logs which are over here. So maybe it's probably gonna do it with the hand ax. I'm not sure, but maybe it fits the C num. I'm lawful in a bit, but that's why I wanted to control law. Three, left-click, right-click. Then I'm gonna come down to this part here. Make sure proportional editing zone, press the S born, bringing it in and just pull it, pull it out. So something like that. Let's then grab this bit. Just bend it around a little bit and I'm going to pull that out. Like so and I think, yeah, nothing that looks up. So I found a little tiny bend on that. All right, Now let's come in and think how big the oxide wants to base. So first of all, I'm going to grab the center of it. I'm going to press Shift S because it's a selected shift a. Let's bring in a cube. Let's make the cube much smaller. Let's take off proportions. And just for now, so we're going to bring you in and I'm going to press S and X, make it center. Then let's make it. Why does so S and Z? Where can I really kind of weird angle here, but I think we can get away with it. So something like that. Let's pull it out a little bit more. The length that we actually won't say. Let's press Control L Now, bringing a few edge loops. So three edge loops come back to the front now, and then we'll pull it out with proportional editing. Just to get that kind of acts look, make sure you've got connected on them. We don't want them to stretch this out as well. Press three on the number pad and then press S and Z and kind of pull it out and you can see how easy it is to get the actual shape, but we won't. Now normally on an axis only realistically the end that is a sharp, the rest of it is quite blunt. Got lots think about if you press Control B, you can probably get away with that. I don't think so. You think so? And the reason is I need to press control leg all transforms, so control AOL transforms, right, thanks. Origins jump straight. Now let's try that again. So Control D, you can see just how easy it is now to actually pulled up by and get that shape. So I'm just going to pull it out. And there we go. It's probably probably not sharp enough yet. I'm thinking probably need to bring in each of these as well. So I wonder is just going to grab each of those x. Let us bring them in. Like so. And now you can see it's starting to look like an actual ax. Alright, so I'm happy with that. Let's bring in the top now. So I'm gonna press a, press, pull it in a little bit, and I'm thinking that looks quite nice now needs to take off proportional editing needs press E again, bringing it out and just round the top of it off. There we go. All right, now let's spin it around finally to see where it's actually going to look like. So all x 90 and then all x on June 18th. So that's why it's gonna look like. So you can say that probably needs to be a little bit more bent. So let's see if we can bring the proportion and it's an on press three and then let's bring it up. Let's bring out a little bit more. I'm just going to pull this out a little bit more. So which way do we want to do on two coming up like this, it down like this. I think that looks much, much better way. It's probably going to be slanted anyway. With the amount of work he's doing when he's probably going to bend it slightly. So I think that looks much, much bad. Now the last thing we want to do is I probably wanted to just pull this and now I'm gonna come just going to pull this end out like so. And then I'm going to take off course and I had the same press the S button, just pull out very, very slightly. And then a then E, one small. So just round off that. All right, I think I'm up to without, Let's write platelets, shapes, move, Let's bring in alters, move it. Again. Let's personal Charlie, ultrasounds, foams, right-click Set origins geometry. And I think on this, again, I'm going to probably malt my own seams because it's just going to make it easier. So I'm gonna grab this end. This end. I'm going to press Control a mock seams. I'm gonna right-click bend and triangulate faces. And then finally, I'm just going to come in now and grab the, the bottom of it. So if we comb from here, let's say go all the way round then an a thing. If a follow-up round, ding, ding, ding, ding, all the way round to here, like so, right-click marketing. Alright, now we need to mark them seems only actual oxide, which is not as important actually. We just don't want it to blend it to actually market seem like going across here or something like that. So we want this to be pretty much straightforward. So I'm just marking a scene going all the way around to here, right-click MCMC. Let's just hide this part of the way for now. So h out of the way, let's come in. We might as well delete that. We don't believe that face. And then it's gonna be making a little bit easier to actually unwrap this, okay, so I'm happy with that. I've just missed the same there as you can see. So again, I'll come in. Right-click on mock Zoom. I'll teach, bring everything back. Eight, grab everything, and then I'm just going to press U. And this time on-ramp, we've unwrapped it basically ourselves. So let's go to our UV Editing now. We can see how that sexual and I'm hoping that so let's press Dalton the numpad so we can see what we're doing. And that will bring in a couple of materials. So the first one we'll bring in is obviously would bring in Maine would. Let's press tab. And you can see that looks really nice, albeit you can see the resolution on here is not correct. It's it's fall to it needs to be more like this. It needs to be an ax wave, a lot of green in it. What do I mean by that? I'm going to grab it. I'm going to make it smaller. And now you can say that's looking a lot more realistic. Even if there is a little bit blurred, it still looks more realistic. Now let's come in and click Plus down arrow. And then what we'll do is we'll do, and I think probably dark IN, let's see what that looks like. So what I'll do is then I'll come in, I'll probably get away. We're just grabbing all of this actually. And then assign, there you go. One acts. Now let's see if we change the ion over to the lighter line. So I am going to look bad. Probably, so, probably, so probably looks better like that. The last thing I'm doing is I just want to check this. I need to make this bigger. I think. Now it looks more realistic as you can see because it was a bit too small. Yeah, I think I'm happy with that box. It looks like he's actually creates them himself. Alright, so that's done. Let's come back to where modeling. And then we'll grab our ACS. We'll call it acts like so we'll make it into an asset, and then we go another asset. Now, now let's grab our tree stone and let's put them over here because we'll bring them in into the same. So I'm just going to kind of placing things over just out of the way. And the reason I'm doing that is because obviously we're going to use them in the scene, but also you might want to use them in your own scene. So I'm just moving everything in kind of a way where it's just nice and in a nicely ordered that's basically wondering, all right, so now what we need to start on a's are actual Windows. Sorry if I press one on the number pad, I'm going to put a window in here, and probably a window in this point here. So first of all, we need to actually create all holes full or Windows. So let's get on with that. Now. If you look in a log cabin in more than likely the windows are actually square. They're not gonna be like when you normal home where you've got rectangle windows are and you can let them swallow wonders. I'm just going to grab both of these. I'm going to press Shift S because it is selected and then top and then Shift a and we're just going to bring in a cube. Let's press one just so you can see the size of this. And the window of course, isn't going to be the whole of this. And it's also going to have a frame and that's very important. The size of the window is probably this big and the frame then it's gonna go round the outside of that. So just take that into account. So I'm probably going to make this a little bit smaller. My frame is gonna come around there like so that's one base you're looking at. So let's create that frame first because then that will make it much easier for what we're trying to do. So I'm going to bring this out by grabbing this ship date. Like so, press one. And then what you want to do is you want to create this bigger. So if you press zed, go into wire-frame and hopefully you should be able to see what you're doing. Press the S born, and now you can say how big the actual frame is going to be. So this is gonna be the window, and this is going to be the frame. Now of course, the frame needs to be a little bit past where it's actually cool. So now I'm gonna press, I bring it in and you can say it brought it in just a little bit past that, That's perfect. Now if I press delete faces, now we have 5%. Go back to solid. Now we have a frame and we have all Boolean already to go. Now what we need to do is we need to probably that are off creating our window from this now, I will actually grab, I actually deleted it and I probably could have just saved it. So I'm going to actually fill it in again. And I'm going to press Y. And then I'm gonna pull this out like so. And then base, I'm going to create my window. So I want three windows in the top and three in the bottom, so I want it pretty squared. So I'm gonna do about, I'm going to press control law to left-click, right-click, control to left-click, right-click. And then what I'm going to do is I'm actually just going to bevel these off. So if I press control V Now you can say that help devil those off. And now I've got little pockets for my windows and that's exactly what I'm looking for. All right, everyone, so I hope you enjoyed that. And then on the next one, obviously, we will get this finished and get all the windows and I'm sure we'll get all the windows in at that point. All right, everyone, I'll see you in the next one. Thanks. 43. Finishing the Windows & Glass: Welcome back everyone to blend the three, the ultimate medieval seen costs and this is where we left off. Now, you might want actually to have a frame around the outside of it. And if you do want that, just press one. And let's grab the whole of this going round. So Alt, Shift and click going all the way round. And then let's just press eight. Pull it out, and there you go. Now you can have a frame as well going out. So I'm just looking at this now and thinking that that should go into the frame here, we'd probably have to make it a little bit smaller. And now we just need to sync these back a little bit. So I'm just going to grab all of these, like so I'm going to press P and then just pull them back live. So I'm gonna shift pull back really, really nicely like that. Now, to put these in, this needs to go back into this frame. This frame, in other words, it needs to be three-dimensional. So if I grab this frame, you can say at the moment it needs to be pulled back, it needs to be made smaller as well. So let's get the right size in first. So you can say the moment we can't actually see that frame going round, we need to actually be able to see that. So what I'm going to do is I'm going to probably grab the whole of the inside, press one again, and I'm going to press S and just pull that back a little bit just so we can see that beautiful frame that we're trying to create. And then I'm going to press Alt, Shift and click and then S and pull this out a little bit just to make it a little bit chunkier. And there we go. You can see it's really starting to come together. Now let's split this frame. So I'm going to grab both of these when I press Y to split them gene as I always do, just to make sure the split, grab the other two palates fresh one, make sure we're on individual origins know cursor, individual origins, press the S barn and then just make them smaller than won't go into those and we're just going to extrude them back like so. And there you go. Now let's split all these off. So l, l, like pink selection, split them off. Grab the actual frame control. All transforms, right-click the origins geometry analysis, bevel these off. So I'm gonna call little spinal level the mouth, naught point. Naught. Want to look at that? That looks absolutely fine. So now we can just grab them all and bring them together again. And there you go. You can see how easy it is to create that frame. And basically this Windows near enough don't control like join them all together. Now, we can say we don't want our actual Boolean joining, or I am going to join the rest of them together. So control Jake and then come to my boolean, split off now, selection top, and there we go. All right, so I think we've pretty much got that ready. The one thing is obviously we do need to duplicate this. So should take, a mouse will bring this over, because if I rotate this now, so all dead. Minus 90, minus 90, I can actually move it altogether, which is gonna make it pretty easy. So if I press Control three, control three, there we go. Let's put now this in the center of here. And do we want this the same I'll do or want them lift it all. I'm gonna pull this back in its place and envelope. That's where it's going to be. Um, I lift this one up a little bit. I'm going to lift this one up just a tad. Like so. All right, now let's join both of these Booleans together. So Control J. Let's now and come back to our house. And we will add, modify it and we're going to add in a Boolean. And it's going to be this cube here. And you can see that's what's happened. And the reason for that is because we'd need on fast no exact. Now hopefully, hopefully when I come in now, I should be able to apply enough. So controller command delete my Booleans and we shouldn't know with this. Very, very nice now. Okay, so now let's put this on material just so we can actually see something. And the one thing we didn't do is we didn't actually hit crayola materials first for first of all, let's get them in place. So I'm going to press Control. Alt transforms right-click. So origins geometry. And now let's pull that back in place and just have a quick look. Well, that actually looks like you can see it looks really, really nice and I still have a same now. So Control a or transforms right-click origin to geometry. And these windows, you might want to take one of them, I would recommend, and I have it as an asset on its own. So we'll do that once we've actually created them. So first of all, what I'm gonna do is I'm going to make one window. So I went to make this one and then probably put it over there. That's well, during while there is our command, I'll press a you smart UV project, okay? And know that everything along Route fine, except these window panes on each ONE map those differently. So what I'll do is I'll come into each of these window panes like so. I'll press one. And then what I'll do instead is I'll press U and project from view, like so. Alright, so now I'm going to also split this off. So I'm going to press Control a, I'm going to mark a seem to make sure they're all split off and hide those out of the way. And I'm going to grab the rest of my window, so a light. So now let's bring in the material. So I'm gonna come in remembering in the Woodford would like so and you can see they're all going the wrong way round. So let's spend them all around. So let's go to our UV Editing. Let's say 19, spend the more round, press the dot bonds and circles zoom in an overload. And we can say that we're still got problems in. These are going to round the right way. Let's print omega 0 instead. So we can really see these are going around the right way. This one here, sorry, these ones, absolutely, I'll note. So let's command and think, right, Let's spin these rounds. So the way I'm going to do it is I can say that these are going in the right way. It's just these ones going this way. So I'm going to grab this one, press control over this one, grab this one, press control over this one. Grab this one. And we can see that these ones are going in the right way. So that's fine. I'm just going to come in and grab all these. Now I'm going to start us off 19th, spin them around. And then you can see now they've been put in place. If you have any problems with the world, go in the other way. Just check your grade on here because you might be having a character that goes right up to this. So you might want to check and just make sure they're all going in the right way and I think they pretty much off. Now the one thing is that I would like all of these policy or at least to be a different actual shade of what I'm going to actually do that now. So I'm going to grab all these press Plus down arrow. Let's bring in the wood light, so it would lie. Let's click Assign. We go, That's looking really nice. Now finally, let's say press Alt H and come back then to these parts here. And we're going to bring in know the material, which is going to be our glass material. Now you will find now how to create actual glass or water. That is because waltzes as some elements of transparency, for instance as IOLs and things that we are going to discuss that a bit later on in the course when we come to make the bucket and the actual water for the poem. But this glass actually isn't going to be see-through. It's going to be basically reflective. So let's make that now. So I'll do is I'll click the postpone new, we'll call it a glass. I'm going to touch you to do that properly because I've got my cap stocks on for some reason. So glass, like so. And now let's make a new material so to or shading panel principle Control Shift T. We go, Let's go back up one and we're looking for glass switches here. I'm gonna bring this one is, as you can see as five, but one of them is specular. Let's make sure they use work. Let's bring all of these in principled. Let's press the dot born. Let's assign these. So assign and we can see that dot is what they're going to look like. Let's go around to the other side. Doubletons. And there we go. I'm gonna pro material. Yeah, that's exactly what we're looking for. The only thing we need to do now is actually unwrapped and correctly. So we can see we've got this at the moment. Let's just pull this over a little bit and what we're looking for his boss, you can do a search on here as well. So glass, glass and we want the base color, this one here. Alright, so now what you're going to do is we're going to press a, make these a little bit bigger just so one of them fits in. What you want to do is you want to make sure you've got all of this dirt round hand it fits in perfectly. Then what you can do is income to the next one and you can press G, you can actually hold it with x, so g x and then just move it across. Same thing, this one. So L, G and X, and just move it into place. Let's now do this one. Again. I'll grab all of these because it just makes it easier to press G, put it into place, then grab this one, for instance, g, x. We just move them into the place where I want them. Same with this one, g and x. Like so now let's do this one. We'll just move these over just a tiny bit. So g, let's put them over there actually. And then I can grab this one, g and x, like so. And then this one g, x it like so. And there you go. Nice, beautiful windows don't look in a bit Dead Sea, a bit weathered, and things are outward. It's a rainy day. That's my excuse. That's why they love them. All right, let's go back to modelling now. What I'll do is I wanted to put this window over here because you can't see what this looks like, this one from this angle. So that should be fine. I'll do is I'll press Shift D to duplicate it. I'll spin it around then. So all xij minus 90, so I was at minus, oops, that's wrong. So z minus 90, minus 90, there we go. So it should be in the center, this one should be in the center. So Shift S, since it's selected, delete that grew up this one, Shift S and selections Ghostkeeper upset. And there we go. Just make sure that it's popping out enough or might need to go back in a little bit like so. And then finally, while I'm going to do is I'm going to press shift D, bringing it out. I'm going to press all Zed, all the way, all z minus nine, take spinning around, just making sure that it's wrong way. So all zed 180, like so I'm going to call this square window panes. And that then is because you might note with a lot of windows when you build in things. And you want to distinguish between which one is which. Let's pull this then as a market, as I said, let's pull this in our assets. Now this window is basically that in case you want to use it in any of your other scenes and things like that. Alright, so that's done now we can join these windows all to our house, hopefully sludge press Control J, joining them all off. Make sure shaking smooth is on. Make sure that your alters movie zone, which is alright, so now you can see it's really, really coming together. The only thing really we have to do is the actual door here and we have just this little walkway that we're going to create. All right, everyone. So I hope you enjoyed it so far. I hope you learned a lot and you can really see what the possibilities are with this blender. Three, I say manager. Okay, I'll see you in the next one. Thanks a lot. Bye bye. 44. Planning out the Staircase: Welcome back everyone to blend the three, the ultimate medieval sinkholes. And that's where we left off. Now let's say think about all actual dollars. So I went to do is I'm going to call him into my building. I'm gonna come to face legs on the grab this face. Well, I wonder there is a just want to pull it out just a little bit, just so it actually comes past or up to these. So I'm going to play out a little bit more. And then webinars, I'm just going to grab the top of it and pull it down a little bit. Just saved enough we can get away with that. I don't want it sticking through. Definitely don't want it poking through here. Anything like that. You can say is a little bit closer to do is just grab these and we're going to do this on the other side because obviously we haven't got a door on your side, so something like that. Then I'll make my actual hey, go through here anyway. Alright, so now we've got that. Let's come to this part here. Press Shift S and cursor to select it. And then what I'll do is now press the top. I'll press Shift K and I'll bring in a cube, like so. And then we'll start making the top of all adults. Now it's always important when we've pulled this Cuban. So if I press Control three, that we bring in or human reference, and we just make sure that this door is going to be adequate. In other words, the right size, I'm going to press S and pull it out. And let's fit into place. Then you can say we want to leave a little bit of a gap on the hair. Now let's bring in our reference. So I'm gonna grab my little guy. Polymath, press Control three. We can see that he has got plenty of headroom on there. We can see how big the door's going to be. The dose is gonna be a fairly big size in comparison. I think I'm happy with the size of this because if you notice where the cabins and things they do are fairly chunky doors Actually. I think I'll be happy with that. Alright, so now let's say bring out the actual worldwide. So to do that, I'm going to press all Zed. Then basically look in the Boudin ever half-life, what ways that were massive benefit, it will be quite thin or PE, because it would be a complete waste of resources. If not, the same thing I tend to do is I've got my money here. I'll press Shift S, cursor selected, and I'm going to bring in a plane, so shift a, bringing the plane. And then while we went to do is I'm just going to build this out. I'm gonna work out festival where it's gonna come out too. I know my plants award, uh, probably going to come up to this point here. I'm going to pull it back a little bit. Gonna have some supports and things like that. So I'm gonna pull it out because my planks of wood wouldn't probably be into the wall on these top blanks there wouldn't be lifelong. And then I went to do is I'm gonna grab this now, this end and pull it by something like that. And that sound basically going to build out the first part of it. That won't Wednesdays, I'm going to pull this back here. I'm gonna say that this is the top and this is the hallway that's going to come from here. Then I'm going to work on the actual actual steps now. Lynch news, I want to use this part. I'm gonna press shift D. I'm gonna pull this out. I want to pull it down to probably here, like so, then I'm going to press E on y and pull it out. Now, I always say, obviously are MAN needs to be stored on here, but you can't stand on here yet because we haven't made it in towards this wants to be a little bit of a step here. That's normally what would happen. Now if you bring him over and you put him on this step, you need to make sure that each would fit on the whole of the step. You won't have, for instance, two steps to be so small days just be able to pull the front of the South Beach on. It needs to be able to plan his whole fee on the steps like so. That is basically the size of the step that you need. Now once you're happy with that, come back two steps, split off from the rest of it. So l, selection, tab it again, Control a or transforms right-click set origin to geometry. And now let's put this step into play. So this step here would probably be fit in, into the wall some way, like so. You can say actually this one goes on the needs. So that's quite how many pearls. Now let's pull it out. So L E, pull it down, so extruded and make the steps relatively thick. There would be relatively thick because they're old in his weight and he was probably carrying things up and down there. So you would have to have them relatively thick in size. Now we need to do is again, come over to Add Modifier, bringing array, put this on 0. Now let's bring out the next one. So I'm going to bring out the next one. There is attempt to bring it out so it just fits the end of here. So I'll put it to one. Not one. Sorry. Yeah. There we go. And then I'll drop it down again. How far do we drop it down? It's again talking about the same thing too is cough. So if you look for bringing them down, bring them down. The bottom lobe is coffee is normally where the step would go. So you can see that that's the bottom of his car. And now I need to come back to my step. Let's increase. This and you can see we're probably going to need one more light. So the other thing is if you really want to, you can get away. If you don't actually like how far this comes out, you can probably get away with making it less. I'm just going to bring him down to the ground plane. So I'm going to press three, put him on the ground plane, crashed on child three. And now I can say this is about, is about right. Actually, if you really want to make these a little bit thinner, you can. What we'll do is we'll pull them back a little bit. So l pull it back a little bit, like so. And then we'll grab just a space here and you can bring them back a fair amount by making it a tiny, tiny bit smaller. So you can see that just making that tiny bit smaller and then just grab the amount and just make sure that you speak, still plan on the money if they do, and you will be able to get away with it. So you can see it's still plan on there. That's perfect. That's exactly what we want. Alright, so the next thing we want is this too thick, I'm sorry, width wise. So let's pray, mom, this one here. I'm just gonna check like so sorry, his hands lab, but he's obviously not gonna have his hands outstretched. So I'd say that this is probably a little bit too big. So I'm going to do is I'm going to grab this unless, and then I'm going to come in, grab this edge and grab this one and this one and just pull them back. Just a little bit, like making a little bit thin it. Alright, I think that's the bulk in about writing. Now let's check. What we'll do is we'll create the support. So I'm going to come in, grab this tier. I'm going to press Shift S Kostas selected tap shift. Let's bring in a cube, the cube smaller. And you can say now working with mucosa should be second nature to you. Now again, why I tend to do is I'll bring him up and look for him. Sorry for spending round. So all zed. You want to basically to be able to lean on the top of your platform. So what I mean by that is if a command press S and Z, pull it out. You can see now he would put his hand on hand. Let's make this down to the floor. I'm just going to grab this control three, pull it down past the ground plane which is here. Look at the thickness, is that going to be holding things up? I think I think it will be. Now let's grab this and press Control three and shifting. And let's move it to the top Paul. This space award here. So we need to pull it out little bit, something like that is absolutely perfect. Alright, so now you can see that these are probably a little bit too high. So let's bring in each one down, like so. And then let's bring a piece of wood into here. So Shift S, because it's a selected shift to a cube. Estimate it small f seven to go over the top and then S and X make it thinner because these are planks of wood not posts. I'm bringing it down. Sy we go now you can see that he would put his hands on it and lean over. And that is exactly what I want. So now I'm gonna do is shift take, bring it down. Like so, you don't fall through that. And then finally, we need a support in post along kids. So bringing it down to here. And what you want with this supporting postdates actually to be a little bit thicker. So it's just a tiny bit. So S and X pull it out a little bit so it's a little bit chunkier. And then essence ed and make it a little bit thinner than this one. And that makes it actually looks fairly realistic than wanted to do is I'm just going to pull it down a little bit, like so. All right, so I'm happy with that. And now we need to get this supporting post over here. We'll come, we'll grab this one without Shift D. Because it's fairly small. This we don't actually want too much too many supports in it. Again, well, I tend to do is I try and get this to be the same height so you can see it. It's, it's probably still a little bit too high. It should be where waste is these posts, maybe down a little bit more. I'm gonna pull this down just a little bit. Like so. And then what I'll do is I'll put this guy on the bottom one and then pull this post down. Control three again to where it needs to be, which is roundabout. Roundabout, right? Alright, so now let's see if we can actually get this part. So I'm gonna come to this pop. I'm going to press L, ship date. Pull it to grab the bottom of it. Press Control three again, and then just pull it out, pull it into place. And then just so it's kind of the same going all the way up where it actually suppose those steps like so. Realistically this should be more in the middle. I'm going to grab the whole thing, going to pull it up like so. And you can see already looks, looks at home that I'm gonna do is I'm actually going to put it, put it there, and then I'm just going to grab the top of it. Press Control three again. And then I'm just going to pull the top of it, like so. Now you can see it looks a tone back all these steps poking out a little bit too much. So I need to pull them in and I'm gonna come in, grab that because we're still got the array on. There we go. And what you would have these probably some bolts going down each of these I think we're a lot the bolts and actually just seen as will make you look a little bit more realistic. Now we've done that, let's put the actual top of the song. So all I'm gonna do is I'm going to grab this again, went to press out. I'm going to press Control Shift D. And let's see how this poached actually fits in. So you can say it needs to be just a tiny bit higher because it needs to be about there. So let's bring it in just a little bit higher than that. You can see just how easy that was to actually get this into place. These basically are going to be supported with the ball and with this post, you might want to pull up some extra support and things like that. Well, think for me, I'm pretty happy with how this is turning out. Alright, so I'm gonna go all press tab File and save this out, and I'll see you on the next one. Thanks. 45. Finishing the Staircase Asset: Welcome back everyone to blend the three the ultimate many evils scene calls. And this is where we left off. Alright, so let's now carry on working our way round. So what we'll do is we'll grab both of these, will grab all three of these, Shift D and then all 90. Let's spin them around. Let's pull them then into the center of that, and that's then put them into all poach. Now I'm thinking it might be better on this to pull them this way, so they're actually against that like so. And then pull this post little bit over here. So I'm going to do, I'm going to pull my post a little bit over that like so. And I think that looks much, much better. Alright, So now let's level these up. So we'll grab these posts told him into place and then grab all plank thing. That plane is actually separates a days. Then you need to work out which way these planets are, what are going to go. The obvious way is this way for me. I don't think there's any real anything really all going about that. I think it's just going to look a lot like that. One thing is you might want just one post at the top of the year. So I think I'll do that just for realism. So L shift D, grab this over here and just put it on the Neith. So once we underneath something live out and then essence edge just make it a little bit like that and it's going to fit into there. So I think probably pull it this way as well just so it fits in. Alright, now let's do the plane. And then we'll have a good idea of what this is gonna look like. So we'll press control law. Let's have a look. How many planks on something five, something like that. Right-click moccasin. Let's bring in this way. So three left-click. Now what we'll do is we'll just split them off. So l p, not p, sorry, y, g split them up loud, but that'll be easy at a, and let's put it on individual origins and then S, Y bringing the main, put it onto random, so random takeoff connection only. And you can see now again how quick this actually is. So let's bring these back a little bit. And then let's bring them forth as well. Make them a bit. They don't even. Alright, so now let's press Control a or transforms. Right-click the origins geometry, add in a solidify. And let's bring it down probably to here. So let's pull it down this way. Holding the Shift born again, something like that. Yeah, I think they're going to require chunky. I think they're looking absolutely fine. So I'm very happy with those. Alright, next of all, I wanted to do now is bring in a bevel. So at modifying bevel and we'll pull out nope, 0.1 length. So maybe, maybe it's, let's put it on my object mode so it can have a little low. I think that's still a bit too much. So what I'm gonna do is we want to put a naught point, naught, naught five instead. Yeah, nothing that looks at home buyer like that. Alright, now I'm going to do is I'm gonna grab them all x and y. Let's take off this. We don't run them on S and Y. Let's pull them back together, like so. And there we go. That's looking really nice. Finally, let's put in those bolts that we talked about and then we'll get these parts finished off. I'm going to press Shift S goes to selected shift, a lead Spring in a UV sphere. Let's put it on something like 128, like we discussed before, and find the van. Let's delete the halfway point. So here, delete faces, got at the bottom of it, L, delete. It says L, grab the whole thing, S and Z, squishy head and then spin it around. So all why 9088? Spin it round and then Control three and let's pull them where we want them. So they're gonna be going in here, into here, like so there's gonna be a bit small, not the best to junkie. They want to be fit in into the step. So like so. All right, can we get away with a Rayleigh's? I wonder if make it easier for me, control a Ultron song, dry flakes origins, geometry, that modifier. Let's see if we can get an array 0. Let's move it out on the y. Then on the z. Let's say I can get away with doing it like that. Alright, You can say they've gone a little bit aurorae on here unless just because I need to bring the zed Olga thing down. We go and let's bring them back. Not that way. A little bit. The other way. There we go, in the center, that was made easy. So let's press Control lay and actually have those in place. Let's pull them back into place now. There are actually sticking out of the wood like so right-click, Shade Smooth. Let's put officers move on because it shouldn't affect them and we join them all up to the rest of them. All right, So now just the actual, these plants award, we might as well apply our array. So control lay the one thing we haven't gotten these plants. So what is the cost of devils? So we might as well do that as well. Let's surface will press control light all transforms plague origin to geometry and modify a pebble. Unless they can get away with no point, no one. Maybe, maybe not still a little bit too much a fail. So no point. Normal five, yeah, now it's looking back control. Now let's do these parks. So Control a, or transforms, right? It takes origins geometry. I'd modify it. Bevel, don't 0.01? I'm probably on these actually it's actually worked probably naught point naught five is probably a little bit too low, so I think I'm going to be happy with that. So Control a, Control, Control a, and we just joining everything OK, now they can show everything's together. And now just shift select it, Control J, join it all up. Control layer transforms, right-click origins geometry. And then we go, we can call this actually a walkway. Before we join it all up, I will create this separately and then you've got that as well because that's a nice assets to actually help. What we'll do now is we'll actually put this on material. And I'm going to unwrap it a little bit of time. First of all, we'll come in and adding or grave gray like so. Then plus down arrow. And we'll use two materials again. So what this would mean, and then plus down arrow would on the world lights will also use a word like just for these plants are what again, anything that's really weathered and gets replaced a lot, which would be these steps probably gonna be probably a different color and it just adds a lot to the scene. You can see here I've got a piece of wood, but I'm not gonna worry about that right now. Okay. So let's unwrap along ramp these all of these parts, all those joints. That's the question. All those joined know the not. So let's join them all together. Control J. There we go. Now let's go back. And I've got all of these. I don't want these graphs, I'll just have to go and Grieg around them, ALL. Like so. And then new smart UV project, okay, and let's give them the word main. And let's spin them around as always. 90 UV pack islands dot zoom in. And then we go. All right, Let's hide those out of the way. Let's come now to these ones. We'll do the exactly the same thing. So LL, and now you smart UV project a UV and pick islands. Sign by the amount of white. Kind of get away with doing all of these steps, maybe let's have a look. So you smart UV project, okay, would like to assign spin them around 90 pack islands. Alright, let's hide those out of the way. We've got one piece of wood here, so I will have to make this smaller, just so weird. So use what you reproject. Sine 90, let's make it smaller, G, put it into place, hide that one out of the way. And then let's do our bowl. So we're gonna need models will change our gray and put it onto I in. I think it would be the end-all, to be honest. So we'll use that. I'd say actually these things now, like so, I'll just round. That actually should work a lot of that and then assign. And there we go. There you go. Let's go back to modeling. Let's make sure it's all one piece, which is, let's double-tap the egg now, I'm a level of just see what it looks like quickly. Yeah, there you go. Looks really, really nice and it looks very supportive. Let's say you can see I've fits really well. Alright, so what we'll do now is just put this back on material. I'll come in and grab this. I'm just going to press Shift D. I'm gonna move this over here then. Like so you've got what way you go waterway here. Just going to minus off the y because we're going to join this up with the house. Whereas this we need something called worldwide because it's going to actually be an asset. So right-click Mock, as I said, in that same file, Save. Now what we need to do on the next lesson is we'll actually create the door here. Probably delete all of these planks actually, rather than use a Boolean. Create the doll, the handle, and then pretty much the house has finished. I'm ready to move on to the next poll. All right everyone, so I hope you enjoyed it. I'll see you in the next one. Thanks a lot. Bye bye. 46. Creating Realistic Doors: Welcome back everyone to blend the three, the ultimate medieval seen course. And that's where we left off. Now, what we need to do is of course, create the Dole. If I come in and grab this EL press Shift S, Krista selected shift a, unless bring in a plane, let's spin it around. So all why 90? Before actually, I carry on. Let's just check to see if we've got a face orientation issues which we have, so we need to fix those. Let's come into this first and we'll just grab it, hold, Shift N spend them all around. Let's come in then to our house, scrubbing all Shift N, spin everything round, just make sure it's all right. There we go as quick and easy to fix them. You can see here this, if I start off with this, this way, it's going to be the wrong way round. So all why 180 spinning round and now we've got that in the right way? Or is it said when you bring your plane, if you turn the ground, you'll leave Robbie right or wrong and just spinning around. Just search, right. Alright, now let's set off. So let's come to face orientation. Let's put this in place and to where it needs to be, where I need this is first of all, press Control three, I need it to comb to the edge of this so you can see to the edge of here and to the top of the ear. So I do want a little bit of a gap on here, bearing in mind that I'm going to make them a little bit uneven as well. And then of course I need it back to here. So if I pull this back, you can see that it needs to come down a bit. So you can see if I pull this blank, look where my dog is gonna go in. You can say we don't want this big gap down the bone. So it has grabbed the bomb, pull it down a little bit. Alright, Finally then that should be, yeah, that should be enough of a gap that Let's grab this and pull this over this way. Like so we can go rarely full ball on this doll, give you a hinges and things. I think what we'll do is we'll just create a simple door for this same. You'll have the basis then for simple dough and you can actually create more if you want to. Now let's pull this Dole back to where we actually want it. So if I pull it by, I'm probably going to want the world to come to here. You can see that little they have alleged that. And now I can actually go into my actual house, grab this one here. So L delete vertices and then come around to the back of it and Command L, L, L, L one. So delete that says, alright, there we go. That's the stall of all don't. Now let's convert them to our plane. Let's press top, Let's press Control Law. Let's bring in yeah, Probably this many. Left-click. How many is that right-click? Five. I brought in, you might want to bring in some mult. I'm going to right-click on moccasins as we always do control law. Then let's bring in full edge loop, something like that. Let's come in and split them up. Lll G, pull them back, a show run individual origins and pull them together. Like so. Run them proportional, I'd say, unless hold them very gently on the dole, we don't need them crazy or anything. Like I didn't see that one went a bit crazy. We don't want to lie that just a little bit. And then let's pull them back. Like so something like that I think is gonna be absolutely fine. All right, so now let's set first control labeled transforms. Let's right-click the origins geometry. Let's right-click to shade smooth. And let's then put on also smear. Now we call it instead of using the solidified, just extrude them. Bike can also do it that way if you just grab them all a pulley. That's also a really easy way to do that. Yeah, I think I'll just do that thing because it is adult. Let's probably by without approach lead to non just a little bit further. Like so. Now I've got my dog and know where it's gonna go I wanted to do now is just pull it out into place. Like so, because I didn't want to fall back on this dough just in case you want to use it for something else. So I'll show you quickly how to do that. What I'm gonna do now is I'm going to grab the top of it. Let me grab it like so pulled by Mark proportional to known bringing it down. Just make a little they don't even, maybe that's a little bit too much. And then I'll also do the same on the bottom. Like so. All right, I'm happy with that doll that looks fantastic. Now let's just bring them back together and bringing in bevel modifier, bringing a bevel, 0.01. Let's see if that works. Again, probably a little bit too high on the null 0.05 knots located in a much back and then tap a grabbed them all, make sure you proportionately turns off and then S Y and just bring them closer together. You didn't want to probably a little bit more of a gap and you don't actually, I mean, they wouldn't be a solid as this for instance, because. The beam replaced the law, the warp and things are being opened all the time. So realistically, you probably want a little bit closer than, than what you wouldn't be able to pause. So you can say a little bit of a gap down there. All right, let's press Shift S because it's selected. Let's then bring gain ICU cubed. Let's press S. I'm going to pull this then to the, I won't say obviously much smaller than that. And I'm going to pull it up like so, I'm going to press tests and x. Let us make it thinner. Then express SRY pulling out. And let's have a look. How thick that actually it's going to go right on the buyer in the backpack. You can say it's a little bit flimsy if we bring out money, You can see how big is it needs to be thicker than that. I'm going to press S and Z like so then I'm going to bring it down. So Shift D. Then when we went to eat up a bit that goes across here and now that is how it would, it wouldn't be three plants normally. It's a bit that comes across here because that makes it actually much stronger. So should bring it up spinning around. So all x spending around. And let us get this part in its place first, let's put it onto solid mode so I can actually see what I'm doing. So something like that. Let's bring it in, Let's make it a little bit thinner. Like so. And let's grab the bottom, pull it down out. Like so. That looks, that looks absolutely fine my thought. All right, so let's say join these together. Control J. Now let's finally cocaine. I'll bolts. So we'll again, we'll do the same thing. I could actually steal a bowl operator. It's probably going to be easier to do it now. I'm just going to steal one shift, bring it out. It's going to save us a little bit where selection, grab a control. All transforms right-click average into geometry. Control three. And let's just bring you OK and put it into place. Wants to be up close where this actual plant kids, so it needs to go little bit higher. Like so what I tend to do if I'm doing this, I'll come to the other side. I'm just going to permit I'm just going to press shift D Then. I'm just going to do it. I think let's have a look. Every probably don't want them so level or anything. So I wanted to make them a little bit different. So I'm gonna put it like that. And then I'll put this one, hope. Pull this one up a little bit so they're a bit on the even as you can see. And then what I'll do is I'll bring this one down like so and then shifty put it on here. And then maybe this one. Like so you can see again they're a little bit uneven, maybe a bit this way. And then shift D shift the shift take something like nothing. I think that's going to look absolutely fine. Now let's grab them all and join them all together. Control J, joining them all together. Then let's pull them out. Sorry if we pull them out now into place. Alright, look at absolutely fine. That looks pretty realistic. Let's double-tap the height and that will bring in is not the cube. So shift day, bringing a cube, press the S bar. And this is going to of course be the handle. Now for the handle, you better off just grabbing your mom. I'm bringing them up to the same level. So Control three, bring him up to the level of your door which is here. And then you can say that the handle is probably going to want to be about here that solve high, Let's squish it. And so why bring it in like so. And now let's bring in the other way. So I sin x, bring it in. We're just going to make a very simple handle here. We don't need anything too big. The other thing is just make sure that his hand is gonna fit. You can say that it needs to be probably a little bit big. Now let's command and bevel these edges. I'm just going to grab this one, this one, and this one here. I'm going to press Control J and you can see that the pebbled off. Okay, but that's probably not probably right. Let me get my words out. So the reason for that is control AOL transforms right-click origins geometry, Control B, like so, teddy a, warm. There we go. Now let's bring it in. So we've grabbed this phase, press the eyeball. So press the keyboard just to go in now extruder. And there we go. They've got makings of all dog just going to save it out. And then what we'll do on the next lesson, we'll get this doll finished off. We'll make it into its own asset, and then we can move on with the next step, width. The next thing is, I'm not sure what that's going to be yet. Probably going to be the hail, something like that, but not in fact, we'll actually create the fences, I think next that'll be the easiest thing that we can take those straits in as well. All right, everyone, so I hope you enjoyed it and I'll see you in the next one. Thanks a lot. Bye bye. 47. Handles with Curves: Welcome back everyone to blend the three, the ultimate medieval sinkholes and this were left out. Now let's make a quick handle. So how are we gonna do that? Well, I'm going to do is I'm going to press Shift a and when to bring games a plane, a claim that seems a bit strange and we're gonna make out loud plane. Now you can see that it went in the wrong place. I'm just going to go back. I'm gonna do is I'm gonna press Shift. I have some bringing my plane into here, so it's a selected top again shift they bring in a plane, let's bring in a plane that's spinning around. So all x nine take, and then what I'm going to do is I'm going to take this. So I went to grab just this edge. So grab this edge, Shift D, move it over, delete the rest of it, Delete. Now how are we going to use this to make a handle your OS. So let's make it smaller photo. Let's bring it into place. So it's something, something like that. Let's add a few more edge loops in. So I'm going to press the top. I'm going to come and make sure I've got I select it right-click and sub-divide, right-click sub-divide. Now I'm going to do is I'm going to grab the top of this. I'm gonna make sure about proportional editing. Bolt onto smear. We don't want any randomness in this. And then when I went to there and we're going to bring my mouse all the way and just bring it in. Like so. Then I'm going to do the same on this one, bring it in like so it doesn't look like much at the moment. I'm going to give it another edge loop, another subdivision here. So I'm grabbing this, that and this right-click sub-divide and then bring it up slightly. I can't do that because I need to just grab the middle of it. There we go. That's better. All right, Now what we wanna do is I want to turn this into a coup object, convert rights on the side, and let's bring out the debt. And you can see how easy it is to create a handle with this technique. So let's say, bring it down a little bit more, a little bit to say something, something like that. Let's come in now and grab this. And what we'll do is we'll press E and X and pull it out into the actual DLT. This one-on-one to them this way anyway, so I'm just going to grab this Shift Spacebar, just bringing my move tool. I'm just gonna put that into place. Alright, and you can say that real, real easy way of creates an adult handle spring. They said. You can also make this a bit fire if you want so old tests and bringing it out to make it a little bit fatter. Little bit more like a door handle. All right. I think I'm already happy with how that looks as simple doll handle. Maybe this bits a little bit to five. So I'm just going to bring you back a little bit. I'm going to bring out this bed as well. Like that. Yeah. Okay. Alright. Let's not worry too much about that woman there now I'm just going to turn down the resolutions. And I'm also going to turn down the resolution of this just to be a little bit less. So it's not too many polygons like so. And then you just go to Object, Convert and converts mesh. Great piece of mesh. Now let's right-click Shade Smooth. Let's put it on officers Smith to see what we get. We're gonna have to turn this off below their thing, so something like that. It's gonna look absolutely fine. Probably mesa, we're going to be joined in a soap with the actual the actual house. So I'm hoping I might have to move this off and I'm open. We should be able to it should be okay. Actually, if we can just move it up, Let's see. My absolute whereas subdivided, that's the problem with, then you will actually get us moving. So if you come over and add a modifier and we just bring in a subdivision, you'll end up with something like this, press Control. A. Now if you go back to your smooth and put this on Thursday, you'll see that it's actually smoothed off. Rarely, rarely nicely, problem is you've got a few more polygons in there. Well, I mean it should be okay, Let's come in now and actually create all n. So e, ALT and AST takeoff proportional and it's saying so alternates just bring them out a little bit, just to make it look a little bit more realistic. And we'll also do the same with the bottom. So E S bringing out a little bit you can see probably doesn't fit into well. Let's think, let's bring it out probably a little bit wrong way. Let's bring it out like that. There we go. Come rotate it, round everything. Rotates it. Pull it back. Camera. Yeah. I'm happy with yeah, that looks like a nice don't join all of this together. Now let's make sure we've got no bevels on which we have. So control a bevel these off amount as well. So I'd modify it, the devil. We didn't actually reset the transform online. You can see that's why it's messed up a little bit. So control a all transforms right-click origins geometry, naught point, naught one. Let's try that. No, no, 0.5. There we go. Control a and then just make sure the other parts, so this is fine, this is fine. The bolts of fine. Alright, so let's say join all of this up together, like so. Press control J, joining, shapes, move, Altos, move on. And you'll see now the actual handle is smoothed off and that's exactly what we're looking for. Now. The dog is pretty much don't we just need in materials? So let's bring those in first. We can say the moment we've got iron name, we don't really well not so what we'll do is all of these are on route. They just didn't same place. So let's do the bolts first. So I'm just going to grab all of my bolts. I'm going to actually press Tab to move my guy out of the way. It's getting in the way a little bit. There we go. I want to do you can say as well though, this one's a little bit out. I'll actually unwrap them. First thing is I've grabbed them all, so I'll go to UV Editing. You can see they're all in the same place. All you need to do is putc islands, just going to pack them all out there. Looks exactly where you want. Press dot and let's go back to it. Let's grab this bold. Move it to the side slightly. Okay, they're all different now I can hide. I shouldn't I shouldn't have done that. Yeah. Okay. Well, we'll do it that way. I'll just grab them all again now and hide them out of the way. Just getting in the way little bit. Grab this one. Again, a little bit of a head of myself. So the other way, now this Sunday, I'm going to give it another material. So I went to grab it all. You smart UV project. Let's see how we own route. As I say, normally with metal, you don't really need to worry about it. So I'm going to click Close Down Arrow and we've already got IN dog. Let's try the other ion. So this one here, Let's click Assign. Unless put in several away, it looks like. Now let's put our bottom first before we do anything with this. So I'm going to come in and select just to grab all of these small UV project, would light, click, Assign, spin them around. So a 90 considerable proportion to non, don't want to spend them around with that. So I'll 90 UV pack islands. There we go. This is the thing I'm looking at this handle here. I don't think I'm very happy with this being laid out, so I'm going to assign it like that. Now it looks bad. And the reason it looks bad by the way, is because this bit here, it wouldn't have a lot of people touching and things like that. Whereas the handle it would be constantly torch, constantly smoothed off, and probably a lot shinier than the dolt mouth. Now let's come around the black and we might as well also on roundly. So you smart UV project on Route 99, u, v, and pack islands. And let's give it the wood. I think I'll give you the word main, like so. Yeah, that looks not logged. Perfect. All right, so let's go back to modeling. And we'll call it. Let's call it. We're gonna make a duplicate of it. So I'll do that first. First of all, I'll do Control a or transforms, clicks the origin to geometry. And then I'm going to press Shift date. And I'm going to call this wooden Fondo, like so. And you can name yours again wherever you want to. I'm going to right-click that markets. I said, and then I'm going to bring this out over here. I'm gonna spin it around. So all Zach, I'm just going to put it into a nice place again because you've got collections. You really can make a load of collections and pulp things and everything. Is that what we haven't been doing? This for instance, on the window, I don't think if I come to my materials, Let's have a look. We've got glass. You can see that we've known this as an asset. So Mark as I said, Mark as I said, not small that small, gray, we don't need milk. And as I said, and also the logs window for the logs over here. Tree bulk, right-click monkeys, I said, All right, so then you've always got those materials as well. And that's the that's the whole point of this. Let's say poke this door into place. I'm going to press dot, zoom in. Let's put it into place, roundabout that. Let's grab this then. What we'll do with it is Control a or transforms. I'm going to then join this two modules. So Control J Willard inherit a material and then while one is through his grabbed this you smart UV project quickly go to my UV, spin it round so 90 UV pack islands make it a lot smaller because it's a little bit too big and then give it the wood main. So click Assign again. Now let's go back now. Tap, double-tap. And there we go. Alright, that's pretty much the house finished. What I want to do now is joining us altogether. So let's join it all up. Gonna press G, make sure I've got it all. Control J, joining altogether. Right-click, Shade Smooth. Make sure my outsource moving zone, which is Control a or transforms. I'm right-click and set origin to geometry. And then we can call this farm house. And then we're going to right-click Mach is asset, dropped that in our assets. And then let's finally move this over to here. Wow, we can see how much we've actually done now and we're pretty much motoring along. Now, what we want to bring in now is another reference. If I press Alt H column to my actual reference and let's change it out for another one. So let's come down and we'll change it. If I open up, Let's change it. I want to actually have the top view. So this one here, because I want to create next is the actual fences. I think it's important to create. I'm just going to make it easier than to just bring them in. So we'll bring this one in. And you can see now, although we can't see perfectly, if I press Alt to zoom in, we can see roughly how the fences, all the very simple fences. So we can just create those really easily. We can create a pumpkin patch of fence as well. They were things like the hay that makes these up. We're going to create those, the grass and maybe the leaves, maybe the pumpkins as well. So you can say this is actually really not a lot left to actually create as far as modelling goes. All right, everyone, I hope you enjoyed that and I'll see you in the next one. Thanks a lot. 48. Creating the Large Fence: Welcome back everyone to blend the three, the ultimate medieval sinkholes. And I really believe this is the ultimate course to learn. Blend the three. I think it's coming along very well. Now let's move this over here and spend this round. So I'll wide 91 Wednesdays. I'm just going to pull it down. And what I wanna do is I just want to level the soap to the same size as this farm house. And the reason I'm doing that then, because I love a good idea how big this actual offenses. So I'm going to spin this around. So all 90, let's spin around. You can see it's the wrong way around. So all is it a 180? Spin it around the other way just to make it a little bit easier. And then what we're gonna do is I'm gonna pull it out and then make it much, much bigger to the size of my actual fall mouse here, we don't need to be exact. You can see it's a little bit too big. They're just gonna pour it into place now. And hopefully that's going to be roundabout the right side. So something like that, which means then, now call the right size. If I pull this out, I can see, for instance, my actual fences this size, which means as well that I can bring my little guy out. I'm putting into place and I already have an understanding of how big this actually is like. So I'm just going to pull him up. Now we'll work from this. So I want to press Shift S cursor to select it. Then we're going to do is I'm gonna bring in a cube. So shift a, bringing in a cube. Let's press S. Like So what we wanna do is make this about the right size of a post. So I'm just going to pull it into place, something something like that. Then what I'm going to do now is I'm gonna pull this up to the height I should be. So let's grab it. Plato. It's gonna be a fence. Fence, probably something like this. Then what they would have is two planks on them maybe going across. So if I in other words, what I'm saying is just first of all, make sure you're happy with the size. They're not going to be used these things, especially on the pumpkin patch, they're going to be quite small, but they're going to be replacing the fence is pretty often. So they wanted they would have dug a hole out how to post in, and that's the way it would work. So you won't have these really, really thick or anything like that. Let's press seven Let's press Shift date. I'm bringing the post over to the other side. So now we have a good idea of how long our actual post days and now we'd probably need I'm not going to work. Let's grab the whole post ship date. Pull it over to where the post is, which is here. Now we bracelet going to bring in some plants towards so Shift S because the selected shift, Let's bring in a cube, Let's press. So pull it out where once it first. So I'm going to pull it out to halfway, just before halfway because I'm gonna use this to make more posts as you'll soon. So x, y, sorry Sx, make it thinner. Like so, and then pull it up to where you want it. I'm thinking not probably something like that. Would it be a little bit higher than that? I'm just looking rounds. I think actually that'll be fine. That will be fine for this. Now the thing is will the will the piece of would-be on the inside or the outside? I think they're gonna be on this side. Um, I'm just thinking. I think actually probably, yeah, I'm going to put them on the outside like we've drawn on here. So let's say it's up to you which way you want to put yours. Let's pull this out. So I'm gonna pull this out over here, like so, I'm going to also give you a few edge loop. So maybe three, something like that. I don't want to give any edge loops on these things. You can make them bend and things. But the client thick these posts and not actually gonna be warp to anything, whereas the planks of wood, they possibly would be. Now what I need to make sure I'm happy with the thickness of these plants. Maybe they're a little bit too thick, so bring them in just a slight bit light. So Shift D, bring this one down. There we go. All right, So I'll think I'm gonna be happy with those. Now what I wanna do is I want to basically grab this post, want to press P, selection, grab it again, control lay, all transforms. Right-click set origin to geometry. If I press seven, I should be able to press shift D, bringing it over, spinning around. So all that, minus 90 minus, Let's do that again. I was at minus 90, spin it around and let's see if it actually comes into play. So it should say roughly into place like so. And that is basically how these would be I'm gonna do is I'm going to press seven. I'm going to make another one, shifting. Pull it over. And you can say they should roughly into place like we've got here. They don't want to pick perfectly or anything like that. You didn't want a little bit of a gap and then we're gonna do the same thing. So shift day, bringing it over, hit it ends place. And now I want to go back over this way. And you can see it's really, really fit in the scene actually really well. So what I'm gonna do is I'm gonna grab all of these. I'm going to press Control J, then going to press Control a or transforms right-click origins geometry and then shifting. When you use that to make this a little bit easier for myself. So all z minus 90 again, I was at minus 90. It's been around. Let's bring this into place, which is halfway along. You might want to put it in a full way on this side, look at that one, that one is about halfway. So we needed that because they need to level up a little bit. Alright, so how many more do we need? Let's press shift D again, and let's bring you over. We can say we got, we've got caffeine there. But this one is going to end rounded bottom this one. So I can actually come in with top. Grab it. Move around. Our delete. Let's says a non-one going to do is I'm going to grab, you can say 123 posts. So if we got 12, we haven't got quite got three here. What I could do is join these together, so Control J and then just grab this one, this one, this one. And then shift. Move it over. P. Selection, tab, control leg, all transforms. Right-click its origins geometry, spinning around all z minus 90. I keep making that same mistake. Unless pull this into place, like so. Next short, hopefully, all level. Alright, so that's looking pretty cool. And now we just need a looks like we've got an older one there which had been put in place. I don't know why it won't let us do that now. So I'm gonna grab this one and this I'm going to press Control J top shift, bring it over. Like so. Then I need it go in the other way now. So I'm going to probably just grabbed Yelp. I think I'll grab this one, all of this actually, I'll make it easier, so shifty. So let's put it in place and then finally grab these two LL and shift to put it in place. Like so. All right, so that's looking cool. Now let's join it altogether. So Control J and then G, just to make sure you've got it all, put it back in place. And now we're gonna do is I'm gonna go in and bend these a little bit. So I'm gonna come in, put it onto, I think I'll prime connection only on these because I don't really want to bend this yet. So what I'm gonna do is I'm just going to press G. And I can just put it back now and just move it just a slight bit. So you can see just a slight bit. Just go round, move your posts because it is just a slight amount of movement just to make them uneven. And it just makes a real big difference. Because there's no way these posts would be in the ground pathetically north to the bins stored, especially through a winter or something like that. This would have been used, probably repaired on a yearly basis, but not not actually replaced. So they would've replace these posts, maybe the planks of wood. So we'll do those after. Think this is the last one actually. Alright, now let's do these ones. So again, I'm impressed all on y and spin this around. I can lift this one up for instance. Then l, like so and just make them again a little bit on even. Alright, let's do the same with these now and just work your way around. You could even go round, whoops, that's going to be crazy. So just a little bit uneven. Then we'll go around and just bend them. Oops, not that way. Bend them a little bit. So I'm gonna grab this one and then this one will pull down a little bit. This one will bend a little bit. So all x. And I'll also pull this one down. I'll hold the shift bar and if you need to, and then this one here, so x. Alright, so now what you could do is come to your Edge, Select, grab an edge like so. Just spend a couple of them. Not too much, we don't need them too much, just a little bit. Like so. Just make them look kind of organic, realistic, not live, they've just fail NAPLAN today in a 3D software. All right, So think this is the last one. Okay, Let's have a look at that. And there you go. You can see it looks really realistic. Alright, so what we'll do that on the next lesson, we will actually come in, give these materials. There's just one material, so that's quite easy. Well beveled them off library, don't be fall. And then we'll start work on this pumpkin patch and get that out of the way. And then we can actually probably start work on the grass, hay and things like this because pretty much everything is built by them. All right, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. 49. Pumpkin Patch Fence Greybox: Welcome back everyone. It's been 23, the ultimate medieval sinkholes, and this is where I left off. Now let's come in and grab all of these. I don't actually want to unwrap them all at the same time because it will probably make the resolution just way too small. What I want to do though is Babel them off. So Control a or transforms right-click set origin to geometry. And then we'll come in and add modifier and bring in a Bevel and put it on don't point no one. Let's say if that looks absolutely fine. Is it too much? Let's try naught point, naught 5.5. Yeah, Probably that's gonna be bad. So I'm just going to apply this control. And then what I'm gonna do is I'm just going to wear my way across now. So I'm going to give these the same material. And I think what I'll do is I'll do this chunk at a time. I think that should be fine. And then we'll do is press you smart UV. Then welders come to my UV Editing will bring in the gray material, so gray. And then we'll press Plus down and would would mean press adult bone, zoom in. Let's assign that these ones and that spin them around. So AR 90 spin them around. I did use a proportional it is, and let's turn that off and do it again. So our 90, let's UV islands. All right, Let's come in. Let's put it on materials so you can see what we're doing. Now let's go into the next one. I want to grab these, probably going to grab all of those actually, you smart UV project, assign a 90 UV and pack Ireland. So you can see pretty much all of this is just rinse and repeat now. It's just your imagination. What you wanted to create. At least up until this point, we've nearly finished the modelling. You've learned all the basics of modeling pretty much in creating these. Now we're gonna move on. Once we've made pumpkins and things are just a few simple things to during things like political systems. So you smart UV, project 90. I'm trying to give you an all-round skillsets or where to create a scene or anything pretty much that you want to create. So you smart UV project, okay, assign a 90 UV CG-islands. Same again with these last ones. Are you smart your group project? Okay. 90 UV and whereas it back islands and hit the assigned bone. All right, let's go back to modeling. This is what we should be left with, something like that. Looking very nice. Let's hide this other way. Let's hide our floor out of the way. There we go. Now let's press one. We've got front view. Let's pull them down to the floor view. Let's bring our guide. I'm just making sure that everything is right and I'm happy with the high of them. It should be able to pull his hands on them live. That's basically a good size fence. If I had cows and things online, probably going to be a bit higher for something like corn or something like that. This is going to be absolutely perfect. So now we're going to do is and again, resettlement transforms. Then I'm going to call lodge fence. I'm now call it vegetables. Just so we know the difference in case you wanted to create another fence for your farm animals or right-click and Mark, as I said, unless drop that in to the assets, unless then pulled up over that. Alright, so now if I press Alt H, bring everything back. We know already we've got the right size in. Now I want to do is grab our little guy. Like so we want to create a pumpkin packed. So I'm just going to pull him over here. And the pumpkin patch is a little bit different. So we're just making a variation on the fence and just making sure he's actually stored on that. There we go. Stood on there, so we have a good idea of the height. Okay, so let's go over the top with seven unless bringing offers and parts, I'm going to press Shift S selected. Let's bring in now a cylinder. And I want to make sure that this one is pretty low on the resolutions because I am going to use this a lot of times. So let's put it onto pretty much the bare minimum, which is going to be 12 and you might still get that roundness. So that's what I'm actually going to look for. I'm going to press S and then I'm going to bring it in to where I want it. So something something like that Saul size, it's probably going to do and then we're gonna stick it in the flow like so. Then I'm going to pull it up to the high amount once it probably again around the same height. Is what we did with the others. You can see that it's probably isn't going to be a little bit too thick, I think so. So I want to make it a little bit smaller. Essence zed, pull it up so it goes in the flow. Yeah, that looks roundabout, the right Hi, something like this. Now with things like this, you're going to have some bending. And because these are basically logs, are they using? So we might as well create this 1 first, I'm going to press Control Alt, left-click, right-click. And among Wednesdays, I'm going to just grab this, put it onto random, and then I'm going to press G and just move it out just a little bit just to make it a little bit Don't even like so. All right, so that's the first one done. Now we also need to bevel off the top of this. So I'm gonna grab the top. I'm going to press Control Bay Beverly. Often you can say, no, very good to bevel. The moment actually there is, that actually looks pretty good. I'm going to leave that, I'm going to come to the bottom and we leave the faces on here. I'm gonna come back to the top then. And then what I'm going to do is I'm just going to again, Mama Saint control a Maxine. And then I'm going to right-click and triangulate faces. And that's gonna be made pretty easy for us. Let's shapes move now. So shapes move. Let's bring in also smooth and see him get away with it. Can't quite get away with that as you can see. So we need to bring Europa ultra smooth. 36, something like that. Yeah, that's located in a quite nice, one thing is a thing. So have a look, have with devil that a little bit too much as you can see, we've got a spike going up there. Don't really want that. So to fix that, I'll do is I'll just take off proportional. I'd say essence ed. And just flatten that out again. So S zed and flatten out and there you go, it looks much, much better now. You will get some hard edge and obviously it wouldn't all be smoothed off. Now let's say I put the rest of these posts sense. So if I press Shift and come across, then I think how many we got here actually, I think this is where is this? This is the actual opening. So I want to say is the one probably one here, probably one here. So I'm going to press Shift, bring it over to here, and you can see they didn't actually duplicate. So let's go like so they can be a bit uneven as well. These shift D over here. Now, this is the next one, so let's call this way. Now we're gonna put them so I can see warnings here, roughly. Like so. And the other one is here. And then shift day, another one here. All right, so now let's do the other side so you can see one here, one here. So we should, whereas this one probably around here, around here, then one here I can see. So it should be then shifting. And whereas this one probably around yet. Then tomorrow. I'm going to pull the one on the end actually. So around here, and then this one somewhere in the middle here, something like that. Alright, so we've all posts help. Now let's make them a day uneven will join them all up as well. So I might as well, I'll just have my reference out F and now, and then I'll also hide my floor and then I can simply move my mom back and just grab one of them, press B to grab the mole, press Control J. And now I can grab them all. And then what I'm gonna do is I'm just going to command, I'll start with this post and I'll just make them a little bit uneven. So Paulson and just move it out very, very tiny bit. Say I'm just moving out just to make them a little bit different. So now we're doing now is we just move in the ward round. This is not actually moving the posts. We're gonna do that in just 1 second. You can see how quick this isn't just moved a little bit too much there. Like so. Now I'm just gonna pray onto, whereas it smooth. Now I can grab, just move this whichever way I want to do it just to make them a little bit uneven. So I'm just gonna move that one. Alright, so something like that. Now let's come to the, The next poll, which is going to be just planks of wood going across here. Well, we need to establish now as well is I think I've gone too far with this. I think I need a gap in here some way you can say, I think it's actually here. I'm not sure. Let's have a look. Let's press Alt H at top first Alt H, bring everything back. The gap, this is the wall rate, so this is where he's going to walk in. I'm just gonna put them on and he is just sorry, I understand where that is. So I'll zed nine to eight areas, the Pachet. Now, let's bring in a piece of wood. We've already got our cursor here, so let's say use that. So what we'll do is shift I bring in a cube. We will have these pretty straight. I'm going to pull, I think I'll put three in there, something like that. I'll keep going a little bit. For onto here. Yeah, something like that. Maybe a little bit of thinness still. Put it back into here and then tab. Grab it. Not what I wanted. Let's pull it over the halfway point and then we'll have three of those. So if I press, which way is it Control three there we go. Pull it down and then shift D, pull it down. Like so. All right. So I think I'm gonna be happy with those. So whenever we're going to do is ship date, bring it over to the next law. Can see that a little bit longer than these ones. So I'm just going to grab these. Wanted the money even anyway. So it's just a little bit more work. These and drag it over to the halfway point and then put those back in its place, like so. And now I'm going to grab all of these. I'm going to press Shift, bring them out of zed 90. And let's just pull those into place. Like so we'll just do these ones. And then on the next lesson, we showed be able to get most of this finished off. Let's pull them out. Like so. I'm just gonna save, I'm awake and then we'll see you on the next lesson. So hopefully we should get this finished on that one. All right, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. 50. Fine Line Between Realism & Polygons: Welcome back everyone to blend the three the ultimate medieval scene calls and this where I left off. Now let's keep working our way over. So I'm just going to grab this. I'm going to press Shift de novo pathway between reflects. You can say we are going to bend them over these actually my face, I'll just press shift D again. They also might fit, so these ones definitely are not. So we'll just pull those back like so. And then we'll grab these and go around the other way. So we should update all zed 90 thing with these ones that needs to be pulled out a little bit. We don't want them in the posts. And these can also come out a little bit. You can say this one's, we'll do we'll solve that in a minute. So then bring them over the entrance. So Shift D again, making sure I'm happy with that one. All right. Now let's say carry them around so we'll just grab these shift day, bring it out and then pull it over. This one. Can see it's a little bit about that. Let's put it into place and let's pull these out and then I'll make sure that they're in place. So pathway. Are they touching it? No. They're just floating in there so we don't want that. All right. Shifting is bringing them out. You can see this one is much, much shorter, so I went to the ends and then after we've done this, we're just going to move them out. But you can see here that these need moving our little bell and this one. So I'm actually going to move all of those out, seen as the only to move now and then I'll grab this one. I actually move them. Not like that. I'll press your date and then move them over. Like Miss I'm just going to spin those just round just so they fit in place. You go now the same place, which back then what I'll do is I'll grab each one of these, just pulled them over and then pull them out line. So, alright, so now I'm going to do is I'm just going to come in and just moved some of these. So I'll why just spin them around just so they're not even there, even at the moment. And I don't really like that. So I'm just going to go round, just spending a little bit of extra time, just move in. Everything out. Like so. Same with these spin, this form rounds. So our x, I'll leave the other one bit flat. Let us move. I'll just do the movement. It's actually first in mind, be quicker to do it that way. Then rotate them. And maybe that's a quick way of doing actually grew up this one for instance, and now go in and rotate them. So scrub this one, x, no x, y. We go. This one came a bit too close to it. Sometimes that happens, so you need to be quite far away when you are on a rotating, something like that. There we go. Alright, let's say this one. They close again by actually be able to get away with it. Alright, so the last poll of these ones, making them all uneven, It's not landing, drove it all as you can see, I just bend. It does get a bit tedious after a while during this, I completely understand that. In the long run, it doesn't it doesn't take that long. So we should be, should be happy with the results. So once you've finished it, so this is the last one for this. So our x, there we go. All right, Now we need some little posts. So I'm going to bring those in now. I'm going to press the top. I'm going to press Shift a. I'm bringing in a cylinder. I'm going to use the 12 again, same as I did before. I'm going to just put this into here. Like so make it smaller, bring it in place. They're going to go on the inside of these. So just make sure you put it into the floor flows here. Let's bring them back. And let's bring the top of it into place as polio, you want them just sticking over the top. I can say that these are probably still a little bit too thick, so S, S, and Z. So now it's looking much back then that scam into play. So something like that. Put it over here. And again, we don't want to be using too many polygons on here. So control law, probably something like, I would say. Alright, so now you've got these. What we can do is we can grab them all and we're just going to duplicate them across. Like so. Like so and just work how many actually won't probably get away with Forum, this one. I'm going to grab mole now. Like so I'm gonna bring them all over. Shift D. Yeah, probably get away with foreign that once you've probably a fifth one on this ramp, this one shift, they bring it over. All right. So now let's grab let's grab four of them. I think we're all in the fall for the next one. So Shift D and rotate them around. So all z 19 you can say that rotates and individually don't really want that went on to a medium points. So all zed 97, let's go over the top. Like so. Yeah, that looks fine. Let's do the next one shift day. Probably need another one in not just making sure that fed them in place fine. Yes, I have. So let's just grab one of them. Now. Let's grab all of them. Bring them over. Let me go and now let's bring them out. So shift they spend them round. So all 97, let's go over the top. Fit them in place. Like so. So shift probably easier to actually do any other way I'm doing it now. Then Shift D 90, spin them around place, so then you get stable. We've got to do next is just make them a lot of variations. Alright, So there we go. That's that. Now let's come in and make these variations. So what I'm gonna do is I'm gonna come and grab, let's say this one. I want him connected only off and I want him to be on random and I want to save, I can actually pull these in without making them. You can see there that they're not really working too well. Randomized polynomial, I laughed, so let's see if I can put it onto. I'm almost wondering if there's any. What about sharp does actually wearing? Let's see what that section working quite well. So we'll use the sharp instead. We'll pick some alta, pulsar them down. Like so. Hopefully I've got that one. There we go. Looking to make sure they're uneven. Looking slightly uneven there, so that's good. So let's do the sharp on this one. The morning you've noticed. These will look, Let's say try once we've done this, C Sharp will actually wig signs. Yeah, actually that will not actually looks like it's going to work. Yeah, I think I'm gonna be happy with this now this is during its bow in the Mao know, making them too destructive like you would have with the randomized, because it randomizes all the polygons. Realistically, we just want to randomize the edges more than that. I think this is going to be much better than the way probably did this in the when I actually created this farm folder costs. So yeah, I think that it's gonna look like so. All right. Let's have a look at that. And I think That's looking, that's actually looking really nice. I'm really, really happy with that. Then what we'll do then on the next lesson, we'll actually give these materials and then that's another job down. Then I think we're pretty much onto foliage, pretty much foliage in, Hey, hope you're looking forward to that, and I'll see you in the next one. Thanks. Bye bye. 51. Finishing Modeling the Base Structures: Welcome back everyone to blend the three the ultimate medieval scene calls and this where we left off. Now let's come in and give this some material. So is it all joined together? First of all, note the null joined together. So I'll do this first of all, there is control or transformed, right-click set origin to geometry. And let's bring in a material. What I'm going to use this, I think I'll use the bulk. And what changes slightly, so I've got my tree bark here and what I'll do is I'll just, I'll make a new one. New. I'll call this fence ball. Like so. Then what I'll do is I'll copy this now. So copy material and paste material and then minus a half and then find the one I want to do is I want to unwrap these. So I'm gonna grab them all with a person you born on smart UV project, like so. All right, so now let's make them a little bit bigger. They look okay. I'm not so sure they look okay. I think I need to make them a little bit. It will look at a UV map. We can see probably too many of them at the same time, I'm gonna press adult. What I'm gonna do instead of doing it. I want to grab a few of them, like so I'm gonna grab, let's say this many press Control plus just to grab them all. And then you smart UV project. Okay. Then let's have a look at those ones now. Yeah, they look in I think a much much past them on Wednesdays when I hide those are the white and then come to the next law. Grab them, control, close just to make sure you've got them all. You want, you reproject them either way unless grab another load of them. So something like this control plus hi the Monterey and finally, these scrub them control ports just to make sure you've got them all. You can say I didn't have them all that. So you and that's because I grabbed them were not in wireframe or anything like that, so it didn't grab the back of them. So smart UV project. Okay, Let's bring everything back. I'll take a now, let's go in. We'll put it onto our render view double-tap. Now let's go in and actually just make sure we've got these rights. You can see we've got some logs ear and things like that. That's not what we want. The rest of them, as you can see, the mind look okay, I think I wanted to make them a little bit brighter. A lot of time when they made these sticks and things, they all like more like branches, so they're a bit, a bit cleaner. Not quite this color. So let's go to the shading panel. I'm going to do is I'm gonna come in on a think. How many of these have gone up? Five. I'll do is I'll zoom in now I'm in the shade and icon sets. Let's grab this, press the elbow and zoom to come to the first one. And let's, first of all, I'm just going to delete this one now the way I don't need that, then I'm gonna come in and I'm going to delete all of these other way just so I can make a fresh kind of star. Now we know that this one, if I pull this up just so you can see wondering this one is the roughness. So let's plug that back into the roughness. Let's plug our color back into the base color. And that's then I've looked at, there you go. You can see the much, much lighter now. Alright, so now let's bring in a Gamma. So shift a brain gain and gamma, drop nine there. Let's then bring in a UN saturation. So search hue and saturation unless drop nine mat. All right, my gamma, I'm going to call on 1.5. So let's put it home. 1.5, like so the moments do is with my saturation, I want to turn this down to no 0.6. I'm going to turn the volume down to 9.8, like so. Everything else, I'm going to leave the same now let's zoom out here. Just looking for on no resolution actually. And just make sure if I'm happy with this, I think I'm actually happy with those and you can see a lot of them even though they have the logs and things on there because of how the you can see here, this one here for instance, I think, Yeah, Well I have to solve these other all they look at their mess. I'm not dealing with the actual color of them now. I might want to make them a little bit more red. I think I'll do is I'll come into the UV editor, installed the malware. So I'm going to need to put this on my logs so I can see exactly the ones I'm looking at. Logs, call it. Now we can see those, any that are in here. I can just grab them all, as you can say, and just move out these ones here so you can see these are all in the wrong place. Let's just grab them to crash G without fortunately Denon, whereas press G and just move them out of the way by. So now we're going to logs in there. That's the first part. Now let's come to the next part. So we're gonna grab all of these one's a little bit of a time, I think so. Well, there's I'll grab grab four of them. I'll press U smart UV project. And then one we're going to do is again, I'm going to bring in a new material. I love it on the wood, just the main would like. So let's zoom into these ones and I've loaded. You can see the guy in the wrong way round someone press all 90 UV and pack islands and I'm just making sure that they look code you can see probably need bringing in the probably a little bit too large. So I've been bringing them in now you can see look a lot more correct, a lot more realistic. Now I'm happy with those. Let's now command and do. We did Forum these ones. So if we can get away with for again, small UV project, a 90 S, bringing them in. And there we go. Now let's do the next fall. So these ones here, so L, Let's do three actually as soon as we've got three left. So smart UV project a, 90 S, bring them in and let us do these ones here. So out you smart, you reproject 90 S, bringing in like sir. Alright, so now let's do the back ones now. Again, probably grabbed, I'm gonna press B again to grab these ones from press control plus you smart UV project, okay. 90, make them smaller and less envelope a day load like I didn't actually give them materials. So let's come in with wood. They look really, really nice as you can see. All right. So let's work our way along. So I needed we grab we grabbed around six of them, so we'll do the same thing. I'll just press Control plus to grab them all. And then smart UV project and then spend them all around. So all make them smaller, like so. And then just let us do the same thing. So now we want these, these ones, Control Plus you. Just rinse and repeat. Then we should have these. Pretty much don't think I can grab 123, so we can grab all of these actually on this last one and won't get away with that anyway. Miss two over there. And then you want you reproject 90, bring them in. All right, Now let's join it altogether. So join everything together with Control J, J, like so. And now let's go back to modelling. I'm just going to make sure I'm happy with all these. I'm just going to double-tap. And I hate that whites it's coming from if I comb and turn off my transparent, you'll see now, it's got rid of it. The rendered mode lobe. It's got rid of it. It looks much, much always. Still that anyway, we'll sort that out in the actual lighting. It's probably because it's EV cycles just going to quickly grow on cycles and just have a little bit. Yeah, it's just the lighting coming from the backwards. You can say, well sold out, no problem. Let's put it back on eBay. Alright, so that's, I change them over anyway, but we're not going to deal with that right now. Alright, so that is nice. I'm happy with that. I'm happy with my sticks on day one to make them a little bit more red or something like that. I will show you actually how you do that. So if you come in at shaded and we go to our fence bulk, I know you want to do just got a nice place where you can actually see, where you actually looking at, double-tap the ice or not what light yellow going round and then come to you and you have finally continue you just a little bit more red like that. You can also use a color ramp to do this sunblock. Don't want it that red. Probably something like that. Just a little bit of redness on that a little bit more. I'm just going to turn you away and look at the colors of goal. You can say, I'm gonna put this on one and show you the naught 0.5. I think it was. Yeah, it was. Unless you bring in a U. So if I'm bringing in a search color, drop that in to my u. And you'll see at the moment it's like that. Let's turn this off. You can see that now I can give this a slight red hue. Same for this one. Come to this. There we go. You can see, you can give it a slight brown you now and that's why we're looking for All right. So I'm not kind of not feeling there with this one. So I think I'm going to do is I'm actually just going to delete the other way and just keep them as that. I'm just going to keep them as the way I have showed you how to do that now. So if you want to change those, that's perfectly up to you. All right, Let's press top, Let's grab it out. Let's press Control a or transforms. Right-click the origins geometry and we'll call this fence small. I'll get rid of my caps lock. So Defense. Small. Vegetable. Like sir. Alright, now we can drag this and put it over next to the fence, like so. And then we just need to change it into a assets and let's drop it in RSS. Alright, so there we go. That's the actual fence done where they've been over there. I'm just going to put it back over here and move my flow a little bit over so can actually see what I'm doing. Also want to pull that into place. I want to bring in is gonna be in the right place. Just sticks out a flaw like so. All that fancy. All right, a couple of times. Now what we need to do is on the next one, it will bring in another reference. I think we'll just create all just a basic pumpkin. And the other reason we creatinine is just so you've got something to bring in. We're gonna do a lot with it actually in the scene. I'm, I'm just looking now what else we need to we need to create our grass or branches and obey and things like that. So I think pretty much now it's pretty simple modelling with these things. All right everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. 52. New Pastures Starting the Scene: Welcome back everyone to blend the three, the ultimate medieval same course and this is where we left it off. Now, actually, instead of modelling more things like the grass and things like that, I think I want to make a star actually creating the scene because opening like to lots of Blender, it doesn't really cost a lot actually on your system, so you should be able to do that. And even if you call on, just save out this file. And then we'll open up another farm where you can just swap between them. If you need to do that, if you call it lowest spec system or something like that. Alright, so what we're gonna do is first of all, I'm going to actually mark this as an asset. I'm actually ImageJ the 70. And the reason we're gonna do that then, because I've actually scaled it to the right size and I'm hoping it will come in and lighten up. So let's see if that works. First of all, I'm going to right-click come down markers asset. And then what I'm going to do now, I'm just going to save my file. So save, and then I'm going to open a new blend file. So I'm going to right-click file. Let's open it. Let it load. And this is of course is the scene that we agreed to width. All right, so now let's go over to where it says layout, sorry, assets. We need to bring into myself, so I'm just gonna pray onto my phone assets. And there we are. We've got our MTN. Now I'm hoping that this comes through at the right size. You can also say that all those materials that were curated are also in the ad. So that's really great. I'm going to do is I'm going to try and bring in this empty. Let's see if it comes in. So I'm going to bring it in and there we are. It should come in the right size and that's perfect. That's exactly what I want. Now when I bring my my fall myosin or something like that, it should come in the right size and I can start placing this down and find the done. I can start cutting out this piece of lung. So that's why I'm going to do I'm going to press seven and I'm not going to do that. I'm going to make sure that my head reference is right where it should be, which is at the moment. And then one way to theirs, I'm going to press Shift Spacebar, bringing my move tool. I'm just going to pull it a little bit down, like so that one went today is I'm going to bring in a plane now. So I went to press Shift X, just make sure your cursor is in the world origin, which it should be. And then Shift a and we're going to bring game whereas shift day, sorry, bringing in a plane. All right. I'll get with it. Don't worry. Then what we'll do is we'll press S, bringing IT scalar out to the place where it once it like so something like that. Then what I'm going to do now is I'm going to actually sub-divide this a lot of times. First of all, to help me out and went to add and modify it, come down to where it says subdivision surface. You can keep a simple and you just need to scale it out a little bit. And it should actually make it better. If we do put up five, bring down all the way up. I think it's six that it goes up to press Control. And then you'll see that if I press Tab now, we've got it kind of like this. And it does make it a little bit easier when you're trying to pull it out and things like that. I'm going to do now is I'm going to press S and just bring it out a little bit like so, I don't want to be caught in this away. Alright, so now we've got that we do, we need to probably still divide it another couple of times. Let's have a look how many subdivisions we've actually got. We've got 8,192 at the moment. If you see down here That's the amount of polygons are triangles. So what we can do is we can actually come in now up everything Right-click and sub-divide them. Let's see what that was. Pulls up 32 thousand. So that should be absolutely fine to actually work with. We're going to do a little bit. So we're gonna add a displacement map in just a tiny bit just to make it uneven. And we're also going to sculpt and we're going to call two out. So they're the things we're going to do. One went to do now is I'm first of all probably going to coach you out based on it here. So if I press seven price Zed going to wireframe, and you can see this is where I want to cut it out again. So I've got plenty to actually call out. I'm going to actually make it a little bit smaller. So it gives me more actual polygons the way we are. So I'm gonna pull it up, make it smaller, and then just save that it's actually fits in so I can pull it up a little bit more as you can see, make it smaller. Now you can save both fair amount of polygons away with, I'm going to work along this route around here, like so. All right, so let's, let's do that now. You want to be cutting out a little bit further than your actual graph. So for instance, you want to becoming out here because we're gonna be adding in another material and we're going to make the actually transparent. So why do we do that? Because then it gives the illusion where the actual ground ends and that's exactly why we go now, let's actually do that now. So I'm gonna come in with my knife. So now I've told I'm gonna go to morphine so I can actually see what I'm doing seven Zed wireframe. You could also, if you can't see very well, you can actually calm to your actual empty all your image and you can actually shouldn't be able to. Let's have a look. Can we turn this down, the opacity? So I can actually turn that down a little bit. So you might want to just turn that down a little bit just to get that with you. All right, let's come back to this now. What I'm gonna do is I'm going to stop continent away basically where my grasses, That's exactly what you want to consider away. So I'm going to press Tab and then one which doesn't want to come in and kind of actually double-tap. And then press K, should be able to coach it around here like so. Let's hope that went well. Be able to mark my seams, I'm hoping so. I will actually have a selection icon. So I'm just gonna call around past these pieces of grass as you can see. Like just do this roughly, doesn't need to be absolutely perfectly. You can see here it's a little bit tie on this bit. Going in and out. I'm just making it kind of interest in as well as the main point of this. Like it needs to look organic. Go back to that, press the Enter button, and there we go. Now you can see that it's actually selected all of my line. And maybe that's because I had a vertices instead. And now it can do is I can right-click and I can mark my same. So whereas it MLK, same, a confession, control, amoxicillin, hopefully marketing. There we go. That's really good because that means that I can actually get rid of all of this back. But hopefully, if I come in now to Face Select, grab all of these with LLC actually goes through that. So I just need to work out now where all the missing links is it on this bit that adjoined a lasso, double-tap the envelope. So I'm just going to zoom in just to make sure that actually touching Could, you can see they look like they're actually touching. So we must have a place which just missing. And it's probably actually going to be hearing this command right-click and mixing. And let's try it again. Let's see if we go to this time. Nope, still on pace. So to put up the a and we're gonna move around. Here's another one, as you can say. I'm right-click amoxicillin. I'm just going to go round because I think a little bit more so right-click among scene and just fix those then. See one here. Rather than keep doing this. So shift click, right-click and mop. Same. Just look in and see if I missed any mall. And it'll take a little bit of time, but we might as well do it because it is going to make it easier for us to actually grab the next part of this. So right-click mock scene. Go around probably with the presidency and go around it. Not way. That might be a little bit to another way of doing April. I did it this way initially, so I'm going to carry on doing it this way. Okay. I think I've got them all. Let's hopefully grab it. No, we still got all mixed in. So let's see. Where is this this last one thing. Come back around to the store. So let me just have a look where he's going to be missing and it's a shame that you can't like grubbing, going all the way. I'm going to actually try wherever you can say I'm going round here. I don't really want to regard around there, so I'm just going to sit around here. I'm gonna mark this seems again. And then I'm going to do you can see here that it didn't actually go through that. I'm going to do instead, we're gonna, I'm gonna grow a piece. I'm going to press Control click and just keep pressing Control click to go round. It's another way of doing it where you should actually be able to find wherever the same zone. Because it will actually try and cope through layer you can see they're actually trying to cope through that. Let's go round now and do this. I know it's a bit of a pain, but we better off trying to get rid of this outside in this way because it's nice and flat. If you do, just try and delete off, let's say your faces, for instance, you still going to end up with issues because it's gonna be very, very jagged. That's the problem. Now I know is impressing control-click. It's actually finding a way through so it can't really miss out any of the edges. That's exactly why I'm doing this. Now you could take much, much larger chunks. You can see here there's an issue there, but we'll sort that out as well. Hopefully, they should fix it. It's probably better off that we do have some problems with this so that you can see the problems that we have. There is another way that you could actually do it. You could probably instead of having all of these divisions right now, you could have probably caught it. And then under the new subdivisions or reach, apologize, they may be. So we can see here we have an a problem here. So I'm just going to go back and click on all these. I'm going to press C middle mouse, and then I'm gonna try and do this part again. You can see I've got a problem that is actually trying to select the whole thing, which is kind of weird. So we don't really want that. I'm going to select these going all the way. So it could be a problem with this. This might be where the issue is on here. Hopefully we should find it far. Do we go down? Just to note that for now, I'm just going to press doctors or can zoom out and zoom in a little bit easier. It's just gonna be at hardware. Hopefully we should be able to get to the end. Now, I'm hoping this fixes the issue. Alright, so now I'm just going to keep that bit as well, Right-click maxing like so let's come in now and try and grab it. So L, and you can see now it's actually a weird so l are not one. And now we should be able to L or miss one, delete everything off. L delete faces and you should end up with, I've got one face here a thing. So delete and faces. And one way to do now just to make sure that this a split off. I'm just going to grab everything like so. And I'm going to then press P. In fact, I won't do it that way. What I'll do is I'll press Shift, Shift Spacebar, bringing my move tool, pull it open minute, and then grab all of this. Like so. So I went to basically split it off. So pay selections with the top, hide this other way, grab this one, hide out of the way, grab this one top, and then delete vertices. And that's just going to make sure that I've actually got nothing left over. Then you can see this still, this little spot here. You can actually delete that. You can see it's a plane here. Delete that out of the way, then press Alt H and you'll end up with everything back that you need it. All right. So that was a bit of messing around, but we got there in the end. So that's the main thing. If I press Add now bring back my solid view. You can say if I press Control, Alt transforms right-click set origin to geometry, and let's pull that back in place. All right, So there we go. We've got our grass started, so lots of The main thing. All right, everyone. So I hope you enjoyed that one bit fiddly, but we got there in the end, you might have gone. Okay, man had a few problems but we fixed it. All right. Thanks a lot. Bye bye. 53. Problems with Creating the Land: Welcome back everyone to blend the three, the ultimate medieval sinkholes. And this is where we left it up. Now I want to do is we want to actually give this some kind of depth at the moment is very, very flat and we don't want that. So what are we going to do? Just a simple trick where you can bring in a displacement. So it will come to our modifier, come down to where it says displays, a mobile do that is go over to our textures and went to come over and just click the Down, sorry, click New. And then I'm going to click the down arrow on where it says MHC or movie. I just put in clouds and you'll end up with something like this. Make sure your lens is actually smoothed off and you'll say it looks a little bit like this. Now of course we don't want it and kind of jagged like this. We want this to be a bit bigger so you can change the scale to make them bigger. Like so this is kind of how you want it. So bring you right out and just change it lies. I'm just going to give a lot of kind of noise to detect texture. The other thing is we don't want it this much either. So I'm gonna do now is just going to go back to my modifier and I went to turn down the strength a fair amount just so we've got something we just want something to work with. I'm going to pull it up. And there you can see that's what we've got to stop to work with. A little bit of noise that I'm just going to save. It can actually varied it out a little bit more. So I'm just going to go by turned down the debt for instance, like Yeah, and I think I'm actually happy with them. So look at this, which I don't really need them. Yeah, I think I need to turn down the depth. I think he was happy with it. Alright, that looks a bit bad for me. And then I think what I'll do is I'll turn down my strength to something like that. Very, very slim because we're going to go with, and we're going to use. Now think I'll turn it up one more. I think we can get some variation like that. And then what we'll do is we'll go in and use the sculptors. Well, don't forget the result as well. All right, so now I want to do is you basically want to make a note the same. Now, I'm going to just hide this out of the way. So highly out of the way. And then what I'm going to do now is going to come in and press seven. Like so. Then I'm going to press tuple. And what I want to do is I want to make another caught now, but I wanted to make another call relatively close to this one here. The reason we do that is we want to give this another material and want the grass to kind of come up to here. And then this bit here to be Transform. And then it's going to give the illusion like The grass is ending. You're not going to end up with a kind of fold-over where the end of the actual end of the rocks are and things like that. So first of all, what we want to do is you want to grab all seen. So Alt Shift and click, just keep going all the way along. We should have a way that we can actually grab all this. I'm going to press Control click and just go run. It is relatively easy to grab now because you just going round the whole side apart from this look obviously. So let's not do as fall, but we're just going to click round. We could have actually save this as a vertex group. You can actually do that as well. So then you can just select it. I also think we might be able to select it, select bij all by trade. We can, you can select similar lot by seeing, there we go. That made it a much easier. Now we should be able to do is if we put proportional editing on a short, well, to pull this down, if I pull this out, which you'll see now I can pull it down slightly like soap. So we wanted to drop a little bit towards the end, just make sure it's not so much. Make sure you can see now it's just dropping towards the end. And that's exactly what we want. One, that little bit of depth where the grass kind of comes down. Now I wanted to do is now called this, uh, basically one to command a mark, a node the same. And I'm going to use probably my knife again. So I'm gonna come in, I'm gonna press seven K button. Let's put it onto vertex. Let's press K now. And hopefully I should be able to cut away rarely close to the ones that we've already called. Like so I'm just gonna move my mouse. This is basically so that I can bring in another material and make it transparent. So my grasp, I'll go right up to this edge that I'm mocking now. Then the other edge down there, we'll actually dissipate it like so. And it just gives us also a reference to mark our gracile to we don't really want to go over this one where we're actually pulling our grass into the same. Don't worry as well. We're actually going to triangulate these so we don't run into with a load of angles or anything like that. Just looks a little bit messy, but he's actually it will be a working mesh. I'm just hoping that I've not got to go around again like I did before. Maldi seems again. Let's call him in on this one, like so. Let's zoom in and make sure that I marked it right there. Press the pen tool and then I'm going to right-click and Control E, sorry, on democracy. All right, we can see we've got pieces missing again. I hate when that happens. What I'm gonna do it that way is because I learned I'm going to press not there, I'm going to press Control plus going round. Make sure I've got them all because it's very important for bringing in the material that I actually do this. So I'm just going to spend the time going round it again. This is just preparation. And if we gonna get a really nice render of Lambda, we need to prepare it. Well, I do think that this still is probably the fastest way of doing this. I'm just going to go in and control select. You can say where we've got parts missing. So you can see a dumb I was actually going over, I'm sure. Let's click on this. Here we go. Keep following it all the way through. You can see we've got some edges on here. I'm not sure why they're they're both talking, go round then get rid of those. Anyway. I'm actually not sure how they've actually appeared that I don't know what that's a bulk will not only round one edge. So maybe I actually selected the mind mistake and I'm on the same, maybe won't go round. Just select them because I don't think there's too many of them. Then hopefully we can start bringing in all buildings. Finally, then we can start sculpting random effect because the edge of buildings you, you get where the soils kinda lift adult at the edge of them. You get that. You are obviously going to have the sole LinkedIn, for instance, where you farmers, we're plants and things that are growing out. The pumpkin patch is gonna be the soul is gonna be turned over a little bit. So we need to do that as well, just to make it look realistic thing we're nearly at the end. There we go. Let's right-click and mixing knife. Grab this one. I should be able to grab eight down to that loss gain now. And you can say that that's perfect, it's just these parts. So let's come in now and just grab these parts going round, grew up and get rid of them will just clear the seams on the message said there wasn't many of them, so that's good. Still don't know where they came from, but either way, they're gonna be gonna be fixed. So we'll look, is there anymore on there were just talking about I don't know why that is anyway, I'll right-click. Unclear. It seems analysis if we can grab this, Let's see if there's anymore. So l goes all the way around. Alright, so that's, that now is settled then. The material that we're going to bring in now you want to do is you want to bring in your actual buildings. We want to start bringing those in. We're going to base it basically on the actual reference that we've got. So if I press saltation now, bring back my reference. And among Wednesdays I'm going to go to the top. I'm going to press zed, I'm going to wireframe. I'm actually I showed rarely. In fact, do I need to go into wireframe. I should have put this just down on the bottom. Probably actually going to do it that way. It'll be easier because yeah, Can I see it properly? That's the problem. I've gotten. Double-tap the a. I'm going to actually bring out the constants a little bit more. I might be able to do it like this. It's up to you really how you do I'm gonna pull this up. I need the halfway point actually. So I'm gonna pull it up, pull it all. I don't think so. I'm gonna pull this down instead. Actually. I just really, really flat on top of that. Once it really flat on the actual ground plane. So you can see this is below the ground plane, so I'm going to grab them both and pull them up. There you go. That's about right. Alright, there we go with that. Say, that sets up now for what I want if I double-tap da, now, what I'm gonna do now is I'm gonna go over to the assets and set myself up just so I can bring these in. And I'm hoping whenever I want and I'll say exactly if it's going to work, doing it this way. All right, everyone, so let's see if that works on the next lesson. I hope you enjoyed it, and I'll see you in the next one. Thanks a lot. Bye bye. 54. Populating the Scene with Asset Manager: Welcome back everyone is a blend of three, the ultimate medieval sinkholes, and this is where I left out. Now let's zoom in and let's bring in our farm house, which is this one here. So I'm just going to drag it in and hopefully, hopefully it should work. So let's pull it out and it fits into that place. Pretty nice. Let's press that go into solid and let's see if it's just gone in flat. So double-tap the a. There we go. Actually, that looks like it's worked pretty well. I'm just going to pull this down and see how far we've got. Yeah, I think that's where it created well, and you can see I've left my M displacement on as well because I might need to reduce it once I've gotten my material on and things that are going to have a much, much better idea. We can say actually, it's done a lot of the work here, forests for instance, this is very uneven. I think just turn it down one. Yeah, and I think that looks a little bit, but I'm just making sure my house is still fit in. And I think this is looking really, really good. Alright, so now if I go over the top again, I'm just going to press a zed, go back into wire-frame, and I'm gonna log to where the next thing is. We can say we've got what ways on here. So we can see we've got warm walkway here. So let's find out what way, whereas our walkway did we actually save that out areas as what way? Let's bring that in. I'm gonna spin it round. So all I said, I'm gonna put it into place once I've called these basically in the right place and I can go round and move them. Now I'm going to press Shift date and I'm going to bring the wall way round here. And let's bring it over to where I want it to be. So somewhere somewhere like here you can see my house is probably a little bit out here. It's probably a little bit closer. So let's grab my house. So I'm just bringing it over a little bit. Let's see if it's time. Say my house on this image. Probably gonna move it over like so. Now let's bring in the windmill. So let's bring the windmill in. Let's turn it over the front of the window, as we can see here. If we spin this around now, so I'll spin it around like so you can see it's a little bit bigger, maybe the mine. I'm not actually sure if it is or not, but I'm gonna leave it for now. Again, I'm going to check it out once I've got everything. Let's bring in the ball men now so the bond, spin them around. You can say this is the bomb where the haze over here, so we can display all is at 90. Bring it in. You can see how easy it is actually to bring all these in. All right, Let's bring in the, this is the small vegetable patch, so let's bring, bring missing. What I'm going to do, you can see that this is going the wrong way around. This should be over the other side. And if I spend this round, you're going to have the ovaries. So that's not really what I want. So I want to do instead is I want to mirror it on, let's say the x. Now it's not there. Well, yeah, you can do on the x-axis because now you can just spin it around. So all 90 and then all the 90 and there we go responding run, they're facing the right way. So that's a very easy way of doing that. Now let's bring in our main fence. So this is the large fences. So let's bring this in. And then you go, you can say, Oh, he says that was just the Plunkett in place, like so. Then I'm going to check now to see how far that goes. Now the other thing is I'm going to bring in and I've got these in. I'm going to bring my human in. I'm gonna put him there as well. Just so I've got a reference to actually where we were just looking at. I've got my plot I wanted to bring in, I'm a pump is a bit hidden, is actually round here. I'm going to bring in my poems and put it in something like that. I'm not sure if I need to turn that yet. I've also got my stone. Let's bring in, I'll stop here for now and then move it so trees don't bring that in. Whilst we've got, we've got our logs will bring those in. We've got our acts. So I'll actually want to pull up near my tree stump. So I've got my folk, folk and we're gonna pull up just over here for now. What else have I got? I've got my shelter. I think my shelters actually don't, so that should be fine. I've got my ladder, so I'm just going to put my ladder over here. Now I'm going to go in and actually fix all these. Alright, so let's say, let's go into a solid. Let's now get all of these in place. You can see my axis just, just below that. And there we go. There's the x. Let's put the tree stone over here. You can say I'm going to have to lift this soap. So I'm just going to press the dot born just to zoom in and I'm gonna pick them up and put them into place. Might have to actually make those smallest amount be a little bit big. Let's bring our guy in, is actually sunk in a little bit. Let's have a look if everything's some kind, I'm just going to hide this out the way. There we go and see how far things are actually some kids off thing. I'm gonna bring this down a little bit like so and then bring my house down. Do I need to bring this down just a tad? Like so. Now let's bring all man round here. And look at the size of the Acts. I'm going to bring them in. I'm gonna pull them all. Just checking them. I'm going to make the tree stump just a tiny bit smaller. Also. Just pulled that in place. I'm going to press three. I think it is. Yes, it is. And now we can get that in place and then I'm going to rotate it on the XOR, x your site is plunked in that kind of thing. I'm also gonna, I'm gonna rotate it around because nothing ever should be perfectly straight. So always bad, It's turned into an angle. All right, so now we've got our logs. Let's put those in place, so all zed, bring them in. You can say that we've got a lot of room here. Again, make them smaller, it's not gonna fit. So like so let's pull them back into place. Not looks, I don't want a mind game too far over. So something like not as plumped them on the thing. Yeah, something like that. And then what we'll do is I'll grab a couple of these with Edge Select. And then what I'll do is I'll bring these out. So ship date, should space-bar move, bring them out. Say I don't want proportional editing on. And let's put these over here. So I'm going to make it just put them over here like he's actually working on some of them. Zed. Then I'll grab one of them. So zed, like so I'm bringing this one out. Like so. All right, double-tap the ion. Let's have a look at that. Okay, I think I'm happy with that. Now let's have a look at this. When melt sampling is I'm just going to move my guy that actually I think the windmill looking from here and it looks really nice size actually. I think I'm actually happy with that windmill. Now looking in my fence over here. And actually I'm really happy with how that fits. It fits right? Or close rate is probably better than my old one. The pumpkin patch is looking really nice where the actually is because then they've got this walkway through here. And we can work with that as well. So let's now look at the pump. The pump just needs going a little bit. Probably actually narrow it to the fence would be more realistic and see that as a brother and I need to move it altogether. So I'm just going to grab this and pull it up and then just move it altogether. Like so. Yeah, thanks. Something like that. I'm going to go to bucket as well that I need to post, so maybe a little bit over there. All right. So now I'm going to bring my ladder. I bring my ladder, press all 90 and then all x, sorry, y, and then just bend over it very slightly like so. And let's get that in place. So do I need to lift this up? Not really. I can lift it up probably a tiny bit. I'm actually happy with that. Let's look. They'll just a tiny bit line. And then let's bring off, put it against here. Then x and just to pick slightly leaning up against it, lets the moment of truth, Let's come into modeling. Let's say press tab. Let's make sure it written material mode. Let's wait for the materials too old, too low HDL. You showed end up with something like that, looking rarely really nice. Now let's save the animations works or even news press Space-bar. What we're looking for here is just to make sure nothing jumped somewhere else. That's exactly what we're looking for. All right. I think I'm really, really happy with that. Now what we want to do is now we know everything works. Let's have low reframe a hundred and two hundred. You might as well let this run through and see if it actually were only going to frame 200. There we go. That's one of the problems. So let's come to the layout. Actually put this to end on frame 800. That's why it's flaking. So you just want to make sure that these go through all of the way. So basically your palms doesn't it doesn't miss fire or anything like that. I'm just looking at this point, making sure I'm watching it go up and down. That's absolutely fine. And now the, the actual windmill is going round. And that looks absolutely fine as well. Alright, so let's press space bar. Let's put this back to 0. And now what we need to do realistically is just check all lighting. I think what we'll do is on the next lesson, we'll do that on the next lesson, we'll start bringing the materials into this part. You can see here that I've got some Robert jagged pieces that I showed. If I click on here, probably get rid of or move them out at least. So I might as well come in and just any jagged pieces, just try and stretch them out a little bit. It doesn't matter about a little bit stretch and actually you won't notice anyway, so I'm just going to smooth this out a little bit. You can say there is another technique you can use as well to actually smooth this out a little bit, which I'll show you. I'm just going to smooth them out a little bit. Before I do that, I'm just going to come around any of a jagged pieces that I can say. I think that's actually all this, this one here. It really bring that in, just a smooth those out. Then what you can do is you can actually come in with da select. So I'm just going to select one of them. I want to come to select and we'll do what we did before. So select similar by seams. And then what you can do is you can come to where it says vertex, smooth vertices, and you'll see that it actually starts to smooth them out. And now if I come over here and turn this up, it all down like so you can say it really starts to try and smooth those out and you can turn up the number as well. Think that smoother out. M a no. No phone. No. Okay. So you can say I've missed a piece over here, so I'm going to do some just going to come in, I'm going to press G and just smooth it out just a little bit, like so. And then I'm just going to look round, may can show them how paid. Think I still need to smooth this out a little bit. I'm just going to press G, bringing it out. Just to smooth it out a little bit. There we go. That's smoothed out much punch back, like so. And then finally the last thing I'm going to do is I'm going to grab it all now. I'm going to press, I'm going to right-click and I'm going to, where is it? Triangulate faces. And I'm going to right-click again. I'm gonna put tries to quads. And what that's done is it's triangulated everything and just making sure that there's actually no guns or anything like that. All right, everyone. So what we'll do then on the next one is we'll actually start to bring in some materials on this land, get that already done, settled for the grass and things like that. We're actually going to be 0.3 textures on this. Normally you can only put two textures on something, but I found a way to put three on. You just have to be very careful with that. So let's just say it's a bit of a high. All right, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 55. Working with Multiple Texture Maps: Welcome back everyone to blend the three, the ultimate medieval sinkholes. Now let's do something a little bit complex and let's make the material for all actual ground. So I'm gonna do is I'm gonna grab my actual ground plane. I want to actually just turn this off for a minute. If you turn this off, it'll get rid of the gray map. Sorry that gray items at the package you can see we've got all of our Viewport here with the x and y and things like that. It just takes it off and it just makes it a bit easier to actually see what we're doing because we haven't brought lightning yet, we want to bring a light. And then once we've actually settled descriptor ground plane, so now let's come in and come to our materials. Click New. I'm going to call this ground, ground. Like so. I'm going to straight away just right-click on our market as an asset anyway, just so you've got it, then what we'll do is we'll come over to our shading panel. And as I say, this is a fairly complex material. So just try and pay attention is what I'm trying to say. Alright, so what we're gonna do is we're going to first of all bring the material output way, way over here. What we're gonna do is gonna hold Control, left-click where it actually goes in and just get rid of it. Then what you're gonna do is you're going to grab the principled control shift T. And what we're gonna do is we're going to bring in references, are references, sorry, all textures. So whereas alt text to say they are bringing your textures and the first one you want to bring in is called a grass on rock. So let's find grass rock here it is. So aggressive rock, you should end up with five different textures. So you can see we've got an AO there as well, so we need to bring nine. I'm going to Shift click all of them. I know they won't all come in and we should end up with something like this at the moment. I'm just going to pull this down, like so I'm going to do is I'm going to grab this one. I'm going to press Shift date, bring it up again. What we normally do is we open up this. We're just gonna call it like so, just so we know what it is. And then I'm going to change this out then for the AO. So I'm going to click my A0 is this one here, it says eo, double-click it, and there we go. Now let's bring in the mix RGB again, like we've done many times before. So this part of it you should be familiar with by now. Let's put it on multiplying. Whereas my multiplying, whereas my multiplied. There it is. Okay, let's plug this one into the bottom, this one into the top then unless also on this one bringing a Gamma, just copy what I'm doing for now. And I did set my note based on the lion, so just bring him what I'm bringing in and then you can play around with these if you want to shift a search Gamma. And of course, this is how dark this actually is. We might go in and change these as well. Let's just set this to 1.1. Let's plug in the color. And finally, let's plug in the color to the actual principle. All right, So that's one said. You won't say anything at the moment and that's fine. And the reason is obviously we've not got anything else sets on. Now what we're going to do is we're gonna grab principle. I'm going to press Shift date and drag that down. So this will be the second actual one. And this one is going to be all mode. Again, I'm going to press Control Shift and I'm going to go to mode now. So we've got where is it mod? Let's find our mode. Again, I'm going to grab the first one is grab the last one. This time we've got six m, so we need to get all those in. So click the principled, and there we go. We've got five of them in. Let's move these out a little bit. Like so. And then what I'm going to do is I'm going to make another one now for the AO. So I'm going to grab this. It's a shame that blend that doesn't let you bring in occlusion is like right off the bat with the principled I wish you did where it doesn't shift, drag it, OK, change this to a o. Then let's make a multiplying to mix RGB. Jump in, and let's plug this into the bottom, this into the top. And I'm going to actually change this slightly. So I'm going to put on nought 0.7 volts. Then what I'm going to do is I'm going to plug this in now to my base color. I'm also going to then come up and change the FAQ on the multiplying this and put it on 0.908, something like that. Alright, still nothing. That's exactly what I wanted. Now I went today is I'm going to bring in my grass ground. So I'm going to do is I'm gonna grab my principled ship date and then I'm going to zoom in like so. And I'm going to press Control Shift and say, let's find grass ground is called. I think it's near the bottom. So below ground, fallen leaves, It's not that. Whereas grass ground here it is. All right, so let's bring all of these in. We can see on this by the way, that we've got normal GL and a normal dx. Uh, don't need the dx, so I'm just going to delete mine when it comes to you and yours, obviously you open up that and so it's normally with blended, the normal map is normally a normal GI. Alright, so what I'm gonna do is I'm going to grab all of these principles, bring them all in. Then I think on this one, I need another ambient occlusion. So let's let's move this over here because we've got a little bit more work to do on this. I'm gonna put my displacement here. The displacement, by the way, we'd never really need it. You can set it up so that using a displacement like on the ground based on the actual material, you can actually do that. Well being, as we've called displacement, just blight based on a simple noise cloud texture. The other thing of course, is I did forget to do is I really need to plug my vector into my ambient occlusion. Not something I did forget. It's not actually going to work. Alright, there we go. Let's plug this one and you can see it's trying to plug it in just thousand yet. So what I'm going to do is I'm gonna pressure, bring that open. I'm going to change it then to A0. So then what we're going to do is I'm going to grab this, pulled the n, like so I'm wondering actually if I plug it straight in from here, Let's see if I can yeah, that's how it should be plugging in. That was much, much bad like that. Once you clean it like that, there we go. All right. Let's come back then. Bring them down a little bit. I don't know why. I'm gonna pull up their mess, the whole pumps it. Let's press Control, zed and safe. I can actually move them. How do you move these things? Is that gonna move it? I'm holding my Shift. I'm holding my there we go. There we go. That's exactly what I wanted to just put those back. All right, Now let's bring it in, multiply again. So I'm going to press Shift a and makes RGB bring that in, let's say plug the same to the bottom. So the bottom again, this into the top. And we're also going to bring in a gamma. First of all, I'm going to, I'm going to actually set this to 0 for now. I'm going to then bring it in. Let's try a Gamma. Just to give us more control if we need it. I'm going to plug this in on that. And then I'm going to bring in a UN saturation just pulled over. So shift. All of the ones that we've actually used before. So that's great. You and saturation I'm going to do is I'm going to actually zoom in to this. I'm just going to change the saturation to 1 for the value to null 0.850. And then we're going to do is I'm going to plug this color into the color of my u and saturation and drop the color into the base color of my principles. Finally, I want to also change the roughness on this one. So I'm going to press Shift eight, bringing them up. The gametes are really, really easy way of changing your roughness down. So just drop that in way your roughness says, I'm going to put this on no, 0.1. Now we need to find a way of plug-in all of these in. So that's the, that's the main thing. So let's come to this 1 first. So the way we're going to actually paint on here is to use vertex colors and vertex. We're going to separate them out. So all GB. And they said We're gonna have a red and we're going to have a green. And that is always going to distinguish in which actual texture goes when it's the only real way of actually pull in different textures on an actual plane or something like that. So first of all, I'm going to bring in, and I'm going to press Shift a and bring in a vertex color, which is this one here. And I'm going to drop this right here. I'm going to duplicate this then. So Shift D and then one Wednesdays I'm going to separate the RGB. So I'm just going to put these together. I'm going to press Shift a and we'll pull STP and you allow separate, make sure its theology B1, let you pick him. They see it. I'm going to duplicate that again. So shift day. And then what we're going to do is I'm going to plug in the color from this one to here, and the color from this one to here. Alright, so now we need a mix shader. So let's press Shift day bringing in a mix shader, like so. And then what we're going to do is we're going to plug in the FAQ from this one here, this separate RGB, we basically want to plot the reading then the fact of this mix shader like so I'm just going to pull that up there then. Based on what that's done then is any the upload Damian, Then it's going to use the red channel to basically put those onto our plane. That is exactly how it's going to work. What we'll do then is we'll carry on with this on the next lesson. And hopefully we should get this finished off and we actually should get this, paint it open. All right, so I hope you followed along and it's a bit hard to actually zoom in and show you exactly when a zoom out you can see how big this actually is. I'll try my best to make sure that you be able to see exactly what I'm doing. All right, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 56. Vertex Painting with Multiple Textures: Welcome back everyone is a blend of three, the ultimate medieval sinkholes and this where we left off. Now let's come in and duplicate this one out. So if I bring my mixture, you just press Shift a and that's duplicated over here somewhere. And then what we'll do is we'll use the green this time. So this green one, and we'll plug that into the fact of this mix shader. Now let's start plugging in actual part. So again, we don't really need the displacement. So I'm going to unplug this displacement is just making it look a little bit on tidy. Then what we'll do is we'll grab the principles of this one. And I'm going to plug it into the top one up here of my mix shader. So you can see that's plugged in their life. So I'm going to grab the next one down, this one here, which is my mode, and plug that into the bottom mix shader. This mix shader, I'm going to plug into the top of this one. And finally then my other principle, which is way over here, I'm going to try and grab it and plug it into the bottom of this mix shader, like so. Now nothing happens and that's because nothing at the moment is the moment of truth. Let's plug them in life. So something should happen. We haven't got unwrapped or anything like that. So we do need to do that. So let's let it low dope is going to think about it. And hey presto, we've actually got something working so we might not even need to wrap this. Actually. I'm just looking at the you can say I've got my rocks and things like that. I'm just going to actually press top and press U and unwrap. Should unwrap. Absolutely fine. So let's have a look. Going to take a little bit of time obviously, because it's got a lot of materials on here. There we go. Alright, unwraps. Absolutely fine. And that is actually looking really nice. So let's now go to modeling again. One problem though, before we actually start painting on it is that we haven't changed the size of the map space layover moment, they're all at one and that might not be ideal. So as I said, you just make sure that you unwrap it. So make sure your Zoom wraps. And then I will show you exactly how this works. And then we'll go in and quickly change the map Soviet, and then we can actually stop painting not incorrectly. So I'm going to press Tab, so main object mode, I'm going to come over then to the left-hand side, make sure we're in vertex paint them. And it will go to this kind of grass. And you can see the grass based on the man is really, really chunky and that's what I'm talking about. They have a thing is just make sure you save your file out. Save it out as something different of course, because when you vertex painting it, Coke crash, I guess something like that. Alright, so let's show you what I mean. So at the moment, AML white, as you can see here, we are on draw as you can see. And if you click on this bond here, we can see, we can add, we can subtract, so it should be on the ad. And then what you can do is you can put this on the y and you can say, oh, it's just doing the same thing. Now let's command and put this on black. So I went to put this on Black and you'll say the ADH is not working, Let's put it on drill. So you can actually draw on that with black. And there we go. It should be subtract or safe subtract weeks. Now, subtract doesn't work either, so it's basically only draw and it's based on the college. So there we go. So you can see we can paint this on. And now that the moments of truth, Let's come in, put this on white and put it on red. And now you should be able to draw ROM mode. Exactly what we wanted. This is how it works. So I'm just going to draw some mode on here for instance. Like so because this is where obviously I want my mark to be on. And then what I wanted to do is I want to actually, well the first thing is I wanted this grass not to be graphs. I wanted it to be rock and then put my grass around here. And the other thing is I don't want these to be really, really big, like they are on here. How do we solve that out? Let's go first of all, back to our shading panel. Let's then zoom in to this one here. And over here, you can see that it's based on the UV map. So we've unwrapped it and then we've got a scale over here. If I put this on 333, and there you go. You can see we've actually changed the scale now. So again, you can command, I will look at what scale you're actually happy with and then change the scale. Now let's come to the actual next one. So what I'm going to do is I'm going to come to my mode. You can see my modest way, way too big. Again. Just remember where I put them on, might not be what you want them on, so make sure you change them accordingly. So 888, and you can see that that probably is too small. So I'm just actually going to change this, but I'm going to try 55 to five. Now that's probably going to be much, much better like that. Alright, so this ground, I'm actually going to make sure I've got it on at the moment. So I'm going to change mine to let's try 22. I'm just looking at the size of the rocks now on comparison with this. So this is a fairly, fairly size. The rock mine come in and change that as I've actually built this out. Alright, and the last one, let's have a look. It's the grass. I'm just going to move down and don't worry about the collegiate Eva. Let's put this on full, full and full. And there we go. Something like that, right? So what I tend to do now is I'm going to, I've got my grass actually set out several of the size of the graphs now, looking much, much better and the grass is going to be hidden. So don't worry too much about that. So I went to do is I'm gonna go back to modeling now. I'm going to press Tab and I'm going to basically paint this all in this color for now. So let's come in to vertex pain. This one I think walls black. Black. All right, so I'm just going to make my brush bigger with the little brackets next to the class and just paint the whole thing. This color to start with, because I find it much easier on the eye. Like so. And then what I'm going to do is instead of going round and putting this really high on the strength, I tend to then go in and lower the strength right down. And then I'll call him and put it on. I think it's why is my actual mode. I'm going to zoom in. Now that's the grass as you can see. So what we'll do is I'm gonna problem the red. Let's try to read. Yeah, there we go. There's my morning. You can say now I'm just going to click on here and just gently go over it. Live so you can see how easy that is to do. If you've got a pod, a graphics tablet or something like that, it's probably going to make it a little bit easier to actually do this. You can also tell you the strength of if you wanted to be a little bit quicker, I'm gonna leave, I'm gonna leave my life is because I don't want it too muddy or anything like that. Now what you really want to do is you want to make this to your heart's content and make it exactly as you want it. The more obviously I click on it, the more more directly going to get in there. You want to basically overstepping the boundary a little bit like so. So somewhere down here going now, you can see how easy you can make it log fairly realistic like this. Also where this is going to be a fair bit of more ground that, and also onto the pumpkin patch, there'll be a fair bit of mode, maybe not as much modest whatsover here. I bought a fair bit on here. So I'm just going to move this up a little bit like so you're going to have a mode probably going on your walkway. So anyway where he walks, it's probably going to be a bit muddy in codomain and make that a little bit more like Nemo I'm going to do is I'm just going to have a look round and anywhere else. So one mod probe, so probably walk in through here. This is probably gonna be a bit mode, probably through here as well. Probably on the hair where the rain probably hangs off the ethics rain and a little bit around here, like so. And then maybe just a little bit over here. Coming out here, got a little polar legs, you can say, all right, that's looking really nice. Now, let's bring in all the one I think it's on black. Let's see. No, that's not it. So let's put it onto a white Let's try lot. Yeah, there too. So there's our green grass as you can see now, the green grass if you want around the edges. So you want a little bit because we're going to have some green grass flows down here. So wherever he's not Wall came wants to be a little bit greener. And you also probably want a little bit of green, open-air the house. And the reason for that is I'm just green in this as you can see. The reason for that is because round the edges of this and what I'm gonna do is I'll show you what I mean. I'm gonna green around here. And then one went to do is I'm just going to tell my brackets down and then just put it so they agreed because you'll end up with grass growing round these policy it. So that's why I'm doing that. And then I'll come back to here. You don't want it too much because it is a little bit by this, we come to end it down, but rather than not just green out a little bit. And as I said, it's gonna be COVID wave, graph, some foliage and things like that. Which we're going to look at. Probability after we do, we'll probably do the hay. And next I'll have a look actually before. I don't forget some of this as well. We're going to make another material. Blankness, Paul out. Let's make it smaller and let's call them to the sign of the house. A bit of green here. Green in here, maybe like a little bit of green in here. Then going round here. And maybe these policy, you're gonna get some growth of grass and things that's normally what happens. So I think I'm happy with that. Just want small pieces then on here, I'm going to make up a little bit bigger. Probably a bit more modeling the dire actually. Just get it right. So basically what you want, alright, something like this. Just looking now for going off mode, going down there, I think I want a little bit more and more down here. I think the mode, local laws that black, I think. Actually, no, that's not the model, so we'll put it on the most beyond the red lunch trauma, red. On the red. Let's make some more Walter down here. Get rid of this rock so much. And there we go. Meet announcer. Here we go. Looks really radical. Now let's come in. What we'll do on the next lesson is, well, think about all sculpting. We'll bring in some sculpting. And then finally we consult on our lighting and then we can start moving onto the political systems and things like that. All right, everyone. So I hope you enjoyed that. It's really coming along now and I'll see you in the next one. Thanks a lot. Bye bye. 57. Sculpting Within Blender: Welcome back everyone to blend the three, the ultimate medieval sinkholes. And this is where we left off now, before we carry on, Let's do a little bit of tidying up. We've got a lot of them policy that needs to be tidied up so we actually understand where we're actually coming from. So first of all, long-run today is I'm going to grab this scene collection. I'm going to right-click and I'm going to click, can actually rename this. I'm just wondering why a Comp rename that so weird, but I'll actually right-click, click a new collection. Yeah, and this one I actually rename. These are called this Let's call it buildings. Like so. And then what I'm going to do is I'm just gonna go down uncontrolled. Click all of these buildings and you can see them highlighted there anyway, I'm even going to put melodic large fencing several of my logs. I'm not sure what this planet, so I'll look at the after my Waltz upon my windmill and my wooden walkways. And then we're going to do is I'm going to drag them and drop them into my buildings. Close that. And this is what you should be left with now. All right, so now let's see, we've got references, so we'll use another one. So I'm gonna right-click and click new, open that up. Buildings one. There we go. We don't want that in there, so we'll call it out references and that's moved that all. Try and grab it and put it there. And then what we'll do is we'll just close it up a second and we'll bring in our reference. So here's our reference, and it's our empty or human reference unless drop those in our references. Let's close out. The reason we're doing all this is because we are going to have many things in here, many particle systems. We're gonna have wind in here, smoke, things like that. So it's really important at this stage that we actually clean it all up ready for bringing those pulsing. Okay, Before we get overloaded with Paul, let's have a look at our plane. So what is our plane exactly? Let's have a look. Let's say this plane is going to be our ground. It's just that you can't see it at the moment because we're still on vertex paint. So let's put this on object mode, what we'll call this ground. I'm actually going to make a separate one for our ground. So we've got a water pump here. Let's make sure it still works. So multiple them on a windmill. And when I grow up both of those and put them into, I think they're actually in the other end built-ins. I don't think they are actually, I'm gonna drop them in buildings. We're gonna make sure that they still work. Just to make sure that the animations went along with them, which they have. That's great. Then we've got our ground plane. I'm actually going to make a new one collection for a ground plan. The reason during that, of course, is because I wanted to be able to put it in somewhere and turn it off and on when and when it needs to new collection. Let's call it ground, like so. And then let's grab our ground and drop it in there. All right, let's close all those up. Now. Let's make sure this week, so my references hidden, let's hide all those. My buildings, they then my ground plane hidden. Okay, So, so far so good. Now let's do a little bit of sculpting. I'm going to do is I'm going to first of all, just put it on object mode just so you can see what I'm doing. And then we're gonna come over to where it says object node and put this on scoped. Now I pretty much, you'll see that if a drawdown here, I can draw a line in that. You can also say, at the moment, I've got it on strength of one. If depressor control and draw, you'll see that it indents it. Basically what we want to do is we want to start with all farms. So we want to make this a little bit uneven to where the actual plants are going to grow. So I'm probably thinking I need 1234, maybe five lines on here. So what I'll do is I'll press seven square over the top and then one went to do is I'm just going to Gabby like this, something like that. Then I'm probably going to turn it down a little bit. Actually, I'm just go back a minute and just do that again. Let's just get rid of that seven and then let's just try it again. Like so just a line of where my actual land plants are going to grow. You can see I've left a gap there and then I'll come to this one like so, and then the next one, like so. And then finally this one. There we go. All right, you can say that I said brought those up and added a little bit of realism that now let's put it back on material. And you can see now it's really starting to stand up a little bit. Now what you want to do is you want to call them now round to these posts and you want to raise it a little bit, especially around these, because that wouldn't be more realistic. You can click an old as well and you can see it's really worth taking the time. Just erase these things off a little bit and certain corners and things like that. Maybe underneath it, raising probably sweeping under there and things like that. So let's just raise it up. You'll always get modern things on that coming into the corners. Raise this bit line. So just wait your way around again for the realism. You just want to be putting this extra kind of be aware Kim. Just to make it a little bit more realistic. I'm PLC learned and actually how to actually do this. Alright, so I'm happy with that. Let's just go around now and raise these bits. So wherever there is a kind of mountain or say you might want to come in and just raised a little bit like so, just to make it a little bit on, even as you can say, rarely, rarely adds to it. We're going to have some trees here, but it's rarely go to make the ground a little bit uneven than what we had it just especially because we're working with the ground now, we're not just based on just a noise texture or something like that. I'm just going to raise this phrase opiate. And then I'm just going to make it a bit smaller and just pull it up In these points here. So it looks as though this is actually not just placed on the ground that among engineers, I'm just going to bring it around a little bit over here. Raises soap way my pumpkins are going to be. And then let's come in now and raise the volume up a little bit. I don't really want to raise dope. Watch round, laugh like this. I think pretty much part from this fair. I'll raise this up a little bit. Just taken so many places. Alright, I think we've pretty much done with the ground. Now it's time to actually think about, actually liked to have seen. What we're gonna do is we're going to actually come in and light our scene. So first of all, we'll put it onto our EV. Even though we're not going to use an EV, we are going to use in cycles from now. What will do that names will come over to the right-hand side. I'm on Wednesdays, I'm going to mess around with a few of these options. I guess first of all, the thing is I really shouldn't be actually bringing in my liked him first and then I'll be able to say exactly what it looks like, a mess around with these. So let's do it that way. Instead, I'm gonna do is I'm going to call them to my weld, this one here. And I'm going to then come to my assets among them to do and I'm a world's gone off, so I just need to pull that arm. I'm going to actually drop in my HDRI setup. So this one here, you can bring any of these and if you want and you can try them out. So let's put it onto EV, and let's just drag and drop one aim. And you'll say there is the first one that we brought in. And let's see what this actually looks like on cycles once it brought in. So what do I mean by that? Well, first of all, I'm gonna go over to my shadings panel. I want to make sure that this is on wheeled instead of object. Now if I zoom out, I showed where is it There it is. This is my world now and this is where it should look like. Let's put it onto our render it among registers. I'm gonna take away the HDRI. I'm going to pull the gradient on instead. And this is our gradient and this is what we made before. If you remember, now it's the wrong way round at the moment, this should be light and this should be dark. If I just take this down to the lighter one and then come back to this one. And I'll make this the dark long, that looks then much more realistic the more it did before. Alright, so now let's say come in a couple of top. Let's pull this down a little bit. Let's also bring in a song. So shift day, let's bring in, whereas my lines bring in a song and Shift Spacebar so we can actually move it. Let's bring it up and let's rotate to so all y rotates and we've got a few shadows there, as you can say, not too deep or anything like that. I'm also going to rotate on the zed. Zed, Let's say probably, yes, probably print that way. So we've got that nice edge Ginkgo and that probably something like that. It's a little bit low at the moment, this song, but we should be fine. Let's just pull it out of the way so it's not gonna get in the way of anything. Alright, I'm really happy with that. Let's come in now and have a look at what it's gonna look like on cycles. And it will be much, much slower when you do this. Basically you just want to get this set. And then probably for nevi just to get a good idea if your computer is a little bit slow or something like that. So I'm gonna do is I'm gonna come out with set this two cycles. There you go. You can just say how nice that actually looks. Now the thing is, I think it's, the song is probably not quite bright enough at the moment. If a comb-over, here's my song here. If I click on my son, I can come in and turn this off. Let's try three, something like that. And you'd say really brightens out now, I'm rarely, rarely makes it's done now. Don't worry when you go to grass and everything online, but you can change the color of this. You can also probably come in and just change the song. Just debate a little bit more yellow just to give it a little bit more ambiance and things like that. All right, So what we'll do then on the next lesson is we'll go through and set all of the cycles, options and things like that and get it ready then to be rendered if we need to render it out. All right, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot of AI. 58. Rendering with Blender Cycles: Welcome back to Blender three, the ultimate medieval sinkholes. And this is where I left off. Now let me put it. Let's go to modeling because I don't really need to mess around without a moment. You can see this is how it's going to look right now. Now what I want to do is we just want to go through some oxygens. The first thing is that if you've got it on cycles, you really want to be putting this on experimental. And you also want to be framing on your GPU. If it's on cycles, try and use your GPU if he can. Now normally needs to be a cute GPU. So the result content with, so I'm just going to put mine on GPU and you can see how quickly that loads up now, much, much quicker than you CPU. I'm also just going to turn off my viewport and things like that. Now what you want to do is you want to come over to edit. You want to go into Preferences. And then what you wanted to do is you want to call them to, I think let me just find which one is system. You can see here that I've got mine on optics x. We've got HIP know compatible. See, you emphasize requires a don't even know. This is an AMD GPU. So apparently the optics is for Nvidia and the hip is the and what did they say? Well, look, there we go. Amd, Nvidia algae false and AMD. There you go. The CUDA is basically like the old cycles. You could speed it up like that. And I think Miss optics x is four cycles x, if it's not weird, came like mine wasn't working just to make sure that my actual drivers were up to date. And as soon as they're updated those than it actually worked. And I will tell you that using cycles x, which is what I'm using right now. So you can't actually click on a, as you can see, it just says cycles, but it is cycles x. It is much, much quicker than the old cycles like by a country mile. So I can get this to work. Great. And if not, well, unfortunately, you'll just have to take longer to render out. You will have to wear swap between a probably EV as well because that's gonna make it a bit quicker. Alright, so once you've got these both take Tom, close that down, and then what we can do now we can come down and actually upon a few of these oxygens. So I can actually make sure that your noise is actually denoising this one here. You can see this isn't render. Listen viewport. If I click that on, you can see actually the noises they hold out for us. So that's really good. Points are opened his next the light paths and you'll see down here that we have one that says transparent. Now basically this needs set into 28. And the reason for that is we are going to be bringing entries and we're going to be bringing in a lot of foliage and things like that. If you don't have this setup to 20, you'll end up with really, really dark patches within new trees and things. But it's amazing just to figure out, I used to build things and end up with a load of darkness inside the actual trees and things. And I never knew where it was. Anyway, recently I didn't find out this is the reason turn result and it's going to look much, much better. Now the really good thing about Blender three is that most of these settings now are actually sets up really, really well. In other words, straight out of the box, you actually get really good results. And that's something really improved before you had to go in and set everything up. Now one thing you will want to pay attention to is This is the viewport samples and this is the render samples, as you can see here. The lower uterine down the samples. So they say the low return is down and the worst it's going into lobe both the quicker it's actually going to load up when you turn it around. So if you do have a slow system, just turn these maximum samples down a bit, the render samples, I'm gonna turn this down to 500. You never going to want to unfold 1096 anyway, unless you're doing a final final render visa, That's a very high simpler amount, and we have got noise dynodes on as well. Alright, so the last thing you really want to check, a thing that's on the performance, yes, it is. Eighth. You are using a graphics card to render out, like I've told you about the GPU. You want this on the tile size of 2 thousand and faulty item. You want to play around with this as well. But if you're using a CPU, I would say that you need smaller tiles. So in other words, 64 or something like that. So CPU smaller tiles, GPU, larger tiles, that's the way I have found it. Not everyone agrees with that, but that's what I have found that rarely actually speeds up the rendering process. So just bear that in mind as well. The next thing you want to do is you want to come down to where it says color management and open that up. And what I like to do is I like to change the lock and click on this and put it on very high contrast. And you'll see that it really brings out those colors. And that is something that I actually personally really like, especially with the same line that you might want to say a lot more washed out. But I find that if I set it like this, I can then go in to Photoshop or something like that. Basically saturated out. If I made this look I actually really liked. That's the look I'm going for. All right then, so that's pretty much all of that actually sets up the one thing you might want to mess around with is where it says, use spatial splits. I always take that on. I also always take on persistent data. And the reason I do that is because I find if I'm doing an animation, so I'm going to round this or something that. Assistant data staying around actually speeds up my reading the time. So that's why I keep an eye on especially when you've got smoke and everything else going off in the scene, you probably going to want that on. I would turn that on. Alright, so that's pretty much everything for that. Now what we need to do is think about Christian or grass to get our process in our scene and things like that. We're going to probably want three types of grass, so let's actually start cracking on with that. Well, do now is I'll put it on just two material. I'll bring back my view poll unless actually also make a new collection. So I'm gonna make a right-click new collection. And we'll call this Lightroom when we'll call it light. Wind, like so. And then I'll put my sewn into here. Alright, so let's make a start on our graph. So if we come to our reference, we can actually bring that around now, like so and then spin it over. So all why 90 message alphabet are X9, all z? There we go. We've got something that way you can use if I press warm now, yeah, that's the right way. Let's press all zed 180, spin it round. Then what I can do is I can come over now and change this out. What I want to bring in is obviously the foliage. This is not the multiple reference, it's this one. So let's bring in it is all grass. This is our grass basically reference. And you can see I actually created a full types of grass and bold. I wouldn't actually go as far as I think he only needs three, basically just make them smaller in size. So we've got 123. So what we're trying to do, so I wasn't gonna do that. I'm basically going to come in. I'll put my cursor here. Let's start over here. We could use the center and just hide those out of the way. But I'm just going to pray over F and now I'm going to press Shift day. I'm gonna bring in a plane. I'm going to spend this plain round, so x 90, let's spin it around lens press one. And let's make this then into the shape of an actual leaf. So all I'm gonna do is I'm gonna press tab. I'm going to shrink it in. So S and X taken off proportion, I'd say like just a very, very simple leaf. So I'm gonna grab the top up here, which is baseball bringing my move. And there we go. No. Face Select bringing OK, OK. So now Let's bring in a few edge loops, so control off. You don't want too many because remember that these edge loops are basically to be used for your grass. If you have hundreds of thousands of those, then it's gonna be a lot of polygons. So S and X, Let's bring it in with proportional editing on. Let me bring that up a little bit, like so. And let's bring in this edge, S and X. Bring it in like so. And let's bring this out a little bit. I'm just trying to get that nice flow. I'm gonna take this off for a minute and just bring it out the old fashion way. Like so basically what I'm looking for is just to get a nice kind of leaf control law or grass blade like so. Then what I'm going to do is I'm going to now then they solve. It. Needs to be a little bit longer. So S and Z those play out. Not like that Actually. Yeah, I'm pulling out from that. So let's press tap S and Z. Let's pull it out a little bit. All right, that's looking at quite nice. Now let's bend this in a little bit. Like so. Maybe not too much and maybe with proportional editing on bringing in life. So there we go. All right, now let's bend this around a little bit. So all x, Let's bend it around. Now we can start shaping this one went to do is I'm gonna come in, grab this form and then just press the G bone. Hopefully pulled on the GE board and just bend it. Don't worry about getting in the right place the moment all you want to concentrate on, it's just getting it. So it looks like a nice piece of grass. Also don't bend them to fall as well. There's a reason for that is I don't want to bend it too far over because you're going to have loads of these. So just take that into account. Now what I wanted to do is I want to come to the bottom of here. I don't want to actually pop in. If I press Shift S closer to selected and then press Shift M, I'm going to bring game is I'll just bring in a cylinder, make it smaller without proportional to num. I'm going to use that just as my kind of grounding wire can ground them all. So I'm gonna press S and Z, make it a little bit bigger. And this is where my grass is basically when they come out from, we're gonna separate it off with pay and selection. And there we go. Now this separates it. And now what you can do is you can basically make another piece of grass, so ship date, and then all zed, spin it around and then we can put them into play. So another way is by then put this into here. I can actually see where I actually wanted to work this from. All right, then I'm gonna make this smaller. And then don't worry, I'm gonna actually mess around with scales and things like that. Once I've got a few of these grass blades, it we're just working on our best blades at the moment. All right, so now let's make a few more of these. So while do so shifting and then r and z, and then G. Let's pull it in its place. Let's make it a little bit smaller. Let's grab this one then and Shift D and then z. And you can see how easy it is actually to create these graphs played, so something like that. And now we want some inside ones as well. I went to grab this one. So Shift D and zed spending around like so let's put this on the inside. And z, I'm just bulk and overload that basis what I'm trying to do, something like that. And then Shift D, Z, spin this one round. Like so. Let's pull it down a little bit. Then maybe, maybe one in this way as well. So I'll make this one a little bit smaller as well, and then I'll put it back in like so, and then Shift a and then All and z. So let's pull that down and let's now mess around moving these around a little bit because I clearly not in the right way. So first of all, we'll just join them all together. Control J, and then right-click Shade Smooth. On the next lesson. Then we'll mess around with these and we'll get these three lots of grass actually done. The del tag along the very easy to do. If you follow along, you'll find it really, really easy. All right, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. 59. Creating the Grass & Plants: Welcome back. It runs blend the three, the ultimate medieval seeing costs. And this is where I left off. Now let's come in and actually mess around with eight. So I'm going to do is I'm gonna bring my proportional editing on. I want to grab it here. I'm hoping I'm moving. It also needs port connected only on. And now I can actually mess around with the SOC and grab it and just bend them around into whichever kind of style you want. You just want to make them all different. So I'm gonna grab them the main life, so just mess around and just make them all look different. So I'm going to bring some more in. I'm just going to rotate that one round as well, like so. And then G, bring this out. G is move it to the side. Like so. And I'm also thinking Shut up, bringing some Morin, maybe let's press Shift Z, spin it round. Defend it to the side. Maybe let's make it smaller. Alright, Something like that. Now you might want year-old's going straight up into the air to make them more grass like it's completely up to the straight to you do them. Obviously, the more different is going to do. I'm also a thing going to put one in the center, so I'm just going to grab one. I'm just going to take that off a minute. I'm just going to press shift D, Then I'm gonna rotate this around. So all why put it right in the center? Then an x, maybe, something like that, make it smaller. Then G. I'm just going to move it out. I think so. Yes, some points in that way, I think it's going to look bad when I grab this one, then I'm bringing this one out. Now. We go and that's rarely both Dale Fellow. Alright, let's press Control J and joining it altogether. I think. Yeah, I think I'm happy with those. I'm just saying this one here needs just moving out a little bit. I don't think I'm not through with it touching now so much. Yeah, I think I'm happy with those for my main actual graphs and we can move these on the fly as well. So don't worry about that. Once you've actually got the main, you can actually change them to your heart's content. Now what I'll do now is I'm going to bring in a material. So I went to Festival press Control a or transforms. Then going to set my actual orientation down to the bottom. So I'm just going to grab this. I'm going to press Control a or transforms right-click origin to geometry. And then I went to press Shift S because it just selected grab my grass. And then what I wanted to do is I want to set it down to here. So right-click set origin to 3D cursor now can drop those down. Basically all my grass to come out from here and then I can re-send my graphs now. So right-click set origin to 3D cursor. That means then, why not bringing this grassy onto my ground plane? It's going to actually stick out the floor from here. They say where this actual point is. We can mess around with that as well. Now let's come in and actually gave these materials. So I'm gonna click new grass clades. Like so. Let's come over to our shading panel and then moments do is I'm gonna put this onto object mode. I'm going to go to my grass, so adults go to my grasslands. And then what we're going to do is I'm going to come in, grab my principled press Control Shift and the T. And I'm going to find my grass blade so textures scroll down, should have worn that says whereas it grass blades. There it is, grass blades. And there we go. All right. So just these five I don't need that. That's just another color. Bring them in like so. And that's why you should end up with something like this. Let's alter these a little bit because I'm not happy with the color. And again, we can go in and alter the college who assaults content, double-tap the a. You can say this is how they look. And so what I'm gonna do is I'm gonna come in and I'm going to also bring in my ambient occlusion. So I'm gonna grab this one ship date exactly the same as we've done before. Let's put this on a oh, let's then bring this in with the Open button. And there we go on. Our occlusion is here, let's say also plug this in, just making sure to plug this in properly. Like that to the vector. Let's press Shift day and bring in a mix RGB. What I want to do actually after this is just make sure with the occlusions on my actual materials that I've actually done them properly because I'm not actually sure if they're all done properly. Now let's plug this in the bottom. Plug this in the top. Let's put this on multiplying, as we've done many times before. Let's set the fight on this one too. No point. Full, full two. Let's bring in a Gamma just in case you want to mess around with the darkness of these. So we'll bring in a Gamma just to give us something to play around with. And we'll also then bring in a UN saturation. So review. In saturation, bring that in, move my principled over here. And then what I'm going to do is I'm gonna plug the color obviously into the colon. You plug the base color than n and we should have, Nope, it's something might not. Now let's change the, you to know 0.6. There we go. Much, much greener. Let's put the saturation down to no 0.7. And let's yeah, I think that's everything. I think that's actually going to look pretty nice now you might want a little bit greener as I've said, but I think I'm happy with mine like this. Alright, so I'm going to pull that down now and make them much, much smaller. Double-tap. I didn't have a little dialogue like, I think I'm actually happy with how that looks. I'm going to now come over and I'm going to call this grass. You can see at the moment plane, one plane to, I'll call this cylinder shutter college orient. I'll call it orientation. And I'll pull foliage and the stock. So foliage and it's just there just to help me and went for a space in there to children where that needs to go. And this is called Launch dress. Like so. Alright, so now I'm going to make an oval. I'm just going to close the old clothes and my reference close with my ground. I'm going to make a new collection. Some little vesicle, there it is. And I'm going to call this foliage because we're gonna have a theft few parts of foliage. Let's open up this and then we'll grab both of these and just drag them into our foliage and then we can close everything off except that it also means that because I've got them now here, I can actually move these around and things like that. So it can actually hide my large graphs while I create another one. So I've got my cursor it, Let's bring in then another plane. I'm going to spin around. So all x. Let's spin it around with S. The moments do is I'm going to bring this up, bring it in so S and X, and then pull it up a little bit. Now you will notice that grass Shift Space bringing Move tool. I can say that because of naive model, it makes it a little bit older. So let's go to modelling are working there instead, a grass that is the small aggressive, he's normally a little bit thicker, so we're going to look at that, making it a little bit thicker. So I'm going to pull this up now, like so let's get it into place without pull it down. So this is roughly where I want it to be. Let's pull it up a little bit. Let's do an instrumental loop. So false, something like that. Grab on this one. Let's put on proportional. I did send. So I'm gonna grab both of these actually and bring it in, pull it out. Like so, let's then make the end of it very thin. Like so unless naturally we've done in the center, pull it out, bring that in like so, and then that's rotated x. So let's pull out, live out, and then let's spend it down. Again. It doesn't really matter how you all's actually look how close they are to mine. Just, just make them as random as possible rarely. So I'm gonna do is I'm just going to rotate this round now. Thanks. Like so, and I'm going to bring it down with j, something like that. And you can say it's much, much thicker, maybe a little bit too thick on the ball, needs to bring my nothing. So S and x, like so something like that. I'm happy with that. Now we're gonna do is just shakes me. I'm going to press shift D, bring it over. Bring it up. Basically the same as we've done with the others. Well, this one is just gonna be a little bit thinner. Of course, I'm gonna grab both of them shift date. You can also do it by this because you're all gonna go round and mess around with them anyway. J, pull them into place, like so, and then shifting, then all Z, j. Then make these a little bit smaller, maybe something like that. Let's join them all together now. So I'll Control J. Now let us come in and mess around with them. So we've got proportionate to non connection only. Now we should be able to play around with them. Like so. Let's spend this one round. So on G, like so. And now we just want to make sure that they just altogether basically can say that that one's probably a little bit farther out, like so. And I can say that really quiet thin. I'm happy with that. Now I want to do is I'm going to press Control a or transforms. I want to basically set this to the center. So the first thing we're gonna do is set origin to geometry. And I'm going to press Shift S selection cursor. And then I'm going to pull them off to where I want them I want them sticking out the ground probably from here. So while there is then set origin to 3D cursor. All right, so that should be at the bottom of that. Now let's say actually bringing in all actual whereas our grass, grass blades there it is. Bring that in. Let's see what they looked like. Double-tap the a. There we go. Alright, so let's bring back, we'll call this small grass. Like so, bring back our large graphs and you can see then what the difference in the sizes. And we've got small grass, we've got Lodge Grass, and we're gonna make this one a little bit smaller like this. And I think also want to do anything else with that. I don't think actually do it. The Mona thing, I'm going to give them a test before I do anything else. Then we can Probably probably make a median grass and we'll do that on the next one. I'll do on the next one is we'll make a medium grass. And then finally we'll start to get these onto our actual plane. All right, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye. 60. Blenders Particle System Setup: Welcome back everyone to blend the three, the ultimate medieval sinkholes and this where we left off. Now think what I'm going to do is I'm gonna pull a very small piece of grass over here. So I'm actually small and thin, maybe something like that. You can pull some plants on the air and things like that as well. But I think what I'll do is I'll just make one mole. So I know it's a bit tedious, but once you've made them again, you can save them out and then they actually don't. So I'm just going to pull this up. I'm going to do exactly what I did before pulses. It's actually a good practice to actually do this. Let's turn yourself. Let's make this one very small. So Control, left-click, right-click, control law. Like so. And let's grab the bond. Let's put proportional editing S on x, bring it in, and let's bring this one in. S and X, bring it in, like so. And then a bit more on this one. So I see an x like so something like that. Now let's rotate it around. So I'm going to grab the whole thing and all x rotates it around. And now I'm just going to actually bend it. So I'm going to grab this center, going all the way, Alt, Shift and click, and then G, bring it in, it like so. And then I'm going to come to the top now and just rotate it. Rotate it round, like so, and then just manipulate it into place where I wanted. So at the top I want to rotate it. There's just playing around with it. As you can see here. There's no great science to it or anything. Let's say straighten it upto something like that. And I'm looking now just to make sure happy with it. So I'm just going to straighten this up a little bit. Alright, Let's say Shade Smooth, and that's now bringing in another one. So I'm gonna grab it shift day, Zed. Make it a little bit smaller. Right-click set origin to geometry just to make it easier to do this part like so, let's put them right in the center. Let's put an object mode as well so we can actually see what we're doing. Let's grab both of these and then shift a zed, spend them round, poke them in place. And then let's grab this one and should date. Hold on when in place there. And then let's grab all three of these and then Shift D and then spin them around. So let's spend them around a little bit more. So all zed, alright, something like that. They look in a bit smaller. Let's get one in the middle as well. So Shift D and then all on, why? Spin it around? Gee, this one in the middle. Yeah, something like that. Now let's manipulate all day. So what we'll do is we'll join them all together. So Control J. Then we'll just grab this one for instance and just start manipulating them all. I'm going to pull them. They're not very happy with them being so far out, so I just pulled them in a little bit. Like so. Let's move this one to the side. Alright, someone saying something like this. And I think I'm gonna come in and grab the bottoms of them, takeoff their connection only, press the S bone and just shrink them down a little bit. Alright, let's put it back on material. Let's say bring in grass blades. There we go. And then while doing this again, I'm going to I think stick them in the groundwater. You can see probably a little bit small on this one to be here. Let's press one. Yeah, it's probably going to be just want to be a little bit down. I'm just going to hide my cylinder out of the way. I'm going to come to the bottom. Something maybe around the bottom one. So something around here. So I'm gonna go up, as you can see here, Shift S because it's a selected. And then I'm gonna grab the whole thing salary in 3D cursor. In fact, I'll do all transforms and then set origin to 3D cursor just to make sure we don't have any problems. Now I'm gonna do is I'm going to call it too tiny grass. You can call it a grass, shrubs. By either way, we can see we've got our foliage in here now. All right, so now we need to actually bring the foliage onto our other pulse. So what I'm gonna do is I'm going to come out and calm again to my actual plane where a guy over at the non, remember, we have got a mark on here. If I press tab, you can see that here. We should have let us come in and unblock actually. Yeah, because we actually have to go in. And actually Monica seems again because if I grab the whole thing now it's gonna make it a little bit harder to do, but I don't really want to do that right now, but I'm gonna come in and I forgot actually about that. So we'll solve that out anyway. But you can see roughly where we need to take our plants do and that's important, actually borrow. So. We'll do that in a minute. Now. Then let's come in and think about bringing in all graphs and how are we gonna do about the first thing you want to do? You want to bring in a political system. Political system is based over here on the right-hand side. So just click this on, click New, and you'll end up with all of these all over here. And of course that's not something you want you want to based on the grass. Another way it's, it's trying to distribute randomly some particles over here. So how do we do the next pulse? So let's put it on here, and we'll end up with something like this. Let's put the hair on 300. Because we don't actually want tons and tons and tons of them. Let's say leave these as they all. Let's come down and look at the source now. So I've gram faces jetted, all of these things should actually be on. The next one we want to go down to is the Render. This is the most important one. And what you want to put this on path, you want to change to object and you'll notice they disappear. And then what you want to do is you want to we want to keep the show a mix around because he admits it is basically the ground plane, so we definitely want that on. What we want to do is then changed the object. So the object we want today onto our lounge graph. So let's move over here a little bit and you can see are large grasses here. So let's grab this and you can put it over here as well. This might be easier for you. So if we go back, you can say that I can click on large graphs. Now you'll see we've actually got something happening. Double-tap the eight. You can actually get away with double-talk. And you can see it. We can just see them. Now if we turn this, scale up their large graphs. Now the problem is always the same is that the randomness. So let's see if can just change this round. Just sometimes it never goes away. You wanted to. You can see here that this now will have to be rotated. We I don't know why that is, but I always have to come in and you have to rotate. So if I rotate it round now you'll say, I'm gonna express all why 99, you'll see it's actually working. I don't know why that is. I don't know why it does that, but that's the way it is. Now the thing is, you'll also see that the role looking pretty much the same. So I'm gonna do is I'm going to come down to where it says scale randomness and just turn that around. And now we're gonna do is I'm just going to scroll down a little bit further. What I'm going to do is I'm gonna come to where it says, children. What I wanna do is obviously I've not got many here at the moment. So I want to put this on intercalated. And you'll see at the moment that we have a display mount and a render amounts. So just remember that the amount you see here is gonna be far more when we actually render that out. How many months It's really hard to see. So if you put this on a 100, you will be able to see exactly how many you can say. It's way, way too many of the moments. So the render amount is way too high, but we're not gonna worry about that yet because the thing is, we're not gonna put these like bases is going to be a bit different from this. Now the one thing is I'm just going to put this on ten to the moment just so I can see wondering. What I wanted to do is I want to wear come down to where it says, whereas it roughness. So you've got clumping and you've got roughness. You can see that if I come down to where my roughness is, if I go in, I can actually change these around as you can see, it can give even more randomness to them like so. And that's exactly what I wanted to do. Randomness, let's turn the OB can say sum again, turn around. Some are not as even more randomness to our actual same. Now then we are not happy with this because of the mountain. We've got these pieces of grass everywhere and I don't really want them everywhere. I actually wanted to place where these pieces of grass are going to go. So if I come down, I'm also going to look at whereas it vertex groups, you have got one that says vertex groups. And this is based on what we're going to use. So how are we going to actually do that? So what I'm going to do is first of all, I'm going to come over and click on this triangle. So I'm gonna click on here, click on my triangle, click Plus, and I'm gonna call this large graphs. Then what I'm going to do is I'm gonna come back now to my political system. And I'm also going to change the name of this to large graphs. I'm also going to change in here to large grass just to make sure we're not gonna get confused. Then what I'm going to do is I'm gonna come down to where it says, children, display them out. I'm gonna put this on 100, like so. I'm going to double-tap the a then. And now I'm going to come down to where it says density on large graphs, length Lodge Grass, clone Lodge Grass, and King Lodge Grass, and just pull all far those on large graphs. So why do we do that basically? Well now you can see that we've got it looking like this. We've got grass going everywhere. That's not exactly what we want. So if I am come in and change first of all, the children, whereas my children gone there it is. And upload this on ten and then upload this on ten as well. And then I'll come over to wait paint. If you come up with white paint, you'll say at the moment nothing happens. But as soon as I click on here, you'll say, Oh, we've got a load of grass and this is where one of the grass to grow. So what I tend to do nowadays, I will make a load of grass, so I'm just pressing on just make sure you stretch one on 100 or something like that. So bringing it down, this is where I won't grass. This is then when I'm going to just take this off onto an object mode, and I'm basically going to check out what my grass is looking like. So I'm gonna problem rendered mode. And then I'm looking for my grass and you can say, this is way, way too thick at the moment. They don't want it that thick. So I'm going to again go over to, sorry, a white paint and then I'm going to turn my brush down and just going to have a look now, if a turning down, how much grass, so we're gonna put on there. You can say the mall put the weight on the thicket. The grass is going to be on the taller the grass is going to be. That's why we're looking for. All right, so now let's come back to object mode. And now let's think this down a little bit because clearly it's way too much. So what we're gonna do is gonna come over to where it says number. And let's put this on 200 or something like that and send it down. Let's try 50 maybe. And maybe that's too little. So let's try one hundred. One hundred looks about right? So you can see now how easy it is to actually bring in the grass and create realistic graphs. And also this grass is actually say, Oh, ready to actually move in the wind and things like that. All right, for once on the next lesson then what I'll do is I'll show you how to bring in the next grass and I'll show you actually how to paint that on and really bring you up to the edges and things like that. All right, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks. Bye bye. 61. The Weight Painting System Explained: Welcome back everyone to blend the three, the ultimate medieval seeing calls. And this is where we left off. Now what I want to do is I want to actually create a nada grass political system to go with this one where we're going to have smaller graph. So how are we gonna do that? Well, you'll come over to your political system. You'll see we have a large grasses. What you want to do is you want to click down and click Duplicate political system. And now you'll love this one here, but you'll see that it's still called large graphs, so we need to change the name of this. What I'm gonna do is I'm just going to click the Plus. And I'm then going to call this small gross. And if you don't do that well, I'll often is when you change the large graphs, you'll end up with this changing as well. So let's change this to small graphs. You'll notice that I've got double one on here. Don't worry about this because I've already created one before. Alright, Now you will see that way I've got everything on near that we need. I'm just wondering what the Advanced actually brings up. Show him it's pretty much the same stuff actually. Now what I'm going to do is I'm gonna come down first of all and check off my large grass among my students going to use my pipette to click on my small graphs. We could click on all tiny glass bulb, click on the small graphs for now. And now I want to do is I wanted to take all of these obviously, you can see here it says large grass. I want to create another one. So plus small graphs. Again, you can see that small graphs appears. You can also say that I need to turn it around. So small grass like so let's come in and turn round all. Whereas it, this is a small grass. Let's bring it over here and let's spin it around. So I went to spin off by 96, spin it around and there we go. A little small grass on that. Now let's bring our small graphs into play. So we've got our vertex system set up. So now we need to go back now to our political system. And I'm gonna come down to where it says density, click it on and small grass. Grass, small grass and small grass. I just tend to do those fall because now the others don't really make any difference. So let's come in and come to, wait. Now let's bring in some small graphs. So let's see how this works. I'm gonna put my small graphs around the edge of my filled-in because that I know is where it's going to be. I'm also then going to check because I always come in and check, double-tap the eye and just have a look. Well, that small grass looks like and there you go. You can see that is out, the small graphs work. So you can see we've got large graphs and a small grass. And then we can put this small graphs around the edges of the buildings and things like that. All right, so now I'm gonna basically go in and do my large grass on here. Sorry, we just swapped between them now. So put large grass on, I'm gonna put a weight paint on and then I'm just going to come in. And if I hold this down, I'm going to actually make the strength a little bit higher. So I'm not gonna click so many times like so. Bring him a large graphs over here. Don't forget you can actually minus itself among Chinese, there is as well. I wanted to bring you up to the edges. So it comes over the edges like so when you read it and just press object mode and just have a look and make sure that you actually happy with it. Alright, so let's go in now and it's gonna take a little bit of time to do this. I'm just going to bring them in and then we can mess around. As you can see, I'm just going to bring them up to the edges like so. I'm also then going to click on my small grass bringing up not to fill these out a little bit to make it look pretty realistic. Like sir. All right. Now let's say I'll come in with a small brush first and do that one. So I'll turn off my strength mole. Underneath here. You're going to get actually that we're going to do some pumpkin patches, right? I'm just going to put a little bit gross and then go around here. You can see how quickly it is to actually do this. Sir. All right, I'm happy with that now let's go to our large grass again. I'm going to turn this off actually and put this on here. Then I'm going to break this a bit bigger. Bring them on large graphs. Hope to the edges. Here. Background here. Alright, let's have a look. Well that looks like so I'm gonna go I'm fact I'll I'll actually bring in some more small grass. So bringing some more just small graphs around these parts just to fill it out a little bit. All right, Let's have a little that looks like. So back to object mode. There we go. And you can say at the moment that it's nowhere near as they can often, sometimes this happens when you do it actually looks thicker than water walls. So what I tend to do then is just go back to my particle system and put this on 300. And there you go, you see it really, really fills it out. Pull the large graphs on 300, likes, double-talk the area and just have a look and make sure they actually helped me with. And you can see it really starts to wear filled out. If you want even more, you just basically concern there. So all you can go down to your children as well. Don't forget, this will actually multiply it basically. So multiply up so 20. There you go. That looks a lot better as you can sue. Alright, I'm really happy with that. Now one thing I'm not being about is I really need to fix this now so that it ends up in the way I want it because at the moment is quite a hard edge and I don't want, I want it to actually disappear off of that. And the grass Delta B here. So let's say work on that next. So what I'll do is I'll come to this and there is a really good thing that you can do. You can actually come in geo-political system, scroll up and you'll see these two little TV's. Just turn them off. And then that will actually make it much easier to actually run blender as well. So there is that. Now let's put this onto a material mode instead. And then I'm just gonna go in and see if I can actually mark the seams out where I helped them. So you can see I do have a problem with my scene, not these for some reason on well, it messed up because I actually read it. So what I'm gonna do, I'm gonna press K, I'm gonna grab this one and this one, I'm just going to go in and fix the so I'm gonna come in, gear up this one and I'm right-click mark soon and I'm just gonna go round now. And probably, I'm thinking probably easier if I just go in with the nocturnal and just fixing, going round like this, instead of trying to maybe it is easy. It's a bit hard to say really, I'm just gonna try, I'm gonna try going round like this, I think. Then I'll have to go around it just once more just to get this right because you can say it's fairly jagged. I'm not really happy with it being so jagged. So I'm just going to go round, fix them and don't worry about the the way of this mesh. We could we could go in and clean that up if we wanted to as well. You can see here, I went kind of light and it's kind of a bit of a mess there. So I'm going to press the Enter button, right-click and moccasin. And then one Wednesdays I'm going to, I think I'll join these two up. So I'm going to join these two world with J. And then I'm going to right-click controlling. Sorry, I'm focusing. That one went today is I'm just going to get rid of the seams because they're a bit of a mess. So right-click, I'm placing basically this bay here. What we're trying to do is we're just trying to basically fix all seems and things like that and just make it nice and clean. So mom scene, you can see it probably got one in there. I'm gonna miss. So right-click moccasin. Alright, I'm thinking that is this the best way to do it? Probably it's going to be got a lot of work to go. I think, I think also that the split there soaps or right-click mock scene and then come around to here, can probably see where I'm up to. So if you look over here, right-click on mock CMA. Now let's see if we can actually split this so you can see that I can grab it all the way down to here. You can see that grabs the whole thing. So I know I do have a problem and I can see where it is. I'm gonna come in double-tap among assuming that some arcsine, Let's save thoughts it, when grandma it again, It's still grabbing it and say that this space in graphs, or where is it OK to? Oh, I don't think I've actually yeah, it's probably because of not mom to see more peer of a Let's come in. We'll move on here. Right-click democracy, press the dot born, zoom in. And now let's see if that works. It's a pain. Now it is a pain, but we'll get that. Alright, well fixed on the next lesson. We'll make the priority to fix that. We can really see how it's really coming on. Sorry, it's just more exciting stuff basically to get through. All right, everyone. So I hope you enjoyed that and I'll see you in the next one. Thanks a lot. 62. Dealing with Transparent Materials: Welcome back everyone to blend the three, the alternate medieval seeing costs. And this is where we left off on this pain that we're trying to get down here. I'm just going to Control Click going all the way along here. All the way along. You can see it goes through that door really well now I think I'll bring it to here first. Just controlling click in and trying to find That's a sin mt. There it is. So I'm just going to go all the way along like so all the way up to that scene, I'm going to right-click. And in boxing, now I'm going to say if from here I'm golden. So let's see. So yes. Alright, let's go in and do the rest. I'll deal with control-click soon as that seems to be what blender like stirring. You can see though I can't actually do that on the hand because it's gonna be very jagged again. So I'm gonna go in and first of all, I'm going to take off everything. So double-tap the come to hear them. Let's join it to here. Press enter, bomb, right-click, and moccasin. Now let's, we can probably get away with this part going up to that, so we'll do that. So come back from this one control-click. And I know it's a pain to do this, but it is going to look good when it's done. So like so like so like so I think I can follow this pretty much, maybe all the way round. So I'm going to control click. I'm just looking at Jagged. That is, I think that's actually going to be okay. I'm gonna go all the way around this one here. Probably not. So let's come to here, right-click mock scene, give it a quick test. And there we go. That's good as well. Now let's come in, double-tap the k. We can see we've already got WIC, a good workflow go in here. So I'm gonna come to here, maybe to here, like so here to here it. And then I'm going to press Enter. And you can see, I don't know why I didn't do that, that Tombow, apparently, we have to go in now. Grab it with Control. Click, right-click. Frankly, democracy, alright, Let's say joined this off on here, making sure it actually works. So right-click mock scene. That's Command face like L. And there we go. All right, we are really getting somewhere. Let's say, let's double-tap the eye. Let's put it onto this and let's see if it actually works with the knife doing it that way. There you go. It might just be that control. Marx image just seems to work on their virtue select, I'm going to call them. And grandma seems now. So again, I'm gonna start from here, column troll, click all the way to here, all the way to here. And can I get around this note bound when a market seems so I know I'm going to come from here. Right-click mock same. You can see I'm breaking this down just to get it to work. So L Now on Wednesdays again, I'm gonna comb, double-tap the a, you're gonna press K. Going to make a knife project following this all the way over to here. Like so. Like so. Maybe two. Maybe to here. Let's press Enter, right-click, no, control a moccasin. Now let's say democracy him on this one. From here, we'll do it. So right-click mock scene. Let's see if we have to do we have to do this one against it is a pain to do this, but the heavy hole, that's the way it is. So let's press Control. I can see probably why is messed up. Thing is with the Knoxville doesn't always, as you've seen, make mesh. I'm just going to bring it back. So here, it doesn't take too long actually, mark scheme and let's see now worked. Yes, awesome. And we can see now that we're actually getting this done. So let's come and we'll start from, I'll start from here. And then Control. Click. Again. We weren't mailed. See these seams or anything like that. So that's one good thing that we can see as well, that we've got lucky on this one. Maybe you have as well. I can actually come through and you're gonna be thinking like, what is all this work for? Is it really worth it? Well, you'll see it does actually make it look a lot, lot. They're just going to zoom out a little bit and envelope whale, I was going to so think I'm going to put it to I don't want you to want to go in there once it coming up to here. And you can see them still. Probably gonna bring it to here, right-click mock scene. Then we're gonna press K, put it onto that, double-tap the press the k, and then bring it to here. Then I'll have to retract macro myself. You can see that we've doesn't exist on this part. And then back to myself. Alright, so let's control, Let's moke the same. Now let's come back. So from here. So k sorry, I control-click. And then going around this corner, what it was is I think it's because I actually basically triangulated it and then turn the triangle inequality to make you a nonane gone and asked what master. Now let's save to actually design. So L, There we go. Let's see if I can grab all of this. I think we've got one wrongly. Yes, we have. So let's come in. Let's see if we can fix this one as well. So control-click all the way, hopefully this part going in. So right-click mom, say lead sit, Let's say please, please work. There we go. And that one also it's gonna work is that we're going to work. Yes, it is. All right. Let's say if hopefully this is gonna work. So there we go. Finally, alright, so let's go to our material. What we're gonna do is we're just going to call this ground transparency in C, like so. All right, Finally, let's apply that. So you'll see it goes white column rarely see anything at the moment. Let's go now to our shading panel and let's zoom out and you'll see unimpressed dot to zoom in. First of all, see what I'm actually looking at, doublets out the a and let's now come to the principled, which I'm not going to get rid of. So I went to my principal and it's gonna move this over and create a simple material with a transparent. How do we do that? Well, we press Shift a and we go to Search and we just bring in transparent the SDF, which is this one here, not the translucent. Make sure it's the transpiring mix shader then. So Shift A Search mix shader, join them both together and you just going to turn it down. And then it gives you flexibility actually into how much you want. So if I turn this download 0, put this onto surface. There you go. And you'll say if I turn that bowl, you'll say it comes back or disappears. Now the great thing about this is why I've actually done this. You can see I've got a little PDC IT might want to fix. I'll think a wheel. I'm going to go into this piece, grab this one, and click Assign. And there we go. Let's parse top, double top. And then I'm just gonna look around, say wondering why I've done this. And you'll see now that if I go to modeling, press top, put it onto render, bring back my leaves now for coming to our leaves or the double Tommy, I can say why I've done not because they start to actually hangover. Now you can't see that some of them look like they're floating, but we can actually fix these. We've actually going in now I'm coaching them away, which we'll do in a second. But you can see it just looks so much better than being on the edge, right on the edge and just trying to hang of it, this actually looks much, much better. If we turn this off, we can see how much better that actually looks. And that's the reason I've done this. Okay, so I think I'm happy with how that looks. Now you can say that we've got all of that transparency done. Now what we'll do then on the next one is, well, just tidy everything up. You can see here probably got a few pieces of grass that probably needs just sticking up a little bit. In the meantime. I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 63. Creating the Straw base Mesh: Welcome back everyone to blend a three, the ultimate medieval sinkholes. And this is where we left off. Now, few things before we carry on. First of all, the grass, we haven't got enough of them. Second of all, notice that this is looking a bit pink. And third of all, I'd like to try a, another HDRI just to see where it actually looks like. With that, let's come over to our political system and we want the small graphs. And if I put this up, Let's try just putting us on the 1000 just to make sure That's gonna pour it office that way the a's I'm just looking over here. I'm gonna pull this to 300 again. And yeah, it is to do with that. So it's probably just not enough way actually in here. So I'll try that first before doing anything else. So I'll do is I'll grab this, I'll put it onto a weight pain. And then what I'm going to do is I'm going to print onto material mode. I'm also then going to make sure that I'm actually sat on my large grass and maximum weight paint. On white paint. Yes, Wait, painless, pretty on object mode. There we go. Now can say, can actually pull some more of these on here. I do think though, that I'm actually going to need most. I'm just gonna put it back on object mode, put it back onto material. And I think I'm just going to need a few more of those anyway. So I want to do is I'm gonna come to my political system. I'm going to come to my children. And I'm gonna put this on 50 or something like, yeah, there we go. That's located. That's looking a lot better. Maybe it is still a bit too many. Maybe I need to go down with my political system and I pull down 50 and then pull the random mountain 50. Yeah, that's probably actually let's put it onto rendered view and have a look. Yeah, actually that looks so tombstones bad. All right, I'm happy with that. All right, so let's solve the next problem out. Next problem is my logs it onto material mode. You can say all material mode, they're absolutely fine. It's just on my rendered mode for some reason, they're coming out pretty red. I'm not happy with that. Let's command to my shading panel and fix those. You might not have this problem. The other thing of course, I can see here is that my occlusion isn't actually approved in each block. It's not a very good thing. Let's plug it in. Like so. This won't be because of this, the multiplying guessing. Let's turn that down. Now. Let's look in March, much cleaner, more yellow, exactly what I'm looking for. And let's have a look at the easy to do with the saturation. Let's turn the saturation down a little bit. There we go. That's looking much, much more realistic. Alright, now finally, let's come in and put this onto our weld. And then we're going to do is I'm going to look at changing out my cloudy field just to see what he's going to lie before I carry on and see if I've got an HDMI that I like that. So I'm gonna click this bond. It'll take me to my HDRI. Gonna pig Stonewall, God racists pick that 1 first, maybe a little bit. Let's try The Hobbit. Let's try the Sahni mindset that want to think that one's making a local little bit back. Yeah, I think I'm happy with how that looks. Let's try the elbow. Cloudy. Yes. I think I'm gonna go with the Sunny Park. I just think it makes it stand out just a little bit better. Alright, So I'm happy with that. Now what we want to do is one to actually look at creating our actual, hey, so how do we do that? Well, first of all, we're gonna do a little bit lighter grasp. The thing is that with the grass, I'm going to go back to modelling First. I'm going to put this onto whereas it Material view and among meant to do with my grass is I'm going to grab them. So it should be all of these golf foliage in here. I'm gonna grab all of these. I could always can grab the orientation as well. A moment injuries. I'm just going to pull them all together. So I'm gonna move this over to here, move this over to here, pull it back home this or connect, you see what I'm doing them really can't see anything. And then on Wednesdays, we've got the very small ones as well, which we didn't use. So let's grab all of these together. Presby, a moment there is, I'm gonna move them down and just stick them underneath the world. And the reason for that is because if I actually hide these, it will hide the political system is WiFi commands install. I didn't them. Oh, actually, unless it doesn't hide them, several. Got away with it. Okay. Well, that's good. I'm going to actually stick them onto their board. Last time I did this when I tried to hide them. They actually hit my political system. So anyway, that's great. So I can't hide them. I'm just going to put them under that. I'm gonna hide them to study in the group so we know where they all. I'm just going to close the hole and then I'm just going to put this on material. All right, so now let's start work on our actual hey, and if you open your, Hey, we all, this is all hate I actually created. You can see if I zoom in, this is what it actually looks like. Very, very easy to create. So let's go with that now. So first of all, we'll put our care set. Whereas now again, greater shift right-click and put it around that. And let's first of all bringing in cylinder. Let's first of all bringing in a cylinder. So shift a mesh and we'll bring in silhouette. Let's put the vertices on 14. That should be absolutely ideal. And that's finally, let's press S and zed and pull it all. We will need relatively thin but relatively long obviously to look like pieces of straw just going to press doll. I'm bringing it up. So I said something maybe a little bit sena. I said something like that. I think looks pretty strong light. Now let's press tab. Let's press Control on bringing some edge loops. So I'm gonna bring in probably left-click, right-click company is not six edge loops I've brought into mine. And then what I'm going to do is I'm just going to duplicate this. So I went to do clave is full-time, so Shift D over. Fortunately, it's not moving over. Shift D. Shift D and move it over like so. Alright, so they're looking, God started now, let's command. I'm, what you want to do is you want to put another edge loop, control law. Maybe two extra edge loops, left-click, right-click. And then what you're gonna do is you're gonna come in quick Face Select, and we're just going to pull these out. So where's it gone? It's this one here, hold, shift and click and then width. Fortunately it's not pull those out like so. And you want to make these I don't know the names of them, but they actually held Walter or something like that. And that's why there's that. And then you come to the next one and we're just gonna do the same thing. So welcome to this one. Control Alt, left-click, right-click, face, select Alt Shift and click S, bring them out. Then the next one, we'll call them probably to this one. So Control Alt, left-click, right-click, Face, select Alt Shift and click, pull them out. And then finally this one I'll do at the bottom. So control law to left-click, right-click, shift and click. Hold them out. Now let's come to the top of here. If I grab over here again, proportional editing on just going to use the G, I'm gonna pull it out low, Pretty fall. And I don't want the others to be affected by it. So I'm gonna make sure that connection only is on G. I'm just going to bend these just a little bit to give a little bit of realism to them. So first of all, I'm just going to bend in this way and then I'm going to call them and bend them the other way. Don't want them straight, basically, it's what I'm saying. So something like this. And then if you go around this way, you'll notice the very straight on to again scrub them. Come to the next one, then the amount. Like so and just make them not straight. All right. Something like that. I was looking pretty nice. Now let's actually give these some colors. We can change it in a bit, so it doesn't really matter too much. The colors you give them. All we're gonna do is we're going to go to where plus, plus. We're gonna go into the materials. Click New, I want to call this straw one. And then all of it not like that. I'm going to take my cups off straw. Like so and then let's give them a brownie type color, something like that. Let's also turn the roughness down. We don't want that shine in or anything like that. Let's also shapes move. And now we want to do is you want to copy this woman who's going to press plus, plus, plus. And then when I click this one, I'm going to click Copy material and then hopefully paste material. We don't have to click New and then paste material. Like New. Paste material. Thanks materials. So call this stroke. Stroke three. Straw full. Sir. Alright, so now with this one, Let's just change the color to be a little bit darker. Let's change this one to be maybe a little bit lighter. And this one, again, like I said, we will change the colors on these, so don't worry too much. And now we'll do is we'll go in, grab this one so I can't show the blend, the crash layer so that words are well, so I'm going to just come in and copy material, new pace material and we'll do this again. So, oops, new pays material and new and paste material. Now let's come to this one. We'll make it a little bit darker. This one will make it a little bit lighter. Again, like I said, we're going to actually change these FM amount, so don't worry too much. Now let's come in and we've got the first one. So let's shade smooth. Let's also make sure that I pulled the roughness. You have solved the roughness out. So that's one good thing. All right, so let's come in, grab the whole of this one, and click on this and click Assign, come to the next one, grab the whole of this one click Assign. Next one grabbed all of this one click Assign. Now we've got full, basically straw pieces that we can use to create our actual straw. And we'll probably do the bond first and see how that goes. All right, everyone. So I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 64. Particle Systems Based on Collections: Welcome back everyone to blend the three, the ultimate medieval seeing costs and a really is turning into that. So let's see what we can do next. So let's come to strolls. I'm what we need to do is we need to split these up on that slight grab the first row, l, p. Next one I'll take lp and Al and paint selection. Grab them now control lay all transforms, right-click set origin to geometry and just go down them and do exactly the same thing. Clicks origins geometry. You should always do this anyway if you're using Nepal ecosystem, the origins geometry exactly same as we debit the grass or it's just not gonna work properly. All right, so now we've got all of Australia. Now, let's call him and I'll see if I can use this piece of board for what I wanted to do. So I'm going to do I need to split this up first. I'm probably going to say yes, I'm going to have to split these individually, each one. So I'm gonna come in and I'm gonna grab this one. And I'm going to press P selection. I'm going to grab this one selection. Now the other thing is that my stroke at the moment is foliage. And you can see here if I combine cylinder LL1, I'm gonna call it strong one once you've done the preparation than it's easy. So straw to I'm going to do this because it's gonna make a little bit easier in the long run to do this. Straw. Three, I'm going to show you another tag me lie. We used for the graphs where we add two separate political systems. Instead of doing now what I'm going to show you is I can use the same political system, but based on a collection instead, straw, fault. All right, So now we're gonna do is I'm going to right-click New. And then you can see the foliage. I'm going to pull it out to here. And I'm going to call this stroke like so. Then I'm going to grab my full strolls, bring them up and drop them into strong. Now we've got an actual collection called stroke. Alright, so now let's call our roof. Then what we're gonna do is we're going to come to our political system. You're going to click the plus. And I'm going to click this to little interlocking Fauzia. I always do this just to make sure I have gotten new political system and I'm not going to change this particle system or anything like that. So just always make sure you do that. Click it. Let's call it straw. I'm gonna call it straw one. Because sometimes when we put them on different houses and things like that, the straw will go a different way in a bit weird. So we just want to make sure it's going to work. Then I'll call this draw one as well, just so we don't get confused. Now let us come in and actually mess around with a few of these. So first of all, we could put this on 6 thousand. We'd probably going to turn this down a lot lower as we go on. I'm also going to put this onto hat and you will end up with something crazy like this. Alright, let's come to hair length and we'll put this unknown 0.7. Again, we might change this as we go on. I want to put this on to the last segments actually means it's kind of like putting edge loops into it and we need less of them. So that's why I've pulled out on the next one. I'm gonna come down now and change this from rendered us to collection. And when it then pop the collection, here is the incidence collection when a pro and straw and straightaway now, you'll end up with something like this if I double tap the egg now, you can say that this is what we've ended up with. You can say it's not looking too good at the moment. So why is it not look into how well the reason is obviously because the color and the guy in the wrong way, probably not big enough, even maybe a little bit too thin. So let's fix all these things. First of all, what I'm going to do is I'm just going to grab all of my styles. So I'm just going to move them over it, just sort of the color and see what I'm actually doing. Something like that. Let's come to the first one. We'll go it and I'm just going to make the column which lights? Let's see what I'm going to want to bring into the white like. So we can also do that with the next one. I can actually go up here like this. So bringing them in, which whites darker. Now we can actually say what we're actually doing because they're a bit too crazy to work with. Actually. Let's bring this one to the white like so. Now I should be able to make them darker once I've actually turn them around. So let's go back to our political system. Click on it, double-tap the I, and now we can call them and actually work on these. Let's come down first of all to where's it all? Actual rotation. So it shouldn't be under Advanced. Let's click Advanced, and then we'll get a rotation. Let's open that up and let's pull the face first of all, the phase short, turn them around the right way. So now the face in the right way, Let's put a random nice helped a little bit and pull the random phase up a little bit so we don't want it too much. But now you can say we're actually starting to get somewhere all the correct. Yeah. Obviously because they're not fit in the place and they're way, way. There's no enough for them. They are too small, so let's come down and send the scale up. There we go. Now we rarely again. And let's also turn off the random phase. Maybe or something like that. Now you can see we're actually getting somewhere now let's come back. I think it's this one, which one of them has actually going to the rotation of them instead of them land. This one I'm gonna do is I'm going to put this where it says rotation on normal tangent. Now let's try and straighten the moment. So let's get them straight. There we go. That's exactly what I'm looking for. I'm looking to poke out a little more. Now you will see the scale of these is really, really thin at the moment. So we really need to say now, I'm just going to come down scale and I'm going to turn those off like so. And now you can see we really starting to get somewhere. And now it's starting to look a lot more realistic now on it. So just make sure I'm happy with our fall destroys sticking up and things like that. We've got a lot of randomness on there, as you can see, that also the colors that way, way out to the moment. So I'm gonna come to my colors and I'm gonna change those to be much, much darker and fit much better. So first of all, when a Dalton them all. And then I'm going to go in and make them probably a bit more brown. So I think this one's a bit too dark like so. And then this one, the big darker like so. All right, now let's make them a little bit more brown now. So welcome to this 1 first. Let's bring it in. Slightly browner, same as this one. Finally, the last one. So let us have a look at what they look like. Evades to Brown. Do we think? Not so sure. The thing is I think I think that big enough. I just think I need more of them. I also think that needs to probably be a little bit more on the on the yellow side. Yeah, actually, I think that looks bad. This one of the things is putting out a little bit random mess around with you with the college trying to trying to get them. Correct. So what you actually want, there we go. That's actually starting to come somewhere. Now let's have a look from back here. If I double tap the eye now, I'm much happier with those. Now let's come in and see if we need to make them any thicker. So I'm just going to call them back to my political system that will top the egg so I can see where I'm looking. Put it on rendered view because I won't give me a March, March bad view. And there you go. Now with the lights on and everything like you can say exactly what it's gonna look like. Let's just zoom out a little bit and just make sure my pay just going to lay low dope load. They solve. Yeah, I'm really, really happy with that. And you can see that we're going to have to cut a lot of their way. But I think I'm happy with the colors. I think I'm happy where it comes down to. Definitely happy with the thickness. So just make sure you have yours, make sure you come to this angle as well. And what you're looking for, you just making sure that the null old flat there is a lot of the volume there and things like that In column C through this so much. If you want to put a little bit more thickness own, you're welcome to this, but I don't think I'll just come down to where he says children, if we use in slope and you'll see that that happens. And I don't think you really won't not. Let's put it on simple. Yeah, I don't think the children's gonna work here. So what we tend to do instead is I would even make these bigger. I'll just turn this up a slight amount. You don't really want it too high as my point, something like that. Maybe 8 thousand, I think. Maybe that's even too high. So let's try 7 thousand instead. 7 thousand I think he's going to do can still see under that. Alright, I'm really happy with how that looks if we want. So what we'll do then on the next one is we'll get this hay on the older parts of the house, for instance, the rest of the bond. We might have to spend these ramble we can, we know already how to actually copy them and things like that. So we rarely really motoring along now. Think after that, then we're probably going to be at the point where it can actually start tackling. Oh yeah, we've got this high ear as well where we can actually start tackling the geo nodes and things like that. All right, everyone, so I hope you enjoy it and I'll see you in the next one. Thanks a lot. Bye bye. 65. Fixing Problems with Particle Systems: Welcome everyone to blend the three, the ultimate medieval sinkholes. And here's our hey, I think I want to do while I've got this all my render viewers, I just want to actually change these colors a little bit. I'm still not happy with them. I can see this one's got a kind of blue in there and I'm really not happy with that. So I'm just going to put this on come to my materials. I don't know why this one looks a bit blue, but I'm gonna change it, make it a little bit more yellow. I think so Let's try and bring it bring you out of bed and then slowly drop it down. Tell him happy with the color. Still not happy with that color. I think I'm happy with that. Bring it down a little bit. Yeah, I'm not said they bad. Now let's come to our next one. We'll do the next one here. First of all, get this color warmer fluid, something like that. And then I'll bring it down like so. And then we'll come to the next one that we don't miss one. I'm actually show some current why. Bring it down like that. And then next calm, I think there's only this one left. I actually pulled this one. Why? We've got one more thing. Let's bring it down. So it's this one here. I don't know why we didn't actually this one I think is this one on line. There we go. Like so. Now we say the, I think that these are probably a little bit to the right, call it They just a little bit too light now his wife fail, so we need to just darken them up a little bit. So now we've got them on the right color walk and do is I can just come down and very gently just darken them all down just a little bit. Like so. And then I can go back if I need to darken them again. Now that I think he's a March March back called a borrower head. Slightly green. Slightly yellow, slightly brown. Yeah. And I think I'm much happier with that color. All right. So that's the color dome. Now let's come to the other side among going to do is put this on the other side, so it will come to our other side, comb to our political system. Click the plus button and then all you need to do is click the down bond. What you're looking for is the strong and double-tap the unluckily for roles they've actually worked out on that side as well. Now you can say downloads really, really cold. Now let's come to this room. I highly doubt that this will work on this room for as well. So why Wednesdays when it comes to my roof, I'm going to grab this part of it. I want to press paid selection. You can see it's split them both off. Now I don't really want not. What I wanted to do is grab this, grab the top of it, grabs the bottom of it. I think that's the bottom of it. That's pretty buck on their minute. So can see what I'm doing. Material and I'm going to split this off. So selection splits off, now should end up with this one and this one. Alright, so let's see if it goes the right way. I don't think it well, but we'll say I'm gonna come over, click the Plus, click the down arrow, put it on straw. And what do you know? It has actually gone. Right except I think because I didn't reset this, Let's say I'm going to resave control AOL transforms right-click origins, geometry. And that's not really done anything. Set now note no words. What we're doing is I'm actually going to copy this instead so I don't want to mess around with the ones too much. So I'm going to do is I'm gonna, I'm gonna pull up is this one, this one should be this and some slope straw one. There we go. I'm gonna put this, this one is strong, one as you can say. And this one is a political system. So I'm basically going to minus that off. I'm gonna come back to this one store one. I'm going to click Duplicate, and then I'm going to come to this one. And we'd call this a stroke, like so. And I'm going to dissolve. And we showed belief with that now. So if I've turned myself, it should just turn off that one. That's exactly what I'm looking for. Double-tap, Let's put onto random mode and see what it looks like. Now you will see that we do have a few problems here. First off, it's not actually overhanging properly. Second off, I would say that the the panels underneath here that are a little bit too light to be honest. And thirdly, if I turn the hair, you'll see that this one, I'm actually grows as well and I really don't want that. So let's go down these and actually fix the problems that we've got. First of all, let's fix the fact that this particle system seems to be attached to this one. So I'm going to do is I'm going to click the Plus bone and basically how there like this and now hopefully at that time and so there you go. It doesn't actually held to that one and that's exactly what I'm looking for. You can also say, as I tend to soap actually made it look better. So I'm going to pull this up slightly to nought 0.8 and that's going to make it look a bit there. And then what I'm going to do now is. I'm gonna press top. I'm going to do is I'm gonna pull out this part of the room just very gradually till we get to here, press the Tab button and you'll see straightaway, double-tap the dots then located tombstones bad. Now you can't see on this edge, this is poking through here and we really don't want that. So I'm going to do now and when it's come to my house, grab this without not attached to anything. I'm just pulling down, dropping below that, double-tap the eye and then just make sure that it's actually in place. So if I press Tab now, double-tap the height, that's why it's going to slow light. You can see it looks much fat. Secondly, now let's salts out the actual planks of wood so you can see we've got a plank, see it. Let's hide our mixer out of the way as well so we can actually see what we're doing. Here's our planks. Let's come to our planks. Let's go to Shading. Wouldn't just going to zoom in. I'm going to put it onto render. I'm going to put this onto object mode. And then I'm just going to darken these out a little bit by zooming. Now, I'm basically bringing in a gamma, sorry if I press Shift A Search, bringing a gamma drop in place, and then if we turn this down, no, hope we shall be able to darken the outlet like so. Now let's see what that actually looks like. So if we bring back all political system, double-tap the eye. You can see that that looks a ton better now, it really, really fits in March back. It will also find a bond as well because obviously we've got our bond also the same. Alright, so I'm really, really happy with that. Now. I'm happy wave, I'm looking at the length of the straw. Am I happy with the length of the straw, I think and I am. Do I need more straw on this or it's not looking fine? I think actually, it's looking fine. I can cut this along here anyway, so that's absolutely fine. Yeah, I think I'm happy with that. The one thing again that I think are not happy with is just the color. I think I need to make it a little bit different. I think it's still a little bit too light. So I'm going to actually again, come to my strolls and just darken them up just a little bit more. Like so come to this one. I think I'm happy with the colors just a little bit. To lifestyle. Some will come out now. Yeah, and I think that's looking back now let's look into small, realistic. I think they're a little bit too yellow. I can play with around with that all day long. So that's one of the other problems you have. Let's say, come back to where I'm modelling. Unless now come around and have a look at this size, will also just put it on material for now. Fixed this other side as well. So lay all low doped, lots of low HDL. Again, if you want to take the grass off because you don't really need that on right now. So I'm just going to come to my grass, come to send these two boxes off. I'm going to save it out as well. And now you'll probably find it's working much, much faster. All right, so now let's come to this one. Straw to 01 can actually call this destroy two instead. Yes, I can. That's good. Let's come to this one then. Again, what we'll do is we'll grab this like so. And I'm gonna pull it all the way to here. And I'm also then going to come to my house, grab just this Paul and I'm just going to pull it down underneath the roof, like so. All right. Top double top. There we go. You can see that they have would just say, now let's come back to this political system downwards, down arrow, stroke to show me that one, double-tap the eye. And there you go. Look how easy it is and how good that looks. Now let's come to this one. We probably going to need another political system in here. Let's say I'm going to grab this L selection tab control, all transforms right-click, sorry, June geometry. Please wait, let's see if we can. So plus down, Let's try straw too fast, maybe. Double top. Actually, that looks really, really cool. Except the behind you're obviously it's fall too yellow. So I'm going to have to really bringing that down. I'm also going to look to see if a straw will download that. Let's find the straw one. Where is it? Straw? What's this one called? Let's have a look at what this one's called. Now, this is called stroke to 01. So let's come to this one. We'll try. They see it. Don't company. I think actually that's probably going to look a little bit. Let's finally come then. Let's come to the material hay barn. Let's come to where is it shaded? Like so let's press zoom in, double-tap. Now let's, this is the rendered view of course. So now we just need to clean this overloaded. So this should be, hey, texture. So all I need to do again is I just need to bring into gamma gamma job. I think also with this that's high enough. It's just a fact I also need a saturation. So such Hue Saturation drop by and I'm just going to turn this down a little bit like so. And I can say that's fit in pregnancy. Just stick that setting this up a little bit Mall, going to double-tap the a. So we're just going to zoom out now let it load up. Yeah, and I think that looks pretty good, but still not be with the cholera thing or maybe it's because I've not been aggressive. I think that needs to work on this color. I think I'm gonna do is before the next lesson, I'm going to go away, work on the color of my my hay and then I'll come back. Obviously, the color is a personal preference, so I might as well do that on my own time. All right, everyone, so be enjoyed that and I'll see you in the next one. Thanks. Bye bye. 66. Creating Trees with Sapling Generator: Welcome back everyone to blend the three, the ultimate medieval seeing costs. And this is where I left it off. And if we now put this onto render, I went away and actually worked on my halo band. I'm much more choppier with these colors. So what I'm gonna say is if you want to pause this and get the same colors as me, I'm gonna click on each one of these now, just pause it, write down the hex number, which is this one here, and then you'll have those as well. So this is my first one. This is my second one. This is my third one. This is my fault. All right. The other thing that you might want to do, I'm just going to put my grass on just to see what it actually looks like when a mess around with it. So I'm just going to turn both of these on. I'm going to double-tap the a. I'm just gonna zoom out slightly like so I can see what this looks like. And the other thing you can do with your actual line is income over the actual cycles. And scroll down to where you add your color management. And the one thing you can actually do is turn up the Gamma. So if I put this on something like 1.3.31.3, you'll see actually really brightens the old. Now that might be a little bit too bright. We're still got shadows and things like that. But if you really want to Brian, there'll be a candidate. You can also mess around with the exposure and make it a day seen. A nice thing or something like that. I'm actually going to mess around with any of those at the moment. I'm probably just going to reduce this a little tiny bit. So let's try 1.2, like that. Yeah, and I think I'm happy with that. So the next thing then that we need to really work on is moving these stalls out the way. And then where can actually on all I'm just wondering if I can actually hide the store out of the way as well. So I'm just going to hide those. I'm hoping I still renders with the other way because I've noticed a lot of time if you hide them out of the way and you come to where render this out, they actually disappear. So I'm hoping that doesn't happen. Again, while I'm going to do with my story's going to grab them all. And I'm gonna put them underneath myelin just in case that happens, then we're not going to be able to see them just hopefully no big stalls are sticking out the the land or anything. All right, So now we're gonna do is we're actually going to work on creating our trees. What I'm gonna do first of all, it's going to pop this on material instead of my render view. And I'm going to leave my grass just that for now. So let me just load up. Sometimes it will take a little bit longer. Let's actually go back to modeling is just going to make it so much easier. So I'm gonna go back to my model ID and you will start notes and things will slow down a bit. As I say, you just got to turn these things off if you compute a concave or with it. Now what I'm gonna do is I'm going to put my first tree roundabout here, somewhere like that. Then what I'm going to do now, It just want to make sure if you go to Edit Preferences and you go to Add-ons, just press in SAP and you'll have one called sapling tree generates it. Just make sure that's ticked on and then close this down. Then what are you going to do is press Shift a and you're going to press stop first. Then you're going to press Shift a and you're going to come to where it says curve, it's actually occurred. If you go up, you'll see one that says, suckling tree generates it, bring that in. The thing is about it. It will always, always place it in the center. I've tried this every time to place it where the cursor is, where he'd never dose. Now, the first thing you want to do, we just want to create some very simple tree. So what I'm gonna do is load a preset and I'm gonna bring in a wide ***** like this. Now remember, if I touch this or do anything with it, it's going to actually mess around with It's going to basically take away this and I can't bring it back down, so I don't really want that. The one thing you do want to do is just change the actual seed. Now you can see I've changed my seat and I've got something like this. Now you are welcome to go down, mess around with these to your heart's content. You can also change all of these things. So if I click on a different one of these, I can change the branches, what the actual root looks like as you can see the route down here. I'll just show you one of them, for instance, by bringing the soap, you'll see I can change out the root looks and things like that. Again now press Control, zed, I've took it off and I have to go back. I'm bringing in a nice exactly what I'm talking about. So if I press Shift, daycare, sapling generate, it brings in the same one. Let's put it back on to geometry, and let's bring the preset. I'm alive. White birch. And I'll change the seat than one. And there is that's the one that I hadn't before. I think I think I'm happy with that. I'm not gonna mess around with it anymore. I'm just simply then I can say if I click on it, they are invitations here. Natural press Shift as bringing selections cursor keep offset, and there it is, and just put it in the right way they wanted. So you can view it from here and say exactly what it's gonna look like. So I'm just going to spin this round. Just very slightly, like so. All right, now let's bring in the next tree. So again, shift day that's bringing in a sapling. And we'll put this on again, a wide *****. And let's put the random seed. Let's try to find him one. Like probably something you can make this smaller as well. Maybe something minus envelope. Let's keep going. Looks a little bit similar to this one, so I don't really want that. I want to want something that looks a little bit different. Business pollutant below. Yeah, something like that one. That one looks a bit different. All right. I'm going to grab it and then I'm going to move it over, put it. I don't really want them level or anything. I wanted to maybe out or maybe in which way do I want it maybe out, I don't have a look in this process, shrink it down a little bit. And now the log very different from each other. Alright, so that's the beginning part of it. Now we have to actually change these Internet. So how do we do that? Well, the first thing we do is we come over object just the same as you did a curve and then convert to meshed like so. And if you press Tab, you'll say this is how many polygons is not really going to worry about that too much at the moment. I'm gonna do then is come to this one here. I'm gonna do the same thing again. So Object Convert to mash. And there we go. Double-tap the eye and this is what you showed and don't wait. So now it costs, we need to give this a material. So if I click on this first tree, I'm going to click New, come over, and we'll call this tree. I'm going to give it. You can see we've already gotten off a tree bark around the other side, so I'll call it tree bulk main or something like that just so you can actually save it out again. So right-click, Right-click, Mock as I said, and then we'll go to whereas shading zoom out. I'm actually going to grab this and get rid of this. I don't really need that on there. So all I did was left-click, left-click, drag over that too by little arrow. It can actually get rid of that. So that's actually a bit easier now to work with. And then what we'll do is we'll come to our principled control shift T. I'm gonna go then to my tree bark. Click all of these clips principled, bring them all in and you should end up with something like that. Now of course, as you can see here, this is a little bit dark red. It looks more like a red board. Then it's not really going to fail seeing. So I wouldn't do is I'm going to bring in a UN saturation and just turn that down. Oops, not shader, hue and saturation. Let's bring it in again. Hue and Saturation. Drop that in. And then that's what the saturation, 0.7. There you go. You can see it looks tones back. Now, let's come to all the one and you'll notice as well that we didn't even have to tell them anything. And it still looks really, really realistic. So that's really cool. Now let's come back to this tree bark, which is this one here. Double-tap the eye. There we go. You can see it's really coming together. They'll come together, even bear once we've got the actual leaves and branches in. And that's a fairly complex thing. And then we're going to store that. Now. What we're gonna do first is we're going to go back to modeling one small and then we're going to come up to Edit Preferences. I'm what I want to bring gaze in A's. Images is playing. So images. And you'll have one called images as planes, make sure this is ticked on and then we can bring in a image as applying exactly what he says. Now if I press Shift, come down to where it says at each price top first because I'm in edit mode. So now shift, I am bringing him where he says and images as planes, this one here and one way of looking for now is the leaf. So if a callback, so tree ball, click the up arrow, you'll see one that says leaves this one here, double-click it. And there we go. Let's finish round. So all x in 90, I'm just going to bring it out just so you can see exactly where it is. Press the S born and there you go, Five, Press one now and zoom in. You can see this is actual leaves of our tree that I'm actually going to put on our actual tree. Now you want to do is you actually want to go to your shading panel and you can see that this one here is called leaves. And then what I want to do is I'm just going to pull this up a little bit. I'm going to press the double bond just to zoom in, press one so I can see why I'm doing. What I'm gonna do then is I'm just going to pull this leaves over here. And you can see as well now the alpha is already plugged in to the Alpha phase because that side is brought in as an actual alpha. Now I want to do is just want to pull the immaterial output over here. What we're gonna do is first of all, I'll bring in a collar around and I'm going to use a color on basically to get rid of anything that basically I don't want, I want to basically make this an Alpha Boule to keep the green and the branches and things like that. So I'm going to press Shift, I going to bring in a color ramp and just pull down there. And then I'm going to plug in the color to the actual FARC of the color ramp. Now base I need this to be mixed with the principled. So of course have some control over it. So basically I want to press Shift J. I don't want to bring in a mixed shaded. I'm going to drop that right in there, like so. Then one Wednesdays I'm just going to unplug this with control and then plug into the bomb, and then plug the color from the Colorado into this one. And then finally, not the mess the whole sorry, the color into the fight. Of course. And then what I'm going to do is I'm going to then bring in a transparency. So shift a search transfer and this one transplant BSD f, and plug this into the top of that. Now you won't see anything happen quite yet apart from we end up with a bit of a thing difference here. And what I'm gonna do now is if I turn this down a little bit like so thing I've got these are all way around actually. Let's plug them in the right way round. Yes, there we go. Now we can say that way. You can say, well up in that, I'm just going to turn these down to get rid of all of those y bits going behind them. So probably, probably down, just pass the RGB. As you can see, if we turn these more down, it starts to get rid of the leaves and we don't really want that. So something, something just before those y-axis starts take over something like that should be a null. Now bearing in mind there's gonna be a lot of these gonna be in the trees and things like that. You're not going to really see them as they are here. So just bear that in mind. All right, so now we need to do is we need to actually create all branches are going to come up on trees and have these kind of leaves on them all do now on the next lesson, names will actually create our actual branches and then we'll pull these actual leaves onto that. All right, everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. 67. Tree Branches Created the Easy Way: Welcome back everyone to blend the three, the ultimate many evil sin cos, and this is where we left out. Now let's come back to modeling, let's say a press Tab. And then when I went there is I'm going to create a actual branch now. So how do we do that? Well, let's come in and probably put out branch somewhere over yet to start just to get the right size of it. So I'm going to press Shift S because it's a selected and then shift a. When I bring in a cube, I'm going to press S, and then that's just going to give me the right scale. So if I press one now, bring it up. Like so, like so I won't say something probably around that scale. And then also as well, what I'm going to do is I'm going to just come over to my modifies tab Add Modifier. Let's bring in a subdivision surface and you'll end up with something like this. Just make sure you're happy with the size. I'm probably get away with making a little tiny bit bigger. I'm I going to do is just turn that off and you're gonna create an actual branch bearing in mind. Probably branch needs to be a little bit shorter than this may be. How do we create a branch? Well, we just come in and we pull it out, we extrude it. We move it over. We just create a basic brands, something like this. I'm going to press control law, left-click control Bay, just give a quick bezel like so. And then I can actually create another brand is probably coming out of here, like so. And then E again. And let's move it up. Something like this. Maybe more Cray, a couple of extra on here. So Control, left-click, right-click, control Bei, pulled it out and then let's pull it out from here. So let's pull it over here. So I'm just using the G bolt and then just to pull it out like so. I'm thinking also I'll need another branch on here. So Control Alt, left-click, right-click on Joel, be like so. And then grab this face here. And then like so and then G, Let's move it. And then let's rotate this round actually. So I'll rotate it round and then E again, like so. And you can see now we're starting to get the makings of a nice branch. Now let's put all TV back on and you should end up with something like this. You will see a few problems with it. And the reason is because we have, it's basically converts today, but without doing any of the kind of hardware, let's press Control Law. Left-click, right-click. And you say as you're bringing that down, we can actually make a nice start to a brunch. Let's press Control Law and this one then I'm bringing the open, don't bring you up to fall. You still want them rounded on the edges. You are going to make them smaller and they will be slightly points. You will maybe not not pointing. Control law, left-click, like so, control law. I'm bringing it up a little bit like so. And then Control, left-click. And then to get rid of these bits as well, control law, and then just bring it by like so. Do we want one there as well? I think self-control are bringing it back. There you go. You can see how easy it is to create that branch. I think on this branch I'd say I'm actually happy with it. Finally, they need to do is I just need to go in, grab each of these ends. And I'm just going to press Alt and just to make them a little bit thinner with proportional editing. In fact, Christ, all tests now you can say, I can bring them. Not like not let me to bring it Ryan. Let's bring them in. Probably not that much. Probably take portion let us denote let's have a go with that. I'll test. I need to go or one, so Control plus proportional editing analysis, try. There you go. That's better. That's exactly why one night and say they got much thinner as they go down to the end. A lot more realistic. Before I finish this, I think I need just one more branch just to give a little bit more something left-click, right-click Control D. Let's pull it out and let's pull this up here. And then I'm just going to move them around a little bit more like a full disappeared II again and then just press the G bendy over, something like that. I'm just wondering whether whether I wanted bending over so much. I think I'll take proportional as it's enough. Then just bend it over. Can actually get away with eyes a problem. Probably going to have to rotate it around from here and then bring it over g. That's looking a lot better life though. Now let's press Control law, bringing another edge loop like so. And let's press Control R on this one, bringing it a little bit to fall. Do we think? Probably so let's rotate it around y. Let's grab the end of it, like so. And let's just bring it down like so and just pull it over that way. Let's grab the whole thing then. We'll just move them around a little bit now just making them later on even, and also making this a little bit uneven as well. And maybe for one more edge loops in here. And then G just pulled off as well. Just to make it organic as possible. Alright, right-click Shade Smooth. And there we go. Now, last should be, that should be fine. I think we should be able to go with them. Now we want to do before you carry on it, you can see where I've started this I1, my orientation, all of these leaves to be where this starts as well. So I'm going to do is I'm going to right-click. No, not I'm going to actually come to this one Shift S case, it's a selected. So that puts up that grabbed my leaves, right-click and say origin to 3D cursor. And of course, the reason I've done that A's because I want my leaves, this branch to actually come out from this point. I want to be able to control, in other words, all my political system. I wanted this to be where the orientation is. So this is where it comes out. That's the reason of DLNA. Alright, so the next thing I wanted to do them, he's grabbed my branch again and I can actually apply this now. So control a, I can then come down and actually bring game my tree bark, sorry for putting Tree bulk main. There we go. And you can say that it's not very well on this one. So I'm gonna do is I'm just going to press U, you small UV project. Click OK. And there we go. Much, much fat buried in mind that you never been able to see actually what this looks like once he said in that, because you can't see that closeness, the COVID leaves and things like that. So that's great. Now let's grab this and pull it back a little bit like so, just to recall tree branches available. Alright, so now what we need to do is just come up with 12. It's X group. Let's bring in a new vertex and we'll call these leaves. I'm going to use our weight paint again. So what we're gonna do is you're going to come over to Object Mode white paint, and you'll see it's all blue of course. So let's come in and just give it some heat on these parts, just on the ends because that's where it once our leaves to come from. So I'm going to go underneath as well and do the same thing. Like so like so like so just on the ends, like that should be absolutely fine. Let's come back and put this onto object mode again. Now we've got that and now we can come in and bring in a political system. Again, I'm going to click Plus, I'm going to click my level two icons here. I don't call these leaves like so. And I'm gonna pray on hat and we'll end up with a mess like this. Obviously it's based as well on the colors of the actual tree bulk. And that's why it goes. It's, it, it's a good way to actually create a particle grass as well because you can base it, for instance, on the modern things like that. So there is not taken into account. Actually before I carry on, I'm actually going to change this to wear tree branches, notes, leaves, and the reason for those it calls, I'm going to have leaves coming off my trees and it's going to get a bit confused. And so I really want this as a tree, branches and leaves. Let's click Advanced on. Let's also just come round. I'm just coming to these leaves. I'm just finding out what this is called. So this is actually cold leaves. It should be the only one night east called leaves hopefully. So let's go back now to our political system now, got that thought while we were in series, I'm actually going to put this to treat branches instead because the leaves are obviously going to be on the tree. So I don't want to be confused with leaves and tree branches. Let's send that confusion by colon that tree branches. Let's also call this an unbalanced. Now let's scroll down to where it says density. And let's put this on leaves. So it should just come now at the end of our branches you can see that I've got none poking out there, so that's a good stock. Now what you want to do is you want to see where it says path. I'm just going to go the same as we did with the graphs and things like that. It's where are you going to do is put this on objects. And then with the eyedropper, you're going to select your actual leaves and you will end up with something like this if I double-tap the a now, you can see already these are starting to come together. Revenues, albeit we've got way, way too many in them. Now it's just a case of messing around with all these options and getting the actual branches look in the way they want them. So the first thing you should do is really took me under number to something more manageable. Maybe 20, we might have to go a little bit more than that. But what you can see straightaway because I moved the orientation of this branch. You can see now all of these branches, all stoke cow in the correct way. So you can see they all come from here. Now the other thing you can see is that the, probably a little bit too small at the moment. So maybe that's something they make them look on. Next thing, let's come and give me just a few more. Let's try to pick something like that That's looking a bit bad. Let's come down to where it says scale. So we're going to come to where is it, where the render is. So here's our scale. Let's put a scale, run a soap a little bit. Let's turn the scale up to nought 0.11, something like that because they are going to be too big. So I'll save because we're going to now mess around with the rotation, then we won't see a lot more. Let's come into where it's a rotation. Let's click that. Let's turn the orientation axes. Let's try on normal. Let's then turn the randomized think is this one. Let's turn it around. Like so. And then you go, you can say it's already starting to really, really low, like actual leaves. Now I can also turn off the random phase of it. And then we go really, really nice. Now recommend before you carry on just to put it onto rendered view, just so you can have a quick look and see what it looks like and you can see what I'm talking about. So in the center of beer, we do have dark spots. And the reason for that is probably because we've got a few too many leaves in here. Now you can't get rid of that by coming over to your Cycles render options. And why you want to do is turn off this transparency, something like that. And you'll see now that gets rid of it. You can turn down the amount of Leaves you've got. Probably going to send this down to well, 25, something like that. That's still absolutely fine. And I'm just looking now, whether I'm actually happy without the leaves are actually sticking out here. Let's see if I can drop this down. Because obviously, the less we can use on this, the barrier will be, you can see there's a lot of leaves on here already. So let's come back to this. Let's put it on something like a 30. And let's say I double-tap the a now, while that's going to look like and I think we can probably get away with 30. That actually looks really nice. Now the more we'll do then on the next lesson needs will actually convert this into an actual branch and then we'll get these actually on our trees. All right, everyone. So I hope you enjoyed that and I hope you're looking forward to the next lesson. I'll see you in the next one. Thanks a lot. 68. Weight Painting the Trees: Welcome back everyone to blend the three, the ultimate medieval seeing calls and this where we left off. Now let's put this back on material so we can actually see what we're doing. Let it load up. Eventually. Well, There we go. Alright, so this is what we've called the moment. Let's just move this over here. Like so I want to attend to do before I do anything, I will actually press shift D and just duplicate that because I wanted to have a duplication of it. Because when I apply this, basically before I put my tray, I want to make sure it's right and I want to be able to alter it if a candidate, I've got this now come over TLS Spanner and you'll have one that says Make instance real. Then we want to do is you want to come over to your political system. Now, what are you gonna do with these just minus that off, then you're going to grab yellow branch, for instance, join, it's OK to all of these now. So we're basically going to join them altogether. So they grabbed them all, joining them all together, like so, press Control J. And there we go. And you will end up with some changes of course, because what he's trying to do is just tried to double them all with this one. So I forgot about that. Actually happened in, well, never mind. And this is what's actually happened to the leaf as well, because we've joined them all together and issues that political system. I'm going to shrink this one down and just make it a little bit smaller. And this suddenly the world and I actually, you can say I've gotten leaves here. This is the one, this is the other leaves. So I'm basically, I think probably delete that off. So a bit of a mistake by me that here we go. This is the one we're going to use. So I'm going to actually call this instead, so I actually know what I'm doing. Treaty leaves. All right, Now let's sit home to our tree. Then what I'm gonna do is I'm going to press Shift H, hi, different l sound the way. Press one on the number pad. Like so. Now there's an easier way to do this. We're going to actually come in branches and we're gonna use white paint again, but I'm gonna show you an easier way to actually do these branches. And the way you're going to do is you're gonna come over it to white paint. And then if you try and draw on these now, it's gonna be very hard because it's not going to go through the back of them and everything like that. I'm going to get exactly what you wanted. There is another easy way of doing this. If you go to object mode, price Zed, going to wireframe, double-tap. And then what you're gonna do is you're going to press C. And instead of using the weight pain in that way, what are we going to do is you're going to actually grab these in object mode on a second. There we go. In object mode, we're in. Now we should be able to click on them like so, just with a left-click, we're actually going through all of these branches. So now you can just grab them all like this, going all the way around. Like so. Press right-click three on the number pad, come back to it now and go over the ones on the other side. And basically doing it this way, you pretty much should get them all, alright, like knock something like that looks absolutely fine. Now what we can do is we'd come and assign this all of that weight. So now if I press tab, come to my weight pain, you'll see for some material. Now all of that now he's done for his really, really easily and that's exactly what we looked involved. Now what we can do is we can come over and do our next tree. So I'm going to press these old tapes, bring everything back in object mode. In object mode, alt cage, bring everything back. Come to my next tree, which is this one here. Shift H to hide everything else all the way to double-tap the, let's say the aid to wireframe. Let's press one on the number pad and let's come over again. I'm given a vertex group called branches. Branches small alcohol there is just so I've got differentiation between the other tree. And then what I'll do is I'll press C. Hopefully for you on object mode, press the tuple and we go round them like so. Let's press three, goes to the other side, like this, like so. And then I'm going to click Assign. Let's put it onto a white paint and I've low, double-tap the top, and there we go. Now you can see that one stone as well. All right, let's go back to object mode. Let's press Alt H, bring everything back unless comb to our first big trick. And you know what we're gonna do, we're gonna click on our tree now I'm going to come out of it and we're gonna give it a particle system. So plus, let's give it a new one and we call a tree branches large. I want to keep it as that we might need another one for the smaller one. So tree branches lodge. Like so. Now before we move on, Let's come to our branch. I'm what I want to do is I want to call them to up my answer. If I press Tab, I want my actual orientation to be right there in the back of it. So I'm going to press Alt Shift and click Shift S because it's selected tab right-click salaries and geometry, I'm actually also going to reset the orientation. So eat reset all transformed. Right-click salary Jin to 3D cursor. There we go. Then hopefully should make sure that they do pop out of that. So I'm gonna do now is I'm going to come to my tray, pop material mode on the moment there isn't gonna pull up this onto hair like so. Of course I don't want it coming out on the hat. And when I put this on a 100 for now, I want to increase it a little wild. And then one Wednesdays I'm coming now where it says Pop, put this on object. Let's now go down to the instance object, which is going to be this French here. So bring it in. You should end up with something like this. You can say that at the moment, the way to where small board they all sticking out of there. So let's come in and turn the scale like so. You can also see that completely in the wrong place. So let's come down to where it says dense and say, put it on branches. Let's double-tap. And now we should be able to work on them. We're also going to put this onto random view. And now we should have a good view. While this is actually going to look like, Let's also add command and certain scale randomness soap like so, basically a bit like we've done before. Let's pull object randomness on line. So let's call them and turn off this to 300 or something like that. And there you go. As easy as though you can say wherever we pulled out, exactly where we've got all weight on our actual tree. That looks really, really nice as you can see, and it's really, really easy to do. So you can see now all of these branches is sticking out and looking really, really realistic. Again, it really easy to do, All right, so I'm really happy without the one thing you might want to do is just you might want to change the color of days, but I think I'm pretty happy with them. So now I'm gonna do is I'm going to call them tomorrow. The tree think we've got tree branches, LacI it Let's see if we can actually do it just with this one as well. So I'm gonna grow up this. I'm gonna come here. I want to bring down my tree branches. So whereas tree branches large as this one here among in series, I'm actually going to duplicate this. You can see here that the godmother, let's see if we can actually get away with doing a tree branches small, double-tap the egg cell below. Actually a mine on needs to actually do anything. That looks really good. And it was really, really easy to do. Alright, that's actually worked out bad on my original. The one thing I would say is on this one, I might go in and just paint a few more branches in here. So can a bit empty, maybe down to this bit here, I think. So. Yeah, I'll do that. I'll go to my tree. I'm going to come over to my branches small and then going to think of all the result, I'll hide everything else. So Shift H height of rent analysis and then I can come to this zed wireframe. Let's just make sure we're on weight pain double.com where the sand is. Another moment. So let us go to object mode. Scan a bit funky at the moment. So let's hide political system. And now we mine now to see on our white paint. There we go. Alright, let's put it onto wireframe. And then again, can actually paint on this slide, this bolt. I don't want you wanted to do that through. I wanted to go to object mode. That looks something a wireframe can actually do onto object mode. And see, in fact, let's come back to here. Brian itches. Not actually, let me do it for some reason. Let's problem. Sometimes is a bit with this and I don't know why because I'm not clicked on it. There we go. Now we can do it on zed wireframe top. Now it should be able to do it. So if I press C Now, let's see. Yes, there we go. And that's why I mean, I just want to fill these out just a little bit down to probably down to there, something like that. Click Assign, right-click, click Assign. Now let's bring everything back to work or material mode, I'll take to bring everything by double-tap the eye. Let's also put the this background. Let's put it onto rendered view. There we go. That looks a tone back. And don't worry as well, we can actually prove these trees. So that's the best part of this. And also these trees will also move in the wind as well, which we're actually going to probably do on the next lesson, I think so, yeah, we'll do that in the next lesson. You can see we've pretty much, we've got the geo notes today with the actual lead plant screen. We've got the pumpkin and to grow, we've got the wind and the turbulence to go, and we've got the smoke and the Walter system to go. So not a lot actually left now we're rarely, rarely along with this. Let's put this onto material. Let's save it out. Okay, everyone, I hope you really enjoyed that one. I hope you've learned the law, really, really coming along now. And they were looking at Brown from Baghdad. I didn't realize I blend or either LOD system anyway. So that's looking really, really nice. One thing is before we go, I think let me just put this on Render again. I just want to see if they said, Yeah, this stone, it's looking way, way too bright. I'm going to actually fix that before I do the next pulse. So where is my stone? Here it is. Let's calm and put this on material. Let's go to shading, just looking way to Brian and comparisons, everything else it doesn't doesn't quite sit right, does it? What we'll do is we'll just bring into gamma and you should be well aware now I'd say we change these things and make them look, right. Let's drop that in there. Let's turn this up to I think that's the way we need to go. Yes, it is 1.5. Let's try that. Let's zoom in to this. So I'm just going to grab it. Zoom in and turn these down. Just a little bit, put down render. So have a look now. Yet still to Brian, let's put it open. There we go. Should be matching this stone realistic, late and not logs. Tones back. Alright, rarely realistic. Now let's put it back on material. Let's go back to modelling. Unless press Tab, double-tap on, Let's actually save that out. So save that out, and I'll see you on the next one. The problem, thanks a lot. Bye bye. 69. Creating the Geometry Node Leaf: Welcome back everyone to blend the three, the ultimate medieval sinkholes and this is where we left it off. Now what we're gonna do in a minute, we're going to make our leaves for our actual plants. And then we're going to use something called Geometry notes. And it's a very exciting new thing to blend a three. It's basically where we can create meshes and animations using only a note system. So very, very interested in lots. Look forward to that. The first thing is I always do this. I just go back and actually fix any problems with my collection. So you can see we have a lot of things that aren't really named or put in the right place. So first of all, what I'm going to do is I'm actually going to grab my leaf, as you can see here. I'm going to actually find it on here and see if I can just hide that out the way. I shouldn't be able to hide it. It's when we come to render where you probably have a problem. We have a branch here. And because I'm actually happy without my leaves off, I'm basically just going to delete that out of the way that I'm going to come to my leaves. Again, I'm always putting things on my actual match, sorry, my actual land. And the reason I do that is because if in case I can't actually hide them, I just want them under there so no one's going to see them and they're out of the way. That's basically why I'm doing that. Alright, so I don't know that now what I'm looking to do, There's another way you can do it is where you can put it right over here somewhere. I'm basically use clicking just to get rid of that. That's another way you can actually do it. Now the next thing we want to do is I've got trees here. They obviously won't bring in foliage. So you can see we've got these tree leaves and they wanted to be in foliage. I'm going to pull that off and just drop if I come into my foliage like so. Then I'm going to just make sure that my leaves are still there, which they both are as you can see. Now let's come down to Trey and we'll call this large tree, like so. And then I'll come obviously the other ones and I'll call this small tree and just then I know what these are. I can pull those nice and cleanly away in my hierarchy. So let's close those up. Now you can see everything is nice and clean. Now you will notice we do have a fair few amount of tries here. And the thing is, it is going to add up to Alex, we have a lot of particles, we have got a lot of leaves and things like that. So the scene is gonna add up to a fair amount. And this is why I keep saying that if you if your machine is slowing down, just come to your leaves or anything like that, come on which way your political system is. And just turn both of these TVs off. It will speed the open-end and same as for the leaves, same for the hair. You don't really need the moment you know what they're gonna look like. So it's only when we come to actually render them out while I went to do is I'm just going to come to my political systems and just turn them off. It's not so difficult as well to add a mom because we've got them in all buildings anyway, so we should be able to find them fairly easily. Alright, so that's always, let's actually turn the leaves off as well. And then you all should be speeded up as minus. Now the next thing I want to do is if we come over to our reference, I don't actually think we've got a reference on. It's a simple actual leaf is gonna be a little bit like this. Let me just have a look to see if a Goldmann, I think I'm gonna come to my reference, go down to change the which one it is, and let's put it on here so I can actually see which one it is. It's actually this one here, as you can see, GO node reference, double-click it, and there we go. Now you can actually get just a good idea of what actually it's supposed to look like. You can see though, because it's a black black black background. We've got some parts missing, but don't worry about that because we just want that this actual leaf idea to be created. And I'm gonna put my cursor here. I'm just going to try and create a leaflet up just very simply. So all I'm gonna do is bring in a plane. Plane. I'm going to set to this right? Anyway, I'm going to go over the top, then I'm going to press S and wireless, try some wine, pull it out like an S on x and pull it in. Tap control law, bringing a few edge loops. So left-click, right-click a main edge loop down the middle, left-click, right-click. And now let's bring these back. So we've got a nice, basically a pointy bit on it. All we can bring them in, Let's have a look. So S and access bringing them in to something like that do are rarely wanted pointed at the end. That's the thing I need to ask myself. And I'm going to come in and just bend this straight down the center. So let's pull it down like so, something like that. And then let's go back to our reference. Just have a quick look. You can see it comes out and then it goes in. We can see it is actually pointed on the end. So let's try and replicate that. I'm going to call them to this end. I want to press S x and bring it in like so. And then I'm gonna call to visit now. And then an x, bring this one in. Probably something like that. Alright, so now let's give it that nice fence. I'm going to grab the middle of it. I'm going to pull it all lines so you can see how easy that was. I think actually we're nearly there with this. I'm thinking that probably needs to just pull this down a little bit. So just zoom in, pull it down. If I'm not gonna do that actually, I'll just take off proportional I did send I'll come and grab it here and here, and then I'll just pull them down. So now I'm just thinking, do I actually want a pointy bit on here? I'm happy with it light up. I'm actually happy with it live up. Last of all, I want to shade smooth and I'm just going to look from this end. So let's try joining me. I hope to see where it actually looks like. So what you should do is just grab the first two on either side of it, then shift select the middle one, and then right-click, come down to merge vertices and merge and center it. Let's have a look at that looks like so tap, double-tap the egg. Actually, I think that's probably going to look like that. Alright, so the last thing that I wanted to do, Let's go back and I just have a look at all the beginnings of actual leaves. Can we say any of those? We can say that the quiet thing, maybe the one's a little bit more thin. Basically, let us come back. This is the beginning, so let's pull these into things. I'm gonna, I'm gonna grab all these process than x. Just pull them in and then I'm going to grab just both of these, press adult bone so it can orientate around them. I'm just going to pull them down like so and then in a little bit more. All right, so then now should stick out a lot longer. Alright, I'm really, really happy with that. Okay, so now let's go in and actually create these as notes. Probably need to give these immaterial fest. To do that, I'm basically going to come in and give it a material so new and I'll call it something like crop leaf. Like so. And I don't think we need to bring in any kind of image or anything like that. I think what we can do is we can just go to Shading and I'll show you a different way of actually doing it. So first of all, if you come to your principled and you press Control T, you'll end up with something like this where it's brought in an image texture and basically this texture mapping and things like that. That's exactly what we want. Well, I'm gonna do is I'm going to grab all of these and just pull them over to this side. And then I'm just going to come into my image textured, press Delete, and just get rid of that. And then I'm going to plug it into the normal from the UV because I don't really want it based on the UV anyway. And then find out what I'm going to do is I'm going to call them and bring in another note. And this is gonna be a basically a simple noise texture. Noise texture plugged that in the vector. I'm plugging into the vector of the noise texture. And then finally, what you can do is you can plug the actual color of this noise texture into the normal of the principal. Now what you can do is you can actually change the color of the base. Let's first of all go to our leaf, whereas only fair it is. Let's come here. And this is why it looks like at the moment you can say we've started to get some noise on that, Let's change the colony annual, say exactly what I'm talking about. So let's make it a nice deep color, okay, and you should end up with something like this. Now first of all, what I'm going to do is I'm gonna come down to my rotation and turn around 280, something like that. And then I'm going to scale this, scale up the detail. Just scale it up a little bit. And let's put the roughness also. You can see now that it started to turn in to something that resembles a, nicely with a lot of textures and things like that on there. And that's all you really need because these leaves are actually going to be growing over here. So something like that should be absolutely fine. You might want to go in, as you can see, we've got a lot of them kind of a squared blocking us on hand. And it's just because it's playing and it's really got nothing to really work with. What you can do. You can just come in and bring in a subdivision surface and you see that it's going to really, really bring it out a little bit. I like the hard edge genius of this on the, on these leaves and things. I think from a random point of view, unless you really close, you're really not going to see that. So if you're looking from here and they are quite small, it just looks huge here. You can see that you can't really say anything. It just looks that blocking this look is basically how the crops are going to look. They don't actually look too rounded when it comes to this certain type of crop, which is basically going to be corn crops. So that's why I'm basically going for, now. One thing is when I've done this, you might want to make it possibly a little bit darker. So I bring this down a little bit or a pillow bit. You can also, if you want to mess around with this even more, you can go and plug in a colorRamp pulse, something like that. So just bear that in mind. You should have an idea now about to do so now we've got our leaf. I'm very happy with that. So now let's actually create all actual geometry notes. I'm just going to pull this over to the left-hand side and then I'm gonna come up to where it says geometry. Now, I'm going to then press adult bonds just to zoom in to where I want the geometry road to appear. We're just going to be obviously where my cursor is. Now the thing is, this is setup. How itself basically ball. I don't really use this for me. I'm just going to pull this over to the side and just get rid of that just so I've got more of a better view of what I'm doing. Next dollar 1's do is we want to place new. You'll end up with a Geometry Group important, a group impulse. And you can come in and name it and we'll just call it, let's call it corn across one. The reason I'm calling it cone crop one is because I'm going to have a fair few of these because basically I'm going to change the seed so that they look different. Because if you look on our farm, we're gonna have affect your crops on that. Alright, so that's that bit. So phone to call the lesson. In the next lesson, what we'll do is we'll actually crack on and actually start making actual cone crop using the geometry notes. All right, everyone, so I hope you enjoyed that a little bit of a boring one ball went to solve those things out. So I'll see you in the next one. Thanks a lot. 70. Introduction to Blenders Geometry Nodes: Welcome back everyone to blend the three, the ultimate medieval seeing costs. And the first thing we wanna do is actually save this out because I did actually I forget. One thing I did forget is the bringing my cue to actually put this geometry note again, I didn't forget that I'm going to do is where my actual cursors, I'm just going to press Shift. I bring in a queue and you'll notice that my geometry now disappears and among registers is just going to click this down arrow. I'm putting on crop bond. And hopefully, Let's see if it actually goes on crop one prime carbon, I'm going to have to pick new. Now let us see in front of crop one. Yeah, there we go. We've got a juncture know now, based on our actual key, we actually need some mesh to actually start this off. All right, so the first thing I want to bring in is create the actual stem. How am I gonna do that is bringing in a quad and I'll tell you why isn't a minute when I see where it's cold. So it's called a quad and it's called quadratic Bezier. Let's just drop this in here. And you will notice at the moment window wave, this impulse which is red. Obviously that doesn't fit. Anything that's red, clay soil doesn't fit. So if you pull that away, you'll see straightaway, but you started to get the actual makings of some kind of stem. Alright, so let's come in and change a few of these. So I want all of these are zeros, so you wanted to 0 and you can actually tap down as well. So all three of these on 0, then 00, and then to actually doing that, you can see in real-time it's actually changing. And then one and then 0. And then finally the last one. As I say, I've messed around a lot with these to create these things. So I kind of put them in the right place. I'm also going to do is press Shift Spacebar, click my Move Tool. And what I wanted to do now is just move this down to the actual ground plane. So you can say this is where my ground plane is, just going to move it down, right to that. And then I'll have a good idea how this is actually going to stick out the salt. We can move them as well on things like not. All right then so I'm happy with that. Can I just actually take that off? Yeah, I can still work with it and then click on it. I think I'll be happy with my movement told that. Alright enough, messing around with that. Let's move on to the next part. I think actually as well, before we start, I think it's probably going to be easier. You can bend it like a stem would do. Brow. Think for us, we'll use a noise to actually bend it in the end. I think where we've got a one on here will actually also set this to 0, and then that will put it pretty straight. So it should look something like this. Now what I want to do is I want to actually change this into an actual match. The way to do that is basically curved mesh because this is a curve in the moment. If you press Shift eg Search, put in curve and you'll see one that says whereas it curve, looking, duck curve to match, just go scroll down a little minute. It's not so everyone see if I can actually scroll down. So I'm gonna promotions that we say we find it not white curve to measure it is, Let's drop that one in and then the moment nothing happens and the reason why nothing's happening yet we've told a blender that we want to turn this into a mesh, but we've not based on anything, so we need to base it on something. I wanted to bring in another node. And this time I'm going to bring in curve circle. What this will do is basically tell blender how sick we want to. Really, that's where he's basically doing. So curved circle right down the bottom and bring this in the moment, you'll say, well, it still looks like a bit of a steak. And that's just because we need to plug in this curve to the actual profile code and you'll end up with something like this. Now two problems with this. First of all, the resolution is way, way too high. It's a bit like bringing in a cylinder. Again, it's set so I don't know where it is in Blender and 32, but they're fairly seemed to like it saying with the cylinder. So let's turn this down to 12, which realistically is the bare minimum between 1012 is a Batman when you can get away wave, as we spoke about before, we've making a cylinder and making it low actually round when we shaded it smooth. Then what we're gonna do, what you can see the radius is way, way out. I mean, this is gonna be like a tree trunk or something. We're going to turn this down to naught point, naught two. And there we go. Now we're starting to get somewhere, albeit it's just a stick of a moment. Now what we're going to do to actually bend this and things like that is new is use a actual noise texture. But the thing is before you can use noise texture, you need to bring in another node to actually plug it into. I'm basically going to plug this group output just a little bit over here. So I've got a little bit more room to work with. So the first thing we want to do is use a set position, its tell blender, Hey, this is where there's noise texture is actually going to put it. So what does that mean base, I'll show you what it means. It means if I go to Search and I looked for one called Set position will say every case. If I plug this in here, you'll see nothing happens bolt. If I start messing around with these, you'll say that actually moves the position to basically an offset. Now I don't want to use r as this set position to offset this in any way, what I want to use is a noise texture. So I'm going to do is I'm going to press Shift, I search, putting noise. You'll see when you've got noise texture. And I'm just gonna put this in here. And then what I'm going to do is use the colon value and pull plug that into the offset on here. And you'll end up with something like this, maybe pretty funky right bulb. We're actually getting somewhere. We just obviously need to bring down the noise and things like that. But you can always stand basically how this works now. Now of course the noise texture is not set up correctly. What we need to do is we need to go in and just alter a few of these values. Now recommend just printing the values IPO. And then a bit later on when we've completed the actual geometry node, you can go in and mess around with these and say how you might give them an actual best way that you like the look of a lot more. So let's come in. First of all, change this to 4D. Let's come in and change the w value to 29. Let's change the scale to 1.3. And I think actually thought everything now we need to change. Now, there is another problem in-lab. If I move these over here. We all sat in the position right after the curve to mesh. And it shouldn't actually be after it. It should be before it. Because at the moment as you can see, we're displacing it over here and we don't really won't know we wanted to displace it from this point here, which is the curve to match. What we need to do is if you old old, you can actually pick the soul and then drop that down. They fold the curve dimension. Then we can call I'm plop, They said. Now the problem is you can still see that even though don't all that, it's still not in the correct place. So I need to actually fix up. The way I'm going to do that is I'm going to bring in a vector math node and then we'll reset with our impulse basically back to here because we won't see it set back to here because we don't want to move in, in a weird way when the orientation is based here. So if I then comments, bringing another node and I bring in a vector math node, and I'm going to drop this right over here, like so. Now if we put this on subtract like so, now if we bring this to, let's say null 0.6, you'll say that we stop moving it in a different direction. I'm just gonna point a few numbers in here. Yours might not be the same, so just move it and hold the Shift button just to move it down slow. Let me see them get your first 665. These are the numbers that are putting on my own and these seem to work. So let's try no 0.6 and you can see pretty much that they're exactly the same. You also probably going to work out this way. Alright, so now we're back to this position. Always great. Again, the moment you will say that when I move this, it moves all over the place and moves straight out of the way. And that's definitely not something that I want. You'll also notice that this one over here is the well-known 100 volt. So I definitely don't want that. I'm just gonna get rid of it and come back to this one. So that was the crop that we actually made, but we based it on here. Now the problem is I'm gonna put this on 29 again and you'll say drops right back into that. That's not actually something we want. We want this thing to move from the orientation. We don't want it bouncing around all over the place or anything like that. So how do we fix up? Well, what I'm going to do is I'm going to basically pull my noise texture over here, over there so we can still say, I'm gonna move my subtracts over here. I'm going to bring in another vector math. So Shift, bring in a vector math. Pulled that in. The moment it's on Adam, what I want to put this on is multiply. So let's just put this on multiply and you'll see it goes straight again. The reason for that is because we need a curve parameter plugged in to get it set back to this noise texture. So if I press now shift a cone to search and bring in a curve parameter, which is this one here. Drop this in just below your noise texture, plug this in. And now you'll say it comes from that point that now if I turn this up and down, you'll see it wiggles right from our orientation. And that is exactly what I wanted. The curve parameter basically just tells Blender to stop from here and not move from this point. All right, So we pretty much salted or not. So what I will do that on the next lesson is we'll carry on. I think actually I'm just going to grab all of these, so I'm just going to Shift, select them, shifts like base and move them just a little bit over it. So I've got a little bit more to wait. And I'm also going to come and just get rid of this group import. We will need it later on, but we don't need it right now. I'm just going to delete it out of the way. Alright, so you should end up with something like that. I know he's gonna be a bit hard to see because of the fact that it's, it's quite a lot of notes in the end. I'm hoping I'll be able to zoom in quite often. You'll be able to see exactly how it's mine is low, just in case you've missed anything. All right, everyone. So I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye. 71. Working with Geometry Nodes: Welcome back, everyone is blend the three, the ultimate many evils seeing calls, and this is where we left off. Now what I wanted to do is I want to basically make this thinner at the top on it thick and the bump and thinner at the top. So how do we achieve that? First of all, I'm going to move my curve to match your style over here. And then I'm going to do is I'm going to set the curve radiators because that's honestly what we wanted to do. So shift a set curve there, we upset the curve radius. Want to probably say, nothing will happen because we haven't actually told blender how to actually do this. In other words, we broke the end and it's like, okay, what do you want me to do with this? What we need to bring in is a curve parameter. It's actually tell blender where to actually do this, like we've done with the curve parameter over here. And we tell blender to set this to the actual orientation. So let's bring in a curve parameter, so search curve parameter. And let's just put this above here. And now if I actually plotted this kind of parameter into the radius at the bottom, you'll see that we get something, we've actually got its center vote. It's the wrong way round, so we need to change this around. Let me just pull this up and hold this over here so we can say a little bit easier. We need to invert too, of course, in some way, but we don't actually have an invert within the geometry nodes. So we need to do it another way. The way that we're gonna do instead is we're actually going to use a map range. Now if I press Shift a and then bringing in a map, you'll see one that says map range and just plug that in. Now I'm at range is basically give him Glenda. It's a bit like working with shape keys and things like that. If you've ever worked with those all vectors where you're given a range from 0 to one or 0.5 to one for blended within, you could have a color from red to green and everything in-between. And then you sit in it, how far it can go to the red and how far it can go to the green. And that's based on what you're doing. Now all we need to do is on this map range to change this round is called the minimum to one, then the maximum to 0. And you basically just swapping them around. If you ever need to invert something, just use a map range and you can actually get exactly what you want very, very easily. It's just like an inversion. It's not supposed to be really useful that, but it actually can be used for that. Basically, the moment you'll see that the tip of my actual stalk is a little bit too thin. So I tend to do is I'll just come in and turn off my minimum just a little bit to 1.4, something like that. It just can say out a little bit because I don't want it so thin that we can't actually see it. Alright? The other thing, of course, is you can double-tap the egg and you can actually where can it without the yellow kind of border around them? Sometimes I find this a little bit easier to actually work with it. Now what we need to do is we actually need to create the growing animation because we basically want this to grow up from here, growing up all the way up black dot. So what we need to do first of all, is bringing in a trim curve. So what I'm going to do is I'm going to press Shift, search, trim, curve. Just drop this in-between the set position on if I zoom out the quadratic Bezier. And what this is actually going to do is it's actually going to trim the curves. So if we pull this down, actually called sit down, and it's a really easy way to actually get things to grow. It, trims it down by say, so this is the end. If we trim it, it just goes all the way down to the bottom when it's set to 0. And that's how that actually works. Now we want to do is we actually want to bring all leaf into onto basically all plump. On Wednesdays, I'm first of all going to find my leaf. So I'm going to leave is over here. Let's name it. We can say it's cold this in a moment, I'm just going to call it a leaf. Hopefully I've not gone another one called Lee, and the moments do now I'm going to come back too much dark where the geometry nowadays, and I'm basically going to drop my leaf into here. So if I come in Grandma leaf and you can see it's a bit fiddly. I know it clicks off if you grab them, this geometry know, grubby leaf and you should be able to pull that into place and drop it in. And there you go, you'll end up with objects in focus. You can actually press Shift a, bringing in object info and bring it in this way and then click on nearly all you can do it the way that I've just showed you. Now we've got polyfit not connected to anything, not gonna say anything. Let's say now if we can get this into the place where we want it, now I need to do is we need to create a instance so that we can plug basically all leaf into. It's basically like a shader or a mixture it away, you plug in two different items together. So what we're gonna do is just move the geometry, sorry, the group output node over here. And then one way to do is we're going to bring in an instance, two points. So if I put it in instance and you want the one that says instance, not instances, instance two points, and then just drop that and then I'll actually disappear. It's not meant to do is I'm just going to drag my leaf over and down here. And then I went to do is I'm going to plug my geometry into the instances and watch it happen is. Your actual stem should come back and then he leaves, should be attached to it. Let's save that actually works. There we go. You can see that that's not exactly what 1. First of all, it's way too big. Second of all, I just need to reset my actual orientation to be right back here because I had to actually in Palmer leaf because I messed up a little bit. So I'm just going to come in and actually grabbed my leaf. Like so Shift S cursor. Where is it cursor to selected? And then I went to do is press the top right-click set origin to 3D cursor. And you will notice now that this has changed very, very slightly. So now let's come back to this and except it's a bit of a mess, but we're going to actually solve that out. So why is that happening? The reason why this is happening is because this shouldn't be passed here. It's basically calling out the actual stem. So I need to actually change that. So what I'm going to do is I'm actually going to grab it with Alt. I'm going to drag it then over here, I'm going to bring the object over here as well. I'm going to plug the geometry into the actual instance. And then I'm going to do instead is I'm going to drag the set radius and plug that into the points. And now you'll say that we've got our stem bark, but we haven't actually gone and leaves. Now at the moment you'll see that we've got no leaves, but we've got a standby. The reason we've got no leaves is because this is plugged into a table. This isn't plugged into anyway, so we basically have no instance. What we need to do is we need to someway of joining these pieces of geometry two together. They're actually connected really. It's just not showing it. What we need to do is we need to bring in another node called joint geometry, like drop this in here, and then you can basically plug in your instance into the joint geometry. And hey presto, now you've got your leaves and he showed, although we can't see it very well, have your actual this stem in that as well. Of course, they're way, way too big still, and they're all points in the same way. I'm not really happy with that. I just wasn't there to actually make this smaller, does it? Actually? It doesn't actually. I'm just going to press Control leg old transforms and then set origin to 3D cursor. Yeah, and there we go. It's made it actually much, much better, actually much more usable. If not, it's just not brought in. I didn't reset all of the transform, so just make sure you reset all of the chunks foams on yours. And make sure that also you put the orientation right to the bottom of the stem. And then he's gonna make it so that it goes up, as you can say to my actual in here, you probably are public gateway with actually making this smaller pressing Control leg all transforms right-click origin to 3D cursor. And I think he made him a little bit smaller than not that much. So we'll leave it at that. Welcome back to it, and we'll make them smaller within the geometry notice just wondered if that actually worked by that, apparently not. So now let's again, just tidy this up a bit. So I'm just going to pull this a little bit this way. I'm gonna pull my instance two points this way, just so I can see where these actual lines or dy is the most important thing for me. I'm also going to just put this, it around here and move this over a little bit and then I can see exactly what I'm doing. Now the next thing I need to do is I need to have some control over how many leaves are actually on my actual stem. So how do we do that? I need to bring in a resample curve, shift a and comb and search resample, and then drop this in here and you notice straightaway that should be ten along here. If I turn the soap, we get mall, turn it down, We get less. So now we've got control of Romney leaves. We actually haven't yet though, what we started called control. All the randomness. When got control of the rotation, went, got control of basically how big and small they are. So we've got lots of work still to go on this. And we also need control of Aldus actually grows out because it's okay at the moment you grow in with, whereas it without know that over here with our radius and with just looking where a girl face with our growth over here, which is on the trim curve. Well, we haven't actually gonna control of the leaves as you saw, they just disappear basically. So lots to do. We'll actually showed, make a lot more progress on the next lesson. All right everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 72. Complexities of Geometry Nodes: Welcome back everyone to blend the three, the ultimate medieval sin cos, and this is where we left off. Now let's give it a good number. So let's give it something like 24. It's gonna look a little bit funky at the moment, obviously because we've not rotated and obviously because of the size of the leaves. The other thing of course, is when you're working with all these nodes, you really, really wanted to be able to frame things, a name them so you know exactly where you need to go. If you want to change, for instance, normal leaves and things like that. I'm gonna do is I'm gonna call to where it says resample. This is how many leaves around here. And then what I'm going to do is I'm gonna come over here. You can press the Enter button or you can just open it with that little arrow that, and again, we come to note wrangler, which has one part of it that says frame selected, which is really handy. Now I can actually come and change the color. Let's put it on red or something like that. And let's name the label and we'll call it said number. Leaves, something like that. And there you go. Now you've got a frame around it. You can actually see that really clearly. We want to change the leaves. I can go straight to that. You can actually frame as well a lot of them. So I can actually grab, let's say all four of these come to my Node Wrangler, come down frame selected and it will frame the whole things and then you can label them. Really, really handy thing to know on a really good thing to actually use in your actual node cell. Now what we need to do is we need to rotate these leaves based on the rotation of all actual stem. So how do we do that? Well, let's bring in a, another node. So I'm gonna come over here, Shift a and we're going to bring in an Align, Align to vector. Let's plug this into over here. Sorry, let's put it over here and let's grab then the rotation. I'm going to plug the rotation into the bullet. And I'm basically going to plug then the rotation coming out into the rotation of my instance, two points. Then you'll say that now these actually changed. So I've pulled this download, but you probably going to say a bit bad that they actually move in the rotation of all actual stem, of all actual plant. Now at the moment you'll see that that line doped sideways. We don't really want not, so just check yours out a leave a beat. The Z or the y or the might be actually correct. And you can say a mine, it's actually the Z lines them up in the right way that I'll want them. I've told my leaves a little bit so they're a little bit tilted. But don't worry about that because we're gonna mess around with the rotations and things. In a few moments. Now the moment you will see as well that they are stacked top perfectly, That's not realistic, so we need to actually fixed up. So what I'm going to do is I'm going to command press Shift a and I'm looking for a curve, tangent, curve. Let's have a look. Where is it? Putting a tangent. There we go. Okay, If tangent and bring that in. And among engineers, I'm just going to probe the tangent into the vector. And you'll see now that gives a lot more randomness to our actual leaves. Now you will see, although they've actually bended now a little bit of the random kind of bend now you will stay that there's still kind of stuck with each other. So we need to give them some random value of where to actually appear on our actual leap. How are we gonna do that is I'm going to press Shift a search and I'm going to bring in a random, random value and bring that in. Now at the moment, the random value is on the flow and we don't want to own that. What we want to on is a boolean and then you'll notice that this changes color. So you can see if there's a flow, it's gray. And if I try and plug this into my instance, two points, which is basically what these all, nothing will happen because this is not correct. So I need to put on a Boolean. Now I can actually plug this in to my selection. And if I turn up the probability increases, the probability of actually where these are going to appear along these points of my stamp. Now, the points of the stem are actually based on the area where it says points, which I don't want to answer. I'm not actually going to mess around that. But just in case you do that is are you actually change that? Now at the moment, the size of the leaves is bugging me a little bit. So what I'm going to do is I'm actually going to come in and just change the size of this down. So how do you do that? Well, if this one I'm just going to move it over, you can have an idea that you can't actually change these on the fly. So for instance, if I come in and grab this question, you'll see that we can actually change this on the fly. So how do we change the size? Well, we simply grab all of it in edit mode, press the S bond, shrink them down. And among went to do now is just move the orientation because you can see they're out there because the orientation is here in with my veggies, like select one that shift S because it's selected tap. Now right-click set origin to 3D cursor. And now you'll see that they've gone by. Now you can say, it's much, much easier to actually see what these look like when it bring the account is. It's even easier to actually see where they are. Now of course, the problem we still got is that they're not rotating in the correct way, the role just don't want side of it. So let's go in and actually fix that. I'm going to, first of all, they'll put the probability on nought, 0.858. Animals are going to, you can actually turn the CDO a different seed, like three or something like that, just to distribute them. The unevenly. Now this is actually important because this value here is something that you might want to do as a quick way to actually change the actual plants and now they look so I'm actually going to come in and frame this, and I'm going to call this random seats. I want to come up to node. I want to change the color. I'm gonna put it on yellow or something like that. Then let's change the name to run them. Randomize leaves an SSI. This is very important because when we come to make more of these plants, this then we'll distribute them more unevenly by just turn in the actual seed or it's one way you can actually do it. There are other ways, of course, but this is one of the easiest way. So I recommend doing this. Now let's close the salt with the unborn. And what I need now is to actually rotate them. So I'm going to call them to wear my instance two points off. I'm probably going to pull this actually over here just so I can see a little bit easier. And then what I'm going to do is I'm going to bring in a rotate instances. So if I press Shift day rotate instances and drop this just after my incidence, the points obviously nothing's gonna happen because nothing's broken into yet. So the way that I'm going to rotate them is first of all, I'm going to bring in a index. So shift a search index, light drop-down here. And now if I plug this into my rotation, you'll see that it actually rotate them around. And hey, we're getting somewhere, right? But it's rotating them all kinds of crazy ways. And we actually want to set this only rotate around the z-axis, for instance. To fix, all I'm going to do is press Shift eight search combined, and you're looking for XYZ. I'm going to plug that into there then and then just take it out and plug it into the zed, unplug it off the why, and there you go. Nice. Just rotate them around the z axis. Really, really easy way to actually do that. Now we're still about some problems in, well, first of all, the plants, they're all the same size going all the way up and that's not very realistic or Alt. The other thing is I would say that there's still probably a little bit too big at the moment. So we need to really fix that without actually having to go in and fix it with our actual link. Also. Still when it grows, if we move over to the trim curve, you'll see that kind of weird. I mean, if any plant grows like this, then let me know, but I don't think so. So we need to actually fix that as well. Let's actually stop fixing that now. Now I'm going to come in and just show you actually what I've got. So fall a little bit hard to see, but you should be able to get an idea if you've missed anything of everything I've gotten just going to zoom out a little bit just so you can see everything just to make sure yours is the same. I'm going to actually pull this up here so I can actually show you. There you go. You shouldn't be able to make out just everything that I've got in here. And just make sure it's the same just before you move on to the next bit. Alright, let's pull that down and let's make a start on the next bit. Now you can see there's still bending. A little bit weird, so let's go in and quickly fix that. So all I'm gonna do is I'm just going to move my index over here. I'm going to bring in a, another math, math node. Whoops, not that one. Let's press your day again and try that again. So math node drop that in a moment. I'm gonna put this onto multiply. I'm going to set this on the magic ratio number, which is 2.412. There you go. Now you can say that located a lot more realistic bend in as we go open, just spending more realistic and you can really see we're actually getting somewhere now. Alright, so let's sort out the sizing because we don't obviously want them the same size all the way up. So what I'm going to do is I'm just going to bring in a curve parameters. So shift a curve parameter much brain space again. There we go. Kind of parameter dropped by in here. And then let's just drop this into the scale. And now you'll see that they get bigger and smaller as they actually go home. But of course, one of the problems we have is we don't actually have any control over this in a moment. I mean, this is just plugged in, so there's no control over that. So we actually need something to actually control that. So what we're gonna do on the next lesson is we should be able to see what actually probably just about getting this finished. It should actually be animated and growing and things like that. All right, everyone. I hope you enjoyed that and I'll see you in the next one. I did say that this will be quite a long process, but I'm trying to explain things the best way it cancel that if you go away, you actually have some understanding of how to actually grow your own plants or create your own plans and other things actually with the geometry notes. All right, everyone, so I'll see you on the next one. Thanks, Laura. 73. Finishing the Crop Geometry Node: Welcome back everyone to blend the three, the ultimate many evil seeing calls and this where I left off, now, we have a fixed. Some things, they do get smaller as they go, but they're very, very linear at the moment. I mean, they just get tinier and tinier and larger and larger as they go up. And that's not really realistic. So let's actually fix up. What first I'm going to do is I'm going to pull this code parameter out here. And the first thing we're going to bring in is a math node. So a node and drop that in there. What you can actually do then is change where it says Add to pow it a name. We'll say there are a lot more evenly distributed and they look a lot more realistic. And that's exactly what I'm looking for. I think while I'm also going to do is I'm going to number of leaves. I'm just going to turn the old Just a couple more just to make it look a little bit more realistic. And they also show you exactly what happens when we come to animate that as well. Now, just so I don't get ahead of myself, if you actually come back to your power as well, it will show you that you can actually change the way this works now so you can make them smaller and bigger and things like that. Alright, so I'm going to hold the Shift button down and won't my smallest slave to be something around that size and the thing that looks absolutely fine. Now I'm still not happy with the size of these leaves and I don't really want to go in as I say an alternate on here. So I'm going to do is I'm gonna bring in another math nodes. So I'm going to press your math, bringing a math node, drop it in here and the moment it is, I'm gonna change this to multiply and now have a lot more control over the size of my leaves. So you can say I can change the size of the top leaf for instance. And then I can come in and change the size overall as they get down towards the bottom. It just means you have a lot more control over the size of the leaves. And I think that's much, much bad to be. That way you can see now it looks a lot more realistic than what we did before. And the reason we put out there is because we don't want to change it on the XYZ. We just want to change them overall. So let's just move these into a little bit better place now. Now we need to do, we need to animate the leaves and the actual stem, both together. So what I'm going to do is I'm gonna come back to where my set position is. A momentary is I'm going to move these around. So I'm going to grab this with Alt. I'm going to put it this side instead, and I'm going to move those up. And then when I plug my multiply back into my offset, like so, now if I pull my trim down, you'll see that the grow in a much, much more realistic way, albeit the not quite right yet, but it's just better if we swap those around. Now let's bring that group impulse back that we had before we deleted it. And you'll notice over here we have a output. We don't actually have anything here. Both if we bring in a group impulse, clog, this impulse into our trim curve where we've got our end of the moment from this gray. Here, you'll notice now you have an actual end appear and you'll know is gonna pull this down. I have control of the animation. That then is where we can actually insert our keyframes and things like that. And that's exactly what we won't control. Be able to make this grow over a certain amount of time. If we didn't put the same, we would only grow over 200 frames and you won't have any control over it is basically why we're actually doing this. Now at the moment, you'll see that when this goes down to nearly 0, the leaves look like this and this is just not realistic. We need to actually control the scale of these leaves as this grows up and down. So the way that you can do that is if you come over again to your scale, which is these over here, and we bring in another math notebook. You put it in front of this power. So every brush Shift a search Math, drop that in here, like so you'll end up with often. And of course that's not what we want. Now if we set this to multiply, like so what we're actually going to multiply it by? Well, we're gonna multiply it by the value from this end. So if I bring this and drop this into my value your life, so now I may actually bring that down. You'll see that they get smaller and they get bigger as all actual plan starts to grow unless it's exactly what we actually want. Now, the final thing really that I wanted to do that is as this grows, I want to leave space like pointing up to the sky. And then as it finishes growing, we want the leaves to drop and kind of drooped down light in real life. How to do that? Again, we're going to use this group impulse. What I'm gonna do is I'm going to look for my rotation, which is over here. And if I plug this into my rotation of my XYZ, you'll see now that they're actually point to note, let's actually see if an x plug it into the x all the way I want them actually probably. Yeah, it says the x value, so it's the x-value of mine and that's actually points in them. Openness guy, like so and that's basically what I want, but I don't want it to grow like where they're just pointing straight. Oh, I actually want them to be able to grow pointing up and then come down as the actual animation finishes. So you can see it looks really realistic as they're growing up. Well then we leave them to point. Now, what I'm going to go to quickly fix that, I'm going to bring in a membrane. So Shift A Search MAP range and just drop that in-between then your output, sorry, input and where your x's. Alright, so now we're going to have some control. I'm just going to move this down as well, just so we can see what we're doing. We're going to have some control then of how the leaves are distributed at well, which way they're actually rotated as the animation takes place. Now what we're going to do is I'm going to zoom into my, my range and we need to actually bring in some keyframes. So we're gonna do is I'm going to put this narrow enough down to 0 so we can actually see what Olly's, I'm gonna press dot just to zoom in. And then what you want to do is you want to put your minimum so the leaves are actually pointing up. And then what you can do is you can hover over it and press the eyeball. And then where you can use, you can bring this up and you'll see, as I bring the soap leaves will stop points to note. And as we get up to the top now we can actually bring this down and point the leaves the other way. So this doll flopping over, lightened it would in real life. So there you go. Now if I call Anna Perez, I not gonna go through the cycle and bring this back down. You will see as they start to grow. So if we zoom in, they start to grow. The leaves are pointing to node. Point to note as we get to the top. Now those stopped to hangover and droop down. And that is exactly what we're looking for because that is basically like real life. I also think what I'm going to do is I'm going to go to the halfway point. So something like that. Just make sure I'm happy with my leaves off. So you can see here that there's still, there are only points to not really like that. I'm going to point them all a little bit more. So if I move the line, press the I button. Now you'll say that as I come up, they go, Oh, points, like so. Then as we get near the top, you'll see they actually stop. Point down. So I need to point them down again. This one, I'm going to bring it up. Press the eyeball, and now let's give that a try. So we should have them point to OK. And as we come up to the top, and then they start to point down, as you can see in the droop down, like so. All right, so just make sure you're happy with that. Before you carry on. Just make sure you're happy with the animation. Just going to turn that off and just look at my animation. There you go. Now you can say it looks pretty realistic light, so I'm pretty happy with that. Now, let's actually have a look and make sure I just want to press just want to come through. But again, I think I'm happy with them. All right. Then I'm happy with that. So let's move on to the next pit, which we obviously need to do. I'll stamp. Now you've got nicely everything you need in there. Just make sure that you're happy with the number of leaves so you can turn them off if you wish to. Like so in Coahuila, think that looks a little bit more realistic light. And then where you're going to do is you don't need to randomize these leaves at all, but you can't say if I click on this, they will be randomized. And that is exactly what I'm looking for. Who went actually come around and actually make a few of these. So that's why we've actually done not so basically we've nearly finished now, all we need to do is basically bringing in a actual material. I'm just going to pull this over, pull this over, pull this over it. So what we're gonna do is bring in a sense material. But before I do that, I just wanted to check my leaves. You can see here, they've not really got, I don't know why, but they actually go, they have the gold leaf here, so let's actually go and I'm looking here. So I'm gonna do is I'm just gonna go to my shading panel and just make sure I'm happy with that. Yeah. And that's the that's the thing I thought that was the case. What I'm gonna do now is I'm actually going to wait for it to load up and then I'm going to just create my leaf stem. Again. The reason is because I actually messed open a deleted my leaf and then I had to bring this one back in. So I'm going to do is I'm going to press Control C, bringing my mapping and my texture. If you remember how we did this, we just basically deleted the image texture shift. They bring in a noise texture like dropping that, bring in the vector then, and then bring in the color we wanted to on the normal. And then bring in the color and plug that into the normal, like so. And then we get some sort of texture. Alright, so now I'm going to do is I'm gonna go back to my stem now. The geometry now, which is this hit. And then what we're going to do is going to bring in another node and we're going to set the material. I'm going to do is I'm going to press Shift a set, say Arial, drop that in place. And then what I'm going to do is I'm going to look now full, not material that I had on this leaf, which is leaf. All right, so now let's go back to geometry node. We're going to look for a leaf. So this one here. Now let's zoom in and have a look at what that looks like. Alright, I think I need to come in and first of all, mess around with a few of these because I can see it's not quite looking right? So if I go back to my shading polynomial and we can say this is what it's actually looking like in the material mode. So I'm just looking yeah, the geometry ODs on the object, That's why I'm not getting anything. So now if I click on this or I click on my render view, let's say render out. And this is why it's actually going to look like you can see that their logo pretty dark at the moment, but that's because I've got no grass in or anything like that. But I can see a definitely want them a little bit darker than what these are. You can see I've got some nice lines going up then now as well. So I'm actually going to come in back to my shading, put it onto rendered view and turn this up just a little bit. So let's have a look. Where is it? On the material, which is this leaf over here. They confuse an unknown. There we go. All right, so now let's put this a little bit dark and what it is. So a little bit darker. And that's also go in. The roughness is up to null 0.8. That should be fine. And you can see now that this is what it's going to look like. So I'm just going to go in and just making sure my stem and my leaves. I'm happy with my leaves. I'm just looking at the stem. I'm actually happy with that kind of turn off this a little bit. Like so. Just bring it up a little bit. I'm not happy with them looking like I don't actually think so. I wanted to send them down again. Yeah, that's looking much better. Alright, I'm really, really happy with how those look. Now, if you can look at here, let's just try to unfold to you as well. It brings out that stem a little bit. That's what I'm looking for. So I've got it on full day and I've got them looking like now so you can copy exactly what I've got here. These are my settings. The color of my leaves is this, whoops, don't want to do, but let's press Control Z to go back to worry. And let's come in. And if you click on the color to-to to F1 date. Alright, so let's go back to modeling. Let's put this then onto rendered view. And let's have a look at what that's looking like. There we go. So what we'll do then on the next lesson, we will come in and put these actually in our farm, just going to press the top double-tap, hold these in our farm, make them a few random ones. And we also need to actually create the animation over all 800 frames that we're working towards. All right everyone, so I hope you enjoyed that one. They'd have a long one, but we finally got that and I'll see you in the next one. Thanks a lot. Bye. 74. Laying out & Animating our Crops: Welcome back and runs blend the 3D ultimate medieval sin cos, and this is where I left off. Now what I want to do is I basically wanted to go, and now if you click on this, go back to my geometry nodes. And then what I want to do is I want to set this on a timeline so I can come in on, for instance, come down to this corner, drag this over like so. And then what I can do is now I can set base onto my Thomas I have here. You can see that you go one timeline. Now you can do is just zoom out a little bit and we're going to set this to frame one. So you can see here, can set this the frame one. Then what we're going to do now and when it's come to my output. Whereas the majority nose area is, you can say this is a one. Let's put it on 0, and let's press I, and you'll end up with some actual key frames insert, then let's come to 800. To 800 if you need to put this on one all the way up and then press I like so now let's give it a quick try. So we're going to press space bar, double-tap the ISO can see, well, I'm very well, take a bit of time, but you'll see now it's actually going to grow over time. And there we go. You can see I'm stuck drooping down. Now you go to Geometry notes. Now the one thing is that if I press Control Z and just go back a minute. So I just wanted to grow back to where it was. Now you can see that we grow up to here. So this is an 800, but I'm not quite happy with them finishing on 800. I want to finish them a little bit earlier so that we get to actually see them grown. They don't just fully grow and then it's the end kind of things. So we want to really pull these back. So what I'm gonna do is I'm just going to click on this. I'm going to press G and I'm going to pull them by just two somewhere around there. So we've got a few frames to actually save them fully grown. And now we can see that they just kind of often in the window, something like that. That's exactly what one. Alright, so now what we can actually do now is come back to modeling. Press tap, double-tap. Just pulling this over now, I'm just making sure I'm on cycles. Okay, Let's pull this over and let's put this into place. I'm thinking my song is probably a little bit too bright in the moment, but I'm just going to put these into play. So I'm going to put it onto material mode again so I can actually see what I'm doing. And also we've not got the grass and the hay and all that sort of stuff in that. So we need to check the albums. We've done this, so I'm just letting it to load up coal mines place now. So let's put it over. I'm actually going to throw an object mode discord server can see where these off. I'm going to put this in here. Then basically what I want to do is I want to press Shift to drag it over and then Shift key and drag it over, and then Shift and drag it over. And now I will show you how you actually randomize these. So if we now come to our Geometry notes, we press Alt to zoom into this one. And then what we do is we actually copy this. So what I'm going to do is I'm gonna press, click on one of them, press it to be. And then press sake, and then click New. And you'll see that we've actually gotten a new one in place anyway. So I can call this cone crop. I'll call it so because this is the NMOS like so. And now I can go in to where that randomized Lee's walls. Put it up on. There you go. It doesn't actually change the old days. Now, when coming to the others, I can click this one and go to the end on three. In this doesn't really actually costs blender a lot. Let's put it on five minus column to the next one. And we'll call this too. We'll give this a quick try before we finish. I'll put this on, let's say six or something like that. And now you can say that looking very different. So now at the top, I put this back. Let's see now how these actually grow. Of course, if you really want to go in and you can actually see how these are actually growing. So they grow at different speeds and things like that. But what you will see is now when they've actually fully grown, they're actually all looking very different. You can already see that look different. You can also come in and rotate them around so you can see now the grade all different and that's exactly what we wanted. You can also change, of course, if you wanted to, the number of leaves in them. So let's say we come to this one. The geometry around is already set up, so let's change the number of leaves in them, something like that makes them a little bit more. And now I tend to do is I'm only going to do this with a few of them. I'll tend to do is I'll calm and drag these with shift D, shift D, drag them. Then I'm going to spend them round. So all zed, spend them around, so all 380 the other way now like that. So this is basically the opposite of that and then will attend to those I'll shift date, come to the next ones. Put those in that. And I want to basically make these a little bit different as well. So you could go in and come to this one, for instance, and let's go and give it another one. So we'll call this crop, I think we're on five, so we'll call it five and I'll come to the seed and I'll put this on seven. And then I'll come to this one and I'll call it crop six. Let's put this on eight. We're on crops 567, so seven, and let's put this on nine or ten doesn't really matter. We've got, we've got thousands of seeds. I think we're on crop nine. Yeah, something like that. And let's go buy put it on one or something like so. All right, so now what I'll do is I will grab all of these. And I'm going to press Shift key. And I'm going to pull them here and then press all 9019, spin them around and let's put them in place. I'm going to press seven, pull them in place like so. Now I need to just mix these up a little bit so you can see I'm just going to pull them out, hold them into a different place just to randomize them a debt like so. Make them a little bit different. Just before we do the the last one. Let's come to these now. Exactly the same thing. I'm looking where my actual lines are. I think they're a little bit actually, I'm going to pull them into place. Move this one around, just make them a little bit different. Now I went to those, I'm just going to grab this one. So shift the focus into the center. Let's grab this one Shift D. Put this down here somewhere like that. And then shift they always, those tiny variations not do make all the difference. So should think. You can say move that one in a weird way. So let's pull it and put it over here. Alright, now let's go back to modelling. Let's press tap, double-tap the egg. Unless give this a test I'm going to put on layout actually so I can see like so what I'm also going to do is I'm going to basically put my older pulse on. So I'm coming to here, turn the TV on. Same for the, hey, this is just the final test. Now we've got these to see them all grow together. To say exactly where it looks like. Now of course, on their rendered view, it's gonna be a bit hard to see that, but I'm gonna give it a try. So double-tap, put it on rendered view run lab. Now, this is where it's going to look like in the final renders, you can say very realistic. Let's put it on 0. Let's put this on material now and see how they grow. So here we go. Let's press space bar. You should be able to see the little tiny shoots coming up and you go, you can see some. There we go. We can see them growing away. Don't forget you're going to see this in real time when you've rendered it out. There, we go nearly finished growing now. Rarely, rarely happy without going. Got our windmill going. There we go. I think what we'll do now on the next lesson is we'll actually start working on all water pump. And then I think will work just to give it some variation. I think they're more orders. We'll work on our pumpkins. And then finally we've just got the wind and the smoke, which is quite easy actually to, to create those things. All right, everyone. So I hope you enjoyed that. I hope you really happy with what you've achieved so far, and I'll see you on the next one. Thanks. Bye-bye. 75. Working with Liquid Simulations: Welcome back everyone to blend a three, the ultimate medieval sinkholes. And this is where we left off. Now, let's first of all put this on material. Let's come in then to now I probably can work like this. I'm not sure if you come with all these grass and everything that if he can't just turn your grass off, I think I'll probably will turn just my grass off because I can see a lot easier than this pump. What I'm going to do is I'm actually going to grab my phone. I'm going to press Shift S cursor to select it. And of course that's gonna put it right where the orientation is off the palm. And then we're going to do is I'm going to press Shift a and we're going to bring in a cube. I'm gonna make an acute March much bigger, something like that. I definitely wanted to hang underneath here because this is going to be the actual domain. The domain is basically something where the water can only exist within. You don't want it too big and you don't want it too small, you want it to cover the entire thing. If I zoom in and now you'll see as we move up, that is my pump. In the entire domain exactly what we want. Now the Walter welcome through and it will go through the floor. So we need something to catch it as well. So that's where you have an outflow and an inflow. And basically your inflow is your actual kind of water coming out. And your outflow is basically where it will drain out of. There is not too. Just remember, first of all, I'm going to bring this and I'm going to turn this into a domain. One went to there is, I'm first of all going to make my domain fabric smaller. Like so, because my water is going to come down here, I'm also going to press Shift Spacebar move and just move it out. Impressive essence. It covers the entire top, like so. And also so it's got a fair amount of distance then to actually drop down. Now it is quite odd to actually work with domains with liquids. It's much easier to smoke because you can actually see through this in the beginning, you won't melt. S3 basically is what I'm trying to say. Alright, so now let's come over to our actual panel where we make simulations. And what we're going to put this on is fluid. And I want the time to be domain. Now, what the domain will actually do is you can save to come down here. This is where we bake out our actual animation, that space where we're looking for. So first of all, let's come over though and put this onto liquid like so. Let's set you notice, as soon as it changed from gas to liquid, it's actually changed now. And then let's set the resolutions 228. And the reason I'm doing that is because the higher the resolution, the better the water is actually going to log. There is a problem when you do it to 64228. It's sometimes changes the way the actual sometimes changes the way the simulation actually goes. I'm actually going to thinking about going to put this on 64. And the reason I'm gonna do that is just for the people that have got lower end computers and things like that. Because it does take much, much longer to actually take things out. Moments do is I'm going to come down now and I'm not really going to mess around with any of these things except where it says, in this simulation method, I'm just going to pull out on epic. Just make sure that your liquid is obviously take to on and then come down and make sure it says mesh. Now this is actually important. For some reason. If we don't actually take this on, it's not actually going to work again, I don't know why that is, but when I've tried this before, not take this on, actually doesn't work. Now the other thing that you want to do is you want to set in frame 200. You also want to change this time to replay. What replay means is that Blender will just replay it on the timeline in real-time. We don't actually want to do that. We actually want to take this out because it's first of all, when she's back down, It's much quicker to see what the simulation looks like. And second of all, if you have this on replay, it never plays the same way. The simulation never plays the same way as if you actually bake out. So we're gonna put it on all. Now you'll say we have an option of coal and that's exactly what we want. Now what I'm going to do over the right-hand side, I'm actually going to close this, so close this. So I'm basically just going to close these old unlock then for this year and I'm actually going to call it a water domain. So if I come down, I should have it here, this one here, I'm going to call it Walter domain, like so. And I'm also going to then check out these, these are all cubes and these are all crops, of course. So I'm going to do, I'm going to come to the first one. Press dot is off those crops, so I'm gonna call it to crop, like so. And now if I copy this, so if I press control C, come to the next one, Control V, you'll see that CMS is crop, our one. That's exactly what a one. So I'm just going to basically call them all crops. Just go in and change the names of them. Should have really changed it before. We'll actually creates an aldose bulk. Hey, whoa, not to worry, sometimes we make those mistakes. So Control V, Control V, Control V. It's a shame that we've got so many crops, but you can see. How easy it is to change these. Then I'm basically going to pop these probably not into foliage or public taught them in their own one just so we've got them split off and the rest of them. I'm not also not sure whether you can actually have these. And I say phi right-click and Mark as I said, I'm not sure if that actually works with the geometry note. So that's something that you might want to check out. Alright, so now I've got foliage. I'm going to create a new and it will come in with the following one. So there we go. I'm going to pull that over that I'm going to call these crops. I always like to keep things tidy. Pull that off, and then I'm gonna grab my first crop, my last crop, and my leaf, and then drop those into my crops like so. And I always, always just make sure that actually working now. So come to a timeline just to make sure the work. Sometimes when you move things into a new collection, if you've done something like we did with straw away based on a collection, they stop working. So I always just check just to make sure. Alright, so here's our Walter domain. I'm actually going to hide the other way now. And then what we're gonna do now is I'm actually going to focus on creating my actual Walter, which is based on the simulation. So I'm going to series, I want to press Alt Shift and click. I'm gonna come in Alt Shift and click on that shift S because it's a selected tab. And then what I'm going to do is now I'm going to press Shift and bringing in a UV sphere. And this is what we're going to use for our actual Walter. Let's make it pretty small. It needs to actually fit into that tap. So really, really small line. Let's press dot and make sure I'm actually happy with that. Probably, it's probably a little bit too high. So I'm gonna do is I'm just gonna go back to my top. And I'm going to come into the end of it, Alt Shift and click Shift S, because two selected, grab my UV sphere, Shift S, selection to cursor, and then it's going to pop out of there. Now I'm not sure if it needs to be a little bit and back a little bit, something like mine waste fund. You just got to be careful because the simulation, what it tends to do is it tends to bubble up around a and this is why I'm making it actually smaller than the top. So I'm gonna make a little bit smaller again, like so, and hopefully we should be fine with them. Now let's come in and bring fluid simulation in. This obviously wants to be a flow and obviously wants to be a liquid. The geometry wants to be a inflow. So this is why we are speaking about, so this is where the water flows out. We're going to make another one, whereas actually going to flow out off the first one we want is an inflow. This part is another important part where we've got this, where it says flow source. You will say it's on a mesh and you need to set this subsurface emission onto naught point a. If you don't do that, basically nothing all up and you won't be able to see any Walter simulation. Again, I don't know why that is. We just have to make sure that this is self. I watch a lot of people sharing tutorials and things and they never actually show you this part. Then you'll come in, you'll think, well, why is my simulation or where can I most of the time it's down to this part here. Now we're going to do is we're going to create another one of these. So I'm going to actually bring back the one Walter domain. Actually I'm going to hide my wall domain and just make sure that this, whereas it should be in my crops for the looks of it, I'm going to actually pull that down and hopefully drop it right in there and then close off that. Like so now I've got my smear. I'm going to call this water flow. Like so. Then what we do now I'm going to create another one. So I'm gonna show my domain. I'm going to then press shift out. I'm going to bring in a UV sphere. I'm going to bring this down and we definitely want this to be underneath like so something like that. I don't want it to be it doesn't work correctly if it's right where the water drops. So what you tend to have to do is you tend to have to move it like here, somewhere like that in the corner. That's why typically attempt today. And basically what this is going to do is the water is going to drop down, down, down into the bump map here. And then this is actually going to empty out. It's basically like a plug. So what I want to do now is put this on fluid. I want to put this onto flow. I want to make sure that the the smoke is going to be liquid and then the geometry is going to be inflow. So basically the Walter is going to influence it. Put this on null point a again, then we should be good to go. Now I'm going to do is I'm going to just come over to my domain again. What I want to do now is come down and you want to bake cow vehicle. So if I click Bay coal, you'll see that it's actually something is happening and short, yeah, I can actually move while I'm waiting for that. Let's wait for it to bake out is over 800 frames. You might want to reduce the frames. Why you just give this a test just to get the hang of things, because it is quite complex to get these things to work correctly. So let's just wait for it to where Baker over 800 frames. I'll speed this process up now and show you what I've gotten, man. Okay, and this is what we're actually left with. Sorry if now if I come to my actual outflow, as you can see here, I've pulled this back to 0. It will disappear as soon as the star and there you go. You can see the trick club water. Now hopefully what I'm trying to bind column is this actually know overflowing is actually overflowing because that for some reason is not outflowing. So hey, go is it going to outflow? I think I'm actually going to lift that up because we definitely don't want this coming through the flow. I want to do is I'm going to actually come in, grab my inflow. Is it is it outflow? I think it should be an outflow. I think that's the reason I'm gonna put this into place somewhere like that instead. And let's now see if that's actually works. So what I'm gonna do now is I'm going to call and read, bake it out. I'll do that on the next lesson. So I'll read, bake this out and I'll show you where it looks like on the next lesson. All right everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. 76. Creating a Water Shader with Nodes: Welcome back In ones blend or three, the ultimate medieval seeing course, and this is where we left it off. Now, I did read bake it out, so we should be able to see if I press Space-bar now that it's actually working perfectly and it's actually flowing into basically our plot. And you can drip in like that. Now what we want to do actually fall this is we want it to work so that when they Sando comes down, the Walter actually flows when they reach the bottom, then it starts pumping it by count. That's exactly what I wanted to do. What I'm going to use now. I'm gonna calm it on 0. I'm going to zoom in a little bit. And then what I want to do is I want to call back to see it in press dots so I can zoom in and zoom out. And then what I want to do is I want to use this flow and to actually create the illusion of it flowing, unknown flowing. So what I'm gonna do is I'm gonna put this onto a wall once, something like that. And then going to come to where it says flow and click this orange marker here. That moment is I'm gonna come to 100. And I'm going to click this orange marker here. Click this off, then 200, and we're just going to work our way up every 100, clicking it on and off. So you can say 300. And if you need to move it up like this, and just do the opposite. So let's go to 400. The reason we're doing this is because as I said, we want the simulation to flow on and off. Alright, so 600, just make sure you don't miss any out. Like so. And then 700 and we should hopefully get to the store again. It should work perfectly because it should be on, which is like so. All right, so then we need to do is you need to come back to your domain. So if I put this, for instance, on 0, we'll see if we can click on our domain now, come down to where it says free all, so click free. All the moments do is I'm going to bake it all out again so they could all out again. And you'll see that it's slow it at the start because water is flowing. As we get further speed is obvious. You can see that and then I'll slow down again as you can say, because what it's actually doing is it's flowing walled set on fire and water. And that's basically what we wanted. Now we're just going to let this bake out to 800 frames. We're gonna make sure it's okay. And then what we're gonna do is you want a free old? And then we're going to turn up the resolution on the wall to just to make it look a little bit bad. Because once you've picked out the actual, you know, the animation of the Walter isn't not intensive, It's just the actual bacon in the simulation process. That is, alright, you can see we're already at 800. Now let's give this a try. So if I press Space, There we go, two stops flowing. Should stop at 100, which it does as this comes up again, and then it should start again. There you go, starts flowing as this comes down again. And you can see it's working exactly like upon dots. Now let's put this back again. And then what we're gonna do is we're gonna free old and this is gonna take a bit longer. So I'm going to do is I'm going to speed this process. Just put it on a 128. And then what are you going to do is come down again, Baikal and I will speed this process. So as you can see, is much, much slower now. I'm going to speed it up and I'll see you on the other side. There we go. Let's give it a try. Let me press the space bar now and you can see that water is looking really, really nice. It's coming out at the top really nicely. And of course, it's disappearing in the bond down. I'll plug all. And that's the main thing, right? And you can actually see it disappearing down that this also gives you the skills to actually go away and create things like multiples or things like that. Many, many things you can actually do with these skills now, alright, So the one thing we haven't done, of course, is if I put this on material letting all low note, you will see that obviously we've gotten our material on here, so we need to bring in an actual Walter shade. It I'm gonna do is I'm going to show you a nice watersheds. Watersheds, this you can make really complex, are really simple. I'm going to show you a fairly simple and shade it. That looks really, really great. And also you can actually save it out in your assets so that you can use it in any other scenes that you want to create. Just create a new one, call it Walter shade it. I've already got one called water. So this one here, Walter and I've already saved out. So I've right-clicked mobs as I said. And now I'm gonna do is I'm gonna go over to my shading panel. I want to press adult to zoom in. I'm going to pull my material along so I can see what I'm doing as I'm actually working on it. That one went today is I'm just going to zoom out. I'm going to delete my principal, not gonna need thought. And then what we're going to do now is I'm going to bring in a glass BFS DFS, so glass BSD F, bring that in. Now the color of the glass be SDF. I'm going to put it in this color so you can do the same because I've found that says rarely really nice colors. What I'm gonna do is I'm going to zoom in opening all content, a hex control. They just pull that in, press Enter button, and then you'll have the same color as I am. Let's put the I O wall, the aisle wall. A motor is basically refraction. It's basically if you think of a straw going into the world set how refractive it actually is, is how far it pushes up straw over to the left. And different things can actually affect that. So you could have something like saltwater is very, very different actually from freshwater. The reason just to take into account, so put this 1.330, something like that. Now let's bring in a transpire in BSD F. So shift a transpiring. Bsd F, not the translucent or transparent one, and the column just going to steal my color again. So I'm gonna go over and grab this one. So Control C. And then I'm gonna come over here, control V. And there it is, FF B12, CB just pulled out. And then what we're gonna do now is bring into mix shader. So shift day makes shaded dropped out. And among Wednesdays I'm going to plug in my BFS DFS shaded. So he is plug this one into here, and then I'm going to plug this into the surface of my material output. And then we go, we've got something happening, not quite finished yet, but you'll see as we do the rest of it that we will finish. The other thing is we need an absorption at the moment. It's a bit like a mirror and we don't really want that. So let's come in. And then what we'll do is we'll press Shift a search volume, absorption. So volume, this one here, absorption, bring that in and the color again, I'm going to steal from mild aside. So hex Control C. I'm going to zoom in a little bit so you can see it. Control they 7598, just like that, press Enter and it's this nice blue color. Put it on three. And then what we've done to do is bring in a subsurface scattering. So shift day surface scattering dropped out below it. And again, I'm going to grab the color. Then put in the color on here. Again, B6, D. And I think that's a no, I don't think it's 0. Try either 17, something like that. Then again, you can actually change yours as we as you move on. The Iowa, I'm going to keep as 1400, and now I'm going to bring in another mix shader. So I'm gonna grab this one, shift, bring it down, plug my volume into the top, plugged my subsurface scattering is Bob. And then one we're going to do now is I'm going to plug them all into my volume. So shader plug them into my volume and you should end up with something like that. Now if the moment of truth lets put it onto rendered view, and it should look something like that. Rarely, rarely double-tap the beautiful waltz. And as you can see, you can see it looks slightly brownish, which is what I actually wanted. And you can change the color really easily on the glass and the transparency. That's the color that I actually wanted mine. Now when this flows, if I go to mobile and now press adult bones, zoom in, put this on rendered view. Press top, double-tap. Now let's press the space bar, even my belt, see something, Let's have a look. We can see something happened. It's very hard to say though, because obviously it's gonna be pretty grainy while it tries and goes through the frame. Really, really low. Frame rate can't really say a lot, but we will do in the end, I'll show you how to render this out and all that stuff. Okay, so that's the actual Walter done. So what we'll do on the next lesson, we'll create the bucket, will create the rising old pulp, the actual them Walters. It rises up and drops back down. All right, everyone, so I'll see you in the next one. Thanks a lot. Bye bye. 77. Creating the Water Bucker: Welcome back everyone to blend the three, the ultimate medieval seeing costs. And this is where we left off. Now, once do we follow finishing is I want to make sure that all of this is in the right place. And I can say, I've got a domain here. I can see though my outward, this one here is in microbes for some reason. So if I scroll down, should have two. Let's bring those out and try and put them on the bottom, like so. Let's just make sure to put it onto object mode so I can actually see what I'm doing. Come back into layout. Always check base a, you-all to something like I've said, just make sure it's still working. The reason, by the way, why he demoed domain is visible. This is because it's on 0 and it's not started on the simulation, but we never actually render it from frame 0. We always render it from frame one. So that's important. The other thing is you can say installed it's polar in from this one. So it's all sets or basically an 800 frames to actually keep going. Sorry, it's like a repeating process. And you can't even see the difference. Just that to take into account. Now on Wednesdays, I'm going to just pray on object mode, and I'm going to put these in a Walter simulation. So I went to right-click New Collection and we can see our new collection is here. We'll call this Walter simulation. Like so. And then what I'll do is I'll grab these three and I'll drop them into my water simulation. And again, as I always do, just press space bar, just make sure it turns off and things like that. It make sure it's working correctly basically. And there we go, it's working correctly. So now we can actually come out File Save and then I'll just pray on here, something like that I just saw, can see what I'm doing. Alright, I'm going to actually hide my bones or the moment on here because I'm going to actually bring a bucket into this long Wednesdays. I'm gonna practice your mesh bringing in a cylinder. Now it's important in your book it that the number of edges, basically how many pieces of wood you want on your bucket. For instance, if I put this on faulting, like so, this is from a book is gonna look, each one of these is going to represent a plank of wood basically, let's make it smaller. Let's pull it down to how big do we want our bouquet? Let's grab. We still got our guy and I think he is. Yes, there is. Let's bring him over and just make sure the bucket is not ridiculously big. Let's pull him over here. As you can see, this book is probably, probably grumble. Keep pressing adult bone a little bit too big. So I'm going to press S, scale it down a little bit and may not look much more easier to actually handle. I'm going to pull it down. Then I'm just going to work on getting to be the right shape I want. So I'm gonna grab the top of it, press the Shift Spacebar, move. I think I'll just bring it up a little bit, like so. I'm happy with that. Now let's bring in two edge loops. So left-click, right-click, Right-click, and then Control V. Actually don't want to be in control. Yeah, I think I'll show you a different way of doing this. So I'm just going to bring those back in, not doing anything to them. I know what I'm gonna do is I'm going to press Shift Date, press the S bone, pull them out like so. Then I'm gonna come to each one of these. I don't need them. I'm gonna press Delete and dissolve edges just to get rid of those. And then I'm going to split off. So l, p selection tab grandma bouquet again, and then moment to top again. I'm just going to grab the bottom. I'm going to press Y and then just pull it up. And then I'm going to grab the bottom of the bucket, press Y and pull it down. Now I want to actually make the top a bit smaller, like so because I'm going to use for the actual waltzes, so I'm going to just hide the other way at the moment. Now the bottom, I've already created the bond because if you have a bucket and you want to not do this with it and not have water in, you want to create a realistic book in any way. So that's why I've actually done this. So now we've got this. Let's press tab. Let's grab both of these because we've got them everything we need right now. We don't need anything else. Let's press Shift H to hide everything else out of the way and we'll come into it now and hide this part again, so hide it out of the way. I've got the bottom of it. Let's press rotate just make sure. The bottom of HCl, this is the top, so this is the waterfall. This is the bottom. Unless press seven squared on the top and then one went stairs. I'm gonna come in with better just like select these two verts, press J and just bring in edge like so J men object. Then what we're gonna do is we're going to come in, grab each one of these right-click and democracy. Then I'm gonna come in, grab each one, each of the y and J, split them all. And then you can save it. You can say I've grabbed the whole thing, don't really want to do that, so I'm gonna just draw them up. Okay, I'll pay selection split to come back. There we go. Now I've got this now compressed K over the top with seven on. Why put it onto individual origins. Sli, bring them in. Now we're gonna do is we're just going to press E to bring them all up. So and of course, this is the bottom of the bucket. I'm not going to mess around with creating a bit wobbly or anything like that. I don't really want to do that in this book is a very small objects, so we don't really need to do that. I'm just showing you how to create a simple bucket. Let's press Tab then. Let us actually split off our Walter because that's going to mess around with it a little base. So I'm gonna grab this pay selection splits back to the bottom of my pocket tab. And then one way to do is I'm going to press Control leg, all transforms right-click origins geometry. And now let's bring in a bevel command. Bringing a bevel. No point, no one, let's save that semi god. Point. No, no, no, no point. No point. Normal five. Now to high style. So no point. Don't know what I'm just saying. If it's asexual beveled off, That's perfect. Just couldn't see it from that. All right. Let's press Stop and now let's press a sorry, not per se. You want to come and grabbed the top pots now. And then what you want to do is bring them close together so as to why bring them closer together? Like so, press the top von, like so now the reason I've done that, I want to bring these costs together. So it looks like there's an actual gap in there. So now what I'm gonna do is I'm gonna grab the bottom of them and make them actually taught. So S and Y bring them in, make them touch it like so. And there you go. You've gotten the illusion of a bottom of a bucket and you still can't see through because obviously you don't want holes in your book here. This is going to be water pouring out of n, But now let's grab the top of it and let's pull it down. When we have a bookie, we tend to see the bucket where the board start roundabout here. Now let's come to the other part. I'll walk can do with this pot is probably just come in and right-click and control a market scene. And then let's come into every other warm zone. I'm just going to grab every other warmth like this. Hopefully this should be able to grab it real the one account, so wij split them up. There we go. Now you've got two options here. You can make them smaller like this. So you can just say S, make them smaller like that. It's probably the easiest way to do that. Then let's press top control, all transforms. Let's then right-click the origins geometry and let's bring in a solidify. I'll do that on this one. I'm going to pop them out to thickness that one of them someone I will check them out. So they're actually touching again. And that's basically how I want them. We can see we do have a problem with the bottom of it. We need to bring it in. So let's fix that quickly. Bring it in. And you can say, because we did this altogether, it's made it really, really easy to actually do that because it fits perfectly on that. That's exactly what we're looking for. All right. So I'm happy with other bucket logs. Now let's come in and we'll come back to this. And I'll actually apply that because I'm happy with it. Then what I'm going to do is I'm gonna come now to the top of here, make sure among normal. And then I can pull these or pull them down just very gently just to make them a little bit on the even. Like so. Why no R and X? Yeah, there we go. Uneven. Just work your way around your bucket. And as I say with all these things, if you're going to use it a few times, might as well put the FN just to make it a little bit on even like so. All right, There you go. You can see we're actually getting somewhere. Now the last thing I want to do is I want a bevel it off, but I wanted to bring these as well into each other. So how do I do that? I basically got to come in and grab each of the outside. And you'll know from doing this, what we did earlier on one of the models is we brought them in based on normals. So as long as you call this abnormal and you've got this on individual origins. Now if you press S and let's try S and X, you can see now we can pull these out pretty close together based on each of the x value of each of these. And now we've brought them out closer together. They look Tom's bad. Alright, so I'm happy with that. Now I want to do is bevel this off. So I'm going to press Control. Alt transforms, right? Clicks, origins, Geometry, modify, bringing a bevel. Let's pull this one. Let's try that. And they always do is I don't know one, Let's try not. There we go. That looks absolutely fine. Let's press Control a. And now there's a point where you need to say, at least close enough together. I think they all personally, you might not. Now finally, what we need to do is you need to come to these parts. Let's go to Object, Convert to curve. And then let's come down to where our geometry is, bringing out the depth. Like so let's make them smaller. Pulled them into place. Yeah, I think they actually load really good like that. Can I actually bring down the just this, let's print on, let's try three, something like that. I don't really want I could bring up this and it would round them off mobile. I don't really want to actually do that. I wanted to leave them like that. The one thing I do want to do is probably stretched them out a little bit so you can extrude them a little bit to make them just that little bit wider. Don't go too much. Also look a bit funky. They won't twist correct layers while I'm trying to say something like that, Let's move them off as well. I can't smooth them off actually, yes. So I think I'm happy with them. Do I need the fault? Kind of get away with just the back and starting to look is at the back. All the other warmness see, just from seeking Gateway, we're just doing the front and then bring them in if you want to. I think now I'm gonna leave them on for a moment and do then is just convert the object. Let's come down on convert to match. Let's say right-click shapes. Move on. There we go. Alright, and if you want the smooth command, add modifier, subdivision surface, an annual GMB, much, much smoother like that. Alright, I'm gonna just sub-divide press Tab like so double-tap to the eye. And there we go. Book, it's narrow enough, they're finished. We'll bring in the textures, pull these out a little bit, and then we'll work on this actual Walter going up and down. All right, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 78. Animating with Shape Keys: Welcome back everyone to blend the three, the ultimate many evil seeing costs. And this is where we left off. Now let's come in and bring in a displacement. First of all though, let's put it down to where we need to put it. I'm going to bring in a subdivision surface. Where are you? Subdivision surface. Let's turn that up a few times, maybe. Let's tell you up to six press Control a and just have a look how many that is. That's probably going to be enough. So then what I'll do is I'll pull it down, press the S bar and pull it out a little bit, just making sure it goes in the actual rib. I don't know the modify it. And let's bring in and displacement modifier. Let's also press Control a or transforms plate Sahel region geometry, just to make sure everything's fine before we stop. Now let's come over to little checkers. If I click down on the, I should have a texture already and I'm not happy with that one. So while there is alt click, new texture or long, Let's put it still on clouds. But let us actually mess around with this nowadays. So crazy, like so let's bring it out a little bit. Maybe like that, something like that. And then let's call him back to displacement and send down the actual strength of it. And now you can see that is actually located. A little bit nice. Now, one thing I do want to look at is my M shape CLI, keys. If I come over to my Shape Keys, click the plus and click the Plus again. What we're trying to do with the shape cases, we're trying to bring it up and bring it down. It basically as the water flows, opened down with the shape keys. You can say the moment this is on one, if I move this value, nothing really happens. So what I want to do is I want to press top one cell one basically put it on what? I want to press top. I want to grab it and I want to pray down into the bone. So I want to make it smaller. Then I want to press Tab again. You'll see this as I always say, it's a little bit low in there, so let's pull it up a little bit. So let's press the top. I just don't want any of those. Actually, they are okay there. Okay. Like not actually going through a little bit like that and nails degrees. If I press tab and bring this down to the bottom, you'll see as it comes up, they actually starts to flow a new as Walter dose. That's exactly what we want. Let's shapes moving, make sure that sum. So now we've got the ability to make this flow open down, open down, up and down as the actual Walter flows into it. So what do I mean by that? Let's put this onto one. Let's press Alt H and bring everything back. And as you'll see now that at the moment, this pump on frame one isn't really doing anything. But as we move up to frame 100, you'll see that this starts at, should start to fill up. So if I put this back on, I set this down to 0 now using my shaky, so print all the way down in, press the button. And then what I'll do is I'll come up probably frame, let's say frame. Frame a 110, something like that. And then put this down to 0, press the button. Now you'll say that's a press Space. Days starts to move and fellow like Walter would do. Brilliant right now I'll need to do is I need to empty this out and let it refill. So now I'll go to, let's say two, let's say, Let's say 199, something like that. And let's put this then we're going to fill in up and then going back down. So let's have it coming up all the way. Like so. Now let's give that a try. Combs and ensured get to that. Then empties. Then we want it to refill that cope. So I'm going to click just this part now because I don't want to see all of those and then pull this off for a minute. So I'll pull this open minute throughout this now. Then what I'm going to do, hopefully it shouldn't now, I'm trying I'm hoping that she'll be able to grab these and bring them over it and hopefully put it here and just carry on going all the way up to that. And so we will see, so if I press shift D, I'm going to bring these over and then going to pull this just after this one here, like so. Now let's see if that's actually working. Let me show it filled all the way open and start emptying. And then go back down. And now we should start filling up again. So let's say we go, we should go back down again. There we go. So false. I'll go shifty, bring them over. Into the front of it. Like so. Then we've got 609. Let's bring you up to the Challenger bottom. Now let's press space-bar. Watch it go down. Six weeks now. Let me go down, it goes again. The good thing is because we've got that displacement on. It really gives the illusion of the water actually move in, which is even bad. You'll never notice that there's the same displacement every time or anything like that. Now let's see if it goes down to 0 and let's see if then it restores. Now, the other thing that I'm happy about with this, normally we will grab everything, Right-click interpolation and put it onto linear. But I actually don't want to say I want it on the Bezier one on this because it's slowing down and speed. No, we don't want the same pace, so that's really good. Glenda actually does that for you. In other words, when you first start putting some nope, it starts off slow and then it speeds up as it comes up to the top. That's exactly what we want, right? I'm really happy with that. The animation is done. Now I need to attach this to my bucket so if I can grab my book it now, press Control P, set parent to object. And hopefully now if I grab and this, and this, I'll try and grow them both those press Control J, I'm hoping not the animations will still work. Everything moves with a bucket. I'm going to grab the bottom of it. Well, I'm going to hide my lungs well, grab the bottom. I wouldn't join that then to this. So Control J. Now let's just save that water comes up and yes, it does, still working. Absolutely fine. Alright, so the last thing we need to do is we need to add some materials in it. Luckily for us, we've got all the materials already done. I'll come to this part first. And then what I'll do is I'll come to my materials and we're going to bring in the Walter. Walter, and there we go. And then let's bring in the, it would now. So I'm gonna click the down arrow. What do we want it with light? Let's try with lie. I think that's going to look absolutely fine. What I'm gonna do now is I'm gonna grab them all and went to press you smart UV project click. Okay, and let's then go to UV editing. I can see everything is on ramp like this. Let's first adult just so we're int into where we need to be and then what we're going to press a 90 spin everything round UV and Pike islands, takeoff, rotation. Let's put it onto whereas it was my here it is all the way over here. Pull it back, pull this bar. And if you ever want to get rid of this, just press the T ball. Now get rid of that. And now let's have a look at what that looks like. I don't want this black shadows there not to consume with it. Let's come in and put these on a different material now. So we'll put these onto file. Click the down arrow IN. Probably dark high-end, I am dog, click Assign, press the top bone. And there we go. There is our bucket just making sure the bottom of his OK. Now I'm gonna go back to where modelling now. Press Alt H, bring everything back, double-tap, and I'm gonna put it on the render view. Then what I'm going to do now is I'm just going to press space bar. Let me just say that, um, load up so we can see how many frames around. There we go. There's our actual Walter, I'm gonna lay low dope now. This is where it'll actually look like when it's actually rendered out. And you can see the water sloshing around there and then it will let me to back out. All right, everyone, so you can see that this is really coming together, really nice. And we can still see those black balls that I don't actually know why that depth, that quite weird that maybe it's probably because it's actually in the domain or something like that. So the domain might be actually affecting it, but he won't affect it in the render. So that's the good thing. All right, Finally, I'm going to save that out, save thou like so. Let's just have a quick look around and think. The last few things we've got to do is the smoke simulation and we've got our pumpkins to actually do it. I'll think what we'll do first is we'll actually make a star on actual pumpkins. Then put all kind of the pumpkin leaves around those, so we'll do the pumpkin next. All right, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 79. Shrinkwrapping Pumpkins: Welcome back everyone to blend the three, the ultimate medieval sinkholes. And this is where we left off. Now, let's make a start on our pumpkin. So I'm gonna do is I'm going to grab my little guy here. I'm going to move him just over here, so a bit out of the way. I'm going to put him merit to that line there. I'm also going to grab my leaf and I'm going to do what I normally do. Put it out of the way here. I'm gonna get rid of my reference and I don't need this anymore. And you can still keep me referenced the look of the pumpkins, but I don't actually need mine. So I went to leave out of the way. I'm going to come back to my guy now, press adult bone. I'm going to press the Shift a, and let's bring in a UV sphere and when to actually leave this, you can see I brought the ANOVA, don't really want to do, but let's press Control Z to get rid of that shift, to select it, and now bring in my Erase phase. So a mesh UV sphere, I want to leave it on 72 actually, because I'm going to use this as the base my pumpkins and need a few actual polygons to actually do something with this. How big do I realistically one of these pumpkins, I want them fair psi. So something, something like this big clarifies pair size pumpkin. And then want me to do is just gonna move this over to the side. And I'm going to press one. And I'm going to actually pull it out on the z-axis. So S and Z pull it out. Something like not. And probably I'll fly and off, maybe flying off the tops of these. So I'm gonna come in, grab the top with C, and then grab the bottom. We have C as well like so just making sure I'm grabbing off announce on their bring Propulsion Lab denom, press one and then S and Z and just flatten them off a little bit. Because if you notice a pumpkin when it's growing, it looks more like this shape. I'm like a capsule rather than something that's very kind of spiky events. It doesn't actually look like that. Shapes move. And now I'm going to do is I'm gonna press shift, Hey, mesh, bringing a node, a UV sphere. Let's make it smaller so it's round-about roughly near enough to the right side that we want today. So something round about that size. I'm going to pull this over here. Then the moments do is I'm gonna make the little grooves of my pumpkin. I went to press Alt Shift and click, I'm going to miss three hours and then Alt Shift click and hopefully mystery out. Hold Shift click. You can see straightaway though is this quadrant here, then you know it's gonna be the same all the way around. In other words, it's gonna work is what I'm trying to say. So hold shift and click and then Alt Shift and click of a mystery out. You can see a little bit wrong missing two. I'm just checking with all this, right. Let's have a look. I don't think Yes, I've got this wrong. There we go. This is the center, which means misinterpreted. He is he is not here, Mr. out. And then we can do the same over here. So 123123123. And then want to three, and there we go. Now let's see if we can pull these in. Don't want proportionalities an answer. I'm gonna pull these in to get the shape of my actual point, Kim. And there we go. One of the thing, pumpkins don't really lie this on top. I need to flatten this out a little bit. I'm gonna do is I'm gonna come in, grab the top of it and a short, they are able to flatten this out. So let's see if it comes. So I'm going to press S and Z, flatten that out and then pull that down like so. And then smooth it off, Shade Smooth. And I think it's gonna look like that. And then I just need to bring it in. And then space and bring it in, like so. And let's put it on object mode so I can actually see, and there you go, That looks much, much more like an actual pumpkin. Now I just need to do the Baldwin as well. I'll do the same thing again. I'm going to grab this one, press Save. Then when the press S and Z, plan it out and then pull it in and then pull it in. Like so. And there we go. Alright, they look really, really nice. Now how do we get this to grow in the correct way? Because as I say, pumpkins, not only the grow like this, and then they grow outwards, and then they end up with these kind of bands in there. I'm just wondering whether these bands, I'm happy with them. Yeah, I think that actually, I think when they've got the actual material and they're gonna look really nice. So basically we have to use something called an actual shrink route. What we want to do is we actually want to use a shrink map because then we can do a little bit like what we did with the bucket, where we actually used a technique using Shape Keys. And that's what we're going to do with the actual pumpkins on Wednesdays on the comb to this one, I'm going to press Control a or transformed dry plague. So origin to geometry. Then I'm going to press Shift S because it's selected, come to my main pumpkin Control a or transforms, right-click, sorry, to geometry. Then I'm going to move this pumpkin over to this one. So Shift S, Shift S sections go say keep offset and you shouldn't know with something like this. Now it's up to you if you want to make your pumpkin a little bit bigger thing to do, I'm thinking I'm gonna make it. Nearly enough the same size as this. Now I'm actually going again, so something like that. The other thing is if you're doing this now you want to make sure that your final pumpkin, He's roundabout the size you want it. So I'm thinking this is probably a little bit too big, so I'm gonna bring them down, like so. Now I'm gonna grab my main pumpkin, come over to the right-hand side so your modifiers modify it and you're going to bring in a shrink brown. Now what's the target going to be? It's going to be this one here. So I'm gonna click target, come to this other one. Click it. And now if I actually apply this shape key, click this little down. Now, plie shake key goes back to how we walls. Wow, Well let's just happen. Well, we can get rid of this one to start with. So let's press Delete unless now come over to this one, come to our shared keys and we have a shrink wrap and if it send me, wow, it goes back to that. Alright, so that's exactly what we want now we do need to work a little bit more on these. We need to make five of these or six of these. Many you want basically in your garden. And we need to make them a little bit different. So I wanted to do is base, I wanted to use now this shrink wrap to make another one. So I'm going to do is I'm going to press the Plus bond and I'm going to call it a mid, a shape, something like that. I'm shape like so. Then one way to do now is I'm going to come and put this back to one line. So come to my mid shape then what I can do is, as you can see, pull this out. So I'm gonna do is I'm going to grab the bottom of it. Partial edit denom, pull it out like so, something like that. Press the Tab on. Now if you come to the image shape can actually pull it out like so. This is actually our pumpkin is actually grow. Normally. They actually very bold as the grow like no like that, like this. And let's pull that back again. Like this. So this is kind of the mid-level, but on the beginning level of pulled this out, they actually grow like this. This is exactly what we're doing here. Now the other thing is, I don't particularly want these actual groups in there. So I'm going to command to where these grooves on, just pull them out a little bit. The duo of them slightly at the top, not all the way over. So I'm thinking I'm thinking to shudder really do that. I should have just made the top of it a little bit small. I think I'll do that instead. I'm going to Command Alt, Shift and click, and just make it a little bit smaller. It's pulled out and then a little bit smaller, pull it out like so, and then pull this bit in as well. Like so, Alt Shift and click S. Happy with that, I think am. So that'll be how it is. Because basically a pumpkin, if you ever go and look at a faster video of our pumpkin grows, it actually grows from a flower, grows from a flower that drops off. So it's like this. And then it gets, it said goes like Mr. bulbous and then you can go like this. Then finally we go like this, and this is the growth of a pumpkin. So that's basically what we've got here. Now we can come in and change the actual base of this pumpkin. So in other words, if I grab this and let's say I want to move it so I'm going to press G it out yet, press the top bar. Now you'll see this is how the pumpkin finishes and we can still alter it in this way. That's really good for us because it means if I go back now and just pulled up by, if I now make another pumpkin. So I'm gonna come in and make a few of these. Let's say how many D15, something like that. The good thing about phone Kinsey's in this time, fed a lot of people. You can make a lot of things often, very, very versatile. So let's come to this pumpkin first. Do is I'll make it a little bit smaller. Then I'll call them grab the top and then we're just going to it all like so what I'm trying to do here is just make the pumpkins a little bit uneven. Like so because I don't want them even hold that stop Pinchot. Now let's come to the next one. I'm gonna grab both of these. I'm going to make this one a bit fatter, so I'm going to press S and Y and you can see I still got my normal arm, so I'm gonna turn that off. I want to put it on medium point and I'm going to press S and just pull this one out a little bit. Maybe on here as well. Make it a little bit fatter on the edges. Yes, something like that. Make it a little bit smaller. Now let's come to this one and we'll pull this, will make this a little bit bulbous, maybe something like that. Let's pull it out on this side. Like so you just basically what you're doing is you're just making them look very different from each other. Let's make the top of this pumpkin is who can come in all different shapes and sizes. That's another good thing for us. All right. Something like that. And then finally, I think this point cane, probably the bit semester, Let's go the other way round. So hold shift and click. Let's press the spawn, bring it in and make it something more akin Latin. And you can see they all look really different now. And that's exactly what we're looking for. All right, so that the pumpkin is done. We've got the shape keystone, everything like that. Now we can actually stop putting them into the garden and actually start animating them out. We also need to make sure that not only are we doing the growth animation of them, we also need to make sure that they change color as well, because pumpkins and not orange, all the way through each slide, the style, our same color and the change color as they go through. All right, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. 80. Pumpkin Growth Animation: Welcome back, everyone is blend the three, the ultimate medieval seeing costs. And this is where we left off. Now let's get out pumpkins into place. We know that roughly the right size, you might want to make these absolutely humongous. I think. I might make them. I don't want to make them new movies. I think I'm happy with this size actually so well, there is bring them over now. Where are they going to be or roughly where they're going to be and put them into place. You want them to. Scott talked about they don't grow in perfect harmony. Like like your crops or anything like that. So I'm just going to put them where I think I want them first. So let's just grab this one, g, g, g, and maybe this one over here, something like that. Now let's spin them around because of course they're not gonna grow like this even. So I'm just going to spend this one round. I'm gonna also spin the swamp round, something like that. Press G, just bringing it up and both press all and Zed, Just turn it round and I'm going to find them out. So don't worry, I think on this one actually probably to grow similar to where it is now. So let's put it in. Yes, something like that actually might be fine. And then this one, I'm gonna spend round and then all all x, something like that. Let's put it into the ground a little bit more. And then this one, Let's make it a little bit bigger. I think this one press, press and bring you out. And this one's going to be a fair size one and then r and y spin it around like so. All right, so that's looking pretty good. Now what we need to do is we need to make sure that the base of the pumpkins now is flat. In other words, we don't want these round based sticking on the floor of the needs to be pushed off. So welcome to this 1 first. And then what we'll do is welcome to the base. And you can see that this one is quite far into the ground. Do we really wanted that far into the ground? The biggest pumpkin are, the more it will be pulled down, squished into the floor. That's where you need to remember. I'm gonna do is I'm gonna come now, grab this one. I'm going to press G. I'm going to bring this out and just push it all. He's actually stoke on the ground. And then one way to do is I'm going to pull it down now. So I'm making it look as though it's actually on the ground, not actually stuck in the ground. That's what we need to do. Let's come to our next pumpkin now and do exactly the same thing. So g, hello, old settlements of looking at that and then we go, that one looks really, really nice. I don't want something that let us come to the next one. Again, we're going for realism. That's what we're look involved. Let's grab this one plus G, bring it in. It looks like his south on the ground and not one dose. And then this one, this one might actually be okay, Let's bring it out. We'll bring this one out a little bit actually. So what I'm gonna do is I'm going to bring it unfold. One's got a low weight to it, let's say like so. Like so, like so. And then I'll grab the whole thing, g, pull it out a little bit. Just try and get it. Sorry, section the flow. Now one looks really cool like this one I think is narrow enough. Fine. Whoops, let's grab this one. G rabbit here. Microscope. All right, So those parts done. Now of course we need to make them grow. So let's go over to our layout. Let's press dark because we add our pumpkin or thoughts I did mine do whenever let everything low dope. So let's press. Yes, there we go. There's our pumpkin. Let's put it onto object mode so we can see what we're doing. Now on 0 of course, while on wall. Now we'll do is we'll actually call them Where don't want this on this pumpkin to finish growing. I'm gonna put this one on 650 or around about that because I don't want I don't want them all finishing at the same time as well. So 649 press the eyeball and location rotation scale. Let's come to the next one and we'll put this one. This one, this one's a bit bigger, so we'll print end in about 690. So I rotation, rotation scale. This one's a bit smaller, so operate round 600 miles. Maybe I location rotation scale, this one a little bit less, eye location rotation scale. And this one then is a big one. So we'll pray it to 700 false, something like that. Location rotation scale. Now let's go back to frame one will come to this 1 first and we press tests followed by 0 on the number pad, and then press i location rotation scale. We're just gonna do that then with the rest of them. 0, location, rotation scale. And you know exactly what we're doing here now I think we're making them grow. The last 10 location rotation scale. And now as we bring this POC chins stop to grow, not in the way that we want. So we definitely don't want them like this. So at frame. Let's say 200. We definitely don't want to grow in like this. So what I wanted to do is I want to come now to my Shape Keys and the basic one to, I think it's the main shape of the envelope. We want some green like this last sequence and this one down as well. Yes, something like that. So that is basically how we want them growing up to frame 200. I'm going to press I and go to this shape key press I like so now let's do the same with the others. So welcome to this one. And we'll just pull them into one. I'm going to press went to a party on to 20 on this one just to make it a little bit different. I don't want them grind the same way. And then this one, I like, so do the same with this one. And also you've got to make sure you can see him float and you definitely don't want that. So we're going to solve that out as well. That's always something that you just need to check. So let's pull them out. It may be to 09. Come to this one. This one. Let's come to the others. I'll put this onto 21, like so. And I think we've got one more left, so we'll put this on 196 because I'm from one different ones as well. Does mean not the short grow at different rates to the final Paul. Now if I come in and I press space bar, then they go, don't forget, we need to pull them down because there will be floats and let's double-tap. And you can see the stall out like this. Little bulbous flowers that they'll then as they continue to grow now you can see that they're not gonna be the final shape key because all we've done is set the size of them, so they're only going to go to the size. You just got to consider that. Like soap. So the green line not at the moment. So now we need to do is just the final sizes of them. If we com thing, we had one of 700, something like that. So I'm going to go to 700 and I'm gonna grab this one. And I'm going to put these back. I think there needs to be Let's have a look. Yes, something like that. So I'm going to then hover over it, press I and I, come back to this one, then you can see this one's at 600. So I'm going to pour it public somewhere like that. Grab this 00 and then I and I come to this one. This one's here, so I'm going to print back. I'm wondering, Oh, I can actually do it that way. That's makes it easy. So i and I come to this one like so. And then finally, this one. I like. So now we just need to fix the floating. Let's come to here. And based on what I wanted to do is I want to bring them all down to the ground. So let's bring this one down first. I'm gonna make sure that as it comes down, it's going to be plumped into the soil. Like so I'm going to press, I am going to pray on location. I'm going to grab this one then put it into the soil. Location. Same for this one. So I location. Finally this one, Let's put it in the ground. And you can also have them rotate them around as well if you really want to go to town and went to put this one a little bit more. I'm actually going to rotate this one round as well, so I'll y and let's rotate it around so it actually moves as it gets over. So location. Now let's put it on 0. Let's say how these grow. We had to go. I don't want to say any floating as well. I'm looking forward to making sure you can save that as well. This one is still floating, still floating around on the ground. It's only until their way they start off. All want to do is I, I'm gonna get down to now. I rarely, rarely small point and just make sure that the role in the ground because I really don't want him floating. So what I'm gonna do now is grab. And in fact I'm going to come out and grab them all. So I'm hoping let me just go back and make sure we're gonna press seven square over the top because while I'm worried about yeah, They all coming from the right place, so that's good. So I'm just going to put them now really, really small and bring them down to the ground, down into the ground so that just poking out there as you can see and then press i location. Now doubled somebody I trust spacebar. I'm hoping nothing is going to be floating out on them. I'm just going to move in. There comes one. He's not floating now. Let us see them go all the way now. As you can see, it's still got that bulbous part of them. It might be a little bit too far. I'm there actually now you can see the game really, really far. Like so. We can see now all we've got to do now is probably get rid of that bulb, which is probably they're a little bit too long. If I bring them back, let's say Let's say two here. Yeah, we don't want them all changing at the same time. So if we grab this one, we just come in now and just change it a little bit. So if I come in now, think it's no, it's not that one. Let's change this. There it is. This is the one that we want to change. So it's gonna be this. So I'm gonna press around 250, we're gonna make it. So let's put this one around 300. Then we know it's this one. Now we're going to press, I am going to grab this one now. 200. Press I, and then we're going to come to this one now around this, I'm gonna press I. And then finally this one. When the round, let's say 300 on that one, bring it down, press I, and now let's give me one last try and let's see what they actually looked like. Double-tap the Hs so we can save. There we go. You can see the quiet boldness again. As we start to come to that 200 mile, you can see the milestone to find NEP in different times. Now the granulate like pumpkins, the garden like there's like a narrow kind of a. Now as we get older, you should be able to see the nice groups and the nice indentation calm as though they're being blown up like a balloon. There you go. There you go. Realistic, great pumpkins. Now what we need to do on the next lesson, next, we need to bring in their actual textures and materials for them to make them look realistic. And then finally after that, we're going to add in some leaves as well because pumpkin leaves are actually a little bit different leaves around it, so we might as well do that. And then finally we've just got that smoke simulation to do. All right everyone, So we're getting that not long left now. And I hope you really enjoyed it so far, and I hope you're going to carry on enjoying the rest of it. Thanks. Bye. 81. Animating Pumpkin Textures: Welcome back everyone is a blend of three, the ultimate medieval sin cos and this where I left off. Now let's come to our pumpkins. And let's come to the first one and we'll put it onto material milk. And then we'll see exactly what it's gonna look like. And then we're gonna bring in material. I'm going to come in now with my material. So I'm going to come in. I'm just wondering where all these pumpkins all I think they're all here. Yeah, they only are all. Let's have a little while I managed to get phenomena. That's not Sphere, don't really, that's the water simulation. Just wondering, yeah, They alone. All right, so we've got severe phase six. There we go. Let's put those down. Let's put them down here, hopefully. Yeah, there we go. Now we can close that. And now I can make a new one for my sin collection just so it's all nice and tidy as we know. Alright, let's call this pumpkins. Like so. Let's do that correctly. So let's ground, Let's rename them. So I'm gonna call it pumpkin. I'm also going to just copy and paste, so Control C and then I'm going to press space one. Then I'll do the same on here. So Control V, Control V, control V, It doesn't map out the L1 as long as they know what. A pumpkin, alright, something like that. Grab them all, drop them in place, close. Oh, alright, so let's come to the first pumpkin and more calm. So I'll materials, you can see, that's not it. There we go. First of all, new, let's call it pumpkin. Like so. And then what we're going to do now is let's put this on one. Obviously we can't see the color, in fact, well, on 800 because then we'll see the final cola and that'll make it easier for us. So I wanted to do now is I wanted to go to my shading panel. I'm going to grab my principled press the double bond to zoom over to my pumpkin. The moment is I'm going to press Control Shift and tik. My principal Control Shift T. And then I'm going to go to my references, click up and come to my textures, looking for one that says pumpkin, which is this one here. You can see regard leaves here and the rest of it is pumpkins. So let's grab the mole, bring them in. And there we go, beautiful pumpkin. Know what we want though? What we want to do is we want to pull this over, pull this over. And then what I want to do is now I want to bring in a Gamma, a hue and saturation and another you in saturation. That's how we're gonna do this one. So Shift, bring in a Gamma, like so. And let's then bring in a hue and saturation. Unsaturation unless bring in another UN saturation. Like so and drop by in that. Now let's zoom in a little bit and moments do it. So we're 800 long. Windsor is I'm going to put the value of this on null 0.7. Turn that down a little bit so you can say one word to do is I'm gonna put the FAQ on. This is a fairly consistent, as you can see. Now, the other thing is, I'm not actually happy about my shininess on this. So what I'm gonna do is I'm gonna come over to my roughness. I'm actually kinda grew up by you in saturation public counters shift D, drop it in place like so unless put this on no 0.6. There we go. Turn down that roughness way, way too shiny. Now let's come to the hue and saturation of the final lobe, basically of the pumpkin, I'm gonna do is I'm gonna put this on note 0.950. Then I'm going to have a look at this while it is on random view. So that's what he's going to look like. Just make sure they actually happy without the logs. Now don't forget, we've got our song that's probably, probably a little bit too bright at the moment. So let's command where. Whereas awesome, Let's find, let's close that. Close a bold simulation. Close the PowerPoint chins and light the sun here. Let's just turn it down to something like two instead. Let's just turn that to 0 and see what that looks like. So we're lend the HDRI, do the whole of the work and it's probably a little bit to where it's probably enough right. To know. So let's put 1.5. And so that looks like, yeah, probably 1.5 is going to be much bad. Now I'm doing is I'm just coming around to my pumpkins, just making sure that they look a lot. You can see the color rarely, rarely looks realistic now, I'm really happy with the actual color of them right now while I wanted to do is I want to come on. And put the color down onto white is going to be closer to when the actual pumpkin growing. Of course, I wouldn't do just for this now. I'm just going to pull this out just a little bit like so. And then what I'm going to do is I'm going to click this down our problem, a dope sheet and know but don't shoot. Sorry. My whereas it my timeline. There we go. Timeline Dope Sheet, something completely. Well, it's not different. Boids, something that's a bit more technical. So let's now bring it down. We can see them grow in and things like that. Let's put it on 0. And then what I'm going to do on one sorry, a moment to do now and went to mess around with his urine saturations. What I'm going to do is I'm going to put the EU on no, 0.7. I'm hoping actually did I change that? Let me just think. I need to go back to wait on good. Actually, that's quite silly of me. And find out 800 and I'll come to yes. 6 six hundred six hundred well ago and then one way to there I forgot. I'll just press I just do actually keep those in place. Now, let's calm to frame one. Unless change these now a little bit. So frame one, frame 0, it doesn't really matter. It will put the, you know, 0.7 did no 0.7. We'll put the saturation 0.650, and we'll put the value 23. And we'll leave the FAQ. What TAs, and then we're gonna do is I'm gonna press I and I. And hopefully now as I press Play, I'm going to probably put it on just the material just so I can see. Unless press Play, I'm going to double-tap the a. And hopefully as this grows, it should be a nice drink. Colors while they are at any should go to a nice yellow color as it goes. There it goes. It's grow in. Yes, that is exactly what I'm looking for. So now it's that nice yellow color without actually having to do anything else. And as it carries on growing now, it should become a nice orange color that is actually realistic to what pumpkins grow like. The color they go me. As we go up to here, you can say it goes that nice, beautiful orange color. Yes, that's exactly what I'm looking for. All right. So now we need to do, we need to come to our next pumpkin. Then all I need to do, click the down arrow. I'm putting PQ pumpkin, next one. Pumpkin next one. Then the final one. Like sir. Alright, now I'm going to take this off rate because I don't really want this in my shading panel. So I'm gonna do is we're just gonna pull it over to the right-hand side, simple as that. Let's go back then to lay out double-tap, like so. Alright, so now we've done that, let's actually save it out. And then what we're gonna do now is we're going to actually create all pumpkin leaves. So first of all though, let's come to political system and let's just turn on our grass double-tap. Just so we can see what we've got to where we are. Let's have a look from rendered view just to say how much grass is round. You can see it's a little bit of grass round yet. And we're gonna basically, we've got a little bit of grass and ears. You can say, well, we need some pumpkin leaves just to really fill this out and make it look realistic, looking a little bit borrowing at the moment. So now what we're gonna do is we're gonna impulse these leaves again a little bit as we did with all the leaves. Let's put it on object mode so we can see actually what we're doing. We've got our cursor over it. I actually need to parameter mode because then I'll be able to see wondering shift day unless bringing in a empty know an image, sorry, images, planes. And then let's go and find that pumpkin which is here. And this is the one you want to bring in your pumpkin leaf. And hopefully, yes, there we go. All y, sorry, x 90, spin it round and I'm hoping it's a go-to resolution. Sorry. Yeah, there we go. That's exactly why one I want to be able to see through it. That's exactly what I want. All right, so I need to actually alter though. This obviously, as you can see, way, way too bright, doesn't look realistic. So we'll do the actually on the next lesson, we'll start working on these pumpkin leaves and get those in. And then finally, we've just got the smoke went out of the chimney. All right, everyone, so hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 82. Creating the Pumpkin Leaves: Welcome back and runs blend the three, the ultimate medieval sinkholes and this is where we left off. Now what I'm going to do is I'm going to get my leaf and I'm going to actually go into my shading panel. This is what we showed up at the moment. So let's split this over here somewhere. Press the dot bond to zoom into my leaf. Probably. I'm going to just pull it over just for now because I want it to be really near my grass or can actually get a good idea, press adult bone of what is actually going to look like. So let's first of all, we can say that all base is first of all, very green. And also we've got some white patches around it as well, and we don't want those either. So let's first of all, bringing a gamma, so shift they search gamma, drop that in there. Let's put the gamma on three-point to darken it Raphael pillow. Then you can see already that's making a huge difference. Let's then move them. It's arrow output over here somewhere. Let's bring in a calorimeter, so shift a color, drop that in that, let's say bring in a mix shader. So shift a mix. This is just a very, very simple shader. Going to drop that in there. Then I'm going to bring in a transparent shift, a transpiring be SDF dropped ions and he hit. And then finally what I'm going to do is I'm going to where you can see now they're already starting to look like it's just not quite yet. So let's plug the color into the FAQ of the mix shader. We know what we use in this fall, we use needs to get rid of those y as we bring this down as we can see, and then we can bring this warm, this one. I'll make it pop. And then we can also come in and turn this down. Now, cloud that's not actually working. Nothing wrong way round. There we go. There we go. That's exactly right one. Let's put this back on white or a little bit gray just to make them comb? Yes. Something like that. I think. Let's have a look. Let's turn this down. All right. Now I'm looking now for the color of these. Ama. Happy with that. I don't think so. I think I'm still not good with this, so I'm gonna bring in a huge search, hue and saturation. Let's drop the end, Let's turn the down. Like so. Maybe not boundless tend the value. Yeah, now we're actually getting somewhere now it's really starting to come together. All right, I think I'm happy with that. I'm not doing this white line is not wireline going to be around them. That's the thing. If you zoom in, let's put it onto yeah, that's that's looking a lot more realistic. The one thing is I think, I think it still needs bringing down the saturation just a ton. Like Bob. Now we rarely really fits. Okay, so we've got to leaves. Let's put it onto a material again. Let's move all leaf while we're gone to modeling as well because I'll make it easier, don't like so let's move all leaf over here without proportionately to none. Then the last thing we want to do before I continue putting on some material, and what I wanna do is I actually want to, first of all, press control law and bringing a few edge loops and then control law and a few edge loops this way. Then I'm probably going to just put your owl basically because I'm not okay with it being a whole one of those. So I'm gonna come in with my knife tool. This is another technique you can use to actually make your leaves and foliage look a lot that I just caught them owl will add onto the amount of polygons you golf ball does make them look a lot that something like that. Press Enter. And now let's come in and get rid of all of these pumps. And then delete faces, you should quit that. And now we're gonna do is just bend these a little bit. So I'm gonna come in, grab them, press the G born, just bend them out, making them look a little bit more realistic. Like so. Especially because these leaves normally bend up and around like I'm doing here. They wouldn't normally be so flat. All right, I'm happy with that. Now the next thing I want to do is I want to actually set My where this comes out. So I'm gonna grab this one here, press the G bomb without Portland. And I want this to be where my orientation set. So cursive select it, press the Tab Bar, right-click, Shade Smooth, and then right-click set origin to actually reset control leg or transform. There we go. Salary 3D cosine. That is exactly one-to-one. Now you can say, that's looking really, really nice. Alright, so we've got that bit. Now, what do we need to do with it? Well, we need to make a basically a tangled vinyl, something like that. All I'm going to do is I'm going to bring in a cave and we're going to bring gain I Path. And let's use that actually, I'm gonna make it smaller, like so pulling out this way. Now let's come in and actually rename this as well. So let's find its called pumpkin leaves. So that's actually fine. I've actually renamed it. Let's bring this out. So I'm gonna come in to my geometry and bringing out the depth of this, like so. And then I'm going to come in now and move this around with j, just to bend it around a little bit and make it a little bit different. I'm also going to go in and press and subdivided. And now you'll see that we've got a lot more variation on it. We can also come in and press Alt S, just thin it out towards the end. So like this. And we can also use proportional editing. I'm really thin out towards the ends. Like so. Because it's a little bit too thick of the moment. So something like that, I think looks much, much back. Can we probably enough value? Dark, windy, something like that. I think it's absolutely fine. Let's also pick it up as well in places. The different un unless straighten it all out little bit just so it's not too much. All right. Yeah, that looks nice. Now what we can do is we can just turn down these because we don't really need them. We want them and the more jagged actually, so I'm really going to turn that down. I'm also going to turn down the resolution, probably one, something like that, because I find it makes them look actually a little bit bad. And then finally what I'm going to do is I'm gonna come over to object, Convince, and Convert to match. You shouldn't innovate something like this. Now, the next thing you want to do is you want to bring in, basically could probably get away with this on here, but make it slightly different. So what I'm gonna do is come over to my materials panel. Click the down arrow, unless put it on, I think it's called crop. So let's have a look. There we go. Crop leaves. This is how this one looks. I'm going to click the postponed new. I'm gonna call it a pumpkin stem. Like so. And then when I click on this one, coffee material, paste material to the next one, like so, minus this one now, and then let's make them more akin to this color. So you can say the moment these are a little bit, Let's have a look in. You can see they're a little bit to wear dog. So let's go back to shade in two likes or they just wait to live. So let's go to shaded. Let's put it onto render view, and let's zoom in and zoom out here. And one window is, first of all, I'm going to just save and can actually grabbed a notepad and put it on a dark part of it, like so. And let's have a little that looks like I feel that that's still not dark enough. So I'm gonna come in and just make it darker. Double-tap the eight. I'm going to also make it a little bit of a different green. There we go. Now that's located much, much better. I'm also going to make sure if I grab it, I'm going to shade smooth, like so. All right, but what's happening? There we go, That's looking much, much bad. Alright, so back to maudlin. Then what we're gonna do now is press the top bone. Let it load up, press the top one pulsus biochar material because we're not going to need it on render at this point. And then what we're gonna do on the next lesson is we're gonna do pretty much the same thing we did before. We're going to use a particle system to place these leaves are long, the sexual stem. Alright everyone, I hope you enjoyed that. Nearly there now, we should get the pumpkin patch, finish them by the, by the end of the next lesson. So, all right everyone, I'll see you in the next one. Thanks a lot. 83. Populating our Pumpkin Patch: Welcome back and run to blend the three, the ultimate medieval seeing costs. And this is where we left off. So now let's come to our stem, our pumpkin stems called nibs pop. So let's call it a pumpkin stems. Leaves. Like so. Then what we'll do is epistatic. These all in Pumpkins. Yes, they also won't be fine. So the pumpkin stem and leaves, Let's come over now and give it a particle system. So plus, click the little arrow, and then we'll call this pumpkin stem leaves. Like so. There we go. Now let's command and put this on hair. We want to put advanced on, we wanted to put this on something like 20. For now, we want to come down and where is path? We want this on object. And the object we wanted is this. Here. There we go. Something like that. Absolutely fine by you from the non-growing in the correct place. So what we need to do is I need to change. Look if it's just looking at it's done. Which is the one that I need to change. It's definitely one of these. I'm going to first of all change the scale like so. Then I can see that there's still not growing from the place that I really want them to be should really be growing from the air into the actual stem. So let's have a look and change where they're growing from, emitted from Dr. volume and there we go, That's actually getting the volume and now I need to rotate them around. So let's have the rotation, randomized rotation that's not working yet. There we go. Now let's bring the phase. Ok. There we go. But they actually grow in the wrong way round at the moment I feel like it should be further or PMA be telling you the way. I mean, so let's put them the other way round way, this way. Like so. Yeah, there we go. Now let's come in and give a few more. Like so. There we go. That's looking much, much bad. Alright, so I'm happy with that. Let's make sure we don't need to randomize them had been mol so political face, something like that. And then I'm basically just playing around with them in the moment. I need to randomize this scale, as you can see, bring up the randomness holding shift. So yeah, I think that's looking pretty good. I'm just going to put it onto where rendered view. Just to see what they look like. Think that's looking really nice. Now, I'm going to actually change this now because I think I'm, I don't think I need to mess with us anymore. Now. All I need to do is I need to come over and make instance real. And then I need to just go to this stem now, grab it, press the Aldon minus off the political system. So minus it off. Hopefully. Then we should end up with that. Now we should be able to join all of these together. So be grab it all control J joining altogether like so. This is turned into that, which is absolutely fine. I'm going to put this will make it smaller. It's not really going to do anything. I want to put this underneath. They're like to do with everything else. I'm going to put this and call it the pumpkin leaves a template. I'll call it template. Like so. Alright, so now I need to do is I need to bring this. I'm just going to use this over here. I'm gonna put this underneath as well. Don't worry. What we're gonna do now is we're gonna call back to, I'm just going to lift it off a little bit back to our actual grass. The one thing I didn't forget as the orientation, it should be actually here. That's absolutely fine because we want this to be relatively flat to the ground. I might need to move it down a little bit more because it depends on what's going to go around here. So let's just save this, come back to our ground then. And then what we're gonna do is we're going to click Plus Nicole, they said pumpkin leaves, like so. And then I'm also going to click Close on here and call this pumpkin leaves, like so. And then I'm going to come down and bringing my pumpkin leaves. I love it on a 1000 and I'll come down to where it says, Which one is an axon hair. We want it. Where is it? 1.50? No object on the object we want it on is this thing here. I can reach it. So let's double-tap the a. We don't need them. So let's object is this one here and there we go. Starts off. Pumpkin leaves. So as a site we might need to move these around because they don't look right on the moment. They also the size. So let's change the scale up like so. Let's change the randomness of the scale up. Like so. And now let's rotate this random minute. So if I grab it with can I rotate it around my mouse? Yeah. Yukon, you have to rotate it around the other way, so I'm gonna grab it all. Grab this one, this one top. And I went to just pull these out illuminate. And as you see as a pull those out, it's doing that. I don't really want that. So I'm gonna press tab, pulled them out so I can see what I'm doing now press tab and now we should be able to rotate them. So all y, Let's have a low cow. We rotate this round the right way so you can see the rotates around that way. Let's pull them up. Let's press Tab now. And there we go. That's exactly what we're looking for. Okay, so that's looking much better. Let's call it rendered on before we do anything, Just making sure they're exactly the way we want them. There we go. That's exactly what we're looking for. Now that we need the rotation to be the other way as well. So that's the only thing. So if I come back to Milan, double-tap, and now we'll come down to where advanced this. And that will give us hopefully rotation. And now we can turn off the face. There we go. And now let's pull a randomness phase in that. There we go. And then this one random as well. And there we go. Now you can see that looks much, much fat. Now I'm just looking at just to make sure I'm happy. I think they're floating a little bit too high above the ground. So again, I'm gonna come to here. I'm gonna press tab. I'm going to just grab all of these now. So I want to grab all of these hopefully. Yeah, convex you grab all those. So I'm gonna grab everything. I'm going to pull them, I think this way into the ground or the mall top. Now there should be onto the ground a bit more. All right, I'm happy with that. That said it looks as though now that the tangling around. Now the final thing that we need to do is we need to come once mall to mall ground. We need to come to here and we need to say another one, pumpkin leaves. So we'll call it pumpkin leaves. Like so. Then what we'll do now is we'll come back to our political system, come down to where our densities, unless Bramson can leave. Pumpkin leaves, pumpkin leaves. Pumpkin leaves. Now, we can go to, if we double-tap the egg, we can go over it too. I'll wait painting. And we should be on pumpkin leaves us have a look. We're also on rendered mode, which doesn't help. So pumpkin leaves. And hopefully, I'm hoping now if I come in, There we go. Not quite a strength I don't want is so high, I wanted very low. Actually. Let's bring in a few pumpkin leaves and once and for all of these in, I can increase the strength up. I just want to see what they look like. So something like that. Alright, so let's then put it onto object mode. Now global dialogue like and you can see they're not quite come in there. We wanted them because the strength, I need to put it on a 100 straight off, I think just so I can say RNA to reduce them down and change the scale now. So I'll actually try doing that face. I'll come back to my ground. Back to the particle system. Let's put it on 20, something like that. And now let's really bring these open on the size. So the size is whereas the size gone. You can also bring up on the size on this, but I don't really yeah, actually, I could bring you up on the size on that. So let's double-tap the eye and I will look at that. Yeah, not actually might be a bad way to do it rather than the other. I'm still going to mess around with the size though. Scale there we are. Bring it up like so. I'm bringing that one down just a tad, like so there we go. Is that too big? Now, when I print my render view of what small, just to have a good look at what it looks like. There we go. That's that's a tone that apart from the size, may be a little bit too big. So let's pull it down. Just a time, timelike. So, alright, that's cold. Now let's put it back on material. And finally we now we can come in with white paint and then we're going to just paint a few more of these. Like so. And I'm hoping when I've done this now it's going to look absolutely. I'm just going round leaves and states I'm messing up a little bit. I don't know why that's happening, but hopefully they're not gonna come like Amanda can mess with the size halfway in between. In the end it's going to look fine. Hopefully. We'll get that. I'm just going around these ones as you can see. Not just fill out this a little bit like so. All right, let's put it on object mode. They've got like that, that's not exactly what we wanted. So now I need to wear they'll deny a little bit more and then pull them down. So let's pull them out, load them all. So unless bring the scale of them right back down, something like that. Unless I have a little that looks like I'm rendered mode. Let's zoom out a little bit. Happy with those. Let's bring in a few more. Let's try 100. Yeah, that's probably too many. Let's try 70. There you go. That looks absolutely a really, really great, I'm really, really happy with how those out. All right, let's put it back onto object mode. Let's now File and Save. And then what we'll do on the next lesson is we'll bring in our smoke and I'll turbulence. And finally then a non-smoker, our wind turbulence. And finally then we can actually crack home with the actual smoke simulation. I'm not gonna say it's the hardest simulation is how the simulation, because it's called the biggest chance of messing up. It's more than the water simulation, but apart from that, it's not that hard. Anyway, let's bring this down now because I can pull this out of the way. So I'm just gonna put this onto that. Like so. All right, everyone, so I hope you enjoyed it. We're not far off now. Probably five-sixths lessons, something like that maybe, and then we should be finished. All right, everyone, I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 84. Creating Wind & Turbulence: Welcome back and run to blend the three the ultimate medieval sinkholes. And this way we left off. Now the scene wouldn't be complete without a little bit of wind. So let's bring that in. It's a very easy process. And then finally, we'll move on to the smoke. The other thing we need to do is a little bit of tightening. You can see we've got a little bit of Coke going through their neural. Let me get my words out. Always best to actually doing that right near the end. Because once you actually call this away and you're unfortunately unable to change your hay and things like that. Same with the leaves. You're always better off looking. If there's any leaves like this one here, you can stick out. It looks kind of a bit funky. Maybe this one here, I'm just cleaning the actual place up a little bit. Also make sure that when should finish that everything's in place, that it should be. You can see here, I've got pumpkins and if I open the open the envelope, I'm just making sure that everything's in there. I've got everything is basically in the place where it should be because then it's really easy for any comeback to the scene if you want to take something out of it or if you want to put something as an asset and things like that. So always, always try and keep it at tidy scene. Let's first of all, bringing in wind. The way we're gonna do that is we've got cursor over here the moment I'm just going to press Shift S and just put my shift right-click, sorry, put my cursor there. Then when we went to do is I'm going to press Shift a and come over down to where it says false field. And under here, you'll find a wind, bring you in, then let's spin it round. So all wide, 90, and it doesn't really matter which way the wind ACE so much. It's all about how it's actually placed. So in other words, I don't want to know when to just go straight across here. I want it to probably come in the direction, something like that that also interacts with your actual smoke. So there is not to bear in mind. Alright, so now we've got, when I went to pull it out a little bit, just so I can actually say it. One way to do is I'm gonna come over to the right-hand side and you'll see you've got this wind icon here. That's not the one-on-one. I want this one here, which is our wind. And you can see we've got strength and we've got flow. I want to turn my strength up to something like five. So I'm gonna turn it up quite high. And you can see there now, let's actually had some interaction on here. What if I press space bar, you'll see nothing actually happens. Nothing's actually move in. And the reason for that is because all it's done is it's put the grass basically facing against the wind. If I turn this down to something like one, you'll say actually goes back and there's not a lot of actual strengthening. Let's turn it up, something like to just have it a little bit of a wind. And what you need to do to actually make this when work is, you need to bring in something called turbulence. So the way we're bringing turbulence exactly the same way as the wind. We press Shift a and then what we do is we come to where our false field is. And you'll see one every come down that says turbulence. Let's bring that in. And it will come in a bit like an actual entity, albeit when I move this over, move this with the j. You can see now that my actual grass starts to move. Now basing on how I you've actually got your wind SAT, is the amount of turbulence. So you're going to get now bearing in mind that went to move this. You can see, hey, if you look very closely, you'll see that the actual he moves. You'll see that show graphs moves. And you'll see the actual leaves move as well. So everything moves. And that's really great. That's exactly what I wanted. All right, so what I want to do is you want to call them and turn you window probabilities about 2.5 just to give it a little bit of an extra strength. And then what we're gonna do with this turbulences, we can either have the wind blowing this way and then going back and making a lot of turbulence, all you can simply move it just straight across the same I'm going to do is I'm going to try putting it here. You can also see the strength of all turbulence. And what that is, what that basically means is, you can see here as well, there's a noise amount. You can put this noise amount up slightly to something like null 0.1. What that does is it basically turns the turbulence on and off on and off really, really fast. It's the same as what was strength those it's how much actual wind goals that will be. This is what the turbulence is actually doing. So now if I move a little bit, you can say there's a lot of interaction in our graphs. Now, I would suggest that you don't actually put too much turbulence in there. You only want it very, very slightly, in my opinion. Now the other thing is, you can also come to say your grass, go over to your political systems and write down near the bottom. You will see that on the field weights you've actually got a way of controlling how strong the turbulences, how strong the actual windows and things like that. So you've got a lot of control down here as well to actually make it stronger on, let's say the grass less strong on the hay, mole strength on the leaves and things like that. All right, so let's go back to our turbulence now on how to actually get this to work. Let's come over to layout. What we'll do is we'll put it onto one. So let's put it on one. Let's zoom in into our actual turbulence. And what you want to do is you want to basically move you to, uh, billions from here over to here, and then maybe over to here. I'm gonna press location rotation scale. And then when we went through now is I'm gonna move it over to here. And you'll notice when I moved out with if I move this now, it's going to pop straight back. And that's because we've actually inserted our key frame. Let's think we're going to want to take probably, let's say around 300. So we'll move it 300. I'll move it over here. Like so. And you can say, let's say how fast, so location, rotation and scale. Let's put it back. We're on object mode, soprano GMO, because then you're able to see it very easily. Now as you move it, that everything starts to move. So he leaves moving and things like that. Now what you've got to think is that too strong? I think it is. I think it's way, way too much turbulence. So what I'm going to do is I'm going to grab this and I'm gonna put it up to 800. And then one which doesn't want to come back. And I'm going to press play again. Now you'll see it's much, much more gentle. Gentle enough for you. Again with leaves and comment attendee, turbulence down all the wind down? Or is that okay? Period. I actually think that this is really, really nice. Just going from there to there. It gives us a really, really nice goals of when they can see the grasses moving in different ways, but mainly going in the direction that we want. That's basically what we want. And you can see as well how easy it actually as to where to bring that in. Alright, so what we need to do now is you need to open this. We need to call them to turbulence and our wind more I'm going to think, I'm going to put them into, is this one here that I created lights and wind. So let's grab them both. Let's pull them up, put them into Lightroom when let's close that off. And now we can put this back and we should have a punk going. We should have the wall to go in. We should have the windmill going. We should have all our leaves and things like that move in. And it's going to look rarely radical when we actually call them to actually render this out. All right everyone, so that's that Paul. Now what we want to do now is make our actual smoke is basically the last thing we need to do. And the thing is that for the smoke, it's basically near enough, the same as creating our actual water. What I'm going to do is I'm going to come to my chimney first. I'm going to clean a little bit and then press Alt Shift and click, I'm going to press Shift S cursor to select it. And then what we're going to do now is I'm going to actually fix these bits before I actually carry out whenever in my domain and a brighten my actual smoke and I can actually fix those. Let's come in. Do the leaves there, so welcome to our leaves. And all you need to do is you need to just look round. So put it on material and have a look around at which bits are funky. You can say if we zoom in a little bit, in fact, we'll put it on Render view and I'm just going to give us a much better view, isn't it? Let's double tap the aim minute, and let's have a look round. So I can say, not too happy with this part here is you can say, I'm looking at this tree now, just making all the alterations that I wanted to. I think actually with this tray, I'm really happy to actually with our 1 eighth. It's this one here where I just want to take maybe this top civil look at this top up here. Actually. Does it look right? Actually looks kind of kind of gold. I'm just looking around. And now this fall though I picked tau. I actually think the trees for me, it's turned out actually right. Well, I will tell you what you can do in case you do want to actually alter it, is you just select the tree. We go then two over here I'm gonna pray on object mode again. Object mode. There we go. And then one went ahead and put it on particle edit. And now you'll see that we've got all these lines. All you need to do now is come to you, It's scissors. And you can just call them away a little bit. And what that'll do is it'll Coke down the branches for you, making them not so long. You just need to go to your trade and just call them down where you're not happy with them, just trim it off basically. And now what happens if I put this back on object mode? You can say that it's actually trimmed, all those done. You can say, for instance, like this one here, not very, I don't know if that's part of the tree. If you want to have looked at that or you need to do is just turn this off and now you can see the actual branches of the tree. So we don't want to call that white. Well, you Cocoa right away if you wanted to, but I'm not going to I'm happy with the trees. I'm going to hide those up way high, the tray out of the way. And then I'm going to come to my head and you can say it's split into two different parts. So that makes it a little bit harder. And then what I'm going to do now, again, I'm going to come to political edit. I'm going to come across and cut these down like so. And the moment I'm gonna pray on an object mode, double-tap the Uygur and just have a look if you're gonna get some sticking out, It's just we want to limit. It also makes sure that the sides, if you happy with the signs, I think I'll do I'll go in and actually fix the whole thing. Now the thing is mixed quite a bit tedious actually to do this. So what I'll do is I'll do that on the next lesson and then I'll carry on creating my smoke. All right everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 85. The Particle Edit Comb: Welcome back In Romans blend the three, the ultimate medieval seeing costs and this way we elect l. Now let's come in and fix this one. Then we'll do this 1 first. I'm going to press one, It's going to front view. I'm going to just call away the sides as well to women's political edit. I'm going to make sure that these go away. So go down, go down, like so, and then go across. And I'm just going to call them a little bit more and find that as well that if he caught like I'm doing here, It's much bad. It's a little bit more organic. Now let's put on object mode. Let's double-tap. And there we go. You can see we've caught some of these down. Now let's go over to the other side. So I'm going to press Control one to go around the back to exactly the same thing. So object, political edit, command called these down. Like so. Let me just come to here. Like so, let's put on object mode. And there we go. Don't make sure that you're happy with it, which I believe I am much happier with that. Now I'm going to press three and then I'll do this 1 first. So let's command, I'm called this political system. Edit. Sorry, again, I'm just gonna go round my chimney. I'm just winging it a little bit like so, and I'm just gonna call them so something like that. Object mode. Let's press three on the number pad, all control three. Let's go around the other side, grab the other one, and then I'll show you what it means. So you can see on the end, you can do all of these options the moment you can stop. In particular, did they disappear? And then you end up with disconnect, disconnect, all deleted it. And what you need to do is you need to disconnect the hat and then rejoin the head and you will be able to keep these edits. That's the thing. If you don't do that, you'll do these ideas. And the only way you can actually alter this then is by actually deleting the Edit. Alright, let's go to object mode. Double-tap the eye. Let me show the left with something like that. I'm pretty happy with other A's. Now let's bring put it onto a rendered view. I just wanted a quick lobe just to make sure I'm happy before I sign off on it. Happy with that one. Happy with this one now where it goes up to happy with the color, happy with pretty much everything on there now. Yeah, I'm I'm happy with that brush and I'm just wondering where my human stove, I mean, that I'm actually have a look. I just don't want him there it is. Let's have a look where it is. Let's press Dell and zooming. Okay is over here, Let's delete him. We don't need them anymore. There you go. You've gone. All right. Now let's call him back to object mode. Unless call now to actual smoke. I'm going to do is I'm gonna go probably back to model. And actually I'll make it easier. If a colon now to name our chimney, grab my house, press adult just so I can orientate myself around that and then won't want to do is I'm going to press Shift a and we're gonna bring gain a UV Sphere. Exactly the same area is what we did with Walter simulation over that. And then I'm going to press S and bring it in. I want to press one. So I've just got an idea of the actual scale of this, and I always make it probably round this side. It's very hard to say what size you actually need it without actually running the smoke simulation. So I'm gonna make it a little bit smaller. I would always err on the side of smaller rather than larger is what I would do. I'm bearing in mind the February pull this down, the more chance there is the smoke is going to interact with this. Now you can use a collider on this actual house for the smoke, it does cost more, lot more on the actual simulation because every single smoke particle will be actually banging up against this chimney. So in other words, I'm saying is we could stop the smoke particle, the smoke simulation all the way down in an average, just banging around and come all the way up. Now, that is going to cost a lot more. So that's the reason why I don't really want to do that. Alright, so what I'm gonna do now, I'm going to come across the right-hand side. I'm gonna go across to where it says fluid, even though it's not fluid, I want to type on here flow. And then one Wednesdays I'm going to call them and you can see it's already on smoke, just needed on an inflow. And then what I need to do now is think leave everything. I'm just looking at my own. I think they said let me just have a look at my own actually wildcard. Everything else should pretty much stayed the same. All right, so now let's create our domain. So I'm going to press shift a, shift a cube plane. I'm shifting mesh cube. And there we go. Let's just print them Wireframe just for a second so I can actually see the size of this. I'm also just going to hide the other way so I can actually see where my chimney is. And then I'm gonna grab my domain again. I'm going to press S, bringing out to probably something like here. Then what I'm going to do is I'm just going to move it slightly over to the side and then bring you like so the thing is I want much smoke because I know my wind and turbulence is gonna push it this way. So that's what I'm trying to actually have. The other thing is before maintenance a domain, I need to really call it out. So if I press S and X, pull it out like so. Now what I tend to do, and if DLNA is I'll press Control light, all transforms, and then right-click set origin to geometry. Now let's create this actually into a domain. So I'm going to do again is come over to fluid. I'm going to put this on domain like so. Now let's first of all pop this on gas. Let's put this on 64. I don't think we'll need to go to a 128. You can do that again. All you've got to do is bake it out and you'll get just much, much better smoke if you actually do that. So just bear that in mind. All right, so every thousand just going down now the options and look in, I want the domain to be on adaptive. They actually really helps when the smoked guide, if the domain is getting bigger, that's where it actually does. It also seems to speed up the actual process and make the smoke look bad. I don't know how that works. That's the way it works. What I'm going to do though, is I'm going to actually increase the margin of error. So if I increase this, it's called margin. And what it means is this moves out further. If you don't increase this, the smoke really, really bumps up to it and we really don't want that. So we wanted to move a lot further away and give a lot bigger margin. Not sure what this is based in. It could be based in pixels are not really sure, but you might need to increase this to get it to move away even further. Let's move down then the 12 things you do need tectonic is dissolved and noise. Let's open up, dissolve. Now the thing is about dissolves. If you hover over it, you will see it terms out quickly in the smoke dissolves. And that's basically where it does. A higher number determines how much more faster the smoke actually dissolving. And the reason you want that is because you don't want this to just fill up with smoke. You wanted to actually come and taper off and slowly dissolve. And that's what we're basically looking for. Alright, so let's open up our noise. And the noise again is, how much is noise within the smoker? In other words, is it puffing out or something like that, that you would get on a kind of stylized chimney ARM, something like a train or something like that. You might want it like that. And this is the timescale you can see of how many hours puffing out and the actual strength of it. If you want to do something like that, turn that on for us. We just turn it on just to give a slight recall in our actual smoke. And now it wants to do is want to come down and we want to set this, of course to a 100, like so then what we're gonna do, we're gonna change this again from replay to fall. And then I'm gonna come down and I'm going to leave everything the same. I'm just going to bake all that again. It's gonna take a little bit of time. And I think that smoke simulation is take a lot longer than, than the voltage simulations. I don't know why that is but the same. So just bear that in mind. If you if you put me on 928 or something like that. Alright, so I'm going to speed up this process now and on the back when it's done. Welcome back, and it's actually finished. So let's give it a try. So what we'll do is we'll come to our layout. And I'm hoping it's set to 0 because there wasn't anything happening. And if the press the spacebar now let's have a look at how all smokers actually working. You can say at the moment isn't actually rising as much as I wanted to. The one thing you'll find with a smoke is it doesn't matter. If you try and copy the same kind of things you've actually got, they'll always end-all very different from each other. It all depends on you when you turbulence and everything else, that is where it's all dependent on. What I'm going to do now is I'm going to come back on the next lesson. We're gonna mess around with a few of these options and I'll tell you what they do and try and actually get this going correctly. All right, everyone, so I hope you enjoyed that and we'll get it looking. Really, really great smoke and I'll see you in the next one. Thanks a lot. 86. Smoke Simulation Creating Smoke Shader: Welcome back and runs blend the three the ultimate medieval seeing calls. Now I've come back and if you actually press Play, you'll see here that nothing's actually happening. The reason is for that because I actually went to I actually messed around with a few of the options, seeing if I could get the smoked a lot right. If you have to do that, the problem is you've paid out. In other words, this has been saved to an actual cash the moment you save it out and reload it. Not cash doesn't work anymore. So basically what you need to do is you need to go in free and then you need to rebate out. Now we'll show you what will actually do is we will come in and we'll just for now put this on 32 or even 16. Let's just put it on 16th now. And then what we're gonna do is we want to reduce that right now, that if I take the salary should look a lot better. Now the other thing is I want to also come to the dissolve. I want to put this on something like 25 or something like that. And what this is gonna do then it's going to make the smoke linger around for much longer. I'm also going to click off this slow because what that does is it means that in the beginning, the smoke will disappear much, much faster and linger around much longer in the long run. I'm also going to do that. That will then do is I'm gonna breed bake out. You can see this is like the racist now, really, really fast because obviously we're juiced the actual in detail of all actual smoke down to 16. Let this finish out. Let's see what it looks like if it's going a little bit better than where it walls. And then what we'll do is we'll go in and actually give this a material. The reason we want to give it a materials, because at the moment if you try and render the sound, or you're gonna see here is a white bowl. And that's not what we wanted to say. We need to actually fixed up. There we go. It's actually finished. So let's see what this looks like. Now you can see as we play it, it lingers a lot, lot round as you can say, and it's looking Much, much better. The smoke, the problem is that you can see we do have a few problems. First of all, I can't see how far this smoke has actually going. The reason for that is because I've not actually gotten material. Let's solve that out first. And then we can actually say, if I come to render view, all I'm gonna say is a bowl. That's not what I want. Let's come to our material view. Let's then go into our shading. Let this load shading. There we go, unless they income to our domain. Let's give it a new material and we'll call it smoke. Like so. And then what I'm going to do now, I'm going to come in and delete my principled not going to need though, let's come over them. We should be pretty good with nodes now at this point. So let's hover over it, shift a and we're going to bring one and that's called an attribute. And basically this is going to tell blender that they attribute of this smoke is gonna be determined by the density of the smoke. That's exactly what I'm doing. So I'm going to do, I'm going to call them to the name. I'm going to write in density, like so and it doesn't have to be capitalized or anything like that. All right, now next I wanted to do is bring in a multiply. So let's do a search. Like so. And let's pull the plug, the fact of the mouth, sorry, of the attribute into the bottom of the map. And let's pop this value on 50. Again, we things like this, just create them as I'm doing. And then again, you can go into the end and actually mess around with them to your heart's content. Alright, now let's say grab this map, press shift D, and let's just duplicate it among and do it. And they're gonna get the volume of this and plug it into the top of here, turning the value of this down 2.3. All right, Now for the Maggi bit, how do we tell blended about the density? What we need to bring in is an RGB. We're going to press Shift a RGB. Like sewing, you'll end up with something like this. Why do you want to do then is just turn it down so we can end up with a smoke darker or lighter. So I'm gonna start with it's something like this. This will basically determine how dark the Smokies where it's thick, it an outlier is where it's actually likes it. So this is the actual pathway can mess around with. You can actually put a frame around it or something like that if you wanted to. All right, so now we need the volumes cancel and a volume absorption because they are what's going to determine how the lie actually passes through Osmo. What we'll do is shift a volume, a volume, sketch it, and then also shift a. And we want a search volume absorption. And this volume absorption is how you would actually do fog as well if you want to foggy scene or something like that. Now let's grab the value of this, multiply and plug it into the density of this. And then what we're going to do is unplug the color in. So you can see now is based on the density and the color, and that's the volume scattered. That's exactly what I was working. And now we're going to do is we're gonna plug this value into the actual density of volume absorption. And again, it's based on color that we've picked. Now we need to join these two together. So let's press Shift a. And we're going to add shaded because we don't want to mix the shaders, we just wanted to add them both together. So let's command. Now both the shaders together and finally then we need to give it a mixed shaded. I'm not sure actually wipe all this mix shader on. Maybe I don't need you looking at this, but I'm like, oh yes, I don't know why it is. It's basically a mix shader in here because I basically did the fire and the ball, and that's why I've got a mix shader. I don't actually think I need that mixture. This one we're going to do is I'm just going to plug this straight into my volume. Now. Let's actually say, well that looks like so you can say nothing at the moment. Let's come now to, There you go. Now you can see exactly what that's going to look like. There you go. That is exactly what is going to look like. You can see it looks a lot more realistic. Now let's come in and what we'll do is we'll go back to our layout and we'll put this on Render View. And then one way to do is I'm going to actually put this at 650 or something like that. What I want to actually do is I'm just saying how far it's going over. I'm seeing our profit is. Remember that this is being done on 16. So it's very, very low. If I put this at us point on one. Yeah, That's what exactly I'm looking at. How is it basically starts and out seeing the actual limiter in that? No, it's not. Then what I want to do is I want to pull it over here and see how far it's gone. You can say it's not going very far at all, so we need to do something about them online to do now is I'm gonna come down and went to free all. And what I'm going to do is now looking at the buoyancy density. And he, These are the two things I'm actually looking at. If you look up, hover over the boys density, it says buoyant false based on smoke density, higher value results in faster rising smoke. So let's try plotting that on three. The moments do is I'm going to bake it out again because we've got this on 16. It's really handy now that we can bake it out. Really, really fast. Albee is still over 800 frames. We could reduce the amount of frames. I think I'll do that next just to actually see what the smoke is gonna look like in the beginning and then bake it out. So that's what we're really trying to do. So let us finish baking out. It's still pretty faster than the moment. Yours might be a bit slower just depending on what machine is actually running. I'm hoping now the smoke comes up to here and it's actually going out. It's a shame that we can't do this in real time, but he never works out the same. So you can see here, this is what it's actually done. So below, you can see not a lot happening there. Let's mess around then. I'm going to do now is I'm just gonna change a few of these options. So first of all, let's put the timescale onto. This is going to make the smoke actually come out a lot faster than what we had it. I'm actually gonna put this on material just so I can see what I'm doing at the moment today is I'm going to scroll down a little bit because I have just been playing about with it actually off record and swelling to do is I'm gonna put the buoyancy density to the heat to two. And what we're gonna do is I'm gonna make the smoke men disappear. A five on. I'm also going to turn on, so five and also turn on slow. And then we're going to do is I'm going to put this to 300 and just to actually make it simulate plaster. And then I'm just going to bake all and let's see what that looks like. Let's say what this looks like at 300. And then if it's okay, we can send you up to 800. And then finally, if that's okay, then we can actually turn off the actual resolutions. We're going to go in those stages just to make sure smokes, okay. It's very, very hard things to work with smoke, to be honest. All right, so let's turn this up. Let's have a look at our render. And you can see that now by bringing this back, That's looking a lot better actually, that's exactly what I'm looking for. Another wanted to link around, you'll see it goes let the optic, what I'm gonna do now is just turn this up to 800. Free. I'm gonna read, bake them once that's free. Free, all, come on. There we go. Bacon. Let's see what happens at 800. It might not disappear fast enough and actually come up to the edge of my domain. That's not something I really want. So I need to just make sure that this is gonna be okay before I actually continue. And you can see though, because we tend to down to 16 though, it really doesn't take a long time, so that's really great. Now I'm thinking whether when I've done this, whether I told him to 64120 K, because once you've actually baked out already begun. So the actual render times don't really add up to that much. Nearly done. Alright, so let's see what this looks like. And there we go. Let's bring it all the way up. You can see it's coming out and disappear. And I wonder if I'm putting on this is just gonna be black I think. And then press Space. I love a good idea where it's gonna look like. So you can say it looks like it's blowing in, the wind is disappearing. And I think actually I'm happy with that. All right, let's put it onto here. I'm going to have to look it up. Press Spacebar. Very hard to see actually when you've not rendered out what it's gonna look like. Now let me show you the next bit then before we actually, in fact, no, I won't while do is while I'm off off recording, I will go and you did the same as well. So let's frail. Well, I'm going to do is I'm going to let it free. Then free. All. Come on. There we go. Now won't went to do is I'm going to put mine on 128. I recommend you try 64 with yours. And I'm gonna actually bake all this out while I'm off. And then what we'll do is walk on back and I'll show you exactly how that works. All right, everyone. So I hope you enjoyed that and I'll see you in the next one. Thanks a lot. 87. Our First Scene Render: Welcome back everyone to blend the three, the ultimate medieval seeing calls. And this is how my Render button. Now, now the thing is about this, if you come over here, I'll just show you I actually spoke to 64 because I started running around 1288. Literally would've talked two hours or something like that. And I just weren't prepared to actually do that. A couple of things I actually changed our mind is I'll put the timescale to just make sure you wanted to put that on there. The buoyancy and heat to chew on each of those, uh, certainly dissolve to five and put it on slow. Nothing else really a changed apart from, I opt the wind to five, and they also hoped the turbulence to five. And then I just baked out at 60 volt. Now there are a couple of other things that you need to know. First of all, if I put this on near 0, you will be able to see probably just didn't. There are actual emitter. And that's not something we want to say. I'm Festival going to go in and I'm just going to call the submitter. Among vegetarians, I'm actually going to hide that if I hide my domain, like so, I should be able to then see my mitzvah in today's want to come over to my shaders. I'm going to zoom in with a double bond, and I'm just going to simply give it a real simple actual shader. So all I'm going to do is I'm just going to hopefully bringing a surface. So shift a search and let's bring in a trunk spring, BSD F. And let's plug that into our actual surface and now disappears. So that's all you need to do. You can actually get rid of the, the, the principals as well. Alright, so now we've done that. Let's bring back our actual domain. So bringing by EDB domain. And there you go. Now you'll see the smoke that they had and now the way, and that's exactly what we want. Now the other thing you can do is if we go to layout and let's just pull this smoker, something like 550. That's really in the flow. What you can actually do now as you can come to your shaded, Let's say double-tap there just so we don't see all MIT to that. Now what you can do is if we come over and click on our domain, double-tap the right now. Now if you want your smoke basically thicker, all lighter, you come over to where this multiplies. And if you put this on wall, for instance, you'll end up with they're wispy smoke, something like that. And if you put it online, 150 or something, you'll end up with much, much thicker smoke. Let's also mess around with the actual value of this. If I turn the salt is going to become much, much darker, a lighter. You can see we've got control over the darkness of all smoke. And also if we turn this off, you'll see it becomes much, much thicker, turn into soap. And then you can actually turn this down and bring you back down to the color you want to look in. I think that actually fits the same. Much, much better. It's much, much darker underneath as you can see as it comes out. A mind just let us have a look, turn that down just a little bit. Something like that. I think I'm much happier with. Alright, so that's me and I'm happy with my smoke. I'm just going to go back to a layout among gonna do is I'm just going to play it through one small, I'm just going to come in and just play it through very, very quickly. And it's a shame that we can't really see this in real-time because I don't think it actually works on eBay. I don't think it's set up for eBay. We mine belt see something. Let's see if we can actually see something. So if I press plague, yeah, Again, unfortunately is smoke simulation and not very good in real time. And that is one of the major drawbacks of them. I think I'm happy with how this is done at Walmart you're looking for is over the top, how far is it actually leave in a way from my actual building? Is it thick and often things like that, and I think I'm happy with them. All right, so that then leaves us back to coming back to our modeling precedent top tabletop, unless spray onto mix Ariel. And let's just take stock of everything that we've got right now. What you want to do is you basically wanted to go in and making sure that you're happy with everything in the scene before we carry on. And we're also making sure that we can't see any of these parts. You can see here that I've got everything upon the here. And now what I'm going to do is I'm going to grab all of my pulse. I'm also going to make sure that I have actually pulled a and this is basically the tide and upstage. So where is this? I think it's in the pumpkin. Yeah, there is. It's in there. We don't really want that. So I'm going to do is I'm going to right-click and click New. And then we're gonna pull that out and put it in there. I'm going to call it smoke simulation. Then what I'm going to do now and which grandma cube, which should be this one here. I'm going to drop that in my smoke simulation and come down prevalence via pulled all the way and also dropped out in the smoke simulation. And now I can close the pumpkin. Intima cube and I'll call it smoke domain. Then I'll come to my sphere and I'll call it smoke. Mix it. Like so. Now I can close all that up and I know that is all really, really tidy. Now everything's working well wherever reference here that hasn't gotten into an animal. So we can just delete that out of the way. Everything else should have something in it. Alright, so the last thing I want to do then is if a press one, I wanted to grab all of these and basically bring them all close together. So I'm just going to bring them down, pull them all in line with each other, like so. I'm going to leave this obviously that's part of my Walter. And then I went to grab these now. Drag them right over here, right over here. Like so because I wanted to take a render of this bar, really don't want these actually in the same way that we do that is I'm going to show you in a minute. So now we're gonna do is I'm going to put this back on object mode. And then what I'm going to do is I'm going to bring in a camera and just show you how to do a quick render. Sorry I've repressed. So shift. Let's bring in a camera like so. And you can see our camera appears that now if, let's say I want it to be viewed round here, rather than trying to move this camera out. If I just press control alt and 0 not then he's gonna put the camera in the view that I wanted. Now I'm just going to zoom in. I want to press the N. I'm gonna come down to where it says View. And then one went to do is just click this camera to view. And now I can just actually move and actually place my camera where I wanted to take a screenshot. Now you can also press Control and Shift and the middle mouse button. And then you can zoom in a lot, lot slower like so. I think I'm going to take a view of something. So have a look. Something like let's get the actual windmill into a nice place. Something like this, a thing we can just see the smoke. I'll bend the upper little bit, something like that. And now you need to do is decide where you actually want the smoke to be. I think something like 400 should do it, something like that. And then I'll go back to my camera, back to modelling will take you back to the camera and then just take off the camera to view. Now you can actually move freely around. Now you will say that we probably, if I go back to the camera, I can probably going to make out these in hand. And this is not something I want. If I come to my camera, you'll see that we have Eclipse stop and Eclipse. And now if I put this clip hand on 0, you'll say everything dissipates. And the reason for that is because it's clipping it at 0. In other words, it's limited the amount of view that the camera to command. So if I turn this off, you'll see acetone. You hope everything comes back into shop except these over here. So I basically want those out of shots. So you can see at the moment, 149 meters, Let's bring it back till all of them disappear. Let's put it on a 100 meters. That should be fine actually. And now we should be able to take a render of this without anything else in the shot. Now the one thing is I do want to move it back a little bit because I don't like when we take a shot and you've got half the trees missing out of it, something like that. I'll tend to do. You've just moved my camera bulb to get everything in the shell. So I'm going to press Control Shift and just assume they can slightly level efforts note to get a really, really beautiful shop or something like that. Then what I'll do is I'll click this camera to you off. I want to just click it on just to see what my extra shot is gonna look like and rendered view. And there you go, you can see that is exactly where it's going to look like. You can say everything's growing. The pumpkins are in the background and all of that stuff. Now we've done that. I recommend always put an EVA onto object mode or even onto wireframe. I recommend also then climb over eruptions where it says cycles. And you'll say at the moment, we have some plan. You can see in render samples it's at 500. Viewport samples is 1024, which it should be much lower than this anyway, because every time you click this random body's trying to sum play out. So 1024, the higher that says, the longer it's going to take, I'm just going to do a quick render at 500. Yours might take a fair amount of time. I've got a very fast machine here. So I'll just put this down something like 20 If you want an idea once you've actually finished, because we've actually got all the noise on, it will actually denoise it in the end. Let's now go and render this out. So Render Image. And you'll say it takes a while before it starts. And now the SEM plan, as you can see here, starts going up. And you can see my machine is pretty fast. Hopefully you all machine won't be too slow. You can see smoke over here. You can see our pumpkins just here. You can see a bit of, Hey, here, you can see that we've probably missed some hay actually sticking through here. So we're probably just need to solve out because it doesn't look very good like that. So let's solve that out. And the thing is what you're actually trying to achieve areas, you just trying to get a view of how it's actually go into log. And that's the main thing you're trying to do. I can see that probably my leaves, it probably needs to come a bit darker. I'm probably gonna go and, and actually do that. You might want to make the ground also a little bit darker on these, you can see probably the gamma and this is basically the final checks before we actually render it out completely. So you can see it finishes now. And there we go. That's what we're actually left with. And we can actually zoom in now and say that it's a pretty nice render. We've got no fireflies as those little particles ready Finland on them is because it basically Dean noise down. All right, so one thing I'm not forget about is this chimney. I can see these are pretty sharp basically, the whole of the image looks really good. We've got to get rid of these doctrinal please, and leaves and maybe darken the ground here. So these are all things that we're going to work on in the next lesson just to get this looking right. All right everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. 88. Refining the Scene: Welcome back in Rawlins blend the three, the ultimate medieval sinkholes and this is where we left it off. So like I said, I didn't want to leave you just with our showing you how to actually fix all of these things. So while I'm going to do is I'm gonna put it on material. I'm gonna make sure that my camera to view is off. And then want to do is I wanted to come into this part first. I'm not very happy with with how sharp this actual chimney chalk look. So let's see if I can actually dissolve a little bit more safe and grab it. Will it grab the whole chimney? Yes, it will. So what I'm going to do is I'm just going to grab all of these and it's not a time at this time to actually worry too much. Let me just load up too much about how many polygons and things like that because these are clean now down to the final render. So let's actually zoom out minute and let us come in and go round, grabbing all of these and turn anything off if it's slowing your machine down too much. Like so. And then moment, I'm going to press Control J and just those are beveled those off a little bit more lax low, just around them off a little bit. I can also save the tops off here as well, is weight too sharp. So I'm gonna grab each of those. Actually, I think what it is, it wasn't the roundness of that. I think it's the tops of them. Let me just have a look and take those off. There we go. Let's scrub the tops of them. Like so. Press Control D. I'm just going to leveled off like so. And then one winner is I'm just going to pull the segments on to nothing that's going to look much, much better like that. All right, so now let's come to our actual ground. So our ground plane, and we need to go to our actual shading panel. And we need to make sure we are happy with the color. So the moment we can see, we need to be on ground lines. So I went to double-tap the a. We're already on our render view, so that's good. While one series I want to commend, darken these up. You can say the moment, this is a really easy way to see this. So this is the area of grass and wrong. This is this wherever certainly. So you'll see it goes really, really dark like that. Now you might wonder, feels like that. I don't think I want mine quite line up. So one way to do is I'm going to Let's try that again. Bowman much, much gentler with it. So I'm just going to turn it up, make it a little bit darker and you can see it's really starting to come now. And let's go not to the mortar. Think on mode should be absolutely fine. So let's go to the next one. And I'm hoping that this Gamma here, we'll turn this one or this one here, as you can see, let's see if we start turning this all. Can we make this darker as well? Something like that I think looks much, much better. Still might be a little bit too dark. I'm going to just let me turn it down by one. Yeah, that's a big greener. And then I'll come to the other one. And let's just make sure we'll turn this one down. Something like that. Now let's calm to these leaves while we're in our shading panel. So I'm just going to come around to these leaves, just make them a little bit more green as we can say, these are the actual leaves. Let's find my pumpkin leaves. So I need to do is I need to call them under my pumpkin. So let's have a look. Pumpkins here. We want pumpkin leaves. There we go. So this should be the pumpkin leaves. Let's let us actually have a look. I'm wondering if this is our pumpkin leaves. There's a pumpkin leaves. So let's try and turn off this to around ten and save the heck. Yes, that's the one. So let's press Control Z and go back. And then we're going to do is I'm just going to turn the top one and maybe try to turn the saturation down. Just a little bit, something like that just to make them fit a little bit better in and I think they do. And now let's come to our hey here because we can say, I can actually go into material Modi or an actually see this. So that's fine. I'll come to my height. I'm going to press dark, just do see you. I can go into the right place. And then while we're in today, I can still do this in the shading panel anyway, I'll come to my political system. There is a problem with the, hey, I need to come down and cultural, hopefully I shouldn't be on call and said, No, I'm on move. Let's whereas my political Connect click on this thing. I'm press T and bring that out. Come down to coat and then just cut these down like so. Just make sure that you're not coin actually in there. I'm just going to come down now to the side, caught them all away. Like so I'm also going to do it this side of course as well because of the moment will belt see all of those, Let's just cut them down. You can say recall few more years, let's call them away. Just make sure you've not got any way. You can say I've called a Theo way down there but you won't be able to see them. All right, Something like that. Now let's put this back on object mode. And finally then we'll go back to modeling. One way to do is I'm going to press top double-tap. And now we're going to give that a render again, again, put it onto object mode before you render out, come over now say the word count, so File and Save and then render, and let's render image. Let's see what that actually looks like. Again, you can put yours down pretty low. I'm going to have mine on 500. And now you can say, Yes, I'm happy with that. It's really, this ground is much better as you can see. It's looking at tons, but we can't see that hey, through the actual chimney, as you can see, is looking much, much softer now. It's less hard and the actual greenery over here fits the same much, much better. You can say that all graphs and things like that, or hanging over the side exactly as you want them. We don't want to also say it's a little bit of soil on here, but I'm still happy with how that looks. All right. I don't even need to let this finish out. I'm very, very happy with that. Now what I tend to do is I will come to my layout and I will do it from here basically. So I'll put it onto a 100. And when I go back to my camera view now, what I'm going to do is I'm going to press N to open up that panel view. And let's come around to the other side. So it's N to take an image of all the sides just to make sure I'm happy with them. So I'm going to zoom out like so. And I'm gonna go to Render, Render Image. Let it render out, and let's see what this looks like. I'm also looking at this point at the actual lighting. I'm looking to see if there is no flying ear. Can we make out the acts and things like that? And yes, we can. I'm looking around here to make sure that I'm happy with it. Probably there would be less grass around it because you won't probably be walking through here. You might want to take that into account. I'm not actually going to delete our Anything. I'm really happy with this as two now, remember is while we can't actually see the wind or anything, because we're not rendering out as a video. And I'm happy with just being able to see this word only here. I'm very happy with that. The trees that are looking very good, there is not any bits that really needs to go away. Finally, then let's come around to the last view like this before we do just all just RM closer views. This is why I always go through. So let's go to Render, Render Image. Let it low dope. You can say this is a bit dark view. Do you want it so dark at the back or a happy, I think I might be a thing this looks actually very natural. Again, I'm very happy with this. I don't need to do anything. I want to close it down and you can see how quickly you can work through when she started doing this. Now I'm going to do a bit of a top view to have a low. I'm also going to move this up to probably 650. So we've got most of this stuff grown. And then I'm gonna go to Render, Render envelope, making sure I'm happy with the colors, making sure I'm happy with the walkway and all of the Walter. And I think actually this nu is really, really nice actually. So I'm thinking in my head, when I come to actually render this out, the actual video, I'm probably going to do it a bit higher than one behind it rather than lower because we wanted to a view of it. Alright, so I'm happy with that. Now we've pretty much done all the views of it. So now I'm going to do is I'm just going to come in and take an image of the pumpkin patch. So again, Render, Render Image. I'm just making sure that I'm happy with it. There we go. Again, unless I know that there's some leaves thick interior, so you might want to go in and just delete those leaves out of the way. But you can see the rest of it. It looks really, really organic and that's the point. And we actually looking for, with this Walter there and things like that. Alright, so I'm gonna actually close that. Then I'm going to look one more view. And it's probably in fact we'll just do a couple more signals. We've got time. So I'm just going to come in and zoom in on the growing plants. So again, Render, Render Image. And then finally we'll look at the bottom and see what that looks like. This is a grind plants I want to look at, I want to make sure that they are looking very different from each other, which they all, I'm looking at where the grasses growing up to there and things like that. I'm really, really happy with that I look great in any sort of game or an event. So now finally, let's come up. You can also grab the bond like for instance for US adult bone, and that will then get the camera, they won't looking forward, the bond is just to get a nice image to see if I can actually see any of the inside. You might want to go in like yours over there is my point. So I'm gonna take an image like that. It might not be very well lit. And in a sense, we've got the song round by AF showed you how to move your HDRI round and things like that. So I'm gonna put it here. I'm just gonna give it a quick render. And let's see what that looks like. And as I've said, it's a bit dark in there. You might want to go and lighten that up a little bit. I think I think I'm really happy with that on the water. Looks great. All right, so now let's close that down. What we'll do on the last lesson, which should be the final one before closing this course is we'll actually come in and I'll show you how to sell a camera where it actually goes around the scene and takes a real nice they're doing 60 degree video of your actual scene. All right, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. 89. Setting up a Turntable Camera: Welcome back everyone to blend the three, the ultimate medieval sin cos, and we nearly that, we're nearly finished the ultimate medieval seeing costs. So what I'm gonna do now is I'm just going to zoom my camera out to something like here. I'm going to turn off my camera to view. And among range there is basically the center of my scene. I'm now going to move my scene or anything like that. I'm going to do is I'm going to try and find the center, which is probably going to be well, if I go over the top, I can see it's probably around this posted somewhere around there. So I'm just going to grab this pose press Shift as cosets are selected. And then one way to do now I'm going to bring in a circle. So shift a curve, you definitely want it to be a curve. Bring in a circle, make the circle bigger, and I'll show you why you want to make this occur. So I'm gonna bring this out and you can see pretty much that it's leveled. You can see it's pretty level this way, this way and this way. So that's great. Come over to your curve. Then if you scroll down, you've got one that says path animation. The number of friends want to set this to is 800. And you'll say, Hey, but while we're doing this fall, I'm gonna show you. So now we're gonna do is you're going to grab your camera. So I'm just going to take that off so I can say, well, I'm doing close. The old grabbed my camera. There we go. And I'm gonna put my camera to a part of my curve. I'm going to do is I'm going to grab my camera, Grumbacher, which shifts select, press Control pay. And you're going to follow path. And then you'll see a camera comes to here. So now you want to come in. You want to grab this point Shift S because it's just selected top grubby comma Shift S, selection to cursor, keep offset and that's going to pop the camera right. Now. We don't have a problem. If we don't talk camera, we're looking at Nelson, and that's not what we actually want. We actually want to look at the center of our actual scene. Again, I'm gonna press seven. You find yours kind of center point. And I'm going to use this post again when I click on my post, Shift S is selected, and then I'm going to press Shift. I am going to bring in an actual empty plain axis and bring it in. And what we're going to do with that, We're gonna point our camera eyes. So let's come to our camera. We're gonna go to all constraints panel, which is this object constraint. And we want to track two if you come down and click track. So then what you want to do is you want to click where the target is and just type in empty. We should only have one. So this empty and you'll notice straightaway then our camera actually points straight at all empty. Now if we put this back to again, we press Spacebar, go up, cameras actually move him around. And what it will do is it will move over the 800 frames. And at frame 800, it will actually pay it back here. So if I put this there and I press 0 now to go into my camera view, you'll say, Hey, this is not a very good view. Yep. And the reason is because we need to move up or circle and we've got our empty move. So if I bring my circle OK, now we can actually move our camera and that's exactly what we want. But the thing is, it's not view correctly or not far enough out. So all you need to do is make a circle bigger. Like so. And then again, polio, OK. Like so. And you've also got the EMT to also pull it up to where you want to. So something like that for instance. Then what you want to do is you want to press space bar will actually put it into wireframe mode. Press baseball. Night can say this is actually always going to go around your actual scene. Now what you're trying to do when you do this is you looking for any pulse of the same, that a disappearing out past the actual frame. So you can see it nearly disappeared out of the frame, but not quite. You can see we'd never enough that we just need to pull it out, probably just a little bit. So I'm gonna grab my circle again, press the S bar. Like so. There we go, below. And everything is pretty much in frame that I want to do is I'm just going to take a quick image. So something like that just to see it fall of my trees and I'll just print them random view. Now. There you go. That's the deal you're going to get. Now I'm gonna print it 300. This is a view I'm gonna get. I'm trying to make sure that everything is in the same. I'm happy with the actual heights of it. I think I'm really happy. I think if I grabbed my empty again and pull it down a bit or ROCC, I'm not gonna be any happier with that, is that I'm going to grab my circle as well and pull that up a bit just to tilt my camera pillow. And then grab my empty again, my camera down a little bit. And now again, I'm just going to go through making sure that all actually fits in. So let's presume wireframe on small, print another star and just spin it around. And what I'm looking for, it's just I don't want anything poking out of those. You can see, hey, look, it's very, very close to that. So if we pick up our him to just a little bit, now we can test it again. Again, you can see it's a little bit here, so let's pull it out just a tiny bit. So just a tiny bit. So I'm just going to go round. And now if they were actually perfect, I'm now thinking, right, Is this where I want to start it? You need to go to frame one. And you just need to save. That's where you want to start. If you don't, you just rotate your circle around. Z, rotates it wherever you wanted to start it. Because the camera's going to move with it anyway. Like so as you can see, if I want to stop from halo and it'll now stop from here. It's just wherever you want to put it. Now. I want, I think mine to stop from probably here I think is a really, really nice view. Something from that it should go all the way round now. Back to the stall which it does. All right, so let's put it on frame one. Like so. And then what I should do now is press I almost circle basically location and rotation. And then while I'm going to do now is I'm going to basically spin it around by 90 degrees. I'm going to come to wherever 800, remember. So two hundred, four hundred and six hundred eight hundred. So let's go to 101. And you can see the animation is already going away. But what I like to do is alive press location or rotation. And then let's come to 400. And then I location and rotation, 600, location rotation, and finally 800, location and rotation. And then what I'm gonna do is grab the mole interpolation mode. I'm going to put it onto linear like so it shouldn't do that already, but just in case it doesn't. And now let us go around. There you go. That's why we've done over a 100 frames while you've got to remember is because if it's gonna be pretty blue, if you do it unless frame, so you could do it over 200 frames. But you're gonna end up with a pretty blurred because it's going to be moving too fast is the problem. There's a very fine line between doing it over, let's say 1500 frames, which is probably a waste of time. I know over 800 frames, which is probably going to look good. And then you can probably speed you open. Then it's going to take a fair amount of time to actually render out. Now let's set pulls out unless go through this option here. At the moment, I've got mindset on there, 500 samples, 500 samples. If I render this out, this is where you need to really work out. So Render Image. You can say that if I render this out and I let this actually play out, it should come up at 4547 seconds, something like that. Let's see if it adults. Sometimes a bit slower depends what seniors scene we can see where it frame 159. Now bearing in mind because we've set some options in the blend of cycles that splits and for rebuilding the scene, it will actually speed up overtime. The only by probably about five seconds is not a lot of difference in it, but those five seconds over each frame do make a fair bit of difference. Now you can see, fold me that even 500 frames a little bit too high, it's going to take way too long. It's going to be the literally probably 1216 hours of his point. And that's not something I really want. So what I'm gonna do is I'm going to close it down. I'm gonna see if I can get a good image. 200 frames. Let's try 200 frames. Challenges, samples, sorry, come again and render out and see how long this text so 200, let's say how long it takes, as long as it's between 3040 seconds. That's what I'm looking for because I know. Then getting down to that, at the end of the day, I'm going to have a pretty decent render. I'm just going to let this render out just to 100. I've got a lot of other things run and things like that as well. Sorry, it's probably going to be much, much quicker when I've closed those things down, which I always do before. Alright, so 200 frames. Let's finish, talk roughly 30 seconds. Now I need to zoom in and make sure I'm not saying all kinda see the details of these things because that's what we basically trying to wake through. Does the actual smoke real good From with 200 frames? I think that 200 frames for me is pretty good and I'm very happy with it. Now I can do is I can close that down. Save out again. So file save. And let's now come over to the right-hand side. What are you going to do is you're going to come down to where now this one here, this one here is basically where you actually send it out. I'm going to send my now Festival, 1920 by 1080, pretty much where you can load that on YouTube. And it's easy to bring that into a blender to actually create the video. If you change this and you make it a square, much more charter to deal with. So just bear that in mind. Next of all, frame rate, at the moment we've got it at 24 frames per second if you turn it. So obviously you're going to have more friends, but it's gonna take a ton longer to actually do that. So let us say a prayer on 60. It's gonna make a huge difference in how long it actually takes to actually render that out. So I don't really want to actually change that. I'm going to actually put it on 23.99, wasn't on 2424. I'm gonna leave it on that anyway. Let's go into the temporary change this and what you want to do is make a new file. Now, what I'm going to do is I want to make a new desktop file. I'll call it new and I'll call it course render, something like that. Double-tap it and I'll call it farm, medieval farm render. Except, and now basically every single frame is going to be called many evil farm render O1, O2, something like that. Now what you want to do is you only need the RGB if you're gonna give this a background. If you know, gonna give this a background, turning off to RGB, it will speed up the process. Next you want to call it a depth. I'm not going to put this on 168 takes a lot longer if you're going to pull that arm. And finally, the compression of the image. If you put the soap, It's also going to take a ton longer. It's really up to you how good quality you want the image. And I doubt many people are gonna see it. A difference between 816 frames. That's basically everything. They only other thing that you really want to make sure is that you've got it set on PNG. You do not want to render out as a video. And the reason for that is because if it crashes, you'll stove, you can't do anything about it. You're going to be trying to render out again, as there is a high probability of this actually crushing. So just make sure you don't because you might come back tomorrow morning or something and it's crashed on frame 20. Then then you've gotta go into all again. Now I can come back tomorrow Monday just crashed on frame 20 and it's a PNG. You can just start from training 21 and I'm rendering out. So just remember to take that into account. You've got also makes sure that it's going from focusing for a moment to frame a Andhra. I've gone out before I set this at frame foreign didn't have come back and it's like I missed out off of it. So just make sure everything is correct before you hit not random bone. And now I'm going to do is I'm going to end it here, leave the leave this recording because what I'm going to do then is actually speedy open. You'll see it actually rendering out in real-time. All right, everyone, so I'll be back after this and then we'll conclude the course. The next lesson. All right everyone. I hope you enjoyed that and I'll see you in the next one. Thanks a lot. 90. Outro & Critiquing our Own Work: Welcome back everyone. And that brings us to the end of my blended three, the ultimate medieval seeing calls. And it's been some journey. We had gone through most of the blend three systems you're going to need for future dioramas and renders. But in the end, the most important thing is to really create your own work. And that means to look at both the pros and the cons of your 3D model or rendered images. We hold that said, let's take a look at my own final render and go through my own process of analyzing and critiquing my own work. First of all, the starting point on the render may have looked a little bit. It was looking straight through the wooden walls. Bright colors and theme of the scene really go together well and create that look off. And then he evil, windy and drop scene. I was actually going full. I think if you went for a more vibrant, bright mood, it may not fit the scene so well. I think the wind in the grass could be a little stronger, but I also think is spot on for the things like the trees and the actual head. As we move around the scene. One of the things I'm really not happy with is the way that actual smoke to it. Now, next time actually create the smoke simulation. I'll be sure to drop the actual simulation further down so it fits in the chimney much, much better. The other thing about the smoke cases moving a little bit too fast as well. Of course, I'm hoping as well in the future, the blender simulations actually work much, much bad in real-time, given us the ability then to see it actually in real-time. It actually Walter simulation, I'm really happy with it. I'm not coming out really, really well. I also always try and make an effort to look at what I'm actually happy with the most in the scene. And I think for this scene, the thing I'm most happy with is the actual plant animations. And it just shows how versatile actually blend to convey. Whether it's actual animations, whether it's shape keys and things like that, or whether it's actually working with a new system of geometry now. So it really shows just how powerful blend the A's and how powerful the new geometry nodes to blend them. Nice and pull when you actually analyzing your own work, you're always looking full data. I actually intend this. Did I set out to actually create it in the way the ID. This can tell you a lot about how much you need to learn all what actually pulse of 3D modeling or rendering you need to actually improve. And that then will really help speed up the process of how quickly you learn and just how professional of an alte should actually be calm so that everyone brings these costs to a close. If you like what we did in this course, then please write a review to let others know why they should actually take you. I think there's something in the course that you didn't like. Oh, you didn't like the whole cost. And then again, please write a review telling us what we could actually do bad, actually improve, that everyone really does bring this course to an end. So with all that said, Happy Meal than everyone, and I'll see you on the next one.