Blender 3D for Beginners: Create a 3D Vaporwave Animation

1. Introduction: [MUSIC] Hi. My name is Harry and I'm a professional 3D artist with over a decade of experience. I've worked most recently as a studio director of an award-winning architectural visualization studio. What you're seeing on screen now are examples of my professional work. On Skillshare, I specialize in clear, easy to follow beginner's classes. We'll go through each process step-by-step to prevent as much confusion as possible. In this course, I'll walk you through this simple and beginner friendly process of creating a vaporwave style animation. Vaporwave is both a musical and visual genre of artwork. The visual aesthetic is defined as incorporating early Internet imagery, late 1990s web design, glitch art, and cyberpunk tropes, as well as anime Greco-Roman statues in 3D rendered objects. In this class, we'll be focusing on the visual aesthetics of vaporwave to create our animation. We're using Blender for this tutorial, which is an amazing and totally free 3D software. The only barrier to entry is having a computer to run the software on. Creating a heavily stylized animation loop is a really desirable skill to have as a 3D artist. However, it doesn't need to be difficult. Go through the entire process of creating this animation from a beginner's perspective to avoid as much confusion as possible. In this class, you can expect to learn the Blender interface and its tools. We'll be learning about the many basic tools and interface elements within Blender while building and animating our statue. Modeling to achieve our vaporwave aesthetic, we'll be altering a 3D scanned Greco-Roman statue. Lighting, we'll be setting up a stylized lighting scheme, including volumetric lighting. Shading, which can give objects the appearance of glowing neon lights or golden metal. Animating, we'll be creating a subtle animation loop featuring our vaporwave statue. Lastly, rendering. We'll render our final animation in Blender 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 vaporwave animation loop of your very own. For our class project, you'll be doing just that. I'd like you to choose a new statue from the 3D scans website and create a vaporwave render or animation of your very own. I'll review each project, upload it to the gallery, and give you feedback on what you've done fantastic, as well as anything that could use some adjustments. I hope you'll join me on this fun beginner's journey through Blender by making your very own vaporwave animation loop. [MUSIC] 2. Setting Up Our File: If this is your first time taking a Blender class, I'd highly recommend you start with my complete beginner's guide to Blender first, this class was designed for the absolute beginner to Blender and 3D Art in general, we cover every single necessary topic in order to get you up to speed and running in Blender. Accomplish this with short in-focus lessons that cover each topic from a beginner's perspective. Utilizing a well-organized starter file, we end the class within easy projects where you set up and customize your very own cozy camp site. With that out of the way, let's continue with the lesson. In this lesson, we'll be going over some settings to prepare a file for future animation and rendering. Let's begin this initial splash screen. Let's start by selecting the general new file type. Now we're going to go up to Edit Preferences. And then on the left side here, we're going to look for system. Select that. And then at the top, under the cycles render devices, you have the option to check optics. Please highlight this and then check all the boxes that you see in this darker area here. So this shows all the hardware that you have access to to render with cycles. So in my case, that shows my GPU, which is here, and then my CPU which is here. So it makes sure you have all of these boxes checked. You might have more. If you have, for some reason, if you have two GPUs, you might have two GPUs plus your CPU. But in most cases you're just going to have your single CPU and your single GPU. Check both of those. If, however, you don't have access to optics, you can instead choose cuda and then just do the same thing. Check both of these boxes. And again, your readout here will be a little bit different than what mine says because it's dependent on the hardware of your actual computer. This is what I have. Yours will be different. I'm gonna switch back to optics because I have the ability to use optics with those settings done. We're gonna go over here to the animation tab on the left. Then we just need to double-check down here that your default interpolation is set to bezier. So by default, I believe Bezier is the default. But sometimes some, some settings get changed if you're working on different projects and it might be set to linear or constant. However, in our case, we're just going to make sure that it says Bezier. And if it doesn't, just click this little drop-down and then choose Bezier. With both of those settings changed, we can now close this window. Now we're going to go to the render properties settings here on the right. So you're gonna want to select the tab here that looks like, sort of like the backside of a digital camera. So it should be at the very top here. Then we're going to change our render engine from EV. We're going to instead use cycles. Then we're gonna go down here. We're going to change our device. So right now it's set to only use the CPU. However we want it to use both. So we're going to choose GPU compute. Going further down. We have our viewport samples here. So we're going to change this from 1024. We're going to set this to 100 instead. Then we're going to check the de-noise button here. We're going to twirl this open so we can see what the settings are. We're going to change the D noise or type from automatic to optics. Instead. Optics is just going to be a faster de-noise or the Open Image T noise or is higher-quality, but it's a lot slower. So we're going to use optics instead just for the viewport because it's, we're more concerned about speed and our de-noising for the viewport. So we're just going to choose the faster option. Now we can scroll down here to the render settings. We're going to set our noise threshold to 0.03 and then hit Enter. We're going to change our max samples from 40, 96, all the way down to 100 as well. Then UNAR denoise settings here, it's already checked on by default, so that's good. But we just want to make sure that our D noises or for our render settings. So specifically when we're making our final render, we wanted to use the Open Image de-noise or as it's design or user type instead of the optics because it opened image denoising or it's going to give us a nicer cleaner image at the cost of a little bit of speed. So going further down this list, we're going to open up light pads. It says we can see here all these numbers are set to different values depending on what the light paths and bounces are being used for. Now by default, these values worked pretty fine. However, for our animation, we want to speed this up as quickly as possible because we're going to be rendering a lot of different frames. We're going to actually just click and drag on the top one and then go down to the bottom so it highlights all of them. And we're just going to type in one and then hit Enter. So we're going to make all of these use only in one single balance. And that's because we're making a really pretty simple scene. We really don't need all these different calculations going on is just going to slow down our render speed more than it needs to be. Really won't affect our image much because our images so simple and stylized. In this case here we're gonna be using one for every one of the values here under light paths. And then the last thing in the render properties settings, and we're going to scroll all the way down to the bottom. We're going to go to color management. Throw that open. Then by default, it's usually set to filmic, but if it's not, switch gears to filmic, then under look, we're going to choose high contrast. So you won't see any change here, but this will make a difference once we're making our renders and actually messing with materials and lighting, it's going to give our scene just by default, a higher contrast look than what is the typical starting point. And that's going to just accentuate some of the details that we're working with in our scene. With that last render setting changed, we can now go to our output properties, which is the next tab directly below it. It's this little, sort of looks like a little printer printing out a little photo. Then we're gonna go up here to the top. And we're going to change the resolution of our render from the standard 1920 by ten at which is just standard HD. We're gonna make this a square instead. So we're just going to type in ten at the top value that we, our camera and our output. And you can actually see here, our camera has changed shot her shape here. It's changed into a square now, so it's attending it by 1080 square. And then we're going to switch our frame rate down here from 24, which is the default. We're going to make it 30. So that's a little bit smoother for our animation. Now the very last thing we need to do is actually saved this file because all these changes that we've made our local to this file. So if we just close this down, Blender is not going to remember these settings that we've changed. So we're going to save this file. That way we can come back to it for the future lessons. And we can always work in this file that has all these changes made to it. So we're gonna go up to File, then Save As, and then utilizing the drives on the left. Or if you want to save it in your documents, navigate to a folder or location that you'd like to save your file. And you wanna make sure that it's a place that you know where it's at and you can come back to it because you don't want to lose your file after doing a bunch of work on it. I've navigated to where I'd like to save my file. And then on here, I can just change the name of this. So I'm gonna switch this to Vaporwave Animation. I'm gonna put underscore 01 at the end of it, just in case I decide to version this file and branch it into two different versions of itself. I know that this is the first version and then O2 would be possibly my second version. So with this named, I can now just choose Save As. And it will save the file in that location. With all of these settings changed, we're ready to proceed with the project. The next lesson, we'll be downloading and importing our statue. I'll see you there. 3. Importing the Statue: In this lesson, we'll be downloading our statue model and scaling it to the correct size. Let's begin. We're going to be using a really awesome website called 3D scans.com. The site features real 3D scans of classical statues and artifacts from throughout history. Although the models on this site are free to download and have no restriction on commercial use. For this tutorial, we'll be working with the statue Aphrodite by practicals. I've included this 3D file in the project resources. You can download it there if you'd prefer not to interact with the 3D scans website. Now that we have our statue downloaded, let's go back to Blender and important. Before we begin, Don't forget to open up the blender file that we saved with all of our settings changed from the last lesson. That's the file will be working in. We'll need to make sure that we're able to import the file type for the statue. So let's make sure that we have the correct add-ons enabled within Blender. First we're going to go up to Edit, and then down to Preferences. Now we're going to go over to the add-ons tab here on the left. Then in your search bar, we're going to type in S, T, L. Then we want to enable this import, export STL format. So we're just going to make sure that this little checkbox is checked on. If you already had it turned on by default grade than you already done with that. Once you have this one checked. Now in the search box, we're going to type in 0 b, j. Then we're going to enable the import export wavefront OBJ format. So make sure that that's checked on. Then lastly, we're going to type in F b x. So then you want to make sure that FBX format is enabled. With these three file formats enabled, we shouldn't be able to import any of the statues we find on the website. We can now close this box. I'm gonna go up to File Import. Then we're going to import and STL file because that's what the Aphrodite file is. We're going to click STL. You'll navigate to where you saved the Aphrodite dot STL file from the project resources. This is the file we're going to be importing. So they've gotten select that file them before you hit Import, we're actually going to mess with some of these settings over here. Now some of these things you won't know until you import it, because you don't know that it's wrong until you've imported it. So I've imported this, figured out what the settings are that are correct for these settings here. And we're just going to type those in now, by default, this statue is going to Import really, really huge. So we're actually going to make this a lot smaller. So in the scale, instead of leaving at one, we're going to type in 0.014. That's going to make the statue a much more manageable and realistic size. Then in the forward, so where it says y forward, then they up or it says Z up, we're actually going to change the z up from z up to negative y up. When you change that, it's going to change the forward as well because these are linked. So make sure you have 0.014, so it's X actually truncating this, it is 0.014 here. It's just cutting off that last value. As long as you typed it in correctly, it's still using the right value. Then under the up value, we're going to change it from z up to negative y up. Then with these changed, we can now hit Import STL. Now you'll notice that the statute has been imported after a small weight, but it's inside the default cube and it's off center. So let's try to fix that now. So the first thing we're going to do is select the default cube and then just hit either delete or x, whichever you prefer, and delete that cube. Now we can select our statue. We're going to zoom in here so we can see our statue a bit better. Then up at the top here, viewport, you're gonna go to object. Then you're gonna go to set origin. Now you wanna do geometry to origin. So this is going to move our geometry to the origin which is currently off center. So this little orange dot here, it should be in the center of our model. However, due to the import process, it's kinda moved off center and you'll find that a lot with STLs and OBJ files and FBX, a lot of those are created in other programs and then our imported in as a sort of a universal format. But it doesn't always mean that the pivots and the origins come in correctly. So we're just going to fix that now by going to Object Set Origin and then geometry to origin, which will move the geometry to center it on the origin. And now it's centered within that statue. Now let's switch to our move tool. And we're going to move this up so that the bottom of the statue is roughly with the origin of the floor here. So we're gonna put it at roughly zero. We can just switch into our front view here by either holding down tilda, which is the sort of like the little squiggly line next tier one, and it's above your tab key. If you hold that down, it brings up this, this radial menu here. I'm going to choose Front. Now I'm just going to zoom in here. Then just drag this up so that it's kind of sitting on this red line. We're going to consider that the floor of the scene. So we want it to sit and roughly on the floor, it doesn't have to be perfect. Another quick way you're able to enter that sort of flat view that we were in. The front view is just clicking on one of these little dots up here. So in this case we would click on the negative y. That'll just show us the same view that we were in before that we can get into using the tilta key. We just click it. Then we can hover over view and then click front. This both do the same thing. Then the last thing we wanna do is just to right-click on this statue. We can see here it has all these kind of nasty lines all over it. We're gonna be able to smooth this out just a little bit. So we're going to right-click and then choose a shade smooth because by default it imported with shade flat. Now it didn't get rid of everything, but it did get rid of a lot of that sort of lines we were seeing across the forehead. And for our purposes, it really doesn't matter that the statue has like absolutely perfect smooth geometry. We're going to be seeing it from a distance with our Render. And we're also going to be doing a lot of visual distortion to it. Achieve that vapor wave look. It doesn't matter that we have little bits of lines and stuff here. It's gonna be all sort of secondary to the animation with your statue imported. Make sure you don't forget to save your file. So you can just go up to File Save or you can hit Control S on your keyboard. Now that we have our statue imported and centered, we're ready to proceed with modeling. In the next lesson, we'll be cutting a slice from the center of the statue to allow for some interesting lighting. I'll see you there. 4. Slicing the Statue: In this lesson, we'll be modeling a slice out of the center of our statue to accomplish a typical vapor wave aesthetic, let's begin. The first thing we need to do is select our statue. Then we're going to hit Tab to go into edit mode. Now that we're in read mode, you can hit three on your keyboard, or you can click this little icon up here to switch into face mode. Now let's switch into our front view by holding down the Tilde key, which again is next to the one key on your keyboard and above your tab. You can hold that down to bring up this menu. Or you can just click this little green dot here and the negative y. And that'll put you in the front view as well. I'm gonna choose front. I'm in my front view. We currently have the entire statue selected, so I'm just going to click off of it to make sure it is not selected anymore. Then I'm going to hit Alt and z at the same time to go into X-Ray mode. You don't have to follow along for this part. I'm just going to explain exactly what x-ray does. So by default, without x-ray on, when I drag select across a model, it'll select the faces that itself from the front. But it doesn't select the faces on the back. So you can see here it kinda just scattered the selection based on what was visible from that view. Now if I switch into X-Ray mode by hitting Alt and z, the model, the appearance looks different now, which we're actually seeing through it. It's a little hard to tell when the density of this model. But down here you can actually see it relatively well. That's no x-ray. And this is with X-rays. I'm actually seeing through the model slightly. However, with x-ray mode turned on. Now when I drag select across the model by spin around, you can see it actually selects all the way through the model, which is important for our slice because we want the slice to go completely through that. So I'm gonna go back into my front view, hitting Tilda and then going to front. Now we're going to choose where our slice is going to go. The slice we make is actually going to be cut out of right around here throughout the center of the head. So we're just going to start by clicking and dragging. And we want to start our selection somewhere here. And now we have to start off the edge to make sure that we select all the way through the model. We want to be about horizontally where this is. So in the middle of the nose here, and it's just below the eye. We don't want to get any of the eye and our selection, we want about the bottom half of the nose. And then we're gonna go down here and cut the chin in half as well. So we'll just try to rough it out here quick. And if you go too high, that's fine. We can adjust this selection here and I'll start there. And I can tell I went a little bit too high. I can see as I zoom in, I went into the eye. So the way to adjust that is to hold down Control. And then drag out a new selection. And now whatever you use, drag select over, you're gonna do de-select. So we can see they're holding down Control and then dragging selection out again. I'm now able to chip away at the selection and make sure I only get what I want. I'm going to keep inching this down just a little bit. I think around there's good. The chin is pretty good. I don't think that needs to move too much. Just clean that selection up a little bit. Again, holding down Control to delete from the selection. Now if we did the opposite and you selected too little, you can hold down Shift and drag out another selection and that will add to the selection. If you had the opposite issue where you didn't select quite enough, hold down Shift and then drag out a selection to add to it. Now that we have our selection made, we can hit P on our keyboard. Then we're going to choose separate. And then we're going to choose selection here. So separate by selection. And then when we hit that, it'll freeze for a second. But then the modal response. And we can see here that we've actually broken the model into two pieces. So what we've done is we've cut out that slice that we made. We've separated it off into a completely different model. Now if I click this little eyeball here next to the Aphrodite 0.001, it will actually delete. Well, it doesn't delete it. It hides the part that we separated off of it. So now we can see that we actually have two separate models. I'm going to rotate around here. That's the slice that we removed from our model. Then here's the slice and it's added to the model. You can now hit Tab to exit edit mode. Now that we have these two pieces, Let's rename them so that we know what they are. Let's select the original base statue that we have here. The part that we just cut the part out of. We're going to double-click on the name up here. We're going to type this statue base. So we know that that's the base of our statue isn't then we have statue base. And then for the slice, we can just double-click that and call that statue slice. Then hit Enter. Now that we're done selecting through the model, we can hit Alt Z to turn off the X-ray mode. That way it's a little bit easier to look at With your statue slice selected the center part. We're actually going to start offsetting this to kind of play into that vapor wave aesthetic that we've seen in some of our references. So we're actually going to slide this back with our move tool. So we're going to grab the y handle, the green. We're going to slide it back to about here. So basically the ridge of the nose is following the crease where the I is. So we have this offset now. Then we're going to spin around to our front view. We're going to slide it to the right. That the nose and this I line up almost like it's a, like a cyclops or something. Now we can see here that we have this kind of shifted glitchy looking Central Park to our Statue. One, this adds to that sort of vapor wave aesthetic that we've seen in some of our references. But it's also going to allow us to add some interesting lighting and emanating from the statue itself in a further lesson. Now with our slice offset, we'll notice that we now have a whole exposing the fact that our statue is actually hollow. We're going to fix that now. So let's start by selecting the statue base. So the large piece, we're going to hit Tab to go into edit mode. Now we're going to hit two on our keyboard to switch into edge mode, which is this button here. Now we're going to select this edge up here, and we're going to flatten it and then fill it in with a polygon so that it looks like the statue is still solid even though we cut a piece out of it. The first thing we're gonna do is just zoom in on your statue here. Just find a spot here where it's easy to differentiate where the edges. So in my case right here, I can see that this is the edge of the sort of polygons, the faces here. I'm going to hold down Alt on my keyboard and then left-click on this. So we can see here that it's selected a small line or line of polygons here, what phase are the edges rather the edges of these polygons. However, it didn't select around the entire thing. So I'm gonna hold Alt and click it again. Click that same exact highlighted area that we had before. Click it a second time, and now it will select the entire loop of this border here. Now we can see as we spin around, this orange line goes all the way around the bottom. Which is important because for our next step, we're now going to be flattening this out, so it's not quite so jagged. Now let's go back into our front view. Again, we can either use this little green dot up here and by clicking the negative y bubble. Or we can hold Tilda and then just choose front view. Now we're going to zoom in here. We're going to switch to our scale tool here on the left. Now I've switched to my scale tool. We're gonna be using the blue handle, so the z handle to scale this down to the point where it's basically flat. So we're going to do this in multiple parts. That will be don't oversell it. But we're just going to start by clicking this little blue handle here and scaling it down. So you can see as we do that it gets flatter and flatter. I would scale it until it's just about flat. You can still see a little bit of the wiggle around the worst part of the polygons. So scale it to about there. Stops scaling it, and then go back and scale it again. So now we'll move a lot slower as you do this. If you do it in smaller steps, you don't have to worry about over scaling it and having it turn inside out on itself. I'm just going to scale it a few more times until it looks like it's pretty much flat. I'd say that's pretty good. To the naked eye here. That looks pretty flat. It might not be perfect, but it's very close. Okay, so now we can rotate around. See that our model is nice and flat here on the bottom. Then the next thing we're going to do is just hit F on our keyboard. We're going to hit F. Computer will think about it for a second and then it's going to fill it in with a nice flat polygon here on the bottom. Now let me zoom back a little bit. Now it looks like our statue just had this like perfect laser cut through it. But there's still stone and things like that underneath here. So now it's not hollow. You'll notice areas here around the edges where the vertex kind of collapsed in on themselves. If there's some areas that are really, really bad when your model, now, it'll depend on where your selection was. There's no real way for us to have the exact identical selection because you would have selected a pixel higher or pixel lower, so your edge might look better or worse than mine. The only way to fix that, an easy way to fix that rather would be just to select some of these vertex here. If it's particularly bad in one spot, just switched to your Move Tool and then just slide them left or right. Now you might find that some move it more than others. Some fixed the shading a little bit better. But you can see that was really easy to fix. And this really isn't necessary on the entire thing. And I wouldn't even say it's necessarily even on just the front I would only fix this if one, it really bothers you. And two, if it's really bad. If it makes a huge black line or something down the front of your model, then I would try to just grab these vertex here and just move them. Try to figure out which way they're tangled up. So this one here, I could tell it was tangled up a little bit too far into the left, so I just moved it to the right. But our model for our final render is going to have a lot of different like glitchy effects and distortion and chromatic aberration. And it's going to be moving and the lighting is going to be contrast the, so these like little tiny imperfections that we're seeing in isolation when we're just looking at the vertex, That's going to pretty much all melt away for our final render. So I wouldn't suggest spending too much time fixing these things because they're really going to be either completely invisible or super minimized. For the final. I'm going to switch back to my edge mode now, hitting to numb back in edge and we're just gonna do the same process here to the bottom. I'm going to zoom in, find a nice spot to select. Hold down Alt, click one spot here you can see it selects a few of these different edges here. And I'm just going to hold Alt and select it again. And now it'll select the entire thing. You just have to make sure when you're selecting it the second time that you're holding Alt down and you're selecting a part that was already highlighted. So now that it's selected all that, I'm gonna go back into my front view. This time I'll just click the little bubble up here. Switch to my Scale Tool. Scale it just in the blue z-direction. Scale almost flat, stop for a second and then go back to it. And now it'll move a lot slower. I'll just probably do it three or four times here just to make sure it's pretty much flat. So it looks pretty flat. And now I can rotate my camera. Hit F on my keyboard to fill. So F will fill this in. Now we can see here that it filled it in. However, this doesn't look nice and smooth like the other one did. That is because the shading here is getting confused. It didn't know that it should have been flat here. And it's just tried to smooth it out and make it rounded. But since it's basically flat, that rounding looks really, really bad. There's an easy way to fix that. Now, luckily, I didn't have that issue here. But if you did, this is your chance to fix it on the top one as well. So we're going to switch to our face mode by hitting three on our keyboard or clicking this. And then with this face selected. So I can see here I have it highlighted. I'm just going to right-click and then go to shade flat. When I choose shade flat, it's nice and flat again, just like the top was. Now if your top one also had the same issue, you would just select this right-click, Shade flat. Now we have nice flat tops and bottoms for both of these. Now we can hit tab to exit our edit mode for the statue base. Then we're going to select the statue slice, hit tab again to go back into the edit mode for this model. We're just gonna do that same process quickly to the cap off the top and the bottom of this model. So again, tuned to go into our Edge Mode. Zoom in, hold down Alt, select an edge, hold Alt again, and select the highlighted edge already. That'll select the rest of it. When I go into my front view. Then scale it down. You can see if I scale it too far, you see other edge is kind of like invert themselves. That's what we're trying to avoid by doing this multiple times. So I would just scale it down until it's almost flat. And then just a couple more times quickly, stop once it looks visually flat, Tia looks pretty good. Hit F to fill this in. Again, this one here did the same thing where it's not quite sure that this is flat. I'm going to switch to my face mode, right-click Shade flat. Now I can go back to my edge mode, hitting two on the keyboard or just clicking this icon, trying to show you a couple of different methods here. So sometimes I click it, sometimes I just hit the button, but both work. Now we're gonna go down here to the bottom. Select this edge, hold Alt to select it. Select the small chain here, Alt to select it again to select the whole thing. Then we're going to scale it down. Again. I'm going pretty fast here because this is at this point the fourth time we've done this. So just scale that flat. Then zoom out it F to fill it in. Again, this one wasn't quite sure it's flat, so we're just going to switch to the face mode again with three shade flat. And now we're done. Now at this point, like I said, if you look at your model here and you see these little sort of darker shaded areas. It almost looks like the statue was chipped away at on those edges. I really wouldn't worry about it unless there's like a huge gouge out inside the face somewhere like there's a huge cut inward. I would try to fix that because that'll catch shadow. But these little micro imperfections are seeing on the edge. You're really not going to notice those in the animation. So I would not waste your time fixing them because you're not going to get them perfect anyway, because this geometry is a little bit messy because it was a scan. So it's gonna be really difficult to smooth this stuff out efficiently anyway. And you're just gonna kinda drive yourself crazy trying to fix it. I would just leave it as it is. Unless, like I said, those are huge gouge here or you just really want the practice of trying to smooth that out. Now we can hit tab to exit the edit mode. And now we have a slice cut out of the middle of our statue that is completely free to move on its own. That I can Control Z to put it back to where it was. Now that we've altered our statue with a slice through the middle, we're ready to add some interesting floating elements surrounding it. In the next lesson. I'll see you there 5. Adding the Rings: This lesson, we'll be adding some interesting floating elements are under statue to add some life to the background. Let's begin. Let's start by organizing Our File a little bit and setting up our camera position. Drag select over both parts of your statue. So you can get the statue base as well as the statue slice selected. Now hit M on your keyboard for move to collection. And then we're going to choose new collection for the neon here. We're just going to type in statue. Then we can hit, Okay. And we can see here that it moves both of those pieces in their own collection here called statue. We are going to, once you select this little white box next to the word statue here, that way any new models we create by default will be created in the statue layer rather than the collection that was defaulted. The original collection up here, we're just going to double-click on. We're going to call this render scene. Then hit Enter. Now we have two different collections here, ready for organization. And make sure you have your little white box next to statue selected and might have defaulted to render scene again, once you've double-clicked on its rename, it, just make sure you have statue highlighted here, the little white box. And then we're ready to proceed. Now we can position our camera that way. We know when we're placing these floating elements, whether or not there'll be in camera view or not. So let's just click this little icon here. And it looks like a camera to below this little white hand. Right-click that. And that's going to put us in the view of the camera that we left in our scene. Now by default, when you're inside a camera, you aren't able to rotate your viewer anything. If you rotate, it actually jumps you outside of the camera. So you can see our camera here remained where it was at. So by, by default, and again, we won't be using this here. But you'd have to actually move your camera by hand, then rotate it and try to align it up to your scene. Now I find that relatively tedious. So I'm going to Control Z that instead, when we click this little camera button here. So we're inside our camera right now. We can hit N on our keyboard to bring up the side menu. We're going to go down to View. And we're going to click this little box here. And that's called lock camera to view. When we check this. Now when we rotate our camera, it actually leaves us inside. The camera, doesn't jump us out. And now we're actually changing the position of the camera just by rotating around and moving just like we're used to one more inside the viewport modelling. Now we can just kinda position our camera how we'd like our case here. I'm just going to zoom in a little bit. Kinda centered up. We want to look straight down the front of the statue. And we're going to be adjusting the, the values here once we get it close. Just about centered me zoom in a little bit. I'm going to go up to the item tab here. So actually before you switch the item tab, uncheck this camera view because if we don't uncheck this, next time we go to move our camera to rotate around the viewport to change some of the Modeling or adjust the Rings we're going to be Adding. We're going to actually move our camera. And it's going to be out of the place that we decided to put it in. So we don't want that to happen. We're going to uncheck this. And now when we rotate it, see it leaves the camera. Whereas ad, just like it was before, I'm going to jump back into my camera here. Now, go to the item tab here. And with our cameras selected, we're going to just summon the rotations here and the locations to make sure that your camera matches mine. So by default, we're going to go up here. We're going to go to the X and we're just going to type in zero. Then we're gonna go to the Y. We're going to type in negative 2.3 that hit Enter. We are working in meters here. So if you're not working in meters, your values are gonna be a little bit different. With a Z, you can type in 0.57 and then hit Enter. Then for our rotation, we'll type in 90. That way it's rotated nice and vertically and it keep it nice and flat. And then for both these values, we're just going to type in zero. So now if you've typed in these values here, you should have the exact camera angle that I have. And let me can hit N, tied this side menu. With our camera positioned. We wanna make sure that we can always see what our cameras sees while we're placing these elements. So we're going to create another view port here on the left side that we're going to dedicate just to seeing what the cameras sees and then we're gonna do work in the right side. So to do that, we're gonna go up here, it's at the top-left, right below the Blender logo here. And we can see when we're in this corner or mouse changes into a plus sign, we're going to click and drag that We have our houses a plus sign. If we drag it out to the right, we drag out a brand new viewport here on the left. We're going to stop it about there. If you want to change the position or the size of this, you can always just adjusted after the fact by hovering over this center line, waiting until it turns into arrows and then moving it. Now that we've done that, we have two separate viewports. This one, we're going to make it a little bit bigger. We're going to zoom in so we can see what our cameras sees. And then on this side here, now we can rotate our camera. So we can see around here and then we can continue modeling on the right side, we'll still seeing what the cameras sees here on the left. Now with this done, we don't really want to see this camera here floating around in our viewport because it kinda gets in the way we might accidentally select it or move it. So we're just gonna go up here to the top-right and then click this little eyeball here to hide this camera that you can see it didn't do anything to the view cameras still there. It's just invisible right now, which means we can't select it and move it by accident. Now let's create our first element, which is going to be a floating ring circling the body. We're going to work in the right side here. We're going to hit shift and a and then go to curve. Then choose circle. So when we choose this, we'll see a circle popup. However, don't click off of it yet because we want to go down here to this option box, twirl this open, and we're going to change the radius of this right away from 1 m down to 0.8 m. So we're just going to make it a little bit smaller that way it fits our statue a bit better. With that done. Now we can go up here to the top-right and we're going to rename this from Bezier circle to instead ring body. Then enter because this is going to be the ring that circles the body of our statue. With this Rings still selected. We can go down here to this green symbol, which is the object data properties for this Bezier circle. We're going to change some settings here. We're going to start by changing the resolution preview here of this. So from a distance it's hard to tell that this isn't nice and smooth, but as we zoom in, we can see here that this circle has sort of jagged lines on it. It's made up of not very many vertex, which means there's a lot of flat spots in it. So to make this nice and smooth, we're going to change this 12-50 instead it enter. And we can see here that made it a lot smoother here. So our ring will be nice and round. Now we can scroll down here. We're going to go to geometry, throw that open. Then we're going go down to bevel. And then under bevel and we're going to type in 0.01 and then hit Enter. That will give our ring here, which by default starts out kind of invisible. A curve itself is not visible until it has geometry applied to it. So by increasing the bevel, we've added geometry now that is just a circle, your circular tube that goes around this curve, which now makes it visible. Now I can see here that we have an actual ring that is visible on our scene with our ring created. Now we just need to position it around the body of our statue. It's, we're actually going to try to do that here on the left side because we're actually seeing it from the camera's point of view. So let's start with our Move tool on. We're just going to move this up around here. Now this is gonna be a little bit of trial and error to get this to match exactly. So don't worry if yours isn't perfectly matching mine, just try to get it as closest you can. It's random. Move it up to about the neck. We're going to switch into our Rotate tool here. Just going to rotate this down. I'm going to rotate it to the right now. And again, this is all just by feel by I. So just try to get yours to match as close as you can do mine. We're just going for a ring that is at an angle here, sloping down to the right. And we wanted to frame these, the shoulders here. We can see here that I'm leaving this kind of even gap here above the shoulder where the Rings leaves a gap here and goes behind the head. I think the ring overall is a little bit too large, so I'm gonna scale it down just by hitting S and then dragging it down a little bit. Looks like I'm scaling it down to about 0.91 and I can tell that up at the top-left and Michael, top-left screen, it says 0.9 175. And again, this is just me. I hang it up here. So about there. I think I want to rotate it just a little bit more in the x-direction. Then we'll move that up. So as long as your ring looks something similar to mine, you should be fine. I really wouldn't worry about it being exactly perfect. It just needs to have a general look to this. If you'd like to follow along with me exactly the values for this ring here. So if we add the Rings selected and we hit N to bring up our side menu here, run the item tab. I have Z location is 0.5 to E. X rotation is 16 Why is 18? Then if we go down to the scale, all three of these are sets of 0.9. And the way you can change all three of these is just to click on the first one, hold down your mouse and then drag to the bottom. I'm just control Z that click and drag is you have to do a little bit faster if doughnut too slow for the sake of the example, then you can change all of these are the same time. I might have 0.9. I'm gonna hide this menu now by hitting N. Now we're ready for the second ring. To make the second ring, we're just going to hit Shift and D with our current Rings selected. That will start the duplicate process, which now we can just hit the right-click to snap it back to where it was. We still have a duplicate here. It just snapped it back to the exact position that we duplicated it from. Now we're just going to move it up. We can start now matching it to the head. So by default, this one is gonna be much too large, so we're just going to actually scale this down. I don't mind the fact that it's getting thinner as it gets smaller as well. I think that works fine for the head. We're going to scale it down to about here. Again, once I'm done here, I'll give you my my exact measurements if you want to follow along exactly. Otherwise, just watch what I'm doing and try to match it visually. I'm gonna move this up to about here, which is kinda like in the center of the headband that she's wearing. We're going to rotate it to the opposite side. So we have a little bit of difference from the top and the bottom ring. Then I'm just going to rotate this down a little bit so that it's lower in the front of the head than it is in the back. Just keep tweaking it here until you get something similar to mine. I think my ring is a little bit too big still. I'm pretty happy with this. We'll rotate it just a little bit to the side. Flatten it out a little bit. Okay, I think I'm done tweeking it here. Just like the last string, if you'd like to follow along with the exact dimensions that I have. The X location is negative 0.02 m. Z location is 1.15 m. The rotation for the X is 19.5. Y is negative 16.5, Z is negative 1.12. Then the scale for all three of these is 0.59. And then before we forget and let's rename this new ring. So we're just going to call this one ring head instead. Now we have ring body and we have Ring head. Will eventually be Adding spheres to these Rings that orbit the statue. However, that process will be easier to explain it when we start Animating. We'll hold on that for now. In the next lesson, we'll be adding the last floating elements to the background and learning a little bit about the lattice deformation modifier. I'll see you there. 6. Adding the Grid and Eyes: This lesson, we'll be adding a warp grid behind our statue, as well as geometry for the eyes, which we can easily shade in the future. Let's begin. We'll start by adding our plane. So we're going to hit shift and a recording go to Mesh. We're going to choose plane. So it's created the plane here, however, we want to adjust the dimensions before we close this option box. So let's start out here by typing in 2.7 m for the size. And then we're ready to click off this. Now that we have our plane here, we need to rotate it. So we're going to select the plane. We're going to hit R for rotate. The Breanna hit X so that you bind it to the x-axis. And then we're going to type in 90 on our keyboard. Then we can hit Enter to confirm that. That's just a really quick way to rotate it. 91 the x-axis. We're gonna go over here to the top-right and double-click the word plane, and we're going to rename this grid instead. Now let's get our plane in position. It's actually going to be using both of these viewports here to get the plane in the right spot. So we're going to be moving it on this right side here, but we're gonna be paying attention to the left side because this is when our cameras actually seeing. So let's start out by just moving this back. We want to move this back until the plane is about, about that size. However, right now it's offset. So we're going to slide this up and we're trying to frame this statue with the plane. So about there it looks okay. I think it's still too big, so I'm going to slide it back a little bit further. I'm thinking you're right about here. It looks okay. Now I don't want to move it at all in the X, so I want to make sure it stays perfectly centered in the left and the right. But I can move it up and down with the blue and then backwards to make it smaller here with the green. So as long as you're playing here, it looks about about similar to mine. So it stops just shy were the head is here, so there's a little bit of a gap here. And a pretty similar in terms of its distance gap here on the bottom, where it runs to the bottom of the statue. If you'd like your plane to be pretty close in position to where mine is that we can hit the End key with the plane selected and then go to your item tab. And then these are the measurements reminds you don't have to do the exact number here, but three-point one for the Y and 0.59 for the Z should get you pretty close to what I have. Now with your plane selected, we're going to hit Tab to go into edit mode. We're going to hit to, to switch into our edge mode. Now with all of our edges selected and we can just drag select over them or you can just hit a which will select all. Now we're going to hit the right-click, and then we're going to choose sub-divide. So when we click this, it's going to bring up this option box. And sub-divide is going to allow us to cut this plane up into a bunch of different smaller pieces. Right now it's just putting a single cut from here to here. I'm here to here. But as we raise this number, we can see we start adding more and more cuts. This is how we're actually going to get the look of our Grid. So this is determining the size of the Grid that we're going to create. I think ten is probably the best number for this, but this is a matter of preference really, if you want to follow along exactly, I'm using ten. But if you want your grid to be a bit smaller or a bit larger, just use a smaller number for a larger grid or a larger number for a smaller grid. We're going to leave this at ten. Now we can hit tab to exit our edit mode. We can see here that the, visually these lines have disappeared, but they are still there. So we don't have to worry about them going away. Now let's turn this into an actual Grid. We're gonna go over here to our Modifier tab, which is this little blue wrench icon with our plane selected. Then we're gonna go through our modifier. And we're going to choose the modifier here at the bottom called wireframe. When we click this, you can see right away it turns into an actual Grid. And what this is doing is it's essentially just drawing geometry over top of the lines that we created. So you can see here as if you sub-divide it at less, you would have a bigger Grid. Or if you subdivided it more, you'd have a much smaller Grid because it's just using the number of lines that that plane had. And creating geometry on top of those lines. We're going to adjust just a couple of things here. We're going to first set your boundary. So we're going to check this on. We can see here as we zoom in on the edge, when we check boundary, it just gives it a little bit more geometry on the sides. That way it's the same thickness in the middle as it is on the edge. Because without this checked, it only does a half of the geometry on the edges will check that on. So we have all the geometry around it. Then just double-check that your thickness started at 0.02 m. Now mine defaulted to that. I'm not sure if yours will. It might inherit some number from a different parameter that we've set up So just make sure that yours is set to 0.02 m, then you should be good. Now that we have these things set up here, we need to actually apply this because we're going to be doing some further adjustments after this. We can't have this modifier working in the background. We need it to be baked into the model that well, we can work with its current results and then edit them further. So we're just going to click this little drop-down here, this little down arrow next to this little camera. And then we're going to choose apply. Before you hit Apply though, just make sure you have all your settings. Correct. Because as soon as you hit apply, these settings go away. And now this model is baked into this, this configuration where it looks like a wireframe. The Grid selected, we can now hit tab again to go into edit mode and make sure you're in edge mode with two. Then we're going to hit a on our keyboard to select all. So just hit a and it'll select every single line. Then again, we're going to be subdividing this. So the reason we're subdividing this is because we plan on warping this. In the next step. Can in order to warp this and get nice smooth lines. It's similar to the way we increase the number of vertices, the number of steps on these circles. So when they have very little steps, it's hard to get a smooth line. Right now, this Grid has very little steps and you can see these areas between each of these grid lines have nothing in them. There's no vertical cuts in these. We're gonna be doing here is just adding a whole bunch of vertical cuts to this. It's going to be a little bit messy, but since it's such a far background element, it's not really going to matter. We're just looking for enough geometry that when we start warping it, the warping and looks nice and smooth. With all of these edges selected using the a key. You can now right-click. And we're going to choose subdivided. And then this one here, instead of doing ten, we don't need the nearly that much. We're just going to hit five. So we'll do about half of we did. Now we can see here now it's added cuts in areas that we don't need them. Given that this scene is so small, we're not really going to worry about trying to exclude all of these cuts that are potentially useless in our case. Really all we need are these cuts here. But the quickest simplest way to do this, this is just to apply it across everything. With the set reset to five. We can see all these cuts here. Now we're good doing. Just click off of that. Going to once again leave our edit mode using tab. So you can see we're just kind of hopping back-and-forth, doing things and then jumping back in to make some additions and then jumping back out. Now we're back in our object mode. We need to create an object called a lattice. The lattice is how we're actually going to be deforming this Grid and the back. We're gonna hit Shift and a. Then we're gonna go down here. And instead of choosing mash or anything like that, it's in the middle here below armature. It's called lattice. Will create the lattice just makes this little orange box here. It's not actually geometry. This lattice is invisible if we rendered right now we wouldn't see this lattice at all. But we're just going to slide this back. And our goal here with this lattice is to make sure that it's the same size as this grid here, because this lattice is going to essentially become a cage that we're going to use to deform and warp this Grid element in the background. Let's start just by going into our side view, making sure that it's kind of wind up here. Okay? So it's about centered with it vertically. And let us doesn't need to be perfect. We're going to have a little bit of breathing room on either side. So what I want to worry about getting it perfect, I'm just going to switch to my scale here, scale tool here. On the left. I'm just going to scale it up so that it's about the right size vertically. It looks about right. Now I'm going to scale it in so it's thinner because I don't need it to be nearly that thick. You might have to scale this one multiple times here because it gets a little finicky when you're scaling. It's so large down to a smaller size. I think that looks about right. Might need to move it up a little bit. So I'm just going to switch back to my move tool quickly. I just tried to make sure that I'm seeing about the same amount of space here on the bottom and the top as I am on the left and right. It looks about right. I'm going to rotate my camera than this one. I'm just going to switch back to my scale tool. Then just scale it up so that it's about the right size from the front as well. I can do that just by going into my front view here, by clicking this little, these little bubbles here at the top, or like I said before, you can just hit the Tilde key and then choose Fred from there as well. Both work. Then I'm just going to scale this down. Now I have my lattice about the correct size. Then like I said, this lattice is going to be used to deform the Grid and the background. So this is how we're going to be warping it. In order to warp it though, we need to have more cuts in the middle, just like we had for the, the Grid here in the back. Now we won't need nearly as much, but we do need to have some cuts here because right now there's nothing to select on this lattice once we link it to the Grid. So we're gonna go down here to the object data properties. This little green lattice symbol, you're at the bottom with the lattice selected. Then we want to change these numbers here. So this determines how many cuts this lattice actually has. For this value here, we're going to type in seven. So this is the EU resolution where the lattice, we can see here that will be type seven We have a bunch of cuts going down here. And then for the W, we're also going to type in seven. Now we have a vertical cuts going this way and horizontal cuts going this way. The reason we didn't change the V is that's because that's the cuts that are determined for the thickness here. So if we turn this up, these are going to be cuts that are pretty much useless to us, so we don't really need those. So we can just leave those at two. Now we select our grid. We can select it from the list here, or you can just select it right in the viewport. Then we're gonna go to our modifier panel, the little blue wrench. Open up the modifiers. Then for this one we're going to be choosing lattice. I'm going to choose the lattice modifier, which is right here. Click that. And now it's going to ask us for the object which is the lattice that we want to use to deform it. We're going to click this little eyedropper here. Now it'll just looked or we can select our lattice directly from the viewport. So we're just going to click right here, where over this little black line is that we'll choose the lattice. So now it's saying that the lattice is response. This specific lattice is responsible for deforming this Grid. It's now we can go back to our lattice. So we're gonna just going to select the lattice here. We're going to hit Tab to go into Edit Mode. Then I'm gonna choose my move tool here. It's a little hard to see because it's black on a gray background. But this lattice actually has little vertex points on it. It's at the intersections of all of these lines that we put in it. So now if we select one of these lattice points, so I'm just going to drag select over it. And you do want to drag select over these, because there are two. If you move just the front one, it's only going to deform the front of the Grid and it'll leave the back where it's at. Which gives you these kind of weird like stretching. So we want to avoid that. So we'll just be drag selecting over it. Now if we move this, we can see we get rid of that stretching. But you also notice that we're able to deform this Grid. Now, we're getting nice smooth deformation because we added all those cuts to the Grid after we applied the wireframe. Now it's up to you. Maybe really this is entirely personal preference here. It's gonna be difficult for me to even give you the exact values that I move these, but just kinda follow along with what I'm doing here. And I would might actually want to be deforming this from the camera because this really is the view that matters. You can just look at this camera view here. Drag select over some vertex, and then just slide them. I would suggest you deform a little bit on the edges. So it looks like this is getting smeared inward. But I wouldn't go crazy with the defamation. You still want it to look like a Grid and the background. But you want it to be kind of almost melted looking. So we want to have some areas where they pinch together, some areas where they kind of bow apart. Maybe pull this down. This is, like I said, just purely personal preference here. So whenever you want them to do, I wouldn't go too crazy with it though because like I said, it still needs to look like a grid to an extent. I think I think that's probably fine for mine. To get a better idea of what your grid looks like with all that information done on it. You can just hide this lattice. After you're done moving your points, just click this little eyeball next to the lattice, and that'll just hide it visually so you can see how deformed your greatest behind it because it's a little hard to tell what it looks like with all this lines laying over top of each other. I think for my purposes this looks pretty good. I'm just going to turn my lattice back wound so I can see it again. Case I wanted to make any further adjustments. Now that we're done with deforming the lattice, we can just hit tab to X at our edit mode. And now we're good. Then the last thing we're going to do in this lesson is we're going to add some geometry for these eyes that we either easy to texture and shade once we get to the texturing shading portion of this class. So let's go over here on our right side will be working over here. We're going to hit shift and a, we're gonna go to Mesh. And we're going to create an ecosphere. It's, we're going to click this one. Now we can see here it makes this sort of geometric sphere shape. And we're going to make this a lot smoother by typing in five for the subdivisions. So to add a whole bunch more of these triangles making the edges licensed moves. And then we're going to make this a lot smaller, so it's a better size to start with. We're going to type in 0.05 for the radius and then hit Enter. We can see here it's so small now that it's actually inside the statue, but that's fine. We can move it out. Now we're going to go to our move tool. I'm going to move it up here. Then we'll right-click and then shade smooth. Now way the eyeball is nice and smooth. Then our next step here is going to be intersecting it into the head and then just having a poke out just where the areas where the eyes are. So let's move this into the head. Going to zoom in here. It's a little hard to tell in this statue exactly where the eyes are. But in my mind, the eyeball itself, like the actual eye is right about here. This area here on the bottom, this is an eyelid, and this is eyelid as well. So you want to make sure that the sphere kind of pokes out in this area right about here where I'm tracing with my mouse. We're just going to slide this back into the head. It's just a matter of pushing and pulling it in and out of the head until it fills up the area you want. Now you'll notice you're not going to be able to get it perfect. And we'll be adjusting the shape of this sphere here in a second. But just try to get it as close as you can. So I think right about there is probably not a bad place to be before we start actually warping this. Then before we do any adjustments on the sidewall, let's just duplicate it over that when we have a nice starting point for the other eye, we're just going to hit Shift and D. Then we're going to hit X to make sure it moves just on the x-axis. We're just going to set it over here. Don't really worry about this one for now. We're not going to need to line it up until we start deforming it. Let's go back to the left one. So going to zoom in here. Now we're going to go into edit mode, hitting tab. We're going to be working in vertex mode, which is one when the keyboard. Then we're gonna be using something called proportional editing. Now you'll notice up here, it's not actually on the menu here. That's because it's slid off because we've made two smaller windows. So to see them menu over here, we're going to click in our middle mouse button on this row up to the top. We can see as we do that, we can pay them this row over. So we can see the symbol we're looking for, which is this one. So when we click this button here, this will allow us to proportionally edit the vertex. So what that means is when we move one vertex, we're going to tell Blender a roughly how large of a radius around that vertex to also move other vertex with it. Because by default, if you just move a single vertex, I'm going to just click and click this off here. Go back to my move tool. If I move just this vertex, it moves literally just that vertex. Now that makes it really easy if you're working on just moving a single vertex. But it's also very hard if you're trying to sort of massage a shape into a more of an organic shapes. So if we're trying to work with this geometry here, almost like it's clay. You don't want to be moving one vertex at a time and having to like wri round the areas and move them all individually. It would take forever. I'm going to Control Z that. I'm going to go back up to this symbol here. It looks kinda like a bullseye. And then it's next to this little falloff curve, looks like a little hill. We're going to highlight this bulls-eye, which is the proportional editing. Now when we move this, you'll notice it starts moving a whole bunch of vertices at once. And it's moving so many of them right now because our proportional editing ring, the falloff is really, really large. While you're moving this, Use your mouse wheel and scroll up when your mouse wheel to make your ear rings smaller. So you'll notice here on the left side of my screen, you can actually see this ring getting smaller or larger. It's hard to tell on the right side because we're so zoomed in. But I'll just keep scrolling up until I can see that this ring gets much smaller. Now that the ring has a lot smaller, you can see it's only moving vertices with inside that, the radius of that ring. That allows us to move this a lot easier. So I'm gonna actually make this a little bit bigger because we want to movies all of the same time here, about half the eye ones. I'm going to slide this back. We can see here as we pull this back and we stretch this, we're getting more of a normal pointed shape to the eye. And that's what we're going for. So we're going to slide this one back, stretch it out so that we get that kind of pointed shape that we're looking for on either side. Up here at the top, I think this actually probably needs to come out a little bit. Pull this out. Don't worry about this eyeball being perfectly round and smooth because we're going to be putting a glowing material on this. That's going to hide a lot of the maybe lumpiness that would be left behind from doing these small edits. So only really worry about what is exposed versus what is intersecting with the model because this silhouette shape is the most important part of what we're doing. The actual roundness and the shape of the eyeball, the surface itself. That's less important. We're getting pretty close here. Again, this doesn't need to be perfect. It's gonna be a pretty small detail in the model. And it's going to be glowing, which means it'll have this glow around it. So these edges here we will get fuzzed out because of that, that bloom in Glow we add to it as well. So it doesn't need to be perfect. Okay. So you have something pretty similar to what I have here. I think you'll be fine. I'm gonna hit tab to exit the edit mode on this. If I click off of it, I can zoom in here on my left side and just kinda see what this eyeball looks like from the camera's perspective. I think this looks fine. We made sure we didn't cover up any of the eyelid on the top or the bottom. And we have a pretty convincing I shape here, even if it is just a little bit wobbly here. Don't worry about that. With this I'd done, Let's go to the right eye. We're going to select that. Now we're going to position this one back inside the head like we did the first one. This eye shape is a little bit different, so it'll take a little bit different edits to make sure that it fits. Just do your best to match somewhat similar to what I have. I'm looking here at the corner of the eye. So I think that that looks about right and it's probably a little too high here because a little bit too far down on the bottom. But I think that's probably as close as we're going to get it without having to edit the shape of the eye. Now we have it positioned. You should look pretty similar to mine. Little pinched on this side and it's a lot wider on this side. I'm going to hit Tab to go into my edit mode. We can see up here, it remembered that the last time I was in edit mode, I had proportional editing on. It still has it. It should still have the same size as well. Let's grab the bottom here. We're going to pull this up because it's going too far down into the eye. The eye lid rather going to move up here. Just keep shaping. It feels like you need to adjust the size of your proportional editing while you're doing this. By all means, if you need to make it bigger or smaller, just remember, in order to make it bigger or smaller, you need to be moving a vertex as you do it. This ring will only be editable while you're actually in the process of moving something. Make sure you start moving something and you know what the move very far. Just make sure you start the process and then you can scroll up and down when your mouse wheel can also use page up and page down to change the size of this. That works as well. If you don't have a mouse fuel for some reason. We're going to scroll in, make this bit smaller, and then we're going to pull this into the head. I believe we need to make this a little bit more pointy here. And by doing that, we can slide this back to kind of accentuate that point. Going to pull this out a little bit. We're getting pretty close already. This one didn't take too much editing. Pulled this out a little bit. So I'm pretty happy with that. Woman had tab texted my edit mode. And I can click off of it. And then just zoom in here and we'll make sure that this eye, so we can see like the edge here. This is, this looks pretty good. Now both of my eyes have easily selectable geometry. Then once it comes to the shading of them, just as an extra precaution, we're going to select this I again, we're going to hit Tab. Then we're going to turn off this proportional editing. This is something that a lot of times you'll be working on a model. You'll have proportional editing on shaping this I. And then we go to Edit at another model and we're wondering why everything is moving so weird. And that's because we have proportional editing on when you have it on, use it for what you need to. And then I would try to remember to turn it off because it's something that's really easy to forget that you have on. And also sometimes the influence of that fall off is so huge that it's really difficult to tell even what's going on unless you notice this little blue dot up here. So it's good practice to turn it on, use it and then turn it back off when you're not using it. Now we're going to tab to get out of it. We have our eyeballs. So the last thing we need to do is to attach these eyeballs to the actual statue itself. Because right now this statue moves independently of its eyeballs and we don't want that. So make sure you have everything deselected first. So I have nothing selected at the moment. I'm going to select the left eyeball. I'm going to hold Shift, select the right eyeball. So now I have both of these selected. Then I'm going to select the statue. So the statue base, the big statue last. So it's important, the order you do these N is important, not necessarily the left versus the right eyeball. We have to have both of these eyeballs selected and then select the V statue last because we want the Statue be the parents of all this. We want the statute or be the reference objects. We're touching the eyeballs to the statue, not the statue to the eyeballs. With these selected, I'm gonna hit Control and J. Now we've attached all those together and we can see here, and we know we did it right because one, our pivot stayed where it used to be for the statue. And the objects we have leftover is statue base. We don't see light goes sphere leftover here. If you see I ecosphere after you've attached them, that means you've attached them in the wrong order and you selected the eyeballed last. In the next lesson, we'll be doing some simple animation and adding orbs to the Rings. I'll see you there. 7. Animating the Statue: In this lesson, we'll be adding simple looping animation to our statue and orbiting spheres to the Rings. Let's begin. Let's start by dragging this bottom window up a little bit so we can see our timeline better. Then we're going to change this end value from 250 frames to instead one-twenty, one to zero and then hit Enter. Now we can zoom in on this timeline and then use our middle mouse-click to pan it over. We just want to zoom in so that it fills up most of this bottom area. Actually zoom out a little bit right about there. Due to our frame rate of 30 FPS that we set up in our output properties. Having a frame value of one-twenty means that our entire animation will be 4 s long. We'll be creating our animation so that the beginning and the end are identical. That way, they loop seamlessly. That way, if we play our animation, we can just let it play continuously and it will look like the animation goes on forever. This will require us to place our first keyframe on frame zero rather than frame one. However, by doing this, we essentially cut off the first frame of our animation. But it prevents the duplicated start and end frame from showing in the animation. If we didn't cut off the very first frame, we would see Our Animation freeze for a single frame as it rolls from the beginning to the end. So it's important that we started our animation on zero, thus cutting off that very first duplicated frame, which would be identical to frame one-twenty. Let's start by selecting the statue base. So the large piece of the statue, we're going to hit Control. And a, then we're going to apply location. By doing this, we've now zeroed out all these values here, at least for the location, making it easier for us to enemy. It's easier for us to animate from zero rather than some arbitrary value that we picked before. Now it didn't move the statue at all. I left it where it's at. It just now acts as if it's currently at 00 with your statue still selected. Go down here to this little orange box tab here. This is your object properties tab. And this is where we're going to be actually animating these values. Again, just double-check that your playhead here, you can just click and drag. This number is set to zero because we want to place our very first keyframe outside of the bounds of the animation. That way it cuts it off. And we're gonna be keyframing the Z location in the Z rotation. So to place a keyframe while you have to do is just click this little circle here, this little white dot here, it turns into a diamond now and it's made a yellow keyframe. We're also going to be placing a keyframe on the Z rotation as well. Now we have a keyframe here just basically telling it to start at 0 m when we frame 0.0 degrees rotation when the Z own frame zero as well. Now if we add another keyframe to these values at a different frame, it will animate between these values. Let's start by going all the way to the very end. We go to frame one-twenty. We can see here that these are green now instead of yellow, and they don't have this little diamond filled in, Which means that they're ready for a keyframe. They just don't have one yet. So to place a keyframe here, we can just click these little diamonds here. Now we can see that it's made a keyframe between these two. Now since these are both the exact same value, it's not going to do anything. So we need to go now to the very middle of this animation, which is 60. We're going to place another keyframe here which will actually anime between these values. For our Z location, we're going to type in 0.01 and then hit Enter. We can see this is turned to an orange color, letting us know that we've changed the value. However, we haven't set the keyframe yet. It's now we just need to click this little keyframe button here. It turns yellow, letting us know that we have changed the value we have placed to keyframe. And then for the Z rotation, we're going to change this as well. We're going to switch this to three degrees. So we just type in three, hit Enter. It turns orange to let us know that we've changed the value have in place to keyframe yet. Click the little keyframe button. Now it's yellow, letting us know that we have actually placed the keyframe. Now if we just drag between these values here, drag between your keyframes. We can see that it actually moves up and down and it spins a little bit left and right. So we just hit this little Play button here and we can launch this left side. You can see that it goes up, spins a little bit, and it goes back down to the beginning position. And we can see that there's no, there's no weird hold here between them because we cut off this, this first frame. Okay, so now we have 060 in one-twenty keyframe for just the statue base. And we have a lot of different pieces here. So we're gonna be doing a similar process on each one of these pieces. Now let's select the statue slice and do the animation here as well. We're going to hit Control and a to apply this location. That way. All these values here are zeroed out again. Now we can begin animating this. So let's start by being on frame zero, placing a keyframe for the zero or the Z rather at 0 m on their location And then same thing for the rotation. We're going to have that set to zero as well. We'll go all the way over to 120. Place another zero for each of these. Then this line showing between these, this is just letting us know that this is a consistent value between these. And then the second replace any other keyframe in the middle. It gets rid of this line, letting us know that now it's no longer a, an identical value between these keyframes. Something has changed between them. For this middle value here, we're going to do, again, we're on frame 60 because that's the halfway point. For the Z. We're gonna do 0.01 m. It enter, place a keyframe. However, for the Z rotation, we're actually going to have it rotate counter to the other one. So we're going to type in negative three, it answer, and then place a keyframe. So now our head spins one way, or the statue base, sorry, spins one way. And then the slice spins the opposite direction. Just add a little bit more interest. Now we can see as we drag across this, the head spins to the right and then the, the slice spins to the left. However, they both match each other in terms of their movement up and down. So they don't separate and that way, because we really couldn't have them separate. They meet exactly where they need to and if they separated at all, they would start intersecting into each other. Let's now if we play it, I can just see that we have this kind of subtle, kind of really slow moving serine, like up and down bobbing almost like it's in water. And they just kind of rotate slightly as well. Now let's apply some animation to the warping of the Grid and the background. Which might initially seem like it's going to be something that's pretty difficult. We're going to have to animate these points moving around to make the Grid move and everything. There's actually a much simpler way to do this. We're going to start on frame zero. As always. We're going to key the Y rotation at zero degrees. We're gonna go again to the last frame. Key that again at zero. So we have the same beginning in the end, then in the center. So it's 60. We're going to type in ten degrees for this. It enter and we can see here it just rotates the lattice. By rotating the lattice, we're rotating what's affecting the war on the Grid. So we can see here as we move our animation back-and-forth, as this lattice moves. So too does the Grid and the background. So you can see here this little line here. You can see that it actually warps that as well. Now we can hide this to make this a little bit more obvious. So I'm just hiding this lattice. But the animation is still there. So now as I move my animation across, you can see it pretty well here on the left side of our, the right side rather of the Grid. So we're just rotating that lattice which moves the points that we've moved on the lattice across the Grid and the background. It gives us a nice wobbly, sort of distorted, almost like it's like it's being seen through water or something like rippling water in the background. I'm going to turn my lattice back on just so I can see it again. Now let's animate these Rings to make them wobble back and forth across the statue is we're going to select the, the ring body. So the larger one at the bottom. We're going to set our keyframes here at the zero, like we always do. We're going to keyframe the X and the Y rotation. Then we're going to go to one-twenty, place those same keyframes. Go to 60. Now, we're going to add two degrees to each of these. We're going to type in 18 for the top one. So 18 for the X key that we're going to click the Y, type in 20, hit Enter, and then keyframe that. Now if we play this animation, we can see our Rings just kind of teeter back and forth here on the bottom. Now let's do the similar process to the top. We're going to select this one. We're going to place a keyframe here at zero when the X and Y go to one-twenty least another keyframe. Now we're going to go to 60, just like we always do. Then this time we're going to add two to the X value. We're going to have 21.5 here. It enter plays a keyframe. Then for the Y, we're going to add negative two to this one. So we're going to change this from negative 16 to negative 18 instead. That hit Enter, then place a keyframe. Now we can play through our animation. We can watch our Rings here, just kind of teeter back and forth along with all the other animation. This point we have all of the pieces of our animation currently animated, except for the orbs that I mentioned in the beginning. It's now let's add our orbs and we're going to have them enemy around the Rings, so they orbit the statue. Let's start by creating an orb. We're going to hit Shift A, we're gonna go to Mesh and we're going to create an ecosphere. Again. We're going to twirl open this little menu down here so we can see the options for it. We're going to change this radius instead of 0.05. We're going to make it smaller. We're going to make it 0.025 and then hit Enter. We can hide this menu, can right-click and then just choose Shade Smooth. And because we have this Warp selected, it will have Shade Smooth Depth. Now we're not going to actually move this orbit all because we're going to be using a different sort of method to get it onto the orb Art rather the orb onto the ring. So we're gonna be using something called Path constraints. With our orb selected. We're gonna go to the object constraints panel here. So it kinda looks like a, like a timing belt when a, when a car. Then we're going to go over here to the object Constraints menu here. Then from here we're going to choose follow path with follow path turned on now, now we can click the little eyedropper. We're going to choose the target path, the path that it's actually following. Which in this case we're going to choose the body ring. We're just going to click the body ring here. And we can see right away that the orb now has moved from the sensor here inside the statue. And it's pops to the ring. So this is how we're going to animate this orbit around this ring. The value we're going to be Animating is the offset value, which we can find here. This offset value works on a scale 0-100100 is a full rotation around the path. We're going to be picking a more desirable place on the path for the spirit of start and then add 100 to it. So it goes around the ring. The place that we're going to start, our orb is actually at 88. So if we type in 88, hit Enter. We're going to have our orb start here for the Animation and then continue around the, the path. Let's move our play head down here to zero because we're going to be placing our first keyframe. Then we're just going to place a keyframe here on 88 with this little dot here. Then we have a keyframe 10. Then we're going to move all the way to the very end. So we're not going to have any middle keyframe on this one. We're just going to have a last keyframe. For this one, we're going to type in 188. So we just had a one here. It enter. And then click the little keyframe button. Then we can see nothing happened because what we did is we added 100 to the value, which means it should just be exactly where it's at because it made an entire rotation during this amount of time. Now if we move our play head back and forth, we can see it moves all the way around the ring. But we'll notice that there is a slight issue here. When we play this. We can see the Rings starts out, moves around, and then it slows down when it gets to the end, and then it picks up speed again. And that's because of the type of animation handles that this animation is using. We're going to first animate the other orb around the ring. And then we'll go over how to fix this weird slowdown that we get when it gets to the beginning and the end. First, let's just create another, we're going to be creating another orb and then adding it to this ring. We're going to hit shift into a gonna go to Mesh by ecosphere. Going to twirl open this menu. We're going to make this sphere just a little bit smaller because it's going to be on a smaller ring. We're just going to have this one be 0.02. It enter. Now we can right-click Shade Smooth. And now we're ready to constrain this one to the smaller path. We're still in their correct menu here. So we should be in the object constraints tab here on the right. So add Object Constraint, follow path. Click the little eyedropper, and then choose the smaller path at the top, the ring head. We've clicked this, the smaller orbits popped to that. We're gonna go to frame zero, which we're currently on now. Then for the offset, we're going to have this one started at 30. So it starts sort of opposite to where this one is. The first one was at this first one here is that the front left? We're going to have this one at the back right. We'll place a keyframe here. Go to one-twenty. Then we're going to have a keyframe at 01:30. It enter and then place our keyframe. Now if we play our animation, we're going to see the exact same issue happens here. Once it gets to the end, it comes to a stop and then picks up speed again and continues moving. Before we fix the Animation, Let's just give these names. That way we know which one is which. For this one we have selected over the top. So the smaller one, we're going to call this ring head ORB. For the larger one here on the bottom. Larger ring. We're going to call this ring body orb at Enter. Let's switch to our animation tab up at the top so we can adjust these handles for the Animation We're going to leave this left viewport as it is. However, this right viewport, we don't really need this right now. So we don't, we're not gonna be making any further edits. Well, we need to see is called the Graph Editor. We're gonna go up to the top-left on this right viewport. Click this little symbol here. And then from this we're going to choose Graph Editor. Now that we have our graph editor, Let's start by selecting both of these orders. So we're gonna go over here to our scene collection. Then we're just going to first select the ring head orb. That doesn't matter what you were or whichever be select first. We're just going to select one of them. Then we're going to hold Control and select the other order. So now both of these selected. So I should see two different color lines here because each one corresponds to each of the orbs. Then to make sure that this line graph editor here it looks correct. Just hit home on your keyboard. Home is a button that is directly above your arrow keys on your keyboard. So if you look for your arrow keys on the right side, look above them, you'll see a button called home. You can also just use your mouse wheel to zoom in and out or hold down Control and middle mouse button to squash and stretch this to get into view for some reason if home isn't working. So I'm just going to hit home again so that I can see both of them. The Graph Editor gives you a visual representation of the animation speed. The more sloped and steep a line is, the faster the object is moving. So we can see here it's moving pretty fast. And then at the beginning of both these lines, it's pretty flat, It's pretty shallow. That means it's moving slow. This is why it looks like it slows down at the beginning and end of our animation. Because at the beginning of the animation, it's flat. And at the end it's also flat, but in the middle, it's sped up. Let's get rid of these slowdowns by changing the keyframe type from Bezier a to linear. So we're just going to drag select across both of these lines. So we want to make sure we get these little black dots selected on both sides. So I could zoom out a little bit to show you that I have all four of these selected beginning and end. With them selected. I'm gonna hit V, then I'm gonna choose vector. So right now they've defaulted to align two, which is the Bezier handle type, which is our default. But we want to switch them to vector. That way. When we click this, they're perfectly straight lines and there's no S curve into it. So it gets rid of these flat spots that we have and then just makes them a perfectly consistent speed from beginning to end. Now we can add our play button at the bottom to see the improvement that we've made. So we can watch these orbs now. And right here this would have slowed down before. Same thing over here, it would have slowed down. But now we can see that it moves just in a nice consistent pace all the way around the orb with no slowdowns. So let's hit pause, and then we can switch back to our layout tab. Now if we just give our animation to play here, you can see everything all working in tandem. All of our pieces are kind of bubbling around and wiggling and wobbling and orbiting. So it just gives a whole bunch of just small animations to this. That way when the man animation continues to loop, it has a little bit of interests to it. In the next lesson, we'll be adding lights and Volumetrics to our scene. I'll see you there. 8. Adding Lighting and Volumetrics: In this lesson, we'll be adding Lighting and Volumetrics to our scene. Let's begin. We'll start by clicking this little white box next to the render scene collection here at the top right. That'll make sure that any lights we create, we'll go into this collection rather than our statue collection to make sure everything here stays organized. Now we can go over to our left viewport, which is currently showing our camera view. We're going to click down our middle mouse button to pan this menu all the way over to the right. Then we're going to click this far right button here, this little circle. When we click this, it'll change this viewport into our rendered viewport, displaying something similar to what our Cycles render, final render is going to produce when we actually get to the rendering portion of this lesson. Now we're going to go over to the world Properties tab, which is this little red globe icon. We're going to click this. And then we're going to click the color rich right now is kinda like a dark gray. And we're going to make that completely black. So that's going to remove all of that ambient lighting that we're getting in our scene. So the only lighting that's left in the scene is the light from the original default late. So it gets rid of that kind of soft glow, that light gray glow that was filling in all of our shadows. We want to have complete control over the lighting that we're doing here. We're gonna get rid of that ambient light. Now we can see here that we still have a light in our scene. However, if you accidentally deleted this light that we left in the scene, this one way up here. If you've deleted this by accident, that's fine. We can just hit Shift a and then go down here too light. Then you'll just create a point light. And then that'll make a brand new light in your scene. You can move around. Now I'm not going to make another late because I already have one. So I'm just going to use the one that was here. Like I said, if you've accidentally deleted years already, It's pretty easy to add a new one. Now we're going to be going with a pretty common Vaporwave aesthetic color scheme, which is like a bright pink and a bright blue for the lighting. So we're going to start out by making the pink light first and we're just going to use the one that we have here. So let's rename this light. So I'm just going to rename this by double-clicking on it and type in pink late, and then hit Enter to adjust the properties of this light, make sure you have it selected. And then go down here to this little green light bulb icon. This will allow us to change the properties of our late. So let's start by making this light a good bit dimmer, because right now it's really bright and we're going to be moving this closer. The brightness we want here is 88 watts. So we're just going to hit at eight and then type Enter. Then we're going to change the color of this to pink. So if you want to follow along exactly the color pink that I'm using will be 0.78. For the hue. And saturation will also be 0.78. And then hit Enter. We can see here we have this kind of vibrant pink color. And right now it's really **** and that's because our latest so far. Now we're going to move our light closer to our statue. With my light selected. I'm just gonna go to my move tool. And then we're just going to move this down much closer to the statue. And we want it to be at the front right side of it. We can see here as we move this round, we're getting a nice preview of what this is doing here on the left side. So it's nice having both of these viewports going at the same time. So we can kinda see what the light is doing even though we're working over here. So let's have this light above its head a little bit. Maybe about here. I'd say probably about as high as your Grid is in the background. We're going to have it off to the front a little bit as well. Just be paying attention to what the shadows look like over here. This is kind of sort of the way we can tell roughly where our lightest position and we want to get these shadows to be complimentary to the shape of this. So we don't want all the light coming from one side so that we can't really see the shape of this. If you'd like to know about approximately where this latest placed for me. Currently, I have it set for the X location of 0.83. By is a negative 0.81. The Z is zero point one-six-four. We type those values and you'll have something really close to what I have currently. I'm gonna hide that menu. Okay, so now we have our pink late setup. Let's hit Shift and D to duplicate this light. And we're just going to duplicate it down here to the left. Don't worry about where it's going exactly on the X and Y just kinda get a rough position over here. We want this to be below the statue, not directly below it. So about even with the zero line here, so right at the base of the statue. And we're gonna kinda line it up here with this first grid point. So about there. Now we're going to adjust the parameters here on the right side. Let's first start by adjusting the brightness. So we're going to change this 88-24 instead Because this, we went this slide here to just kinda fill in the shadows. We're not making it the main light source. The main light source is always going to be the pink. Now let's adjust the color as well. Just click on this pink here. And then to follow along with me, you'll just make this 0.55 it enter and then just make the saturation and the full one. If you've done that, now you have a nice bright blue light. And we can see here on the left side that it's filling in the shadows here with kinda like a teal bluish light that's mixing now at this pink layer that we have is the main late. Before we go too far though, let's make sure we don't forget to rename this. So we're just going to double-click on this and call this blue light. Then hit Enter. Now let's make another duplicate, and we're gonna be using the blue light here is a base. We're going to hit shift in D with this selected. Move it up to about the height of behind the head. And then we're actually going to position it behind the head as well. We're going to place it here. I can actually look on this side so I can move on either one of these. So if I want to move it from the camera this time, I can just start clicking over here and move it from there. I'm going to position this right behind the nose. Basically. It's right in the center of the head. So I can see here that's roughly where it's at now. Now to adjust the parameters of this late, Let's make this late significantly brighter. Now this isn't gonna be something we're going to notice the true effect of yet until we get the Volumetrics in. But we're going to type in 350 here. So it's gonna be really bright. And then we're going to adjust the color. We're just going to make this a little less saturated. So we're going to type in 0.7 for the saturation. So it's a little bit more closer to white, but it's still obviously blue. Now let's add Volumetrics to our scene to make our lighting a bit more dynamic. Volumetrics, we'll add an effect or render and lighting that makes it look as if there's a fog or mist surrounding our statue. This will make our Lighting fill the volume of our scene with lighting running. Go back to the world Properties tab, this little red globe icon. We're going to twirl down volume. Then here where it says none. We're going to click the word None. And then we're going to look forward principled volume. So once you've found that GOT and click it, we'll see right away that are render has changed significantly on the left side. Letting now fills the air around the statue. In air quotes. However, everything is much darker and more obscured. So luckily, we can change these settings to make the render look better. Let's scroll down here to the volume settings. There were basically two things that we're going to be adjusting. The first thing we can adjust is the density. The density is basically just how thick is this fog on the left side. So right now it's set to one, which is the default value. But we're going to make it a lot thinner. So we're going to type in 0.05 for the density and then hit Enter. We can see here now we stopped the fog. We can still see it. But it's a lot more see-through, so it's not nearly as obscuring and darkening on arsine. The other thing we can change here is the anisotropy. So the Anisotropy is a little hard to explain, but basically it boils down to the higher this number is, the more intense the lighting of the fog is around the light source itself, then it quickly falls off so that you get brighter fog around lights and you get much less illumination of the fog the further it gets away from a light source. So it gets rid of that kind of overall haze that we have on the scene and makes it a little bit more localized around each of the lights, specifically the anisotropy. Let's just type in 0.6 and then hit Enter. We see here on our left side that it looks like the fog overall has gotten thinner in general. But really when it's doing is it's focusing the fog around each of the light sources so that it's not so pervasive across the entire scene. As one final step here, let's not forget to rename this late. So the light we have behind the head, we're just going to call that rim light because it's lighting up be a rim to the outside here of our statue. It's now we should have a blue light, a pink late in the rim light. We're done setting up the three lights in our scene. However, we're not actually done with the lighting. So the remainder of the lighting is going to be handled with textures that emit light themselves. So that's how we're going to get light on the Rings, as well as in this gap here where we've made this lace. So we're going to have light cast down and up onto this slice of the face with our main lighting completed. In the next lesson, we'll be applying glowing shaders towards scene and finishing the rest of our lighting. I'll see you there. 9. Shading the Statue: In this lesson, we'll be applying glowing shaders to our scene and finishing the rest of the leading. Let's begin. Shaders other way that we make our models look like different colors other than the default grade. They start as this is how we'll make elements glow or look like shiny metal. Will start with the statue first. We're going to select the statue base. Can zoom in here. Then we're gonna go down to the little symbol here. It's like a little circle with a checkerboard on it. This is our material properties. Now we're going to click this little new button here, and that'll create a new material. Let's start by renaming this material. So we're just going to click down here. We're going to type in statue. That way we know what this material is for. Somebody can scroll down here and discuss the things that we're going to be changing to make this material look different. The first thing we're going to want to change is change this base color. Sorry, now it looks like it's white, but it's actually a gray color. So you can see here the value is not one value, which means it's only at 80% white. So we're just going to make this 100% white. Just by turning up the value. We're going to leave the hue and saturation both at zero. That way it stays white. Now we can scroll down here and we're gonna go to this specular value. So this is essentially how shiny is the material. How much is it reflecting light? Right now it's at 0.5. We're going to make this more shiny. So we're going to turn this up to one. So we're just going to drag this slider all the way up to one. Then down here, this is the roughness for the, how shiny it is. So essentially this is saying how blurry are the reflections of this shiny object. So the lower the number, the more sharp and sort of mirrored the reflections are, the higher the number, the more blurry and more sand papery, almost you can think of the reflections are, we're going to make it just a little bit sharper, a little bit more Mirre by typing endpoint for their just a little bit more sharp. Then we can see down here now we're actually getting some reflections here on this kind of the neck piece of the dress. So we're gonna be keeping all of our materials here pretty simple and we're basically just going to be using Shiny, solid color materials. We're also going to be using some italics, and then we're going to have some glowing materials. So let's make our first glowing material, and that's gonna be on the eyes. It's now we can scroll up here. We're going to push this little plus icon here. It's adding new material slot. Then we're going to click new data, new material, that slot. Then we're just going to name this Eyes. Then hit Enter. We're going to change this color here just for the sake of example. Now you can change this with me, but we're going to be changing and eventually back to white. I'm just going to make this red. That way it's easy to see. The first thing we wanna do is actually apply this Eyes material to just the eyes. We don't want this material applied to the entire statue because we don't want our entire statue to glow, just the eyes with your statue still selected. So statue base, we're going to hit Tab to go into our edit mode. Now we can zoom in here and we're gonna be working with the eyes. So first, switch to your face mode using three on the keyboard. That'll switch to face. Now just click off the model to make sure you don't have anything selected. Then we're going to hover over this eyeball here that we placed. Just hover over anywhere on the eye and then hit L on your keyboard to select all linked faces. This will select every single face that is linked to the face that you are hovering over. And since this is a separate object, it's only going to select the eye. Now what that done? Make sure you still have the Eyes material selected. Then we're going to click the assigned button. So that's going to assign just this Eyes material to the selection. Now we can rotate around our model. Click off to make sure we don't have anything selected. Going to hover over this. I then just hit L to select all the linked faces. Make sure you still have is selected over here on the material browser and then hit Assign. Now we can leave our edit mode by hitting tab. We can see here and we have somewhat of a creepy statue, but we have clearly defined areas where we have this red material which is the eyes that we just applied. It hasn't applied it to the entire statue because we selected faces first and then apply this material just to those faces. We do actually have two more faces. We want to apply this to its, we're gonna go back into edit mode. We're back into edit mode for the statue. We need to apply it to the top and bottom of the head here. Let's just select this bottom face. Make sure you select eyes. So when we select it off here, it's changed it back to the statue material because that's the material that's currently applied to it. So select the face just by clicking on it. Then go back over here, select Eyes, click Assign. Now we've assigned that red here Then we're gonna do the same thing underneath the top of that, we're going to click this little face here. Make sure we switch back to the eyes material. And then we're going to click Assign. Now we have this glowing eyes material applied to all the faces that we need. You can hit tab to exit again. Now we can see here that we're actually getting some sort of reflected red light from this red face that we applied. Now let's get rid of this creepy red color and we're gonna go over here to change that. So click on this red box here, and let's switch this back to white. So we're just going to get rid of the entirely, get rid of this saturation. You can also center out the, or make the hue is zero as well. And that really doesn't matter if it's not saturated. But we'll just set both of these to zero. Then we're going to set the value all the way up to one. That way it's pure white. Now we can scroll down in this list. We're looking for something called a mission. So here we can set the color of the emission and how strong the emission is. An emission essentially just means glow, so it's emitting light. So let's determine what color this is emitting. So currently it's emitting black, which is no light at all. We want it to emit white. So we're just going to make this completely white. So 00.1, we can see here now that this emissive property is now casting light down onto this. So if I have to do this with me, I'd just to show you though, if you watch the left side, the lower I make this value, the less it glows. Now, if I wanted to, I could change this into a different color and make it glow red or yellow, or blue or green. But for now, we're just going to leave this as white. Then we're gonna make this glow a little bit stronger because I want it to be pretty, a pretty strong glow. We're going to change the submission strength to, to, to double the brightness of this. So we're going to type into that hit Enter. Now we have it twice as strong here. Now we can see all this extra late. Now we're getting now inside this crevice that we made, this little cable on the side is now filled up with all this white light that's emitting from the bottom of the jaw here. And then down from above as well. We're also glowing out of the eyes as well. Now let's select the statue slice here in the middle. Because even though this is, these are both part of the Statue, this is a separate object and it didn't get any materials yet. So instead of adding a new material here in just recreating the material we already applied to the statue. Instead, we're just going to click this little drop-down here. And we're just going to choose the statue material. Now these are both using the exact same material and any changes I make 21 will affect the other because they're using an identical material. Now we can zoom out here. We're going to make these Rings glow. Now. Select the large ring on the bottom, the ring body. We're going to click New to add a new material. And we're just going to call this Rings because we're going to use this on both. So with that done, we can now go all the way down here to the bottom. And we're just going to change the emission color and then the emission strength. Let's start with the color. We're just going to click this black box. And then here we're going to type in 0.07. Then for the saturation 0.95. And then for the value, we're going to make that one. Let me can see here that that's made it a bright, warm, orange, kinda yellowish color. And that's what colour of these rings are going to be. Now, right now they're only set to one. We're going to change the submission strength to be much brighter. And because this will be important for the future lesson, we're going to make this ten. We want these Rings to really glow there, Adding a lot of lighting to the scene as well. We can see here on the left side if you watch watch mine. So that's set to one. We can see how much orange light is casting into the scene. Then if I type in ten, you can see how much more light it's filling this scene with. Now we can go up here to this head, ring, ring head. The same thing we did for the slice. We're just going to choose that ring material here from the drop-down rather than making a brand new one. So we're just going to click the drop-down, go to Rings, click that, and now we have the same material on both. Next, let's add a material to these orbs going around the Rings. So we're going to select the bottom orb. Why add a new material? We're just going to call this orb. Orb. It entered. Then we're gonna make this one metallic. So first let's change the color. We're going to click the color here. Let's set the hue to 0.1. Hit Enter. Let's set the saturation to 0.85 and then hit Enter and then will lead the value at 0.8. Right? Now if we zoom in over here on the left, we can see it's just kinda like, uh, just kinda looks like a yellow ball. It doesn't really look like metal is just kind of a yellow sphere here. We're going to make this look more metallic is by actually increasing the metallic value. Right now it's set to zero, which means it is not metallic. And then if we turn this all the way up to one, it's now metallic. So you can see right away. It's got much deeper shadows and much brighter highlights. So it's giving it that more metallic look. However, that's not the only thing that we can effect. We're not going to scroll down here to the anisotropic number. So this one here, it's just below roughness. This value here is essentially taking these circular reflections and it's squeezing them into more elliptical shapes. So it's going to make them thinner slivers rather than these big wide circles. And that's going to happen when we make this value higher. We're just going to type in here 0.77 and then hit Enter. We'll notice right away that this starts looking a lot more like metal. And that's because I'm one of the properties of metal, is that a distorts reflections stretches of them along the object. This is the value here that will accomplish that. So the less you have in this, the more circular your reflections are, the higher the value, the more kind of pulled into this streak that they are. I'm going to keep mine at 0.77. And then the last thing we're going to do is we're going to add some additional reflections on top of this almost as if it's like a car paint. Or we have the kind of metallic color below. And then we're going to have a clear coat paint on top of that. And we're gonna do that with this value here called clear coat. So we're just going to turn this all the way up to one. We can see here that it looks a little bit more reflective. So if I deselect this actually, so you can see these little white dots that we're seeing. These are actually reflections of the light that we have in our scene. If I turn this all the way down, you see them less so you still keep this one, but this one's not there anymore. We're going to turn this back up to one. So my clear coat is set to 01:00 A.M. I, clear coat roughness. This works just like regular roughness except it's only affecting the reflections of the clear coat. I'm going to set this to 0.1 to make those reflections just a little bit more blurry. But we can still see that we have a reflection here and here. Now we have this kind of golden orb that swings around in orbits on this golden ring. And let's not forget to apply it to the top one as well. So we're just going to click this top orb. And again, just like the last couple of duplicates we've done set of making a new one. We're just going to click this drop-down and then choose orb. Now we have that same metallic gold when this orb as well. At this point, the last thing we need to texture is this Grid and the background. We're gonna make this kind of a silvery metal. So let's select this. We're going to choose be orb material. Then rather than using the 4D material and then adjusting this to silver, which would then change the, the balls on the, the one, the Rings themselves also to silver because they're all linked. We're going to make a duplicate of this material and use this as a base. So the way we're going to make a duplicate of this orb material is this little number here. So right now this is saying three, which means it recognizes that this orb material is applied to three different objects. So both of the orbs and then now the Grid that we applied it to. However, if we click this number here, it will make this 4D material just on the Grid suggests the object that we have selected into a duplicate of it that is no longer linked to the other two. Now we can rename this from orb to Grid. Now if we make any adjustments here, it won't affect the orb materials that we have on the other two. This we're gonna need to make into a silver metal. So we're going to click on this yellow base color box. I'm gonna get rid of the hue, get rid of the saturation. So that's back to that kind of very slightly gray. Then because we made this a duplicate, it's already set up for middle. So right now we have it set to metallic 1.77 ash tropic. And then we have our clear code set up. So there's really nothing else for us to do. And that's the power of taking a base material, duplicating it, using that little, that little number button. Now it's going here because this is only applied to an object. But by clicking that number button, we branched it, made it into its own unique version. And then while we had to do is adjust the color, we didn't have to rebuild everything about this material. Now if we deselect our grid, we can see in the background here that we're getting these kind of interesting reflections that caused this Grid to almost look like it's disappearing in certain spots. And that's because it's reflecting different parts of the scene that are either catching more or less light. So as this thing moves during our animation, it will catch different reflections as it moves around in the background. With the materials out of the way, we're ready to move on to the Compositing Effects. I'll see you in the next lesson. 10. Compositing Effects: This lesson, we'll be working on compositing Effects within Blender, tad bloom, and glitch effects to our image. Let's begin. First. Let's do a single frame render, so we can use that as a base to composite. From. Now let's go up to our Rendering tab. Here at the top. We click that. It'll switch us to our rendering work-space. Now we can go over here to the left. We're going to click render. Then we're going to choose render image. We can also just hit F12 on our keyboard if you prefer that. I'm going to click this button. Now we can see that our image starts to render. It'll take just a moment. We can see the progress down here at the bottom. Then once it's done rendering, it'll run the D noisier. So you can see all that kind of graininess disappeared. And that's because of the D noisier that we had enabled. While the image looks pretty cool so far, There's some effects that we can add that I'll really AMP up the Vaporwave aesthetic and distorted look of the image. So let's switch from the rendering work-space to the compositing workspace. Then we have this dope sheet down here. So this is currently the dope sheet. We're not going to need that, so we can just drag this down. We just drag on this middle line. We can see the arrows and we'll just make this smaller. We don't need to see that. We're not going to hit N on our keyboard to hide the side menu. Then we're going to drag out another viewport. It's, we're gonna go up here to the top-left way into our mouse turns into a little plus sign. And then just drag it to the right. And we're going to make another view port here on the right side. We'll have it a little bit smaller on the right and then a little bit bigger on the left. Now on the right viewport, we're gonna go up to this little symbol here. Click this, and then we're going to choose Image Editor three near the top left. Then in the center here. So the center drop-down next to the new button, we're going to click that. Then we're going to choose viewer node. Now, back on the left side, we're going to check this little box here that says Use nodes. Now we can see our little render pop up here. However, we're not seeing it on the right side. So we're gonna be using this as sort of like our representation of the final result. Then, then we'll be working over here on the left. So the way we get to show up on the left or the right side here, where it's currently empty. So we need to make something called a viewer node, which is what this is currently displaying, which is nothing because we don't have one. We're just going to hit Shift a on the left side. I'm going to click on Search. Then we're going to type in viewer. We'll just pick viewer here, the top place that now we can click and drag this down to the viewer node. Now we'll notice that the image is showing up on both the left and the right side. That's because this is set to backdrop here. Right now it's showing the image behind the work area. However, we've already set up an area on the right side. We can just zoom in and out one that has an unobstructed view of our render. We can just click this backdrop button here to hide that on the left. This is the first time that you're seeing the node system within Blender. Basically these nodes worked from left to right. So this is the render result that we had on the Rendering tab. This tab. And then over here, these are the outputs. So now we can add different nodes between these two to add effects to the output. So in this case, the image on the right. So we can just click and drag over top of these to select multiple nodes and then just space them out. So we have some room to work in the middle. We're going to start with that node called glare, which will add a blue Meet Glow, a fog around the brightest elements of our render. Let's hit Shift and a. On the left side, we're going to search the word glare, GLA, re, pick this node and then we can just drop it here. So when it highlights one of these and white, that means it's going to automatically link it to that. We're going to have to link it to both of these. So once we drop it, now we need to run this viewer. So the output, so the top here of the glare, we're going to run that back down into the viewer as well. That way the glare is outputting to both the composite, the viewer node. I can drag this over. Now we can kinda see what this glare node is doing. Now right away, it's kinda crazy. It's doing this star-shaped plus sign all over the place. But that's because of the mode that it's set to. We can zoom in here. We have a few different modes that we can choose from. So right now it defaults to streaks. There's also Ghosts, which does this kind of sort of multiple scales, sizes of these brightest elements. Then there's fog glow, which is the one we'll actually be using, which we can see here just adds a nice soft glow around these practice elements, like they're made of neon. Then there's simple star which adds, it's kinda similar to streaks, but it has some minor differences. For our Rendering. We're gonna go up here, we're going to choose simple star, and then we're going to switch it back to follow glow. Fall. Glow is just that default, sort of nice soft glow that we're getting around this to make these look like neon tubes. We can switch the quality here from medium to high, which really won't make a huge difference. It's just kinda giving it a little bit more samples, making it a little bit smoother. So the values we want to change here are the threshold and the size. The size is pretty obvious. That's just the bigger the number, the bigger the glow. If we type it in nine, we can see it's a little bit brighter and it also goes out a little bit further. Then threshold here. This one's a little bit more complicated. So essentially this is saying, the higher the number, the less bright objects that will fit within threshold, the lower the number. So if we make this zero, it'll make every single thing in here received this bloom. And then as we make the number higher, it'll be a little bit more picky. It will start looking for only the brightest areas to apply the balloon to. So if you want to really glowing, really bright, super bloomed out render, then you want to lower value. In our case, we're going to have our set to 0.9. We'll let it put a little bit more bloom on areas that it wouldn't have normally done it. But we don't want it to go crazy. Now that we have some nice glow added, let's create an effect called chromatic aberration. Chromatic aberration is an optical defect, or light is separated an offset into its red, green, and blue channels. This creates a rainbow effect and slight blurring around the edges of an object. Its first, let's zoom out here on the left side. I'm going to drag these over to make a little bit more room. Now we're going to be making a few different nodes to start with. First hit Shift a, and then search type in. Combine. We're looking for combine RGBA. We're going to place that here on the right side. Now we're going to hit Shift a again. Search. We're going to type in separate. So we can just type in Sep. We're going to look for separate RGBA. Replace that here. Now we drag the, the node here from glare so that the top output of the glare node going to drag that down into image. And then we're going to drag the output of the combined RGBA into both the composite and the viewer. May can see here nothing has happened because we haven't actually link these together. This node is going to separate this image into its red, green, blue, and Alpha channel. Then this node will combine red, green, blue, and Alpha into a solid image. Again. This is the first step in order to separate the channels out for us. So we're just going to drag these across to match. We can see there soon as I connected the B, which is the blue. Now it's only displaying the blue channel. Now if I attach the green, it's going to display the blue and the green channel. And then we can drag the red to display all three of them. Which means our images back to normal because now we've separated it, but then immediately recombined. It. Might have seemed like an odd thing to do, but that's because we want to affect only two of these channels, which are the red and the green. It's now let's hit Shift and a again. Then the search bar we're going to type in transform. So T RAN will get transformed and place that up here. Then we're going to hold Shift and D. Just start duplicating it. And we're going to make another one because we're going to need two of these. So now we can zoom in here. Now we want to run this red into the top one. We're going to drag this red node here into image. And then we're going to drag the output for the image back into red. We can see your head hasn't done anything because we haven't really changed any of these values yet. Then we're gonna do the same thing for green. Going to drag this into image, then drag the image output back into the green. So essentially we're adding another node in-between the green on both sides and then same with the red. Now we can affect the values on these transform nodes to shift these red and green channels. To see what this effect is really doing, Let's zoom in and our image here on the top rate. We want to see a little bit of this ring, some of the Grid and the background. And then some of our statue. Let's start with the top transform node, which is currently affecting the red channel. Here, we're going to type in 2.5. It entered. Then we can see here that it's shifted this red channel over to the right. So now the red channel is a little bit offset. It's missing a little bit of the red channel and the left side. And it's overlapping a little bit over here on the right side. We can also shift this up a little bit. So it's going at a diagonal by typing in one for the y-direction. Now it's moving over to the right 2.5 and then up a little bit one. Now we can do the opposite effect when the green, so we're going to actually just type in the negative versions of these. So for the X, we're going to type any negative 2.5. It entered. Then for the Y, we're going to type any negative one. Now if we look around our image, we can see here we're getting this kind of shifted, almost, kind of almost reminds me of a kind of like an old 3D movie where you had the red and the blue channel and they were kind of offset to make a 3D effect. So that's kinda what we're going for here. Now we've done it pretty simple or a subtly. So we're, we're getting some areas where it's pretty obvious that we're getting some red over all the green side is a lot more subtle. So here we can see a little bit of the green for the red side is kinda like the leading edge here. Now if you wanted to make this effect even more impactful, and now the more impactful you make it, the more blurrier image is going to appear. But you could change these values here so you don't have to follow along with this. This is just an example. But if I make these much higher, so if I type in like ten for this and maybe five, we can see how much more this shifts that. It's, I'll do the same on the green. Negative ten, negative five. Now, it's making a pretty interesting effect here. But you'll notice it'll also make the edges of your frame also noticeably have a shift on them as well. And we still have that with the smaller values that we had. But it's a lot less noticeable because the lines are just so much smaller. They're only like one pixel by two-and-a-half pixels. These values here will also depend on the size of your render. So if you make a much larger render, so if you say you double the size of your render output, which right now ours is ten at. If you make it 2048, then you'll have to double these values as well because this is using pixels instead of an arbitrary number. So you'll have to double your effect or else you'll end up having your effect by making your render twice as large. So if you're looking for are render That's a little bit more chaotic and distorted, then you want to have higher values here. You can also mess with things like the angle. If we adjust the angle of that channel and we'll actually rotate the channel. We can see there that it's rotated a few degrees. This will be more obvious. So here we're getting a really chaotic and really distorted image, which might be what you're looking for. If that's the case, then you can really play with some of these values. And then the scale, we'll just scale up or down the size of that channel as well. You can see here it's really crazy. Now, I set mine back to the values that I originally had, which was two point 5.1 for the red channel. All zero these out. Then I'll just fix these as well. With this last effect added, our final look is complete. In the next lesson, we'll be Rendering Our final animation. I'll see you there. 11. Rendering Our Animation: In this lesson, we'll be Rendering Our final animation into a video that you can share with your friends and family. Let's begin. Luckily, we've already set up most of our settings and a previous lesson. So this should be a pretty easy process. Just to be safe. Let's give the settings a quick run through just to make sure everything is correct. Can first go up to Edit Preferences. Then we're gonna go over here, it's a system. Then at the top, make sure you have either optics, cuda selected, whichever one it allows you to use. If you can use optics, use that. If you're not able to use optics, then choose cuda and then make sure you have all of the devices listed below checked. Now they won't match mine exactly. But whatever your computer has, just make sure you have every one of them checked. Now we can close this. We're gonna go over to our render properties tab, which is this little backside of the camera. Then just make sure you have your render engine sets his cycles. Your device is set to GPU, compute. Let me can scroll down. We don't have to worry about the viewport settings, although they should be set to what we had before, which was 0.1 for the noise, 100 max samples. De-noise checked on, and then de-noise are set to optics. Now we can go down here to the render. You want your noise threshold set to 0.03, which is what I have here. Your Mac samples set to 100, de-noise checked on. And then your D noisier should be open image de-noise. Make sure you have that setting. Now scroll down and then twirl open light paths. Then every single one of these should be set to one. So your total should be one. And then every one of these different categories should also be set to one. We won't need anything higher than that. Then lastly, scroll all the way down to the very bottom. Twirl open color management. Then make sure you have your view transform sets of filmic. Then you're look set to high contrast. Now go back up here to our output properties, which is this little printer and printing out a little photo. Scroll up to the top. Make sure your resolution is set to 1080 pixels by 1080 pixels for both the X and Y. The percentage here should be at 100%, so that renders the full value here. Then our frame rate should be set to 30 FPS. Lastly, just double-check that your frame range here is set to start on one and then end when one-twenty with a step of one. With those settings out of the way, let's get our output setup. This will tell it where to save it and what file type to use. The first thing we're going to do is click on this little folder here and then navigate to the folder that you want to save this animation. So simply just click on this little white folder and then navigate to that location. Now that we've found the location, we want to save it in, we can give it a name down here. So I'm going to call mine Vaporwave animation. Underscore v0, v1, which stands for version one. And then an underscore at the end. So the underscore at the end just gives it a space before it adds the frame numbers for the animation at the backend. That way it doesn't put the number directly against the V1 that I had here. Because either way it's going to add frame numbers at the end of the animation. The point of adding the V1 is just in case we render this out, find out we want to make some changes, but we don't want to delete the old one, then we can just call the next one V2 or V3, V4, whatever you end up getting up to. The name changed. Now we can just hit Accept. And that'll commit the change. Now let's switch the file format. So right now it's defaulted to PNG, which is an image-based format. We're going to render Ares directly into a video. So we're going to choose click on P&G here. We're actually going to be choosing FFmpeg video, which sounds like a really weird one. And it's probably one you've never heard of. But it's just the umbrella term for one that you probably have heard of, which is Mp4. We're going to click in FFmpeg video. Now we can scroll down and we're going to open up encoding in the container. We're going to switch it from Metro SCA to MPEG4, which is one that you've probably heard of if you're familiar with video formats. We also just want to double-check that our color management. So this little twirl down here, just set to follow scene, which means it's just going to use what we set up before. If you wanted to override the render to use something different than the scene, you could choose override and then change that here. But we're just gonna leave it on follow seen. Now let's continue to scroll down. For the video codec. We wanna make sure that it sets uh.264 Which I believe is the default. But if it isn't, for some reason just makes you choose in the list, It's right here. Then for our output quality, we're going to switch it from medium quality to perceptually lossless. Lossless means that it has no compression at all. It's 100% full quality, except that makes the video really, really huge. So we're going to choose perceptually lossless, which has compression, which will keep Our File smaller. But it's as far as you're concerned, it's essentially lossless. It has so little compression on it that you really can't sell. We're going to choose perceptually lossless. And then we can leave our encoding speed at good. Now let's go up to our Rendering tab. And now we're ready to render our animation. Now let's go up to render. Then we can choose render animation. So this will actually start rendering each frame of our animation. And then when it's done, they'll compile that into a video that we can share. We're just going to click Render Animation. Now. We're going to see a progress down here at the bottom, which shows us the progress for the current frame. And we want to know which framework on out of one-twenty. We just go up here that top-left and that'll show us what frame number we're own. So that finished the first frame. Now we're on frame two. It also show us roughly how long that last frame took. The remaining over here. This is all over the place. It's I wouldn't really go too much by this remaining it's mostly remaining time for the frame. It's not for the entire animation. You'll notice as you render each frame that only some of them show that bloom and chromatic aberration that we added with Compositing. Don't worry, it does still apply them to each frame. It just doesn't show it while it's rendering. As a warning, this animation does take some time to finish. I can't tell you exactly how long, but after rendering your first frame, look at the top-left and see how long that last frame took. Multiply that time by one-twenty, then divide it by 60 to get an idea of a rough estimate for the entire Animation. You can expect this to take probably at least 15 min to render, or possibly as much as an hour depending on how good your computer is. My computer isn't particularly powerful and is using hardware that is a few years old. It took me about 35 min during my testing. I'll be back in a moment after my render has completed. Now is a good time to go make a cup of coffee or tea as you wait for your awesome Vaporwave animation loop to complete, we're back in, the animation is finished. You can find the video file in the location he told it to save in and our output settings. If we're using the built-in Windows Media Player in, click the dots at the bottom and check the repeat options so you can see what they animation looks like when it loops. Now with that option checked, you can hit play and watch our animation loop seamlessly. Now all that's left is to upload your hard work decisional media to share with your friends and family just this morning, I have noticed that even though our video loop seamlessly, some social media platforms such as Facebook or freeze for a moment at the end of each loop. Unfortunately, that's just the limitation of the platform we're uploading to, not a problem with our video. The next and final lesson, we'll be discussing our class project. I'll see you there. 12. Our Class Project: Congratulations, You've made it to the end of the class. Now that you've learned how to make a Vaporwave animation loop with me. I'd like you to create a new one of your own and share it with the class. I recommend you look through the 3D scans website again and pick out your favorite statue. Utilize the same techniques we learned during this class to turn that statue into a Vaporwave version of itself. This would include Adding geometric elements, Breaking up the statue in interesting ways, Applying unique glowing or metallic materials, Creating vibrant lighting setups are Animating interesting subtle movements. If you would rather not attempt a brand new statue, try giving the current statue different materials, lighting, and animation to make your own unique version. For my class project, I utilized this broken bust statue from 150 BCE. I went with a pink and yellow scheme for the neon elements, with pink and blue for the background. This was created utilizing all of the same techniques we learned during this class. After you've finished your Vaporwave animation, post the render to the project gallery to share it with me and all of the other students. I'll personally review each project posted and let you know what I love about your project, as well as anything that could use some adjustment. I can't wait to see what you all come up with. Thank you all so much for taking my class. I really appreciate it. If you enjoyed the class and want to know when I release new ones, please click the Follow button here on Skillshare. Please consider leaving an honest review for this class so you can let other students know if it's worth their valuable time. If you liked this course, please check out my teacher profile. You might just find another class of mine that interests you. Thanks again, and I hope to see you in another class soon.