Transcripts
1. Introduction: My name is Harry and I'm a professional three D artist with over a decade
of experience. I've been making b***der
beginner tutorials on skill share for a while. Now in this class
I'll walk you through the simple and beginner
friendly process of creating a haunting, yet beautiful liminal
space and b***der. We'll be going through
this entire process of creating this
flooded corridor from a beginner's perspective to avoid as much
confusion as possible. That means I won't be skipping any steps or going too fast
for you to keep up with me. You might be asking
yourself what a liminal space is and what
makes it simultaneously Haunting yet beautiful
liminal ****** are described as a place or state
of change or transition. This may be physical
or psychological. Liminal space imagery
often depicts the sense of in
between capturing transitional places such as corridors unsettlingly
devoid of people. This visual aesthetic
creates moods of eeriness, surrealness,
nostalgia or sadness. And elicits responses
of both comfort and unease by focusing on nostalgia
and universal ******. Liminal images hope to
capture your memory by making you feel as if you've walked through
this place before. My favorite way I've
heard these images described is a dream
half remembered. This flooded corridor
we'll be making in this class has all the hallmarks of a great liminal space. It's a featureless public
corridor that has been stripped of a human presence
due to disrepair or neglect. In this class, we'll learn
about the many basic tools and interface elements
within blunder while creating our
liminal space. I'll show you how to use basic modeling tools and
modifiers such as array and bevel while
creating our flooded corridor. We'll set up a soft
lighting scheme utilizing volume metrics to give
our scene a somber look. I'll show you how
to create textures for tile water and more. As we add color to
our environment, we'll learn simple and
wrapping techniques to make sure our textures display
correctly on our models. I'll show you how
to create simple compositing effects
for our image and b***der to create
the low fidelity but nostalgic look this
aesthetic is known for. We'll animate a simple
looping water texture to bring some subtle
movement to our scene. Lastly, we'll render our
final image and b***der so you can share it
with your friends and family on social media. When we're done, you'll
have all the skills you need to create a
haunting liminal space, render of your very own. For our class project,
I'd like you to create a new liminal space with a unique design and
share it with the class. I'll personally review
every project uploaded to the gallery and give you
feedback on your render. I hope you'll join me on this beginner's journey
through blunder by making your very own hauntingly,
beautiful liminal space. I'll see you in
the first lesson.
2. Setting Up Our File: If this is your first time
taking a b***der class, I'd highly recommend
you start with my complete beginner's
guide to B***der First. This class was designed for the absolute beginner to b***der and three
D art in general. We cover every single
necessary topic in order to get you up to
speed and running and b***der. We'll accomplish this with
short and focused lessons that cover each topic from
a beginner's perspective, utilizing a well
organized starter file. We end the class with an
easy project where you set up and customize your
very own cozy campsite. With that out of the way, let's
continue with the lesson. In this lesson, we'll
be getting our file set up for future
rendering. Let's begin. The first thing we'll
be doing is choosing the general file type over
here on the splash screen. Now we can go to Edit up
here at the top left, Preferences inside this window. We'll go down here to
where it says system. Click on this, then we're going to be enabling our
cycles render devices. This menu at the top
here will look a little bit different depending on the
type of computer you have. It will also depend
on the type of hardware inside your computer. If you're using a Windows
computer to run b***der, the most optimal
settings would be to choose the
optics tab up here. Then check on every box
that you see below this. Each of these boxes
corresponds to a piece of hardware
within your computer. In this case, my
top one is my GPU, then the bottom one is my CPU. The options next to each of these boxes will be different
depending on your computer. The only important
thing is to make sure that you have all
of them checked on. Essentially what these
settings are doing is allowing b***der to make use of these pieces of hardware
while rendering. Now it's possible some of you may not be able to use optics, even if you are using windows. That's because optics is meant
for newer graphics cards. And if you have a
slightly older computer, you won't be able to use it. However, you should be able
to switch over here to Cota. So if you select this, you'll see the exact same
options below. However, you should
be able to use this. Optics is a little bit faster, but again it's only available
for newer graphics cards. If you have a slightly
older computer, you'll be forced to use Cota, but it's not a huge
difference between the two. Lastly, if you're running
B***der on a Mac Computer, you'll likely not see any
of these options up here. You'll probably see none. And then you might see
an option for metal. One of these tabs up here
will say metal instead. If that's the case, you
can switch to metal. Use whichever tab up here that says metal and just
highlight that. Then again check on
all the boxes below. Metal is just the
Mac unique variant of these options here. Now that we're done
with these settings, we can close this box. Now let's head down here to
our Rendering Properties tab. And if it's not already on,
by default you can select this little back side
of a camera button here to switch to the
Rendering Properties tab. Now we can move down this
list and make some changes. The first thing we'll need to do is switch our render engine. By default it started an EV, but we're going to be
using cycles because we want a little bit more
of a realistic result. We're going to switch
this to cycles by clicking that drop
down at the top. Now we can move further down this list to where
it says device. We're going to click
this drop down here, and then go down to GPU Compute. We're going to
switch it from using just the CPU to using
the GP as well. This should speed up your render speeds pretty significantly. Now we can move down here to
the image quality settings. These settings are broken up
into two different parts, the Viewport settings as
well as the render settings. Let's start with the Viewport. The first thing we'll need to
change is the max samples. We're going to lower this
all the way down to 100. The 1024 that it starts with is a little bit too
high for our purposes. And then that'll speed up our viewport rendering
once we get to that part. Now we can head down
here to where it says Noise Still inside the
viewport settings. We're going to
check on this box. And then we can twirl open this option box here so we can
see more options below it. The only thing we'll change
here is the noser type. We're going to
select where it says automatic and then if
you have the option, switch it to optics instead. If you don't see optics
here for some reason, you can still leave it on
automatic and that'll be fine. But if you do have the
option for our optics, it is a little bit faster. Now let's scroll down here to where the
render settings are. These settings here will only
affect the final render, whereas the last settings will only affect the viewport render, which is just meant for testing. Now we can go to our max samples
for our render settings. We're going to set
this a bit higher. We'll set this to 200 as we want our final render to be
a little bit nicer than the test render that we're
doing inside the Viewport. Noser is already
checked on by default, but we do want to open this up, clicking this little arrow. Then we want to
double check that our noser is set to open image. Noise We're going to use open image noise
instead of optics. In this case, optics
is a bit faster, but open image noise is
a bit higher quality. We'd prefer the higher
quality for our final render. Let's choose that. Now, the last setting
we need to change within the render properties is down at the very
bottom of this list. Let's scroll down
with our mouse wheel. We can go down here
to color management. Now we can twirl this open. Then the setting we're
changing is the look. Right now it's set to none. Let's click on this, and we're going to switch it
to high contrast. We won't notice any changes after switching it
to high contrast. However, it will affect the
look of our final render. Setting it to high contrast
will make the bright parts of our image brighter and the dark parts of
our image darker. It'll also make the image overall a little
bit more saturated. With that setting changed, we're now ready to move to
the Output Properties tab. We can get there by
going up to the top, just below the tab that
we're currently in. And we're going to click
on this little tiny printer icon printing
out a photo. So we'll click this
and that will switch us to our output properties. Let's scroll up to the
very top of this list. And then the main
thing we're going to change is actually
our resolution here. The default resolution
right now is 1920 by 1080. This creates a 16 by nine ratio. This is the same ratio
that's used on current, modern day HD televisions. For this render, however, we're not going for a modern look, so we are going to change
this for the X resolution, let's switch this to 2000, then for the Y resolution, we're going to
switch it to 1,500 Now instead of a
16 by nine ratio, we're actually using a four
by three aspect ratio. We'll be using
this four by three aspect ratio for a few reasons. This format is present in most older forms of media
prior to the invention of high definition
televisions that use the 16 by nine aspect ratio. This should help trigger
that feeling of nostalgia, as you might remember this
format from your childhood. If you're old enough with
our last setting changed, we'll need to save our file. These settings we've
changed are only affecting this
version of the file. If we don't save it
now, we'll lose all of the changes we just
made to save your file. Just go up here to
where it says file, and then we can choose Save. Now in this new option box, navigate to the location that you'd like to
save your file. I'd suggest somewhere
that you can easily find. Again, down here at the bottom, we can change the
name of this file. We're going to call
it liminal space, and then I'm going to
put an underscore. And then 01 at the end of it
just to show that this is a version of this file by adding a number at
the end of our file, we've essentially
made a version for this if we need to make two different
versions of this file later on or if we're going to be doing something
that we're not sure we'll actually like
and we want to be able to go back to
a previous version. This little number at
the end will make it easy to make multiple
versions just by changing the number 1-2 to three to four and so
on with the name set. Now we can just choose
save B***der file. Be sure to use this newly saved file for the
rest of the lessons. That way you don't lose
any of these settings. And the next lesson, we'll
begin the process of modeling our environment.
I'll see you there.
3. Modeling the Arches: In this lesson,
we'll be modeling the arches for our environment. Before we begin,
make sure you open the file we saved at the
end of our last lesson. First, let's select the cube
in the middle of the scene. And then we're just
going to delete it as we won't need
it for right now. Now we're going to start by
creating a cylinder that will make up the interior of the
archways for our columns. Let's hit Shift and A to
bring up our Ad menu. Go to Mesh, and then choose Cylinder down here
at the bottom left. We're going to twirl
open this option box so we can adjust some
of these settings. First, let's set
our vertices 100. This will make our
cylinder much smoother. Now set our radius to 2
meters, and then the depth. We'll set that to 0.25 meters. Then lastly, we're going
to change this cap fill type from gone to nothing. As we switch it to nothing, you'll notice the
top and the bottom the cylinder have gone away. We would have deleted
these faces either way. We might as well just start out with no faces there
to begin with. With our settings changed, we can now right click on
this object and then we're going to choose Shade Smooth
up here in our Outliner. Let's rename this from cylinder. We can just double
click on this and we'll call it Arch A, R H, and then had Enter. Now let's zoom in here on the cylinder that
we just created. Then we're going to change some settings here
in our viewport. Start by making sure that
you're in the solid view, which should be the default, that's why this model is gray. Now go over here to
this little drop down menu which will
bring up an option box. And we're going to
check one back face culling by just collecting
this little button here. By enabling backface culling, we tell b***der to
make the backside of faces see through in the viewport and we can
see that effect here. Even though these
faces are still here, we can't see them as long as we're looking on the
back side of them. As we spin around, they're
still visible on this side. But the inside of the cylinder,
they look see through. This hasn't deleted them or prevented them from
showing up and render. However, it does make
it obvious to us which direction of our
polygons are facing outward. With that said, we can
see that our faces are pointing outward from the
center of the cylinder. As we might expect to
begin our arch though, we need to flip
these faces inward. With our cylinder selected, we can hit tab to
enter edit mode. Then hit three to make sure
that you're in face mode. Then if these faces aren't
already all selected, just hit a on your keyboard
to select all of them. Now go up here to the
top where it says mesh. We're going to click on Mesh
and then go down to normals. And then we can choose flip. When we do that, we'll flip
all these faces inside out. Now the inside is the direction and all
these faces are pointing. And then if we
click off of them, we can see that this side
now is the invisible side. All the outsides are invisible. And then the inside is
actually what's able to be seen with the back face
culling turned on. A quick way to get to that
flip menu would be to select all your model again by hitting A to make sure
you select all the faces. Then instead of going up here
to mesh and then normals, we can see here it says Alt, N. If we just hit Alt
and N at the same time, it'll bring up a smaller
version of that menu. And then we could just
choose flip if we needed to. In this case, they're
already flipped, so we don't need to flip them. We want all the faces
on the inside to be visible and then the ones on
the outside to be through. Now let's hit tab Text
at our edit mode. And then we can go back up
here to the drop down menu. And we're going to turn
off backface culling. This was more or less just to
show you what it looks like when it have it turned it on because we'll be
using it later on. Now that we have it turned off, we can go back to our cylinder. Now we need to
rotate the cylinder. The easiest way to
do this is to hit R. To start rotating it, then we're going to hit X to
bind it just to the X axis. It can only rotate on the X. Now we can type in
9090 and we'll see it rotates at
perfectly 90 degrees And then hit Enter to
confirm the change. You could have also done this
with the rotate tool here, using this red circle
and then holding down control to bind it to specific increments
as you rotate it. However, just hitting R, then X, then typing 90 is
a lot faster way to do it. I'm going to undo
that change because it was already
rotated how I wanted. Now that it's rotated
vertically like this, let's hit Tab to go back
into our edit mode. Then hit Alt and Z to
enter our x ray mode. Now our model is through and
we can select through it, which is the important part. Then again, three, to make sure that you're
inside your face mode. Now let's go into our
front orthographic view. We can do this two ways. One by either clicking on this negative y bubble
up here on this gizmo, and that'll jump us into the
front orthographic view. Or you can hit Tilda on your keyboard and then
just choose front. Now we're going to be deleting three quarters of
the circle here. We can do this by
just drag selecting. And we're going to
start at the top left here, we're
going to select, we want to hover
over everything on the left side of
this blue line here, the Z line that we're seeing, drag, select over everything
on just this half of it. Then when we let go,
we'll see that we've selected everything on the
left side of the circle. Now hold down shift to
add to this selection. I'm holding shift and then
clicking and dragging. And now I'm going to
delete everything on the bottom half
of this red line. I'm only leaving this
top right corner left. Okay, I'll hover over that. Let go, and now I
have everything selected on three
quarters of the circle, leaving just the
top right quarter behind with all these
faces selected. Now we can hit Delete, and we're going to
choose Delete Faces with those faces deleted. We can rotate our viewport so we can see a
little bit better. See here what we
did. We've deleted everything on the outside here. And the only faces
that we've left behind are the inside of
half of an arch. Now we can hit a to
select all of our faces. That'll select everything
that's left over. And we're going to move
these over so that they're better centered on this
origin point here. There's a few different
ways we can do this, but the most visual way
to do this for you, we go over here to
your move tool. And then we're just
going to move it over here to the left on the x axis. We're going to move
it roughly over here. Now, it doesn't have
to be perfect because we'll be typing in a
number here in a second. Just move it roughly here. Then down here at
the bottom left, we can see we have
the move option box. And we're going to
type in an exact value here for the move x value, you want to type in
exactly negative 20.125 And then hit Enter. We're moving these faces
to the left in order to center them for the mirror
modifier we're about to apply. We moved them negative 2.125 meters because
it's exactly half of the distance required to make a 0.25 meter square column
for our arched pillar, which matches the
arch thickness we determined when we created
the original cylinder. This will ensure that
once this column is done, that the pillar emerging from the center of it is
actually a square. Now that we've moved these
faces over to the left, we can hit Tab to
exit our edit mode. Our next step is to add the mirror modifier
that I just discussed. To do this, we can go over
here to our modifier tab, which is this little blue
wrench icon like this. Then we can go to Add modifier, and we're going to choose
mirror, which is right here. Looks like a little
butterfly next to it. So we'll choose mirror,
and we can see here, it's mirrored it over
to the other side. If for some reason your mirror
doesn't look like mine, having this y shape to it, you'll have to change
this axis over here. It's likely that your
axis is not set to X. If not, just make sure
your axis is set to X. And then all of
these other boxes down here are unchecked. Once your arch looks like mine, we can go over here
to this drop down menu, this little tiny arrow. And we can click Apply. That will apply all
of the changes that that mirror modifier was making and making them
permanent on the model. Now we can again hit Tab
to enter our edit mode, make sure you're in face mode. And then hit A to
select all faces. Everything should be
highlighted in orange. Now let's hit Shift and D to make a duplicate of these
faces that we see here. We can see as soon as
we hit Shift and D, it'll start making a duplicate. But we're going to
right click our mouse, and that will still
make the duplicate, but it'll place it directly on top of the original geometry. We do have two pieces sitting
on top of each other here. Now we need to rotate
them 90 degrees. Again, we'll be doing
that quick trick again. We're going to hit R
to start rotating, then Z to bind it
just to the z axis. And then type in 90 to
rotate the 90 degrees, and then hit Enter to
confirm the change. Now if we rotate around
in our viewports here, we can see we have
this X shaped column. Now let's switch
to our edge mode, so we can start
connecting these pieces. We'll hit two to
switch to edge mode, and then we're going to go around to each of these sides of these pieces and connect
them across to each other. The way we need to do
this is first just click off of your model to
de select pieces of it. I have nothing
selected right now. Now we'll hold down the Alt key. Then I'm going to
click on this side of the arch over here to
the left side of this arch. I have just that part highlighted
by holding the Alt key. I've selected every single
contiguous edge here. It's selected the entire loop. Now again, while holding Alt, and this time holding
Shift as well, Alt and Shift at the same
time, hold both of those down. And then click the exact
opposite side here. Right now I've selected
this side over here. I want to select
this side again. Alt and Shift at the same time. And then select this line. And it'll select
all these edges on the other side with both
of these sides selected. Now we can right click and
then go over here toward it says bridge edge
loops. Let's select that. Now after choosing
bridge edge loops, we can see it's created faces between these two edge loops. We've made a solid wall between these two
parts of the column. Now we're going to do
this exact same process for each of these
paired edge loops. I'll walk you through it
quickly one more time, and then I'll let you finish
the last two on your own. First we click off of the model, so we have nothing selected. Then we're going to hold down Alt and select this
side of the edge. We select the whole side. Hold down Alt and
shift and select the direct opposite
of it over here. Then we right click and then
choose Bridge Edge Loops. It's important that you only
try to do two at a time. You can't just select all of them and hit bridge edge loops. It'll connect edges in
a not very helpful way. It'll start connecting
them across from each other and it's not really
what we're looking for. You have to make sure you
do them one at a time, directly opposite each
other so it b***der doesn't get confused as to
what you want connected. I'm going to quickly finish
the last two sides here. And then you should
also be doing the same thing as
well on your own. Okay? Now I have all of the different parts of
my arches connected. Then in here in the
middle, they're also currently intersecting. Don't worry about the faces intersecting each
other in the middle. We'll be fixing that
in just a moment. Now we can hit Alt and Z
to exit our x ray mode. Just so this is a little
less confusing visually, with all those lines
overlapping each other, it's a little bit hard
to see what's going on. Now let's begin the
process of getting rid of this intersection
here in the center. First, click off of
your model to make sure you have no edges
currently selected. Now hover over either one
of the sides of your arch. In this case, I'm going to
choose the left side here. Then just by hovering over it, I can hit L on my keyboard
to select Linked. This will select
every single edge that's a part of this
particular model. We notice here that
it didn't select the other part of
the arch because they're not actually connected. Even though they're
part of the same model, they aren't physically
connected to each other. It's only selected
this part here. Now we can hit on our keyboard to bring
up the separate menu. And we're going to choose
Separate by Selection, the very top option here. By choosing separate
by selection, we've separated off
just the pieces that we had selected into
a brand new model. And we can see that up
here at the top right. We now have two pieces of Arch. Now we can hit Tab
Text at our edit mode. Now click off of your model to make sure you have
nothing selected. Then again, select just
one piece of this model. I'm going to select
the left side here. It's just this left
portion of the arch. We only want to have
one selected for this next part over here
in our modifier panel, Again, this blue wrench icon. We're going to
choose Add modifier. And then we want to choose Bo*** would select booling here, and then that I'll
apply this modifier. Typically the Bo***
modifier is used to cut the shape of one
object out of another, such as cutting a square
out of a wall for a window. We'll be using boiling
a bit differently. This time though, we're going to use the union mode rather than the difference to combine these two objects into
one cleaned up model. To do this, we can
go over here to the Bo*** modifier and
we can choose union. This will switch the type
of boiling that it's doing. So the union will allow
us to combine objects. Now over here, make
sure it's set to object mode for
the Operand type, which is the default
in this case, you shouldn't need
to change it, but if not, switch it to object. And then over here
where it says object, click this little eyedropper. And then we're
going to eyedropper the other piece of the arch that we don't currently
have selected. In my case, it's the right
side which is not highlighted. We'll click this. Now we need to change the
solver method. Right now it's set to exact and we're going to switch
it over to fast, which will actually give
us a better result. Now, right now, it
doesn't actually look like it's solved our issue. We still see some
intersections here. But that's actually
because we have two models sitting on top of each other. If we go over here
to our outliner, we hide the piece of the arch that's not currently selected. Right now we can see
we have this one selected, but this one isn't. If we just click this
little eyeball icon, we can see here that
it gets rid of all that weirdness
that we saw there. And if we rotate around, we can see that we have no
intersection in the middle. A nice one piece
connected model. Now that we're happy with the
results that we see here, we can actually apply
this booling modifier. So we're going to
go over here to this dropdown and
then choose Apply. Then I'll make these
effects permanent. Then lastly, we can go over here to this arch piece
that we deleted. And we can see here
we no longer need it, we'll just right click
and then delete. Depending on which
piece you selected, Your Arch might be
called Arch 001. Now if you'd like to
get rid of that 001, you can just double click
on it and then delete it. And then hit Enter. Now with our new combined arch
selected, let's hit Tab. And then hit one to go
into our vertex mode. And then hit A to
select all vertices. We have everything
selected Now now we can hit on our keyboard for Merge, and we're going to choose
Merge by distance, which is the very
bottom option here. We won't need to change
any of these settings down here as the default
works pretty well. This will merge together
any remaining vertices that were left separated
after the bulling step. It will ensure that the model is all cleaned up as possible. Before we move on
to the next step, with the model fully cleaned up, now we can make the
column a bit taller. Let's hit two to
enter our edge mode. We're going to zoom in
down here on the bottom. Click off of the model to make sure you have
nothing selected. Now hold down Alt and click this very bottom edge that will select all the way around
the bottom of the column. Now we can hit to
start extruding off more geometry off the bottom of this to make a longer column. After hitting though,
we'll need to hit Z to make sure it only
moves in the z direction. Then we're also going to use that quick method where
we just type in a number. We'll type in negative one for 1 meter, and then hit Enter. The reason we use negative
one is because right now this pillar is actually
sitting on zero right here. In order to make it
longer this direction, we needed to go negative
in the z direction. Again, you'll just hold Alt. Select this edge
loop at the bottom. Then hit then Z to make sure it only extrudes
it in the z direction. And then type in negative
one and hit Enter. Now let's finish off the top of our arched column by extending the walls upward a little bit. Let's zoom out a little bit
so we can see the very top. This part here is what we're
going to be extending again. Click off the model to make sure you have
nothing selected. Now we can hold down
Alt on our keyboard. And then we're going to
select near the top edge. We're actually not going to
select directly on top of it. We'll select roughly,
just a little bit, hovering off the side of it. We'll see here that it does
still select that top edge, even though we didn't
select directly on it. There are a lot of
really close edges here, hovering your mouse just
outside of the model. And near the end of this X
shape that we have here, we'll make sure that you
select the correct edge loop. You'll know that you have the
correct edge loop selected. Because you'll see
this orange line will travel all the way around
the outside of this X, including the ends here. Now that we have the
correct edge loop selected, we're going to
again hit to start extruding then Z to make sure it only extrudes
upward in the Z direction. Then we can type in 0.15
and then hit Enter. This is made a small
top wall to our arches. And this is again
another good indicator here that you had the
correct edge loop selected. If when you extruded this up, you only saw a portion of the X get extruded
upward and not the entire thing
including the S. That means you didn't have the
correct edge selected. So you need to control Z, undo the change
that you just made, and then try to make
sure you select the entire edge loop again. Now let's switch
to our face mode by hitting three
on our keyboard. And then we're going
to select each of these faces here at
the ends of the Xs. So we're going to select this
face and then hold shift. And then spin around and select each one of
these faces here. By holding shift we're
adding to our selection. We don't lose the previous ones. Now I have all four edges
of this X selected. And then we can hit Delete, and then choose Delete Faces. Deleting these faces is
important for our next modifier. With that last change made, we can hit Tab Tex
at our edit mode. You'll probably notice by
now that our flat walls on the side of these arches
look odd right now. This is because the smooth
shading that we added in the beginning of
the lesson doesn't know how to handle
these new shapes. Let's switch it to auto smooth, which will take into account the different
angles of the faces to produce a better result. We can do that just by right
clicking on this model, and then choosing
shade auto smooth. Now the arches still
look nice and smooth, but the walls on the
side are still flat. The last thing we need to do
for this lesson is to add a tiny bit of rounding to the corners of this
arched pillar. This will add a little bit of realism to our model and allow later textures to create nice high lights on the
edges of the model. We'll again be making use
of a modifier to do this. Let's go over here to
our modifier panel. Click Add Modifier, and then we'll be adding
a Bevel modifier. Let's zoom in here on our model. So we can see a corner here that has a couple of these
edges all coming together. We have a few settings
to change over here, let's start making
those changes. Now, the first thing we need
to change is the amount. We're going to go
to the amount here, we're going to make
it really small. We only want a little
bit of rounding, and we can type in 0.001 And then hit Enter
for the segments, we're going to set
that to 22 and then enter the amount is
the width of the rounding. How generally large
is the rounding? The segments is how
round is this rounding? With one set, it's going to
have a flat rounding to it. It'll only have a single
segment, a single face, Making the face a little
bit more round but still blocky by
setting it to two. And we added another
cut in the middle, which will make the corners a little bit rounder
than they were before. Now we can head down here
to the geometry tab. We're going to uncheck
clamp overlap. The clamp overlap setting
will prevent b***der from rounding edges when they get too close
to each other. However, we've used such
a small measurement here that we don't need
the setting turned on. Then lastly, down here
at the bottom where it says shading, we
can twirl this open, we're going to check one harden normals When we select this, you can see on our model here, if I check it and check it, it actually makes
these flat edges look a little bit more flat. It prevents this rounding. We're putting on the
corners here from making the model look too
rounded and bubbly. And make sure that the flat
areas still stay flat again. We want to have this turned on. And now with our
last modifier added, our arched pillar is
officially completed. In the next lesson, we'll be assembling the rest
of our environment by adding more pillars
walls and water. I'll see you there.
4. Modeling the Environment: In this lesson, we'll be
assembling the rest of the environment by
adding more pillars, walls and water. Let's begin. We'll start by
adding a lot more of these arched pillars utilizing
a modifier called array. The array modifier will allow us to make a
duplicated grid of pillars to create a seemingly infinite corridor
for our render. Before we do this however, we'll need to apply
our transformations to the arch so that B***der
considers its current rotation. The new default. To do this, select your arched pillar. Then hit Control and a
ring up the Apply menu. And then we're going to
choose Apply Rotation. Now when we add the
array modifier, it'll populate it correctly with our pillars still selected. We can go over here to
our modifier panel. Let's scroll up to the very top so we can see ad modifier. We can leave this pebble
modifier as it is. If you don't like seeing
the entire modifier. You can click this little tiny
drop down to collapse it. It'll still have
the effect, it's just not taking up so much room. Now choose Add Modifier, and then pick Ray from the
very top of this list. Now let's zoom out to see what this array modifier is doing. We can see here that the
array modifier has made a second duplicated copy
directly next to the first. Given the illusion that this
archway is a complete arch, not two separate models. If we increase this count
number on the right side, we'll just continue to add
copies next to the last one. We're going to set
our count to ten, that way we have ten of
these arches going in a row. We won't be changing any of
these other settings here, but just so you
know, we can change the type of array here. We're going to be
using fixed count, but there are different
options here. We'll leave that on fixed count. The options down below, we
have our relative offset. This is where we
determine how far apart these individual clones are as well as which
direction they're moving. If you have this
number set to one, it'll have them butted up
directly next to each other. It's moving one width
of this column, and then placing the next
one, they're all touching. If we increase this number,
it'll move them apart. And if we lower them, it'll
actually intersect them. We're going to
leave it at one for the X direction if we wanted them to instead
go in the Y direction. In this case, we don't need to, but if you just wanted to know, you could change this to the
Y, change the number here. If you use both of them,
it'll move in a diagonal. Or if you get rid of the x, it'll just move them in the Y. But again, we're going
to leave ours as it was before because the default
actually works fine for us. So you should have x set to one and then the
other two set to zero. Now that we have one single
row of these columns, let's add another array modifier
directly on top of this, so that we can
make a large grid. We'll go back over here to
add modifier, choose array. Then if we scroll
down, we'll see the new one that
we applied here. We are going to need to
change some of these numbers. Let's start off by changing the factor down here underneath
the relative offset. By default, it's duplicating this entire line twice
in the X direction. Instead, let's set factor
to zero for the X. Then for the Y, we're
going to set that to one. And then hit Enter.
Now it's duplicating this row that we made with
the first array modifier. And it's duplicating
a second one, in this case in the y direction. Now if we set this to ten
instead of count two, now we have a ten by ten grid. We can see now by
layering these modifiers, we've easily made
a large grid of pillars that will be the
bulk of our environment. With our pillars finished, let's create the walls, floor and ceiling
for our render. We can hit Shift and A
to bring up our Ad menu. And then we're going to go to
Mesh and then choose Cube. If we zoom in down
here on this cube, the size that we choose here doesn't matter because
we're actually just going to be
stretching this out so that it fills
the entire scene. It doesn't really matter what
size you have said here. Before we go any
further, let's go up to the top right and
rename this cube. So we can just double
click on the word cube. We're going to call this walls. Now let's change the shape of this cube so that it fills
out the entire environment. We're going to hit Tab
to enter edit mode, then Alt and Z to
enter our x ray mode. That way we can select through the cube and then hit one
to go into our vertex mode. Now we can adjust the
shape of this cube so that it covers the
entirety of our pillars. To do this, we'll be using
a tool called snapping. This will allow us to snap the edges of this
cube to the pillars. That way, all the
walls are perfectly lined up to enable snapping. Go up here to the top center where we see this
little magnet icon. We're going to click
on that to turn it on, it highlights it blue. Now we can click on this drop down menu here to
open up the options. And we're going to
switch it to snap to vertices here with the
second option from the top. All of these other options
down here at the bottom. We can just leave
set to the default. Now that we have
snapping turned on, let's go into our
front view again. Again, we can do
that by clicking on this negative y bubble up here. Or hitting tilda. And then choosing front. Now we can go down
here, drag select, over the top of this cube. We're going to move it just in the Z direction, just
the blue handle. And you can see as we hover over different vertices
on this column, it starts snapping to it. And we can tell it's
snapping because of this little tiny orange circle here snapping to
individual points. Let's move it so that it snaps
to the very top vertice, it's lined up at the very top. And then place it there
in the bottom here. It should already be
lined up for you, depending on which
size you made. But if it isn't, just grab
this blue handle and then drag it down so that it meets this exact vertice
on the very bottom. Now let's zoom out and do the same thing on the left and the right side of this cube. We'll start with
the left. Just drag select over the left side. Again, you do have to
be an x ray mode in order to select through
the entirety of the cube. If you're not in x ray mode, you'll only be selecting
the front side of the cube and it's going to
mess up the shape of it. Make sure you're in x ray mode with the left side selected. We can drag it here to the left and line it up at
the edge of this pillar. Now let's drag select over
the right side of the cube. And we're going to have
to zoom out pretty far here so we can see
the far right side. And we're going to
drag it all the way over here to the far right. And we see here, it's
snapped to the very edge. And you can zoom in just to make sure it's snapped
to the right spot. Okay, now we have everything
done here in the front view. Now we can do the similar
process here in our top view. We can get to the top view
by clicking this z bubble, or hitting Tilda, and then choosing top, due to
the grid behind it. It is a little bit
harder to see this view. You're going to
have to be careful about what you're selecting. But first, we'll start
out by selecting the bottom half of this long
rectangle that we've created. We're going to have
to zoom in here. Again, it's going to be a
little bit difficult to see if you're having trouble seeing the end of
this column here. You can go up to the top right and these two little
intersecting circles. If we turn on this,
it'll turn off all the overlays
inside our viewport. Now that we've done that, we can click and drag this down. And then hover over
this edge here to drag it to the very
edge of this column. Now let's zoom out again, drag select over
the top of this. Now because we've turned off
these Viewport overlays, we've also turned off
this orange highlighting. You'll have to know
that it is selected. These top here are selected, even though we can't see them. Now let's drag this all the
way up in the y direction. We're going to drag it all the way up to the very top here, so that it fills
out the entirety of this grid that we've created. With that last movement done, make sure you turn
back on this overlay. That way we can see the
selection and the highlights. Now we can go over
here and turn off snapping as we don't
need it anymore. Let's rotate our view to get back into the perspective view. Now we can hit Alt and
Z to exit x ray mode. And then we're
going to go back up here to the place where we were turned on the backface culling before in
a previous lesson. We'll click this drop down menu. Then we're going to turn
on Backface culling. When we turn this on, we won't
really notice any changes. And that's because
all of these faces are currently pointing outward. We actually want to have
them pointing inward. So let's fix that now, hit three on your keyboard. Just switch to your face mode while still in your
edit mode from before. Now we're in face mode. We can hit a to select all
of these faces. And then we're going to
do it the quick way. This time we'll hit Alt, and at the same time to
bring up our Normals menu. And then we can choose Flip. Now we'll notice that we've
flipped them inside out. And now we can see through all the walls that we're
currently looking at, which makes it easy to
see into our scene. But these walls are
all still there. When the walls won't be
invisible like they are here, this just makes it easier to view with inside our viewport. Now the last thing we
need to do is to select the wall here on the
negative y side. You can double check that you're deleting the correct wall. You want the wall here
on the negative Y side, we're going to select
just this wall, then we're going to delete it. Biting delete and
then choosing faces, this wall we just
deleted will be important later on when
we start to add lighting, as this is where the sun light will be coming into our render. Now let's hit Tab to
exit our edit mode. Now we can add the last model for this lesson,
which is the water. To start, we'll hit
Shift and A to Mesh and then add a cube. We are going to change
the size of this cube. So we'll go down here
to the bottom left. If this option box is
collapsed like this, just click this little
arrow to open it up. And then type in for the
size 0.7 And then hit Enter. We want to a 0.7 meter cube. After you've done that, we can go up here to the top right. Double click on
the word cube and rename it Water.
And then hit Enter. Now let's zoom in down
here where our cube is at. Then we're going to
switch to our move tool. We're going to move it down just until it starts to
intersect the floor. We're going to need to
zoom in a little bit here. We'll just keep moving
it down until right here you can see
it's just sticking through the floor here.
Right about there is fine. It doesn't need to be
perfect. Just make sure that it's poking through the
floor just a little bit. Now we'll be doing a
very similar process with the water as we
did with the walls. We'll be using the snapping tool again to snap the water cube to the edges of the wall cube so that it fills
the entire room. Now let's go into our front
view to start this process, Tilda and then front. We can hit tab ten
or our edit mode, and then we can
hit Alt and Z ten, or our x ray mode, and then 110 or our vertex mode. Let's go back up here to the
top and turn on snapping. We won't need to adjust
the settings again, because remember what
we used last time. We just need to turn it on by
clicking this button here. Again, we're doing the
exact same process as we did before
with the last cube. We're just extending
it so that it meets all the edges
of this room. I'll quickly walk you
through the first two and then I'll
speed up the video and then just follow along and make sure that your water filled
out the rest of the room. We'll drag Select over
to the left side here. Drag it to the left. Snap it
to this corner here again, drag it over here
on the right side. I'll have to zoom out this time. Drag it all the way over here to the right until it
snaps to the edge. And now go into your top
view and do the same thing. Go tilda top, and then
just extend this out. Now that it fills
the entire room, We can turn off snapping and then rotate our view so we can see more
from the side here. Then we can hit Tab
to our edit mode, Alt and Z to exit
our x ray mode. Now obviously at the moment, this cube doesn't really
look too much like water. But we will be changing
that in a future lesson. With our water model finished, we're done creating the
bulk of our environment. In the next lesson, we'll model the final detail for
our environment, an exit sign. I'll
see you there.
5. Modeling the Exit Sign: In this lesson, we'll model the final detail for
our environment, an exit sign. Let's begin. We've arrived at the
last modeling exercise for this class, so
let's jump right in. The addition of an
exit sign to our scene helps add some real world
context to our image. The small amount of additional
context should help trigger those foggy memories we all have of public ******. This will add to the
liminality of the render. We'll start by
hitting Shift and A. We'll start by hitting Shift and A to bring up our Ad menu. Then go to Mesh and choose Cube. We can zoom in on
this cube down here. We are going to change
the size of this one. We're going down here to size, we're going to type in
0.45 And then hit Enter. Now we can write,
click on our cube, choose shade auto, Smooth. Then go over here
to our Outliner. Double click on the word cube. We're going to call this exit
sign. And then hit Enter. Now we can move it off
here to the left side, that way it's not intersecting
with this pillar, and we have a more clear
area to work on it. Now, hit N on your keyboard to bring up your
side menu over here. And then go over here
to the item tab. It's very top tab
on the side menu. And then go down to the bottom. And we're going to be
changing these dimensions. We're going to actually
just hand type in the exact size for this cube. We'll be leaving the
x dimension set to 0.45 But for the y, we can just click on this. We're going to type in
0.025 Then hit Enter. We zoom in on our cube here, and we can see it
made it much thinner. It's not a square anymore, it's a flat board. Then for the Z, we can type
in 0.2 And then hit Enter, and then I'll make it a
shorter, rectangular shape. And then the last
thing we need to do is we need to apply this scale. Because we can see over
here that we actually, by typing in these
dimensions here, we did affect the scale. We'll hit control and A to
bring up the apply menu, and then we can choose scale. Applying the scale ensures that the bevel we're about
to add to the bottom of the sign doesn't look stretched out due to the scaling
that we just did. Without applying our scale, we would get a
squished bevel that wouldn't be nice and
round at the bottom. You can hit N now to hide
your side menu again, we'll just hit N
and it'll go away. Now hit Tab to go
into your edit mode, and then two tend
to your edge mode. Then we're going to click
off the model to deselect and then click the bottom edge here. So this bottom corner. And then hold shift and
select the other corner. We have both of
these short lines here selected on the bottom. Now hit Control, and at the same time to begin
beveling it. Once we hit that. As we move our mouse now we'll see that it starts
beveling these edges, so we're going to start
rounding them out. You can also scroll up and down on your mouse
wheel as you're moving your mouse back and forth to change how round
these edges are. Don't worry about
the exact size or roundness of these edges as we'll be typing
in values here. Anyway, just move it up to
a random spot. That's fine. Then it'll pop up this
option box here where we're actually just going to type
in the exact numbers we want. First, for the width, we'll
type in 0.05, Hit Enter. Then for our segments, this is how round this edges. We're going to type in ten. We're going to make it a lot more round
than it was before. Now it has ten cuts in here, making this edge nice and round
With these edges rounded. We can hit Tab Text
at our edit mode. Now we're going to be
adding text to our sign. Let's zoom out from
our sign here, because our text is going
to pop up over here. Now we can hit Shift and A and then go down here to
where it says text. We'll choose text, and that'll pop up a text object over here. First thing we'll need to
do is rotate this text. Right now it's laying down and
we need it to be vertical. Hit R to start rotating, then X to bind it
to just the x axis, and then type in 9090
and then hit Enter. We can now move our text
over using our move tool, just moving it
closer to the sign. We'll get it lined
up here in a minute. Let's zoom in so we can
see the text a bit better. Now we need to make this
text a bit smaller. To do this, we can go down here to the object
data properties, which is this little a icon, this little green for the text. Now we can twirl open
this font setting. Twirl this open and then go down here to
where it says size. We're going to type in
0.17 and then hit Enter. Now that our text is smaller, let's go over here
and slide this down. It's roughly in the
center of our sign. We'll line this up better later, but let's just get it
roughly in the center. Okay, now we can briefly
go into our x ray mode. We're going to hit
Alt and Z to go into x ray. And then hit Tab. And then this is how we're actually going to change what it says on this sign
by hitting Tab. Now we're in the
text editor for it. We'll hit backspace
to remove this text. Then we're going to
type the word it, IT, but we're going to do it in all capitals because typically that's how an exit
sign is written. Write it in all capital letters
and then hit Tab again. Tex Edit mode, now that we
have the correct word written. We need to give
some thickness to this word right now,
it's paper thin. And we can do that by going over here and then going to the
geometry menu for this text. And we're going to need to
increase this extrude value. Let's type in 0.01
and then hit Enter. And we can see here now that our text actually has
some thickness to it. Let's turn off our x ray
mode by hitting all ten z. And then we're going
to grab this text and move it forward into
this sine here. We're actually moving it in
the negative y direction, in this case, the green handle. We're moving it so
that just the front of this exit word is poking through the
front of the sign. We don't need to poke
it out very much. Just a little bit
will be enough. Just a small amount so that we can still see the word exit. The last thing we need
to add for our sign is a little arrow pointing
towards the exit. We'll be adding
this using a cube. Let's zoom back out again. We can hit Shift
and A go to Mesh. And then choose cube. Down here at the bottom left, we're going to
change the size to 0.08 And then hit Enter. It's a much, much tinier
cube than before. Now drag this cube all
the way over here to the right side of our
sine, we can zoom in. We need to push it
into this sign, about the same distance
that the word it is. It doesn't need to be perfect, but just move it backwards that it's only poking out
about as much as the word. It is right there is enough. You can see here,
there's a little bit of it poking through,
just like the word. Now hit tab, tend to your
edit mode on this cube. We'll switch to our vertex mode by hitting one on the keyboard. We're going to spin around
to this back side here, then just drag select over the entire back
side of this cube. We want to have all four of
these vertices selected. Now we're going to
move them in so that they intersect somewhere in
the middle of this sign. It doesn't really matter where they end on the
inside of the sign, we're going to be hiding that. Next. We need to
make this cube into an arrow and we're going to
be using Merge to do that. First, deselect
off of your cube, so make sure you have
nothing selected. And then select this top
vertice here on the front. And then hold shift, and then
select the bottom vertice, You have both or the
top and the bottom on the front of this
new arrow selected. Now we can hit M for merge. We're going to choose
merge at center. It's going to merge
both of these vertices in the center of the
distance between them. So we can see here, it's made this arrow shape. Now we
need to do that again. On the back side,
we'll select the top. And then the bottom on
the back side hit M, merge and then choose at center. Now it was important
that we did the front first and then the
back side of the cube. If we had just selected
the entire right side, both front and back, top and bottom, and
then hit merged, it would have merged both of these points together as well. They would have came to a point
here and there would have only been a single
vertice on this side. We wanted to keep
this thickness, We needed to do just the front first and then the back second. Now that we have our
arrow shape made, we're going to drag select
over both of these. We have the full side of this
arrow selected and then we can pull it in and make this
arrow a good bit flatter. Typically, these arrows
aren't very long. They're usually a really
tall but flat arrow. We'll move it into
somewhere around here. That's fine. It doesn't
need to be perfect, it just needs to
be an arrow shape. Now hit Tab Text at our
edit mode and we can move this arrow out so that it meets basically where
the edge of this is. It can overlap a little bit. Right about here, it's
overlapping just a small amount. If you'd like to, you
can move it out to the edge right about there. And now we have our arrow for our exit sign, which is
pointing to the right. So it's just letting people
know that the exit for this made up space that we're making is to the right side
when they see this exit sign. Now that we have
our arrow placed, let's select the arrow
and then hold shift and select the exit word as well
that we have both selected. And then I'm going to go into my front view here by either clicking this little bubble or doing the tilda front view. Now let's slide this whole word plus the arrow here to the left. And we're just going to center this up a
little bit better. I'm looking at the distance
between the edge of this arrow and then the edge of this E here to the
edge of the sign. And just making them
roughly equiva***t, this detail is
going to be pretty blurry in the background, so any imperfections in the sign are going to be
pretty much invisible. So don't worry about
it getting it perfect. Just visually line it up. Now that I'm happy
with the placement, I still have the arrow and I
have the exit word selected. I'm going to also hold shift down and select the sin itself. I have all through
these objects selected. Now we need to convert
all of these into meshes. You'll notice up here in the
outliner that the text has a different symbol
next to it than the other two pieces
of this sign. That different symbol here is letting us know
that this isn't actually a piece of geometry,
it's something different. In order to connect all of these together into one single piece, we do need to make sure that
they're all geometry though. The easiest way to do this is with all of these
objects selected. We can go up here to
where it says object, go down to where
it says convert, pretty far down near the bottom, and then choose mesh. Now if we look over here
where it says text, you can see that that A is gone and it's been replaced
by this triangle, just like the other objects, meaning that it's geometry. The last thing we need to do is combine all of these
into a single piece. We can do that by having all of them selected and then hit control in J at the
same time for join. Now that all of these objects
have been joined together, we can see over
here it just says it sign and that's the only
thing we have selected. In this case, it does actually look like we've lost the text. That's only because we're
in this orthographic view. So if we rotate to the side now, we can see that
the arrow as well as the exit word
are still there. They're all just part
of the same object, so they only have a
singular highlighted edge. You're not seeing the exit
word highlighted as well. And now we've finished
modeling our exit sign. We won't worry
about placing it in our scene until the next lesson, however, because we
don't know where it will be in the view of
our camera just yet. In the next lesson,
we'll be placing our camera in lighting.
I'll see you there.
6. Placing the Camera and Lights: In this lesson, we'll be placing our camera in
lighting. Let's begin. We're going to start
by placing our camera. You should still have
a camera in your scene from when we chose the
general file type. If you deleted it
by accident though, no problem. We can
add a new one. If you need to add a new camera because you've
deleted your old one, just hit Shift and a That'll
bring up your Ad menu. And then we can go
down here in the list. And then choose Camera. That'll place a brand new camera here on the origin of the world. I still have my original camera left over from when
we created the file. I'm going to delete
this new camera and use the old one instead. Let's create a new viewport
on the left side of our screen that we'll
use to view our camera. We can do that by going up to the top left corner
of our screen, right here on the viewport. And we'll notice that our mouse turns into a little plus sign. When that happens,
just click and drag, and then pull it over
to the right side, and that'll drag out a brand new viewpoint on the left side. When this new left viewport, click this tiny white
camera button here. This will jump us
into the view of the camera that we see over
here on the right side. Now that we have a viewport made exclusively for our camera view, we can begin placing our
camera in the scene. We'll start by
selecting a camera over here on the right side. Then we're going to move it all the way over here on the right. We're going to move
it to the second, from the end square, it's this square here. And
the second from the end. And the first full square, we see we have a couple,
two squares here. Instead, we're going to
move it to the full square. Now let's move it up
in the y direction. We'll move it to the
bottom side of the square. We'll just try to
place it somewhat central in this location. It doesn't have to be
perfect. I'll be giving you exact measurements for your
camera in just a moment. Now let's move our
camera down in the Z direction so that's not floating way
above the ceiling. Can do that just by
pulling it down here. And we're going to
have it floating just above the water here. This box here is
actually the water. It's not the floor because we haven't made the
water clear yet. So it's a little
bit harder to see. Now that we have it closer
to the correct position, we can start fine tuning its
position a little bit more. Move it a little bit
closer to the center, maybe a bit closer to
the water as well. Now we need to start
adjusting the rotation. Currently, our camera is
pointed straight down, basically directly
into the water. And we need to point it up so that it can see the
rest of the scene. Now let's switch over
to our rotate tool. We can do that by clicking
this symbol here. We'll notice that
the rotate tool, the direction of this, doesn't
really face the camera. It seems to just be following the world orientation up here. Luckily, we can change
that so that it better reflects the direction that the camera is currently pointing. And we can do that by going up here where it says orientation. Right now it's set to default. We're going to switch this clicking on
this dropdown menu. We'll switch it to Local. After we select local, we'll notice that this gizmo now actually aligns
with the camera. This will make
placing the camera and rotating it a lot easier. Now we can click on this
red handle here and rotate the camera upward so that we can see the
rest of the scene. And we can see that
reflected over here in our camera viewport. We can continue rotating our camera to get a
better view of the scene. If we'd like, we can rotate it to the
right a little bit more. We see these pillars here. We can also switch back to our move tool and then
move it back a little bit so that we see more of the
scene and we're not quite so close to that
pillar at the moment. We can only adjust
our camera using the typical move
and rotate tools. We'll be changing this later on. But know that if you try to use your normal viewport controls and the left camera viewport, it will just pop you
out of the camera view. If I try to rotate
over here using the normal viewport method. We'll see here that
if I zoom or rotate, it just pops me
out of the camera. It doesn't actually
move the camera. To get back into
our camera view, I'll just click this
camera button here. Right now, we only can
move our camera and change its view by using these
tools on the right side. Now let's begin discussing some of the settings
for our camera. We can find our settings over here using this little
green camera icon, which is the object data
properties for the camera. The main thing we'll be focusing
on is the focal ***gth. Currently, our camera is using the default focal ***gth
of 50 millimeters. This is a relatively
high focal ***gth, meaning we'll see a pretty
narrow view of our scene. If we lower this number
to 36 millimeters, we'll get a wider view
of our environment, allowing us to make a
more compelling render. Let's change that value now, over here we can see
focal ***gth set to 50. We're going to lower that to 36 instead, and then hit Enter. And we'll notice that we now
see more of our scene here. You don't have to
change it after you've switched it to 36. But if I increase this
number, the higher it goes, the less we see it basically
zooming in your camera. The lower the view is, the more zoomed out your camera is. But it's also starting
to distort the view in order to avoid some of the distortion but still
see enough of our scene. We're going to set it to 36, which is a nice medium value. Now that we have our
focal ***gth set, let's fine tune our camera
angle using a new tool. Let's hover our mouse
over our left viewport, which has our camera view in it. And then we're going to hit
to bring up our side menu. And then we'll go down to view the view tab here. The
third one from the top. Then there's a setting we're
going to check on here. And I'm going to
make my window a little bit wider so you
can see the whole thing. That setting is called
Camera To View. When we check on Camera To View and then hide our side menu. We'll notice now that
if we try to use our normal zoom or rotate, it actually moves the camera
inside this left view. It allows you to use
a little bit more of a natural and intuitive way
to position your camera. With this new camera
view setting turned on, we can more easily
position our camera. Let's do that now. I'm going to start by moving my camera
inward a little bit. Holding down control and middle mouse button to
slowly zoom it forward. Now let's rotate my
camera up a little bit. I just want to see a little
bit of the ceiling here. And I want to make
sure that this pillar here doesn't go off the bottom. Because everything that
we're seeing here, essentially what we're seeing is the floor right now is
actually going to be water. I can pan my camera a
little bit to the right, so I see a little bit
more of this right side. I think for right now, this
camera angle looks fine. Now comes the most
important step when using camera to view. And that's actually
remembering to turn it off if you hit to bring
up your side menu, we can go over
here where it says camera to view and
then uncheck it. The reason it's
important to uncheck this is because you don't
want to accidentally move your camera
later on when all you wanted to do was just
zoom in on your render. Now that we have camera
to view checked off, we can hide our side menu. Then we're free to zoom in on our render or pan to the side. And we'll notice over
here it's not actually moving the camera.
That's a good thing. Let's just center this back up so we can see the whole view again with our camera angle
looking a bit better. Let's make a simple
change that will add a lot to the liminal space. Look. Many liminal space images have the appearance
of being taken on a low quality disposable camera from the late '90s
or early 2000. These cameras are meant for everyday people to
take photos with. They won't always
take perfect photos. And they might be slightly
off center or tilted. Let's mimic this slightly
imperfect and tilted look with our camera to make it look more like one
of these photos. To do this, go over to
your right viewport, switch to your rotate tool, then all we're going
to do is just slightly rotate the camera
on this blue axis, the z axis, In this case, it doesn't need to be
a very big rotation. We actually want it to be
as subtle as possible. I'm just going to grab
this blue handle here, then rotate it
just a little bit. In this case, it looks like about three degrees is enough. You can go a little bit
more if you'd like, but I probably
wouldn't go past five. You start going past
five, it's really starting to look tilted, maybe. Let's do a nice halfway point. We'll do 2.5 down here. Just type it in, and that'll
be exactly 2.5 rotation. This might seem like
a subtle change, but it really does add
to this liminal space look that we're going for by
making the render imperfect. Now that we're done
rotating our camera, we can go back up here to
where we have it changed to local and we're going
to set it back to default. Now that our camera
is roughly placed, I'm going to give
you exact values that I'll be using
for this tutorial. Feel free to use my values that I'm going to
tell you here in a moment or just leave the
camera angle as it is now. If you're happy
with how it looks, the exact values I'll be using, we'll have to hit to
bring up our side menu. Now with our cameras
still selected, we're going to go over
here where it says location for the X, we'll type in 32. For the y we'll
type in 0.75 Then for the z we'll type in 0.14
And now for the rotations, for the x value
we'll type in 97. For the Y we'll type in
negative 2.7 Then the z, I'll type in 3,090.5 Again, these measurements here are just optional if you'd like
to follow along exactly, these are the values
I'll be using. With that done, we
can now hit to hide the side menu With our
camera placement done, let's add one last effect
before moving on to lighting. We're going to add some depth
of field to our camera in order to get a slight blur on the objects furthest
from the camera. This will further add to
the realism of our image, due to it being a property of
real life cameras as well. Before we enable this
setting on our camera, let's make sure that we
can actually see it in the viewport over on
our left viewport, we're going to go up
to the top option bar and we'll click in our
middle mouse button. This will allow us to
pan this side to side. We're going to pan it
all the way to the left. We can see the far
right side of this bar. Now while we're still in the solid view which
we're currently in now, this is the gray view we see. Now we can click
this drop down menu. Then we can go all the way
down here to the bottom, and then check on
depth of field. This setting doesn't give
our camera depth of field. However, it does allow us to see the depth of field
in the solid view. By default, you can only
see depth of field in a rendered view unless you have this enabled. With that done. Now let's go over here to
our camera settings then we're going to
scroll down until we see here depth of field. We can turn that on now by
just checking this box. There's only two
settings. We'll be changing here and it's going to be the distance
which will set to 4 meters. Then down here for the stop, we'll set that to 1.5
And then hit Enter. Now let's go over
to our camera view here and zoom in on these
pillars in the back. We can see here now
that after we've enabled our depth of field
and set up our parameters, the furthest pillars are getting pretty blurry as they go back. Whereas we zoom out, the pillar in the front
is still nice and sharp. This will help obscure
the background and give it the impression
that it goes on forever. For a little bit more detail
on how depth of field works. Essentially, the F stop value here is how blurry the
image is going to be. The lower the value, the more blurry the
background will be. Then the higher the
value, the less blurry it will be going to set mine back to 1.5 Then the other thing we
changed was the distance. This determines where
the blurriness starts. This is an exact distance
from this camera. I told it 4 meters
out from the camera, start making things
blurry past that point. In our case, if I
lowered this value, it'll start making that
closest pillar blurry. Because I'm telling it
to start making things blurry before it even
gets to that pillar. If I wanted more
pillars in focus, I can make that
value higher than 4 meters and it'll start
making closer pillars here, still sharp, whereas it starts getting blurry the further back. But I'll set this
back to 4 meters as I think that looks
good for our render. Now let's zoom out
here so we can see the full view again
on the left side. With our camera in
depth of field set up. We're now ready to
place the exit sign that we made in the last lesson. Now let's zoom out on
our right viewport and then find the exit sign which is over here
on the left side. We can switch to our move tool. Now we can start roughly
placing this exit sign. It's going to be easiest to
place this from the top, just be above your scene here, And we're going to move it over. I will move it two squares
over from where the camera currently is, roughly
centered here. Then we're going to move it to the back of this square here. It's one square up and
then two squares over. Now that it's roughly placed in the correct spot, we
can zoom in here. Zoom in much closer
to the exit sign. And then we can move
it up to the ceiling. Move it forward so that it
doesn't intersect with this. We're actually going to have it floating just in front
of this archway. But first we want to
make sure we move it up so that it just barely
intersects the ceiling. That way it looks like it's
connected to the ceiling. Once you have it
touching the ceiling, then you can zoom out. And we'll just slide
it over so that it looks like it's in the
center of this archway. It really doesn't
need to be perfect, just make it generally centered. Because you can see over here,
it doesn't really matter whether we slide it a
little bit left or right, It looks pretty much
centered regardless. Now let's make one more
duplicate of this sign. To make this duplicate, we're
going to be holding down Alt and D to make our
duplicate not shift and D, I'll explain why in a minute. But hold down Alt
and D now we can hit Y to start cloning it just in this Y direction. We
can just move it here. For now, we're using Alt and
D to make this duplicate. That way it shares the same
material data as the first. This means in the next lesson, when we texture one
of these sines, the other sine will also be
a textured along with it. At the exact same time, we won't have to do it twice. The difference
between using Alt and Shift is Shifty makes just
a clone of that object. They aren't directly
tied to each other, whereas all makes almost
an identical clone of it. Anything we do to the
original will also be affected on the
second one as well. When we use a D, if
we just use shifty, it's made a duplicate, but it's branched them and made
them both unique. Anything we do, the first one will not be reflected
on the second one. With our duplicate made,
let's get it placed. We'll zoom out again above, so our original sign is here. We're going to slide this back, so we'll consider
this one square, two squares, and
then three squares is we're going to end
it. Now let's zoom in. We can push it
closer to the wall, that way it's close to the arch. Then for this sign,
we're actually going to have to make
this one offset. We're going to slide
this one all the way over here to the left. And we'll notice as we zoom
in over here on our camera, we won't be able
to see this sign until we get it in
this little gap here. I know it's a little
bit blurry right now, but there's a gap here
between these arches. And if we centered this sign. Notice that it's hidden
behind this arch here. In order to make it
visible from a distance, we're going to slide it
over to the left side. We're faking the fact that this one is supposed
to be centered. This is going to be so blurry
here and obscured though, that we won't really notice
that it's off center. We just want this little pop
of red light in the back. Once we get to the
texturing part, now that we have our
second exit sign placed, we're ready to add
some simple lighting. First, we need to zoom out
on our camera view here on the left side so we can
see the whole view. We'll be keeping our
lighting very simple. With one small exception, we'll be including a subtle
fog throughout the scene in order to further obscure the scene and leave
it a bit mysterious. Before we start
adjusting our lighting, we do need to switch our
left camera viewport into a different rendered mode. To do this, go up here to the top right where you see your different rendered modes. And we're going
to switch it into the rendered viewport mode, which is the furthest
right button here. This will give us an accurate
preview of our final image. Right now, the scene
is pretty dark and that's because we haven't
adjusted the lighting. Now let's go back to
our right viewport. We can zoom out on our scene. We're looking for the original
light that was left in our scene when we created the general file type
at the beginning. Again, if you've already deleted this by accident, that's fine. Just hit Shift and A. Then go to light and then choose point light to
add a second light. Just like before, I already
have the light in my scene. I'm going to delete the
one that I just made and then go back to the original one that was left in my scene. With your light selected, go to the object
data properties, which is this little tiny
green light bulb icon. And then we're going
to go up to the top here and we're
going to switch it from a point light
to an area light. Instead, we'll just
click Area Light, and that'll change the type
of light that this is. With that change made,
now we can start positioning our light first. Let's just drag our light over here to where roughly
where our camera is. We want it to be in the same row of squares here that our
camera currently is. Now, we can hit R
to start rotating and then z to rotate
it just on the Z axis. And we're going to rotate
it towards where our camera is pointed, roughly here. Now let's zoom in on our scene here so we can get a
little bit better view. First, we need to
pull our light back. We're moving it in
the y direction. This will move it so that
it can shine through this large gap here that we
delete it on the side wall, we can see as we move it back, our scene starts getting
brighter because it start letting
light into the scene. We can also move our light
down in the Z direction. Again, more lights
getting into the scene. Lastly, we'll hit and then X to start rotating it
just on the X axis. And we'll point it more towards
where our camera is now. Just like the camera before, I'm now going to give you
the exact position and rotation of the light that
I'll be using for this class. Again, this is optional, but if you'd like to
follow along with the exact values, this
is how you'll do it. We'll hit N to bring
up our side menu. Then we're going to
change our location. We'll set this to 31.5
For the y location, we'll set this to negative
4.5 And then the z, I'll set this to 5 meters. Now for the rotation, let's set the x rotation to 55 degrees. Then we'll set both
of these to zero. We can see after making
these adjustments, our scene is a good bit darker. And that's because this
light has moved further up and a little less of the light is actually getting
into the scene. If you're not planning to use this exact position
for your light, I would suggest you try to get your scene roughly as
bright as mine is now. Not a whole lot of light coming in right into the foreground. Just generally bounce lighting illuminating the
scene in general. The darker a liminal
space render is, the more convincing it will
be with the light placed. Now let's start adjusting the settings on
the light itself. First we'll change the color. We can do that just by clicking this little color bar here. And then for our hue value, we'll type in 0.05 Then
for the saturation, we'll type in 0.45 And that'll make our
light pretty warm, almost like a
sunlight coming in. Next we'll change the power. We're going to set this
significantly higher. We'll set it to 2000020, and then three more
zeros after that. Don't worry if the lighting
seems a bit bright right now. This is because we haven't
textured anything yet. After we have some darker
materials in our scene, the lighting will feel
much more balanced. Lastly, we're going to change
the shape of the light. Right now it's set to rectangle, We're going to change
from rectangle to square. Then we'll change
the size from 0.1 meters all the way
up to 10 meters. By making this light
source physically larger, we'll also be softening the
shadows caused by the light. Now let's add a pretty subtle but important
light that's going to mimic a camera flash on our right viewpoint.
Let's zoom out. We can hit shift
and a go to light. Then we'll choose spot light. Before we place this light, let's adjust some of these
parameters for the power. We're going to set
this to 80 watts. 80. Then for the radius, we'll set that 2.1 for our spot size down here
below underneath beam shape, we'll switch that to 65 degrees. That's just going
to make the spot light a little bit wider. And then the b***d value, we're just going to drag
that all the way up to one that'll make the edges of the spotlight as
soft as possible. Now we need to place this
light behind our camera so it feels like the camera flash went off when we
took the picture. I'll be gaming you my exact settings for this
light placement, but feel free to adjust them to match your camera
placement if needed. First, let's zoom out
over here so I can see my camera now with
my side menu open, you can hit to bring that up. For the x location, I'll type in 32 for the y, 0.55 z is 0.18 Now the
rotations for the X, we'll set that to 9090. Then the Z, we'll
set that to 39. Then that's the last change. Now we can see here
that our light is positioned off just to
the side of our camera. That's to mimic the
fact that the flash is typically offset on
the side of a camera. It's a pretty subtle change, but it does make a
slight difference. Now we can hit N to
hide our side menu. Now we're ready to
add the subtle fog that I mentioned earlier. We'll be adding this fog inside
the World Properties tab. We can find that here with
this little red globe icon. The first step is to turn off the ambient light
that's currently in our scene right now. It's set to strength one, we'll just type in zero. And that will remove
a little bit of the ambient light that b***der
ships with by default. Now let's twirl open the
volume settings here. Then under volume, we see none. We'll click on the word none. Then we'll switch it
to Principled volume, which is right here, a little
bit below the center line. We'll choose principled volume. Now I can see over
here on the left side that we have a ton
of fog in our scene. We will be adjusting
some of these settings. Now there's only two settings that we'll really
need to change. The first one is density, and then secondly we'll be
changing the anisotropy. First, let's change the density, click on density and
then we can set that to 0.05 and then hit Enter. The density value is pretty much exactly
what it sounds like. If we lower the number, we'll lower the
density of the fog, making it thinner so we
can see further in it. The second value will
be changing anisotropy. That one's a little
bit less obvious. First, let's set this to 0.3 which is the value
we'll be using, 0.3 You might have noticed
after we've changed that, that the background here has
a little bit less fog in it. It's gone a little bit closer to black
like it was before. The anisotropy value basically is pulling the fog in
and making it more concentrated around
light sources and having a little bit less
effect in the areas that have less direct
lighting on them. The higher this value, the more concentrated
your fog will be around the actual light source and the less it will cause. In the background, we can
see here at a 0.7 value, it makes the background
really dark. We don't need it
quite that dark, so we'll just leave ours at 0.3 With our volumetric
fog set up in our scene, we're officially done with our lighting and the next lesson, we'll start texturing our scene. I'll see you there.
7. Texturing the Scene (Part 1): In this lesson,
we'll start adding some color to our scene
by creating textures. Let's begin. We'll
need to switch into our shading workspace before
we begin. Let's do that. Now we can find the
shading work space up here at the top center by clicking on the word shading. Now let's get rid of these
two smaller viewports here on the left side
as we won't need them, and they're just taking
up space to remove them. We'll go up to the top left
corner of this viewport. Wait until our mouse
turns into a plus sign, and then once it does,
we can click and drag to the left until it
turns into an arrow. And then let go cover
up that old viewport. Let's do the same
thing down here on the bottom Again,
we'll keep this one. So we're going to hover over
the top left corner of it. Click and drag, and then let go. Now up on our top viewport, we're going to switch this
to the rendered mode. We can do that by clicking this far right bubble
here on the right side. Then lastly, we'll switch into our camera view by clicking the little white
camera icon here. Let's zoom out a
little bit so we can see the full
view of the camera. Let's start with the
water texture first. First we'll need to
click on our water. So we can do that either here in the viewport or we can
go up to the top right, and then scroll down until we see water. And then
select it here. Now that we have it selected, we can go down here to
the bottom center and click on the new button to create a new material
for the water. Before we make any
changes here though, let's rename this so we know
it's the water material. We'll just click
on the word here where it says Material 001. And we'll replace that with the word water If this is the first time you're seeing the node system within B***der, let me give you a
very brief rundown. You can zoom in and out
on the shaded editor down here on the bottom by scrolling your mouse wheel in and out. You can pan the view around
by clicking and holding in your middle mouse button and then sliding
the view around. Each of the squares that
we see down here in the shader editor
are called nodes. Right now we have two nodes. Nodes pass their attributes from the left side towards
the right side. All of these nodes flow
from left to right. Each node has colored dots
on it called sockets. You pass the properties
of a left node to the right node by connecting its sockets together with wires. And this white line here
we see is the wire. To add more complex effects, you simply add the
appropriate node and connect it to the
other nodes in the system. We're going to keep most of
our textures pretty simple. For this project, we won't
be using too many nodes. Now let's begin making this
water look like water. The first thing we'll want
to change is the color. Right now it's set to white. We're going to make
it a pale blue. To change that, we'll just go
down here to where it says printable SDF, This
green node here. We can click on Base Color. The quickest way to
change your color, if you're not
concerned with getting it as an exact color, would just be to go up
to this color wheel and then click and drag
on this color wheel. And it'll move this little
white dot around and that will change the color to
wherever you place the dot. You can also click and drag this to make the texture darker, the color rather
darker or lighter depending on where it
falls on side the scale. I know what the exact color
I want to use here is. I'm going to go down here to the sliders and we
can just type in the exact value for the
very top slider, the hue, we're going to type in
0.55 For our saturation, we'll type in 0.35 And
then for the value, we'll set that to 0.8 We can see here our color now has
a very pale blue color. It's not super blue, but in real life, water really
isn't that blue either. We're going to make it a
pretty subtle blue color. Now let's continue
moving down this node. The first place we'll stop
is the roughness slider. This roughness slider determines how sharp or blurry the reflections of
this water will be. As we lower this value, we'll make our water
either sharper in the reflections or
we'll make it blurrier. By making the roughness
higher for our water. We want it to be relatively
reflective and shiny. So we're going to set this
to a pretty low value. We'll do 0.05 Now we can see up here in our
viewport that our water and is now reflecting these
columns on the surface. Let's continue moving
down this list. We'll move down to where it says clear coat. This
clear coat value. We're going to make
it all the way up to one which is the maximum value. And then we'll set the
clear coat roughness to 0.2 This clear coat slider
adds another layer of reflection on top of the original reflection that
the material already has. Like a car paint has a clear coat on top of it to
make the car paint shiny. The clear coat roughness slider works exactly like the
last roughness slider, except it's only affecting the clear coat reflections
and nothing else. We've decided to make our
clear coat roughness a little bit more blurry than the
original roughness slider. This just makes our reflections a little bit more complex. Now, for the most important
slider in this case, at least for water, is
the transmission slider. And we're going to slide this
one all the way up to one. By increasing our transmission all the way up to
a value of one, we've made our water
actually see through. A transmission value of one will make it refractive and allow
you to see through it. And a transmission value of zero makes it completely opaque, which is what it was before. For our water, we're
going to leave it at one, that way we can actually
see through the water. This is already looking
a lot more like water, except there's one important
thing that we're missing, still waves in the water. We'll be adding the waves
using a node called bump. The bump node converts
black and white images into height data that b***der will use to mimic bumpiness
on an object. It's important to note
that this doesn't actually add any new faces or
vertices to the model. It simply fakes
that detail using some trickery that disrupts
the light hitting the object, making it look bumpy, or in our case wavy. Let's start out by adding
our first new node. We can go over here to the
left side and we're going to hit Shift and A to
bring up our ad menu. Then up the top here
we have a search bar. We click on Search and allow
us to type something in. We're going to
type in bump B, U, M. Then here we can see
it filtered it out. And here's bump,
we'll select that. This will create
a brand new node. And we can place
it down here near the bottom left side
of this original node. Now we need to
connect this new node into this system over here. And we can do that by
clicking the word normal. We're going to click
this little blue socket next to it, purply blue. We're going to drag
it down here into the other one that
also says normal. Now we have this purple
wire connecting the two. We won't notice any changes
in our water just yet. And that's because
we haven't given it a black and white image to turn into waves. Let's do that now. We can go over here, further
over here on the left side. We'll hit Shift and A to
add a brand new node. And we're going to
choose search again. This time we'll type in Noise 0, I at the very top here
we want noise texture. Make sure you don't choose
white noise texture. That's a totally different node even though they have
very similar names. Again, we'll be choosing
just noise texture, the top one, we'll place it here to the
left of the bump node. Now we're going to drag
this gray socket here, the FAC, which
stands for factor. We're going to drag
this down into this gray socket called
height on the bump node. Now we have a wire
connecting them. We can see here that our water isn't perfectly flat anymore. It has a bit of a wave to it. There's still a bit more detail we can add to our water though. Let's add another
smaller wave bump to this texture and
combine them together with the subtle larger
wave bump that we currently have down here
in our shader editor. We can zoom out a little bit. We're going to drag Select
over these two nodes here. We have both of them selected, and then we'll just
drag them a little bit to the left to create
some room here. Now we'll hit Shift and A
to bring up our ad menu. Then here in the search bar, we can click this and
we'll type in Mix. And we'll choose Mix
here at the top. We're going to drag
this in between these two until this little
line turns white. And then click to place
it on this new mix node. Can zoom in here. We need
to change it from float, we'll click on this, we're
going to switch it to vector. This will change the
type of mix node that it is and the options that
it has available to it. After doing that though,
it will disconnect the original connections we're going to need to reconnect them. The first thing
we'll do is click this normal socket here
on the bumped node. We'll drag it down
here where it says A. So we'll drag it
into this socket. Then over here on the output
of this, the result node, we're going to drag this
over here and put it into the normal socket
on the original node. Switching this mixed node
to the vector mode is important because bumps are considered
vector information. In order for this mixed node to mix together these
two bump nodes, we need to set it
to the vector mode. It's not super important
to understand why, but the bump node is
considered vector information. It requires the vector mode
to be correctly mixed. You can also get a clue
due to the same color, this purple color on
both of these nodes. Now once we've
switched it to vector, now let's zoom out a little
bit on our shader editor. We're again going to
drag Select over both of these nodes, both
of them selected. We can now hit Shift and D
to make duplicates of them. We're making exact
copies of them. We can place them down below. Now we're going to
zoom in here and connect this normal socket
on this new bump node, and then plug it into
the B socket over here. This new bump and noise
texture that we just made is what we'll use to make the
smaller ripples in the water. But first we need to change
the factor on this mix node. Right now, the
factor is set to 0.5 which means it's mixing
both of these equally, half of this one and
then half of this one. We don't actually want these
to be equally mixed though, we want a lot less of the value. And a lot more of the value. We're going to set
our factor to 0.1 Instead you can think of this factor slider almost
like an opacity slider. In other programs,
you're basically choosing how much of each
layer, either A or B, is present in the texture
with a value of 0.1 We're only allowing a small percentage of the B socket to be visible. If we set it all the
way down to zero on, the socket would
be visible at all. If we set it all
the way up to one, only the socket
would be visible. As I mentioned before, 0.5
would be a perfect 50, 50 mix of both A and B. Now let's make some
adjustments to the new noise texture which
is plugged into the B socket. We're going to go
down here. We can zoom in here so we can see
these values a bit better. First, let's change the scale. We're going to change
this to 112112. By making this
number much higher, we've actually made the
noise much smaller. It's a little bit of a confusing opposite value that
they have here. But the higher the number, the smaller the noise, the smaller the number, the larger the noise. Because we're going
for smaller waves, we needed to make this
number a bit higher. Lastly, down here below
where it says detail, it's currently set to two. We're going to set this
down to zero to make the small waves a little bit more blurry than
they were before. When it's set to two, the waves are a little bit too sharp. Setting it down to
zero makes them a little bit more
blurry and wavy. They b***d together better
with the larger waves. With those changes made, we definitely have a lot more smaller waves in our texture. However, they are a
little bit too strong. Right now, the
water looks really wavy and we want it
to be pretty still. The way we can effect that is
by lowering the strength of the smaller noise texture
in this lower bump node, the one that's plugged into B. We're going to set
the strength value 2.25 to make these smaller
waves a lot more subtle. Now we can see up
here, our texture still has small waves in it, but they're not nearly as
strong as they were before. With that last change, our water texture
is officially done. Now let's work on the
white tile that's going to be applied to
the arched pillars. We're going to start making
this texture on a cube, then we'll apply it
to our pillars later. Let's go back to our layout tab. So we can create this cube and then place it in the scene. On our port we can
zoom out a little bit, then hit Shift and A go to Mesh, and then choose Cube. We will be changing
the size of this cube. Let's set this to 1 meter. And then hit Enter so that
the cube is a bit larger. Now we just need
to move this cube so that's in view of our camera. This doesn't need to be perfect. We just want to make sure that
we can see the whole cube. We're going to move it somewhere in front of this pillar here. Then move it up a little bit. It's not stuck inside
the water anywhere, Roughly in the center
of your view is fine. With that done now we can head back to our shading workspace. We can go up here
to the top center, and then just click shading. Another thing we'll
want to do is to select our camera over here
on the right side. Just scroll up to the top of
your list. Select camera. Go down here to the
object data properties, this little green camera icon, and we're going to
uncheck depth of field. For now, this is
only slowing down our render and it's
going to make it a little bit harder
to see the texture. We'll turn it off temporarily while we work on this texture. Now in our Viewport here, we can just click on our Cube, and then we can
click the new button here to add a new material. Before we make any
changes again, let's change the name here. And we're going to
call this tiles white. And then hit Enter,
because we'll be making two tiles
for this render. This first one we're making
is the white version. Now let's zoom out down here
so we can find the nodes. We can see them here. We
won't actually be making any changes at all to
this principled BSD node. Let's just add our
first new node. We'll hit Shift and A to
bring up our ad menu. Then click Search, and we're going to search for
the word Voronoi. It's a weird word, V, R. And that should be enough to have it
pop up to the very top. And we want the Voronoi texture, we'll select this, then we
can place this node here, to the left of this green one. The Voronoi texture
is similar to the noise texture
that we used earlier. It just generates
a different black and white texture
for us to adjust. Let's zoom in on this node. We're going to be plugging in the distance socket over here
into the base color socket, this principled SDF node. That will allow us to see what this ino texture looks
like here on the cube. Now that we have it connected, we can click down here
where it says one. And we're going to switch the
mode of this vino texture from one to distance to edge. Instead we'll select
distance to edge. Then you see up here, it'll change the look of this texture. Now that we have
the mode switched, let's change the scale to eight. That we'll make this texture
a little bit smaller. Then the biggest change
we're going to be making is changing
the randomness value. We just set this randomness
value down to zero, we'll see that it turns from that chaotic, cracked
looking texture. This very orderly grid texture, which looks a lot
more like tile. Now if we zoom in on this image, we zoom into one of these intersections here
where they meet. We'll see that these
tiles all come together with a perfect 90 degree angle. There's no variation at all, and they're all
perfectly laid out. Now if we go down
here to random, and we type in 0.01
and then hit Enter, This adds just a tiny bit of randomness to the
positions of these tiles. It's a relatively subtle change, but it does make them look a
little bit more realistic. Because in real
life tiles aren't going to be absolutely
perfectly laid out. There will be a little
bit of variation even if they look like they're
90 degree offsets. We can see that here
on this corner, we're seeing a little
bit of that offset. They don't meet up
in a plus sign here. They're slightly
imperfectly laid out, which is how our
actual tile would be. Now let's further
adjust the look of this Voronoi texture with a
new node called color ramp. First, let's drag this over so we can make some room
here between the two. Then we can hit Shift and
A to bring up our ad menu, click Search, and
then type in Color. Then once we type in color, we'll see here color ramp. We'll choose that,
drag that between the two highlights over top of this wire.
It'll turn white. And then click to place it, and it'll automatically
connect it for you. This color ramp node
will allow us to adjust the distributions of colors generated by the
Voronoi texture. In our case, we want there to be less gray and more
flat areas of white. That will get rid of this
studded look that we have up here where we see
this x that goes across it. We'll be making these
adjustments by changing the positions of the sliders
down here on the color ramp. First we can zoom in here
on the bottom left slider, so the one that's
currently black. We're going to click this tiny
little triangle above it. And that we'll select
this slider node. Then we can either
move it by hand, and you can see the effect
up there that it's having. Or we can go down
here where it says position and we can type
in an exact number. In our case, we're
going to type in 0.005 and then hit Enter. This will move it just
slightly inward and that will create more of a
thicker black line between each of the tiles, which is to represent
our grout tiles. Typically in real life aren't butted up directly
next to each other, there's a little bit of a space between them filled
in with grout. Next, we're going to change
this from pure black, a brighter gray color. We can do that by clicking
this black bar down here. And the only thing we need to
change is setting our value to 0.75 In the hitting enter, this will make the grout of
our tile a lot less bold. Next, we need to
go down here and select the right most
slider, this pure white one. And then we're going to
change the position to 0.01 It's really close
to the other slider, we can see by
making that change. Now when we look at our
tile, it's not so blurred. It actually has very defined
edges for these tiles. They're almost entirely white. And then there's some
gray grout between them, and then it goes to
the next white tile. Let's add one more level of subtle detail to this texture,
giving it a bump map. This will make the
grout between each tile appear to push into
the texture slightly, making it a little
bit more realistic. Let's go down to our shader
editor and zoom out. Then we can hit
Shift and A to bring up our ad menu, click Search, and then type in Bump again, choose Bump from the list, and then place it down here. Now we can connect
the normal socket on the bump node down here, to the normal socket on
the principled BS DF node. Again, we won't notice any
change up here because we don't have any image
plugged into the bump yet. Now we can zoom out. We're going to select this color ramp. Hit shift to make a duplicate
of just the color ramp. And we'll place it here
next to this bump. And now we can connect
the color socket on this new color ramp
node down here, into the height on
this bump node. This still hasn't
given the bump node any real information
to work with, and that's because
we need to plug in this Voronoi texture first, let's drag this vino texture a little bit over to the left. Then we're going to drag from this distance socket here
on the Voronoi texture, down here into the factor slider down here on the bottom
for the new color ramp. Essentially what we've
done is we've used this exact same tile texture,
this Voronoi texture, and plug it into two
different color ramps, and then plug those
color ramps into two different parts
on the same texture. That way if we make any
changes to the tile size, if we say change this to
ten instead of eight, for some reason it will
update both of these because they're both utilizing
the exact same texture. Now, we're not going
to switch ours to ten, we're going
to leave it at eight. So I'm just going to
control Z, that change. But that was just an example. Now let's go down
here to the bottom and make a few adjustments. The first thing we need to
do is adjust the color ramp. The only thing we
really need to change is change the grout
color from that light gray that we put
between them back to black so that it works
better with the bump map. The easiest way to select
that black slider is to select a little bit off
to the left side of it. If we just click over here and click slightly
to the left side, you might need to
zoom in a little bit. You can see it's here. It's just overlapped by the other one. Just select a little
bit off to the side. There we go. I was
able to select it. It might take a couple clicks, but you will find it after
you have that one selected. That's the one
that's set to 0.005 just to make sure you have
the correct one selected. We aren't going to be
changing the position, but we will be changing
this back to black. We can click on this
colored bar here and then just set the value all
the way down to zero again. Then lastly, the only
thing we need to change here is the bump node. We're going to set
the strength down to 0.25 as right now, it's a little bit too strong. We just want to really
subtle bump map, we can now see that there's a
subtle shadow and highlight created around the edges of each tile due to the bump
node that we just added. There's one last thing to add
to this texture before we move on down here in
our shader editor. Let's on back out.
We're going to go over here to where
our Oi texture is. Now we can hit Shift
and A to add a new node up here
in the search bar, we're going to type
in texture R space. As soon as you type in C, it should help the filter. And we're going to choose
texture coordinate. The very top option here, we can click and place it here. Now we need to
connect the UV socket on this new texture
coordinate node. We're going to drag this
over and plug it into the vector socket here
on the Voronoi texture. You'll notice our tiles
look much larger now, but we'll fix that once we
apply it to the pillar itself. The texture coordinate node is an important part of
this texture as it will let us dictate the exact size of this texture across
multiple objects. At this point, the white version
of our tile is complete. However, we will be also making a green version
of it as well. Luckily, this process will
be significantly easier and faster now that we can use
this material as a base. Down here next to the
name of the tile, we'll see this little
button here that looks like two squares
overlapping each other. If we click this duplicate icon, we'll make an exact duplicate of this texture that we
can rename and change. The color of this will leave the original white
texture tile intact. It just won't be currently
applied to anything. Let's click this
little button now. We can see here it's
changed the name. Now we're going to
delete the word white and replace
it with green G, R, E, N. For this green variant, we only need to make a single change before it's finished. All we need to do is zoom
out and go over here. Now zoom in on this
top color ramp. We're going to be selecting
the white slider here, the furthest right 11, that's currently
set to 0.01 Again, just select off to the side of it if you're
unable to select it, but it should already be
selected from before. Now that we have
the white slider selected, we can go down here. Click this white bar. Now let's start changing the
color for our hue. We'll type in 0.45
our saturation. We'll set that to 0.4 Then
lastly for our value, we'll make it a good bit darker. We're going to set this
to 0.25 That's it. Our green tile variant is complete by re using
the white tile. We saved ourselves
a ton of work. We went for this
gray green color to add a little bit of a pop of color to sine without making it too eye catching and jarring. At this point, we can
now delete this cube that we added to
apply this text as it was only temporary
and there to make our life a little bit easier while creating these textures, we'll just select this
cube and then hit delete. Don't worry the fact that it disappeared down here at
the bottom of your texture. We didn't delete the textures. The textures still
exist within the file, They're just not currently
applied to any object. Now that we're done
making the tiles, we can go back up here
to our layout tab. Then we can select our camera. Go down here to the
Object Properties tab. We're going to turn on
Depth the field again. Now that we're done
making the textures, now we're ready to apply these tile textures to the
rest of our scene. In the next lesson, we'll finish applying all the textures. I'll see you there.
8. Texturing the Scene (Part 2): In this lesson, we'll finish texturing our
scene. Let's begin. We'll start by applying
the green tile texture we made in the last
lesson to our walls. First, we'll have to
select our walls object. There's a few different
ways we can do it. Either we can do it over here in the right viewport by selecting
one of these side walls. Or we can select it from
the list at the top right, or from our camera view
over here on the left. We can actually
select the ceiling, which is also part of the walls. Now that we have
our walls selected, we can go over here to the
Material Properties tab down here at the bottom
right. We'll click on this. It's this little red circle icon with a checker
pattern on top of it. Now rather than adding
a brand new material, we're going to click
this dropdown menu here. This dropdown menu lists all the materials that are
currently in our scene. The one we'll be choosing is
the tiles green material. Let's select this. Now
the material is applied. However, we really can't see the individual tiles because the texture is so large
and stretched out. Let's fix that now with a
process called unwrapping. Unwrapping is how you ensure
a texture is applied at the correct size and at the correct location
on an object. This is an entire
discipline of three D art. We'll only really be going
into some basic unwrapping in this class with our
walls still selected. Let's hit Tab, Enter our
edit mode, then three, enter face mode, and then hit A to select all the
faces on this wall object. Now we can right click
on our viewpoint here. And then we'll go down to
the middle of this list where it says UV unwrap faces. Now we can go down here where
it says UV unwrap faces. And then we're going to
look for cube projection. Now, for some reason you can't see cube projection
on your list. It's possible that it might
be scrolled up to the top if there's a little arrow up icon
at the very top here. You can see now at the bottom as I mouse over it, it'll
scroll the list. For some reason you can't
see cube projection. Just hover over top of
one of these arrows here to scroll your list
until you can see it. Again, we'll be choosing
cube projection, which is here. Let's
click that now. After choosing cube projection, we have a little option box that popped up down here
at the bottom. The cube size has currently defaulted to the actual
size of this wall object, which right now is 42.2 That's going to make
our tiles pretty huge. We're going to change this
all the way back down to one type in one for cube size. Now, it may be a little bit difficult to see with
this orange overlay, but if we look up here,
we can actually start seeing individual
tiles on our ceiling. Now that's thanks to
lowering this cube size. In basic terms, having
a larger cube size for your cube projection is going to make your texture much larger. The smaller the number,
the smaller your texture. It started out at 42,
which was really huge. By lowering it down to one, we've made these tiles a lot more realistic in their size. Now that the tile
size is correct, let's apply the white tile to the ceiling instead of the green that's currently applied to it. Now to do this, go over here to your Material Properties
tab that we were just one click this little plus icon that we'll create a new
material slot on this object. Now we can go down
here to our dropdown. Click the dropdown and then
choose tile white instead. Now this hasn't actually applied this white material
to our object. And we'll notice that
if we click off of our model to remove this
orange highlighting, everything is still green here, nothing has changed to white. All we did was add this
white tile material to a material slot. We haven't actually
applied it to the model to apply it to
just a specific face, while in face mode, we just need to select the face
we want to apply it to. In our case, just the ceiling. We'll select it here
in our viewport. Now we need to select tiles
white from this list. And then we can click Assign to assign this white material
just to the ceiling. Now if we click off of our
model to deselect this face, we'll notice that the
ceiling is now white, but the floor underneath is still green as
well as the walls, although they are a little bit more difficult to
see in this view. With the ceiling
changed to white, we're done texturing
all the walls, the ceiling, and the floor. We can hit tab, text
it on our edit mode. Now let's work on
our pillar object. First, select any one
of these pillars here. One of them will do even though they're all technically
clones of the original. Again, over in our
Material Properties tab, rather than creating
a new material, because we already have
the tile we want created, we're going to
choose this dropdown to see all the materials in the scene and we'll
choose tiles white, just like the walls object. We see that the
texture is stretched out and in need of
some unwrapping. To begin our unwrapping process, we're going to hit Tab
to enter our edit mode. Now we can hit three
to enter face mode. And then we'll hit A to select all the faces you
may have noticed at this point that we're not
actually seeing anything. Select here. And
that's because if we zoom out here on
our right viewport, the only pillar that's being selected is the original pillar. Now every one of
these other pillars here are clones of
this original one. We only need to
unwrap the original, but that's why you're not seeing any selection here on
the other pillars. We can zoom in on this pillar to get a better look at what
we're actually doing. Again, just like last time, we're going to be unwrapping this pillar using
cube projection. Now we could just
like last time, right click and then
choose UV unwrapped faces. But we also notice next
to it it has a hot key, which is rather than
right clicking, we can just hit with
these faces selected. I'll bring up the
exact same menu. It just saves us a
little bit of a step. Now that we have this
UV mapping menu up, we can choose cube projection. Again, down here at the
bottom for our cube size, we're going to set it
to the exact same size as the walls at the ceiling
and floor, which was one. We'll select this and then
choose one and it enter. This will make sure that our
tiles on our columns and pillars are the exact same size as all the other
tiles in the scene, such as the walls, the
floors in the ceiling. Now that we have
the white material applied and the tiles
the correct size, let's add the green
tiles to the insides of the pillar arches for a
bit of an accent color. First let's click off the model, so we deselect all the faces. We can hold Alt and shift
down at the same time. We're going to be
selecting on these little horizontal lines between each of the faces that go up and down the curved part
of our pillars. First we'll select
here that will select all these faces going up and down the curved
part of our pillar. Now we can hold down
Alt and shift again. And then select
these faces here. Again, selecting the
horizontal parts of these lines to make sure that it selects in the
correct direction. We'll select here. Now we have
these two sides selected, but we're need to rotate around to the back side so we
can see the others. Now again, Alt and Shift. Then click over here as
well to select both sides. At this point, we have all four sides of
our pillar selected. Now we just need to add
a new material slot with the green tiles
attached to it. Just like last time, we'll hit the plus icon to
create a new slot. Go down here to our dropdown,
choose tiles green. Then with these faces still
selected and our tiles green material selected inside this list it's
currently highlighted, We'll just choose a sign
and that will apply the green material just to
these highlighted faces. This little pop of green
here on the inside of these arches gives
just a little bit of an accent across the scene. It's not just all
white and water. With that done, we can hit
Tab to exit our edit mode. Now lastly, let's
texture the exit signs. So let's select one of our exit signs up here in the list. So I'm just going to
select the first one and then we can zoom into it. Let's now I have the
exit sign in view, and then the shading on this is going to be really simple. We won't bother going to the
shading tab for this one. We're just going to
do all of our shading here inside of the
material properties tab. First, let's just hit Tab
to go into our edit mode. Now three to enter
our face mode. Now click off your
model to make sure you have no faces
currently selected. And then hover over
the sign part of this. Don't hover over any of
the words or the arrow, just this back flat part
L. To select all of that, again, L means select
linked in this case. Now in our Material
Properties tab, we can click New to
create a new material. First, let's rename this right here where it
says Material One. We're just going to type
in exit sign white. In the case of this white
material, that's it. The default settings
for this material work perfectly fine for a
really simple exit sign. It just needs to be
white and shiny. Now let's add the
glowing red material to the letters in the sign. The easiest way to select all these letters in the
arrow is to hit control. And at the same time, that will invert selection, since we had everything
but the letters and the arrow selected before
by hitting control, and we flipped that selection, and now we have just the
letters in the arrow selected. Now we can go over here
and click this little plus sign to add a
new material slot. We can click New to create a
new material for that slot. Let's rename this again. We'll call this
exit sin space Red. Then before we do
anything else here, let's click the assigned button. We automatically assign
this material to this. Now our first step after assigning it is to
change the base color. Let's click on this
base color here. Then we'll change the saturation
all the way up to one. And we can see here
that a hue value of zero is actually pure red.
So we can leave it there. We won't be touching the value as this red is perfectly fine. Now hover your mouse over top
of this base color block, the red square here, and hit control C to copy this
color to your clipboard. Now we can scroll down this list until we see
the word emission, which has currently
a black square. And we're just going
to hit control and V while hovering over top of this black square to paste that new red color
directly into it. With this red pasted
into the emission slot, these letters now
glow a bright red. We can see that here on our camera view by zooming
in on this far back sign. And we'll see that that
second sign that we created is also
glowing bright red. This is because we
use Alt and D when making this duplicated
instance for our other sign. It's already textured
and correct for us. Now we can hit tab Text at our edit mode on our exit sign. And then let's zoom out so we can see the entire camera view. In the next lesson,
we'll be doing some simple compositing
and rendering our final image.
I'll see you there.
9. Compositing and Final Render: In this lesson, we'll be doing some simple compositing and
rendering our final image. Let's begin. We're nearing the end of the road
on our liminal space. However, we're not
quite done yet. We'll spend the bulk of
this lesson working on some simple
compositing to really hone in on that low fidelity
look that we're after. Then we'll end by saving
out our final image. First, let's render out
a quick still image to see what we're
working with so far. To do this, let's go up to the top where it says rendering. And we're going to switch to
the rendering work space. Now to render our image, we can go over here to the left side where
it says render. Click this button and
then choose Render Image. We can also hit 12 if you'd like to use
the key bind for it. I'll just click
Render Image Here, and that'll start the
rendering process. B***der will now utilize
the render settings we enabled at the beginning of this class to render the image. This may take a minute or so, depending on the strength
of your computer. I'll see you in just a moment when my render is completed. Okay. My render is done and
it looks pretty great so far. However, we can still
add some effects to make the image look even more
liminal, so to speak. First, we'll need
to switch to the compositing work space
up here at the top. It's right next to the
rendering work space. Let's click that tab
now to switch over. Now let's set this
work space up so it's a little bit more useful
for our purposes. First thing we'll do is make this bottom window
here a little bit smaller by clicking between the two until our mouse turns
into an up and down arrow. And just pulling this
down so it's smaller, we won't really be using this. Now in this upper viewport, we can hit to hide
the side menu. Now at the top left corner, we're going to move our
mouse all the way up to the corner until it turns
into a little plus sign. Then click and drag,
and drag it over to the right so that we have
two identical viewports. Now this right viewport,
we'll go over here, to the top left corner of it's this little
drop down menu. If for some reason you
can't see this menu, click in your middle
mouse button here. And that will allow you to
pan left and right on this, but it's this little
drop down menu here. And this gives us a bunch of different options
for this viewport. We're going to switch
it to the image editor, which is at the top
left here of this list. Then in the top center, this little drop down
here with the picture in the middle of it.
We'll click this. And then we're going
to choose viewer node. Now over here on the left side first we'll click this box
here that says use nodes. Now we'll show us the node
system that we'll be using. This works very similar
to the shader editor, so we can just zoom
in and out with our mouse wheel as well as click it into pan
left and right. First, let's move
this composite node over a little bit so
we can make some room. We'll be putting new
nodes in the middle here. Now hit Shift and A. To bring up the ad
menu in the search, we'll type in Viewer. That'll be enough to show
up Viewer here at the top. We'll click this and
place it over here. Now let's hold down Shift, and then we're going to click
in our right mouse button. And drag across this
line here at the end. As we drag this line across
the intersection here, we're going to make something
called a reroute node. This node allows us to branch
one single wire into two. Now that we have a
new socket here, we can click and drag from this new socket that we created. And drag it down here into the image slot on the viewer
node that we created. After hooking this up, we're
now seeing our image twice. We really only want to
see it on the right side. We'll click the
word backdrop over here to remove it from the
background of this editor. Now on the right side,
we can just zoom out so we can see
our entire image. Now that we have all the
basic stuff hooked up, let's add our first real node. We'll hit Shift and A
to ring up our ad menu. And then in search,
we'll type in glare G, L, and that should be enough
to show up, the word glare. Click this to make a glare node. We're going to drag it
on this long line here. This long wire, so
it turns white. And then we'll just
click to place it, and that'll automatically hook it up for us with that place. Let's zoom in now so we can
see some of the settings. This glare node will
create a glowing effect, also known as bloom, around the brightest
highlights of our image. There's a few different
modes for glare, and each mode has
its own settings. The mode we'll be
using is up here, so we click on the word streaks. We're going to switch
it to fog glow, which is the most
simple of the modes. This just makes a soft glow
around the highlights areas. The only setting we'll be
changing here is the threshold. So we're going to set
the threshold from one down to 0.7 and then enter. And this is going to create
a really subtle glow just around the edges of the brightest parts
of our image. You can see here,
there's a little bit of this warm glow that's bleeding into this
green color here. There's this soft
orange highlight here, just on this right side. The reason we needed to lower this threshold is
because the threshold determines what is bright enough in order
to receive glare. The lower this number, the less bright an object
needs to be in order to actually receive this
glow from the glare node. The higher the number, the
brighter the object needs to be because our image
isn't all that bright. We needed to lower this value here in order to get
any glare at all, while we won't be changing any of these other sliders here. The top one is not one that
you would use all that often. But if you change
this number here, it will change how this
is mixed on the image. If we set it all
the way up to one, it makes the entire image black. But it shows the areas that are actually receiving the glow. If you're trying to
troubleshoot and figure out exactly where this
glow is appearing. This might be useful to you
just for testing purposes, but then you'll usually
set this back down to zero so that it b***ds
the images together. And then the last slider here
that is somewhat useful, but we won't really be
changing it is the size. Let's just changed
how big this glow is. The minimum number here is actually six, for
whatever reason. Then the maximum is nine. It's a six to nine slider. The smaller numbers makes less glow, which you
can see over here. Then the higher number
makes the glow bit larger. We're going to set
ours back down to eight because I
think that amount looks fine with a little
glare added to our image. Let's add a distortion
effect to blur the edges and
create a little bit of chromatic aberration. First let's zoom out so we can see more of our system here. Then we'll hit Shift
and A go to search. Then we'll type in L, E, N for ***s. We're going to choose
***s distortion. Select this node and then
place it after the glare. But before these two over here, just place it directly
on top of the wire. And once it turns white, you can click to place it and it'll automatically hook it up
for you with it placed. Let's zoom in so we
can see the options. This ***s distortion node mainly does two
different things for us. It has a distort slider which will give our image
a bit of a fish eye look so that it bulges in the middle and then it
peels off to the edges. There's also a dispersion. If I make this a
little bit wider, you can see the full word
dispersion down here. Which is responsible for the chromatic aberration that
I were mentioned earlier. We won't be using the distort
to make a fish eye look, but we are going
to use dispersion. If you're curious what
this distort looks like, you can just play
around with the slider by increasing it
just a little bit. You can see just a
small amount here. Just 0.2 made a huge
difference on the image. Again, we won't be using this. I'm going to set this
back down to zero. But if you'd like to, you can
play with this slider here. The one we will be
using though is dispersion. Let's click on that. We're going to set this
a really low value. We're going to set
it to 0.0, to five. And then hit Enter,
And we'll silver here. Our image moved
just a little bit. Almost looked like it zoomed in. But what it did is if
we zoom in down here, right on this edge
of this water here, we can now see that
there's this rainbow. Look on the edges of
these highlights. We have a warm orange
highlight over here and then a cool blue
green color over here. We've also noticed that the
edge of the frame now has this thin blue highlight
on it as well. This is caused by the
dispersion value here. The higher this value,
the more intense this rainbow effect and the blur is going
to be on the edges. Just for the sake of example, if I set this to 0.5
this will be much, much stronger now on the sides. Now it's almost imperceptible
what's going on here on the edges and it's
giving a really rainbow, zoomed in almost motion blur. Look here. Now that's a bit
too much for our image. We're going to set
it back down to 0.025 for a bit more
of a realistic result. Grammatic aberration is
essentially the three colors of light being offset slightly
from each other at the edges. This is an important
effect to make our camera replicate a low quality
disposable camera from real life. Feel free to adjust
any of these values here to get a look that
you like for your image. But for now, let's move on to the next node in our editor. Let's zoom out a little bit. We're going to click and drag over the far left stuff here, the three nodes
on the left side. We'll just move them
over so that we can create a little bit more
room for our last node. Now let's hit Shift
and a go to search. Then we're going to type in RGB. We want RGB curves. The third one down on this list. Click that and then
again drag it on top of this wire so
that it turns white. And then click to place it. Now let's zoom in, so we can
see these settings here. We'll be using this
node to collapse the range of light and
dark values in our image. In particular, we're going
to significantly darken our highlights to the images more flat and
washed out looking. So the first thing we
need to do is go up to the very top right corner here and there's this tiny
little square here. If we click on that tiny square, we'll now get a position setting
down here at the bottom. This right value
here where it says 1.0 We just need to click on
that so we can change it. We're going to type in 0.65
We'll see after doing that, two different things happen. One, this dot has moved
down to the 0.65 position. This is one up at the top, this is zero at the bottom, so this would be
white, then black. And we're moving it down, so we're making the
white values darker. And we'll also notice over
here on the right side. We've significantly
darkened our image. We've pulled a lot of the
highlights out of our image and got rid of that blown
outlook that we had before. Now let's adjust the
last sitting over here. If we select this tiny dot
at the bottom left corner, it might take a little
bit of clicking to actually get attached to it. It's right on the corner here. Just click around
until you find it. And we'll see here now these
values are both set to 00, which means I have
this selected. This is responsible
for our black values. What we'll be doing
with this one is actually raising this
dot up a little bit. We're going to make our black
values not quite as dark, so we're going to make
them more dark gray. To change this, we're going to change this far
right value again. And we're going to set
it from 00 instead to 0.02 which is a
relatively small change. We'll see the
change in our image over here is pretty drastic. Even just a little bit of
movement on this one makes a huge difference in our image because there's so
many dark values. By lifting this dot up
here on the curves, we've successfully
removed all of the pure black values from our image and made it
a washed out gray. With this RGB
curves node set up, we have the final
look for our image. We've successfully
mimicked a low fidelity and washed out disposable
camera look for our render. The last step, and
in my opinion, actually the most
important step, is how we save this image. To save our image, we'll go
up here where it says image, then we can choose save As. Now, navigate to wherever you'd like to save
your final image out down here at the bottom,
we can give it a name. I'm going to call mine
liminal space underscore 01. Again, I'm adding a number at the end just in case I decide
to make another version. I can call the second
version, two instead. Now for the important part, and this is the file format
and the quality of the image, we're going to go
up here to where it says file format and we'll change it
from PNG to Jpeg. Then lastly, we're
going to switch it from quality 90% We're
going to set this all the way down to 60% Much
might seem counterintuitive. We're setting the quality to just 60% because we
actually want this image to have a compressed and a saved and shared 1 million
times look to it. This will add to the
idea that this image was taken a long time
ago and shared many, many times by people online, thus losing quality with each subsequent
download and share. This step is technically
optional if you really don't want your image to have low quality artifacts in it. But I'd recommend you save both versions just to see
how it affects the image. With these settings changed, we can just hit Save As image. Now if we open this image
and zoom in a little bit, we can see all the J
peg artifacts that are left behind by using the
low quality settings. So if you look here, we can
see all this kind of square, blocky look that we're getting. It has a low resolution, low quality look to it that we're actually after
for this look. Personally, I think it actually adds a lot of realism
to this image. With our final image saved, you can share it with
all of your friends and family on social media. And the next bonus lesson, we'll be animating the water in our scene. I'll see you there.
10. Bonus: Animating the Water: A missed bonus lesson. We'll be animating the water
in our scene. Let's begin. Now that we have a nice still image created for our scene, let's walk through
how we can add a little bit of subtle
animation to the water. We'll make sure this
animation loops seamlessly so it can be turned into
an animated gift later. As this is a bonus lesson, I won't be going into
quite as much detail explaining every single
parameter we're adjusting. That doesn't mean
I'll be skipping steps or going super fast. I just won't be
explaining the meaning behind every single
change we make. If you're interested
in animation and want more detail
in this process, I have a lot of
other classes that go into more depth on animation. I'd recommend my cartoon
bumblebee animation class or my staff pick Vapor
Wave Animation class. Has great starting points. The first few steps will be preparing our file
for animation. First, let's shorten
our timeline. The animation is only a
little over 1 second long. We can do that down here
at the bottom right. And we're going to click on
the word end and then type in 30 so that the animation
ends after 30 frames. This will ensure our
animation is just slow enough so that the
water isn't moving too fast. It will also keep the
render time relatively low, as we'll only need
to render 30 frames. Now let's make a copy
of our water material so we can make a new
animated version of it. First, select your water from any of the different
places, we can do that. So we can either do it
here on the right side, on the left side, or inside
our list at the top right. We now have our water selected. Now go to your Material
Properties tab down here. And we're going to scroll
all the way up to the top. Now let's duplicate
this material. We can do that by clicking on this little
button here that looks like two pieces of paper sitting on top of each other. After clicking this, we're
going to make a duplicate of this material and make sure that it's still applied
to the same object. It's no longer affecting our
original water material. It's made a new water
material called Water 0.001 instead.
Let's rename this. We'll get rid of
all those numbers, and then I'm just
going to have water as animated that way. I know this is the
animated water. This will allow us to keep our still water if
we want it later. But also adjust parameters
and animate our new water. We can switch over
to our shading work space now by going up here to the top center and
then clicking shading. Now we need to drag out
a new small viewport at the bottom that we're going
to change into the timeline. Down here at the bottom left, we'll hover over the
very bottom left corner until our mouse turns
into a little plus sign. Then we can click and drag, and then pull it up to create a new window on the drop down. Then you here at the far left, we'll click this
and we're going to choose time line,
which is right here. This will allow us to
see our key frames as we begin animating our water. Now on our top view, make sure that you're in
your camera viewport. You can do that by
jumping into our camera, by clicking this little
white camera icon here. Now we're going to switch
into the material preview. So the preview is nice and fast because any animation
right now is going to be really slow and bogged down
by the fact that we're using the more high quality cycles render viewport to
change into that, we're going to switch into
our material preview, which is the one
directly next to the higher quality one that
we're currently using. After switching to this,
it will take a moment to load up all of your shaders.
Just give it a moment. You can see up here
it's compiling the currently three shaders
that are in the scene. After it's done, you should now see all of your
materials in your scene. The lighting is just going to look a little odd right now. Now let's zoom in
on our camera here. We're just seeing the
bottom half of our water. Just the water in our screen. We don't really care
about what's above because we're not
animating that. Another thing to note
is this hasn't actually changed the look of our
scene when we render it out. It's just this material
pre view that's making the scene look different
in terms of its lighting. It's because it's using
a different baked in HDRI lighting for this. And it just helps us speed up the workflow that way
we're not having to wait on it rendering
each individual frame as we're animating the water. Now we can begin in the
actual animation process. We'll only be animating three parameters to create
the looping water animation. Let's start with the first one. Now, down here in
our shader editor, let's zoom out so we can find the nodes that
we're looking for. Currently, we're
looking for the noise texture on both of these. The top and bottom
noise texture. If you find this
bottom window to be a little bit too small
for your liking, you can always increase
the size of it by pulling this up
and then just re, centering your camera so you
can still see the water. Now, on both of these
noise textures, we're going to switch it from
three D to four D instead, we're going to do that
for both of these. Your material up here
will flicker for a little bit as it loads
up this new detail. By switching it to four D, we've gained this new
parameter here called W. We'll need this new
parameter as it works, similar to a phase slider
on procedural Noise. Now we'll hit Shift
and then go to Search. Here, we'll type in value, the very top one here, VAL, we're going to choose value. We'll click and place
this. I'm going to just place it between
these two nodes. Now drag the value socket here into the W for each
of these two nodes. So we're going to
connect the value into the value for each of
the two Noise textures. Now select the value node, actually have it highlighted
here by clicking on it. We'll need to have each
node selected as we place the key frames so
we can actually see them on the time line below. Because we're animating
the value right now, We need to have the value node selected down on your timeline. Make sure your playhead,
this blue line, is placed at the zero key frame. Now hover over this value node on the slider here
where it says 000. And we're going
to hit the button that will place our
first key frame. Again, that is on your
keyboard, the letter. By placing our first key
frame one, frame zero, we'll avoid a repeated frame at the beginning and the
end of the animation. This will help in creating that seamless loop that
I mentioned earlier. Now to place our next key frame, we're going to move our
playhead here up to frame 15. Then over on the value,
we're going to type in 0.001 and then hit Enter. Now we again need to hover over this number and hit
to place a key frame. Again, we can see down here, the key frame has been placed. Now drag your
playhead to Frame 30, which is the end
of the animation, and we're going to set the
value back down to zero. So it's the same as the beginning
type in zero for value. And then again,
hover over it and hit to place your key frame. Now if we go down here
and hit the play button. So this little
rightward facing arrow, we can see up at the top, our
water is starting to move. Now it looks a
little bit robotic. Right now our next few steps, we'll be adding some
overlapping animation to make the movement
a bit more natural. We can hit the pause button down here to stop our animation. Now let's work on the
lower noise texture node. We'll select the lower
noise texture here, and we'll see all of our
key frames disappeared, but only because
we don't currently have the value node selected. If we select the value node, we can see all those
key frames we placed. But when we switch
our selection, we can no longer
see the key frames because we don't have
it selected anymore. Again, your lower
node here should be the one with the
scale set to 112. Make sure that you're
selecting the correct one. Scale set to 112 on
your noise texture, which is the lower
noise texture, assuming you follow
the exact placement from the previous lesson. On this node, we'll be animating the detail parameter first, let's go to zero
on our timeline. I'm going to zoom
in here just so we can see these numbers
a bit bigger. Then on frame zero,
we're going to key frame our detail, also at zero. We'll hover over the word detail and then hit I to
keyframe that value. Now go to frame 15, and then we're going
to change our detail to 0.1 Hit Enter, and then again hit I to
place our key frame. Then frame 30, the
end of the animation. We'll set this
back down to zero. Hit Enter and then hit
to place our key frame. It's now a hit play to see how this has
affected our animation. Up at the top we can see it's a little
bit more complex now, but it's still robotic. Let's keep changing
some more settings. We'll hit pause here
to stop the animation. We can go back to
frame zero now. Now let's animate
our last parameter, which will offset some
of this movement, make it a bit more organic
on our shader editor. Here we can zoom out and we're going to select the
top noise texture. And this is the one with
this scale set to five. Now again, when we select this, all of our key frames are gone. And we'll also be animating the detail on this node as well. Go to frame zero and we're going to place
our first key frame. Which detail set to two. Which should be set to. We'll just hover
over this hit to place a keyframe on
zero, detail set to two. Now go to frame 15, we're going to change
detail to 2.5, Hit Enter again, hit to
place your key frame. Now frame 30. Then we'll
change this back down just to, that way it matches
the very beginning. And then hit to
place our key frame. Now we're going to do something
a little bit different. First, drag select over all
three of your keyframes down here in your timeline to make sure they're all
highlighted in yellow, which they might have
already been before. But just to double check, just drag select over them
so they're all yellow. Now hit Control and C,
copy these keyframes. Control C to copy, then move your playhead
to the very end. So we're moving it to frame 30, and then hit control V
to paste key frames. Now if we scroll out by scrolling down on
our mouse wheel here, and then we can click in our
middle mouse wheel to pan. We can see we've copied all of these keyframes and
then paste them again. Our animation is
actually twice as long. Now move your playhead to
frame eight, right here. Then we're going to drag select over all of these key frames. We have all five of these
keyframes selected, and then just click
on any one of them. I'm just going to click on
this one here in the middle. I'm going to drag it over
until this keyframe here, the second key frame of the
five lines up on frame eight. This will offset the animation roughly 50% earlier than
the rest of the animations, But still allow it
to loop seamlessly, because we added those
duplicated keyframes at the end. By offsetting this animation, we've hidden these dead
spots that we had around the 25% and 75% mark
on our timeline. These are times when the
water wasn't really doing much other than resetting back
to its original position. This also adds some more complex
movement in our water as these animations overlap rather than sync up with each other. Now let's hit our
Play button to see the final animation loop
that we've created. So again, we can hit this
Play button down here, and we can see the movement
that it's created. At the top, you can
see the animation. While short still has a
relatively organic loop. Our final render will have a good deal of artifacting
and compression. It'll help conceal any of the more robotic nature
that's left behind. Now that we have our
texture animated, we're ready to move on
to creating our video. In the next bonus lesson, we'll be rendering our
animation and converting it into an animated gift.
I'll see you there.
11. Bonus: Creating an Animated GIF: In this bonus lesson,
we'll be rendering our animation and converting
it into an animated gift. Let's begin. The first
thing we need to do is to get our file prepared
for rendering an animation. We'll be using different
settings for our video. As we want to speed up the
render time per image. We have to render
this scene 30 times, once per frame in order
to create our video. Let's start with the
render properties. So we can go over here to the top right and choose
the Render Properties tab, which is the backside
of this little camera. Now we can go down here
to our render settings. The actual render settings,
not the viewpoint ones. We can leave those as is
going down to render. Then for our max samples, we're going to switch
this down to 50. We're going to significantly lower it in order to speed up the render time while lowering this max sample count will significantly shorten
the render time. It will also lower the
quality in the process. This is a sacrifice I'm
willing to make in order to lessen the amount of time it takes to create our animation. Now let's move over to
the output properties, which is this little printer
icon printing out of photo. And then up here
at the very top, we're going to lower
the resolution as well. We're going to set this down to 1,000 pixels wide
for the X value. Then for the Y value, we'll set this to 750
pixels here for the Y. By lowering our output
size, we again, lessen the render time, but we also make the
image more pixelated. This might sound
like a bad thing, but we're actually going
for a old videotape look. Anyway, older video cameras didn't capture high
resolution images. This should actually help
the look of our animation. Lastly, let's get
our output location and file type set up. To do this, we're going
to scroll down to the very bottom here
where it says Output. And then we need to choose
a location for our file. We can do that by clicking
this little white folder icon. Now navigate to wherever you'd like to save your
animation file. And then we can give it
a new name down here. Again, I'm going to call this liminal space
underscore 01, and then this time
I'm going to add an underscore at the very
end of this name as well. B***der by default is
going to append the number for the amount of frames of your animation to
the end of the name. By adding this
underscore at the end, you avoid the numbers for the frames running into the
numbers for your version. So make sure you add this
little underscore here. At the very end
with our location chosen and our file name
set, we can choose accept. Now let's choose the file type. We'll go to File Format, and then we'll choose PNG here, and we're going to switch
it to FFmpeg video. Now, we can twirl
open the encoding tab here and we're going to change the container type to Mpeg four, which is probably a video type
that you've heard before. We'll choose Mpeg four here. Then the only other
thing we'll change here is the output quality. We're actually going
to lower this to mimic the 60% output quality we
did for the Jpeg image. We're going to
lower this all the way down to low quality. We have our output
quality now set to low. With that change,
all that's left to do is render the final video. Let's go over here to our rendering tab then
If you'd like, you can switch from
slot one to slot two. You don't overwrite
your other image. Now, this would have
gone away if you had closed your program
between these lessons. But if you haven't,
and you wanted to keep this image around, we can choose slot one. We're going to switch
it to slot two instead. And then we'll go up here
to where it says Render. And then this time we're going to choose Render Animation, or you can hit control 12. Let's click this now.
Now as this renders, you will very likely not see
the compositing effects we created applied to each frame of the animation as it renders. Don't worry if this happens. They will still be visible
in the final video. This will take at least
a few minutes to render, even on a pretty good computer. I'll see you in a
few moments when my animation is
finished rendering. That's it. My final animation is finished rendering
and it looks great. Our last step is to make this video into
an animated gift. This will make our animation
easier to share on websites that don't allow
videos to be uploaded directly. To do this, we'll
need to head to a free gift creation website called Easy Gift.com
slash Maker. This website will
allow us to upload our video file and convert it easily into an animated gift. Now that we're on the
site, we can just go here where it
says Choose Files. We'll click this now, navigate to wherever you
saved your animation video. And then we can select
it here from the list. And it should be the one
that has underscores 0001 dash 0030 at the end of it. It's pretty easy way
to figure it out. And if that doesn't happen,
then you can look for the one that's listed
as an MP four file. Okay, so we'll select this, and then we can choose Open. Now go down here and
click Upload and make a gift now that it has
our video uploaded. And we can scroll
down to see some of the settings that
we have options for. First, let's change the size, so we can click here and
then choose original, Up to 800 pixels. And that will allow our gift
to be up to 800 pixels wide. Now for the frame rate,
we can click here. And then we're going
to change it to 20, because that's the closest
thing to our actual frame, right, without going over
it. So we'll choose 20. Then lastly, we're going
to check this box down here which says optimize
for static background. It's basically just going
to optimize the file size. Assign so many colors to parts of the image
that don't move, since only the bottom half
of our image moves and the top half is basically entirely static, that
works well for us. So make sure you
check this box here. Now we can click
Convert to Gift. And then if we scroll down
here for just a moment there, we saw a little dancing cat,
which is their load bar. And then if we
scroll down, we can actually see our animated gift. Now we can see at the
bottom left here, the file size for our gift, which currently is
just over a megabyte. This file size is important, as many sites will require a relatively small file size
for you to upload them. Keeping this under 8
megabytes is a good idea. In our case, 1 megabyte is
well under 8 megabytes, so we're perfectly fine if your gift is larger than
8 megabytes though. So if the size here
says larger than eight, then we can use the
optimized setting that's built right
into this website. To access the
optimization settings, just click this little
button here that says optimize. We can scroll down. Then we have a few
different options here, but the most common one
is just leaving it on lossy gift and then adjusting this
compression level here. If we choose optimized gift with the compression level set
to 35, we can click that. We'll see down here, it's
optimizing the image. Now it's half our image size. We can look at the quality
difference between these two. This one is half the image size, then this one is
the full megabyte. There is a bit of a
difference in the quality. We're not getting
nearly as much like moving noise at the
top on this one, which is a little bit larger
as we are on this one. We can see up here,
there's a lot of movement and shifting of the
pixels in the noise. In my case, I prefer this original one because
it's already small enough. So I'm going to use this as my actual gift that
I'm saving out. But if you needed
to optimize it, this is how you could do it. If after optimizing your gift
is still over 8 megabytes, you might need to start over the conversion
process and choose a smaller resolution
for the gift, such as 600 pixels
instead of 800 pixels. In my case, I'm happy
with the one that I have. Now we're going to
save this image. Now to save our gift, all we have to do is right
click on this image. So whichever gift
we've decided to save, so either the optimized one
or the unoptimized one, we can just right click and
then choose Save Image. As now just navigate to wherever you'd like
to save this gift. And then down here we
can give it a name. I'll call this space
Underscore On. And I had my caps lock on, so I'll retype that space, underscore 01. Okay, great. And we can see down here
it says it's a gift image. And we can just choose save with our final animation converted
into an animated gift. You can share it with
your friends and family a little bit easier than
the original video file. And the next and final lesson, we'll discuss our class
project. I'll see you there.
12. Our Class Project!: You've made it to the
end of the class. Congratulations, I want to thank you all so much
for taking my class. It really means a lot to me. I hope you found this
experience valuable in learning both the basics of b***der
and liminal ******. Hopefully, the knowledge
you gained throughout this class leads you to
exploring the concepts of liminal ****** A little bit further for our class project, I'd like you to try
your hand at creating a liminal space
of your very own. Feel free to experiment with different locations or themes
for your class project. Examples of common liminal
space locations are hallways, lobbies, rooms devoid of
furniture and subways. I've also included a folder
in the project resources that contains examples
of liminal ****** that you can use
for inspiration. When you're done, post your render to the
project gallery. I'll personally
review every project uploaded and give you
feedback on your render. For my class project, I created another flooded corridor with a slightly more distorted
and dream like look. I utilize many of the same
techniques we learned in this class and some simple
compositing effects to get this dreamy look. If you like this class, let other students know
by leaving a review, your feedback really helps me understand what you found
most valuable in the class. You can leave a review
easily going to the Reviews tab just
below this video, and clicking the Leave
of Review button. I appreciate the support. After leaving the
review, you might want to follow me here on
Skillshare as well. You can follow me at any time by clicking the Follow
button above this video, or by going to my
teacher profile and clicking the
Follow button there. Following me is the best
way to get notified when I release a new class or make
important announcements. Lastly, I want to
thank you all again, so much for taking my class and supporting me by participating
in the class project. I can't wait to see what
you all come up with. Farewell and I hope to see
you in another class soon.
Harry Helps, Professional 3d Artist
