Blender 3D for Beginners: Model and Animate a 3D Logo | Harry Helps | Skillshare

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Blender 3D for Beginners: Model and Animate a 3D Logo

teacher avatar Harry Helps, Professional 3d Artist

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.



    • 2.

      Curves Crash Course


    • 3.

      Modeling the Logo (Part 1)


    • 4.

      Modeling the Logo (Part 2)


    • 5.

      Texturing the Logo


    • 6.

      Lighting the Logo


    • 7.

      Animating the Logo


    • 8.

      Rendering the Animation


    • 9.

      Our Class Project!


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About This Class

Hi, my name is Harry and I’m a professional 3d artist with over a decade of experience. I’ve worked most recently as the 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 the simple and beginner friendly process of animating a 3d logo in Blender.

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.

Animating 3d logos can be a really powerful skill to know, but it doesn’t have to be complicated. In this class, I’ll walk you through the simple process of recreating a 2d logo inside Blender, as well as adding some simple animation.

In this class you can expect to learn:

  • Blender Interface and Tools: We’ll learn about many basic tools and interface elements within Blender while building and animating our logo.

  • Curves: To create our logo, we’ll be using curves and extrusion within Blender.

  • Lighting: We’ll set up an HDRI lighting system to illuminate our logo.

  • Shading: Used to apply simple reflective and emissive color materials to our logo.

  • Animating: We’ll add a little life to our logo by creating a looping animation.

  • Rendering: Lastly, 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 3d logo animation of your very own! 

I hope you’ll join me on this fun beginner’s journey through Blender by making your very own animated 3d logo!

Meet Your Teacher

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Harry Helps

Professional 3d Artist

Top Teacher

Hi, I'm Harry! I have over a decade of experience in 3d modeling, texturing, animating and post-processing. I've worked for a lot of different types of companies during my career, such as a major MMORPG video game studio, a video production company and an award winning architectural visualization company. I have worked as a Studio Director, Lead 3d Artist, 3d Background Artist, Greenscreen Editor and Intern UI Artist. My professional work has been featured in "3d Artist" magazine with accompanying tutorial content. I have extensive experience with Blender, 3d Max, VRay and Photoshop.

I love sharing my passion for 3d art with anyone wanting to learn!

Get full access to all my classes and thousands more entirely free using this link!See full profile

Level: Beginner

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1. Introduction: Hi, my name is Harry and I'm a professional 3d artist with over a decade of experience. I worked most recently as the Studio Director of an award winning architectural visualization studio, where you're seeing now on screen are examples of my past professional work on Skillshare. I specialize in clear and 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 the simple and beginner friendly process of animating a 3d logo in Blender. 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. Animating 3d logos can be a really powerful skill to know, but it doesn't have to be complicated. In this class, I'll walk you through the simple process of recreating a 2d logo inside Blender, as well as adding some simple animation. In this class, you can expect to learn Blender Interface and it's Tools. We'll learn about the many basic tools and interface elements within Blender while building and animating our logo Curves. To create our logo, we'll be using curves and extrusion within Blender Lighting. We'll be setting up an HDRI lighting system to illuminate our logo Shading, which is Used to apply simple reflective and emissive color shaders to our logo. Animating. We'll add a little life to our logo by creating a simple looping animation. 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 3d logo animation of your variance. For our class project, you'll be doing just that. I'd like you to create a different 3D Logo and posterior render to the project gallery. I'll review every project uploaded to the project gallery and give you feedback on what you've done fantastic, as well as anything that could use a little bit of adjustment. I hope you'll join me on this fund beginner's journey through Blender by making your very own animated 3d logo 2. Curves Crash Course: 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 will accomplish this with short and focused lessons that cover each topic from it beginner's perspective, utilizing a well-organized starter file, we end the class with an easy project where you set up and customize your very own cozy camp site. With that out of the way, let's continue with the lesson. In this optional lesson, we'll be going over a few of the most useful key binds and Tools in Blender from it beginner's perspective, I recommend you watch this lesson unless you have prior experience with Blender and it's Interface. Let's begin. When you first launch Blender, you'll be greeted with the splash screen. Splash screen will show you an image here and also show you the version number. In my case, I'm using 3.2, 0.2. As long as you're using three-point oh, or later, you should be fine for this tutorial. To start with. We're going to just choose the general file type. We can click on this. Now we can drag select over the objects and our viewport. Now you can hit Delete on your keyboard, which will just delete the objects. Or alternatively, if I Control Z that so I bring these objects back, you can instead hit X. And then that will bring up a contextual delete, which in some cases We'll add more options other than just delete the objects. If we had X that we can just choose Delete, okay? It will also delete the objects. Now that we've deleted those objects, Let's add some new ones. So we're going to hold Shift and hit a to bring up our Add Menu. And then we can go down to curve. We're going to choose Bezier. Now if we zoom in down here using our mouse wheel, you can see that we've added this curve here. Be option to move this curve around or rotate it. So if I Control Z, those changes, it'll go back to where it was. Then if I want to edit the shape of this curve, I can hit Tab to go into my edit mode. Up here at the top left you can see we've switched to edit mode. Now we can see that this Bezier curve has some handles here. If we select on one of these handles, and then we hit G, we can adjust the shape of this handle, which will move the whole curve with it. We can see as we move this, the curve will change shape. We can alternatively select the center point, which will move that entire point with it. While maintaining the same handle shape that we had set up before. We can also hit R to rotate. We can rotate this entire handle. Or we can hit S to scale this handle to change the overall curvature of the spline attached to it. If we'd like to make this curve a bit longer, we can hit E on our keyboard. That will begin extruding off another vertex with a segment connecting it to extend this curve. So we can move it over here and then left-click to place it. It's now our curve, you can see has gotten longer. If we wanted to change our curve here so that it's not so perfectly smooth. And maybe we can add a corner here. We can select this vertex here and then hit V on our keyboard. Then we can change the handle type. So by default it's set to aligned, which means that each one of these handles here, you can see we can make it a different length, however, it always is in direct line with the handle across from it, which means that we can never make a corner using this method here. We can make the curves tighter, but we can't make a sharp corner. Now if we want to make a sharp corner, we can hit V with this selected here. So we select this little dot here in the middle of this vertices. Then we can choose the free handle type. Now we can see they changed colors here to a darker red. Now if we select this, hit G to move it. Now we can make a perfect corner here and they other handles stays where it's at. So you can make a nice sharp corner in the middle here. The last tool I'll show you here for using curves is to connect these two points together. So let's move this by hitting G with this selected. We're going to move it over here. I'm gonna hit R to rotate it. Now if I select this other vertex while holding shift with this first one selected, I'll add to the selection. I'll alternatively I could just drag select over both of them at one time. Now, have both of these selected. And I can tell that because I can see both the handles for both vertex. Then if I hit F to fill, I will connect these vertices together to make one contiguous loop here. This is a way that you can connect two points on your, on your line here, on your curve together. See the, you have one connected circle. Again, if we wanted to just select one of these, we can add V. Choose it to free instead. Select this handle. Hit G. Then we can make this one a curve as well, or other corner. Then we have two sharp corners and then a round edge. With this Crash Course out of the way. Now you're ready to proceed with the rest of the tutorial. I'll see you in the next lesson. 3. Modeling the Logo (Part 1): In this lesson, we'll start modeling the blender logo using Bezier curves. Let's begin. Start by downloading the blender logo dot PNG from the project resources. What logo could be better to create for our first animation than the blender logo. Before we import our image, let's go into the top orthographic view. So there's two ways we can do this. The first way is to just click on this. If we rotate our camera around, you'll notice that this interface up here, this little gizmo moves with it. So if we want to be in the top view, we want to see it from the z direction. So we can just click on this little z bubble and it will pop us into the top view. Alternatively, if we rotate our camera, it'll pop us out of that view. We can hit the tilde key or what's known in Blender as the accent grave. You can see it at the bottom. And that'll bring up a radial menu that allows us to pick from different views. So if we choose top, it will also pop this into the top view. The tilta key that I just hit is the key to the left of the number one key on your keyboard, and it's also above the Tab key. So it has a little squiggle on it as well as a kind of an accent dash. That's the key that I hit to bring up this menu. Now that we're in our top view, we can hit Shift and a to bring up our Add Menu. And then we're going to choose Image. And then we're gonna click reference. Now we can choose what image we want to import. So we're going to choose the blender logo dot PNG. We can click this and then load reference image. This reference image is what we're going to use to trace the blender logo. So let's zoom in here. Now there's a few things in this file that we want to delete. So we're going to select this cube. So we can select either from the list or just right in the viewport, going to hit X and then hit Delete. We're also going to delete this light because it will be putting our own light and later. So we select the light from the list over here, hit X and then hit Delete. Now select our reference image. Go down here to the image settings. We're going to turn on opacity. Then we're going to set this to point to. What this is going to do is just make this a little bit more see-through. And that way when we're tracing it, it's a little bit easier to see the curves that we're placing on top of the image. With the reference image still selected, we're going to hit G. Then we're going to place this logo so that it lines up right in the middle with this green line and the red line. So our y-axis and our x-axis, we want to place it just so that the blue circle is being cut equally by all of these lines. So you want to have our image here centered on the origin of the scene. That doesn't have to be perfect. We just want it to be as close as possible. I think that looks okay for now. We're going to leave it there. Before we get started modeling. Let's make a new collection for this reference image as well as all the pieces will be making. So we have two ways of doing this. We can go up here to the top-right and we can just right-click new collection. We can double-click on the collection name. We're going to call this blender logo. And now we can just click and drag this reference image which currently is called empty. We'll rename that and we can just drag it into Blender logo. We can rename this referer. We go make sure I spell it right. So that's one way we can do it. Alternatively, we can select an object either in our view port or in the list. Then we can hit M on our keyboard. And this is the four move to collection. So we can choose a collection that it already exists. We can move it back into a collection or leave it in the blender logo collection. Or we can make a brand new collection and have it move it into it automatically. Just for the sake of testing, you don't have to follow along with this, but I'm just going to choose new collection. It'll ask me for a name. I'll just call this one, test it. Okay. Now you can see that it's moved at directly into the test collection. So I don't need to do that. I'm going to move it back to the blender logo collection. And I can just right-click on this and delete it. Then lastly, for these collections here and make sure you have these little box here. So this little white box next to it, make sure it's highlighted. It's a pretty faint highlight. But that means that anything you create now in the scene will automatically be placed into the blender logo collection rather than say, the Scene Collection or the default collection. So just make sure you have this little box here clicked. Now that we have all that setup complete, let's make our first curve. We're going to hit shift into a. We're going to go up to curve. Now we're going to choose Bezier. And the first thing we're gonna do is just rename this, that way we know what this curve is actually going to be doing. We're going to double-click on the Bezier curve up here at the top. We're going to call this outside because the first thing we trace using this curve will be the outside of this logo. So the perimeter of it. Now we can go down here and then we're going to choose 2D. So what basically what this does and don't follow along with this step. This is just me showing an example. Is if our logo is RFR, Bezier curve is set to 3D, that means we are allowed to move this curve in 3D space. So if I choose this and I move that, you can see that now my curve is going Into space rather than just remaining on this flat plane. Now if I switch it to 2D, it forces it to stay just on this flat plane here so it can never have any three-dimensional value to it for our logo, and that's actually what we want. So we want to make sure that anything we do is just going to leave this curve flat on this image. We don't want to accidentally move this curve up. And then our logo is kind of flat here and then it pops up over here by accident and then it's flat again and then it goes under we're just going to leave it on Tuesday. That way it ensures that the stays nice and flat while we're tracing the logo. I'm going to switch back into my top view. And then over here from the resolution preview, it starts out as 12, which this number here determines how smooth this curve is here. If I leave it at 12, I zoom in here, we can see that the curve here, it has a curvature to it, but we can see where the curves sort of breaks here. There's a corner and then it goes flat again, then there's another corner, it goes flat again. So the higher this number, the more smooth that curve will be. So I want you to change yours from 12. I want to switch it to 36 instead. We can see how much smoother this is. Just basically gives it 36 sort of internal hidden vertices that it's using to smooth out this curve. So any lower value here? So if I switch this maybe to six, you can see how much more jagged and rough this is. For our tutorial, we're gonna be using 36 that we would get a nice smooth curve. So just in case your blender didn't automatically switch to this tab when we created the Bezier curve, we're changing all of these settings here in the Object Data Properties tab for the Bezier curve. Now this is exactly the exact same tab that we were in before for the reference image. So if we switch this, it stays on that same tab because this is the tab that we adjusted the opacity on. Soon as you select your curve. And it will switch to the object data properties for the curve instead of the image. So just in case for some reason you weren't on the right tab and you can find these settings were in this tab here. And we changed it to 2D. And we set the resolution preview to 36. With those settings now changed. Let's begin to start shaping this Bezier curve. We're going to zoom out a little bit using our mouse wheel. Now with the outside curve selected, we can hit tab on our keyboard to enter edit mode. Alternatively, if you want to, I wouldn't recommend this, but you can switch to from object mode to edit mode from here. But you can just do that with a simple key pressed by hitting Tab on your keyboard. We're gonna go into edit mode. Now we're going to drag select over this vertex here. So we can just drag select over that. We're going to hit G. We're going to move this all the way up here to the top of this and don't worry about getting it precise right now, we're just going to roughly place it here for now. We're going to take this one and we're going to move this down here roughly to where the apex of this curve is. So let's see, right about here. And again, this doesn't have to be perfect either. Just kinda try to find the middle of this curve. We'll say it's about there for now. So we can see here that our curve here doesn't really follow the, the curvature of this line here. And that's because we haven't adjusted these handles. Let's start with fixing this handle right now. We're going to select this vertex. Now we can move in. Now we can hit G again, and just as resumed in now we can see the line of the logo a little bit better. So we're just gonna make sure it's as close to the line as possible. Now we're going to click on this handle up here, this top handle. We're going to hit G. Now we can see that it's moving the curvature of this line. So the longer we make this, the more it's going to bend the curve outward. We can also determine the angle of the curve through actually going to line this red line up with the orange line here of the logo. So we'll put it about here. Now we can go down here to this one. Then we're going to select the logo here are the vertex here. That's when I actually got pretty close. So I'm just gonna make sure it's right on the line as close as I can get it. Then I'm gonna select this handle, the left handle. Hit G again. Now we can see as we start moving this one over, it starts really getting pretty close to matching this curvature here. So the longer we make this, we can see that it's stretching that curve upward. It's going to take a little bit of finessing, a little bit of tweaking to get this to match, but we're just going to try to get it as close as we can. We can see here this curve matches pretty well, but it gets a little bit deviated here. Let's select this point up here. So we'll select that vertex, select this handle. Now let's see, Is there anywhere we can move this to make the curve just a little bit closer. So it looks like making the curve a bit longer is helping But it's still kind of, it's deviating up here and it's still not perfect, it's down there. So let's move it back to roughly where we had we're going to pull it back so it's still lined up. So the red handle here is still lined up with the edge of the orange. I think what we're going to need to do is add another point here in the middle. So what I'm gonna do is drag select over both of these points. Now I have both vertex selected. We're going to right-click and we're going to choose sub-divide. When we choose sub-divide, it will add a point here in the middle. Now we have another handle here that we can use to help refine the shape. Let's move this in until it reaches the line. Now we have more handles here, it's out further refine the shape. Let's select this handle here. We're going to shorten it up a little bit because we don't want the curve to extend too far out. The longer we make this line, the further that curve is getting pushed. We're going to shorten it up and try to get it to match this curvature pretty well, which I'm pretty happy with. That actually doesn't look too bad. Now we need to figure out how to get this side to match over here as well. So in this case, let's see if maybe moving, this is what we need to do. Maybe stretching this line out a little bit, keeping it still on the orange. And then again, we need to adjust this handle now. Now we have to be careful since these handles are connected, we want to make sure that we're not moving this handle and fixing this side, but then messing up the other side. We're going to try to straighten this out. And it might be a situation, remember v, this point where I replaced it, maybe this isn't exactly where we want it, so it might be better to move this point further down this line. To help affect this curve. We're actually going to select the center point here. So the actual vertex itself, not the handle. And we're going to slide this further down this line. Because I think it probably put it a little bit too far down. So by default it's just going to find the midpoint of that line and put it there. But not in all cases that might not be what we need. Lastly, we can select this handle here. And rather than hitting G to move it, if I move it here and then I don't like the movement, I can just right-click. It'll undo that. We're actually going to hit S. So I don't want to move this handle at all vertically. I just want to scale it inward. So by hitting S, Now I can just make the handle shorter or longer depending on which way I'm move it without actually affecting the position of the handle. And that's actually working really well for this case. So by scaling it a little bit shorter. You can see now that our line follows pretty well here. Since we're tracing this, we're not gonna be able to get it exactly pixel perfect. And I wouldn't worry about that. Nobody is going to look at this. Once we're done and we're zoomed out and say, Oh no, this, this curve over here is one pixel off. As long as we get it pretty close. Within a small margin of error, we really don't have to worry about it matching up 100% Exactly. So as long as yours is as close as mine. So like right here, it peels off of this, this edge here just a tiny bit. I'm not super concerned about that. If I want to adjust it, I can select this, select the top handle, and then maybe I just scale this one in just a little bit. You can see since everything is connected as we move one, it's starting to move the others as well. Maybe we'll just scale this back out. And now it's probably is roughly about where it was at, but we tried. So let's not worry too much about it being absolutely 100% pixel perfect. We just need to get the general shape of this logo. So if we follow this line, I think everything here looks pretty good. It all follows pretty well. So I'm happy with that. Now we can select this bottom vertex here. And now we want to make this line a bit longer. So we want to pull this vertex, we want to add another one connected to it that's down here near the bottom. So to do that, and we're just going to have this one selected. Hit E on our keyboard. Then we can move it down. Again. Far zoomed out, so just get it as close as you can. And we went to the bottom of this curve. Let's zoom in here. So we've already created this, so we don't need to hit E again, we're just going to hit G instead to grab it and pull it up so that it's roughly on this line. Now initially Let's just rotate this. We're just going to rotate it across. So we hit R and that allows us to rotate the entire thing. We're just going to rotate it until the line is about flat. We can use the grid lines here to give us a bit of an idea whether or not it's flat, that's pretty close. Now we need to make this portion of the curve matched this orange line as well. Let's start with this handle here because it's pretty short, so maybe it just needs to be a bit longer. So I'm gonna select this handle and hit S to scale it. Scale that out already, that's pretty close. Maybe we scale this out just a little bit more The areas that you want to worry about being the closest initially are the areas closest to the vertex. So as long as these areas here are pretty close over here as well, then that means that this area here in the middle, we can further adjust by just adjusting the handles. If this area next to the vertex is really off, like our vertex is over here and the line is curving way outside or something. This is the area you want to focus on first and then when should you start tweaking it? That'll fix the areas between the vertex. Now let's select this handle. And I'm going to shorten up just this handle. So we can see as we shorten this one, it pulls it a little bit closer and gets that curve closer. That's pretty close now, This one's pretty close as well. Let me make this one just a little bit longer. I can tell. I I guess I'll explain here. So the way I know I need to make this longer is because of the curve is cutting inward. So if my curve was going outside of it, then I know my handle is too long. If my curve is cutting into the logo, I know my handle is too short. So by selecting his handle, then I can scale it out. You can see it's pulling the curve out of the logo. So I'm just going to scale it until it reaches about there. I'm pretty happy with this. It's a little off here, but I don't think this is worth adding another point. You might think, why don't we just add another point here and pull this in. And in some cases you need to. So in this area here I had to, because this was a relatively complex curve that we were trying to match. But really the less curved points you have, the less vertex you have, the smoother your shape is going to be. Because you're allowing blender to figure out this curvature itself without you adding all of these manual adjustments in the middle of it, throwing off what would have relatively been a perfect curve otherwise. Letting blender figure out this curvature itself and then adjusting it based on the handles. We'll get you a lot smoother of a curve. If we add another point here in the middle, we might accidentally make a flat spot that we don't even really notice until we get to the point where we're making the logo 3D for right now, we're going to leave this just this small gap here that we have. Again, that's, I mean, we're talking pixels here and the terms of the difference and the curvature. So I'm going to leave that as is. And I suggest you do as well. If you really want to, you can continue adjusting these handles. But for now, for the purposes of this tutorial, we're going to keep moving. Let's continue extending this curve. So we're going to select this vertex point in the middle here. Then we're going to hit E to extrude it out. We're actually going to be extruding this one twice. So the first one we're gonna place for it in this little corner here, right, right here. We're going to place this little point here. And then before we do anything to this one, we're going to hit E again to extrude out another point. Now we're going to place this right at the end of where this flat part of the fin stops and then it starts curving. So just try to estimate where that is. I think it's about somewhere around here. This won't need to be perfect yet. We can always adjust it. So the first thing we're gonna do is actually flatten this curve out. So right now it's going horizontal. We want it to go more with the thin for now. So first let's zoom in, make sure we got it pretty close to the orange line. Looks pretty good. Now we can select this G. I have this handle over here selected. I'm just going to line up the handle for now along with the orange line here. So these flat area is really the best thing you can do is just to line up your handle along with the flat area when the logo. So that's pretty close. Now the area in question here is this one. So by default, right now we won't actually be able to create this curve. And that's because no matter what we do, these two, these two handles here are attached to each other. So it doesn't matter how much we move these, we won't be able to create this curve that we want here. So it'll go into a curve and then the corner, the corner is the issue. That's because of the type of handle that we're using. Let's start by changing this handle type to allow for this corner. Select the central point here, the actual vertex itself. We're going to hit V. And that'll bring up a menu that lets us choose the handle type. By default. For Bezier, It's going to start out as an aligned handle, which means those handles are always aligned with each other. They can't be broken. If we choose free, we can see our handle colors change here, it's to a darker red. Now if we select this handle and move it, it doesn't affect the other one, which allows us, as you can see here, to make a corner. So let's quickly line this curve up. Let's zoom in here and make sure we actually got it in the corner. I'm going to select the actual vertex itself. Please sit as close as I can to this corner. That logo is a little bit blurry, so we just have to guess. I think the corner is about there. Now we can start adjusting these handles here. I'm going to select this handle here that's jetting out to the left. Hit G, and pull this one down so it's straight. So these straight areas here really are pretty easy. The only thing you really need to do is just assign or rather move your handle here so that it lines up with the orange line of the logo. So as long as you do that on both of them We can do that on this one as well. Now we have a nice straight line here and that's pretty easy. Now we just need to adjust this curve. So I select the vertex up here so I can see this handle. Now I need to move this handle so that it matches the curvature of this line. This one we're going to have to zoom out here so we can see a bit more. Although that actually wasn't too bad there, this lines up pretty well. And it starts deviating a little bit inward here, but then it immediately goes back outward. So I think we have the center point of this curve really already here. Now, we can see here because of the pixelation of this logo, the logo actually has like this little bump and then it juts out and then it comes back in. I'm really just going to cut that off for now. So this I can tell it's just an issue with the resolution of the image. I'm not going to try to replicate this. I know that's not meant to be part of the logo. So I'm just going to leave it nice and smooth and I'm just going to round off this little bump that it's added. Then it goes down here, and then it matches this curvature all the way down to this vertex. So now I know I've matched this nice, gentle curve that it had before. Let's continue this curve. We're going to select the last vertex that we created. We're gonna be making a few more vertex here without any adjustments, just like we did for the last time. With this one selected, we're going to hit E. And we're gonna put a point here in the center of this curve around the end of the fin. So we'll put it there. We're going to mirror this side. So we're going to put one right about here and try to make sure it's roughly the same place. Just try to find where the straight part ends and it starts curving back. I think it's about here, which is pretty much in line. We're going to hit E again and we're going to pull it back to this corner. So first let's just get this one set up so I can tell right now, and this might be hard for you to tell. I can tell here that this curve is actually rotated backwards because I can see this black line here continues and it loops back around here. And then it runs into the vertex. I can tell right away that this vertex here needs to be rotated. So I'm gonna hit R and rotate it so that it's not backwards anymore. Now if I rotate it to about here and if you hold Shift, it'll rotate a bit slower as you're rotating it. I'm going to rotate it. So it's about street with that. With this still selected, I can hit G. I'm going to place it right in the corner here. And now I can tell that this isn't looped back around on itself. We have the same problem here with this vertex. And this mostly just stems from the fact that it was using the handle structure of this vertex here as we cloned it around. So every time we moved it, as we started crossing over itself, it started flipping these handles. So it didn't necessarily flip the handles, but the line is going in a loop, the loop because of the shape of the handles. With this one selected and we're just going to rotate this one again. So we can see as we rotated, it starts looking like it's less crossover itself. We're kind of fixing that curvature. We're going to hold Shift and just make sure that it matches the orange line. Looks good. This line here is pretty much done already, the straight line. And now we just have this area here to fix it. We're going to select this vertex. We're going to rotate it downward to help straighten this out. We want this to match sort of perpendicular to the straight lines here. So essentially we went as these lines go perfectly straight this way, we own essentially make this line go what you can think of as horizontal this way. So this is the vertical. We want these to be perpendicular to that. Random rotate at that a little bit again. I think about here. And then we're going to reposition this a little bit so that it's a little bit more centralized in this curve. Somewhere about here. Now we have these little corners where it's looping over itself. But that isn't, isn't actually because these handles are rotated the wrong direction. That's because these handles are too long and the curves are running into themselves and kind of intersecting themselves. So let's start by pulling these handles a bit shorter. So I'm gonna select this handle here and we can see how long this one is. With this vertex selected, select this handle. I'm just going to hit S because I don't want to change the line over here. I just wanted to make this shorter by hitting S. I can scale this in. We're gonna do the same thing over here. Select this one, select this handle, scale it in. And now it's these handles that are too long. So we'll start with this one down here. Select this bottom Handel, and then scale it in. You can see right away that the handle, the length changing the lengths here pretty much solved the curvature issue. So we might need to shorten this one, still just a little bit more. So as we shorten this one, we're going to probably need to make this one longer. So you can see here scaling it up. So I'm more focused right here. So I want this curvature to meet correctly in the middle. And then if it deviates a little bit as it goes back, That's okay. We can always adjust that. So I'm going to select this handle up here. Scale that one down We can see as we scale it down, the curvature matches up pretty well. I'm actually going to scale this further end because I want this area here to be a little bit closer to the line than it was. And now we can make this handle a little bit longer to help fix the middle of the curve. Alright. We're going to scale this one in a little bit. You can see it's just a lot of like little minor tweaks because everything in a curve affects every other vertex nearby it. So it's a lot of fixing one issue and then that makes the one area that you just fixed a little bit off. So then you have to fix that quickly. So it's a lot of just hopping back and forth between these and just pulling handles, scaling them up, scaling them down, and just getting it to match the line as close as you possibly can. So I'm going to try to actually move the whole vertex here. I'm gonna select the center of this vertex. I'm going to pull this downward down through the curve a little bit. So I'm moving it towards this direction. I think that'll make the whole thing align up a little bit better. I think there. And then I'm going to rotate it just a little bit. Because I think the rotation might have been a bit off. Now I can select this handle, the bottom. I'm just going to scale that in. Now I'm pretty happy with that curve. I think it runs pretty close to the line the whole way. Scale this one up just a little bit so that it meets this line a little bit better. Now let's move on to the next one. And we'll see you here that these fins are all pretty much the same as each other and they have to, to flat sides and then a curve when the end. So I'm not going to belabor the point here. We're gonna go through, I'll just do a really quick run down of this one. And then I'm going to speed up my, my end of the camera. So I'm going to speed up me working through finishing these and then you should just be following along. It's no different this same exact process you just did for this one will be the same for this one. And then for this one. So let's select this last vertex we made here in the corner. I'm just going to hit E to extrude out. I'm going to click here, which was the end of the street. It E again. Put a point in the middle of the curve at E again. Try to get this one. So in this curve here actually curves back a little bit further. So we're gonna put the line a little bit further back. So our vertex is going to be about here. We're going to hit E again. Here you can see I'm just tracing out all of these are going to place all these points in. Put one on the corner, put money or at the end of the street, were just hitting E to continue this extrusion. The last point I'm going to put his right here in the middle of the curve. Now, I'm going to speed up the camera here as I straighten out all of this. Again, this is just the same processes we did down here. However, right here. So when your urine here, you're going to stop the last point here. And we're not going to have a line that connects these yet. After I've done sped up everything here and fix the curvature so that it matches the logo. I'll explain how to connect these two lines together so that we have one contiguous line that's going across. So for now, just straighten out and make sure all of these curves here match the logo. And then we'll explain at the end of that how to connect these two points. So we're going to select this handle here, hit V to get the handle type menu. Choose free. Then just follow along here. So this one is free. We can that way we can make the corner. I'm just going to select this one as well. Hit V, and then choose Free for this handle as well, because I know both of these will need to be free handles. The other ones can remain as aligned. I'm going to go through, wind up all these curves and then I'll see you in a moment. Okay, so now that you have your curves all aligned with your logo, like I have here. Again, you should have just been using the same process of using the rotation tool, the grabber tool, and the Scale Tool to move these handles. Now we can select these last two points. We're just going to drag select over both of them. Now we have both selected. We can just hit F for fill. We can see here that it's now created a segment that connects both of these vertex, making this one contiguous line. Now we just need to select this vertex over here, select this handle and just scale this down because it was so big. We're just going to scale this until it matches the curve. Let me move this one down a little bit. So now all of our curves lineup, now that we have the entire outside of the logo traced and we can now save our file that we can come back to the same file for the next lessons, we're going to go up to File Save, and then we can navigate to where we'd like to save our file. So once you've found the folder that you'd like to save it in, make sure it's somebody that you can come back to. I would suggest saving it in your documents folder, on your desktop or somewhere that you can come back to and know that you're going to have your file here along with the image that we imported. So you want to make sure you put the reference image that we imported there as well. And then we're going to rename this file. We're going to call this blender logo animation. I'm gonna do underscore 01 at the end of this. That way if we ever have to branch this file, we can just call it underscore 02 and then we know which one is the most recent version of that file. With this named. Now we can hit Save blender file. In our file has been saved, so we can see up here, well actually it down at the bottom it says saved blender logo. And then same thing up here. We can see it's been named. In the next lesson, we'll finish tracing the logo and make it 3D. I'll see you there. 4. Modeling the Logo (Part 2): In this lesson, we'll finished tracing the Logo and then we'll make it 3D. Let's begin. Now that the outside of the Logo has been traced, let's focus our attention on the inside. First, let's go back into our top view, the orthographic view. Again, we can either just click on this little bubble here at the top, or you can hit the Tilde key and then choose top. Now that we're back in our top view, we can zoom in a little bit. Then it's very important that we're not in edit mode. So the way we were editing our curve before where we can see each individual vertex we don't want to be in that mode for right now. If you're falling directly from the last one, the last lesson, and you haven't left edit mode yet, make sure you hit tab so that it says Object Mode up at the top here. And then if you have your outside selected here, it's orange highlighted around the edges. We're actually going to be making a brand new curve here that we were not making a curve with inside this one. The reason why we wouldn't want to do that and just don't follow along here. This is just an example. If I hit shift and a and I add another, say if I added a circle, the circle is actually a part of this curve here. So I haven't made a new curve, I've only added to the original curve. So I don't want to do that. Undo that change. I'm going to hit tab and I'm going to leave this so that I'm inside the object mode rather than edit. Now I'm going to hit shift and a, I'm gonna go to curve. I'm going to choose circle. Now we can see here on the right side, I've actually made a brand new curve for this. And this one's called Bezier circle. So we're going to actually call this, we're going to double-click on Desi circle and rename this large circle. Then hit Enter. Before we do anything else, let's adjust the settings like we did for the last one. So we're going to switch to 2D from 3D. So we have 2D selected. Then we're going to change this 12-36 that weighs just to smooth this, the last one was. Now let's zoom in here using our mouse wheel. And before we go into our into edit mode and we're going to stay in object mode and we're just going to center this up as best we can. So I'm actually going to click on the move tool here. That way I can see my gizmo. I'm going to slide this down. And you'll notice right away that what you might have thought, at least I did, I felt that the white circle here was actually a perfect circle. But on the Blender logo, It's not because what we've just created as a perfect circle. And what we can see here is that it's actually a squished circle. We're going to slide this down number. You're going to try to just center this up the best that we can with inside this. We're going to try to make an even gap on the left and the right as well as the top and the bottom. So I'm just going to slide it so that it's about equal there. I'm going to start moving it up and down and then hold Shift to get it as closest I can too, even at least the gaps on the top and the bottom. And then we're going to squish this circle that we just made so that it matches the Logo better. So now we can hit tab to enter our edit mode. Now we can see our vertex. We can see it starts out with four and they're all aligned as well. So I'm gonna select this vertex and then I'm gonna hold shift and select this vertex. I have both of them selected. And now I can hit S on my keyboard to scale. And I'm just going to scale these N holding Shift so that it moves nice and slow till they just about touch the white. Right about there. Then again on the sides here. So I can just drag select over these if I want or I can do the same thing. Click one, hold Shift, click the other. I'm gonna start scaling these and then hold shift after I hit the scale button. So S to scale these up to their chest about where the white line starts. Now let's zoom in here, see how close we got. That's pretty good. They're kind of pulls away a little bit here, but then again, goes back this way. Again, it's actually, these are a little bit too far. This one I'm just going to grab, just move this straight up. So it's right on the edge and that fix the curve for the most part here. Let's just make sure the bottom one, I want to actually got a little bit closer. Then this curve on the side here, it's not quite touching. So I'm just going to move that in so that it's touching. So as I look around here, the only one that I'm seeing that might be a little bit of an issue is this one. So I'm just going to select the single vertex here. I'm going to scale it ends. That's actually going to scale both the handles inwards. So it's going to pull the top handle down and then the bottom handle up towards the middle. And that's pretty much fixed this side here. All that curve looks pretty good. Same thing around here. Then maybe this one here, I'm just going to grab this one, implode out. This circle here is actually it's not particularly round. It's actually gotten a little bit of a sort of a lumpiness to it, but For trying to replicate the Logo, will, will replicate it as we see it. So I think that looks pretty good all the way around. Now, I'm going to hit tab to exit this mode here, so I'm back in object mode. We're going to hit Shift and D to duplicate this. And we can see as soon as I hit Shift and D We can see we've made a duplicate of this, but I don't want to move this one. So I'm just going to right-click after hitting Shift and D and that'll pop it right back to where it was. Now I'm going to hit Tab to go back into the edit mode for this new duplicate, the large circles 001. I can hit a to select all. So a for all. So it selects every vertices here. Now I'm going to hit S to scale all of these up uniformly. And I want to scale them so that they're just kind of just outside the bounds of this. This doesn't make much sense right now. But once we make it 3D, we're going to need this duplicated because we're actually going to be merging the original large circle back into the outside. Once you've done this, just hit tab to exit that. And we're just gonna leave this one here, this large circle 001. We're going to leave that as is. Now while we're still in object mode here, we're going to hit shift and a gonna go to curve. Then we're going to choose circle again. We're going to make another circle. Now before you do anything, don't click, don't move, don't rename it. Go down here at the bottom left. We're going to twirl open this menu here, and we want to make this radius from right now it's set to 1 m. We're going to set this to 0.66 and then hit Enter. That way it's a lot closer to the size of this. We don't want to scale this down because when we scale it down, it'll make the 3d process that we're doing next, kind of wonky. Some of the numbers won't line up. So it's better to actually change it before we do anything. We don't want to just scale the overall thing. Smaller, merge, just going to set the radius smaller. Now with it's set to 0.66. We can go up here to where it says Bezier circle. We're just going to double-click that. We're going to call this one small circle. Then hit Enter. Now that we have the small circle created, let's zoom in here. Again. Let's just try to centered up as best we can. Think the top and the bottom pretty close. I'm just going to move it down a little bit. Going to change the settings for the small circle. I'm gonna choose 2D type in so that it's nice and smooth. And then we can hit Tab to go into the edit mode. Drag select over the top and the bottom. It S to move them in. The sides are pretty close. So I'm going to just move this one in, pull the bottom down a little bit. In this case, if you wanted to make sure you're only moving it perfectly in this green direction, rather than just hitting G and trying to move it up and downstream, hit G and then hit Y. And that means you can only move it perfectly up and down. I'm going to move it here. Just double-check this side and that one looks pretty good. I think these handles down here could be a little bit wider. I'm just going to select both the handles and then scale it up. Looking around. That looks pretty good. Now I can hit tab to exit the edit mode for this. Now we have the small circle traced, and we also have the large circle traced. And then we have this mysterious copy that we've made here that will be useful in just a moment. Now that we're done with all this, we can zoom out and then we can rotate our camera. Now that we can see it in 3D view rather than just the top-down orthographic view. Now we're going to start adding some thickness to these elements to make them 3D. The first thing we can do, just select this reference image here. We're just going to hide both of these icons here. So when we do this, it doesn't delete it. It just hides it so that it doesn't show up in the viewport or in the render. Now we can just see what we have traced here. First thing we're gonna do is select the outside. We're going to make sure we're in the object data properties. So this little green swoop. And then we're going to scroll down here. We're going to change film mode from none. We're going to switch that to both. Then we're gonna go down to geometry where it says extrude. We're going to type in 0.2 and then hit Enter. We can see here that now are our curve here that was perfectly flat. Now it has some 3D geometry associated with a. The reason we changed this from film mode from none. This is what it would have done before. So this just extrudes faces here just along the edge. It doesn't put a top or bottom on it. So if we just done front, we can see it adds it to the front, but it leaves that hollow in the back, then vice versa. We could have just done back and it would have left at a hollow, but we want to complete it on both sides. So we're just gonna choose both So we'll notice here that while the outside looks correct, it looks like the perimeter that we traced. It doesn't have a hole in the middle. We're going to fix that is by actually using one of these duplicates of the large circle that we had. The first thing you wanna do is just click one large circle over here in this list. We're going to click that. Now we're going to hold Control. And then we're going to click outside and make sure that the large circle you're selecting first is that it's not the duplicate. We don't want to select the 0.001 because that's the one we made a little bit bigger. Again, select large circle first, the original one that we made. Hold Control, select outside. Now we can hit Control J and we're going to attach them. So Control and J is going to join them together into one single object. And by doing that, we've now cut out the original large circle though we traced out of this one. So any, any curve that exists inside of another curve is going to cut out that curve from it. Just for the sake of example, if I go into my edit mode, you don't have to follow along here. I select one of these vertex here. I select the rest of them, and I move these around. You can see as I move this around, it's actually changing what it cuts out. So if I move it outside of it, it's only cutting out the part that intersects, but it's leaving the part that's outside of it. So that's essentially what this is accomplishing here. Now I'm gonna right-click to undo that. And then I can leave my edit mode. But that's just exactly how that is working here. Now we have this large circle that we had left. Now we can get rid of this 0.001 that showed up with a copy if you want. Because the other one doesn't exist anymore. We're going to again go down here. We're going to choose fill mode. We're going to choose both. Then for the extrude, we're going to type in 0.07 and then hit Enter. Because we want this part here to insert a little bit. We want it to go down so we don't want to make it the full point to that we had for the thickness of the entire logo. This is going to cut down a little bit and then have this white area here below it. Then lastly, we can select the small circle over here from the list. We're going to choose fill mode. Both. Then the extra, this one we can do point to again, because this one we want to be the same height as the rest of the Logo. Now we can see here this is all the same plane, all the same height. And then we have it cut down a little bit here for the white. So at this point now we actually have a 3d Blender logo that we created. Now there is one more thing we can do to make this logo look a little bit better, and we'll also look better once it's textured, which we'll be doing in the next lesson. Let's start by selecting me outside here. We can zoom in a little bit here. Then down here, if we scroll down our list, we can see we have a section called bevel, then there's a bevel depth. So if we make this higher, can see here it starts rounding off these corners, which gives the Logo a little bit more of a finished look. However, if you make it too high, you will see it starts pinching these corners. And we don't want that. We want to try to avoid as much of this pinching as possible. The depth we're going to use is 0.02. We're just gonna give it a little bit of a rounding here. But you'll also notice that if we just showed you this as an example, the higher the bevel, the larger the Logo has actually getting, the really high bevels is actually making our logo overall larger. It's puffing it up. So we don't really want that. With a depth of 0.02 for the bevel. We're gonna go up here to the offset. And we're gonna be offsetting this Logo back inward to make it the same width roughly that it was before. The value we want for the offset right here. It's actually negative 0.01. So removing an inward about half the depth that we moved it outward using the bevel. So we still get this nice round kind of highlighting. We're getting on this corner, which makes it look a lot nicer, but we're keeping it roughly about the same size. It's probably overall just a pixel or two larger. But it's such a small change that we won't really notice it. The only thing we're going to undo appreciate is this nice round corner which will catch highlights. So the last thing we need to do that one is the center. The small circle. We're going to again go down to bevel. Change this to 0.02 to give it a bevel. Then the offset, we're going to change this to negative 0.01 to make it just a tiny bit smaller than it was before. We put the Babylon. Now that we've done that, we have a nice round edge here and we have a nice round edge on the outside. We don't need to do it on the large circle because the edges of this are hidden. The only thing we're seeing is really just the flat face, so we don't have to worry about beveling the edges. That concludes the modeling of our logo. In the next lesson, we'll be adding some color. I'll see you there. 5. Texturing the Logo: In this lesson, we'll be adding some simple materials to our logo. Let's begin. Let's start by switching to the EV Rendering viewport. So we're gonna go up here. We're going to choose the third one, N. Once you click that, you'll notice that your, your view port changes and it has like a faux lighting to it. And then also just click on this little drop-down arrow here to the far right. And make sure that you don't have either one of these these boxes checked. We wouldn't have both of these unchecked as I have here. And you want to have this little circle here highlighted that We'll add some sort of lighting to our viewport here. This is giving us a preview of what the render will look like within the EV render, which is what we're going to be using for this tutorial. Now let's turn our reference image back on. So we're going to click both of these ones so it's visible. We're going to select it over here on the list. We're actually going to slide this off to the left now that we're done with tracing it. Because we're gonna be pulling colors from this. In order to pull colors accurately though, make sure you go down here to the object data properties for the image. And then we're just going to turn the opacity all the way up to 100%. Let's start by Texturing the outside portion of our logo. First select that. We're going to go over here and we're going to choose the tab here just below the object properties where we were adjusting the thickness of the extrusion. We're going to choose the material properties window. Now we can click the New button, which will add a new material. Now let's rename this material. We're going to call this orange. Hit enter. Then we can scroll down here to see some of the material properties. We're going to be making a relatively simple material for this that we have renders nice and quick. And it's also going to be a stylized looking animation, so we don't need a lot of realism in this material. Now let's change our base color by selecting this white box. And then we're going to click this eyedropper tool so that we can sample another color. I'm just going to sample this orange here. We can see now that we've pulled the orange from this to that. We can see now that we've pulled the orange from the Logo over here to our actual model. You'll notice that there are a bit different, and that's because this logo here is completely unaffected by any lights in the scene. For now, disregard the fact that there are a little bit different, we'll be adjusting this later. The last thing we're gonna do for this material and the orange material is we're going to scroll down. And down here where we see clear coat. We're going to turn the clear coat all the way up. You can see here it's updated with a clear code is doing is actually adding a, you can think of it almost like a car paint. A car paint has a color underneath and then it has a layer of clear like enamel paint on top of that. That's allowing the color below to be visible, but it's adding a nice shiny layer on top. So if we rotate our camera around, we can see here we're actually seeing reflections now or before they were pretty dim before. So by turning our clear coat all the way up, reading that nice clear car paint, a look on top of this logo, which just gives it a nice reflective look. We can adjust how blurry or how sharp these reflections are by the clear coat roughness down here. So if we turn this all the way up, it makes it really rough, almost like sandpaper, which means we don't really see our reflections. But we're going to set this somewhere around like 0.1 would look nice. So we can still see reflections here. They're just not super sharp and kinda distracting. So I think that looks nice. There are clear code is set to one, or clear coat roughness is set to 0.1. Then we have our base color sampled from the Logo. Now, let's select our small circle here, which will be the blue. We're going to click the New button. We're going to rename this material blue. When same process, select this white box for the base color. Click the eyedropper. Sample the blue. Then we're gonna go down here, turn the clear coat up to 100%, change the clear coat roughness, dew, 0.1. Then we can see again that this is now reflective. Last thing we need to texture now is the white. We can select the white. Click New. I call this white. Then for our base color of this basically starts out as almost wait, we're just going to make it pure white. Just by pulling this little dot all able to the top and make sure it has zero saturation. So we now have a pure white there. We're going to scroll down, turn our clear cut up, set our roughness to 0.1, the clear coat roughness. And then the last thing we're actually gonna do is we're going to make this white glow for our logo. These parts here we'll just be reflective. So the orange and animal blue will be reflective. And we're going to make this center part glow and emit light, is we're going to change the emission color from black to white. Then we're going to change the strength of this emission to ten. You can see here that makes it a lot brighter here. And now we have this sort of glowing area right behind the Logo. This area here, the white area isn't really all that reflective because it's so bright that you really don't see any reflections on it. But just for the sake, inconsistency here, we're just going to have it set here just in case we catch any reflections here. Now let me have this textured here. In a later step, we're going to make sure that this white here actually looks like it's glowing. But for now, just make sure you have your mission and value the color here set to one, and then the value is set to ten. So the admission strength is set to ten. Now that we're done texturing our logo, we can select our reference image. We can remove it just by deleting it. We won't be using the reference image anymore, so we don't need to have it in the scene. In the next lesson, we'll be creating the render scene and setting up the Lighting for our logo. I'll see you there. 6. Lighting the Logo: This lesson, we'll be setting up our render scene, as well as adding some lighting. Let's begin. I'm going to start by switching back to our regular shaded viewport. While we work, we can just click this little ball up here. I'll switch this back to the gray version. The next thing we're going to do is create a collection instance while in object mode. Go up to Add, and then go down here to collection instance. And then we're going to choose the collection called Blender logo that we created before. So this is the collection that has all of our logo pieces that we modeled inside it. So we're just going to click Blender Logo. Now that will create a new collection instance over here. If we uncheck this little checkbox here next to the Blender logo collection that we had before. With all the pieces. We can see that we can still see our logo. And that's because we have a collection instance. Now, this collection instance we just created is a single piece. If we just select any part of this when we move it, it will move everything with it. While we can't edit this instance version of our logo, it will make it much easier to animate as it's a single object rather than the multiple pieces. This one share our original Logo pieces remain editable if need be, but still allows us to easily move and Animate the Logo instance. Let's rotate this Logo upright. That way it looks better in our render. So there's two ways we can do this. We can hit R to go into our rotate mode, then hit X to lock it to the x-axis. Then we can type in 90 for 90, then hit Enter, and that'll confirm our change. So again quickly, you just have to hit our x90 and then hit Enter. And that's a quick way to do it. Or alternatively, you could just switch to your Rotate tool here. Grab it just on the red handle, and then hold Control while you move it to make sure it snaps to the 90 degree angle. I'm going to switch back to our selection tool now that this has been rotated. Now let's begin adding our lighting system. And this tutorial, we're going to use an HDRI to light our scene. An HDRI is a high-quality image that contains multiple levels of lighting information. Blender can read this Lighting information and convert it into actual light for our render. I've already taken the liberty of finding a nice free HDRI image for this tutorial from Paul II You can download this HDRI from the project resources for this course. Feel free to look around and download any HDRI you'd like. However, for the purposes of this tutorial, we'll be setting up the HDRI I provided. First, let's go to the Shading tab here at the top center. We'll just click the word Shading, and that'll bring up a new viewport here. Now we can click and drag on this top-left corner. So we're just going to click here where our mouse turns into a little plus sign. We just click and drag that. You'll see it turns to a leftward arrow. Then when we let it go and hide this window here, we can leave this one here on the left. Now, we're going to want to make sure that we're in this third bubble here. So this will be our sort of an EV equivalent render. And then we're going to click this little drop-down here. Then instead of leaving these unchecked, we're actually going to check these now because we want to see the actual lighting we're putting in our scene, not just this Blender default leading that it has. We'll check both of these boxes. We'll see our scene, we'll get much darker. And that's because we don't really have any lighting in it right now. If for some reason you still have the default light that was in our scene when we created it, make sure that's deleted now, all you should have in your scene is just your logo and then your camera. Let's position or camera. That way we know exactly what our camera is seeing when we adjust our lighting. So first let's go up to view cameras. Then we'll choose active camera. Now we can see that it zoomed us into the camera that will be left in our scene. So by default, if we just rotate our camera, it will actually pop us out of it. If we rotate our view like we have been, it'll just jump us right outside the camera. The normal way to move this camera is to select the camera. We can open up this little side menu here by clicking that tiny little arrow. Then we normally would have to click our camera and move our camera, rotate the camera, and then go back into the view and then see where the camera's positioned. Now, you could do this by think there's actually an easier way to do this. So instead of doing that normal default method, instead we're going to hit N on our keyboard. We're gonna go over here to the View tab that we just brought up. We're going to check this little box here called camera to view. Now, when we rotate our camera in this viewport, it actually moves the camera instead So we're going to move our camera and just position it just like we have been rotating around the viewport. And we're going to position it so that our logo is nice and centered in it. We're going to put it right about here. We just want to have this blue circle here sort of centered in the middle. It can be a little off. We just want to have somewhat similar space on the top and the bottom as well as the left and right. Now in this case, since this logo has these fins shooting off the left, we're not going to have quite as much room here on the left, but we can see that the circle itself with not including these fins is pretty well centered. Now that we have our camera with a rough placement here, make sure you uncheck camera view because we don't. Next time you try to rotate around your scene to see like the backside of your viewport or something else, you're actually going to move your camera. We don't want that once we have our cameras set, we want to make sure it stays where we put it. So make sure you uncheck camera to view. Once you have a view somewhat similar to mine. While uncheck this. Now we're gonna go back to item. Then there's a few values here that we're just gonna wanna make sure that they're nice whole numbers. So we don't want these kind of 0.00 zeros here and these slight negative values. So first let's just zero out the rotation for the Y. I'm just going to type in zero. Then for the Z as well, type in zero. Now we're gonna go to the rotation for the EX, and we're here, we're going to type in 90. Now we can see that the slight angles that we had here actually made a pretty big difference on where our camera was placed. Now that our cameras generally in the right spot and we don't have to go back to the the view camera to View Lock here. We're just going to use these numbers up here and we're just going to slide them back and forth. So the first thing we're gonna wanna do is move our camera down so that the Logo is better centered inside the frame. So we're just going to use this value here. And we can hold Shift while we drag across this to move it slowly. We're just going to move it back. It's about centered where it was. I think right around there is. Okay. If you want to follow along exactly, I guess maybe, and we'll try to make these some nice numbers here. So we'll do point to where the Z for the Y, That's essentially how close your cameras. So it's almost like your zoom. Think mine is probably fine where it was. I might just do negative 12 to make it easy. We'll leave it at a negative 12. Then for our X, this we can just slide over. This value is going to have to be a little bit negative because we're compensating for the extra fins on the left side. This we're just going to have to visually line up. So in my case, let's just make this a nice negative 0.2. So if you're following along exactly, you'll have negative 0.2, negative 12.2, 900.0. The camera placed, Let's enable a free add-on built right into Blender. So we're gonna go up to Edit Preferences. Then we're gonna go to the add-ons tab. And then the search bar here at the top right, you want to type in node. Then I think it's the only one in here with the new word note in it. If you just type in node and I just put a W afterwards, we're going to have Node Wrangler. So once you see this here, just check the little box next to it that will enable the Node Wrangler add-on. This add-on will allow us to skip some tedious steps while creating our HDRI by creating some nodes for us with one click. Now that we have this enabled and we can just close this box. Now we're gonna go down here to this bottom portion. So this is actually where will it be adjusting the nodes for the HDRI. So by default, it's set to object, which means it's looking for textures on objects that we have selected. However, we're going to be adjusting a world of texture. We need to click this drop-down here and switch it to world. Nobody have world open. We can see they're already a few nodes here. In this node here is the background node, which is actually what's giving us this slight gray background as well as this really faint flat lighting that we're seeing. If we adjust this, this is actually where that lighting is coming from. So I'm gonna leave mine back at one. Now we're going to make sure you have the background node selected, which is this green one. We're going to zoom out a little bit. Then we're going to hit Control and T at the same time. You right away, you can see it turns bright pink. And that's because we just don't have an image loaded up yet. The reason we were able to hit Control T and have it pop in all of these different nodes for us automatically because of that Node Wrangler add-on. So normally we would have to go through and add each one of these individually by ourselves and then relink them altogether. With Node Wrangler, it just allows us to hit one button, creates all these nodes that we're going to need anyway and automatically links them up for us. Now with all these nodes created, let's get rid of this pink. So the way we're gonna do that is to add an environment texture here, which is actually our HDRI. We're going to click Open. And then once this window pops up, navigate to where you saved your HDRI. This is the one that you should have downloaded from the project resources. I would recommend that this HDRI lives in the same place as the Blender logo image that you downloaded, as well as this Blender file that we've been working in. So let's select the HDRI, in this case, HDRI O1. Kind of click Open Image. Now when we do that, we automatically see everything changes up here. And now we can see the background of this HDRI image, binder logo, as well as some general lighting that we have. The first thing we're gonna wanna do is to rotate the HDRI. That way the lighting is coming from a correct angle. So that way we can do that is by moving over here and going to the rotation node. We're going to adjust the Z rotation. So as we just click and drag on this, we can see that this image behind it moves as well as the lighting that it's generating. The value we're going to one in here is 209, which gives us a nice watery background behind everything. For this logo animation, we're going to have the background be a blurry beach scene behind it. Number four, we go too much further. Let's adjust the reason why this image behind our logo and the lighting in general and all the colors here look flat. So we're gonna go to our render properties, which is the backside of this little camera here, this little icon. Then we're gonna go down to color management. Your file will likely have defaulted to a setting that is making your colors and lighting look a little bit more flat than we like them to. Then we can fix that just by changing the view transform. And we're gonna switch it from filmic to standard instead. You can see right away soon as we switch back and forth between these huge difference in the saturation of our color on the Logo, as well as the lighting in the background as well. Then For now we can leave the look on none. However, there are other options here. So none is basically equivalent to medium contrast. So we can make it lower contrast if we wanted to, or we can make it higher contrast if we choose one of the higher settings. But for now we're just going to leave ours on none. For the purposes of our render standard actually looks better. However, filmic in some cases does look better for certain scenes. So it's a matter of just analyzing what you're seeing requires whether or not it needs to be saturated or not. And then choosing the correct look or the view transform to match it. So first, we're going to use standard. Now let's go back down here to the bottom. And we're going to add a new node here that will allow us to adjust the colors and the contrast of the lighting coming into our scene. We're going to drag select over these three nodes. So the HDRI node, the mapping and then the texture coordinates. We're just going to move those over. Now we're going to hit shift and a go up to search. Now we're going to type in RGB. We're going to choose RGB curves. Now with this selected, when we hover over this yellow line here, it'll turn white. And then when we place it, it will automatically link it up for us. If for some reason when you placed it or when you created it, automatically placed day without adding these connections here. The way you can manually connect things is just by clicking from one dot. It'll drag out this little wire and then you drag it to another dot and you can see it locks on, it, snaps in, and then you just let go and it'll connect it to it. So the way these nodes are working as they run from left to right, the furthest right is the output with, so this is actually what we're seeing. And then as we go further left, these things are affecting what we're seeing on the far right. In this case, these three nodes here are what are creating the image. This image here is being applied by this node. It's being told what the rotation of that image is by this node. And then this is the texture coordinates, which in this case is just going to use generated. But we have other options here if we needed them. The node we add here is a curves node, which will allow us to adjust the, the perceived contrast. And in this case actually saturation of this. So as we make it more contrasty, it will also become more saturated. Then M is the image is adjusted by the curves. It's put into this background node, which is then pumped directly into the world output, which is what we're seeing in our scene. The way to use this curves node here is by clicking on this line here. Then you can click and drag a point. And then when you let it go, you can see the image in the background updates. So the higher up the point is, the more it's dealing with the highlights. And the lower the point is, the more it's dealing with the shadows. In our case here we're actually going to use two different points. We're gonna have one near the top and one near the bottom. Let's start with the point here at the top. So make sure you have two points in that you've got those just by clicking on the line. So just click on your top point here. Then down here on this value, we're going to type in 0.92 and then hit Enter. And then on this next value here we're going to type in 0.81 and hit Enter. So that's the value for the top point. Now let's select the bottom point. For the first value here, type in 0.45, hit Enter. For the second it 0.15 and hit Enter. We can see here that I've made the background a lot more contrasty, a good bit more saturated. But it's allowing this logo to pop off this background. It's not also similar in tone. The Logo is the thing you noticed first because it kinda jumps off the page essentially. Then the background recedes into the back, which a background should, and allows the Logo to be the star, not a huge fan of the colors that it's creating bacteria as we increase the contrast. So let's add another node here to help deviate these colors towards a slightly more appropriate palette for our logo. Let's zoom out again. Can just drag select over these two nodes, move them over to make some space. We're going to hit shift and a, we're gonna go up to search. Men type in hue HUD, and then choose Hue Saturation. And again, just drag it right on top of this line. It turns, wait. Now it'll auto connected for us. The only value we're going to change here is actually the hue of this. So as you move the hue, you can see it's sort of shifts all these colors and pushes them further, further along the color wheel essentially. Now it's a very touchy control. You can see here if you hold Shift, move these colors a lot slower. But the value we want here is 0.46. So when we do that, it changes these colors here instead of being in that kind of yellowy green color that it wasn't the background. Now it's shifted them more towards orange, which complements our logo a bit better. So now our background has these sort of oranges and blues in it that complements the orange and the blue of our logo. Now not a huge fan of how obvious this background is, because it's taking some focus off the Logo. Let's add some depth of field to our scene to allow the background to get pushed even further into the background and allow our logo to be the star. With your cameras selected. Go down to this little green icon here that looks like a camera, which is the object data properties. Then we're going to check on depth of field. We can twirl this down. We're going to choose our focus object. So this will basically you can pick an object from you're seeing and say this is the focal point, make sure this thing is in-focus. And then the, the, it will set the focus distance for you automatically. Normally you would just have to type in a number here and guests exactly how far away that logo is from your camera. We can avoid having to guess or measure it exactly by just using this little eyedropper. So we're just going to select the Blender Logo. It'll select this Blender logo instance that we made and place it here. Now we can go down to the f-stop, which will affect essentially how blurry the background is. And here we're actually going to make it pretty blurry. So we're going to type end point to it enter. We can see here that it makes everything beyond the Logo, because we made the Logo, the focus object, nice and blurry. So we can still tell it's water back there with some sky, maybe some sand down here, but it's not the focal point, it's just a background. It's just meant to not just be a solid color back there. It's a little bit more interesting, but the logo itself is the focal point. We can also adjust the blade count to change the shape of these sort of blurry dots. We get back here. I'm just going to type in six relatively subtle change. Maybe we can see back here now that this blur is actually six-sided. Whatever number you type in here, it will change that amount of sides on your blurs in the background. Let's add one more render effect to our scene. We're just going to be adding bloom around this white ring that we added, which is glowing right now. Right now it just looks like it's pure white, but it's actually supposed to be emitting light. So we want to make sure that the Animation and the render shows that. We're gonna go up to our Render Settings, which is this little camera. We're going to check on bloom. So you can see soon as we turn it on and it gets really bright. But we're going to adjust some of these settings here. And each of these settings here is going to adjust the different part of the bloom. And to save you some of the time of playing with these now, I suggest you do mess with these on your own. But we're just going to go through here and change each one of these values to the number that I said. We're going to set the threshold to one. Hit Enter. We're gonna go down to the knee and type end point for we're gonna go to the radius, type in to the intensity 2.03 and then hit Enter. Now if you'd like to adjust this any further. So right now we're getting a really subtle blur or sorry, a glow around this. But if we wanted to adjust these any further, we can just adjust some of these values. The first thing you might want to adjust would be the radius. If you want it to be more glowy or less glowy. This is the number you can adjust. Maybe We'll set ours a little bit higher. Let's see, maybe 3.5. I like that. That has a little bit more glow if you want it to be a little bit more intense, or rather further reaching. If we want to make it more intense, we actually ingest the intensity. The more we increase this number, the more strong that glow is, the more it's going to actually like overlap and overwrite what's behind it. We don't want to and are super strong. Maybe we'll do 0.4 or rather 0.04 for this. Then hit Enter. Now with these values set, we can zoom back out so we can see our camera. Now this is pretty obviously glowing here. We have this sort of glowy ring on the inside of this thing where it's emitting light. And then the outside is our nice shiny materials that we created. Now that we have a render scene setup. And the next lesson we'll be adding some simple animation to our logo to give it a little life. I'll see you there. 7. Animating the Logo: This lesson, we'll be adding some simple animation to our logo to give it some life. Let's begin. Before we begin any animation makes you go up to Edit Preferences. Go to the Animation tab here on the left. And then just be sure that your default interpolation is set to Bezier. Now we can close this window. We're gonna go up to view cameras, active camera. Or if you have the numpad, you can hit zero on your numpad. Now puts us into our active camera. Zoom-in a little bit so we can see it better. Make sure you have your logo selected. Then we're gonna go over here to this little orange box. So this tab here with the orange box with these little brackets around it, which was the object properties. Then these values here are the ones that we're going to be animating in case you haven't noticed, we're actually working in our layout workspace right now. So make sure you're in that. Then down here at our bottom, we have the timeline. So we can click and drag this up, this little line here. We can have two little arrows. We can make this a bit bigger because we want to actually be able to see our keyframes down here. Start with, we're going to change the amount of keyframes we have to work with. Right now a defaults to 250. We're actually going to switch ours to one-to-five because that's the length of the Animation we'll be doing. You can zoom in on this timeline by just scrolling up on it and then click your mouse button here to Penn. We can see down here PAN your view. It's the middle mouse button here. And now I have it centered. We're going to be making a looping animation of our logo spinning around in a circle with some secondary movements added to avoid it looking too boring or static. The first keyframe we're going to be placing is actually in frame zero, which is outside of our range. And that's important for the looping to work. So if we have the exact same start and end frame, actually within the bounds of the timeline, will have two frames that river repeat itself. So if we have zero rotation here and zero rotation here, we actually have two keyframes, therefore two frames that will be doubled up, both showing it at the zero position. So in order for it to be a nice seamless loop, we actually need to hide one of these outside of the keyframe range. That way when it renders it out, it skips one of the duplicates and just has it roll seamlessly into the next. We're going to start our frame here on zero. So this first keyframe will be outside of the timeline with your playhead set to zero. We're just going to go over here to our rotation. We're going to click this little dot here next to Z, which currently it's set to zero, which is what we want. We're just going to click this. Now it will turn yellow. We can also see a little yellow keyframe down here on the timeline. Which means we have placed a key-frame. Key-frame is essentially just telling some specific parameter what number or what value it should be using at that exact keyframe. And as we add more, we can tell them to change the specific value between keyframes over a certain length of time, which is essentially just what animation is. We're just telling different parameters to be at different values at different times. Now let's move to frame 15. So we can see here blue 15. And then we're gonna go over to our Z, which is now green, which means it's ready to accept another keyframe. There isn't a keyframe already there. Here we're going to type in 30, it enter. And then we're going to click this little keyframe button again to place down a keyframe. Now we can Sylvia two keyframes. And if we move back-and-forth between them, we can see that that value, which is the Z rotation, which is sort of that central middle vertical axis for this is rotating 0-30 within 15 frames. Now let's move to keyframe 40. The z-value here, we're actually going to type in negative 90 because we're really starting to speed up the rotation. Now, once you type in negative 90, it'll turn orange, telling you you've changed the value, but you haven't actually plates the keyframe yet. So we're going to click the little keyframe button. It turns yellow, letting you know that there's a keyframe president again. So that keyframe that we just placed is the beginning of our fast rotation. So we're going to have our logo sort of wind up. So you can see here it turns just a little bit. And then once it gets to this point, it's ready to start spinning. It's the windup prior to the spin. And then it starts turning towards its Quick Spin. And then here in the middle we're going to have to go really fast. So it's going to spend a lot here in the middle. And then it'll start slowing down here where it will spin past zero. Then it will correct itself back to zero, which will match up to the very first frame by the end. So we're going to have its windup spin really fast over correct, and then go back to zero here by the end. It's now let's begin this really fast bit in the middle. So we're gonna go to frame 60, the Z value here, we're going to type in negative 1080. Then make sure you click your little keyframe here. So if you move off of this and you don't click your keyframe, it won't retain any of the changes you just made. So as soon as you move the playhead without placing a keyframe It'll just go back to whatever it was. So you have to remember to actually place the keyframe when you're done. Let's move over to 85. We're going to type in negative 1470. It enter, click our keyframe button. Then we're gonna go to 105, negative 1430. It enter and then click our keyframe button. And then lastly, we're gonna go to frame 125, which was our last frame. We're going to type in negative 1440, hit Enter, and then click our keyframe button. So you might think it's kinda odd that we started out on zero, but we ended on negative four for zero. But as far as we're concerned, that essentially is zero. So this is just, it's rotated around so many times that it's gotten back to the exact same position visually, even though the numbers aren't the same. And we need to have this value instead of zero here, because if we type zero, there would be a massive difference between the last frame at 01:05 in 125. So it would spin at Lightspeed essentially to catch up back to zero when in reality we just needed to settle back at a flat view, which This essentially visually zero for us. Now that we have all of our keyframes placed, we can hit the Play button here on the right. So it's this little Play button here on the right side. And we can see the animation we just created. We have the if restart here. It's the windup, the really quick spin, the over correction, and then it goes back to zero. We can also see by letting the Animation play that it does loop seamlessly. And that's because we cut off that very first frame. So it still remembers what position it's supposed to be in the beginning. But we're not actually rendering that unnecessary frame, which would be a duplicate. So we can see as it runs, There's just a nice smooth transition rate from the last frame, right into the first frame. Now we have the spin animation done. Let's go through and start adding a little bit of secondary animation, which will be animating on the Y value. So start by going to frame 15 again, which we already have a keyframe here, but we're going to be king a different value. So it doesn't matter that we already have a Z keyframe because we're gonna be keying the y-value instead. So to start with, we're just gonna leave this right at zero. Then we're going to click this little dot here to place a keyframe, just letting it know that at this point it needs to stay at zero. Now we can move all the way up to frame 50. Here we're going to set negative ten for the value. Then make sure we click our keyframe button here. Then we're gonna go to frame at. I'm going to type in ten for this value. So not negative anymore, just positive ten. Hit Enter and then make sure we click our keyframe button. Now go to frame 95. We're gonna do negative five for this value. Hit Enter. Then finally we're gonna go to frame 113. So 113 down here. We're going to type in zero, the answer, and then click our keyframe button. Now what we've added is during this wind-up here. So as it corrects and gets ready for the spin, we're adding a little bit more rotation in the Y value. So we're actually rotating this bottom-left corner or retaining a downward this direction. So it has a little bit of a, sort of a teeter totter affect at, added to it. We can see here at add just a little bit more character here, turns down. Then here in the middle it actually turns upward. We can see it's spinning up. Now. It's actually rotated past centers. So we can see this is actually a lot higher than it started with. That's during the spin. So as it's spinning, it's kind of spinning out and turning upward again. Then again, we have, during the correction here of the Z axis rotation, we have an over correction of the y-axis where it spends a little bit too far down to correct itself. Then again, it's settles back at zero where it should have been and gets ready for the next spin. So to see this in motion, we can hit Play. Now we can see here that's just a little bit more character to it, gives the Logo a little bit more life where especially at the end there, I particularly think it adds a lot right there at the end where it spins up and then rotates itself back down. Then gets ready for the next spin, still keeping it seamless because of the way we placed our keyframes to avoid having anything different at the beginning of the end. So while our animation right now has all the movement we want, it's still a little bit robotics. We added a little bit of life to it with the over corrections and the twisting of the Animation However, the actual keyframes placed right now are very consistent. So every movement is almost looks like it's been created by machine, not by sort of in this case, like a living logo that's spinning and doing something itself. So we're going to adjust the curves in the graph editor to make this Animation have a little bit more slowdowns and speed-ups during the Keyframing so that it looks a little bit more intentional, a little bit more lifelike, and a little less robotic. Let's go up here to the top-left. We're going to hover over this top-left corner here until our mouse turn the little plus sign. We can just click and drag to add a new viewport. We can do this kind of half and half here. So we're going to leave this one as it is so that we can see what our camera is seeing. However, on the left side here, we're going to click this little drop-down appearing in the top-left corner. We're going to switch this one to graph editor. Now we're seeing some sort of squiggly lines here. And these lines here are actually showing us how the keyframes themselves are moving. So the rotation and how they're adjusting EQ between the different values. And this is the reason why we wanted to make sure before we started placing keyframes that we had the default set to bezier. So right now you can see that we have Bezier handles here, similar to one we were creating our logo and modeling and with curves, we have those exact same style handles here, which gives us nice smooth, sort of rounded corners here rather than sharp like value to value corners that we would have had if it was set to linear. We can zoom out here. When this, we can see more of it. So we can hold down Control and middle mouse button to adjust the kind of squish and stretch of this array. Now we can see our values are pretty high. So we have to zoom out really far, or we can just hold down Control and middle mouse button to squish them visually and then zoom in so that they fit a little bit better inside this. Alternatively, inside here, we can just hit the Home button on your keyboard, which is above your number carrier. Arrow keys rather. It's right above the End key. It's near where delete is. 3d just going to hit home and home, we'll kinda default everything to the correct zoom level and just kind of squish everything until it fits within this view. The specific curves that we're actually going to be adjusting here is this blue one? Blue will remember is RZ color here. So that's the main bulk of this animation is It's spinning around on the z-axis. All the other animation we did was more secondary. And we can see appear that curve is a lot more flat because of the values didn't change as much. So the most bang for our buck here in terms of adjusting values will be for the Z values. So what we wanna do here is I'm going to zoom in just a little bit. We're going to be selecting these, these vertex points here. One thing we don't want to do when we're adjusting these handles here is actually move them. You don't want to hit G and move these because this actually is moving the value of your keyframe. So we can see down here at the bottom left, if I move it left and right, it's moving it left and right on the timeline, which will mess up our animation. And if I move it up and down, it actually makes the rotation that we typed in there, that value different. So we don't want to do that. If you accidentally move something, make sure you right-click or Control Z to set it back to the actual position that it was in. What we do want to do though, is select these, the central point here. And we can use are our key to rotate. We can use our S key to scale. So let's start by rotating this. We're going to rotate this upward a little bit here. So what we're doing essentially here is making this curve a little bit more severe. So rather than keeping it kinda flat and lifeless, a little bit more boring, what we're doing here is we're making this acceleration more drastic. The more steep this line is, the faster the animation is moving, the faster that keyframe is transitioning to the next. So if we have a nice flat line here, It's not moving very fast. But if we have it flat and then it quickly spikes up, that means that that animation starts out slow and then goes really quick during the parts where it's more steep. So in this case here, this is where the really fast spin in the middle of our animation, as you can see how steep this line is compared to say this one, we're gonna be adding more flat and more steep and getting rid of these kind of middling flat ish values. So we wouldn't have it to be, they're going solo at certain spots are fast and others, we don't want these kind of middle fast, slow values because those are the things that kinda just look a little bit too boring for the Animation. At this handle rotated. We can also select this handle here on the far side. So this longer one. With a selected we can hit S to scale it. So we're just going to scale this up a little bit. That way we can get a little bit more of a harsh, flat and then steep transition. Now this is a relatively small movement. So we can only make it so steep hour for this area here, we can make a pretty big difference in the way this spins. So I'm going to select this vertex here. It R to rotate. You can see as I rotate this, now, it only let me rotate it so far I can only go vertical, anything past vertical, it starts actually squishing it. So I'm going to rotate this basically vertical We can see that it's made that line there more steep. So this thing, you can almost think of it as like a roller coaster. There's not a lot of roller coasters that are very flat and smooth. They have long snout of sort of flat areas. And then they have an area where you get to the top of the roller coaster and then it drops you really quickly because those are the things that are more exciting. So that's what we're trying to replicate with this line. Now let's select this top handle here. And we're going to stretch this one out just a little bit to help make this kind of top of the roller coaster look here. You can select this bottom one. I could stretch that out a little bit. We make this line even more steep here. This is where the spin really picks up. It's going almost full speed here because it's basically vertical. And then it dies down to this bottom one. We can rotate this one just a little bit. This one's pretty good as is. Maybe we'll just kind of curve it into that one a little bit. So very little adjustments we made on this one because it's already so steep. Now on the bottom one here, we don't want it to just hit and then flatten out and we want it to hit, go below and then go back up to the next one. We're going to actually select this vertex here. We're going to rotate this one so that that blue line continues a little bit past where our vertex is, which means it's going to be over rotating. It's gonna be rotating a little bit past where we set it to be. But in turn, making the animation a little bit more exciting. So we can select this handle, skill, this one up a little bit. So now we can see we have a really sharp, steep line here that kind of hits this sharp valley and then rockets backup to this value here, which we can rotate just a little bit more. Now we have a bunch of really sharp hills that we have here. And then this one, we're just going to leave as is because we don't want to adjust this value at all, because this needs to seamlessly run into this value. You want to avoid rotating or doing really anything to this last in the first vertex. Now with these adjustments made, Let's see how it's affected our animation. So we'll have to remember what it looked like before because there's no real easy way for me to jump back and forth to show you. Now we'll just play this and see how it looks. We can see there in the middle how it whips much, much faster. It starts out a little slower. It's a little bit slower to do the windup. But then a whips really hard right here in the middle. Then that sort of that correction here at the end is also a little bit more snappy. So it whips back, hits that little slight over correction on and then snaps back to zero for it. It's a subtle difference. Hopefully you can tell the difference between the before and after that. It is a subtle thing, but it really does change the feel of the Animation and makes this feel more intentional, a little less just placing keyframes and letting Blender do its thing. We're actually going in and kind of fine tuning and tailoring what Blender has set up by default. And making these intentional choices to make certain areas faster in certain areas slower. In the next lesson, we'll be Rendering our final animation. I'll see you there. 8. Rendering the Animation: In this lesson, we'll be Rendering our final animation and compiling it into a sharable video. Let's begin. Let's start by cleaning up our viewport from the last lesson. We're just gonna go up here to the top left of this right viewport. So basically the line on the center, we're going to wait until our mouse turns into a plus sign that they can click and drag to the left to remove that extra viewport that we dragged out. Also make this a little bit smaller at the bottom because we're not animating anymore. So we can make it just big enough that we can see our keyframes. Now let's go up to our Rendering tab at the top. We can click this and it'll switch just to our Rendering viewport. We're going to start by Rendering out just a single frame of our animation. We're not going to save it or anything. We're just using this as a preview and because we're going to be adding something called motion blur to this. So let's go up to frame 44. We can do that just by dragging this little blue icon down here. If you want to make it a little bit bigger, you can. We're gonna go to frame 44. Then we're gonna go up to render. And then we can choose render image. Now we can also just hit F2 on our keyboard, or we can just click this image here. Okay, so now we can see this is what are render actually looks like. So this is the final output visually at least of what are render looks like. Now the reason we went to frame 44, because this is actually right in the middle of the fastest movement of our logo. However, looking at this image, you would never know that this is moving. So unless you knew that this was animated, you would just assume that this logo is sitting still in this position. The way we're going to actually show that this is moving is by adding motion blur. So we can go over here to the right side and we're gonna be in our render properties tab, which is this one here. It looks like the backside of a camera. We're going to check on motion blur. Then we're going to twirl this down so that we can see the options. Now that we have our motion blur settings visible for two values that we're going to change. The first one we're going to change the shutter. And then we're also going to be changing the steps. So let's start by turning up the shutter. So as we turn this value up, making it closer to one, in this case, that's essentially leaving the shutter, the shutter speed for the camera is staying open longer. So normally a camera would take a picture and it would only capture like for a certain amount of time. So if we make the amount of time that it's capturing the light longer, we'll introduce more motion blur because the light being taken in by the camera is also catching some of the motion. So it's moving positions during that capture process. The longer we have it, the shutter speed open, in this case one. So a higher number. The more motion blur we're going to notice. Now let's hit F12 on our keyboard. And to see what this looks like, we can see here now that we're actually seeing some motion blur, will notice it's a little bit weird. So it's a little bit choppy and it's kinda hard and some spots and really kind of messy and others. And that's more or less because of the steps. The steps is somewhat of a fake thing that EV is doing to accomplish this motion blur look because it's not true motion blur, it's trying to simulate the motion blur. So what steps is doing is essentially adding how many duplicated images is a0b0 going to add to this render in order to accomplish this motion blur, look, if we turn this up to our final result, which will be 64, and then give it another render. We'll notice how much smoother this motion blur result is. We should have one for our shutter speed, 64 for our steps. And I'm going to hit F12 again. We can see how much smoother and softer this motion blur is. And that's because of these steps. So if I lower these steps, so say if I have these kind of say 32 and then render it with F20. We'll see that the motion blur, it's not a huge difference here. So if you find that the render is taking a little bit too long, you might want to go with a lower step. Maybe 32 would be fine for you. But if we turn on 64 here and hit Enter and then render it again, will notice some smoothing of these jagged areas that we're seeing on the motion blur. We can see here it's smoothed that out a little bit more. It's a little bit more crisp and some areas and a little softer and others. So this render is relatively quickly on my computer, so I'm going to leave mine at 64. But if you find for some reason this is taking a while to render on your computer, maybe 32 is a better value for you. Now that we have our motion blur setup, let's do a few chest frames here of the Animation to see how it looks. Let's go somewhere a little bit further. In this case, maybe 74, 75, let F2. That's actually looking right down the Logo, but we can still see there is some blurring here happening on the edges and that's because it's moving so quickly past the camera. Maybe go to an area where it's a little bit more still to make sure that we're not getting a lot of motion blur when it should be relatively motion blur free. I'm gonna move to 109 and render that. And just as I thought, were getting nice crisp edges here because this isn't moving very fast. So that's what you want. You want during that fast portions of your animation where it's really spinning really quick. It should be motion blur to accentuate the speed that this logo is spinning at. But in the areas where it's slow, we don't want to have so much motion blur, so much exaggerated motion blur that the slow areas are also being motion blurred because that doesn't really make sense. It's just going to make it look blurry overall. Let's just double-check here. So this is near the very end where it's nice and licensed still. We're not getting a lot of motion blur there at all. Let's just double-check somewhere in the beginning here. So maybe 32 here. This is the area where it's, it's done, it's little wind-up animation here, 0-10. Then this is the portion here where it's getting ready to spin really quickly during this area of really intense speed here in the middle. This is the amount of motion blur that I would expect to see during that with our motion blur finalized, let's make sure our Render Output settings are correct. Before we actually render the Animation. We're gonna go up here to the Render Output Settings, which looks like a little printer printing out a little photo. We're going to check our format up here. So right now it's sets your 1920s by ten at which is good. That's sort of default. Regular HD resolution. So I'm going to leave this. If you need to change gears, go ahead. You can change it here. If you wanted it to be square, you could do 1080 by ten at however, you might find that your camera, like your logo animation, might go outside the bounds of your camera. If you really adjust the resolution here and change the aspect ratio, you might need to reposition your camera to make sure that the Animation stays within the bounds of the frame. And then we're also going to change our frame rate here. Right now it's set to default, which is 24, are actually going to make it 30 just so it's a little bit smoother. In this animation doesn't have any sort of jitteriness because 24 is standard for film. However, most animations nowadays are gonna be 30, some might even be as high as 60. Next, make sure that your frame range is set from frame start one, frame end one-to-five, and then just leave this step at one. Now let's set up the output parameters for our animation. The first thing we're going to change here is the file format. So right now it's set to just the plain image format. We're going to switch this to FFmpeg video, which might sound like an odd one. But we'll be changing some of the settings here into something a little bit more recognizable. We can open up the encoding area here. We're going to change the container from matryoshka. I'm not quite sure how to pronounce that. We're going to switch that instead of to MPEG-4. Mpeg-4 is something that you probably are recognizing, hopefully if you've worked with any video files in the past, but just know that this is a pretty standard video file. Most platforms will be able to work with an M Peg. And then down here for the video codec, we're going to leave this on H.264. If it's not default to that, just makes sure it's H264. For the output quality. We're going to change it from medium quality to perceptually lossless. So perceptually lossless is basically saying that it's going to output as high-quality as possible. So the point where you almost can't tell that it's compressed at all. But it actually is slightly compressed just to keep the file smaller. If you pick lossless, it's gonna be a massive file for you and it's going to take a lot longer to render and things like that. So we're just going to use perceptually lossless, which will give us a really high-quality video without all of the other downsides of completely lossless. Then lastly, we're just going to leave the encoding speed when good, with all the settings done. Now we just have to change where it's actually saving these files out. You're just going to click on this little open button here. And then you want to navigate to the folder or the area on your computer where you'd like to save this video out. Once you've navigated to it, you just hit accepts to accept the location that you've chosen. Then we can see here that it's changed the location for the render. With all these settings changed, we're now ready to render the Animation. Now we can go up to render. And instead of doing render image, we're going to choose instead render animation. Once you hit this button, it'll start rendering frame-by-frame. And then when it's done rendering each frame, it'll compile that into this MPEG-4 video. I'm going to click this. We can see here that it's starting to render my animation. Now it might not update every frame here. It might skip some visually, but know that it is rendering every single frame. Then once this rendering is done here and we'll come back and then we can look at the video that it made. My render is now complete. We can see here it's saved out this video file. And it gave it the name of just the amount of frames that had had in it. So it just lets me know that it goes from frame one to frame one-to-five. We can just click on this and rename it. So I'm just going to call this logo animation. It enter. Now we can watch our video. If I just double-click on this, it'll load up the video. This is what the actual final product looks like. I'm going to switch this down here. So if I just want to see this to loop, now this is on Windows, I believe media player that this is playing on. We can just click these three little dots down here. I'm going to choose Repeat. We're going to click these little arrows here to make it larger. Now I can hit Play. Now I just get to see this thing looping as it should be. We can see here that the motion blur added a good bit of speed here in the middle. So it really gives you that sense that it's moving really quickly as well as we can see now let the blur that we put on the background is kind of separating logo off of the background. We have the nice bloom that we added for that glowing ring in the middle that really makes it look like it's glowing and emitting its own light. And then we have all of the Animation smoothing that we did using the Curve Editor. All this adds together to make what I think is a pretty compelling little, just kinda rotation of the Blender Logo. Now that we have a completed final render, you can share this with your friends and family on social media. In the next and final lesson, we'll be discussing our class project. I'll see you there. 9. Our Class Project!: Congratulations, You made it to the end of the class. Now that you've learned how to make a 3D logo with me, I'd like you to create a new one and share it with the class. This new logo can be anything you'd like. Your own personal logo, Your favorite restaurant, Your favorite tech company, Your favorite video game or movie franchise, or a completely unique logo design of your very own. For my class project, I created a 3d fox logo that could possibly be used by a Twitch streamer or Youtuber. I utilized all the same techniques we discussed during class to create my logo. It just has a bit more complexity in the number of levels. After you've finished your logo design, 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 image, as well as anything that could use some adjustments. 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, click the Follow button here on Skillshare, please consider leaving an honest review for the 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.