Blender 3D: Model a Medieval Table

1. Course Introduction Blender 3D: Model a Medieval Table: What if you could build a complete medieval interior in Blender five centered around the Eoprop desk presented in a richly list dusty atmosphere. I'm Luke, and in Blender three D model Medieval Research's desk, I'll guide you for building a full indoor medieval workspace from start to finish using Blender five, updating modeling tools, UV workflows, lighting, and compositing. This course is built around a clear goal. An interior setup that feels like a real space with history. We start by building the background props and interior elements to warm up your modeling skills. Then we move on to the hero prop desk, packing it with books, scrolls, candles and research items. And finally, stage everything so the whole room supports the story. We'll take advantage of the newest tool set, like updated array features, for structural and radial symmetry, improved bullion workflows for wall cutouts, and even curve to tube, modifier for generating geometry with UVs already in mind. Then we unwrap like a pro. So the grain flows exactly in the right direction. We'll apply the included production ready shaders for wood, stone, wax, and fabric. Then tweak them for the exact look that we want, including realistic candle wax with subsurface scattering. You'll still get all the storytelling details in place, books, scrolls, rope ties, seals stamps, projected decals, so you can use the same decal workflow across multiple props without rebuilding anything from scratch. But then we push the scene into that alive category. Hanging flag, we set up a clean cloth simulation with weight paint across areas, so the top stays anchored, and the subtle breeze motion gives the room just enough life without looking floaty or over animated. Now we lock in the signature look that aged dusty interior atmosphere. We built a dust particle system that actually moves slow drift, subtle variation, and natural motion so the air feels thick and lived in. And we use child particles where it makes sense, so it stays performant while still reading on camera. Then we combine that thus motion with volving metrics and lighting. So the particles catch highlights and Rob gets those soft cinematic rays. But the real trick is how we add detail to the light. We use a light mass to break up the sky as if three branches outside are partially blocking it. Creating that uneven natural shadow pattern that instantly makes the scene feel real. And because you're not left guessing, the course resources include the kind of mask shaders that support this look, so you can focus on dialing in the mood and composition, not reinventing technical setups. We finish, we frame the shot with cinematic composition and depth field, polish the balance across foreground, midground, background, and render the final scene. You'll also get an in depth look on Blenders composite workflow, adding subtle noise chromatic caboration, color balancing, and saving reasonable composite presets for future blender five interiors. If you want a repeatable workflow for building interior environments, where a hero prop reads instantly, the background supports the story, and the lighting sells the mood, this course is built exactly for that. Joy now, and let's build your medieval researchers workplace in Blender five step by step. My name is Luke, and I'll be seeing you in a course. Happy modeling, everyone. 2. Setting Up Blender 5: Hello and welcome, everyone to Blender free D, model A medieval Researchers desk. And we're going to start off by opening ourselves up with Blender 5 point oh. If you're using anything below that, you might encounter some issues. For example, Compositor has been slightly revamped, as well as the Array Modifier has been changed, things like that, small tweaks for the functions, as well as some visual cues within the program. Highly recommend you to stick in with Blender 5. Now, before we get into the program itself, let's go ahead and open ourselves up with a resource pack. Within the resource pack, you will find yourselves a reference folder as well as a blend file. So let's go into the reference folder. We're going to have ourselves some PNG files for the referencing, which you can open up directly as a file, or alternatively, what I am going to be using is going to be Pure ref. Little program over here allows us to essentially, well, drag a bunch of images and reorder them just to make sure that it overlays with the program. So right now, we can, for example, have all the images in one spot. And for us to do that, I'm just going to use right mouse button to drag it to the side, open up the reference folder, select all the images using Control A, or just dragging across and click in holding and dragging into the PURF. And right away, it's going to put us with all the references nicely sorted within one spot, which is going to be great for us. The items are going to include prop items as well as some close up shots for the table, some book references, as well as the layout of the entire room in a mesh form. All of that we're going to make use of to make sure we are creating a nice little cozy isometric room for the scene, for the render. Other thing that we have is going to be within this blend file. You'll notice that it also has TXT document, meaning that this is also an asset library with attached categories inside of it. In order to make use out of this, what we need to do is we need to go on to our blend file, the newly opened one. We're going to go ahead and ourselves an asset library tab. So at the top, you'll notice that we have a bunch of tabs on a Blender file. In order to make use out of these, we can simply click and go through all of them like so to well, go for different layouts of Blender depending on the work we're going through. But right now, what we need to do is we need to go onto the plus symbol over here. We need to go on to general. We're going to create ourselves a new layout tab. So this layout will be exactly identical to this one over here, in case you perhaps right click and delete a layout or even use with the new version, there is another button called Delete Our Workspaces, which would mean that every single layout would be deleted. We don't want to do that. Once we create a layout tab that's duplicate to the previous one, we're going to then grab ourselves this piece at the bottom over here. We're going to click on this timeline tab over here and switch it from a timeline to an asset browser. And within this asset browser, we're going to find a bunch of different type of assets that are default with Blender, but we're not going to see the assets that are found within our resource pack in order for us to make use out of the resource pack items. What we need to do is we need to go on to edit preferences, and within here, we're going to go onto the file paths. Within that section, we're going to find ourselves asset libraries, which we can go ahead and click on the plus symbol over here, then find it ourselves or we can simply paste it in just like I'm doing it like so. Then click Add Asset Library. And once you're done with that, you should be able to close this down by an additional tab, such as extra. Extra will show you some of the items. But if you want to see them all in one spot instead of just seeing all the default items as well, what we can do is we can click on all the libraries and select the user library resource pack that we just created like so. And that way, we'll find ourselves with this asset library. So this asset library includes various items, including some gonode such as book and fire Gonode some of the stamps that we're going to use for decorating the books, as well as a bunch of materials and shaders, some trim sheets and other items that would help us to, well, make the environment look better. But we're going to go through all of that uout the lessons. So let's not get ahead of ourselves. Now, though, in order to make sure we're able to continue on with the next lesson and just making sure that everything is saved out properly, what we're going to do is we're going to just simply click Control an S, and make sure that we're saving out this project. So the next time when we're working through this project, we can click Control S to save it in order to make sure that if the project crashes or if there's any issues, we can just well, come back to the project. I'm going to name M one course. Project, like so and click on Save Plan file. There we go. The next thing that we're going to do is we're going to go ahead and click and drag our human onto the scene just like that. This will give us a nice human reference, which we can use together with the references created over here to see the type of scale that we're going for in some of the areas inside of the room, for example, and such. We move around our character, what we can do is we can use our middle mouse button to move it around, like so. We can also use shift and middle mouse button to pan it around, and we can use our mouse wheel to zoom in and out. If at some point your camera is a little bit off centered, you can also use the dot on your numpad to zoom into the selection. So because I had the selection set as human, we're able to zoom into that. If you have it deselected, for example, you can find your human at the top right hand section. Over here, you can simply select it, and then with the selection, you can click on the dot again whilst your mouse is hovering over the viewport because a mouse position is important in relevance to what the options do. So for example, if I was to try to use the dot over here while my mouse is on the top right hand side, it's not going to do anything. So positioning of the mouse is really important in Blender. And in case you forget any of the shortcuts, any of the usability, you can simply glance on the left hand side of my screen, and you'll find that all of the shortcuts that I'm using are going to be presented on the left hand slide. So whenever I'm clicking Mouse, I'm using shortcuts for options, they're all going to be presented in this section. All right, so that's going to be it for me. Thank you so much for watching, and I will be seeing you in the next lesson. 3. Building the Room Base with Modifiers and Sky Lighting: Hello. Welcome back everyone to Blender FD, model A medieval Research's desk. In the last lesson, we left ourselves open with a project that includes our resource pack asset libraries, as well as the human scale within the scene already. Next up, what we're going to do is we're going to do the classical selecting the cube and delete B, of course, replaced by a new cube. To create a new cube, we're going to click Shift A. We're going to open ourselves up with a mesh tab, and we're going to select the cube from here. The reason we're doing this is because on the left hand side, you'll now see that there is a tab. If you deselect from the cube, you won't be able to get back to it. So just make sure that this is not deselected or not moved, for that matter, because now within the stab, we're going to make sure that the size, I believe the size by default was set of two. So if your cube is a bit smaller, don't worry about that. We're just going to change the size to 6 meters and you're going to get the right dimensions. Then next step is we're going to make sure that it's sitting on the floor at the base basically sitting at the very floor of zero to one space. So what we're going to do is we're going to find ourselves locations, set values. And because the size is set to six, we know that this is going to be halfway point being centered, meaning that we just need to simply move it by half to be sitting to be making sure that the cube is sitting at the well, at the floor. Let's go ahead and just change the z axis to f, and there we go. We're going to change it to make sure that it's sitting now at the floor. Next step is we're going to make sure that this location X and Y are changed to minus four. So we're just making sure that it's set off by a meter to the side. Actually, sorry, we're going to make sure that it's set up by five minus five. So we're going to have 2 meters off a little bit. So the center world position is going to be left off alone. That way, we have a lot more freedom, creating props and whatnot, and it's not going to interfere with the room. We're going to actually position this as five, not minus five. There we go. That way, it's going to go onto this area, so and the next step is going to be simply making sure that this cube doesn't have the front faces. So we're going to go into mesh editing mode. So on the top left tsection we see object mode. We can change this to edit mode. Alternatively, we can use a shortcut tab, which changes between those two modes. We can go into phase selection mode by clicking on this button or clicking free as a shortcut and holding Shift, we're going to select these pass. So we're going to go ahead and delete tab, and we're left with this type of a result. Just to make sure that it is more visual, what we can do is we can add a little modifier for extruding the faces a little bit because otherwise it now it's just a plane. So modifiers are very interesting. We can go onto the stab over here on the right hand side and we can click Add Modifier. And here we can just select the search. We can just type solidify, like so we're going to find ourselves. Solidify and right away, we're going to get ourselves a little bit of thickness. So we can change this thickness from the thickness panel over here. So from 0.01, we can change to 0.05, and it's going to be like so. And the other thing is that I realized that this is going inwards. We want this to be going outwards instead. So the thickness, we can just put a negative symbol at the front, make it hit Enter, and now it's going to go at the back, meaning that the floor the z value is just sitting right at the top. It's going to make it just a little bit easier for us to work with placing objects, especially if we need to. So yeah, that is going to be it. Modifiers are very nice. They have a lot of functionality and a lot of options. But the key thing is that we're not creating any of the additional messes whilst we are using the modifiers, meaning that if I was to go to Edit mode, we can see that we still have only one plane. These other pass are not selectable. And that is because, well, it just creates a calculation on a specific function or that mesh. So the solidify is just extruding all the meshes into these directions, which is great. But let's say if we want to make use out of the meshes themselves, we could do that by clicking on this arrow button over here and clicking Apply. We're not going to do that just yet because we're going to go through a bunch of other options. Next up is we're going to tweak how we are previewing this visually within a setup. I am going to go actually and just change the tab that we created. We can also just double click, by the way and just call it Asset Manager. Like so. We're going to go on the modeling stage just to make sure that the base, the bottom is not visible and we have more workable space within this layout. Uh, next step is we're going to make sure that the preview of our assets is a little bit more visible. So for example, this character is being washed out a little bit with the base and the shapes are not quite as visible. If we were to click on this arrow over here at the top, we can change this to use cavity. Now, the solid view is going to allow us to preview our meshes with cavity, meaning that it highlights some of those edges and bumps and and whatnot. And all of the measures are going to be, much easier to see. The thing is that in order to preview how our setup looks like, we can go on to render mode and we can change the render engine from EV to cycles. If you're not seeing cycles, just make sure you go to preferences, make sure you go to system. And change the cycles render devices to either Kuna, Optax or whichever one that you have. If it's set to none, you're not going to be able to make use out of the GPU rendering. So now that the cycles is enabled, just make sure that you have that enabled, and you can change it to GPU compute. The other thing is that the view port by default is set to max samples of 1024, which is way too high for a preview. Change it to something like 20 or 30 for rendering basic type of setup and then you're going to have a much easier time just making sure that the scene doesn't become performance heavy too performance heavy, that is. Next step is just make sure you have the noiser enabled here as well. And I would recommend to change the noiser here to be let me have a look there we go, pre filter to use fast. So in rendering mode, it should be set to accurate, meaning that the noise of texture noisy texture is going to be handled way better, but it's at a cost of performance. When rendering, it's not really important because we can let it render each frame for a long time. But if we were to go now to Viewpoort shading or rendered, we can see the type of result that we're getting. And this is what we have right now with the a viewport de noiser which is set too fast, and right away, we're just getting this kind of result. So you can see the type of delay a little bit and whatnot, but all in all, honestly, as a rate tracing cycles type of renderer, it works great for the preview. And I would even say that we can sort out our lighting a little bit. So although we're not going to use this lighting when we're finished with the setup, so this default lighting is just coming from a basic light spotlight that's visible in the scene. If we were to delete it, we're going to darken an entire scene like this, but we don't want this to happen. We want to have certain bit of preview in our scene. Though what I would recommend you doing is go up to the shading tab, make sure you are within the world shader, like so. And here we can just click Shift A and use sky texture. Sky texture is great for preview. As it gives us a nice ambient lighting for the scene. So we can just make sure we use that. We can just put it into the background color like this. And we are going to have ourselves a nice little setup. So just make sure you drag from color socket to the background socket found within the shader tab of the world Shader. And next up is just if we were to enable this, we can see the type of result that we're getting. So we're going to get ourselves nice bit of lighting coming from the setup. We're not going to have windows just yet, so for starters, we're just going to rotate the light coming from an angle, like so we can change it to be at 100. I think that's quite right. Oh, it's going to be positioned over here. That's looking quite nice. Next up is the intensity. So the intensity itself is going to be a little bit too intense or a sun skylight, which is, of course, how it should be because it's well, sun sun is bright. So what we can do is we could firstly we start up by just lowering the strength over here and holding shift we can do so like so. And I think that's going to be quite all right for our setup. Let me just have a look, yeah. So a value of 0.09 seems to trick. And otherth that I'd like to mention is that this kind of a sun skylight is now updated in Blender 5. Previously, it was single scattering, now it's set with multiple scattering, meaning that essentially the sunrise and dawn type of scenes are going to look a lot better. If we want to do so, we can just start lowering the sun and we can start seeing the type of difference that we're going to get. So, oh, there we go. So the sun as it goes lower, it changes scattering of the overall, you know, background and whatnot, of the ambient lighting. And it's quite nice. But we don't really need to have it too low. We can change the elevation to five and get this type of a view. Actually, it's a little bit too little. I'll just double it, change it to ten. There we go. Nice nice lighting. And that's it. We can now go back to the modeling tab, and we have ourselves a basic type of lighting which we can use to preview our items. Now let's go back on to the viewport shading solid, and we're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 4. Modeling a Realistic Shelf Frame with Solidify Modifier: Hello and welcome back up front to Blender three D model A M DivlRsearchs desk. In the last lesson, we left ourselves off with some nice lighting preview which we can use now anytime we want. We're now going to go and make sure we start doing some prop modeling. So, for us to do that, we're going to go ahead and click Shift and A and create ourselves a mesh cube, like so. And just to let you know something, you might have some of you might have accidentally, for example, changed the location of the preecursor this icon over here right in the middle, which can be done, for example, with shift and right click and that lets you just change the location of this predecursor like so. And if that is changed, if you create a mesh, that's going to create it in the center location of that set predecursor. So in order for us to create it in the center of the world, what we can do is we can use shift ins and we can change the cursor to world origin. This will make sure that the cursor is set to world origin. Which should be set by default over here. Now, next up is we're going to create ourselves a new cube. We're going to make sure that the cube is more manageable with a reasonable size of two. And then we're just going to go ahead and move this upwards by one just to make sure it sits nicely on the floor. Next up is we're going to start looking into the scale. So we're going to go ahead and go into Edit mode. We can click eight to make sure that the entire mesh is selected, and then we can click one and then see what kind of width we want out of this shelf. So if we go onto the references that we have set up, over here, we're going to see that the type of a width that we have over here is going to be, I'd say, I'd say, a little bit more than the width of the human from arm to arm. So if I was to example, make a reference like so, I can then quickly make a duplicate out of this and just see that here we go. We got ourselves the scale, and it is just a little bit of an extra towards this other side. So I would say it's a bit of, like, an arm length. So this and this is going to be the same as this and that. We are eyeballing this because it doesn't need to be an exact same type of value. But if you want to see the value, if you were to click on this button over here when in edit mode and select edge length, you're going to start seeing the length over like so. So you can use my values as a reference for your own setup. I'm also going to now just move this character a little bit more to the front, like so. And we can use E Z and move this upwards. So the way we're moving this character is simply by clicking GX to move it sideways like so and GZ to move it upwards. We are also in the front view. So by clicking one on our numpad, we're able to go to the front view like So, which is very important because we can go click free, for example, to go to side view, or we can use I believe AltnFe or sorry Control free to go to side. So Control and one, for example, we go to the back side, one will go to the front side. Important stuff when working with free D because you can just simply go from front view, side view, and even top view by clicking seven. All of it, good stuff. We don't really need to get too much into it, but it's worth knowing. So next up is just making sure that this scale is going to be the same as what we talked about previously, which was, just, you know, human scale plus an extra arm length. Let's go ahead and do that. I can actually we can actually just click Shift D, GX and move this a little bit more so that way we have two human references like so, and then we can just simply position them to be more to the center and select this b over here, go on to Edit mode and then use S and X and then scale it like so. So using a value of 1.5 will be quite well. Step is we need to decide the scale in terms of the height. So right now, I'm just going to go ahead and delete this extra reference. And the scale of this shelf is going to be just over an extra head over the scale of this human reference. Let's go ahead and do that. I'm going to go ahead and delete this extra human. I'm going to go ahead and select this and just place it back on the ground. So and we are going to instead of using scale, so as Z instead of using scale Z to make sure it goes upwards. I want to just simply go on to Edit mode. Click free to make sure we are in face selection, just select the upper section like so. Then when we click one, we can see that there is a selection at the top, which means that if we click GZ, it's going to affect the scaling of this piece at the top. So you can see it moving upwards. These numbers of values go in upwards like. But when we are in front view, it might not be quite as visible with the selection, although it's quite good right now we are already at the 2 meters, actually. I don't think we need to go any higher. I think the default version is going to work quite well for us, so that's pretty good. Next step is we can just select this our side and we can actually, we can just click A to select it all and click SY and just squish it up like so. In terms of the scale, we can use a value of, let's say, 00.4, like so. That will work perfectly for us. If we look back at the reference, we can see this with over here. And honestly, that overall type of setup is already looking pretty good. So next up is going to be just going to phase election, selecting this front face, back face, and we're just going to simply delete these bases, we're just going to have this type of setup. We're also going to delete the base phase as well, and we're left with this. Now with this, we can go on to modifiers, a modifier and use solidify just like we did previously. This time, we're just going to make sure that the thickness, if we hold shift is set properly, and by that I mean that if we look back at this, we see that the horizontal bars are going to be much slimmer in comparison to the ones on the side. The reason for that is you can imagine the supports, for example, off the shelf, the main framework, which are going to be these vertical lines, they need to be stronger to support all the weight that comes in the section and middle section, whilst these are just more for stability and, of course, to place those items in between the rows. So we're just going to make sure we do that. We can start off by just making sure that the ructure is set to be quite fix. A value of 0.08, I think is going to be quae. Although I think can be a little bit smaller. So 0.075, there we go. That's perfect. I like this a lot. Next up is we're going to make sure that the shelf at the top is going to be smaller. So what we can do is we can just select this upper shelf. We can hit P and separate by selection. This means that this upper section and these items are now two separate objects. So we separated this inverse U into two separate objects. And why would we do that? Well, the solidified doesn't have much of the control for well changing the thickness, the values individually. There is option like vertex group, for example, that could potentially help, but you will definitely have more control when you just separate an object like so. And now with this, we can just change the thickness holding shift to a much smaller value like so, and I'm even considering to offsetting it a little bit. We definitely need to offset it because now it's overlapping. You can see these kind of artifacts over here reason those artifacts happen is because the mesh is essentially overlapping in the same exact position. Those vases are basically biting for being rendered, and they will definitely cause issues even especially in render. You can see the black type of structure. So we definitely need to fix that. We're going to go on to Edit mode. We're going to select this entire plane. We're going to click and X and just lower down until we get to this value like so. Can be slightly overlapping. I don't mind that because what we can do also, what we are going to do for sure, is that we're going to click S and Y and just make it a little bit smaller like so. There we go, just a little bit to value of 0.38. Yeah. And then we're going to click GST and just move this downwards a little bit. So if we look back at the reference, you'll notice that the upper section does have a tiny bit fraction of a space, that's going to be good for us. We are also going to check the back, so the back has this type of spacing while the front if we have more of reference, reference also has no spacing, so I'm wondering if we should have a little bit more of spacing in between. So SY maybe a little bit more. Like so. I think that's going to work much better. All right, so now next up is now that we have the position of this, we can change up the scale, the thickness of the solidify. Holding Shift, we're going to lower this down, so holding shift allows us to move this in a more controlled manner with higher accuracy, and we are going to set it up to a value of your point. 15. And I think that is a good base. Actually, it's not a good base. I think we should double that. Let's go ahead and do that. Looking at from a distance, I can already see that it wouldn't be enough. And now, 0.03, I think, is going to look lovely. So yeah, we got ourselves the main framework. We're going to continue on with this in the next lesson. Thank you so much for watching, and I'll be seeing you in a bit. 5. Modular Shelf Creation with Array and Bevel Modifiers: Hello. Welcome back, everyone to Blender three D modeling a medieval Research's desk. In the last lesson, we left ourselves with a frame for the shelf. We're now going to continue on setting it up. This time, we're going to make use out of the Array Modifier to make sure we get ourselves some nice shelves. So the way we're going to do it is we're going to simply hit at Modifier tab over here. We're going to search for Array, and there's now two arrays with Blender four. They updated Array Modifier. Previously, the previous array was Array, this one, which is now legacy, and the new array has a couple of other options. So one of the things you'll notice that you have a Gizmo over here, which allows you to control and offset how the ray is being affected, which is very nice, although I'm going to click Control Z because we're still going to use the values over here. This gizmo basically allows us to manually change up the parameters that we see over here, which is very nice, but we are going to just use these values because it's a little bit better for this case. Sorry, let me just scroll down there. We go, that's the modifier. Is going to be applied right underneath the solidify, and it's quite important because the hierarchy value goes from the top to bottom, meaning that solidify will get applied first, as in it will create a thickness for the mesh, and then next up, it'll create array, so it'll give us that duplicate. Then we have some options for shape. We just want a line, so it would go in straight line. And we want to offset not to go in X value, but in Z value. So if we were to start going in the negative value, we'll see that the shelf parts are going downwards, that's quite nice. And one thing that I would say that we should get is we should change the offset method from relative, which would mean basically that every gap is going to be -13.85 in between. But if we select endpoint, let me just before doing that, if we were to change the count or if we were to increase the count, we'll see that it starts increasing the amount of shelves that we have. But if we were to change this to an endpoint, it would mean that once we get this back to 04x and change this to z negative, we can change the endpoint where it ends basically. So right now, we can basically create that same reference that we have over here. So we're going to have the bottom shelf to be going just under where the knees are. So just like, so I'm going to make sure we lower it down to around this amount. And then afterwards, once we get this endpoint, we can basically change the amount of count that we have for the shelf. For this case, we want to just have a four additional pieces. So five, so basically plus the original one, that's going to give us a nice differentiation between all of these parts, which is looking pretty good. And that's pretty much it. We also need to make sure that now we also have realized instances ticked off. By the looks of it, it might not do much. But basically, when we convert this to a mesh, realized instances if this would be ticked off will mean that all of these mesh parts would disappear. We don't want this to happen. It's good for optimization to have this ticked off, but if you turn this into a mesh, you need to make sure that this is ticked on. That's what it means. So, next up is we are going to have ourselves a nice backside. So what's the best way to create ourselves a backside? Well, we can go on Edit mode. We can grab this part over here, both of these edges, we're going to be a little bit cheeky with this basically. And we're going to click F, which is going to fill this in, but don't worry, it's not going to make sense as yet because now we're going to click P, separate by selection. This will basically create this little piece, if I was to go out of the edit mode, it's going to create this little back piece over here, which we need to adjust now. So what we're going to do is now we're going to go back onto Edit mode. We have this selected. We're going to click and X. We're going to shrink this down by quite a bit, L and we are going to make sure that the base, the bottom is nicely matching up to this part. Like, so that's going to be quite nice. Then once we have the general setup, the upper section should also be lower. Like so. Then we can just simply change the thickness because right now it's a little bit too fake. So I'm going to go onto thickness, hold shift, and just low it down until I start seeing a gap or something like this. And then we just go basically back into it just a little bit. Like, no, I think that's quite right. Just going to make sure that we also maybe push this inwards a little bit because now we have some parts overlapping over here to make sure that we don't need to be perfectly aligned. What we can do is we can click GY and just move this inwards, like so, and that's going to just help us get a nice little backface, like so, and there we have it. We got ourselves nice little setup with all the parts added. So it's already looking pretty good. Next up is going to be adding some beveling onto our parts. We can simply do that by selecting the parts like so add modifier, selecting bevel, generate and just like that, we got ourselves some extra bit of bevels, except by default, it's going to be a little bit too big. So what we're going to do is we're going to hold shift, and we're just going to make it a lot smaller in amount. So if we want to have extra smoothness, we could change up the segments. That way we could have even more of a softening look, like so. But honestly, having the default of one, just to kind of get that sharpness off is going to be more than enough. And there is an angle option over here, but because we're just dealing with 90 degrees angles, we don't need to really worry about it just yet. We're going to worry about it when we're going to do some decoration at the bottom of the shelf, but that's just going to be in a bit. For now, though, this type of setup is quite nice. What we can do is we can also just simply grab an entire shelf, like so, holding Shift, grab the rest of the pieces, like so. And then with this selection entirely, I'm just going to hold Shift and just make sure that this is the orange, the main selection, the one that we just made the bevel for. Then we can just click on this arrow over here and there is option to copy to select it. If we were to do that, we're just going to copy this same modifier onto the rest of the items, and every single one of them will use that same option. So it's going to be quite nice. I don't like backface having such bevel though, so I'm just going to lower it even more. So I think it needs to be a harshal little bit because it's just like you can imagine a plane in the back. Being, like so, even though it's made out of, like, wood, it's still much thinner and whatnot, we can have those edges a little bit more sharper. And the rest is going to be left as is. That's pretty much it. Now we're going to continue on with the base part of our shelf. But that's going to be in the next lesson, though. Thank you so much for watching, and I will be seeing you in a bit. 6. Boolean Detailing and Bevels for a Clean Shelf Base: Hello, and welcome back over on to Blender Fred modeling and medieval Research's desk. In the last lesson, we left ourselves with a shelf, but we need to just now focus on the base part of that set shelf. Make sure we make a nice little, well, decoration for the base to just make sure it's not just a chunky type of a setup. So what we're going to do is we're going to create ourselves a new form. And before doing that, I'm just going to make my life a little bit easier and actually, no. I was thinking to change the cursor position, but that's not going to be needed because it's already nicely centered. We're going to create ourselves using shift and A, a new cylinder, and we're going to have this set as a little bit lower. Let's see, 12 is reasonable. It's for the base, so it doesn't need to be quite as much. But maybe 18 is going to be quite nicer, but a lot nicer. Let's go ahead and use that. Let's go ahead and just rotate this by 90 degrees and use it on just one end because this, as you remember, is just going to be basically flipped over side. We can make use out of that in a bit. But now, though, let's go ahead and just work with this e. And the way we're going to do it is because looking at the shape of the form, we have a cylinder at the base like so, but we also have a cylinder at the top. So the way we're going to approach this is going to be actually turning this into a two D plane first because it's just going to make our lives, much easier just manipulating this shape. So let's go ahead and do that. We're going to just select the face front. We're going to click sorry Control and I to invert this entire selection and delete the pass. This way we have ourselves this option. I'm going to hold Control and click free to just make sure we are on this side. And then what we can do is we can just shift and D, duplicate it, and then GSO click Escape, GZ, and move this upwards a little bit. Then we can make this a little bit smaller, like so, and we can see where those vertices kind of overlap. If I were to go to vertice mode, we can see it a little bit better. We can kind of align those vertices legs. So and we're going to get this sort of a form, which is going to be quite right. We're not worried about the scale or anything just yet, but once we have this type of shape, what we can do, we can just have this so selected. We can click, and we're going to merge by distance. Merging by distance will allow us to merge these vertices together, but we just need to increase the distance amount. And once we see at the bottom, where it says removed two vertices, it means that we basically well, merge these parts up. We can just go to verte selection, see that they did merge up just by moving it around and then hitting escape to make sure we don't move anything. And then finally, the final step would be to just simply remove these vertices over here. So we can just select them, and I believe we can just dissolve vertices and select this part over here, dissolve edges. Oh, no, let's go ahead and leave this as is. I think that's going to be quae all right. We don't really need to worry about the shape as a whole, because we're just going to make this as a free diversion. We can just extrude it fut like this. And we can just make this smaller until we get the desired shape. So this desired shape is going to be basically if we have a look at the base because I think that's the most important part. We got like one part over here, one part over here, and this part, I would say is kind of like two parts of these ends over, like so. So you can imagine that two fourths are going to be taken away. And looking at this, we can make it just a little bit smaller. Like, so, then we can perhaps position. Like, this part basically starts going downwards, like so and then stops. So we can just lower this down a little bit, like so, and make it a little bit bigger, a little bit bigger, like so, like so. I think going to be quite all right. I'm going to click X to make sure we expand it to both sides. And then we can select this shelf side. We can make use out of the bevel tool. So to use Bevel Tool, we can just use a modifier bevel. So we can select it. At the bottom, we'll find bevel now we can make use out of an option called Boolean. So let's go ahead and find that Boolean, like so. And we're going to have ourselves this option with spart selected, we can now select object which we're going to use for Boolean, like so. Once we have it selected, we can make some final little tweaks, and it might be a little bit hard seeing what it's doing this shape. So what I do recommend you is going onto the shape itself, going to the object properties and visibility. The viewpoard display, and there is option display as, set it to wire, and there we go. We're going to see this option. Now when we go back to the Boolean, so we can change that if we were to change to difference. Difference doesn't seem to do anything. So what's going on over here? Float. There we go. We're going to change from exact to float. Exact is a more accurate operation, but for some reason, it wasn't working, but ev wave float will do the trick adjust fine for this specific setup. And once we have this setup, in order for us to preview it a little bit better because now we don't have option to view the bevels, what I would like to do is just grab this option over here and just move it above the bevel option, and there we go. It's now going to try to apply the bevel right afterwards. But as you can see, it is a little bit messy. The main reason is probably most likely because I will look. Either because of the faces, face orientation. Yeah. So this is inverted. That's what I was that's where I fall. So the reason that these bubble options aren't previewing it properly is because this option over here, by default, it was well, inverted faces. And the red indicates that the faces are facing outwards, not outwards from the object, but from you. So when we're seeing the red, it means that it's not facing the right way. If we go on the inside, we can see that everything else Everything else is red because the faces are facing inwards, except for this part and this part needs to be basically flipped. But the way we're going to flip it is we need to understand that Boolean basically inherts the values of an object, whether it's materials or face normals. So we need to just grab this pace, grab this entire object, go to edit mode, select the entire piece, and hit Shift and F. Alter F. There we go. No. Shift and N. There we go. Once we do that, we're going to see that this is automatically getting fixed, that we don't see the bases now and they are properly on the inside, meaning that the bevel option is now able to follow along the shape nicely and doesn't give us some weird artifacts, which is very nice. We have the shape set up like so we can also just select this object, click Shade autos mooove, which will basically is moving out these parts over here, which is not moving it out because we also need to select this option, this object that's being beveled, and just shade auto smoo. There we go. Now we're going to have ourselves this nice curve. We're not going to see the edges of well, the object. We're not going to see the topology, it's going to be much nicer. That way, we can still make some final changes. So for example, we can select now this object. We can click GST and just kind of maybe tweak it if we want to. But I think maybe I'll make it a little bit bigger. Here we go. Something like this and lower this down. So, something like this will work very well for us. I think in comparison to reference, maybe this part is a little bit too big. But I think I quite like it a lot more, actually. It gives us a nice result. All right, so now that we're happy with this, all we need to do is just go back onto an object, go onto Boolean and hit Apply. This will individually apply this for just this object, this Boolean. So once we hit Apply, it just creates that same mesh now. It means that we don't really need this up piece. We can go ahead and delete this junky setup, and we're going to get ourselves this nice little mesh setup. So we can see that this is now an object piece. Which is looking very nice. Alright, so now we're going to continue on with this in our next lesson. We're going to start adding some texture onto it. So thank you so much for watching, and I will be seeing you in a bit. 7. Texturing Wooden Shelves with Smart UV Projection: Hello and welcome back on to Blender F D, modeling medieval Research's desk. That we have ourselves an entire mesh setup. We're going to continue on with textures. And for us to start that, we will need to firstly apply the material within the asset manager that we created previously. There we go. Resource pack alter. Now we should have all of the items required, and what we're going to do is simply find ourselves to materials. We are going to find the dark and light version. I believe the dark wood is going to go on the back side. We can simply drag and drop it onto the back face, like so, and it's going to take some time to load in order to see that we applied it properly. We're going to click on this material preview on the top right. There we go. And the light version, I believe we can just apply it on the side like so, and that's what we're going to get. Alright, so once we have those two materials, we can also just select the sides. We can hold Shift, select the middle part. And sorry, we're going to hold Shift again, making sure that the right side is active. We can then hit Control L, and we can link materials. So from the orange selection onto the darker more reddish selection is going to just runs for that material data. Going to get ourselves this material. By default, it's not going to look quite as nice. The main reasons. Well, there's two main reasons. One of which would be that this shader is set up to be used for cycles render. If you go on to cycles render, we are going to see that we have some edgeware and all of it is going to look a little bit better, although it's still not quite there yet. And the reason it's not quite there yet, to actually. And the reason it's not quite there yet is because, well, the UV coordinates, the data that tells how the material gets applied is not properly set up by us. So we're going to use this lesson to set it up properly. So in order for us to do that, what we are going to do first is we're going to make sure we select this entire oh Make sure we have box selection. We're going to select this entire shelf so going to hold Shift and we're just going to make sure that well, the sides are selected. Quite right. We're then going to just simply convert all of the modified data onto its own mesh setup because right now we don't have entire mesh setup, meaning that the mesh data for the sites, for example, is not going to be quite working quite as well because it's just going to be used from solidify and Solidify doesn't have the data on those sides. So what we need to do is simply we need to apply all of that modified data. Instead of clicking one by one, like we did previously with the bullion, we're going to go onto object option, convert, and convert mesh. This will convert all of the data to a mesh data. Now if we were to go on the edit mode, we'll see that we have topology, including the bevel, including the solidify option, all of that nice stuff. For some people, be nicer to keep the bevels as a separate modifier. I personally prefer to just apply them right away because I get a nicer idea and more control over the UVs of the asset. But boy, in this case, what we're going to do is with the selection, which is going to go on to Edit mode, we're going to make sure we have this entire selection, go onto Edit mode for the shelf, select it all, and we're just going to click unwrap and SmartTV Project. And this is going to open us up with a tab for selecting angle and the type of packing method for what we could do. But most of this is just 90 degrees. We're going to go ahead and hit unwrap. And that's what we're going to get by the fall. This is the type of option or material that If we want to see how the material now looks like, all we have to do is move our mouse on a top section and just scroll it until we get to the material tab. Then we just select this material over here because the window now is much smaller. This entire thing on the top doesn't fit. So by just scrolling whilst hovering our mouse, we're able to select this button. And now we see that this is how it's going to look like. And by default, this is looking right, but we just need to rotate it 90 degrees. So this material is using a seamless material. If I was just to change to wood, you would be able to see it. This is what's being used, but this entire grain of wood is not going the right way. When we unwrap it, there is an option for rotation method to be changed from vertical to horizontal. We could use that to unwrap it, and now the grain is going to go the right way. One thing that we need to consider is that perhaps maybe the scaling might be a little bit off, maybe some parts might be looking a little bit stretched. One of the reasons for why that could happen is because the scaling affects the unwrapping. So if I was just to click on this on this section over here, click see that we have scale over here. By default, now it should be one, but if I was to use S Y, for example, I'm going to be stretching it out. And you can see that the scaling of the resolution for, well, this grain of wood is getting worse. So when it's unwrapping, it's not considering the scale. It looks at the default mesh before the scale is getting applied, and that causes some, well, issues when we're looking at the object. So a quick fix would be to just select the entire shelf. And just click Control A, and rotation and scale. Applying that would help us out with it. We can just apply scale, but rotation and scale means that if an object is rotated a little bit and whatnot, it also gets applied as a default parameter. So that's something good to know. So now we can, again, just quickly redo the Smart TV project, and this should be quite right. There we go. And we're going to get this type of result. This seamless material is, well, has seamless textures, meaning that by default, the textures would occupy a squared space, but for this case, because we're also keeping it in blender as a material, we can just upscale it, so until we get a result of wood that we are satisfied with. I'm going to go on to material preview also just to kind of preview a little bit how it looks. And something like that might be quite nice, a little bit too much, I'd say, there we go. Something like that will be quite nice for us. I'm just checking the wood, so yeah, the back wood going to be quite nice. We can also go on the shader real quick and just lightly rotate the sun. So we could preview how this looks like a little bit. There we go. Yeah, this looks pretty good, say. All right, so now we have ourselves the wooden shelf. We can now go on to layout our modeling tab, I way it will work for us and we can select this option, this entire shelf, and finally, that we have all of the item parts done, including this base part. Right. So most of the shelf is set by set to 90 degrees, which works quite well, except the only thing that would get in the way would be this bottom part over here. So how do we fix it? Well, the quickest way of fixing would be to go to edit mode, selecting one phase over here, holding control, and selecting this our phase. Now I'm going to go to the same part on here, holding Shift, selecting this part, selecting holding control and shift, selecting this out part. Oh, now it's going the wrong way. What's going on? Control and Shift going to go through this part over here. Control basically allows us to use pick shortest path, meaning that we are able to while control, we're able to make a selection that goes from A to B in a short path. In this case, I was trying to go down the wrong way. So to fix it, we just held control and just selected the part at the top, and then at this part over here. So now we have selection on both sides like this. Holding Shift, I was able to make selection on the other side, basically. And you remember how I talked about the bevels a little it can get a little bit complicated while working with them, but honestly, it's not that complicated in this particular case. We can hold control and click Plus, and that's going to increase selection to bevels, meaning that the bevel are also going to be flowing with that UV setup. And I am seeing that there is a bad selection. Yeah. It seems like there was an additional selection. I'm going to hold control and just select these faces, so tonight we have this. I was able to notice that by the way by just looking at the faces in UV. Because the selection was way too big, but now it's only these parts at the bottom. So now we can just click U and unwrap. This time we can use unwrap conformal, which is going to basically stretch the UV coordinates you are nice little setup, and there is a An issue. Okay, so I'm going to click Control then going to just click Oldst to make it transparent, and I'm going to position my camera like so and hold control and deselect this part and this part. Again, basically just this selection. We can also click Shift and H and see what exact selection we are having. Which might be a little bit better actually for this particular case, just to kind of visualize it. Once we have this type of selection, we can use unwrap conformal, and there we go. We're going to have this type of a look. We just need to rotate it, so hover the mouse over the side, use 90 and make this smaller as well, because we don't want the wood grain to be too high up. Now it's going to be good. We can go and use AltenH whilst in added mode, make sure that everything is de selected from the hidden from the hidden mesh setup. And now this grain is going to be going in the right way. So I'm very happy about that. The entire setup of wood is going to be going nicely. You can have a look a little bit closer up. Sometimes I'm worried about, you know, the bebles, but even how small they are, in this case, we don't really need to worry about them. For example, over here, this grain goes vertically. Whilst on this side, oh, it's actually also going vertically. It's good for us, but in certain cases, it might go sideways because it inherits upper value. You might need to be wary of that. Again, because the bevel is so small, it's not going to be noticeable, so all is good. You now go ahead and select the shelf. We can hit Control J, and now we have ourselves a shelf. So that's pretty good. We can now move this shelf to the section on our map. There we go. We're going to double check. The setup, the layout. So it's going to be like over here or over here, actually. Yep, so just a little bit leaving a gap for the flag. So it doesn't actually overlap it when placed and whatnot, doesn't look too well, too close. We're going to just rotate this and move it over, like so. And position it a little bit, leaving that bit of a gap. There we go. And that's it. We got ourselves a nice little bookshelf. Alright, so that's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. 8. Modeling and Texturing Realistic Books from Scratch: A Allon, walk back a run to Blender FD, modeling a medieval research's desk. In the last lesson, we left ourselves off with a lovely shelf. Now going to continue on modeling process, and this time, we're going to get ourselves some books in the shelf. So for us to do that, we are going to find ourselves asset manager, and we're going to go to Extra to find Geometry Nodes book setup. So all we need to do for this is just simply drag and drop it into the scene to get this result. And this setup, allow us to basically stack multiple books across our shelf, except that this setup is, well, using some default template books, we need to recreate our own ones to get a nicer look out of the setup. So how can we do that? Well, we're going to go ahead and just quickly create a cube for starters. We're going to go on Edit mode. We're going to make this much, much smaller, and then we're going to start doing some well editing. If we look at the reference, we're going to see that these books on the back are a lot less detailed than the ones on the front, so we don't need to worry about the detail too much in that regard. We just simply need to create some variation that would be just simply, nicely placed in a section. So this one over here basically is what we are creating for reference. All right, so what we're going to do is we are going to start by making this a lot thinner, like so. Even thinner, let's say, then we can click and X. Make this wider, smaller. Something like this will be a good starting point. Then the next step is we can make this into covers. So we're going to go on to face election. We're going to grab these pass. We're going to hit Shift D, escape, and then hit P, and separate by selection. That way, we have ourselves two objects, one for the base and another one for this section over like. If you're struggling to make a selection, just make sure that you are with an outliner. You can find this cube over here and just switch between them, and clicking G and then escape to basically see which one you have selected gives a good starting point. Anyways, we're going to now go ahead and get the selection. We're then going to go ahead and simply make some iterations on it. But before making iterations, I'd say we can go ahead and add a modifier, solidify. This way, we're getting some thickness out of the setup. Which I noticed is not going the right way. So I'm going to check phase orientation real quick. Is there an issue in regards to that? There doesn't seem to be an issue. I'm going to turn on even thickness, and now going to play with this value, and it seems like it doesn't want to work properly, and I'm wondering why that is the case. There we go. It works now. So I just reset lutify maybe I had a different selection but now you can see that it works. Now we can go onto Edit mode, grab selection for edges, GY and extrude this outwards a little bit. We're going to then grab the other edges. I think we can just use Old Z, make it C frog. That way we can just select these edges, and then S and X, extrude it out. So I'm going to real quick, just check the reference. It's not by much, just by a little bit. You can see it going outwards a little bit, like zo. We can just make it just that little bit. I think that's going to be quite right, maybe even too much. We need to very go. Something like that will do us quite nicely, like. And then afterwards, we got this face over here. We to click old Z to go out of the sea fry mode. Then we can just move the solutle bit to the back like so, and we're going to make this sort of a spacing, which is very nice. Then afterwards, all we need to do is just simply bevel some edges off. So we're going to go ahead and go back to the Si fry mode in edge selection. Going to select this. I'm going to click Control B and make something like so, there we go. Then afterwards, what we're going to do is we're going to click Control R. We're going to make an edge loop over like so. If you're struggling to see it, just click old Z. You should be able to better see it. Maybe that actually is worse. There we go. SFru is a little bit better. If you place the edge loop a little bit off, you can double click G, which allows you to basically slide this edge, like so. We're going to place one edge over where the book part starts, where the paper starts, we're going to do the same on this out end, like so, and then we're going to make additional edge loops in these sections. We're going to grab these, click S z and then indentum just like that. And that's going to create that nice indentation. I'm just wondering if that's a little bit too much. Let me just have a look, maybe a little bit too much. There we go, something like that. I think that works quite nicely. Okay, let's right click Shade Oto Smoove, just to make sure we get rid of those pesky edges. Increase the angle a little bit. There we go. I guess it's raber low poly. That curve was rather low. And I think we are pretty much done. The only thing is that we potentially need to add some bevels and such. Let's go ahead and add them in. Thickness. Oh, sorry, that's a thickness. We need a mount and lower this a little bit. Just a small little edge. There we go. Very nice. And as for this part, we can go into isolation mode by clicking the slash button like so, which allows us to basically hide the cover, and then we can select the top, the bottom, and delete these pass. The reason being is that we're not going to see the paper itself. We can click the slash key again, and that gives us some bit of optimization for the section. Uh, for this part, I don't think I want to add any of the bevels. I don't think it's needed because it's paper corners, such sharp corners would look, I think, much better. So the next thing is simply adding some tures. In this case, I don't think we need to apply solidify or bevel for this particular setup. We can just go ahead and select this, go onto Oh, sorry, let's select the upper cover, go onto materials and find ourselves lever. That's what we're looking for. We're going to just apply it onto the book. And for this, we are going to apply paper, but paper light or paper dark. We have two options, basically. Let me have a look at what sort of paper was here. I think I think this is light, actually. This does seem like a light setup. So it's going to apply it, and there we go. We got ourselves a nice little book to use. Just to make sure we got a nice setup, I'm going to select tie part, going to go onto Edit mode, UV editing that is, going to it Tab. It isolation. That way we have just a book. And then we are going to just simply UV and wrap everything. I'm going to select the book first, the book cover, going to go to Modifier and apply Solidify. That way, these edges are going to be last separately. There we go. It has its own mesh now. And with this, I believe we can just simply UV and wrap it. But I'm just going to double check the scaling if everything is right. So we have, let's say, almost two rectangles placed together in terms of the scaling. Just want to see if the scaling matches. If you have this issue, by the way when you click seven and it goes to the top view, you can click four to just rotate your angle, and that way, we can just see how it looks like, well, not sideways. So that's also a nice little trick. And I think if I think it's right, I am going to just select this entire piece, go to Edit mode, and I'm going to click Old Z lick one to go onto vertex selection. Just select this entire part. So G, Y, and then we can just move it outwards just a little bit. Like so, so final adjustments, basically. Afterwards, we can click free to go to the face selection, and before doing anything else, I'd like to go onto Object mode, just select entire item and use Control A, rotation and scale. There we go. All right, so we got this setup. We can go on to well, edit mode, a selection, unwrap SmartTV project, and we're going to get ourselves nice little setup. And there might be some *** First of all, going back to rotation, when we clicked seven and clicked four, we rotated the book, yes, but if we now were to rotate it, you might notice that the view is kept in orthographic view. Obviously, that's not what you want. You want to make sure that it changes to perspective mode. So if we click seven or one or just basically go to the side view, we can then move it, and then you can see user perspective. For some reason, Blender, when you rotate an angle, decides to lock down orthographic view whenever you're rotating. But if you click on just, you know, top down camera and then move it again, then it's going to be changing to perspective camera angle. So you avoid, that's good. Now, let's see. Um, oh, the book looks good. Everything except for these parts, let's make sure we fix that. I'm going to just click A Z, click L. We select all of these book edges and just rotate. Move my mouse to the left hand side, rotate this 90 degrees. Doesn't matter if it's overlapping or not because it's nice semils textures with some, well, cycles render system set. And if we were to just check how the book looks like, we're going to get this sort of a look, which I think looks lovely. We might want to, for example, maybe change up the angle of this, make it maybe larger if we want to, whatnot. But I think, honestly, I think it looks quite nice. I'm happy with this result. Let's go ahead and keep it as it is. And yeah, we got ourselves nice little book. Let's go ahead and make use out of it. Let's go on to the modeling mode. We can just go on to render view. And this thing needs to perhaps be well, firstly, it needs to be one object. So we're going to go ahead and do that, and we're going to then put this as an object to be used for Geometry node. But I just realized we are running out of time, unfortunately, so we're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 9. Filling the Shelf with Custom Books Using Geometry Nodes: Hello and welcome back everyone to Blender FD, modeling and pdvalRsearchs desk. In the last lesson, we got ourselves a nice little book to work with, which has basic shape to be used for background prop books for the shelf. So we're going to now make use out of it. And before that, we need to make sure that this is just one object, not just two pieces. As right now, it's well, two pieces. We don't want this. We're going to go ahead and select all the Control J to join it, and there we go. We got one nice book. Now, next up is making sure that we see what this geometry node sample, how it's being used. So first things first, we notice that we have well, seed will help us to randomize. We can talk about that later. Book collection. Book collection is an interesting one because it is using book sample. And book sample is I don't see it here. I think it's using it from a default from default file of the Geometry Nodes. If I was to make a new collection, we'll be able to fit this book in. Let's go ahead and do that. We're going to go ahead and just select this book. We're going to create new collection and book prop and call it like that. Let's go ahead and create it. And there we go. We got ourselves a book, prop collection. And if we want to be super orderly, we can go ahead and select this book. We can call this book so. Alright, now next up is going to be selecting back onto this Geometry node, getting book collection to be changed to book prop. And we'll notice that, Oh, this is a mass. What's happening? Well, this book has a different rotation in comparison. What we need to do is select this book, go onto Edit mode, select it all and click RY 90. That way, it will just simply basically rotate this entire book, like so giving us this type of a result, which is very nice for us. Next up, I want to figure out whether or not the base is touching because we want all the books to be on the same level. Believe this is using scaling to offset some scales of the books, which is going to be at the bottom over here, height, I believe. Yeah, if we scale it, we'll notice that it offsets it like this. So I think we're fine. Yeah, I was worried that the origin point is going to get in our way because it's going to be scaling based on the center point, but it seems to be scaling on pivotal point of the boundary box basically of an object. So it's always going to just reset it at the base. Which is good to know because, well, we need to figure these things out before doing anything a voice is going to be very, very bit of a nuisance working with all of these books. So next step is we are just going to play around with some settings. Don't be afraid to play with the parameters. We can always just, you know, check what each one of them does. So with randomness, we can just have some variation of books. You see that putting it to extreme value flips those books. But even if they're flipped, we can click on face orientation, and we'll see that you're going to look right. In the render, they're going to be fine. So that's something worth considering for us. Oh, it is better not to have such a high width randomness or something like 0-1, I'd say. Will be quite right. I'm going to have face orientation on just in case. And yeah, that's looking quite right. Okay, so now we can populate our bookshelves. Let's go ahead and go to click seven, move the bookcase, click RZ 90, and let's scale it down a little bit to get them into our shelves. Like so maybe even less. And now we can just simply determine how much how big we want these books to be in. If we look at our reference, we'll notice that, well, there is a bit of a gap in the upper section. The variance is not too much in terms of the thickness of the books. They're just background probs. Basically, there is some big variants over here, for example, but most of them have just a bit of a gap, and that's something worth knowing. So we're going to perhaps First of all, play with the thickness a little bit, random width. I think that's quite all right. We're going to make them a little bit bigger just to make sure that it's like this. And then depth does not need to be too much variant. So I think if we keep it closer to a value of one, it's a multiplier. So when it's one, it's basically not going to do anything when it's zero, it's well, going to be like that. So one is keeping the original book scale, which is good. Holding shift. We can just play around with it with the randomness itself. And that's good. I place the books in the shelf. And we look, I think that's quite right. I think just the thickness, the width is a little bit too fiick, so I'm just going to low this down and increase the thickness over this part. And once I have something that I like, we can also play with the height a little bit. So height, I think, by default is okay. We can just increase it just a little bit to make sure it's kind of almost touching the upper section. And then we can finally just increase the amount of books we have over here. So, something like that, we'll do the trick. Like so. So you'll notice that this book on the side is touching the edge. We can sort that out really quickly. I'll show you how. But all in all, these books are looking quite nicely. So we can now go ahead and click Jif D, GS and move it down. Just go to position my camera a little bit so I could see what's going on and do it again. And now comes the fun part. So basically, once we have everything sorted, the pattern sorted, we can just change up the seed, and that's going to give us more unique type of a look. One is going to be seven, another one is going to be eight, another one is going to be six. And that's all we need to know. Now, if we were to hold Shift and just kind of scale these books down, we could change them up, be able to fit them a little bit more. Or if I click Control Z, we can simply, for example, remove this entire book by lowering the count. We have two options, basically. So for these bottom ones, I'll remove the count. But this section, I'm just going to click holding Shift and just lowering the whip and making sure it doesn't overlap with the book part with the shelf, and I think that's good. I forgot the bottom part of the shelf. I think I'm just going to go ahead and duplicate this up part and just change the seed a little bit, making sure that we have them placed in the right section in the right location, and there we go. Is looking quite nice. Let's go ahead and have a look at it in our endo you, and there we go. You got to sell some nice, lovely books that are going to look very, very nicely. Just going to double check the reference just in case everything is right. That will look. So yeah, every scale seems to be alright. And the final render over here, it's going to look like that. Yeah. Okay, so I think I am pretty happy with this result. Nice background little props. We can now continue on with other sections of the environment. But that's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. 10. Modeling a Stylized Flagpole and Cloth with Clean Shading: Hello welcome back on to Blender of three D modeling a medieval researchers desk. In the last lesson, we left ourselves off with a nice bookshelf, which has all of the books for us. One thing that I do realize now that I look at it is that if we look at it through a mesh setup, we fought a material. We're going to notice that the books look like their faces are a little bit off, like it's trying to soften it up somewhat. So what we need to do is simply we need to click back on the book and just use Shade Oto Smooth. There we go. And that's going to fix it over, like so, and now we're going to have that shininess, that odd shininess that we had previously. Alright, now we're going to move on to the next object, and that is going to be our beloved flag. So over here, we have ourselves a nice little flag. Let's go ahead and recreate it. And it's going to be a rather simple setup. So let's go ahead and do that right away. We're going to go ahead and just simply hide this book out of the way. So if we look at the book, we see that we placed it in a collection, which is going to click this tick box off. That way, we're hiding the collection, which includes the book, but it's not going to be hidden in the bookshelf. Bookshelf will still have all of those lovely books. So next up is going to be just figuring out the scale, the proportions of this entire setup. So if you look at the entire setup, the flag, you're going to start off with just this part of the year, the metal foundation of the flag, which is going to hold the entire flag, and it's going to be a rather simple setup. Going to start off with a simple cylinder. Let's go ahead and create ourselves a cylinder, so this cylinder can be quite a bit smaller. We can set it up to eight. And the reason we don't need that many topology is because this is going to just be a pole, which is going to be rubber fin, which is also going to be covered up by, well, the fabric over here. So it's barely going to be noticeable, and we don't need to use any extra topology if we don't need to. All right let's go ahead and just rotate this by 90 degrees, RX 90, sorry, R Y 90. There we go. We can just scale this down until we get more of a reasonable thickness, and then we can just use S and X and just scale it upwards. Afterwards, we can just use Shade Smooth with an increased angle so because it's based on an angle, we just need to make sure that it's looking quite right. I'm going to check real quick the thickness in our reference. So we can, for example, use the R that we have over here, and the itself is going to be, as you can see, like, almost, I would say, 20% less than a year itself. We can just use that as a reference. And we can just move this upwards. Oh, let's use Gs to make sure we don't ruin the symmetry in our world space. And now we can just make it smaller to use just a bit of extraction, just kind of see how it looks like and compares to the e. And something like this maybe a little bit smaller. Something like so, yeah, that looks quite all right. I'm happy with this. Let's go ahead and just simply make it, use S and X, just scale the thickness of it. And for the thickness, we can simply just look at, for example, the shoulders over here. And in comparison to the shoulders, it's going to be just well, around that same amount, so I think we can just have it something like so that's going to be quite all right. I believe my measurements are turned off, so I'm just going to go ahead and turn them back on. Or actually, they're going to be visible only in this format. So it's actually 2 meters. Or it's not going to be 2 meters because if I was to apply scale, we'll notice that this is the type of scaling that we're going to get. If we are scaling it in an object mode again, it's going to only change the transformation in our scale over here. But once we apply it, we can then see a proper scale within edit mode. So something like that is going to be quite right. Next step is just within edit mode, we can just add a cube, which is going to give us this lovely cube over here. We can just make it smaller, too small, something like this and just move it to one side. So just reposition it till we get something that would help us holster up this entire section. So just this side piece over here. If we look at it from a side view over here, it's just going to be going backwards a little bit more into the wall so we can make it extrude a little bit the back. I think this is a little bit too thick anyway, so we're going to make it just a little bit thinner GX, move it inwards. And for a nicer look, we can also just bevel this off a little bit, like, so this time we can use bevel options, increase the segments a little bit, lay around with the shape if we want to. I think this is going to look quite lovely. Then afterwards, we can just grab the back piece a little bit. We can click I to make an inset, which is going to just scale in this selected face. And then we can just click E to extrude, and there we go. We're going to get this lovely type of chunky look. Afterwards, we can also just include a Bevel Modifier, just to make sure that it's looking quite nice. And I just realized that this shade Auto smooth wasn't working with the entire setup. So maybe ignore sharpness. Yep. So in certain cases, shade Atosmoove when creating new topology within edit mode will not show up with the shade smoothness. So what we can do is just we can click on Ignore sharpness and that's going to help us to kind of stabilize the entire setup. I'm also going to lower the angle by a little bit. Until we get back those flat faces over here, this pole should still be remaining the same. So that's going to be quite nice. All right, next up is just simply grabbing this entire piece and duplicating it to the outside. The way we can do it is in order to symmetrize this, all we have to do is simply just select this mesh by clicking L, and I'm just going to make sure dlimeter is set to normal. Afterwards, we can click Mash and symmetrize. And this will give you the symmetry to the other side. If you're not getting it in a proper end, just make sure to switch between those angles, and I believe because we rotated our object, it's going to be from Z axis. So that's why it's giving it to us. But yeah, just have it, like so, and it'll just snap it to the other side. And that's all we need to do for this setup. So next up is going to be setting ourselves up with a flag, which is going to be a rather simple task for us to do. We're just simply going to go ahead and create ourselves a plane, rotate this plane at 90 degrees and go to Edit mode just scale it down, and then reposition this be something like so. Alright. Yep, that looks a little bit bigger there we go. And then we're going to leave a little bit of a gap at the bottom, because if we were to look at our reference, over here, we're going to start getting the section from here to just attach it to the pole itself. So we're leaving this bit of a gap, basically. And so, yeah, this gap should be quite alright. Then next up, we can just decide about the Then next up, you can just tie about the scale itself. So we're going to basically start with this part over here. So this is going to give us the square. So this will end just in regards to this sort of a scale just underneath a Strzo and the part that ends it is going to be the top of his forehead. So we can actually move this entire setup just to kind of help us get a nicer result. Do what we're trying to do, like so, and this part can go a little bit lower. Like so. So I'm just looking at the grid lines, by the way, making sure that, you know, we have the right kind of look for that, which I think is quite okay. Alright, so next up is going to be just giving ourselves up with more triangulated space towards the end. We can extrude this bottom part, so we can click G Z and just move it downwards and then make this sort of a look, which is looking quite nice. Next up is going to be just simply giving us some extra topology to work with. And for this part, we can just figure out how many of these stripes we want in this part. So we want one, two, three, or five, six, because these parts will also have the gaps in the middle. So it's going to give us five gaps in the middle. And for that, we just want to create six parts with five gaps in the middle. So we can do that. We're going to just use Control R and create ourselves this sort of a scenario. So one, two, three, four, five, six, is that correct? So I'm just going to double check. Oh, going to hit escape, so we're making sure it's right in the middle. So one, two, three, four, five, and that's not enough. I'm going to go ahead and just undo it real quick. And increased amount. There we go to our number of ten. And now next up is just going to be just selecting this section, like so. I'm just double checking. One, two, three, four, five, six, yeah. I'm actually going to make it my life a little bit easier. I'm going to just select these parts instead, sorry the ones that we have the gaps in. And then we're going to use a local individual origins and SNX and just scale these down a little bit more. So that way the gaps are going to be a lot nicer. I think that's a lot smaller in comparison to these parts. And next up is we're going to add some extra topology in between. The reason being is that we are going to use some simulation. So you can see the topology now is a little bit looking maybe a little bit off because these are smaller and these are bigger, for example, and whatnot. But for something like this, it's going to be quite right. And I'm just checking one more thing. I would like these parts to be a little bit, just a little bit wider. I'm going to go ahead and increase the scale. Just a little bit like so. I think that's quite right. And next up, you can just select these upper parts like so. And we are going to actually continue on with this in the next lesson since will be running out of time. Thank you so much for watching, and I'll be seeing you in a bit. 11. Animating Flapping Cloth with Shape Keys and Cloth Simulation: Hello and welcome back here. Everyone. Hello and welcome back everyone to Blender PD modeling a medieval research's desk. This is where we left off with a nice little flag, the base mesh photo flag with its holster, which we're going to attach it to the wall. We're going to go ahead and select this selection. We're also going to go ahead and actually go into object mode, grab both of these, just the holster and the flag, then go back onto Edit mode. And that way, we can select these edges like so, click H to hide it, then re select the ones that we needed, like so, and we're going to click free. We called ResideVew. And afterwards, we're just going to click E and extrude it all the way around this pole. So you don't have to worry about it if it's overlapping a little bit or what not. We can keep it simplistic, and we can just simply readjust it afterwards. All we want is something like, oh, now it's going to give us this kind of a look, basically. Extruded the selection all the way around. We can use shade Oto smooth for just the flag part though, and we got ourselves this type of look. Additionally, we're going to also use a modifier for solidifier which is going to give us a thickness, but the thickness itself needs to be just the minimum. So something like 0.001, small little bit of fabric, like so, and then we can check, for example, if there's parts that are overlapping. So for example, over here maybe, we could potentially fix that up. And the easiest way for us to do that would be to, for example, grab these parts over here and just kind of move them a little bit on the side. Something like that is going to be quite alright. I think it's quite nice. So next up, what do we do about it? Well, we can go ahead and create a simulation. In order to make use out of the simulation, the first thing that we need to do is simply go on to physics properties. Then we're going to enable Cloth Simulation. If we enable Cloth Simulation, we can go on to layout in order to get ourselves a graph, I believe, by default, it will be just a timeline like so. And if we set this to a value of zero, we're going to be able to basically go to the start of the simulation, and then once we hit Play, it's going to drop down. So first things first, what we need to do is just figure out how we can make it not drop down. Well, we're going to have an issue with this setup, and that issue is going to be that well, the Cloth Simulation needs an idea of what's going to be simulated. We need to basically tell that we need to pin the upper section of the setup. So for us to do that, we're going to create ourselves a weight group, which we're then going to apply onto the Cloth Simulation. So weight groups are basically, if we go onto weight paint, it's going to allow us to create vertex paint information, which we're then going to use as a coder to say where exactly we can pin down this cloth. So for us to do that, we're going to firstly go onto Vertex group and create a new vertex group like so. We can double click on it and call this pin. So we're going to use this as a pin. Next step is in order for us to start painting, all we need to do is just simply click and drag or mouse button, then we're going to start painting like so. Uh, by default, the weight should be set as one. So you should be able to see this. Red means that the value is full and the weight paint value one. And then as it transitions, it goes in between. We can change, for example, stroke and fall off in order to get a different result, but by default, the custom should be this type of shave, and you should have, transition from red to green then blue. And if you're getting some issues like this, you can hold Control and just kind of basically invert or erased the value. It'll basically just use instead of weight of one, it'll use a weight of zero. So you can also just change the value over here. And using that, we can just simply paint out the upper section. So I'm just going to do a quick, simple type of setup on one end and then another end, and that's all we need for this upper section. Afterwards, what we're going to do is we are going to just simply go back to object mode. We're going to get back to physics. And within this Cloth Simulation, we are going to find shape pi. So within shape, we're going to find a pin group. We're going to change this to pin. And now once we hit Play, it's going to, well, keep our simulation in place. Another thing that we need to fix is, though, that this simulation is simulating an entire mesh, including the solidify option. So you can see the thickness ends up varying. We need to make sure that we don't well, use unnecessary computing information for double the mesh. We're going to go back onto modifiers, and we're going to drag this cloth up to the top, so it will firstly simulate and then it'll solidify. This way, it's going to give us this result. And now, now that I look at it, I might want to just grab this a little bit, like so and just use a Gizmo to kind of rag it out a little bit, just a slightly bit, there we go. Oh, I had proportional editing on. I bet, there we go. Just a little bit. Nothing too much. Like so giving it a bit of a gap, a bit of a breathing room. And now we are not going to see any of the issues. So this is being simulated. How do we know if it's being simulated? Well, you could for starters, maybe rotate it to this angle and then see that like, Hey, it now goes back and forth. So because it's completely downwards, we are not getting any results. So first things first, what we're going to do is we're going to make use out of this technique to get some more interesting cloth wrinkling effects. So one way of doing it is actually by making use out of a Cloth Simulation using Shape Keys. Shape Keys will allow you to basically control the shape of the mesh while it's being simulated. Because right now, if I was to make an edit setup like so and then make a simulation, it's not going to detect that movement. We need to make sure we're doing it whilst it's being simulated. So how can we do that? Well, we can go onto data and we can create a shape key. So first shape key that we create is going to be the basis. That's going to be original mesh. Next up, when we create a new key, it's going to allow us to basically use the basis, and it's going to tell how to move this key. So once we create this key one, we can go on to Edit mode. And what we're going to do here is we're going to select this upper section. We're going to use Old Z, and we're going to just select this upper section like. And then we are going to make sure that the transformation pivot point is set to median point, use and X and just drag it inside. So by doing this, we're basically telling that right now it's going to go inwards a little bit. And if we check the key now between the bases, the original mesh, and this is going to just shrink it up. So what this means is that we can potentially change this value to original value and change it to zero. So then we can click I when the timestamp is set to zero. That way we're getting the original mesh. And then when we get to a value of, let's say, 100, we are going to then change this value to one, and then we can click I. And now that means that we're going to go 0-1 for the key from original mesh to our edited mesh, and it's going to shrink it up, so you can see the shrinking happening like so. Unfortunately, we are not getting much of a result. And the main reason for that is because we don't have enough vertices. If we go to Edit mode, we can see that this amount of vertices is just not going to be enough. What we're going to do is we're going to select an entire mesh. We're going to subdivide it a couple of times, so now we're going to get plenty of topology for the simulation to compute and now if we hit play, it's going to start giving us that wrinkling effect. So right now, the last vertice, the last simulation part might be a little bit too much. We get ourselves much creasing and stuff. So what's nice about this type of a setup is that we can potentially, well, create our own wrinkles and whatnot. We can see where exactly we want this to end. So maybe at a value of 45, I like those kind of wrinkles just a little bit, and it's giving us that nice tension on the top, which gives us well, the creases in between this area. I'm very happy about this type of setup. Now we're going to make sure that we apply because once we hit Play, if we have some rendering video or whatnot, this is just not going to be saved. So what can we do about it? Well, we can simply go back to the Shape Keys and we can hit Apply A. Then afterwards, we are going to apply this cloth to a default setup. So we can go onto our modify And we can simply apply this Cloth Simulation, meaning that now this will have this mesh as a default. So all of those creases and whatnot will be part of the mesh, which is pretty nice. We can now go ahead and do a new simulation. So if we were to go back to physics, make a new Cloth Simulation, and we were to set this to a value of zero for a frame so it wouldn't just disappear. We're going to redo the Pin group like we did before, and now it's just going to be a lovely and nice flag. The reason we're going to use the simulation now is to make sure we're getting some flailing back and forth, a little bit, small tiny bit of animation. Going to make sure that the cloth again, is at the top, like we did previously. Next up, we're going to go back on to the data keys, and this time, in order for us to simulate something, in order to make sure it's part of the simulation, what we need to do is we need to create ourselves a group or that set simulation. So what we're going to do is we are going to go on to then we're going to go back onto the weight paint because we need to make sure that we're able to control the certain bit and pin a mesh set up that will move using the shape key. Otherwise, if we don't have the weight paint set, we're not going to be able to make use out of the shape key. So all of this part, for example, if we were to try to use the shape key with, it's not going to work. So all we need to do now is just simply tap on one end over here. Like so, we can also make sure that the weight, for example, is a bit smaller, we're just going to tap it a little bit, like so, and it's going to give us this part over here. And then afterwards, if we hit play, we'll notice that this is just now going to be more solid, more stable. But this will also let us use this shape key. Again, we're going to use the shape key like so if we were to make an edit, for example, on this part, if I was to adjust it like so, you'll notice that when I hit play, was just to make this zero clicking I and then moving it to part like this, clicking one I. So this part will not move because even though we're making simulation over here, it only will work before the simulation. So that is something worth noting. I'm just going to redo the new shape key, so it's going to be fresh. So for that reason, we're only going to do it in area where we had the weight paint, which is over here. What we're going to do is we are going to just make sure that we have it set at zero for now. We're going to go on to Edit mode, and we're going to select this part of then we're just going to move it outwards, maybe upwards a little bit as well. Not too much, just a little bit, got to sway a little bit like. And then afterwards, well, we're going to make sure that's set to one. And then we can go and check out looks like. So zero to one is going to start swinging like this. But if we set this value at zero at frame zero, and then on the next frame, we're going to set this to one and click I. Then it's going to give us this kind of a sway motion. So it's going to kind of crample this up a little bit, but that's right because we can just get ourselves with a vertex pain what we can do is just, well, lower the value to zero and just kind of make sure we remove all the necessary parts from here, and then use even a lower value. So value of 0.1, we could say, put it up like so, maybe a value of 0.2, up like so, and then using shift, you can just moving it out a little bit even more. Then afterwards, just maybe a race a lot of these parts. And there we go. We are creating sort of a shape of a heart. That's quite nice. All right, so now we have it like so. We can see how it affects it in our object mode. So going to be set to zero. There we go. So a nice little sway. Grabs it a little bit and pulls it. Like, so again, I'm just making sure that the frame zero is set to a value of zero. Then the next frame is set to a value of one. Just making sure, clicking I, and there we go. Now, next step is making sure that it cycles back and forth instead of just pulling it upwards. So next step is going to be clicking Control C on the first frame, then moving it to, let's say, a value of frame 60. So it would basically grab and pull this outwards from the wall in a slow motion by the wind, and then once the wind disappears, it would just get pulled back basically to the original value. It's going to be weighing front and the back. Like so. And next up is just making sure that this setup is just cycling through. So no matter how long the video is, it's going to go back and forth. So what's nice about this is if we were to go onto Oh just made a bit too many windows. If we were to go on to our graph editor, this is the same setup as we had, and this is essentially showing the animation flow. So what we can do is we can just select the value over here, and on the right side, you'll see tab Modifier step If you're not seeing it, just click N. Then we can go on to Modifier Stab and select cycles. And this, as you can see, starts cycling through our animation. So and fourth. What's nice about this is if we have this entire selection, is that we can use S and X and kind of stretch out this animation and make it slower. So slow bit of animation, or we can squish it inwards using S&Xind make it flail a little bit. If you want it even more intense, you can even use S Y and just kind of increase this value of graph, so it will amplify the effect. And I was just going to start flailing our flag back and forth like this. It really is up to you how much you want it to be flailed around and just moving and whatnot. But you can see the type of effect that we're going to get. I'm going to just grab the default one, I believe, and just making maybe slower type of motion because this is a prop in a background. We don't want this to be too much. I'm also just making sure that the original frame of a stationary setup will be set to zero. It doesn't really have to be, but it's just making sure that the first frame is just not being pulled. Oh, there we go. We got ourselves a nice little motion off the flag. That's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. 12. Texturing Flags with Shrinkwrap Decals and UV Unwraps: Hello and welcome back everyone to Blender three D modeling Advil researchers desk. In the last lesson, we got ourselves a lovely type of E flag, which is going to have some bit of motion, and all of it is looking lovely except we don't have material for it, so let's go ahead and sort that out right away. So the way we can do it is simply we are going to just grab ourselves to pole and use some textures. So, let's see, an asset manager, we got ourselves we are going to find ourselves a metal. There we go. I'm just going to double check. Yeah. Okay. We only need this one. Let's go ahead and simply drag and drop this onto our well pole. There we go. And to make sure that the UVs are properly set up, we're just going to go ahead and grab it all. Click Old Age, don't hide everything and just simply use U. MarTVPject going to give us most of the setup properly. We might need to check the pole as well, and to make sure we don't have as many seams, we can just lower the angle limit. That way, in UV editing, you'll see that this is the way it unwraps. Everything is looking great, and we don't need to honestly overwork with this. The pole itself is going to be pretty well hidden. I believe it should be just two parts. It's actually one, that's good. And honestly, that's pretty much it. We don't need to do anything else. Or this part, we can find a fabric cloth. Leaves, good to be a cloth, good to double check. Yep, cloth it is. And then we just simply need to fix up this topology. The way it's set up is just a two D plane with no solidify applied yet. So what we can do is we can go on to Edit mode and unwrap it using unwrap where is it minimum stretch. So it's going to give us this type of result. It's going to slightly stretch out. So for something like fingers and such, where it has, like, longer pieces, it's going to do this sort of a setup. But honestly, it's going to be great. Let me just go back to there we go. Not going to do quite as well, so I'm just going to go ahead and do a unwrap conformal instead, there we go. So now it's going to be going straight, meaning that this fabric is going to warp around it nicely. And the solidify is going to give us exactly the same vicordans on our side. This little part over here is so small, so thin that we don't really need to worry about it. That's why we can unwrap our mesh beforehand. And then next final thing would be to well, get ourselves a nice little piece for the flag. Because we're now moving it too much, we're just flailing it back and forth a little bit. What we can do to make our lives easier, we can just simply grab ourselves a plane, like so, and use this as a sort of a decal. So if we were to make it a little bit smaller, around this amount, let's say, we can then go on to Edit mode, go and use subdivision. You can increase the subdivision to ten is enough. Yeah, it will be definitely enough. And next up is once we have enough subdivision, we can just use a modifier called Shrinkwrap. Shrinkwrap will allow us to wrap this mesh onto our selected target, which is going to be this one over here. But because it wraps it with just identical positioning, it's going to give us this glitchy result. We fix that, all we need to do is hold shift and just move this offset a little bit by value of 0.003. And then next up is we're going to shade smooth. So this way, we got ourselves this type of a plane. And if I was to hit plane, if I was to hit play, you'll notice that it moves together with the fabric, which is pretty nice. It's going to give us just enough motion to make sure that it's well, conforming to the flag, but because we're not swaying it too much or anything of that sort, we don't really need to worry about the fact that this is actually just being kept in the same z position, So it's not changing the height or anything. If maybe it was lower or something of that sort, you'll notice that this would be kept the same and so our decal would look like it's not moving properly to the flag. So but again, for such a small swaying, it's going to be more than enough. Next step is going to be simply grabbing one of the decals. Feel free to use any one of the stamps from over here. I think we can make use out of the dam that's this one over here. I think it's going to look quite nice. Oh, I'm just going to move it off to the side. I believe this is just actually putting it as a plane, which is fair enough because we just need to drag it out. And then next step is just going to be applying the same material. So let's go ahead and find this material. So gold stamp atlas. Okay, let's find gold stamp atlas. There we go. And then we just need to find it in here. So the way these decals are set up is that we have all of these materials, all of these decals in one section, meaning that we just need to bind it. Oh, going through real quick double check what is being used as a base color. There you go. It should automatically change up the material, but it doesn't seem to want to change. I'm wondering why there we go. So if it doesn't change for you, just make sure you bind on the top bar or was it? This stamp image pin. And if it was on, it was pinning the previous texture, but if it's off, then it's not going to do that. Anyways, all we need to do is just locate the right type of a decal, which is going to be this one over here for us. We can move it up, like so, and there we go. We're going to have ourselves a nice shiny decal and now when it's moving, adding extra topology didn't fix it. The reason being is that it tries to stretch it out into a nearest surface. We're using wrap method and nearest service point. If we were to change this to project instead, it is then going to try to project it like so, and we should have it turned off. If you're not seeing any of the result, it might be because one of the options is not properly set. So I believe it should be, just negative. But basically, it's going to project inwards to the negative value of its normal value. Should be able to use that. And then we can select the axis. If we select the wrong axis, by default, if everything is ticked off, it's just going to project to the closest base. But if we use one of the axis that is going in this direction, keep in mind this is using local axis, meaning that if I was to show you, there we go, the blue axis is going back and forth because we rotated an entire plane. So this means that by just having axis as z, we are basically just pushing it backwards, and we're not allowing the vertices to offset the value in any other direction of a dense Z and just make sure that the offset is set to z negative, and auxiliary target might also be off, or just prefer to have it the same additional target if needed, doesn't have to be, but the target should move onto this object as well. And if you need to, if you see extra lines like this, just increase the value a little bit, like so maybe buy one more like so, and one tiny more. Bye. One more. Okay. I'm trying to move it as little as I can just to make sure that we're not seeing any extra lines. But once we do that with this shrink method, you'll notice that we are able to basically now move, have the motion of the flag, and it will have that same sigil on this flag just like that. And if you want, you can always make some additional adjustments. You can make this larger, for example, if you want, though it'll give you a larger option. Or you can reposition this as well, maybe bit high, bit lower, up to you. I think I'll lower my one a little bit. I like this positioning a little bit better. And then going to move nicely. All right. And that is pretty much it. We can now put our flag. I'm just going to double check how this looks. Oh, okay. One more tiny thing is that this plane, because it's a decal, we need to turn off the shadows. So let's go ahead and do that. We are going to go to objects. We are going to go to the visibility, and we are going to go to ray visibility and turn off shadow. And this will just remove the entire plane's shadow and just give us a nice little decal or the flag, just like that. Alright, so next up is we're just going to go ahead and just move this entire setup into one empty plane. So I'm going to create an empty. That way we'd have more control moving this around. I'm just going to move it right above it, like so. And next up, I'm just going to grab the entire flag except for this empty. And what I'm going to do is I'm going to just hold shift, select the empty over here, click Control P and set pan to object keep transformations. That way, now we can select this empty over here and just move it around, and the flag itself is not being attached. So what's going on with it? Well, let's have a look. Oh, there we go, because we had to go to the timeline of zero, and now we can finally move the entire piece to our location. Let's have a look at the reference point real quick for where the flag would be. So it just goes just above the bookshelf. Let's go ahead and do that. So I'm just going to give it a final check. Yep, looking pretty good. Alright, so that's going to be it for me. Thank you so much for watching, and I will be seeing you in the next lesson. 13. Modeling Rounded Window Frames Using Vertex Snapping: Hello and welcome back everyone to Blender F D, modeling A medieval researcher's desk. In the last lesson, we left ourselves off with a lovely flag, playing in the background if we hit play. We're now going to continue on with the setup and get ourselves a nice window. We we placed on the scene. So if we look at the reference, we'll notice we have some windows over here, and we're just going to go ahead and create those. Oh. For studia, we're going to firstly go ahead and click one to go into the front view. We're going to create ourselves a cube whilst in object mode, and we are going to go right away to Edit mode. We're going to shrink this down, and I'm going to make sure that proportional editing is turned off. So when I was scaling, I noticed that there were there was a circle around it, so that's how I know that it was turned on. So it's a lovely little feature. Now let's go ahead and have a look at the reference over here. So first wings first, what we're going to do is we're going to grab ourselves a window inner frame. That will help us to kind of get initial shape, and then we can extend it outwards and extrude out. So what I mean by that is the shape over here that we have. We're going to start with that, and that will allow us to just afterwards, use the extrusion method to get the frames and whatnot. So for this, we're going to just start by seeing how high the size is. You can see that we can start off, for example, the frame at its um Shins. And let's go ahead and do that. I'm just going to move this. We like so, and then upper section. We can actually just go ahead and click free. We can select the front face, so then we can click Control I to invert it. That way we select everything outside of this face, delete the pass, and we're only left with this plane. So we're working with two D piece, D mesh. That way, we can just give depth afterwards. It's going to give us less hassle to work with. Now next step is we're going to make sure that we have ourselves a nice little that up. I'm just going to make sure that we have edge length turned on so that we can see the length itself. I think we can just put it to a value of 2.3 as initial window, I think that's going to be quae right. It's going to double check again. Maybe 2.3 is a little bit too much in comparison, so let's go ahead and lower it down to 2.1. Yeah, that looks all right. I'm quite happy with this. As for the width, something like that, we can change it afterwards, but we can start off by having it I will check real quick. So the width is like this. I would say it's just outside of the shoulders length. So value of 1.1 will work quite well for us, even less actually value of one will do the trick actually. Like so. Yeah, that looks much better. Okay. Next up is just making sure that we have the right shape. So if we look at the top, we have this rounded off part. So we need to make sure we make that as well. For us, it's actually quite easy to do because all we need to do is just select these parts on the side. We can click Control Shift N B, and just extrude it out like this. No extrude bevel out like this. Next up is we're going to make sure that the shape itself is reasonable. So we can go ahead and play with that. We're going to also make sure that clamp overlap is enabled. Otherwise, if we were to go with vertices, it's going to give us an issue like this. We don't want this. We want to make sure it's clamp overlap, and now we can play with the shape, not worrying about giving us a weird result. I think this is going to be quite right. Let me go ahead and just play with the shape a little bit, making sure we have some bit of bending outwards. And as for the segments, we need to consider the segments a little bit because, well, for Cards, we want to make sure that the planes on the inside of these parts have enough topology, but they're not overly too dense. So we can see that over here, we have some visibility of topology on the corners over here. But it's not quite visible from a reasonable distance, so that's going to be quite right. Honestly, I think using segments five is going to be great in this case. Let's go ahead and keep that. Next up is going to be, well, creating a frame. We can go ahead and do that right away. We can go ahead and select it all, actually, select it all. We can firstly click, make sure we merge by distance with a low value. You'll notice that one vertex has been merged, and that was probably most likely this one at the top, because when we were doing well, beveling, we had the vertices to just clamp up on this value. Next up, we're going to go ahead and select the entire edge within an edge mode, so we can see that this entire piece, that's selected. We can then just simply make a duplicate by hitting Shift D. So we can then click G and see that this is what we have. We're going to hit P and make a separate selection. That way, if we go to Object mode, we have two basically objects like this. We're going to real quick go into isolation mode, and we're going to go onto Edit mode. We're going to select this inner piece for the face. We're going to dissolve pass. Only faces. That way we have this outliner that. And the reason we're doing this is now when we hit E and Enter, we're going to extrude the part that's only for the piece. Let's make sure we are in edge selection mode. Then when we hit E and Enter, we're going to just extrude the faces outwards. If we were to extrude with the face included in the middle, it would give us a three dimensional shape. And if I was to real quick, show you what I mean by that is if I was to have this, just a quick example, by the way, and if I was to make an extrusion, not only would it try to create the faces on the side, it would also create another face in the middle. So it would give us a duplicate, even if we are on edge selection because we have an entire selection like when we make an extrusion and then we try to maybe play with it from the front view and whatnot, it would look maybe okay, giving us the borders, but this wouldn't give us right setup because it would fill in the inner side. So we don't want this to happen. We want this to be separate plane. We want this to be a separate frame. So there we go. Now we have a separate frame like so, were going to go ahead and just simply realign the bottom piece a little bit, like so, and we go to sell a nice little frame. Next up is we're going to go ahead and just make another extrusion actually out of this. This time, we can actually go ahead and just use the frame on the outside. If we were to make an extrusion like this, you see that none of the outer faces pop in the center, and only on outside, that's exactly what we want. So that's going to be just a quick work around for this issue. So let's go ahead and click E, Enter and scale it outwards like so. We're using a scale. We're not using an inset or anything of that sort. I feel like scaling is giving us nice proportions. Except for the bottom part, which we can easily fix, and we can just readjust it afterwards. So the inner frame is going to be a little bit thicker than outside frame. So these values, you can see the values, so 0.75 reasonable. Very nice. All right, let's go ahead and fix the bottom part, though. Make it something like this. Although the bottom part, I prefer to keep it thinner because we are going to have place at the bottom, if you look back at reference. Notice that this realistically doesn't have any frame whatsoever. We can actually do that here as well. I was thinking about having just a thin one, but we can totally just completely remove it. So let's go ahead and do that. We're going to go ahead and select this bottom part. We can go ahead and delete the face and select these bottom vertices. Then in order for us to realign it with these vertices over here, we're going to use Snapping option, Snapping with, where is it vertex. So we're going to snap to the closest vertex. Then when we use G, say, Oh, let's go ahead and move the sim. We use GZ, we can just simply control which vertice with our mouse we want to snap do. And it's only going to if we're using just GZ, it's only going to affect the z axis. So just going to pull it upwards and snap it directly to here. So this is going to be completely straight line, which is exactly what we want. Alright, so now we got ourselves a plane on the inside. We got ourselves this frame over here and we're going to be playing around with that in next lesson, though. Thank you so much for watching, and I will be seeing you in a bit. Oh 14. Detailed Window Framing with Solidify and Bevel Modifiers: A one, welcome back everyone to Blender freed modeling a medieval researchers desk. In the last lesson, we left ourselves up with a plane in the middle and some out of frame. That we have this setup, honestly, the rest will be rather straightforward. We're going to work with some additional pieces over here. So let's go ahead and do that. We're going to go onto the outer frame, like so, and we're going to separate this inner frame with out of frame. So let's go ahead and make selection. Let's go ahead and click P. Eaparate by selection. That way we have two different pieces. And then afterwards, we can go on to our modifiers. We can use Solidify like so, so it will make an extrusion, and we're going to play around with the thickness going outwards. The outer frame is going to have a bigger thickness. The inner frame is going to have a smaller thickness. We can play with that in a bit, though. I'm also going to go ahead and shade or smooth both of these pieces, though, that we wouldn't see Well, the poultry and inside. Next step is we can just also add a bevel. Move little bevel with a Oh, that's solidify, with a small amount. So just something like No, I think it's going to be quite right. Just a little bit. I'm going to increase the angle to 45 just to make sure it doesn't reach up to any of the four parts. Let me just double check. Yeah, it's good. Yeah, so quick way of checking it is just to go onto the topology itself when it shades flat and you can see the faces individually. So you can see which bevels are being used and what not. So that's pretty nice, I would say. Next up is if you're having a bevel and you have this option ticked on, you can even go onto option over here. Let's just make sure that we can go into edit mode, and then if we go to Y frame mode, we can see the individual frame, so we can see where the Bbl is being affected and what not. But that's pretty good as well. I would say. Next up is this. So for this part, we can just basically reuse this over here, actually. We can grab this outer frame. We can just grab the out of frame, grab the inner frame holding shift. And the selection needs to be the out of frame first, actually. So let's go ahead and holding Shift select out of frame. So orange selection is on the outside. We can click Control L, and we can use copy modifier. And that way, we get the same modifier setup. So for this part, it needs to be a little bit thinner, so let's go ahead and do that. We're going to make it quite a bit thinner, like so, and there we go. Now, this frame, we can just drag it inwards a little bit. I would actually be inside of this frame. And there we go. We got ourselves lovely little setup, maybe a little bit too much. Want to be just touching it. Like so. Alright. Looking good. So next up is going to be creating some inner frames. So for us to do that, we are going to, let's have a look a little bit. We are going to make use out of this plane again. So let's go ahead and just click Shift D Escape and just move this outwards a little bit. You can see what we're doing. Next step is we can click one, and basically we have two planes, one on the back for the window, and then one, we can just decimate for the frame setup, and let's go ahead and do that. So the way we're going to do it is we are going to firstly, make sure that this is not an end go. Right now it's an endgon so we can't use edge loops. We're going to go ahead and just quickly select both of these edges. And if we click J, we are going to join these two vertices together just like that. So that way, when we can control an R, we can have edge loops over here. This amount is not enough. So I'm going to increase it. I think three is okay. It's reasonable. Yeah, three is okay. We're going to then select those little parts, and we can click Control B and just kind of extrude it a little bit with segments set all the way to one. That way, we have ourselves nice topology over here, and we can just click E extrude make some little planks. I'm going to click Control plus. Then I'm going to click Control and I, and oh, we need to be in face mode. Go ahead and go back to that selection. Like so. Control I let faces, like so, and we have ourselves these little planks. That way, they're going to be able to be sitting right over here. Like so. Alright. We got these planks very nicely. I think I'm actually not seeing it well enough, so I'm going to go ahead and just make sure that we have this setup properly and I ought to move going to check, ignore our pages. Yeah, that looks better. All right, so next step is we have a vertical beam going across. We can actually just do it with a simple plane. So we're going to go ahead and make ourselves in object mode. We're going to make a new mesh plane, and we are going to click RX 19, EY, move it forward, and let's reposition it in edit mode a little bit, so we actually see what we're doing here, just like that. Next step is we are going to create apart until here. And it's basically where the bend starts for the side of the window, so we're just going to drag it. Oh, let's make sure we have the snapping turned off now, actually. Notice that it was snapping around a little bit. Dever go, we have ourselves setup and the beam is going to go all the way to the bottom like this or actually I'm going to turn on the snapping option just to kind of nap it to the very base. So next step, we can actually just push it downwards. Oh, so the beam in the middle is going to be a bit thicker. Looking at the reference. Yeah, that looks good. And let's see. Looking at these panels now, I realized that the thickness of this window is a little bit too wide, perhaps. I prefer to make it a little bit thinner. So what can we do when we are in this situation at this point? Well, we can actually just grab our entire piece, our entire mesh, go to vertex selection and grab all of these vertices on one end. We can use mesh symmetry, and I believe this is going to be X axis. And now, if we were to make it smaller or larger, we can move them all. I'm going to use Olds and just grab all of these bases. And it doesn't want to move in the same way. So why is that? Mm. So I'm not sure why it doesn't want to work with the vertices like that on the outside on this. We could fix this outside by potentially using a modified mirror or a little bit more of a cheeky way would be to, well, grab all of these vertices, make sure we have the symmetry turned off. And now when we move it, we need to move it like so, which is fine. We are going to just simply move the entire part, like so by a value of something that's more manageable, so a value of 0.05, like so. And now if we grab the outside, we can just use the motion a little bit and then just change the value over here to 05. So and now that I look at it, you know what? That's quite all right. I'm quite happy with this result. I think it's quite nice. So next up is this plank over here. What do we do about it? Well, we can start by splitting it in half, actually. We're going to go into edit mode. We're going to just split this in half, and I'm going to make a topology at the very top as well. That way, we have these faces over, like so. And it's going to give us some reasonable thickness when we are moving it to well, our position. So for Saudus, I'm going to just simply move it into this position into this position like so. Then I'm going to just reposition this a little bit. Just like that in terms of the thickness, a manual doing it because it's also going to give us some custom thickness at the top. And I'm just mainly worrying about the general wideness of this beam. And once we have something like that, what we can do is we can just select this in edge mode. We can click Control B, and we can just add some bit of variation, like so, I think that's going to be quite all right. Maybe it's a little bit too much. Looking at the reference. Something like this, maybe. Let's go ahead and have a look. You can also just play around with this a little bit if we have proportional editing. Oh, like, there we go. Maybe like beat There we go. So once we have a beam like this, what we can do is we can simply use a mirror modifier, which we talked about previously a little bit, but we not touched. So we can just enable this, and we're going to mirror it to the other side. If you're not getting it mirred properly, just play around with the values and see if it works. So it should be by default X axis. We're also going to enable clipping. So it's going to prevent multiple phases just overlapping, especially on this part over here, as it's also being mirrored. We're going to have a nice little ability to basically prevent the verticae to go through the transformation. But to make sure it's not overlapping, the meshes, we're also going to use bisect option over here. So it's going to basically now make sure that any part that goes over it is just going to slash it. So once we now apply it this option, we're going to get ourselves well, a nice little topology over here, which I think looks quite alright. I'm just going to be a little cheeky and just crab a modifier from this part over here and just lower the thickness. Oh, F here, for here. And just place it in the back. So this part needs to be going inwards into this part. We can just use GY and just kind of position it legs. And it should be going over this part, though. We got to sell this lovely window, just like that. Yeah, right. I think this looks quite nice. So we're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 15. Creating Stone Frame Details with Boolean and Bevel Techniques: Hello and welcome back everyone to blend FD, modeling a medieval research's desk. In the last lesson, we left ourselves off with this lovely framework. We're now going to continue on the setup and make sure that we have some stone type of decoration around it, and then afterwards, we can work with some materials for this window. So the setup is going to be quite simple. We can just start off by having a cube that's going to be scaled down and placed right underneath this little window. So the thickness should be something like this. We can go ahead and thicken it a little bit, and this is just going to be the part at the bottom. So this part over here. So we just need to be just a little bit thicker, sort of wider, like so, and I'm just going to pull it inwards. Something like this will do us quite nicely. By the way, I'm not worried about the faces in the back being missing over here. The main reason for that is because we're not going to see the back faces. So we can be pretty lenient with the back side. And here, I'm just worried a bit about the shade or this move. Why is it moving off the faces like that? Sorry, I'm going to love this until I get Let's rest. There we go. That's better. Okay, so going back to this, let's go ahead and create ourselves the arrow shapes, make a little bit thinner, there we go. We're going to create ourselves the arrow shapes going in here. And for that, what we can do is we can simply, well, make a duplicate out of this actually. We can go ahead and hit Shift and then EX, move this off to the side, San X, move this inwards, like so. And just by simply repositioning something like that, we're going to get ourselves a nice little setup. If it was a game asset, I would personally make an extrusion out of this shape itself, but sometimes it's nicer to just have a separate little mesh piece that you can have much more control, I believe, over the setup. So just like that, we're able to make an arrow going off to the side. I'm also going to go ahead and right click Set origin to free deecursor which is at the centerpiece of the world, meaning it's right in the center of this window. This means that we can use a mirror, we just put it to the outside, and that way, we can just play around with how this looks like. So I'm going to just use sea fru, X ray just to kind of select this entire part. Just kind of incur it with the size of this arrow, and I think that's quite alright. Yeah, that's looking quite nice. So next up is going to be the outer part. And I just realized a big mistake I had over here, actually. And that big mistake, is something on my end because I just realized we need a frame over here going vertically for the stone. So to fix that, we're just going to go ahead and extrude this a little bit to give some space and move this in edded mode onto the side. The reason we're doing it in ddt mode because if we were to move this in object mode, it's going to move the origin point. And the origin point is what determines the mirror ring. That's something important. So we left some space now for the stone section. So now let's go ahead and grab ourselves the object, make it smaller, move it off to the side. Like so, and I'm just going to place it right on top, except it's going to be way on the side. So like this is going to be looking lovely. Let's go ahead and select the upper face and just move it outwards, like so. And I think that's good. So we can stop over here, and the upper part is just going to be another arrow, actually, which we're going to readjust in a bit, actually. But I would prefer to grab a place section for this outer. Let me just show you. This outer part over here. We wanted to go all the way around. And for us to do that, we're going to just grab this frame section. We're going to make a selection that goes all the way around like so. We're going to hit Shift and we're going to hit Escape. Then we're going to just to P separated by selection, and we got ourselves just a floating the setup, it's going to act weirdly, and the reason for that is because we're using solidify with bevels, which we don't need at this moment, so I'm just going to go ahead and turn these off. Then the next up is we are going to go ahead and just make an extrusion, so enter, and then scale it outwards, like so, and we can reposition it just a little bit. Just like that, I think it's going to look quite nice. I'm wondering if we need to make it thicker, even so I am going to make it just a little bit thicker. And these parts on the outside, I'm going to manually readjust and scale it inwards. Like so. So we get something like this type of a shape. And next up is just going to be, well, making some thickness. And let me have a look. We can have it done the shape first on the top, actually. Let's go ahead and do that. So the shape on the top is just a simple play with the geometry. We can add some topology over here. So using Control R, left crack right click, it's going to be placed right in the middle. And then afterwards, we can just hit E extrude, EZ, move it upwards, and something like this, we'll do trick. Then afterwards, we can just select these parts over here, which is going to be right, and we can make a quick little setup over here, just to kind of get the basic shape inwards. So we're just creating some extra topologies just to make sure that we have some extra control with the shape, and we're doing it as little as possible because we can now use Control shipped in B and just kind of bevel these inwards. Like so, going to play with the shape a little bit. I think the shape is right. This is just now a little bit too high up. We're going to make it smaller. And then we can just do the same over here as well. So when we are using it, like so you can see that it creates a bit of a mess. So there is one way to fix it would be two. Merge these parts individually. So what I mean by that is we can select these vertices like so. One way that we fix it. And then afterwards, holding Shift, we can just select this vertices last part, and then clicking M to merge at last. It's going to give us the strangulated section. It's not always great, but I find it that it's sometimes just well, lowers the topology count, and also it makes it easier to manipulate. I'm just going to make sure that it's selected and merge at last. Oh there we go. Like I had, I've vertices selected over there. There we go. All right, so it makes it easier to manipulate, so those vertices not overlapping and whatnot. But sometimes if you're using subdivision and whatnot, it can cause some issues. Luckily, for us, we're just going to use the same method as we did before, which is going to be selecting this last part for out of shell copy modifiers, and we are going to or if you're using bevel that also can cause issue, so we can just real quickly actually use the modifiers from this part, Opi modifiers, and there we go. It's going to create these trangultor parts, which is not what we want. Not even well, shade orders move would fix it, but we won't have those edges moving. A shade orders move with a round amount might help because we're going to be able to, well, flatten it out, as you can see over here, keeping those faces on the side. So that could potentially be good. But if you have an issue where it's not working, the best part, the mess thing might be at this point to just remove the bevel and just do it manually. So what I mean by that is if we just remove the bevel over here, apply the solidify like so and what we can do is we can just simply wrap an entire face from the top while transparent. So go to Face Selection and just click to make an inset, like so, and then if we were to just use move option, so we can just create a nice little bevel manually. A so if we're not too happy about it, we can just use There you go. All right. So once we have something like that, let's go ahead and reposition it. It would be maybe something like this. And actually, the front should also be just as thick as this block chunk over here. What I'm going to do is I'm going to just select the entire top section, like so in vertex mode and just move it forwards, just like that. A little bit too much. There we go. Now it's looking great. Hey, miss ****. I might have missed the vertice. I did actually miss the vertice. I was wondering why the move was going badly, and I just did not select an entire base front. So now it's good, making sure we select the whole front face, and now we're going to get this result. All right. So next up, when I talked about this mesh being nicely positioned, being separate object for the base, that means we can just reuse that real quick. We can use Shift DG Z and move this upwards. And then in edit mode, I can simply go ahead and just rotate this 90 degrees. So R Y, 90 degrees minus. There we go. And yeah, but just rotating it, we can just reposition it the way we want as X. Exploded it a little bit, expand it, and that is looking much better. So we are able to create this alternative decoration. That's an arrow, similar to the base of the window, and it's already looking much, much better. Next step is just making sure that we have the same kind of setup route. So these arrows, for example, might be lacking bevel. Which is going to be quite nice. This is also lacking bubble, actually. This is not going to give us the right bubble because we need to apply scale. Oh, there we go. But applying scale resets everything a harsh state, and now it's looking good. This I'm also going to apply scale and just going to copy the modifier from here. Looking good. And finally, we can just go ahead and mirror it to the outside. There we go. So we got ourselves a nice little window. And I'm not happy with this. I'm not happy with this up there we go. I'm just going to lower it so I could see the flatness in here. And now we are ready to texture. So that's going to be it for this lesson. Thank you so much for watching. We're going to continue on with it in the next lesson. And yeah, I'll see you in a bit. 16. UV Mapping and Texturing for Realistic Wood and Stone Frames: Ellen, welcome back of Rome to plant the three D modeling and medieval research desk. In the last lesson, we left ourselves up with a nice little window, and it's looking quite nice, although I would say there's a room for a little bit of improvement, and that is for the upper section to be a little bit wider. Let's go ahead and fix that up. I'm going to go click one to make sure we are in the front view, and we are going to just simply select this upper section and just expand it using SNXthou. And there we go. Maybe a little bit too big. Yep. That's going to look quite right. Go to love the sharpness now. So. All right. Next up is getting ourselves a cube. So we are going to go ahead and position this cube, be right where it needs to be. That is going to be right at the middle section over here. Actually, this part over here might need to be a little bit wider. Now that I look at it. Let's go ahead and just widen it up and just select this upper section as X, and just widen it up a little bit. And I'm going to click GZ just to make sure it follows more with the flow over here. I think over this. There we go. I think I'm quite happy with this result. Then we can just go back and select this tube that's at the back, use R Y 45 and just simply go into Edit mode. This down. This a little bit better. Like so and use mode a Z. Scale it upwards, like so. Then we can just select the front piece, I inset, and E extrude inwards, and that's it. You can even delete the backpaces like so that way, not going to get in a way. And so if you want this to be even thicker, we can do so. I'm going to go ahead and just make this quite a bit thinner. Like so, and we can use ls to kind of extrude or thicken this up a little bit. Like, so I think this is going to be quite nice. Let's go ahead and add a Bevel Modifier. Like, so I'm going to go ahead and just like so, and there we go. I think it's looking quite right, maybe a little bit, maybe a little bit smaller. So. Yep, looking good. All right, so next up is we are going to This part now looks a little bit too much for me. I'm going to go ahead and select this again and verdict selection and just kind of down. Like, so I don't think now it's looking quite alright. We're just going to play with Jade Smooth. There we go. All right. Next step is just, unwrapping everything. Let's go to UV editing. Let's select all of the pieces, and let's work our way with the setup. What we could do is actually grab ourselves the stone. So we have stone over here. We can just drag and drop it. I believe this is the one that we're looking for. I'm going to quickly do automatic projection just to see that this is indeed the stone we were looking for. I think it is. Yep. All right. To check it in render view. Seems good. Okay. Next up is just simply applying the entire setup of stone to the section. So I'm going to go ahead and select entire window just going to link materials, and it's going to stone the entire part except we need to be having wood for the frame. So we can just go ahead and select the wood and just simply drag and drop it onto the parts that we want, like so. So that way, we can easily assign it. This part doesn't want to be assigned for some reason. Coach needs to zoom in. And this window part, I'm going to flip it, so I'm going to go on the face edit mode. Going to hit Shifting end, and there we go. And this part needs to be also flipped. So, and they also need to have wood. As for this, it needs to be glass. So let's go ahead and find glass. Actually, it's going to be there we go. Glass. We're just going to drag and drop it onto here, like so. And the first thing we're going to do is we're going to select the entire piece. We are going to go on to our UV editing mode, and we are going to make sure that this entire selection that we have is simply hidden away or isolated. That way, we can just work with just the window and nothing on the back is selected. So just using the slash key, making sure that it's set to local. And now we can just start off by wrap it tie piece. And actually, before doing that, I'm going to select an entire mesh just in case I'm going to apply the scale just to make sure that everything is nicely set up. And yep, there are some oddities out here. Those being the arrows over here, actually. So I'm going to go ahead and just readjust the bevels and checking if anything else got a little bit different off a bubble. Readjusted. Okay, so now we have entire setup, so we can grab an entire piece. We can go on to Edit mode and we can unwrap using SmartTV project. So the reason we start off by doing this is because we can then grab ourselves some well, the grain that we're seeing the entire texture. It's going to start going in the right way. We're going to be able to see how the textures flowing. So for example, something like stone using Smart TV projection is more than okay. We're never going to see the edges and whatnot. So all of that is great for such pieces. Like, so all of this is nice. But for something like wood, it's going to be a little bit different. The wood is not going to have a good texture. The reason for that is that the wood has posaus solidified. We need to make sure we apply that because otherwise, we're not going to be able to get the right UV output for this. We're not going to have the right control. Let's go ahead and apply that for all of this framework. And I'm just checking, solidify. There we go. So I believe now all of it, you just have just the bubbles. So we're not going to touch the bubbles because they're going to be such thin pieces. We're going to be quite alright, but we do need to fix some of those issues with the UVs. And the main issues are going to be just the flow of the wood. You can see if we zoom in this wood is going flowing well, but this wood is not, so we need to fix that. The way we can do that is if we go to phase selection in edit mode. So I'm just in edit mode by headed dab, licking old Z and making sure that all the faces are now selected. We can just simply have this LT and we can just rotate it. So let's go ahead and do that. We're going to hover our mouse on the right hand side, and we're going to make sure when we click G, it's deparating objects. I'm going to hit Escape. We can see that it's being well just bundled up. I'm also going to make sure that UV sync selection is on. It should be on by default with a version Blender 5 and up before this needed to be turned on. So I'm just letting you and also we are going to disable stick selection nodes. So that way, when we click G, it's going to right away separate those pieces. So using that, we can now click R 90 and there we go. That's all it's going to take to just basically rotate entire piece. I like that. And I just realized another mistake that I made was that we need to select all of these pieces again, actually, and Smart UV project. The reason we need to do that is because we applied solidify now and it has more topology. So now when we select this base, like so, we're going to have not one phase, but we're going to have four phases. And now we're going to rotate it, and it's going to hopefully give us the right flowe except these two these two are not going to go in the same flow. There we go. Now it's going to go in the same flow. That's good. Next up is going to be straightening up the wood for the top. Actually, everywhere else seems to be going well, except for these parts over here. So this part, you can see that the wood is just, well, not following the right direction. We need to make sure we make it follow the path. Otherwise, it's not going to look quite as good. The other thing is that we can unwrap it Using either unwrap conformal or we can another way, actually. Let's go ahead and just make our life a little bit easier and unwrap these parts using unwrapping conformal. The way we're going to do it first is we're going to delete these faces on the side because we don't need them. Going to make our life much easier. Do the same on our side as well. And next up is going to be well electing this entire part. And just checking how this looks. Yep. Okay, so in this case, I was trying to determine whether or not I want to split this phase in half. That way, our wood grain would go in one direction. But I think in this case, it might be quite right. It's going to end up joining on this end. So I think that's going to be okay. So what we're going to do is we are going to quickly create some mark seams. Mark Seems will allow us to help with the flow. I'm going to hold Alt and just select this part over here. It's actually going to be a little bit hard to see, so I'm going to go into this view. So going to hold Alt, select this, hold Shift and Alt, select this up end, and now we're going to mark Sam. So right click and Mark Sam. If you're using an older version, by the way, this icon is not going to be visible, but option mark Sam should still be there. And once you mark Sam, you're going to basically tell how the UV shell needs to be broken using the unwrapping method. And the other thing that we need to do is going to be just selecting these vertices over here at the bottom. We're going to also mark Sam and these ones in the middle. We're also going to mark Sam. That way, we're basically telling that this UV shell and this UV shell is going to be completely separate over here, and it's not going to be touching this bottom part as well. But that's exactly what we want. Step is going to be simply just going to the face election mode, electing this entire part, and using U and unwrapping using either conformal or minimum stretch. Let's see minimum stretch. This is going to look quite well, but let's try to use conformal. I think I will use minimum stretch because I see that it kind of tries to keep the ratio, the proportion of the basis a little bit better, although that really depends on visually how it looks like, and I think I think I'm happy with this. Yeah, I'm quite happy with this. Now you can see that this gel ends up being going into the same wood, which is great for us. And the other part will be to do something similar over here as well. We can go ahead and select both of these at once. We can go on to Edit mode and we can select this upper part. Actually, let's go on to Edge selection, and let's just select the space. Again, I am in seafrw mode, so we're able to make a selection like this. So next up is just going to be Markem. Then next up is just going to be going to check which was front and which way is back. So this is the backside. I'm going to go onto out of the material mode just so we could see a little bit better, and we're going to using Control, select this part, holding Shift, and then control other part. No. Mu is clicked. So let me have a look. I think this part on the back is a little bit hard to see. I'm going to actually just bring this a little bit back. I could actually grab the edge. I want to make my life a little bit easier. So what we wanted to do here is just select this part, old control, select this part. And then I forgot to select both. And then we are going to hold Shift and select this up part. So basically, we just have these two edges or these two different borders. Then we can mark SM and we can go back on the face selection, old Z, select this upper section, and and we are going to unwrap this time with conformal. Conformal is definitely going to keep it a little bit straighter, and there we go, right away, we are going to just allow ourselves to have that wood to flow nicely through the top. The other part perhaps, potentially, is that we could split this in the middle to if we imagine like the wood grain, the way this frame of wood was built, maybe they had, like, one curve and then another curve, and then they just kind of cobine them in the middle. Or maybe they try to, well, curve this entire part entirely. But being how sharp this is, we are actually going to go ahead and split this off. So I'm going to go ahead and make a selection like this. And with the selection, I'm going to click G, and that's going to split it off and move it off to the side. That way, this is going to actually have a visual seam. It's going to look like a different piece of wood. And I think that's going to be a little bit nicer of a detail. And we are pretty much finished, I believe. The only thing left to do is just simply select this wood, actually. So, we're going to go on to Edit mode. And then within the V selection, there is a nice little option called average Island scale. This will make sure that the entire wood grain is being used as the same wood scale. We can now make it smaller or bigger if you want to a little bit smaller, like so, and that's pretty much it. We don't need to worry about V shelves being going in the same part again because it's a seamless texture. We can have some parts outside of it, and that's totally okay. So now that we're done with this setup, we can place this window into our scene, which we're going to do in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 17. Placing the Window with Boolean Cutouts and UV Safe Scaling: Hello and welcome back over on to Blender of three D modeling and medieval researchers desk. In the last lesson, we left ourselves up with a lovely window that sees onto the outside. We're now going to go ahead and place it onto our scene. One more thing that I'd like to mention is that this wood grain, let's say, maybe is a little bit too small, this frame. If we were to try to scale it using S&X, it's going to widen up to grain of the wood itself. If you want to avoid that and you want to make some quick little tweaks, what you can do is you can click N, and within the options when you are in the move tool, you can make use out of correct face attributes. If you have this enabled afterwards, you can gliss and X, and then you'll notice that the wood is, well, not changing when we're scaling it. But that's something worth knowing because it helps us to well, you know, make some quick adjustments, some quick tweaks when we need to fix up some parts. And for example, maybe this part would be a little bit higher up. Again, because I have this enabled, it is not going to affect it. So just like that. Very much it. And when you're done, just have it turned on because it's just using extra computation power. We don't really need that. So in edit mode, just have this turned off as it is by default. All right, so next up is going back to modeling section. We're going to go ahead and now convert this into a mesh. So we're going to select an entire window. We're going to go to object, convert mesh. That way, we're keeping all of those bevels and whatnot separate, and we can also join us up as a window. So you can use this window elsewhere if needed. Nice and simple. And we are going to place this window into our scene. Let's have a look. We are going to place it something like so. The thing now is that we need to, well, grab a make a hole in this wall. What can we do about it? Well, we can simply grab a face from here. We can use Shift D, escape and P separated by selection. That way, we should have here we go. That's the whole. The plane like so, we're going to go on to Edit mode, make a little bit larger because we don't need to be giving us any tiny gaps or something. We don't need to have so precise. Then we're going to make an extrusion out of it, and we are going to make a booling operation. A Boolean operation like so, going to check face orientation, just to make sure that it is facing the right way, and we're going to make ul float used object. Realize I'm doing it the wrong way. Sorry about that. We need to put a bully in on this wall. So let's go ahead and do that. We're going to put it as a float. And when we are putting this in should see it as a hole. As stern as to bounce. You know bounce or wire. Bounce is going to be easier to grab, actually. And there we go. We got ourselves a nice hole, which we can put our window, and I just realized that this hole, I think, needs to be much, much bigger. I'm going to make it much, much bigger. That way, we have some section for the frame to go in as well. All right. So now let's figure out the location of how close it needs to be and whatnot for this section. We can just put it a little bit off to the side, just next to the flag and have a bit of a gap. We have two windows. What we can do is we can just grab both of these parts, like so. We can just move it off a little bit, like so, a little bit, and use shift D, GX and move it to the side. Except now this part is not going to work, and the reason for that is, well, because it needs another option for the Boolean. Let's go ahead and make a duplicate for the Boolean and use another float. So another option. There we go. So when we make a duplicate, unfortunately, this Boolean does not get duplicated, so we need to manually set it up. And once we have it, so let's have a look and rendeview and there we go. We got ourselves some nice windows, maybe a little bit of a bigger gap between those. I look quite nice. There we go. All right. So I'm pretty happy with this result. Let's go ahead now and move on to the environment setup. But I think we're going to keep this lesson rather short, so we're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 18. Creating Realistic Wooden Floors with Edge Split and Bevel: Hello on, welcome back to Blender FD modeling MMDvRsearch his desk. Now that we have our setup for the props for the background, we're going to go ahead and move on to creating ourselves some detail for the floor and the walls, as well. So for us to do that, we are going to start with the ors, and that's going to be, well, setup for a floorboards. We are going to just simply go on to edit mode for the back faces. We're going to just select this face and click P separate by selection. That way, when we go to Object mode, we can see that this is separate. Next up is we are going to hide Solidify out of our way just so it wouldn't get in our way. We're still going to make use out of that in the bit. Just not quite yet. And look at this. This also has bullion setup. We're going to go ahead and close this down. So we're just cleaning it up by removing it because it's being used on the walls and not the floor. And yeah, we're going to just click on this button over here to take off Solidify from the plane, the floor. And we're going to go on to Edit mode. Electoral hit shift and N, and use recalculate normals. That way, it's not inverted, it's facing upwards, like so. Um, okay, next step is going to be in edit mode. We're going to hit Control and R, and we are going to move our mouse wheel until we get a reasonable amount of floorboards. So I would say, something like this will do the trick. Let's go ahead and use Left click, right click. That way we have lovely amount of floorboards on the floor. Like so. And next up is we're going to add some well, some lines going across. We're going to click Control R, and we're going to just create two lines going across, like so, and then left click, right click, and there we go. Then next up is going to be making sure that we are separating all of these parts by phase individually. I believe we can do so by selecting it all, like so, and one way of doing it would be selecting a phase and then clicking Y. And then if we have a look at it, we could have all of this separated. Hover, doing this would require us to do it every single one of the phases individually. So another way of doing it is if we were to use a modifier called Edge Split. So if we were to search for Edge Split, this modifier over here, and you'll notice that there is an option for sharp edges. With this selection, it'll split every sharp edge. Edge into its own face. That means that if we go to Edge selection, just select it all and right click then mark Sharp. Then it's going to split everything up into separate phases. It's not going to work by default, as is because it's still going to be treated as individual mesh because this is only a modifier. In order to make use out of this to be sure that it works, we need to just simply click on to apply Modifier. So we can't do that here because we need to go on to object mode. When we are in object mode, we can now apply this, and if we go back, we should be able to move each one of those separately. That's quite nice for us. Next step is we need to consider about, well, the different placement of the boards. You can imagine that the boards would be, well, looking quite nice, but they're not going to be going in the same line. We want to make sure we have some more organic type of a look. So we are going to move that around. But before doing that, let's go ahead and turn on back the solidify. That way, we have the boards back on, and we are going to add Bble as well. Oh, that's the division. Sorry. Let's go ahead and add Bble. Just like that, we're going to get ourselves some lovely boards. Before I make some adjustments, I'm going to go onto object mode, use Control A and apply scale, just to make sure that we're getting consistent result, and we can just change the bubble amount a little bit to get a nice result. And yeah, before continuing on, we are going to adjust the order of the boards. And for us to do that, we're going to go to the top down view, so go on to edit mode. And then when we are in edge selection, we can see all of those parts over here. We can just simply select it like so and then move it out of the way. It's like that. It's not going to work quite as well if we're not seeing it, what we're dealing with. So using Alt and Z to kind of visualize our edges will help us to move both of the edges at once. If we are just selecting it with our mouse, it's going to move just a single edge. We need to make sure that it's moving both the edges of the boards. So from one side and from another, it wouldn't give us those kind of gaps for now. So that is why we're going to make those kind of box selections, make sure that the box selection is set for you. And by doing that, we can use Move tool, kind of offset the boards a little bit, maybe a little bit over here, a little bit over here. Like, so and just like that, we are able to get some variation. Feel free to play around with the scaling, but just make sure that it doesn't have the same seam in the same area across two boards. And that's all you need to do. And then you can just play around with these a little bit. You get some lovely, lovely variation. And just like that, we are going to be able to get some interesting and unique type of a look. If you want it to be a little bit easier. What you can do is you can just go ahead and select multiple ones. So make sure you are selecting the horizontal beams, and then you can just offset it. Like so. And just like that, we are going to be able to work with multiple at once. I think we are getting some nice results. Like so. If you want to check, feel free to just move the camera from the top down view and see how it looks like. For example, something like this clearly needs to be offset. Again, using Open Z, make a selection like so. I am going to make some additional tweaks over here just to make sure it doesn't look too straightforward. I think that is going to do us quite well. Alright, so we got ourselves nice little f board over, like so. Next up is going to be making sure we are offsetting it a little bit. So for the offset, what we're going to do is we're going to go on to Edit mode. We're going to select the vertices, like so and then we're going to go mesh, transform, and there is an option to randomize. Randomize will give us ability to well randomize these boards, which is very nice. Just make sure your option is not too far off. Because just a little bit is enough. Otherwise, it's not going to be quite as good. But you can see that a little bit of an offset with the boards, it's going to make though much more of a difference. I'm going to make the entire setup look a lot more organic. Make sure not to do it too much because the overlap is going to be a little bit too visible. A little bit of an overlap like over here is totally okay, totally viable because with the bells and whatnot, it's going to make it seem quite okay. So next up is just simply applying a material. So for us to do that, we're going to go to asset manager. We are going to find the right boards. Which is going to be dark wood. This one over here. Let's just drag and drop it. Like, so let's make sure we unwrap it properly. So let's go to UV editing. Let's just see where those boards are. Over here, and we're going to select it all unwrap Smart project. This is with Solidify not being applied yet, meaning that the edges are not going to be looking quite as well. But first of all, let's just make sure that the grain of the wood is going in the right direction. So I'm just going to change the rotation method to be horizontal for the Smart UV project, or you can just rotate it in the UV space. Both ways will work, and I'm just going to upscale this till I get some nice grain. So all of this grain is going to look quite right. I am not too worried about the edges over here, even if solidify is stretching it out a little bit, because on the gaps on the entire setup, it's just going to be such a small detail that we're not going to get any close up shots on this setup. That's going to be totally okay to leave it as it is. Let's go ahead and check it out it looks like deg. That's the final look of our boards. And I'm just going to check. I think, actually, that was the wrong dark wood. There is anova one called dark wood. Let me just go ahead and try that. And I think, yeah, that was the right type of wood because this Ava one was just standing out too much. I just need to make sure that we are rotating it. I'm just going to go ahead and rotate it again. There we go. And that is what we're looking for. Nice, lovely, soft type of detail for our boards. So all in all, it's looking quite nice. Alright, so that's going to be it from this lesson. Thank you so much for watching, and I will be seeing you in a bit. 19. UV Mapping Brick Walls and Animating Jagged Flags: A Hello and welcome back around to Blender F D modeling a medieval Researchers desk. In the last lesson, we got ourselves some lovely boards for the base of the wood. Well, for the floor. We're going to continue on now with the walls. So for these walls, we're just going to go ahead and apply a material. All we need to do is just select it all and just use Smart TV project. Like, so we're then going to go ahead and grab ourselves as a manager, find the bubble one material. That is going to B, which is for stone. Cobblestone. Nope. There we go. Cobblestone. Let's go ahead and apply it onto our wall. And let's see how it looks like in UV editing mode. Going to go ahead and check our material? Okay, that's looking lovely, not quite as lovely as I hoped for. Let's go ahead and fix it. We're going to go ahead and just make sure that the scale is applied first. Do quick unwrapping again. Change the line to horizontal first. Doesn't seem to want to change that. That's okay. We can just go ahead and select it over here. Click R 90. There we go, because we want them to be going a little bit more horizontal. The bricks are more horizontal. And then afterwards, we can just upscale it, so to a reasonable amount. Something like this a little bit more. If we do it too much, then the pattern is going to be starting to be very, very visible. So we just need to make sure we don't do it too much. We do it to a certain amount. Something like this will do, I think. I'm just realigning a little bit some of those bricks, making sure that they look nice and lovely. Will it be quite alright? Have a look. That looks quite right. I'm quite happy with this, and I just realized that this part, for some reason is not not hiding it away. So what's going on over here? This part is covering part of the window. And why would that be the case? Well, one reason might be guys, it's overlapping it wrong, huh, I see. So what's happening here is that both of these bevels that are being used are not properly going inside of the wall. So I'm just going to click GY and just make sure it goes through the wall itself goes only outwards. That way we're not having that more of an issue. And next up, I notice that the flag we had a bit of an issue over here with the flag that being that the flag itself doesn't have the same detail as we had on the PURF so the flag. Add some bits over here at the bottom, some parts that are more like a jagged type of a look. I'm going to need to extrude some of those parts to make sure we get that same amount of detail, and that's going to be quite easy to do. But we need to just go ahead and well, make sure we are in a layout on frame zero, so the simulation is not getting on our way. And to fix it, we are going to also notice that there are some parts over here that are just giving you some issues, but because this is a transparent material on this part, not going to be too much of an issue. If you're having that kind of an issue with the Shrinkwrap, just make sure to scale this down a little bit, and you're going to fix that. But it's not necessary because it just has no opacity on that end. Anyways, going back to this. Just going to go ahead and select some of those parts. And I think the easiest way for us to do that would be to just grab this entire piece. So and use select, check or deselect, and now we're going to make sure that you selected and one not selected. Going to give us this. And we are also going to make sure that we have an option. There we go. Option, correct face attributes that way when we hit E extrude. I so when I was checking the motion, trying to make sure that the UVs aren't stretching even with the correct base attribute from the tool section, I realized that it's not actually doing anything, and I was wondering why that's the case. Well, the thing that we need to make sure when we're editing mesh like this is that we are editing it back on the basis of the Shape Keys. If you're not doing that, it's going to cause a bunch of trouble. One of the things if I was to show you as an example is if I was to extrude it and then go back to the bass's not going to be there. So what's happening? Well, because we made an edit on the shape key when we go back to the bases, it's not going to be there. So if I was to go to the object mode, we'll see that it starts showing if we were to have that animation, it's just going to be going in and out with the mesh. We don't want this to happen. We want to make sure that it's well, all the edits of the mesh is being placed on the basis of the shape key or not the first Shape Keys. I'm just making sure that we have bases selected, and then we are going to go ahead and make those adjustments. What I'm going to do here is I'm going to make a selection like this, and I'm going to deselect parts from here. Little bit more, something like this. I think a little quite nicely. Then next step is actually, I'm going to go ahead and select, check and deselect, and I'm going to give me one side. I need to do this out side as well. Manually. I'm going to go ahead and just deselect every 01. Like so hold the control up. I was just able to deselect it, make a selection like this, and then we can click Enter and GZ, and you should have yourselves this sort of a pattern just like that. And now I'm hoping that the key itself, when I move it, it's just going to move this back and forth and not going to do any width motion with the extruded topology that we added to the base shape key. So if I was to put this to frame zero and hit Enter, the Cloth Simulation should still be there wavering or lovely black, which is very, very nice. I'm going to go out of the isolation mode just double check. There we go. Nice, lovely bit of animation. Alright. So next up is going to be a continuation with the next lesson for us and whatnot. We're going to do that. Well, with the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 20. Simulating Floating Dust with Particles and Translucent Shaders: Hello. Hello. Hello. We'll come back over on to Blender of F D modeling a medieval Research's desk. In the last lesson, we left ourselves off with some lovely floorboards for our scene for the environment. We're now going to continue on and establish certain well more atmospheric aspects of this scene. We're going to start off by getting ourselves a simple cylinder just for the reference of where the table would be. So I'm just going to go ahead and place that in. Just going to move it to a general area where it would be. So I'm just grabbing a general scale and placing it where I'd like it to go in just a general section. The reason I'm doing that is because now we're going to start thinking about the focal aspects of the setup and whatnot. And I would really like to have an idea of where we would like to have this table to be so if we look at the main reference shot, the table is being placed somewhere in the middle of the room. So just a little bit outside of, well, the setup of this window with the height being just a little bit above the hip section. So that's what we're going to go ahead and do. We have to make this table a little bit smaller, checking the height and placing it just going to double check again just a little bit to the right of the center board. So just a little bit right. So I think this is a good position. So yeah, we have ourselves just a general idea where we are placing this main setup. Next up is we're going to set ourselves up with some particles. So I am back in my layout tab. We're going to go ahead and just quickly create a cube in the mesh and then move this entire mesh onto the shape of our environment. Like, so it doesn't have to be perfect, but just a general area of our scene, like it's going to be quite nice. Alright, now we have this, we can go onto our particles properties. We can click Plus, and that way, we're going to allow us to start spotting particles. So if we hit Play, it's going to start playing and we can see the particles. So, of course, we don't want to see this cube by itself as a mesh. We're going to scroll all the way down until we find viewport display and render display. And both of them, we're going to see show emitter. But let's make sure we disable that. We're not seeing the emitter. That way, we can see just the particles itself. Up, what you'll notice is that these particles are being spawned outside of a room. So if we zoom in, there are, well, some particles because we are having some gravity working on them, but once we start spawning them, all of these particles are just spawning outside. So next thing is we need to scroll all the way up until we get to the source tab. Within a source tab, we'll find a miter where we are able to tell the program how to emit these particles. From pass, spawning just on the pass of the mesh, we're going to just select volume, meaning that it's now going to start spawning inside of this setup over, so. It's already looking pretty good. Next up is we need to determine, well, the setup of our particles, just to make sure they're not just falling. We don't want them to be like that. We're going to scroll all the way down until we get to field weights in here, yeah. And then we're going to just change the gravity to be zero. We want to make sure that those particles are floating in the sky, lovely, just tangling. And now we are going to have these particles just kind of floating around outwards. The reason they're floating outwards is because the initial velocity, if you scroll upwards, going to see the tab for velocity. Initial velocity is based on a normal, meaning that the ones that spawn towards this side of the face, they're going to be flying outwards and towards this side of the face, they're going to be flying this way. So that's how it works. We're going to make sure that this is set to zero that way, all of them spawning just going to be placed in one position. Next step is we're going to determine randomization. Atomization, if we increase it, we're going to see that the particles now just start wobbling around playfully just in the scene, which is nice for us, but we want to make sure that they are just barely moving, almost acer, but not quite. If we set it to a value of 0.01, I believe, we'll have that light motion that we're looking for, which is great. Next step is, you'll notice that the particles appear and disappear very fast. And the reason for that is if we scroll upwards, we'll find the option for lifetime. So if we're having an animation that's quite a bit longer for Sus, we'll need to make sure that the frame start and end is not just 1-200. If we are planning to have a longer animation, we need to hide this out of the way. If we're planning to have a longer animation than that, we'll want to make sure that it expands more than 200. So once it gets past 200 now, it's just not going to spawn anymore and it's going to start resetting it. But we don't want this to happen. We want to make sure that the lifetime is the sorry, the end frame is a little bit higher. So for us to do that, we can actually change the start and end to be both on one. That means that all of the particles will now spawn at once simultaneously. And afterwards, they disappear. So what happens here? Well, the reason for that is because the lifetime is set to 50 frames. So after 50 frames, all of those span particles are going to disappear. So we're going to increase this lifetime. Be something larger. So we can just set it to 50,000. Like, so now all of those spawn particles realistically, they're not going to disappear in their lifetime. So there we go. They're going to once they spawn, they're going to all of those particles going to last 50,000 frames. So it's more than enough what we would realistically need. Oh, now we have ourselves little floating bulls in our environment, which are not going to look too good because, well, for starters, we need to change it into mesh items. So right now, we have a couple of issues. We're going to deal with them in a bit. Right now, all of these are just Judy sprites. We can make them a little bit more free D. You're going to look much nicer. So for Asuria we're going to create ourselves a little mesh called dust. So we're going to create an icosphere with as little subdivision as possible, so set to one. That way, we're going to get minimum amount of vertices for a nice looking sphere. Except is we're going to shade this smooth and we're going to get ourselves this spherical setup. And afterwards, we're going to go on to asset manager. We're going to find this material 02, and we're going to drag it. All this is, is just a simple translucent BSF with color to give us very nice looking brownish type of a u for this sphere. So this can be now used for particle. If we select this entire source, we can go all the way down until we get to render setup. In here, we are going to select object, and we're going to just select this to be this gosphere. I'm also going to make sure we rename it. Us particle. So we can click F two and just quickly rename it, so, and there we go. We got ourselves these particles. Let me just check if they're visible. Yeah, they are visible in rendevie, which is very nice. But you'll notice that all of them have shadows. We don't want shadows. Particles don't need to have shadows. This is way, way too much. So to make sure that we don't have just massive blobs from the shadows, we're going to go ahead and go on to the selection of this cube. Spans particles, we're going to go on the object properties, roll all the way down until we get a way visibility, and within here, we're going to take off shadows. Just like that, we're going to get ourselves these more flat looking type of shadows, which is, well, not flat looking shadows, but just flatter type of particles that aren't affecting the actual shadows of the setup. So already, it's looking pretty good, but we still need to continue on working on the setup a little bit. So next up is going to be making sure we have smaller particles and we have enough of those particles. So how do we do that? Well, for SS we're going to go back to locate the object in particles. So object scale, we're going to lower this down to a smaller way smaller version 0.03. So there we go. We got ourselves these tiny clumps of particles. So now in rando Ve, we're going to if we click off of it, We're going to see Oh, just going to tap tap A to di select everything. We're going to see these small particles. So that's quite nice and lovely except they don't have much variation. All of them are the same scale. So what we need to do is we also need to increase scale randomness over here to a value of 0.02. That way, we have some variation in scale now as well. That's already looking nice. But now you'll notice that the matter particles is not quite there. It's just too vast in our scene. So what can we do about it? Well, what we can do is we can either increase it for a number over here, but that would be very expensive if I was just to add a couple of zeros over, like, so it might be okay, but I would not recommend. So I'm going to click Control Z, keep this emission number as it is. And instead, we're going to make use out of something called child children. So Children of particles is an interesting one. Children means that each particle will have its own groups of instances being spawned in that location of where the particle spawn point is. So none of them will require its own individual motion for velocity and whatnot. All of those values, they end up increasing computational power. If we use children, they will allow us to basically treat clumps of particles as one. And that's very good for saving up, well, computational power to optimize the scene. So using that, we can do some nice little setup. For SAAS, we're going to make sure that both the display amount and render amount is being kept the same. We're going to keep it as ten, just to make sure that render and preview is going to be exactly the same. Next step is we can control the length. Length will be over here. So that's going to determine how long those chains are. We can just leave it as a value of 0.25. That's going to be quite right. And we can play around with seed if we want to, but not yet. I can leave it as default zero. Next up, the up thing that we should control is going to be radius. So radius will control how clumped up these children are to the main particle. If we lower this down, we can just have them clumped up like so. You can see these little clumps but if we start increasing it, they start spreading around. But that's quite nice for us. We don't want them to be spread around just uncontrollably. We're going to use a value of 0.28. That's going to give us some nice little clusters of dust throughout the scene. If we look at it now, maybe from this distance from here, you see that they are looking quite nice. And if we hit Play, I'm just double clicking A. See that this is what we're seeing, so nice little clumps of clusters floating around lovely dust particles. So that's already looking quite nice, but now there is a bit of an issue with these particles. And that issue is when it gets close to a camera, they're going to look very sharp. They're going to even even if they're being very small, they're going to look very surreal when they're so close to camera and you can see the topology of these particles. Luckily, we're going to work with camera lens, making sure that when the dust particle gets too close to us, you're going to be blurred out and whatnot. That's going to be though in the next lesson. So this is it for this one. Thank you so much for watching, and I will be seeing you in a bit. 21. Camera Depth of Field for Blurred Dust Effects: Hey, Lord, welcome back on to Blender of FD, modeling a medieval Research's desk. In the last lesson, we left ourselves with some lovely particles floating out in the scene. But when we get too close to them, they're going to look very well, very sharp, very unnatural. They're going to just look like polygon type of spheres. We don't want that. We want to make sure that when we are previewing a render, they're going to look nice and lovely in our scene. I'm going to move my table just a little bit more to the back, perhaps, like so, and now we're going to talk about well setting up the camera. So for us to do that. We're going to firstly probably select everything in terms of the last particle. We're going to click M and we're going to create a new collection with the particle emitter and the particle itself and call this maybe extra. Like so. So that way, we'll have everything that's extra in the scene, like so, and we can just hide it out of the way whenever we feel like it's getting in the way of the clusters or well, topology and, you know, switching around the scene. We can now go ahead and just hide it out of the way if you need to. Okay, so now next step is we can also move this dust particle and just hide it out of the viewport and render, like so. So now, even though they're hidden, it's still going to be used by this particle emitter. It's just not going to get in our way of realistically anything. I be just hidden out of sight, out of mind. Um, next up is going to be yes, camera. That's what I want to get to the camera. So in terms of camera, I'm going to firstly actually just think that yeah, there is additional camera over here right away. So by default, you should have a camera. If you don't have a camera, you can go ahead and just simply add a new camera like so, and that's going to give you that exact type of camera. And next up is in order for you to make sure that it is being used. So right now I have two cameras, for example. If I click zero, it's only going to be the one that's in the back, not the one that's in the front that we just created. In order to make sure that we're using the right type of camera, what I'm going to do is I'm going to just click on this button over here, which is going to switch between cameras. So if this camera is highlighted, it's going to be used as the main camera. But that's something worth noting. And we can actually just delete the previous camera. We don't really need it. With the create a camera, we can have it like so. And next step is, in order to move it, we can evo just use Ogizmo or usual type of motion, or we can click zero on our numpad, which is going to possess the camera, which is very nice, especially in combination with if we click N, Go to view and use camera to view. We can now move our frame. You can see the frame is being moved whilst we are in here. If we click zero, we can see that now the camera moved. Basically, what this does is it allows us to move the camera when we are possessing it with the motion. That's pretty good. If we don't want this, we can just tick it off. We can just move it out of the way. Or when we click zero, we can click zero again and that moves our camera out of the possession. That's something worth noting. Anyway, what we're going to do now is we're going to just position our camera to something that is quite reasonable, I would say, a little bit closer. Something like this a little bit further, like so, and that's going to be quite nice. We can reposition it afterwards as well if we want to. But I think something like this will be quite lovely. All right. So next up is going to be, well, making sure that those what we talked about the particles, they're going to be blurred out. So there are some camera options that we can do. I'm going to firstly just go out of camera view and just zoom in. That way, you can see the frame gets closer. E. The reason I want to do it is just to make sure that we're seeing more of what's in the frame. I'm going to go ahead and take this back on because I'm usually keeping it on. And next up, yeah, let's go back onto the camera options. So one thing that we can do is firstly focal length will allow us to have it closer for the part, and if we use this to a maximum, it's going to give us a fish eye lens. I'd prefer to have focal length of 60 for this type of setup. Now we can just zoom back out a little bit, like so. You have something like this. It will give us a lovely shot. So it's going to make sure that when we have focal length like this and zoomed out a little bit, it's not going to have that perspective distortion as much. So an extreme value, for example, if we set it to 100 and zoom out, we can see that it's getting more and more closer to, like, isometric type of a view, that's something worth knowing. So yeah, having it something like this will do us quite nicely. Oh. Next up is, as we talked about the particles, the particles are still here. We have those particles. If you want to bite the wave, we click off the camera, we can click back on this frame if we're still possessing it, and we should be able to select back on that camera. And next up is going to be depth of field. We can just use an object to select this table area over here. And if we have it so we can use F stop, basically blur it out. So if we A to use it. We're not going to see it in this view, I believe. We need to go into this. There we go. So if we get closer, closer to this value to zero, it's going to blur as much as possible closer to the target. That's outside of the target that is. So as you see, if we get back to the default value, it's going to be quite nice for us. But the type of value that we want to use is going to be a little bit less in terms of FSTop I think 2.3. We'll do us quite nicely, maybe 2.5, sorry, 2.5. It gives us that blurness again, we can select back onto those particles, but you can see now that they're blurring out and blending in with the values of the entire environment. But it makes it look like it's quite a dusty room. That's very nice and lovely. Next step is let's have a look. I'm wondering if we need some motion blur. I don't think we do, but in case you guys want to experiment, feel free to go to render settings, enable motion blur. And now with this on, you should have some motion blur in the scene. I don't think we need this here, though. So I'm going to go ahead and take this off because I think it's already looking very, very nice. Alright, so next up is going to be well setting up some lighting, making sure that everything looks nice and atmospheric. We're going to continue on with this though in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 22. Volumetric Shadows and Background Setup with Geometry Edits: Hello and welcome back Brown to Blender Fred modeling, medieval a researchers desk. In the last lesson, we left ourselves off with a nice little setup for the camera. We're now going to continue on with this type of a look, and we're going to make sure that we have some nice lighting coming out of the windows because right now it looks quite plain. I'm going to go ahead and just add all of this extra stuff. So I'm just going to actually grab this camera. Click O. Grab the camera. That's why I'd like to grab the camera first, click M, and move it to extra. That way, all of this extra detail is going to be over here. Next p is we're going to grab ourselves a plane. We are going to just apply our asset manager material onto it. That is going to be environmental background. Let's go ahead and apply it and it's going to give us this type of look, which is very nice. Doping to go behind the windows. We're going to go ahead and click RX 90, move it behind the scene, like so, and just scale it outwards a little bit. Soothing like this will do us quite nice. I'm going to click zero just to check, and I'm going to just actually rotate this set 180, something like so. L zero now and what's going on over here? Face orientation is the issue. So I'm going to go ahead and fix it up real quick. Is seems like this is also affecting the surface area over here. Why is that the case? Face orientation. No, it seems right. I'm just going to rotate it. Like so it should be good. Why is it that when I go to camera, my Laura ends up being a little bit weird. I'm just going to go ahead and check that. I'm going to select it. Oh. I'm going to select the base, select the mesh, and hit Shift and N. Oop. So I'm going to go ahead and turn off the face orientation for now because it's not going to get in our way. Alright, going back to the lighting. Let's go ahead and just quickly check some things. First of all, selecting back onto this environmental sector, environment lighting. We're going to go ahead and move this onto extra. We're going to change this to background like so, and we are going to go on to object properties. Make sure that the visibility is not set for ray visibility shadow. We don't want this to happen. We want to just make sure that the lighting or the camera view, except some nice forestry. We also move it around a little bit, making sure that when it's in our main shot, it's going to give us a nice view. I'm just moving it like so, maybe even making it smaller, just like that. Something like this will it'll be quite nice. There we go. Alright, I think this is pretty good. Alright, next up is well, actually, I just want to something like salt. Alright, next up is going to be getting some of a nicer volume type of fog coming through. So we already have dust particles, but those particles are not going to give us a nice little volumetrics type of lighting. We got to manually set that in. So for us to do that, what we're going to do is we are going to grab one of the windows. I'm going to go ahead and now hide all the extra stuff, so it could actually make use out of the parts of the windows. Go to hit Shift D, G Y, move it out of the way, select this window piece and delete the rest by using Control I. This way, we just have just this plane, a duplicate mesh. We position it back so we could see all the little frame pieces. Like like so. And now what we're going to do is we're going to go on to Edit modes for this particular plane. We're going to get this mangan out of the way. Is getting in our way, like so. Alright. The next step is we're going to basically cut ourselves out a shape from the frame. The reason we're doing this is because we want to make sure that the volume has some gaps in between the frame just to make it a little bit more interesting and unique. So for that, we are going to grab this plane. And we're going to start by going into a vertex selection Z. We can just see the vertices. We can select these upper vertices, click J. The reason we're doing this is because the upper section is gone and bottom section is not. And that way, we can just simply click control R and just position each one of these edge loops now in where the frame is. Going to give us something like this, and we're going to also position our middle section as well, something like so. Next up is we are going to move this downwards a little bit, actually, or you know what? We're just going to move this middle vertice a little bit down. Like, so next up is we're going to just click K and kind of trace it around a little bit, like so. Do the same on up side. Doesn't need to be symmetrical because it's going to be using volume. We actually would prefer to have a little bit more breaking points because it's going to give us more unique of a shape. Now we have something like this, we can just go ahead and isolate the entire section just to make it easier for us, and we are going to go ahead and just select all of these pieces like so. Then holding control, we're just going to deselect everything that we don't want in terms of the frame. So we are just making a selection of lines that we're following alongside the frame, just like that. And I think the bottom part over here as well. Then next step is we're going to click Control B, expanded a little bit. Something reasonable, something 0.03, like so, and we are going to click free to go on to phase election, then delete these pass, and we're left with this type of a look. Which might look like might not look like much, but if we now select it all, click E. We can extrude it like so. Then we can go ahead and use GZ, just move it downwards, and we can reposition it to B a little bit more going into the floor, like so, and it's going to be going sideways a little bit, not too much. Something like this will work quite nicely. I think we can just extend it even more like so. We're going to go ahead and make duplicate out of this. X, move it to the side to the other side that is. Just kind of reposition it just a little bit. I'm going to go ahead and select both of them Shade Smooth or shade or smooth that is. And next up is we're going to go with Both selected. We're going to go on Edit mode. This selection still has those faces like so, so that way I can just slightly reposition it. So the window is going to have the rays going onto the table, maybe a little bit extended. Like, so something like this will do quite nicely. Yep, this will do quite nicely. And once we have something like this, all we need to do is set ourselves up with a material. Material itself right now is not going to look quite nice. It's just going to be this. This is not looking nice. I'm going to make sure I click Shift and end just to make sure it's nicely positioned, but also shouldn't be transparent. Oh, okay, so we have this selection. I'm going to go ahead and just simply go into edit mode or sorry, with this selection or both of the parts, I'm going to hit Control J, just to make sure it's one object, makes my life a little bit easier. I'm going to then go ahead and simply delete all of its materials. That way, is just going to be plain material like so. And next step is we are going to go ahead and start creating ourselves our new Shader. So let's go on to the Shader mode. Let's go click New, and that's going to be the base setup of the material, which we are going to continue on doing this in the next lesson. So thank you so much for watching, and I will be seeing you in a bit. 23. Creating Atmospheric Volumetric Lighting with Custom Shaders: All right, welcome back everyone to Blender of three D modeling a medieval Research's desk. In the last lesson, we left ourselves off with some nice blockout or a volumetric type of setup for the mesh with some breaking points coming from the frame. So this type of setup is now we're going to be able to make use out of so for Sarus, we just opened up a Shader stab, and we clicked New Shader with the previous Shader setup removed because we made a duplicate out of the window. And now we are going to start off by getting ourselves some detail. And this detail would be is we're going to use a gradient to make sure we tell the height setup of this mesh. I'm going to start off by clicking Control A and applying rotation scale just in case. So we'd have the same consistent result. Next step is we're going to use texture coordinates. If we were to search for x coordinate, we're going to get this little node. And this little node, we're going to be able to generate the coordinates out of the object. So out of the object itself, it's going to make use out of the bounding box basically local space, XYZ, which we can then separate into XYZ coordinates, and we're going to use a separation of XYZ, and let's go ahead and just have a look on just a z value, how it's going to look like. We're going to make use out of volumetrics. We're just going to make use out of principle BDSF default material just to kind of preview how this looks like. And you can see that yeah, object basically has local XYZ coordinates. We can use z coordinates to just kind of get ourselves a nice gradient going upwards. From black to white, but we want some control. So for the control, we're going to add a math value called Add, just a simple math value add. We're going to add it here, and this will allow us to control high how low this is, which is already pretty nice. So we're going to set this value to something like 6.7 maybe, it's a little bit too high, going to go ahead and just keep it as is the main point, what we're trying to do here is make sure it doesn't touch the floor completely. But basically, once it goes past the section of where the window is, it's going to kind of darken it out. That's what we're trying to do here. So, so next step is we're going to get ourselves another math node called Divide. Divide will allow us to kind of get this nicer transition. So if we start using divide, you can see that gradient gets higher, which is exactly what we want. So we can use a value something like four to make sure that the gradient is nice, maybe even lower this a little bit. I think the original value of 0.1 is okay. Just a little bit added up. And the final part would be to use a color ramp. So color ramp will allow us to get final control for whether or not we want to kind of tighten it up maybe, or if we want to, a little bit tightening it up, like so, and we can also select the final arrow over here and change its color. In this case, the color will be just an overlay mask. So the closer we get to black, the less of a density we're going to get. We're going to be changing it just to something like this amount. It's not going to be completely white in terms of density, and now we're going to change the principal BDSF to a volume BDSF. Go and find it BD SF. Where would that be? Ah, yes, volume principle volume. That's the one. So we're going to attach this mask onto density and just onto volume output. And that's going to give us, well, seemingly nothing, but if we go to end of view, we're going to now get ourselves this lovely little light setup. If we want to have increased, we can change it up a little bit. You can see it's already nicely breaking up the lighting and everything. The other thing that we want to do is just change up the light itself, the color of this dust to more of a brownish type of a result, something like this. Now it's going to give us this nice warm dusty type of a look coming out of the windows, combined with the dust particles, it's going to look amazing. If we want to check, actually, we can just turn on extra. There we go. We'll click A, and yeah, these dust particles will look very nice. All right. So next up is going to B, making sure that we have some nice lighting. So with the dust particle, bowing or whatnot, we need to make sure that everything is looking quite nice. I'm going to go on to modeling, actually, and I'm going to I'm going to go on to shading because we need to now change up the lighting setup. The lighting right now is set as a daytime. We don't want this. We want to have our own custom control. So we're going to go on to shade or type to world, and we are going to just start off by lowering this down to a value of 0.02, something that's quite dark. Like so. The reason we're doing it is we just want to get an ambient lighting out of this. And that's going to give us plenty of nice ambient lighting. I'm also going to play around with the rotation a little bit. Just to kind of get it be sideways, like so. So it's hitting it from this direction, even though we're going to make it seem like the light is coming from this angle, but that's a nice bit of ambient lighting. And next up is we're going to do the rest with light sources. So in terms of light sources, all we need to do is grab ourselves an area lighting, like so, and we are going to position it in the scene. If I was just to increase the value, once we have the light source selected, we can just go on to the light properties and increase the power. For now, I'm just going to increase to 100, kind of play around with it, and I'm going to just get myself some light source. Notice how there is a box for this square light, for this area light. And this box is basically determining how the source of lighting is. So if I get myself, which is to the light source. If I was to get this closer to a wall, you'll be able to see it a little bit better. But basically, this is where it starts and the size of this square determines how big the volume is. If I make it very small, it's going to start off quite small. If I make it quite a bit larger, the volume is going to be quite larger as well. So that's quite nice. We can start off by just getting a very basic type of lighting coming off from the front section. So we'd have it somewhat behind a camera, basically. Like, so it's going to help our camera to kind of pick up some nice extra detail. We're going to make sure that it's more of a yellowish tone, like so. And just like that, we got ourselves first light. We're going to continue on with the lights though in the next lesson. So thank you so much for watching, and I will be seeing you in a bit. 24. Realistic Leaf Shadows Using a Gobo Texture and Area Light: Hello and welcome back on to Blender FD, modeling medieval Research's desk. In the last lesson, we left ourselves up with some nice volumetrics coming out of the window, as well as our basic spotlight. Now we're going to make sure we get ourselves even more detail out of the spotlights. And the way we're going to do it is we're going to create ourselves yet another area light. Time, we're going to play around a little bit with it some more. So this is the default type of lighting. It's going to give us a very flat type of a look, default type of a look as a source light, which is good but not always quite as detailed as it needs to be. In this case, we have ourselves a forestry type of look from the background, which is looking quite nice, but we're kind of partially creating extra detail coming with these volumes out of the window. Want to make sure, though that we are getting some leaf shadows coming through the window as well. So we're going to use this rectangle light to just that. First things first, we're going to create ourselves a plane. And this plane is just going to show you what a Gimbo is Gimbo is essentially a sort of a custom shadow catcher, which you can set up with a material for a light. It's going to be able to basically tell how light should be lighting up the room. So that's going to be quite exciting and interesting, I believe. Personally, I quite like gimbos. They're quite nice. Sorry, not gambos, gobos. That's the true name of them. Gobo. That's what we're going to look for. We're going to start off by going to x. Actually, asset manager. And we're going to find ourselves asset manager for Gobo mask. We're going to just drag and drop it onto this little square just so we could see what it looks like. So this is the type of a mask that it looks like. It's just some black and white mass that creates a shape of leaves, penetrating sunlight penetrating through the leaves, something like that. So with that set, we're going to make a light material out of it. We're going to select back onto this square that we created at the very base. Simple rectangle square. We're going to make sure we get it back onto object. And now we see that there's nothing here. Well, by default, light sources don't use nodes. We need to make sure we enable use nodes over here, and that way, it's going to start using nodes. So in this case, we're going to use this Gobo mask, which is a PNG called leaf Gobo. We're going to go ahead and just find it within our setup, leaf Oh, sorry, it's going to be called just a texture. Image texture. There we go. That's one we're looking for. And this image texture is what's going to be used as a leaf go bow. Now that we import it into the scene from the resource material, you should be able to see it. And this is going to be now set up with demission. If we were to set up with demission like this, it's not going to be quite as visible, but you can already see the type of detail when we get closer to the scene. I do recommend you generally to have a texture coordinates just to make sure with a generated vector. Just to make sure that we are getting consistent results. And next up is what we're going to talk about. You notice how when we get close to the lighting, we're going to see a nice result. But as we get further, it's going to start blurring it out. The reason this is doing that is because if I was just to make this light source a little bit longer is because we have spread. If the spread of the beam is set to zero, it's going to give us straight type of a result, rejecting this entire detail as is, which is very nice, but we don't want to be completely projected. We want us to be something like 1.5. And that's going to give us a nice result because this is being used as sort of a sun source light. We can imagine that the sun source is going to be more parallel type of lighting, going straight. If it's more like spotlight, then it's going to have more of a spread. But honestly, with the sun, it's going to be just almost like perpendicular, but we give ourselves a small bit of spread just to kind of soften up those shadows. You can see already it's softening up those shadows, which is going to be so much nicer. And now all we need to do is just position this to be in the same kind of an angle as the windows. We're also going to make it quite a bit larger, and we're going to make sure it doesn't penetrate through the wall. But we need to make sure that the distance is quite big. Also, perhaps we need to just make sure we are just positioning it nicely, and there we go, something like that. So this way, we'll be able to see some of that shadows. You see how it's coming through. Again, if you want it to be stronger shadows, you can do that, but 1.5, honestly, will do the trick. So just like that, we're going to get ourselves some really, really nice results, maybe a little bit of rotation. And don't be afraid to play around with it. You can also change this to local transform orientations. That way you can use Z I believe to kind of rotate us around without changing position. Kind of get some nicer shape of the light sources. And the combination of volumetrics, the particles of the dust, as well as those Gobo textures, you're going to get such an interesting kind of result. We're also going to change the light to be just a little bit like so. And I think light source, I believe, can be a little bit stronger, just like that. And having it to a power of 1,000 should be good for a source of a sunlight. I think all in all, we are done. I'm just making sure we're checking. We can also adjust and do final twiks towards end of the scene setup. But now that we have this, we're going to be able to tell much better how the environment is going to give off the atmosphere for our entire setup for the scene and all. And I'm just making sure that all of it is aligning. Maybe I need to lower the angle a little bit towards the ground because if I look at this source of light, it's going to be more horizontal in comparison to what I have with the rays. I believe I will just go ahead and use RY on RX, low this down a little bit and move this backwards, playing around a little bit, you know, with that up. Like so. I'd be a little bit higher. Extra. There we go, something like that. I'm quite happy with this result. Okay, so that's going to be it from this lesson. Thank you so much for watching. And as a bit of an extra, if you do want to have a little bit of an extra control, what you can do is you can add a color ramp towards the end of the leap Cobo just to make sure you kind of can maybe sharpen it up the mask after you're done, just have a little bit of an extra control. I think that's going to give us an even nicer result. Alright, so that's going to be it. Thank you so much for watching, and I will be seeing you in a bit. 25. Modeling a Realistic Wooden Desk with Bevel and Solidify Modifiers: Hello, welcome back on to Blender Fredy modeling a medieval researchers desk. And in this lesson, we are actually going to start modeling a research's desk, literally. We have ourselves this little drop setup over here. We have ourselves sliding. So let's go ahead and start off with getting ourselves to tabletop. And the way we're going to do it is going to be quite simple. We are going to go ahead and just well, first of all, we're going to hide the extras out of the way. I'm also going to select these shadow, sorry, volume setups and the lighting on the top, and I'm going to move it to the extra as well. That way, we're just hiding everything that we're covering our table with. Then next up is we are going to make sure that we see the floor and we are able to now click Shift S. We are able to move the course at the origin point, so it would be that center in the world, just so we could have a little bit more of an ease of time. We're going to then click Shift A and use ourselves the circle option. Circle option will let us create a nice little circle over here. We want to decide how much of the circle vertices we're going to get out of this. If we end up lowering too much, it's going to be triangulated. Using this as five points is going to be too little, and we want to determine basically how many boards we are having on the setup. So right now, if we look at the reference over here, we'll notice that we have one board, two, three, four, five, six, seven, eight, nine, and ten. We have ten boards. Most of them will be just having a single edge like so, except for the last part. So this board and this board will be off to the side, having not just simply four vertices, but an extra fifth one on the side. Every single other one will have just two each. So there will be vertices here, here, here, and here, and then afterwards, we'll turn them into boards. So I believe 22 vertices, individually, will be enough to give us this sort of a shape. Let's go ahead and do that. We're going to use 22 vertices over. And it's going to give us something like this. All right, now that we have ourselves circle, let's go to the top down view by clicking seven, going into the edit mode, and we are going to start off by clicking F to fill in the shape. That way we see what the shape is. It's just going to be a circle with a filled in face. We can then click one and we can start joining the parts so we could create ourselves lines. Going to select this part over here on both ends. Basically on opposite ends, we can click J, and that's going to create our first line. And then afterwards, we're going to continue on. Oh, we're going to continue on and clicking J by just selecting two vertices and getting ourselves lines like so. And then the last one can be kept as this, actually. It's going to have not as sharp of an edge. It'd be quite right, which is going to continue on the other side as well. Let's go ahead and do that a little bit. Like so. Alright, we got ourselves. Oh, that's a little bit of here we go. Like so. We got ourselves some variation in boards. Next up is we're just going to slightly move them around just to make sure that the thickness is varied in these parts. I'm going to go to Edge mode. I'm going to select this edge over here, going to click GX, move this a little bit to the left. Select this edge, GX, move this maybe a little bit over, like so as well. GX. Move it a little bit manually, GX. Just a little bit, not too much. Just kind of stretching it out a little bit, one of the reasons we're stretching it out is because well, we're kind of adjusting that this plank was a little bit wider, and other thing is now that we have manually moved these, we're going to have more interesting width in these planks. These two are a little bit too wide, reckon, so I'm just going to click this Gx and move it. Or alternatively, if you think that the top and the bottom ends up getting too skewed when we're using GX, notice that once we get it like this, it gets too squished. If you want more extreme value, you can use double click of G to go into sliding mode. But this will try to keep the shape as much as possible. Giving us ability to basically slide with that circular shape that we have for the parameter. So that is pretty good. I reckon we got ourselves some planks. We're now going to go ahead and select every upper plank, click so and click Y. That way, we got ourselves these planks separated like so. And we got ourselves nice basis for the table. We're going to go ahead and now go ahead and go on to object mode, and I am going to go on to modeling mode at this point in time because it was just throwing me off a little bit. You can also see the parameters that I'm using at the moment, which don't really matter at this point because we're going to be rescaling everything. So next up is with this, we're going to go ahead and you solidify, just like we did with the boards, we're going to create ourselves nice little thickness out of this setup, so we're also going to add Bevel, because this will give us a very nice little setup or the smoothing edges of the table, just like that. Next afterwards, we're going to go back on the Edit mode, select the vertex selection, and click A just to make sure that everything is selected. And of course, use transform randomize. They'll always give us a nice little variation if we just use shift and just kind of lower down something that's a little more reasonable, I'd say. That look, this is okay. I'm quite liking this look. I think it's looking good, and we don't need to overdo it, honestly. Like the table itself is going to be a prosection, especially quite reasonably flat because we're going to be placing objects and stuff. We don't want them to be barely holding on top of it. So with this done, we're now going to go ahead and, well, continue modeling process for the bottom part. The bottom part itself is going to be these little stripes over here and they're going to be relatively easy to do. All we need to do is simply create one and then we can just duplicate it route. To do that, we're going to go ahead and use curvature. Let's start with Bezier. We're going to click GZ, just move it down. We're going to go on the Edit mode and just use A to select it all R Y 90, and then we can just play around with this shape before having played around with the shape. Let's go ahead and just make sure we have some free dimensional form otherwise. This is just going to make lives very hard. So let's go on to the curvature option over here, and I believe it's going to be extrude. There are two ways to expanding the curvature into a free D shape, and one would be, I believe, beveling. Yeah, using bevel, I think that's going to make it just round, though. We don't want to make it round. We want to make sure we are making it more of a well, squarish shape, more of a wood type of a setup. So we're going to use extrude instead holding shift, and we're going to just expand it like so. Now, the extrusion, I'm just looking at it if it's going to be right. Looks like it's going to be right. We can just lower it down. I was going to say how potentially we might need to rotate this in edit mode. So if we were to select it and use our Z 90, maybe we could rotate it, but I don't think we need it at this moment. With this type of thickness, we are going to go ahead and go on the modifiers and use solidify a lovely little option to give us even nicer shape. We can extrude it, and we're going to go back on the object mode. We're going to select it, right click and we cannot we cannot move in this out, unfortunately, at this point. Is okay because after we have this kind of shape, we can, I believe, use bevel as well with just a small little Oh, that's solidify. Sorry. With a small little amount. Something like that. There we go. Now we're getting proper shape, and we can start playing around with this lovely little shape to get this kind of result. So let's go ahead and see what we can get out of this. Let's go ahead and click one or sorry, three. There we go. We are in this view. We're going to go ahead and go into Edit mode, select the star piece and just kind of lower this down. And we are going to start off by getting this one piece towards the end, like so, then we are going to get this piece in this direction, this position. Afterwards, we can go ahead and select both of these points. You'll notice once we have a selection of the points, we'll also have these handles over here. So these handles will allow us to control and adjust and tweak how these are placed. And we can do most of the setup partially with just these handles. But for example, over here, I want us to be going inwards even more. So for that, I'm going to go ahead and click A to select both of these points, like the main points that control the location of the Bezier curve. Then we're going to right click and subdivide, this will give us one more piece to work with. But I'm going to go ahead and increase the number of cuts, the subdivision amount to two. That way we have ourselves even more control, and now we're able to just simply select these points, change up the location, and there we go. We're going to get ourselves nice setup. One thing is that these controls now might be a little bit finicky. If we get them too close. If you're having this issue, you can simply click S to scale down these large control interpolation points to just make use out of it and get a nicer result out of the setup. And I think maybe I'll just increase this move this around playing around with the shape. Don't worry about it too much. This is a non destructive workflow, so we can always just play around with the shapes in various ways. The other thing that we can do is we can have this selected. We can use Alt S. Instead of just using S, we can use AltnS and that's going to allow us to play around with the shape of the curvatures. You can see how much it fins out and such. So this is going to be a very nice option. So I'm not sure if it's visible. Maybe on here, it'll be more visible. So Alt and S. You can see making it thinner, thicker. So here we can make it a little bit thicker towards the base. And here we can also use Alt and S and just make it a little bit thicker as well. You get this sort of shape, and then I'm just going to play around with this a little more because I want to get a nice little zigzaggy shape instead. Like, so we have ourselves this sort of a shape, and we are going to continue on with it in the next lesson. Checking if it's straight, it is straight, but a little bit off the main center piece. By way, we're going to continue on with this in the next lesson, and we're going to sort out the overall structural integrity of this foundation. So thank you so much for watching, and I will be seeing you in a bit. 26. Array Modifier Legs and Sculpted Circular Base Design: He one, welcome back front blend the FD modeling and Deval research's desk. In our last lesson, we left ourselves off with this lovely leg, but it's not quite finished because, well, the leg is just one. We need four of them to be able to support an entire weight and, you know, one, two, three, four, and the fourth is upside. Go ahead and sort it out. So real quick, what we're going to do is we're going to just add another modifier. We're going to go ahead and add array, lovely array mesh, which gives us so much control over everything, basically. We're going to go ahead and make sure that the offset is set to zero, zero, and we're going to go ahead and use Z rotation. There we go. Believe we can set it up to 360, like so O. And that's not going to give us the right result. And the reason for that is that oh, because it's relative, so we need to just make sure this is 90, and there we go. It basically rotates every 90 degrees. And if we give ourselves the four fleg, we're going to get this. Now, this is looking like everything is offset. And the reason for that is if we go back onto Edit mode, we'll notice that this orange point which is used or the Rotation for the array is offset, and it's offset by quite a bit. So I believe we can go back onto data onto extrude. We can use this offset over here. And this is not going to give us the offset that I'm looking for. So that's not it. I'm going to just go ahead and undo that. And next possible way of fixing it is just simply going into Edit mode, clicking one, and then clicking A and moving our option, not array. Let's go back to the normal option. Clicking off from array. We don't want to use the Gizmo for the array itself. We just wanted to click it off. And then we can just click A to select this entire curvature and click X, GX, and just move it. So basically what we're doing is we are moving this entire that up. But whilst we're doing it in edit mode, we're keeping this giz more centered. And that way, we can just go ahead and click GX and just move this little bit more centered like so, and that's going to give us very nicely centered piece of pink. Can just go ahead and just a bit of offset. You can see of a side because it's using a ray as that origin point. We're going to get that offset look. These are also moving, by the way. If I use GX, you can see them moving as well, but from this point, it's not visible. So again, with that being said, I'm just going to go ahead and move them, like so. Alright, so that's pretty much it. We can now go ahead and make some final adjustments if needed. I can select this, for example, and I can use this square over here to make sure that X axis is not being adjusted and maybe make an adjustment if needed. I don't think it's needed, though much. I think this type of thickness for such a table is going to be great. I think it's going to look lovely. And I do want to add shade move auto shade. So I can just use modifier to use move by angle over here and just do it manually. There we go. We got ourselves out of that issue with the faces. We could have fixed that once we converted it to a mesh, but I really, really want to see how it looks like with all the modifiers whilst we have that still non destructive workflow. And what else? What else? What else? This would going inwards? I really don't like it. I'm going to go ahead and just fix that. I can select this dot and this dot and just use subdivide over here. And now I got this dot, and I can just move this a little bit to kind of straighten it out, like so. And now we got this. So it goes a little bit inwards, but I don't really mind it as long as just the overall shape is lovely, which it is. Being upwards a little bit too high up, I do mind, though. I'm going to put it back in. And something like this. There we go. Something like this is going to look, I think, very, very nice, just a little bit straighter. I think it's a little bit straighter than reference. Let me just go ahead and have a look. So, yeah, it does straighten up towards the end. I think I think I'm okay with that, honestly. I think I'm quite happy with this result. I don't want to change anything else. Next up is the bottom part. The bottom part is going to be rather simple. So that's going to be this pad over here. I think it's more visible in this area. There we go. So it's all it is, is just simple shape over here, it's going around and central piece. That is going to be super nice and simple to do. We're going to go ahead and create ourselves a circle. I am going to figure out how many vertices we're going to do just in case just just double check. I think 2020 seems like a reasonable amount. I'm just going to lower it down a little bit to 20, like so, and we got ourselves this. Now we can go into Edit mode, click F, and we got this. And now we can go into face selection, click I to make an inset, and there we go, already or shape, lovely little setup. And what else do we need to do? Well, we just need to make sure we get some thickness, some depth out of it. And of course, we need to position it properly with the table. Let's go ahead and do that. We're going to go ahead and select this, click G Z, move this downwards, and I'm going to actually we shift, select the upper section of the table, click Control L, copy modifiers, just to get some nicer result. And, of course, that's not going to give us the nicer result because these need to be broken up. So we can do it the same way as we did with the blanks, but it's really necessary. It probably is for the best. Let's go ahead and select it all. Mark Sharp. If I was to find it, like so. And let's go on to add modifier. Edge split. Let's find the edge split at the very bottom, and we are going to just drag it all the way to the top. So. Then sharp edge is selected. We can go ahead and click Apply and should should work, right? No. Why not? What's going on here? Let me go ahead and use Mark split. Edge split, sorry. And again, sharp edges selected. Is our sharp edges, I believe, that's just going to double check. Take. Alright, so Mark Sharp. And it's not giving me that result that I'm looking for. So what's going on here? There we go. Just tracked it on top, and now it's updated. So it now works. Well, it's good. Let's go ahead and apply it because I don't really like to have that modifier, like so, and once we apply it, we can go on to edit mode with the selection and make some bit of transformation magic with the randomizer. Always nice to have that, always nice to play around with that. And also play around with normal by the way. If we play around with normal, it just offsets mainly based on a normal itself, which is quite good. So for example, this would go up and down a little more. And I think having it so is going to be quite right. Yep, I'm quite happy with this. Now we can go ahead and increase the thickness a little bit because the base needs to be a little bit thicker, and also we need to now position it to be properly laced on or setup, like so we're having nice place for this wooden foundation. Having it a little bit outside of this wood foundation is good. And then we can just solidify a little bit, and of course, bevel. So for the bevel, because it's done, I'm going to increase the segments a little bit, and I'm going to just soften it. That way is going to look very nice, very lovely. And I think that's all we need to do for the base, honestly. We don't need to overdo we can actually do a little bit of an extra technique. So because we still have all of these lovely modifiers, we can go on to Edit mode and we can go on to the vertex selection. And then the top down view, all s, make sure we see it all, and then we can just select it all, so that way, we're selecting not only this phase that's on the inside, but we're also selecting all these vertices that go next to it. So that's going to be lovely. What makes selection like that, we can just click S and scale it up because everything is based on the centerpiece, which is the center of this circle, this doughnut shape, it's going to be very nice and easy to just kind of make some lovely, quick adjustments just like that. If we want a smaller circle, we can do so. And again, because we not apply solidify, we don't need to worry about the thickness. All it's going to work out, parade it nicely. All right, so, something like that is going to work out pretty well for us. So next up is just simply adding some material and texture and then positioning it a little bit more onto the table. I did notice that looking at this now is a little bit too high. I believe this is a little bit too high. Let me just go back onto reference a little bit. So this base is quite not as lengthy, and I think this needs to be a little bit thicker, like the width of the main table. So let me just go ahead and adjust it. Luckily, it's actually quite easy to adjust this now. We can go ahead and just select this. We can click one. We can go on to Edit mode and select all these parts, GST and just move it downwards until we get more reasonable amount. Then we can move this down as well and we can use the solidify just increase the the thickness of the table. Like so. And just like that, quick and easy type of fixes for this fantastic little table. And this, I think, should be a little bit a little bit wider. There we go. Something like that will do us quite nicely. So that's going to be it from this lesson. Thank you so much for watching, and I will be seeing you in a bit. 27. Smart UV Mapping and Realistic Wood Grain Alignment: Okay. Hello and welcome back on to free modeling MMDvalRsearchs desk. In the last lesson, I left you with this model of the desk, and now we're going to go ahead and add some texture to it. So, what can we do about it? Well, first things first, we can just apply some of the modifiers. The biggest one that we're going to set ourselves up with is going to be this one over here. We're going to make sure we add some well, moldification. We're going to turn this into mesh. And to do that, we are going to go ahead and go to object, convert mesh. But the thing is that I don't really like is that the bevel is also going to be applied. And just to make our lives a little bit easier, I really want to avoid that because we're going to be curving the UVs. We're going to go ahead and actually remove the bevel, unfortunately. We're going to go ahead and now convert this to Amesh, and now we're going to apply back the bevel with the right amount. Like, that's going to make sure that when we are working with the mesh now, that's all that's not a curvature. We're going to have a much easier life. For this, we just simply need to make sure that the solidify is applied. Bevel can be kept on because it's such a small option. And here, even though it's bigger type of bevel, we're still going to do only solidify because this is going to be stone, and the noise really is really easily hidden for the seams. So that's that next up is we're going to go to shading. We're going to go ahead and just start applying some of the materials. Actually, sir, we're going to go to asset manager, and we're going to apply some of those materials. So first things first, we're going to find a wood dark. We're going to apply it for the base. So just going to double check if it gets applied. Yep. And then wood light is going to be applied. Onto the top section. Like so. And then the stone, of course, let's not forget the stone, will be applied on the bottom, just like that. Now we can go on to using UV editing. We can hide everything by just selecting this table. We can click Isolate button. We can go onto the material just so we wouldn't have the lighting to deal with in this moment, and we can play around W with the UVs. Most of the time, it'll be rather simple. It'll be just selecting the entire mesh using SmartTV project and projecting the setup. And I'm just making sure that the grain is going in the right way, which it is. I'm just going to also make sure that this section is going diagonally or across. For example, this one over here, making sure that it is going sideways and it is not doesn't want to select the right type of wood. But what's going on over here? For some reason, it just doesn't want to work for the wood to be shown, even though the pin is disabled. So manually, I will just change it to fantasy wood just to kind of see what we're dealing with in general. I'm just going to sample this part over here is, I think, I don't like that there is no grain, so I'm going to move it a little bit to the side, and the rest is quite all right. This on the side, we should always make sure that we click L, go to UVs and just check that it's just one piece because I think it just looks much nicer if it's like that. This could potentially go vertically, but it's just going from the side, it's not going to look quite as nice. The other side, we can also click L with select link TVs, and that's just make sure that in our section that we selected. And yeah, I am pretty happy about this. Maybe you can just select it all and just slightly upscale it just a little bit. Like, so now we can go onto our lovely viewboard shading to see how it looks like, and there we go. That's what it's going to look like, which is going to be not enough of the wood green. Well not enough. I just scale it upwards. There we go. Something like that is going to look quite nicely. Right, it looks a little bit intense because the main life so is going from the side. I believe if I were to enable the extra, we could see it a little bit better. It doesn't seem to work quite as well. Alternatively, what we can do is we can just go back to the material and just kind of see the grain. Just slightly. Okay, so that looks nice. Now, next up is stone, because it's the easiest one to do. Let's go ahead and just unwrap Smart TV project like we did before. This time, we're just going to go ahead and crank the angle limit all the way to top, so we get as little as possible with the UV differences. You can see, even though we have smooer edges and whatnot in all of these, not going to be very visible when there is a seam. But that's quite nice. I'm just going to make sure we also use shade mooove. There we go. Nice little stone base. And this part, on the other hand, might be a little bit more problematic. Let's go ahead and select it all. Let's just use Smart UV project, and you'll see that. It's just not going to look quite as well. Firstly, the sides are going to be always just go in straight. So the grain is not going to follow it. Secondly, there's going to be a lot of cuts where there should be cuts. So we're going to go ahead and fix it all. And the way we're going to fix it is going to be quite simple. First of all, we're going to go ahead and just go on to edit mode. We're going to click free. We're going to select these edges like so because we kept the bevel, it's going to make our live so much easier with something like curved like this. So we're going to select the top. And there we're going to click one, hold Z and hold Shift and select the bottom. That way, we're able to select the faces at the bottom over here and the top. We can then click two, which goes to our edge selection. And we can mark where is it? Mark SEM. There we go. That way, these at the top are now going to have SMs. Next up is we are going to go ahead through every single one of these parts and just make sure we're going to firstly click ls to make sure we don't have a C fru. Otherwise, we might have an increased chance of mis clicking. Next up is we're going to hold Alt, select this, hold Shift Alt, and just select this. Basically, we're going to go for every single you might as well go to solid viewport shading, so we'd be able to see a little bit better. And essentially, we're just making sure that all these 90 degree corners are selected. Or to make it even easier. What we can do is we can go to select option over here, and we can select, where is it? Select sharpness. And if we select equal sharpness, it's going to basically be 90 degrees and all of it should be selected. Alternatively, if we have everything selected, we can use Select Sharp. Select lb trait, oh, sorry, select Albi trait. And Sorry, there we go. Sharp edges. That's all we need. If we were to select this to be 85, so it's going to be now selecting all of these edges. Hopefully, all the right ones. I'm going to click G to move it out of the way, and that's what's moving, which is good. I'm going to click Olds just to kind of see selection, and that's the selection. So all is good. And we can right click and Mark SEM. There we go. So all of these now are Mark SMs. We can now go ahead and click Alst and click free, select it all U to unwrap and use unwrap conformal. And we're going to get this. Is very nice, but still, these are not being straight. So we need to make sure we kind of straighten them out manually. What can we do about it? Well, we can select one. Like so we can just straighten it up a little bit. So this main square is going to be straight. We can hold shift and just double click on it to make sure this is an active selection. Then next step is we can click and we can use follow active quads. That's going to follow this active quad, and it's going to, as you can see, straighten this all out. Can redo this part for all of them, and just going into click L, double click on this, U, follow active quads, length average, and there we go, straighten them out nicely. A little bit more of a tedious process, but it's very, very worth it because it makes the wood follow the nice grain of the entire pattern of the table. So we're just making sure we just kind of doing it one by one, getting ourselves the main that ups, like so and almost done. There are some add ons that could be used potentially with this. UV square, for example, would work. But this method is also quite reasonable. And you can potentially do multiple at once. I've been able to do it sometimes, but honestly, this doing it one by one avoids multiple issues. Okay, so now that we have entire setup like this, we can just select it all and click R 90 because we need it to rotate it all. And we'll get our entire wood piece moved like this. And that's going to quite nicely. Going to go ahead and increase it until I'm happy with the grain. Amount, something like this. Perhaps, let's go ahead and go on to the cycles mode. How this looks like. And yeah, it looks lovely. Perfect. Sice. I think this overall, we out very nicely. And the next lesson we can just finally place in this entire table into our little side and then start working with what's on the table. So that's going to be it for me. Thanks so much for watching, and I'll see you in the next lesson. 28. Modeling a Decorative Book with Bevel and Panel Details: Hello and welcome back everyone to Blender of FD, modeling and medieval Researchers desk. In the last lesson, we left ourselves up with this little desk over here. The next thing that we're going to do is we're now going to go ahead and convert this entire piece into a mesh. The reason we're doing this is we're going to get rid of the bevels because each one of these table parts have unique bevel modifier sizes. We want to make sure we preserve those bevels. And then it makes sure that it conforms the scaling and everything to the same thing. And just having one mesh instead of multiple meshes is more reasonable and it's easier to just use. Let's go ahead and do that. We're going to go ahead and select the entire table, use convert mesh, convert it all, and then we can use Control J, and that's going to well, join everything together. Now we have ourselves, lovely table, let's go ahead and move this table to where our placement was, and we're going to scale it down to the placeholder, that's going to be quite all right. Let's go ahead and just move it upwards. And I believe it's going to be quite a nice little setup. And this is a little bit higher up. I think that's reasonable. We can also work with planks a little bit. I think I'm going to actually lower this down like so until we get it to this site. And now the planks that we have over here, we can actually just manually just select it and just move them when needed, because why not? We have the option to do that. We want to make sure that the table is not overlapping with the wood and whatnot. And pink, something like that will work quite a little bit nicer, there we go, a bit more of a flat surface for us. There is something over here. Pink. Oh, this is the plank over here, so just going to move it down so we wouldn't be able to see that coming out from the top, and there we go. We got ourselves lovely table. We can now remove the placeholder that we had, and there we go. Going to go ahead and take off the face orientation for now. And, yeah, it's looking good. Alright, so next up is just going to be sorting out items on what's on the table. We are now going to do yet another book. So let's find ourselves this segment over here. We're going to start with a more basic one, not the most basic one. We already did that. This was a background book. This one is going to be well reasonably basic. You just as a bit of an extra detail, and that's all. Let's go ahead and do that. We're going to go onto our lovely setup. We're just going to take off the extra because we're going to be placing the books on a table. So next up is just going to be creating ourselves a cube, and we're going to start off with the same premises we did previously in edit mode, we're just going to squish it down. I get quite a bit smaller, so as Y extended a little bit, let's check this looks reasonable, let's say. This looks like reasonable that up for a book, maybe aX a little bit wider. Lo so. Okay, good base. Lovely. Next up is just going to be well, getting ourselves this as cover and inside as the inside. We can actually just make our lives a little bit easier by just already splitting this off to separate by selection. That way, we have this separate, and it's going to be part of the inside of the book, and this is going to be outside. So next up is going to be, well, we can use Solidify most likely. I think that's going to be a nice little that up. We're going to go offset into the positive side, it goes outwards like so. And next s is just moving it like this. Ra ra, ra or about that. I was just thinking whilst doing of the scaling, going to move it a little bit outwards, a little bit less than this sticking out point. I think it's a little bit nice in regards to the shape. And we have this. Is this going to be reasonable? If it's too much, the white, I think, yeah, the height is a little bit too much. We can go ahead and select both of these pieces in object mode. We can then go on to Edit mode, and now we have these both selected. We can click one and we can use Old Set and just select this upper part only. That way, we can click GST and both of them will be moving. That's going to be very, very nice. That way we can just control the thickness of the book. I think that's going to be much nicer. All right, next up is going to be this inner side. We can just bevel these off a little bit. Well, let's bevel it just by tiny, tiny bit. We don't want them to look you crazy or anything, so that's good. Next up is going to be a Control R, left click, right click, and then we're going to use Z and just kind of move inwards, for the front section, actually. But now, we're going to do it for it all, just a little bit, hold its, and just move it just a little bit inwards, like so going to use Shade move or sorry, shade Otis move. And yeah, that is looking that is looking good, actually. I'm quite happy with this result. The bevel is going to be perhaps a little bit too close. We can just move it off a little bit. Like, so because otherwise, I believe it was overlapping with one another. We just end up fixing it a little bit. And I think that's good. Now next up is just going to be just clicking two, holding, selecting this entire edge loop, clicking Control B, and just having some nicer easy motion into it. So there we go. It just goes inwards a little bit, and it's quite nice. And next up is going to be this cover. So let's go ahead and work with the cover. The cover itself, firstly, we can just go ahead and apply the solid to five. Like so, and we can then grab this backside, Control R, left click, right click, and just move it with the back to the amount that we want. Actually, before doing that, we can go ahead and make sure that the inside is not visible. We can select both this on inside and the cover outside. We can go on to Edit mode and then see what's up. And yeah, okay. So what we can do here is we can just simply hold alt, select this part, and we can select. We can make a bevel, actually, whoop, make a bevel, match this side as well. Next step is we're going to go ahead and just make one Holt. Click one on the numpad and just select this part. That way, we can move it both the inside of the book and the outside cover. And we're also going to turn on the proportional editing. So that way, we can just move this a little bit outwards, like so, and it's going to give us this lovely, lovely curvature. That's looking very nice. The next up is just going to be adding some decoration. So first of all, let's use Otis move because it gives us nice side movenes. Then next up for the top, we'll notice that you have a look at it. We have basically two sections, one at the bottom, this square over here, and one at the top. Well, let's go ahead and grab those. We're going to click seven. We're going to go into Edit mode. We're going to click Control R and move one section to the bottom, like so, and can keep the one on the top. And then afterwards, we can click I to make an inset to a reasonable amount. Something like this, I think is going to be right. Then we can select the bottom part and do the same except this bottom part also has a gap at the bottom, as well, we're just going to make another edge loop, and now we can click I and make the same that up. So I'm going to make something like this, and I'm going to click and X with proportional turned off SNX and just kind of move it in the same section. We can also just select individual the edges, use the snap with edge snapping. And then with that, we can just click GX, and it's going to snap to this edge. This edge, click GX, and it's going to snap with this edge. So there we go. Both of these edges now are exactly the same. It is very good for us. So next up is just going to be selecting these parts, clicking E, and extruding inwards, like so. There we go. Love extrusion, inwards. Then next up is just going to be getting an upper section over here. Except now there is a little bit of an issue. So right now, I made an inset before making an extrusion. So at the bottom, we had leftover space, and honestly, we should have done something like that at the top, as well. But the reason being is that we have a nice edge line going all the way around, and we don't have that here. So that's going to be a little bit problematic because we need that edge on the top. You give us some extra decorative work. So what can we do about it? Well, first of all, we're going to go on the object mode. We can make sure that only the outside is selected. Discover. Then we can just simply go to the top view and we can select it all and use the knife tool and using the knife tool with an X ray, I believe, we need to turn off the ocludeGeometry. We can just select the top shift, I believe. It's not going to work. We're just going to make a mess. This is not going to give us a straight line as straight as I want. So instead of using this, another option would be to use mesh. Bisect. Mesh bisect kind of works the same as knife tool except once you make a knife cut of route, the selection, we can change up the plain point. So this is the plain point that we're using. We can just simply move this as a bisect control, and we're just going to make sure that the rotation is set to zero for everything and Y is just going to be set as one. That way, it just goes all the way across like so. The only thing that we need to do is just make sure that the decorative setup is placed nicely in this section. And that's going to give us a straight line. To fix these parts, for example, we could potentially just move these and click J or non J. We can click Control J. No, sorry, my bad to merge at last. There we go. And now it's going to give us that same type of a mesh setup that we had There we go. Now we have ourselves as a nice edge loop. So next step is just going to be making sure we have the selection nicely set up. You can select this part. We can go to the outside, hold Control, select it on the outside. Hold Control, select it over here as well. And we have this type of selection. Then I'm going to hold Shift, select this part, hold Control, select this part, and select this part. Which would work well, but I'm not in edge selection. I'm going to click two. And then I holding control, I'm going to select these parts like so just to make sure that we only have these faces selected. I'm just going to hold shift, select this part, full control, select this part at the top, and there we go. We basically made ourselves a nice little selection like so. Afterwards, all we need to do is just hit Control B, make a bevel with one segment, and I'm just going to check this part over here, which is making a little bit of a mess. Why is it making a mess for us? I'm not happy about this mess. I'm going to click Control B and just check it again. Yeah, everywhere else, the bottom, for example, it's okay. It creates a triangle at the bottom. But here, for some reason, it just doesn't want to work like that. So manually, I will have to just go ahead and fix it, unfortunately. There we go, now we're getting that same triangles we had at the bottom. And here, it's unfortunately going to be the same. So, let's go ahead and fix it real quick. There we go. And over here as well. Just like that. Quick little simple fixes whilst keeping nice shape. Now we can go ahead and make a selection again of this entire setup of our little bands. So let's make sure we don't mix up shift and control. So first of all, we click Shift, and then we hold Control and select the bottom and select the so it's not going to go across here because it doesn't have the faces. But once we have it, so we can go ahead and click E Enter. And that's right away going to give us this issue. What happened here? E, Enter and Altens. There we go. For some reason, I think I just mis clicked and it went off to the side. But here, it's looking pretty good. So the only thing that I want here is now, well, first of all, turn off the snap, and we're going to make use out of the individual origins, so we can use S and Y and just kind of go inwards a little bit, like, so that way, going to have a nice little indentation inwards, just like that. Next up, we can simply go ahead and add a bit of a bevel, add another segment just to make sure we're getting a bit of an extra resolution. And there we go. Got ourselves a lovely little book. Now will continue on with this in the next lesson. So thank you so much for watching, and I will be seeing you in a bit. 29. Precise UV Mapping and Material Application for Books: Hen. We'll come back everyone to Blender of FD, modeling a medieval research's desk. In the last lesson, we left ourselves off with a lovely little book. We're now going to go ahead and add some material onto the set. So let's go ahead and do that. So we're just going to go into Asset Manager, and we are going to just simply get ourselves the book cover, lace it on a book as well as the pages. Let's go ahead and find ourselves the pages over here. So paper side light. We'll do the trick. Let's just play add it in. On the side, I just like to sew. And next up is just going to be fixing up the UVs. So for this kind of a book, honestly, the best approach would simply be to take off the item from the inside on the inside parts. I'm just going to just hide the side of the way real quick. So this inside part would be separate. And all of the rest of the outside could be just one simple UV, even though we have some indents over here and whatnot, by simply unwrapping it as one piece, we're going to just stretch it around the edges of the curve, and the lever fabric, the lever pattern itself is going to look quite nice and lovely, making it seem like it's just being indented and added detail within the cover itself. But that's what we're going to do. I just going to go ahead and control Z or we can use AltenZ AltenH that is to unhide it. This part. And we are going to go ahead and select Is the type book isolated so we don't have the parts in the background. And then we're going to select this book like so and we are going to click two and hold Alt and we should be able to There we go, we should be able to select one side, like so. Now, let's hold Shift and Alt and we should be able to, hopefully, nope. The you want us to select the sub a part. So instead of what we're going to do is we are going to make our lives a little bit easier, I reckon by simply, we're going to hide back this page over, so we're going to click one and we're going to go into Edit mode, click free, and then Z. That way, we can have a selection on the inside part. So this entire selection, like so is going to be done just like that. And we're also going to hold shift and just select this part over here as well. Way, we have an entire selection just like that. And with this selection, what's nice is that we can go to edge selection by clicking two. Then we can go select and select. There we go loops, boundary loops. And that way, we just get outside part. That way, we can mark SM. We can grab the entire piece, and then just click to unwrap and use unwrap Conformal. And this should give us a nice and lovely unwrapping with all these indents and whatnot. Being indented inwards. You can see the way the stretchiness works now. It goes towards the parts. And if we were to use cycles, we can just see it even better that it gives us some nice edge where and whatnot. So all in all, it turned out quite nicely. All right, so next up is going to be clicking Old Age to get this page. And now we can just unwrap this entire piece as one piece, I believe. There we go, just like that. And that's it, actually. I don't think we need to do anything else to this. I'm just double checking if maybe we need to slightly tweak the way they are positioned, maybe, like over here. Maybe we can make it even smaller, actually. I have less page look. Something like that will do, I think. Maybe something like this. I don't like the way this edge over here is being held. I'm going to try and use maybe a minimum stretch. Let's see. Maybe that would work a little better. Kind of works, but let's try unwrapping it by just selecting double clicking to get the active selections. So we'll deselect selecting and then using follow active quads. Let's see if this would help us. Maybe kind of partially helps. Let's go into cycles mode. And going to slightly adjust it. Think I'm going to keep it as it is. Part looks very off. So I'm going to go ahead and select this part over here, the edge, see what's happening over here. It is going straight. So if I was to move this, for example, it is going to move it. I'm going to just quickly check shared vertices. But Yeah, it looks like it's fine. Maybe I'll try checking if base orientation is off. But no, it seems right. Rotating will not help here. That's for sure. So I'm just going to maybe move it off to the side a little bit. Like so. Or what we could do a little cheeky way of fixing this issue would be if we were just to grab this part at the top, click GY, and move it downwards. So that way essentially flips the pages. So this is like mirred basically. And that I think works a little bit better. I think that will sort our issue over here. I I'm also just going to grab this, G Y, move it down as well. There we go. So now it's very nice over here. Our side. Super side is fine, so I'm not really sure why this upper section was an issue, but here, I think it looks much nicer now. So reusing the patterns like that is totally okay overlapping it, especially in seamless textures, totally reasonable thing to do, just to get the desired result. And there we go. Alright, so now we got ourselves a book. We can go ahead and just combine it all. I'm just wondering if I need to apply the bevel beforehand for this upper section. But I believe because we already bevel these manually, they're not going to get other types of bevels. So I think we can just select these and click Control J. I'm selecting the cover as the last part, and that way, this bevel will be still kept. So checking that Art over here wants to overlap a little bit. I don't, Okay, so I'm going to go ahead and just increase the smooth angle a little bit. And there we go. A little more. Or actually a little less. I'm just going to do it something like ten. There we go. Gives us some nice, just going to put it to 12. And I think that is reasonable. This part over here is slightly off, so I'm just going to move it a little bit. Like so. And yeah, just final little bit of tweaks and touches, and we got ourselves a book. Alright, let's go ahead and place it on the table. We can go ahead and just click A two, call it a book one, and go ahead and now go on to modeling section, place this on our table. Like so. Looking at the reference. We have placement like so, so there's two books. We can just make a duplicate over here and just place it in the back a little bit, and that will be a good starting point. And I'm going to make it just a little bit smaller. I think that's going to be reasonable. Rotate this a little bit, so it's going to be having the back. And then I'm just going to make a duplicate and just kind of offset it a little bit. Like so and then position it. Something in this regard. I'm going to click zero just to check how it looks like on the setup. Think it's reasonable. We can adjust it afterwards with additional items. And yeah, we're going to leave our lesson here. Thank you so much for watching. And I'll be seeing you in a bit. 30. Carving Detailed Corners with Bevel and Solidify Modifiers: Okay. Hello and welcome back on to Blend F D, modeling a medieval Resources desk. In the last lesson, we left ourselves off with some lovely books. We're now going to continue on this book setup. Going to move them a little bit lower because they're floating, actually. So next up is we're going to create yet another book. This time, it's going to be more of more of a fancier type of book. This one in terms of, like, what the context of it is. We have an emblem over here. It shows that it's, well, more of um aristocracy or, like, a richer type of a book. We also see that there is some extra bits covering the corners, so it's maybe more protected. It's better maintained perhaps. And in general, it's just let's say, more fortified. So maybe it's being used more in, like, in places where you need to carry it around more, maybe like something closer to, like, a Bible or something or like a family's history that needs to be shared throughout the lands, something like that. And that's the kind of context we're getting out of this book, and we're going to make sure we implement it into our environment. So what can we do about it? Well, we don't really need to do the entire thing from scratch. We can go ahead and grab one of those books over here. I'm going to make a duplicate, and I'm going to click Alt and R. If you haven't changed any if you haven't applied any rotations, using Control at A, you should be able to use Alt and R and just I'll revert the rotation. If not, don't be worried and simply rotate it manually. You don't need to be super accurate about it. What can we do about it? We just need to make sure we revert this to the original setup. So the way we're going to do it is we're going to go into Edit mode. We're going to just click L and use UVs. That way, we're just getting this part over here at the base. We're going to click B, separate it. That way, we're able to get this out of and next step is we're going to click L again, and we're going to again, click E and separate it this way. We have the book pages already set for us, and we have the starting point of the book as well. And looking at the shape, we noticed that very similar with the back being curved, and we might need to well, we do need to round off the edges over here. It's going to be all right. There we go. Let's use this as a better reference. Going to be easier for us. So yeah, let's round off the corners, make this a little bit thicker, this entire part cover. And I would say, also let's thicken up the book because in comparison to this, it's just a little bit thicker. So we're going to go ahead and use those make all of those changes. First things first, let's go ahead and select this part over here. We're going to delete it, and we're just left with this chunky two pieces or thin pieces, actually. Next up is we're just going to go ahead and select them both. We're going to go into Edit mode. Click A to select it, and then use S there and just scale it up just by tiny bit. Just a little bit. So that's going to be great for us. Next up is we're going to well, round off the corners a little bit, and I think we should also tweak up the front. I'm not quite happy with the way this front is. So what I'm doing right now is simply using old Z and just from the top down view, I can make it a little bit smaller, like so, and then next up, we can just select these corners over like soap and have a look. We should be able to click Control B, Control Shift B, and squish it in, although, I'm going to click Control to that actually because I want to click two, and holding Alt, select the part over here, like so. Holding Shift and Alt, I'm just going to all of these edge loops for now and I'm just going to dissolve these edges. This way we have solid piece to work with. Oh, next up is going to be well, giving our lovely book some thickness. Let's go ahead and do that. We want to use solidify. There we go. Lovely book is getting some thickness. We're going to make it just a little bit thicker. We make sure it's thicker than the other one. Not by too much. I think is reasonable, honestly. I'm quite happy with this. So next up is going to be making sure that we have these edges, these corners beveled off because they're too sharp and we're going to add some metallic bits. Even though we're going to be covering them up, it's still better to just kind of cut them off. So Control Shift B, I'm just going to go ahead and do that, like so. And actually, we can just increase the segments over here because we can actually reuse these parts a little bit. I'll show you how for now, yeah, this is going to look quite right. Next up is we want to make sure that the bevel is being used up properly. So bevel should go after solidify. We should still have that, and we're going to increase the bevel to something like 80 degrees. There we go. And we're going to go ahead and use Shade Atos move. That's by default firty angle. That's good. And next up is the fact that these corners over here, a little too sharp. So we're going to go ahead and select that these edges over here up in the bottom, and we're going to click Control B and just bevel it with two segments this time. So something like this is going to look very good. And then I believe that's as much as we can go for with the setup that we have over here. Be this time we'll need to set ourselves up with the solid device. So the mesh that we have will have well, we'll have more depth. This way, we'll be able to set up this, for example, indentation over here, and we'll be able to use the thickness to kind of make an extrusion to create these shapes over years as well. So yeah, let's go ahead and do that. We are going to start with, well, turning the solidify. Let's go ahead and do that. We're going to apply the solidify. We need to go out of the edit mode, so hitting tab, and let's apply the solidify, and now we're going to grab ourselves these owners. So what can we do about them well? I think at this point, I'm actually just going to go ahead and make a duplicate out of this. Shift D, GZ, I'm going to move it upwards. I'm going to then manually place it down into the book afterwards manually because we can just offset it a little bit to our own desire. Then next up is we're going to go ahead and hit App to go into Edit mode, it ls to go into transparency, and I'm just going to select this upper section only. Then we can click Control I to invert it and delete the rest. This way, when we are using a knife tool, we can just cut inwards, add it into it. And let's see. We are going to use knife tool over like so. We don't need to occlude geometry, and we can, I believe, just do this, actually. There we go. Something like this. I reckon we'll do the trick. And let's go ahead and click Enter, and that's what we're going to get. Now, we can click free. O we can go back to the Move Tool, click free to go onto Base Selection Olds, select this entire part, like so, and then click Control I inverted delete basis. Next up is just going to B, have a look. Is going to be filling in this space over here. So let's go ahead and select this. Let's click F, and there we go. We got ourselves this filled in, and now we can just place it inwards, I think. That would be the best option. So that way, we can go back into Edit mode and use Alt sorry, we can select it all, then use Alt ands and just expand it like. And that's going to give us a nice a little bit of an edge. And I think we can also use a Z, kind of scale it outwards to give us some nice chunky thickness. And let's see. Is that going to be reasonable? I think the beble amount is going to be too much. I'm going to lower the segments, and I'm going to lower the amount, actually. There we go. Something like this. Would that look nicely or should we fix it? Is the question. I think it's looking quite nice. The only thing that I'm worried right now is actually, I will increase the segments. There we go. I like this a lot more and change the amount to 0.0 or three. There we go. That's looking very nice. This hampered off edge is a little bit too much for me. That's what I'm worried about. So I'm going to select this entire part, so I'm going to use S, scale it, and then I can use, I believe, Alt and S, sorry, Shift NSD. There we go. So basically, when we click S, we are scaling the entire part. But while scaling, If we use shift and Z, we are locking the Z value. So Y and X x is the only thing that's going to matter here. And we can just use it to just well, tighten it up like so, and then we can just move it outwards, a little bit, like so. And I think in order to make this the same value, so you can see move X and Y are basically one is positive, double one is negative. What we can do, for example, is if I was to use 0.004 over here, I would just be able to opy and paste this, but with a negative value just like that. And that way, it goes just basically after the scaling process, it goes diagonally outwards, giving us that same, well, the same kind of corner for both the bottom and the side. And I think that is looking quite nice. Now, next up is we need to put it on the top bottom and the other side. What we can do is we can use mirror. Mirror is a lovely tool and just helps us to speed everything up. We can use Y and Z, I believe. There we go. It's almost good except Z is not matching here. So that's very unfortunate. And honestly, there are multiple ways of fixing this. One way would be to just make sure that it is in the center of the book, this origin point, which honestly, I think we can do that. The way to move the origin point without moving the mesh, by the way. So like previously we talked about how we can just go into Edit mode and move the mesh itself, and that would move the mesh and keep the origin point. But if we want to keep the mesh and move the origin point, we can go to options, and whilst the arrow is selected, the move option selected, we can go to options and use effect only location. Sorry, the origin. There we go. And with this selected, we can just move this downwards. So I'm doing this while in object mode, by the way. We can move this downwards, and we can just reposition it, so so origin point now changed, and everything is nice. Let's make sure we turn this off now. Option overwis is going to give us a bit of a headache if it's not turned off. And like this, I think we got ourselves a nice little setup. So I'm quite happy with that, although I would say now that we have this setup, I'm going to go onto Edit mode, going to just use S Z and just squish it just a little bit and make sure that GZ we can move it outwards. But this part on the inside is not going to be overlapping with the pages quite as well. It's only going to be an upper side. That's what we want. And, so a little more so I'm only doing this in edit mode, by the way. That way we can just adjust it and everything else is going to be kept exactly the same. So very nice. All right. Next up is going to be, well, adding more decoration, but we are running out of time, so we're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 31. Creating Inset Borders and Front Panel Decorations: Hello and welcome back everyone to blend of freebie, Molinga medieval Researchers desk. In the last lesson, we left ourselves off with a lovely book. We're going to continue adding detail, and we're going to start off by simply adding, well, just a little bit of indentation. Oh, this section. So how can we do that? Well, we can go ahead and just grab this top base over, like so and we can click I to inset a little bit. It, then we can just use S to scale it down. The reason we're doing it like so instead of just using I to inset the entire part is because at certain point, vertices start overlapping. But if we were to do it just a little bit by clicking I like so, it keeps the same shape, and then we can use S to scale it down without worrying about these vertices overlapping. But that's something worth knowing. Okay, so next up, this part over here, I'm liking this curve, but we need to make sure that these parts over here also have that same bit of a curve. So I'm just going to double check over, so bit of a curve, and these will have the same matching curve. So I'm going to go ahead and use Control Shift and B and just kind of do this. Like so. It's going to be quite reasonable. I'm going to go ahead and increase the amount of segments. And is this reasonable? I think it is. I think it's good. All right. I'm quite happy with this. Next up is just we can select this and we can use Inset yet again. So clicking I, Enter, and without moving it, now we can just move it inwards like so. And I think that's good. We just need to make it a little bit. Then Control R, and we can just make an edge loop and then use GST and move this downwards. And just like that, we got ourselves a nice little indentation. These parts are a little bit I'm not very happy about these parts. So what I'm going to do is I'm just going to grab these all, like so, and I'm just going to move it, I believe, to the last part and use last. You go. That's a little bit better. And I'm going to do the same on the overside. Just to make sure we get a nice little setup over here. Last, and there we go. Nice little setup. Segments, we can just change up the amount a little bit five. And I'm worried about this shader setup being an issue, but honestly, I think it'll be quite right with the metallic setup. So the noise itself will hide these parts if you don't want these parts to be as visible. What you could do is you could add another edge loop before this indentation. So a quickest way for us to do that would be just select this entire piece, like so and then clicking I Enter and then scaling it inwards. So we can just go ahead and actually, sorry, we're going to use inset faces I believe that's going to be after insetting it, I'm going to go ahead and just select it all, like so and then I'm just going to well, I'm going to scale it in just a little bit. So there we go. Now it's fixed. I'm happy with this outcome. And let's move to the up piece, which is going to be over here on this section. So we want to make sure that the upper and the bottom part as an edge over here. We can't do an edge loop because this is an end goon at this point, so we're going to go ahead and select it all, click seven and use mesh bisect lovely little tool to cut it across, so we're going to make sure that Y is set to zero. I believe it's Y. Yeah, it is Y. And we're going to get it little bit closer, a little bit closer, like so. That's good. We just need this edge and this edge. Using these edges, actually, sorry, we will need the entire edge loop. Just to make sure that the apology doesn't get messed up, we're going to click Control B, bevel it out a little bit, use two segments. Yep, with should be very, very small something in like so, and then we can just select this edge over here and hold Shift and select this edge over so. Then use as and just kind of hale it down. Need to make sure that this point median points selected as z, and there we go. We're going to get ourselves nice little indentation. And given the fact that we added extra topology, we can just select this entire part so and use scaling. So scaling shouldn't be affecting Y axis. So I think I'm just going to use S and shift the Y. That's going to scale it though, and I'm just going to drag it back a little bit and maybe it's a little bit too much. Go ahead and use as I said and just kind of rink it down a little bit, something like so. And it's looking lovely. Alright. So next up is going to be just some straps on the sides. And actually, we can even make a little bit of detail at the front. I think that's going to be faster. And since we are running out of time, we're going to make that just because we can and because it's fast. Let's go ahead and create ourselves a simple plane, go to Edit mode, make it smaller, GZ put it on top and move it to the part where it is just in front, then use a Y and X. And just like that, we got ourselves something like this, maybe a little bit. We're like, so. And afterwards, we can go ahead and just make the shape a little bit nicer. With some beveling control should B, go ahead and increased amount, so we'd get ourselves some nice amount segments like. Then we can click I, Enter and scale it down. And just like that, we got ourselves some nice little borders. I look much nicer in the original reference. The edges weren't as smooth, but I think here it's going to work a little bit nicer. The other thing is that in a reference, We didn't have an emblem over here, so you're free to basically put any emblem that you want. I'm going to show you how to do that in a bit. And I am going to manually just bevel these parts over here just to make sure we have some nice control over the setup. And she said to kind of move this, like so end the move this downwards. So, right. So we have ourselves a nice little setup. I'm going to move this just a little bit to the side because I know that we're going to have these patches of lever holding the sides. And yeah, we're going to continue on with this in the next lesson. Thank you so much for watching, and I'll be seeing you in a bit. 32. Designing Leather Straps and Metal Embellishments: Hello and welcome back over to BlantFD modeling a medieval Research's desk. In the last lesson, we left ourselves off with this book, which is still in the mid progress of itself. And I'm just going to make a couple of adjustments before we continue on with those sides that we talked about. First things first, I'm just going to select this, and I'm going to go on to the paselection, wrap this face, click Control plus, select it like so and do it a couple more times to grab the bevels. The wy we can click and then ship Z make sure we lock the position. And we're going to make that way the FICre borders just to make sure we are adjusting it. Next step is I'm going to go ahead and just click L to select the entire part based on normals. I'm going to click Control I and then, is that actually a separate part? It is a separate part. Just double checking the bottom face if it was on or not, but it seems like it's good. And next up, I realized, looking at reference that the quick mistake that I did was that this part needs to be well rounded off. And actually, luckily for us, it's quite an easy fix. All we got to do is just go onto the upper section, and in edit mode, we can use an entire selection. You can go ahead and click free. To use old Z and make a selection like this. That way, we are able to select all of the needed pass that we need to adjust. Then next step is just simply going to the knife tool and making sure that we only have only selected on. That way, when we make this cut so we can select it, click Enter, and it should give us a nice little setup. Except this part over here, I just realized it's going to be giving us an extra edge loop. So I'm going to go ahead and fix it by just merging this to last, and just like that, go to sell this nice little setup so next up is we can go into seven. We can click Old Z, and we can select this, and we can move this out of the way, just like that. And then next up is we can use Control B and make a nice little shape like so. Something like that will be quite nicely done. My just shape a little bit. But honestly, something like this is going to be quie right. Now, you might be worried about this part, which is fair enough. You can go ahead and fix it again, manage it last, and there we go. Selves a nice little setup. Alright. Uh, I am worried about this part, though. This might need to be slightly adjusted. Go to go ahead and do that. So in case when we have such an issue, we can just slightly move it, rotate it. And actually, what I'm going to do here is I'm going to just grab it and just move it outwards or upwards like so. That way, we have this a little bit nicer. There we go. I was going to fix it up over here as well. A little bit. Just to make sure we straighten it up a little bit, like so a little bit more over here. Going to move it like so it will be a little bit more straightened up. And I think that's going to work for us. Oop. We need to dip a little bit even more. Writing it up a little bit, oh. There we go. Alright. All right. There we go. We ended up fixing it. That's good for us. So next up is going to be the patches on the side, and that's going to be a rather simple task. We are going to just grab this entire part like this, make a duplicate, shift D, and then escape, hit P, dp by selection. That way, we have ourselves this little is little. If you're not able to select it, just go ahead and hide the book out of the way and move this a little bit off to the side. Actually, let's not move it to the side. We can just go ahead and add solidify right away, and we're going to make sure that offset is in the right thickness. Then we can click AltnH. And hopefully, you'll now be able to grab this piece that is required. So and there we go. All right, so next up is going to be going into Edit mode, liking A to select it all, a Y and scrolling it down. And I'm just going to double check. Yeah, it looks like everything is okay, actually. Double checking. Yep, all is good. So we are going to just simply make our lovely shapes or this section. I think we're going to start off by doing the ones on the sides because I think they're going to look well, they're going to be a lot wider, and we can just adjust it afterwards. So once we get a shape like this, we're going to go ahead and grab the top and the bottom, like so, we're going to go ahead and click E, Enter GX, move it like so, and going to check if this needs they need to be getting closer so they wouldn't be floating, so we could potentially, make an edge loop over here and then kind of making smaller sea. But because it's like a lever strap, clicking SNY, sorry SN Z going to make it look like it's just indenting a little bit, pushing up a bit of a tension. So afterwards, we can go ahead and click one to go to the vertex mode, click Control Shift B and make ourselves this lovely, lovely shape. Something like that, except the shape itself is not quite as nice, so we can use the profile shape. We got something like this, and I think that is looking quite nice, although we can also use SY to kind of squish it down over here to make sure that this next is not a straight, and also, I'm going to click Control plus. And with this selection, also do SY, and then make sure that we have some, well thinning up towards the end. And then afterwards, let's have a look. Is this going to be right? I think we can make it just a little bit wider, like so, and I'm going to go ahead and select it all and use SY and just kind of squish it just a little bit more like so. And now it's looking very, very nice. I'm quite happy with this result. Now what we can do is we can simply apply the solidify. Let's go into object mode, apply solidify, we get ourselves this result. And we can make sure that the bebl is not too much. Use just one segment, there we go. I'm going to click Control A and apply a scale because the amount is very, very finicky, for some reason. There we go. All right, so now we have something like this. I'm also going to go ahead and click GX. Kind of squish it into the book a little bit, just a little bit. So it would be overlapping and that would be I think better. So next up is adding ourselves to shape on the top. Let's go ahead and do that. At this point, I think I'm just going to turn off the measurements. I don't think we need them. Goself to general scales and everything. Go ahead and select it like so and click Oh, the scale is back. Edge length, there we go. Yep. All right, so just selecting the entire part like this, with the face selection, then clicking I. And this time, we're just going to insert it like so nice and thick. And now we can click Enter or E, Enter, and then use Alterns and then insert it like, so this looks quite lovely, not as much. The amount is going to look quite nice. I'm quite happy with this. I think this is overlapping a little bit, if we were to check face orientation. No, it's not, actually. This is just a normal bubble. It turned out quite nice. I'm quite happy with this. So we're going to go ahead and keep it. And next up is just going to be adding couple of bolts. Those bolts are going to be very, very simple. Let's go ahead and create ourselves a new mesh. We are going to set ourselves up with UV spirits easier to edit. But the segment amount is going to be very, very small, eight by eight. Let's go ahead and have a look at this. Could it be even smaller? But I think this is reasonable start. Yes. Go ahead and go into Edit mode. We can select verte, select the top word center click Control plus Control plus Control plus, and then go to face election. And there we go. We change from vertex selection to face selection in click Control I, and we can delete the bottom faces. That way we have this that looks more like a button. We can go ahead and go into Edit mode, select it all, make it smaller, put it in the right position, like so, and make some bit of adjustments. So firstly, move it all the way down. All the way down a reasonable amount because I'd like to also click two, make an edge and just get it. Oh, what's going on here? That was not intentional. Way to do it again, holding Alt, selecting it, E, enter, and I'm just going to use S to do this. There we go. And I think, yeah, we're going to just go ahead and select it like so and just click E to extrude it this way. It's going to give us this lovely indentation. It's going to make it look like dumped into the setup. Wondering if it's bick enough. If we want to make it thicker, we can do it, but I don't think it's needed. Although I'm going to select it all, I'm going to use S Z, I'm just going to squish it a little bit, like so. And I'm going to select this again and just use GZ and move it upwards, like so and I think we can use shade or smooth to see how it looks like. I think it looks lovely. Let's go ahead and place it in a proper position. Right now, when in object mode, the origin point is way off, I'm going to go ahead and right click at origin point to geometry. And that way, we can just make ourselves lovely little part of a here, one for this part and shift D, upper one for this part. Though just above the seam, this one can be smaller, and I think it's going to look quite nice. I think they're actually too small. Looking from a distance, they're definitely too small, so this is going to look much, much nicer. There we go. Just going to make sure they are placed nicely. Like, so this one actually needs to be dared upwards because we scaled it to a different shape, and there we go. Lovely little setup. Now we just need to make sure that we are moving this to the upside as well. Making sure that in the same area. And I just realized in case you're getting some wed offset and motion, make sure you have the transformation set to Global. And there we go. The next step is going to be making sure that well, the outside also has that same detail to get these parts to the side, we can make use of out of the books origin point, I believe. Should be good for us. We can just select the book pages, for example, like shift and S, cursor to active. And then when we select these parts over little parts, so I'm just going to make my life a little easier, click Control J, and that's going to make sure it's just one object. So now I can just do operations for all these buttons at once. So now we're going to right click Set origin to Freed cursor because we set free cursor and we are going to just mirror. Mirror, mirror mirror. Lovely little tool use, especially in cases like this and especially when it's not going to work, unfortunately. That's right, though, because we can just offset it easily now that we have ourselves, set up I'm just going to go ahead and do that. There we go. I think that's looking lovely. Alright, and turning it off. Next up is going to be a part of a year, which is going to be, if we have a look at the reference, is going to be a little bit thinner in comparison, and it's only going to have one bolt, smaller bolt. So we're just going to make sure it's like that. Luckily, it's quite easy for us to do. We're just going to go ahead and make a selection for the bolts. And one of these belts, we're going to make a selection, yeah, for bolts and this belt. It shift E, G, Y, move it downwards. Right away, I'm just going to go ahead and go into the mesh over here. Use Old Z, make sure we deleted everything, and we're just going to go ahead and select all these free bolts except for this one, because we need to make use out of it. So we're going to go ahead and delete. So we're only left with this bolt. And now next step is going to be making sure we select the belt, the bolt, and we can go ahead and click seven, Old Z, asparency click one, and just select these vertices and that way, we can just squish it in words. Just like that. I think that's going to be a right. At this point, it might be needed when we squishing it a little bit too much. You might need to select these edges and use SY and just kind of scale it outwards a little bit, like, and a pink is a little bit too bunch. There we go, something like this. There we go. I am quite okay with this result. I think it worked out quite nicely. So, yeah, we now just need to make sure that we apply some textures, which we're going to continue on in the next lesson. Thank you so much for watching, and we'll be seeing you in a bit. 33. Texturing with Smart UV Mapping and Stylized Materials: Hello and welcome back everyone to Blender Fred, modeling a medieval Research's desk. In the last lesson, we left ourselves off with this lovely little book. I'm going to go ahead and select it, make sure it's isolated by clicking the dash key, and we're going to go onto material mode just to see what we have so far. So by default, because we copied it from the previous page, we should already have the pages. These are just material setups and just a quick unwrap. We're going to continue on with just adding bit of an extra detail. So let's go on to Asset Manager. And we are going to start off by adding different variation in lever. So we should have two types of lever, actually. We have one lever and another one is called book cover. So for the main section, we can use book cover like so. And part these sections over here and use these parts can use that lever. I think that's going to be quite right. Like so. That looks good. We just need to make sure we well, unwrap them properly. I'm going to just select this, and I'm going to hold shift, select the rest, hold shift, and make sure that this is the first selected. Then click Control L and link material. That way, they have that same material. Next step is metal. We should have ourselves stylized metal that we can apply onto the corners. We're just going to go ahead and make sure that this is applied, as well as applied for this part over here. So to do that, we can just select this part, hold shift, select the edges, click Control L. And actually, before doing that, I'm going to double check if we need to have a metal on the nails over here. I think we can use a different metal. So we're going to leave that off for now. Go ahead and use Control L or this. And now we're going to go into edit mode, select this part over here. We're going to create ourselves a new material for this part, and we are going to just change it into well, a new material. So we are going to, I believe, use the book cover over here. So we're just assigning new material on the slot. And now we just need to make sure that this selection being assigned the face selection that we have is being assigned with the book cover over here, like so, and that way, we can have multiple materials on that same mesh. So these parts over here, I'm just going to check if we have the right metal. We have metal over here and we have brass. There we go. That's the one we're looking for. We're going to go ahead and apply it onto these nails, like so. Let's not forget this main nail over here. And just like that, we got ourselves the entire setup. Now, next up is just making sure that we have the right UVN wraps. And for these parts, I believe we can just select it all, click SmartTV project for the front. I don't think we needed anything else. We're going to be right with this setup. Because it's just a default noise, we don't really need to worry about the flow. I'm worried, though, that it's a little bit too thin. From a distance, it's not going to look like much, so we're going to make it smaller. And you know what? Let's go on to UV Editing section right away. Select material mode so we could actually see what's going on. And this part is missing. What's going on? Is it? Yep, it was in a perspective mode. Going to select the book again, go into local isolated mode, like so. Now we can select this part, go into Editor, and I'm just going to make this smaller. So the detail is going to be larger, like so. We don't need to cover entire UV shell with this. We're using seamless textures, it's going to be quite alright if we are having it like so. These parts, I think we can just select them, and we are going to just convert them right away to mesh. Reason being is that we want each one of those UVs to be unique. So they need to be individual meshes, and now we can use Smart UV project. We have a highest angle degree, so we have less shells. And just like that, we're going to be more than enough. We can also make them smaller just to make sure that metal and perfection is going to look quite right. I think that's looking be smaller. Yep, looks good. Okay, yep, that looks good. So we got the front, we got the sides. These parts over here. I'm also going to apply the mirror before using the SmartTV project, like so, and we are going to make it smaller just so we can have those imperfections white visible over here. We're going to have nice little bit of bumps and scratches, and I think that's looking very, very nice for the corners. And I think that's pretty much it. Now we can go ahead and just simply select the entire book, actually, and now the bevels and everything else we have detail on them sites. That's good. We can go ahead and select an entire book, and we're going to right away just convert it to a mesh. And one more thing that I'm worried about this is that when we go into object mode, we can have some bit of maybe issues with some basis. I'm still worried about this pace for example. So let's go ahead and just select the entire book. We convert it to a mesh, and now we can just click Control J, that applies that same shade to smooth based on an angle. We're going to ignore the sharpness. No, we actually are going to keep the sharpness. Seems like it's reasonable. But yeah, I'm not liking the phases over here. So one way of fixing this would be using weighted normals. Weighted normals recalculate the phases. And it's going to use that what's it called an average normal based on the face angle of its surrounded faces. So, for example, something like over here, you can see before and after, it's going to look much better. But here, because it's just massive face that's also an angle, it's going to try to take the information from its surrounding faces, and it's going to look like it's going to have a curve. But we don't want this to happen. So how can we fix it? Well, we can enable keep sharp. If we keep sharp, and then we just select edges over on the side, can mark sharp, and that's going to flatten this entire edge, and the rest is going to look quite all right. So just like that, we're able to get some of that additional detail without adding any of the topology by averaging out the normals of the faces. And we have some control without the need of any high topology bakes or anything of that sort. So just checking, making sure it's looking quite right. I'm not entirely sure that I'm happy with this edge over here, for example. So this seems to be mark sharp. I don't like the sharp, so I'm going to go ahead and select these parts over here, go to edge selection, and we can use clear sharp. So now it's going to be maybe a little bit better. That's actually making it worse. We check before and after. Yep. Okay, so in the section over here or the hinges or the sides of the books, I'm going to go ahead and just select this entire part. So using control and shift technique, Oh, this part over here didn't want to it properly. Like so. There we go. We got this entire selection. We're going to go into edge selection, election loops and select boundary loops. That way we can just mark sharp over here, and hopefully that fixes the issue that we had previously. So this part over here, I think it's just because of an angle. Yep, just by increasing it a little bit, we're able to take off that sharpness from the curve of the book. And, we can just now apply some bit of a detail if you want. We can go to Asset Manager within an extra. We can find ourselves some lovely little decoration, put it over here, and just like that, get ourselves something nice. Maybe I'll rotate this actually by 90 degrees. I think it's going to look quite nice. I'm quite happy with this basic decoration. I think it's going to not overwhelm the detail of the book and keep make it look like it's still quite nice overall. Looking at this, I just realized that the edges here are stretched out. The reason being is that we forgot about the solidify. So as a quick fix, I'm just going to go ahead and select all of these faces that I know were used with the solidify, holding Shift andalt make sure it gets an entire edge loop. And we just have the thickness of both the book cover and those lever belts that go around it. Then we can just click U SmartTV Project. And that's good, although it's a little bit too big, so we're going to make it smaller whilst having the sticky selection mode disabled there we go. So we just making it molar like so, and there we go. We got ourselves a quick little fix with the edges. So, yeah, that's going to be it. In the next lesson, we're going to create ourselves a variant book. So thank you so much for watching, and I will be seeing you in a bit. 34. Modeling a Jewel Encrusted Book Cover with Boolean Cutouts: Okay. Hello. Welcome back around to Blender the Fred modeling a medieval researchers desk. In the last lesson, we left ourselves off with this lovely book, and quickly to fix for this decal, I just simply forgot to we adjusted a little bit onto the front of the book, make sure there's less of a gap. Then have to be perfect, we're not going to get too close up, but something more reasonable. And next up is, if you're getting some odd shadows, just make sure you are having the ray visibility for shadow off for the decal and you should have a nice little setup. And then afterwards, we can just select decal, select the book, click Control P, and set parent to keep transformation. That way, this decal, even though it's a separate decal, it's going to be right, moving ourselves with a book like so. So next up is we're going to go ahead and make a duplicate out of this book. You make anova version. So I'm just going to move this entire book off to the side and this one is going to be right here. I made a duplicate, so there shouldn't be a decals for this now. It's all good. Let's go ahead and go on to Edit mode and pick what we need. We need this cover, so clicking L, we're going to select it. We're going to set the limiter to normal just to make sure that everything selected, and we're going to select the pages as well. These pages can be selected like so, and next step is just going to be making sure that Yep, that's actually pretty much it. That's the only things that we need from this particular book. We're going to go ahead and click Control I to inverse everything and delete pass off of it. And we have a nice base to work with. So first things first, what we want is we want to make sure that these covers on here are made. So it's going to have a bit more of a nicer reinforcement for the section. Let's go ahead and do that. For us to do that, we can simply just reuse this particular part over here. I'm going to just make a duplicate the holding Alt I just selected. Actually, that selects an entire part, so I'm just going to select this upward section, holding Control, going to select the bottom. That way we have just a nice pase selection. And then click Shift D, Escape, P, we separate by selection, and then we should have ourselves this little section, so except it's hard to select. I'm just going to double click. There we go. Next up is going to go on to Edit mode, just making a smaller whip for that. Moving around this amount, moving it up to the side, like so, and we can just make some bit of a variance. First part of the variance would be just to grab some thickness. I'm going to do it manually this time because I want to do also at the same time the rings, that's going to be better. So let's go ahead and do that. I'm going to click E, Enter, and alters. Going to give us this lovely little thickness. Then next step is clicking Control R and moving some edges on both sides. Like, so if you want them to be consistent in terms of thickness, what we can do instead is we can just scroll mouse wheel, like so, make two of these, like so, and then use S and Y and just move them off to the side, just like that. And it seems like I might have forgot to turn off maybe option face attributes. I'm going to turn that off. It seems to have stuck because I noticed that it wasn't squishing the UVs. We're going to redo UVs, but I just want to make sure that it doesn't make up my performance whilst doing it, and you can always keep an eye on that as well. Next up is just going to make sure that holding shift and then control afterwards, you select those on upper section, like so, and we can click Enter Altns and make an extrusion bit just like that. And then next up, we should be able to just make a modifier with pebble like so. And then I would like it to go slightly inwards into the section. So what I'm going to do is set. I'm going to just select all of these vertices, and I'm going to either move it down or rotate it. So by moving it down, we could just reposition it like so. That would potentially work. Would give us a nice little option or alternatively by rotating it. So R Y, rotating it, and then moving it downwards. We have a variance in thickness over here, the thing that kind of works a little bit better because we're able to reposition it with a smaller edge on the top and it doesn't go into the book itself. I think that's going to look a little bit nicer. We're also using this green square that gives us option to move between Z and X axis, and like that, I think it's going to be quite all right. Next up is we're going to use old Z reposition our camera a little bit to the side, or we can use one on our numpad and then just select this section over like so. And that way, we can just pull this inwards, actually, even, something like this, bit of manual control. That's quite all right. Next is just these sharp parts over here. We're going to also select them and move them a little bit back. That way, it gives us a nice beveled off edge. Just like that, we're able to get ourselves a nice little detail for the book, which we can mirror it to the other side. I'm just going to do it manually. I was thinking about doing it with mirror, but honestly, it's okay to just do it like so. Then next up is going to be some extra detail. First things first, we got ourselves some detail at the front of the book. This detail is a nice, lovely gem. Over here at the front, I believe we can create ourselves a gem from scratch using either kosphere or UV sphere, but alternatively, what we can do is we can make use out of an addon. There is a nice little nifty addon. You go to preferences addon, we can search for extra objects. If we're not able to find it, we can go to get extensions and search for extra. Oh, let's make sure we allow online access. There we go. There we go. Extra, and we should find extra mesh objects. Let's go ahead and click Install. It'd be rather simple. There we go. And now within add ons, you should find it that it is installed. Extra mesh objects will give you a nice additional option tool within your shift in A option, which if we go to mesh, we'll see here you go. We have ourselves a lot of extra options. One of them is called gemstones. And I believe gem. There we go. A nice little gem will work quite well for us. We have some additional segments, for example, but default one, I think, will work quite well, maybe segments of nine. We have some additional options for radius, for example, which we can make it a little bit smaller. And I believe we should make it a little bit wider, actually. Oh, this one is yeah, that's a reasonable thickness. In terms of pavilion at the bottom, we don't really need it much, so we can just lower it down more reasonable amount. And yeah, afterwards, we're just going to go ahead and slightly squish it outwards because if we look at the reference, it's not exactly, you know, circular. It's more of an oval shape, so we're going to go ahead and just wretch it out just a little bit. Nothing like so, and then place it at the center of this book. So something like this. A reasonable size. Little small gem xo will do the trick. And next up is going to be adding some additional detail. We're going to make sure that it's placed not just stuck into the book, so we're going to have a little bit metal decoration that goes around it. So first things first, I reckon is we can start off with the circle. The circle itself over here right now could be just 24. That's a reasonable amount. And let's go ahead and make it smaller. Move it to where the gem is or to make sure that it's perfectly centered because we can select Jem. We can right click and set Bury instead, we can use ShiftinSKurt that is selected, that will be going under Jem. Then going back to the circle, we can then right click Set origin. That's not right. Using shiftinS again, we're going to use selection to cursor. Evo ones would work well, there's two options. One is keep offset in case we're having multiple objects selected, but we don't at this point. So we're going to go ahead and just go center this out and expand this a little They expand it even more like so. Then, looking at the reference, I think it's better to assume that we want more straighter edges. So what we can do is we can go on the Edit mode selection and we can select every other edge to do that, we can just select it all, go into selection and use a checker Diselect, there we go, it selects like so. In this case, the vertice on the top is selected on the bottom. I want them to be not selected. I'm going to just offset it by one. There we go. We then can use Altns we squish this inwards, and it's going to give us this slight bit of indentation, so it's not going to be perfectly straight, which yes a little bit, which is going to be great for us. Now we can go ahead and select it all, click F, and there we go, we go to sells a nice base section. We can then go into face selection, select this, click I enter, and just scale it inwards to a reasonable thickness, like so with this reasonable thickness, we can go ahead and just grab this selection and click E Enter and just GZ move it outwards, something like this. And then we can just play a little bit smaller. And then we can just play with additional details such as extra edge loops. So we can add an extra edge loop like so and maybe make an indentation and then extra edge loop over here, make an indentation like so, and just playing around with edge loops. Will do us quite nicely. There we go. And next up is just making sure that it is giving us some additional detail for these parts over here. If we look back at the reference, we have these parts of sharpness, maybe it's better to see over here, these parts of sharpness over here, which keeps some that bit of topology. But it's softening it up a little bit. So we're going to basically use beveling on the edges manually. We just need to make sure that this at the center is inset into the center, so, then we can click and merge or sorry, collapse at the center. There we go. Now every single one of these edges will have its own selection. And with that, we are going to just manually select all of these holding Shift and all making a selection. Oh. Once we have a selection of all of these corners, we can use Control P to bevel it. That way we are giving a nice bit of an extra detail. And I'm going to even go further and use a GST and just slightly move it upwards just a little bit so we can have these type of details you see, like so. So instead of just flat surface, it's going to have this zigzag pattern. Slight little bit of detail, but I think it's going to look very nice when we are rendering it. Even fat material, you can see how it looks like. Alright, so next is just going to be making sure that the gem itself has, well, certain grasp within this metallic decoration. It's not just, you know, slammed into it. There's something holding onto it, but we are running out of time, so we're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 35. Decorative Gem Settings and Symmetrical Boolean Inlays: Hello, and welcome back everyone to Blender of free day modeling a medieval research desk. Now that we have ourselves a nice little metallic decoration and a gem on the front, we can go ahead and make some extra bit of detail and make sure that it's well, nicely connected to this decoration. So we're going to go ahead and add ourselves a mesh circle. It should be placed in the same position, and we're also going to keep that same amount of vertices, which is 24. Way when we go to edit mode, we're going to see that the vertex location matches with the setup. Next step is, I'm just going to make sure we match, well, the overall setup of this jab like so, and we are going to write some triangles out of this. So we're going to go into vertex selection by clicking one, like so and do the same option as we did before. Check or the select, which is over here. And at this point, we can, we can just upscale it. So Altns make this sort of a shape, which is looking very nice. Then next up is we're going to go ahead and click A, select it all and use Alt and F this time. Alt and F should use beauty fill, which should give us if I'm just going to just actually move the subbard so you can see, which should give us this sort of a result. So triangulated type of fill, so no end goons, meaning that each one of those pieces will now be able to be selectable. And for starters, we're just going to make a bit of an extrusion like so, and then we're going to select these strangles manually and make a little bit of extrusion afterwards, just like that. So then afterwards, we're just going to put it back in place, and we should have ourselves a nice little setup, just like that. We need to make sure we add a bevel. Make sure we moving it off, and now it's going to look like it belongs in here. Maybe we need to make some quick adjustments in object mode by just using SNX slightly tweaking this just a little bit, it would have keeping that shape, I'm going to move this gem a little bit higher now. I would this edge would go underneath all of these parts. And what I'm going to do also, I'm going to go into selection, verte selection, select these parts at the bottom by clicking Control plus, like so. And I'm going to with the selection, I'm going to click E and then move this downwards a little bit. I'd have bit of thickness. Even though it's a gem, it's going to be just a little bit nicer to look at because otherwise it would have been very sharp angle for this particular part, maybe just a little bit smaller. So and just like that, we got ourselves a nice little shape which goes into the decoration. So next up is just going to be making sure that we have all the lovely detail textured. So we're going to start off with these edges over here. I'm just going to go ahead and select them for the back side, you know, the cover. It's going to make sure we apply the material. I'm going to match the texture. Right now, it's a little bit too thin in comparison to the book cover. These edges need to be somewhat the same in terms of patterns. I'm going to click actually, I'm going to go R by isolation mode real quick. Is because reals we weren't able to see this part over here. And this part, speaking of this part, we're going to make sure that this gem is actually placed on top of the book and not floating, so we're just going to lower this down something more reasonable. Like so I'm going to also select this and use in edit mode. Going to make sure we have it selected hit shifting end to just kind of invert this. And next up is just going to check this part over here is good. Next up is going to be this. Actually, we can do all of them at once. We can select them all and just use SmartTV project like so. And next up is just going to be simply well applying the material. So in Asset Manager, in material stab, we are going to find one that's called sapphire. Let's go ahead and apply this sapphire, or we could also do Ruby by the way if you're feeling like a red color is a better matching. But sapphire, I think, keep with the default type of a look, is going to be quite right. So we'd get some bit of a blue shine in our render. So that is up to you, though. If you want to get a ruby, feel free to do so. Next up, this part is golden, so I'm just going to go ahead and apply gold, like so, and I'm going to apply gold over here, even though this part in the center is going to be different material. So right now, I just went into vertex selection and just selected all the vertices in the middle, then click Control plus, and then clicked free to go to Fake Selection, just to select all of this area. Or alternatively, a nice little option is to use C, letter C, and just kind of make a selection like this, then use Right click to just go off of that tool. Um, so, yeah, a couple of options. Either way, let's go to the material slot. Let's create ourselves a new material slot. And I believe we already assigned the metal over here. Let's just find metal stylized and assign, like so, and there we go. Nice little metal set up. Um, I think this is a little bit too small in detail. We're going to go into UV editing, select the star, select this little decoration and just make it smaller. There we go. Something like this is going to be much, much better, just like that. All right. So I am pretty happy with this result. We just now need to make sure that, you know, everything is combined into one book, and we have some additional details for all the decals. And to create those decals, we can start off by getting ourselves so strangulated part. Inside of the mesh. And this part, if we have a look at the reference, is going to be a little bit more interesting because this has triangulations on each one of the corners on the inside of the front of the book, and it has indentations going downwards a little bit, meaning that we have some geometry that has some additional indentations going down. And for Asida we are going to just create ourselves a simple plane, like so we are going to select one edge. We're going to hit Control Shift B and make lovely little up like so. This amount of vertices should be enough. But now we have this kind of a corner type of look. Next step is just going to be making sure that we have some thickness, like so, so clicking E and then go into object mode. And we're going to use this shape now to make some additional detail. So let's go ahead and position one, like so. We're now going to Right click and set a new sorry Shift. No, sorry. Use R click and set origin to free curse. So we have this gem over here. This way, we have the origin centered, so we can use Mirror tool now. Like so, and it's going to be going to the other side, and then we also need to have one that goes on top as well. So why? So then once we have it so, we can just slightly reposition some parts. For example, I'm going to go ahead and just elect the parts for the front or the gem and both of this. That way, we can click Gx and just move it slightly with the right because I noticed that there is a bit of an extra basing. Something like this is going to be quite right. And now we can go into Edit mode like this and just maybe make it larger if we want to. I think that's going to be quite right. In Edit mode, I'm also going to just move it around because we're not changing the origin point with Jami, so now this frecursor is offset. We can just shift and click it off if it's getting in our view using right mouse button like soap. And yeah, once we have a shape like this, we're going to make a little bit of an incision. Using the bevel option. So we're going to now click GST and move this down whilst in object mode. So all of them go down actually with us in a mirror. And we're going to make sure we just barely able to, you know, to make a cut, so it wouldn't go through the thickness of the entire cover. Once we have something like this, we can go ahead and select back onto the book cover at Modifier use Boolean. Like so this Boolean is going to have this object selected, I'm going to click H. We're going to have indentations like that, so that's looking lovely. And we're just going to right away apply this indentation, delete these parts, and we have ourselves something like this shape, which is looking lovely. Afterwards, we're going to select the faces over like so, and we're going to click Control plus and delete this. The reason we're deleting it like so is so we could have flat faces on to the top section because we want to make sure we have some intersection, some actual bit of detail before we going downwards with the decortation. Oh, let's make sure we just select one by one and fill in those holes, holding Alt, selecting one of the edge, and we're able to do something like this. All right. So what's the point of doing this when we got ourselves this Well, we got the geometry now. For swing squares, I'm going to just go ahead and just make some extra edge loops just to make sure that our end gon is not messing anything up. And yeah, we're just making sure that then go doesn't have too much complexity inside. And by just connecting some of those edges, creating some of those edge loops, we are avoiding some of those issues. You might have noticed when we were filling, for example, we tried to fill everything at once and we had some intersections in a weird way. Well, we were able to avoid situations like that in the future. Now that we have shapes like this, we're going to continue on with the book in the next lesson. Thank you so much for watching and I will be seeing you in a bit. 36. Insetting Interior Panels and Adding a Beveled Ribbon Bookmark: Hello and welcome back everyone to Blender FD, modeling a medieval Research's desk. In the last lesson, we left ourselves off with some nice shapes right inside of the book, but the flat surface is still there. So we're going to go ahead and just create ourselves some extra detail. This detail is going to be let's have a look how many edge loops we need. Oh, we're going to need a bit of an edge loop that goes from one corner to another, then it goes a bit of a wider edge, and then again, back to small one. And then we're just going to leave this face over here or some decorative decal. So we're going to do just that. Alright, let's go ahead and start. So we're going to select all of these parts at once, so we're going to be able to, well, edit them at once. We're going to click I and insert it a little bit. Something like so. Then we're going to click I again to make the width to this amount. I'm not going to do too much because I noticed that the vertices were starting to overlap. Whilst we have this shape, we're going to make sure we have the transfer pivot point to individual origins. That way we can just scale it down like. I think that's reasonable. You might need to reposition it though. I'm going to click SNX and just SN Y. And no, it's not working. I'm going to go ahead and undo this task. Then I'm going to click I and just make this sort of shape. I think it's better. Even though it's overlapping, I think it's okay. I think it's reasonable because we can go ahead and just click one Click Control plus to make sure we have selection of all the vertices, then click and we're going to merge by distance. And then we're going to start increasing this whilst holding Shift and just making sure that we're only removing just like eight vertices. That way, these parts that were like overlapping with one another, they're going to be just turning into one vertice. So just a quick little fix of intersection because I didn't want to scale it down and have an offset of where this little detail is sectioned. So now let's go ahead and select back onto the space. Click I to intersect, and we're going to get ourselves very similar thickness to what we had previously. We're going to hold shift over here and just kind of fine tune it a little bit, like so. And something like this is going to be a wreck in quite right. So next up is just going to hold shift. That's not going to work. We are going to, I think, manually just selected all of this edge loop for as much as we can. I'm going to use Alt and then Alt again over here whilst using shift. Yeah, let's just use Alt and Shift, holding Alt and Shift entire time and just make selections like this. And then afterwards, we can hold shift button to select the triangles. Yeah, Alt and Shift, selection like this, and then just holding Shift, we're going to select these parts. In that way, we can now click E and inward section. And, of course, we're going to get this type of tool because we're still using weighted normals on this one as well because we've duplicated this book. So we're going to fix that. We're going to fix that later, reckon. We don't need to do this now, but I really want to do this now, actually. I'm going to click two. Select boundaries. So that's going to be Loop, select Boundary loop. And right click Mark Sharp. There we go. Fixed. Lovely. Next up is just going to be just grabbing these parts over here. All things shifting old. Bit of practice for grabbing edge loops. When I'm making selection, I'm making sure I'm grabbing it closer to the edge. If I was to click here towards the center, it's going to try to go this way direction. So location on the face of the click also matters. Because we're making sure we're selecting this phase, but we're getting closer to this part of the edge, it's going to try to go that way. After this selection, we can click E and then just extrude it a little bit. So I'm going to click Control N plus Edge mode, and then we can do the edge loop boundary loop and Mark Schar just like that just to make sure we fix it, and there we go. The final part of fixing it will be this little option, this little face in the center, Mark Sharp, there we go. Nice little fix. And we can also do some edge loops over here. Yep. So right, click, left click Control R, right click Left click. And I'm just doing it for all like so like that. Afterwards, we're going to hold again 15 lt, let these parts. And the reason we're doing this is because, well, we want some extra curvature. This is going to be metallic parts. We want to make sure we make it, you know, a little bit extra detail. This book is going to be quite a nice little focal point. We want to make sure we get this nice extra detail just like that. And yeah, afterwards, let's go ahead and check the material. We just need to make sure we add some extra detail on here. First things first, I'm going to just make sure that in edit mode, I select this entire book part and just assign it with the book cover. Oh, no, that's not. To click Control Z. The reason I want to do it basically is just to grab these parts and make sure all of it is just lever because I see that this part over here was metallic. We just want to make sure we start off with just lever, like so. And then afterwards, we can probably the best way. We can just select the edge loops on the center part, like so. Oh, edge loops, edge loops. Then we can expand those edge loops, get phases. Control plus, make Base selection like that. And this is why is this being selected? This is not supposed to be selected, being selected. I don't know. We'll see that in a bit. I'm going to go ahead and just make sure we have this selection like so, Control plus. You have selection that goes just on the top. I'm going to click free to make fase selection. I'm going to just hold Control, drag it across this face. And now in click Control plus again to make sure the sides are also selected, and we can select metal stylized assign. I'm also going to now knowing that most of the book already has the textures, I'm just going to make sure that these parts have them too. So I'm going to, I'm going to click Control plus again because I realized that the outside parts on this edge was not being selected. So now that we have a selection like this, I'm going to make some of these selections, holding Control. And on the inside of these parts. Like that. There we go. We have full selection now of these parts. That's good. Now we can go ahead and just click and unwrap. We can do so in conformal stage because these parts are Oh, that's not going to work, actually. Look, it's not Oh, well, I was hoping we'd be able to unwrap it like so. But it seems that because of the shape, it just not going to overlap it quite as well. Either way, it's okay to just use MartvPject. You can keep it simple. We don't need to overdo it honestly in this. And there we go. We got to sell some lovely detail, which is going to make it smaller. So the metal is visible with all its perfections. Yes. Abe. Next up is just this part on the inside as well. I'm just going to go ahead and make some selections. Just doing it manually at this point, honestly. It's quite right. So this part had it. I'm not sure why this part had it. I'm not sure why these did not. Oh, well, going to do squeak RTV perfect. And there we go. A nice matching detail size. And I believe that's it. The only part that's left is just this blue part coming out of the side of the book, which is rather simple to do is just going to be a simple plane. Like so. We can just extrude it on this part. We can extrude downwards, like so. And going to reposition this a little bit more using the red. Where? There we go. And then we can just, you know, make some extra etche loops. R should be enough, and we can just select these parts, use Alts or not AltnS we can use different positioning. Normal base, there we go, normal transform orientation will help us to get this gizmo, and you just need to use this part over here. Nothing too complicated. A little bit of an extra detail, though, quite all right. And I'm going to just reset median point and global orientations SN x. And there we go. Something like this, I think, will do us quite lovely. We can just now get ourselves solidify, to get some extra thickness. And for this edge, use Control B and just kind of paper it off a little bit now. We'll be able to put this in a book, and it's going to look very, very nice. Except we need to make sure we sort out the book pages. So for the book pages, we're going to do that in the next lesson. Thank you so much for watching, and I'll be seeing you in a bit. 37. Gold Ornaments, Material Setup, and Shadow Optimization: Hello and welcome back room to Blend of RD Modeling in medieval Research's desk. In the last lesson, we left ourselves off with this lovely book, and we have this book marker going off on the side, but we're not going to have the right placement just yet because we firstly need to make sure that the pages are a bit of a different material. If you go back onto the asset manager, we can select ourselves the book Sideight over here on the side. And then when we click and hold and then drag this onto the book, we're going to be able to replace it right away. So we just change up the slot. And then afterwards, we can just go ahead and maybe play around with the U vis a little bit. I'm just looking and actually, honestly, to me, this looks like a great setup. I don't really want to change it too much. So I'm going to go ahead and leave it as it is, instead just grab this bookmarker and maybe move this a little bit to the side and a little bit lower to where we get this little gap over here. So I think that's going to look quite nicely. Also not worried about the placement of, you know, the side of this touching, whether or not it needs to be touching the floor, not the floor, sorry the table, the base because when we place it on the table, we'll be able to sort it out. And all this bookmark, we can just simply go ahead and add the blue that up over, so make sure it is UVN wrapped with Smart U projection, going to be quite right. I don't think we need to worry about the detail too much because the edge where will be that I put this quite nicely. I think it's going to be quite okay to have such thin detail. We don't need to change anything in other words. And we can just go ahead and join this up to the side of the book. So let's go ahead and do that. We're going to select this bookmark called shift, and then afterwards, I'm going to go ahead and just double check, actually, the other items just to see what they have. So this one, for example, has a bevel still. This one would need a bevel as well. I just realize that now, and I'm going to make sure we apply rotation and scale first. Oh, that is going to be too much. I'm going to take that off. I don't want to play around with the solidify anymore as we need to be. So I'm going to keep the scale as is, which is going to be a little bit offset. Um, so it's going to affect the values because of it. So the scale you can see is 0.31. If you don't have that same scale, just feel free to eyeball the bevel amount, and we can just head and just increase it by a tiny bit, like so. And we are also going to have these edges over here, because it's so thin, we're realistically never going to see that detail, so it's going to be quite alright to keep it as it is actually giving us a nice fabric type of edge look. I'm quite happy, actually with just leaving this stretched mark. I think it's going to be quite lovely. Oh, next up, once we have everything set up, we can just go ahead and, well, grab the entire book, hold Shift, select this. Before doing anything, I'd like to just click Object and convert everything to a mesh. Let me just go ahead and do that. Convert to mesh. Then we can just hold Shift, select the book itself, click Control J, and now it should be just one book. And I'm just going to make sure that the weighted normal is being applied the same as before, should be quite right with keep sharp basis enabled. And then the other one was shade oro smooth. So that's going to be also removed. I'm just going to make sure it's applied with a value of 36. I think that's going to be quite right. Just going to double check maybe 38. Just checking for this edge over here just to make sure that it gets tampered off a little bit. So yeah, 48 is going to be right. And now that we join everything together, the weighted normals on this part is going to be maybe a little bit too odd. They're going to give us too much of depth in comparison to before. So we might want to adjust that a little bit. What we can do is we can just select this by clicking L, Lectink by UVs. We could do that. And then we can click Shift and he and hide everything except for this part. Next step is going to be going on to select sharp edges, and we're going to lower it or increase it until we start getting only these parts, so, I think actually even less, I'm going to hold shift and just lower it until, yeah, something like this. There we go. Although that's still not giving me the right type of resolution that I want. Oh, we need to be sorry in edge mode. So sorry about that. Once we are in edge mode, we can go ahead and just play around with this value until we get there we go, these edges, like so. Yep, just like that. You can then mark sharp, and this should hopefully bring back all that little thin type of microdtil instead of just making it to a rooted type of a look. So, that's looking really nice. Alternatively, we can do also, I really want to have detail over here as well. So what we could potentially do is we could grab one of this and we can select select similar area. And then holding Shift, we can just low at the threshold, and this should give us just that. There we go. And once we have that in edge mode, we can select it. We can try Mark Sharp. And I just realize now that all of these are now being used for Mark Sharp, which I think turns out right. So we can either just mark the ones that are going intent inwards or we can mark the ones that go outwards as well. Yeah, it works either way, but it looks a bit. Visually, I think, going to look good. Okay, let's get on with the decals because we have an entire book, but we don't have the decals played. So let's go ahead and do that. We're going to go to our Resource pack extra, and we're going to find our lovely little detail over here because this is going to be the main book that I feel like it's going to be like the focal point. It needs to be extra extra type of biness. It needs to have a little bit more of that decorative look. Right now, the other book over here just has a one simple type of, you know, golden type of ornament etched into the book. We could have maybe some writing over here if you'd like to. That's totally viable. But for this book, we just need to make sure we add in very nice detail because we already have a gem. This is going to be way like richer type of a book. So maybe this is something that's, like, very, very hard to obtain, for example, and it's just placed carefully on top of all the books. So I think that's going to be quite nice. I'm actually going to just select this and just going to place it on the top because I don't want to rotate it unnecessarily. Let's go ahead and do that. I'm just going to use GZ, move it upwards, but I'm going to move it just by a value of 001. To just going to be like so. And when we're placing it because it places directly on the surface, so it was already snapping to the surface, all I had to do is just move it upward, just by a little bit to make sure it doesn't overlap and glitch whilst rendering doesn't give us some weird artifacts. Something like this sort of a detail, I think, is going to be very, very nice looking, and I just realized this edge, I somehow missed it. I guess we need to make sure we have it also as a book cover. There we go. That's going to look lovely. Next up is this part needs to have a mirror. So to our side and the mirror has to be in the center of the book, I believe. And you know what? Instead of just doing it inside of the book, what we can do is we can just manually switch up to origin. So I think that's going to be a little bit better because at this point, looking at the origin point is not going to be the same as the gem. So we're going to be switching that around a little bit. Which is fine. So I think the quickest start point would be if we were to grab the center of this em over here, I'm going into the books edit point, grabbing this vertice and using shifting S and cursor to select it. That way, we can just grab back this decal and then right click Set origin to free decursor nothing's happening. Why is nothing happening? Origin to free de cursor. I'm not sure what's going on over here. So it seems to work fine. Ah, so what's happening here is that this is still linked this mesh. It's still linked to original data of the stamp. So that's what's causing it. We would need to go onto object data. Not the data. We just need to select the decal. We need to click on the focus point.in our keyboard, and we can just find ourselves this stamp. Then we can right click and I believe we can just unlink. It is going to be with the selection. Right click ID data and then make Local. This will change this mesh into its own unique mesh, not a duplicate of what we have over here, meaning that we can, for example, go into Edit. Bill doesn't seem to want to do it. So why is that the case? So make so if that doesn't work through ID data, because this is a collection and it has multiple items, that's a plane, a material included, what we need to do is we just need to have this selected. We need to go onto objects, and then it's going to be under Object menu, relations, and make local all. So once we do that, then we can go into Edit point, for example, and we can change up how this looks like, and you can see now it's changing. So that's something worth noting. And then afterwards, we can, well, adjust this origin point. Let's go ahead and do that. We go to options, change up the origin point, and Oh, actually, we already had a Fred part over here. Let's just use the set origin to free the cursor, and there we go. Now we have ourselves. This mirror and we are also going to mirror it onto Y. And because this gem was centered to these bevels, it's actually going to be perfectly placed for the rest of the pieces. Let's just make sure that where is it? Our ray tracing. Is set to visibility. There we go. Visibility with no shadow. We don't need shadows. But when we are rendering it, it to look quite lovely. All right, so next up is just going to be making sure that we get ourselves a nice little stamp over here on the side, but we are running out of time, so we're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 38. Floating Decals and Dynamic Book Arrangement: Hello, welcome back everyone to Blend of three D modeling a medieval Research's desk. In the last lesson, we left ourselves off with these lovely decorative pieces. We made sure that we adjust these origin points and mirrored it across each one of those angular bits. Now, we're just going to go ahead and grab an edge off here, make sure it's offset slightly, and then we can place ourselves with a nice lovely decal. So let's go ahead and just grab ourselves this entire edge over here. Using Control, we can just click on one on other wraps the shortest path, which is this. We're then going to go ahead and use Shift D, Enter and use Alton S, just to kind of expand it like this. But expansion is going to be very, very small, so we're just going to use a value that's 0.001. Just a little bit floating right above the book like so. We can then go ahead and click P, separate by selection, and we got ourselves this little piece. This little piece, we're going to cut into it in a bit. But now, though, I would like us to ideally just make sure that we are setting it up with a nice, lovely stamp. So what we can do is we can remove all of these details of these materials from this edge. Just clicking on all of them, and we can just replace the final one or if we removed all of them, we can just search for Atlas. There we go. Grab the Atlas, like so, and we are going to go to UV Editing. And I think we should be able to see what we're looking for in here. So if we were not seeing anything, I'm just going to go ahead and search for Atlas. Damp. Actually just going to go ahead and see what textures being used in shading. So it is like a wax made for, like, decorative seals and stuff. That's why it's called wax. We're going to make sure we just find that name in UV editing. A base color, like snow, and then we can just simply find the one that we're looking for. So we're going to select the V. We're going to rotate it's nine degrees, and we are going to place this nicely on the setup, just like that. You can already see, it's going to look very nice. So we need to just decide how it's going to look like, and I want to ideally expand it even more so make sure it covers it nicely on the book. I like so I would even go ahead and just use S and Y and just kind of squish it. So this way, it expands it on here, as you can see. I'm not worried about these panels being S frou because we can just cut this part out. So we can use Control R and just put this edge loop where this ends and Control R, put this up one where this ends. That way, we can just go ahead and use A Z, make it see frog, grab these faces and delete them from these slides. That way, we have ourselves lovely little up. And I just realized that some reason this is not giving me the right U Vs over here. I'm wondering why that's the case. I'm just going to go ahead and actually unwrap using conformal. There we go. I'm just going to redo it real quick, there we go. That actually works much, much better. I'm quite happy with that. Going to squish it in. Just like so. Like so. And more, there we go. What I'm trying to do is just make sure that it nicely warps around it and gives us a nice bit of detail on the side of the book. So there we go. I think that's looking pretty good. And Maybe we can even squish it just a little bit more using this method. There we go, something like this. Yeah, that looks very nice. I'm quite happy with this. Okay, so after we're done, let's go ahead and just place everything out. Let's go to modeling mode. Let's make sure that we select those decals, these decals, and these decals, and I'm just going to actually double check this that yeah the shadow was on. So I think it was going to give us some very weird edges. This case, it wasn't giving us weird edges, but I'm just going to turn that off. So yeah, let's go ahead and select these decails. Let's select the book and click Control P, the parent Keep transform. That way, we have this book as one because it's being placed in just one object. We can rename this as book fancy, and we can have this one as well. So this one is already set up nicely. These pages, though, maybe we want them to be changed. We can do so if we desire to. We can just change these to paper side, for example, and this one is up to you. But looking at the reference, I'd prefer to have this pages to be a little bit older looking. I think it's adding a little bit of history to this book. But again, it is up to you. And next up is just going to be simply placing it. We can name this book by clicking F two, book fortified or call it nice book nice. If you to the naming. I'm not very good when it comes to such things. So I'm going to go ahead now and go out of the local view. You see the rest of the scene. Going to grab both these books, going to make sure that these books are reasonable with the size. I'm just going to compare it to a one last comparison with this human scale. So I'm just looking at the reference that we had this is one over here. So if we were to compare just the size of these books, we can have a look that it goes, basically just above the knee and from hints. So, Okay, fair enough. You can just have a look in comparison to that. So, this is a little bit too big. Scale this down and a little more. Yep, this looks good. Alright, so now I'm happy with the result of these books. I'm going to move them up, and if these books in the back also need to slight change in that scale, but we can sort that out in a bit. Looking at the reference. This book over here is going to be placed at the bottom. Like, so I do want to be just a little bit bigger though. Looking from the top, want us to be just a little bit bigger, a little bit, like so. And it's going to be placed nicely on the book. We're going to leave some space for the scrolls, as well. Something like this we do. And then this book will go right between those books. I'm just going to make sure that this is placed nicely. On the table. When doing general setup, I would highly recommend to just look at some references of the books and of just the placement of the tables. So, for example, when we're doing it, might be good idea to block it out using general primitive shapes to kind of visualize the shapes and the way they get in with one another. And when the placement is set up, sure to have a variation in terms of the setup. You can see that, for example, this scroll over here is going this way, then we have a scroll over here, and it is playful with the book orientation for this section. And then we also have a book that is going in completely different orientation over here. It's just kind of going basically kind of a bit of a zigzaggy type of way with some orientation. These, for example, scrolls will go in one direction, but then it kind of is slightly offset with the orientation of these candles over here, and then we have in the back just some lines that go across. But they are intersecting in, like, not like right in the middle and not right in the corner. If we had, like, a book that's as diagonal line that's straight up added to the sides, for example, if this book was a little bit higher and we just have this type of a setup, the entire, in my opinion, the entire setup wouldn't look quite as good because we wouldn't have such nice silhouettes. So we always need to consider with the placement of that. So that's why perhaps if you're making a table from scratch, you might want to play around with just the general shapes and then kind of, you know, after you have those shapes, a nice silhouette you can then play around with what's in those shapes. You know, if you have more of a longer setup, you can play some scrolls. If you have more of a wider setup, you can play some books and whatnot. So yeah, then also, you need to consider lighting. Lighting is quite important in the setup. We're going to actually talk about lighting in a little bit, but it's quite important to know that sometimes even if we place a candle, you can have them turned off, you'd like to. So this book is going to be placed something like this, I reckon, have a look. I'm just looking at the reference right now and just seeing that it is placed more like this. I'm going to manually position it. Something like so. And I like the angle of this, but I see that back is not really touching any of the books. So let's have a look for the solution to that. I'm just looking if when we're zooming in for the camera, by the way, because we have that focal point, it's going to blur out a little bit at the moment, that's going to be right. But it actually helps us because it helps us with the shape recognition. So I'm just making sure that this book is slightly offset when we look at the this corner over here, it has a nicer transition from horizontal to diagonal lines. And yeah, I'm very happy with displacement. Now we just need to make sure we lower it to a reasonable amount, so it would touch the bottom a little bit. So that's reasonable. And these books, we can play around with them a little bit in terms of use Sz a little bit to scale them up just a tiny bit, not too much. And then we can also just just a little bit closer. So the unter would be touching this So that's how we're going to go around with these logistics. Still not touching it here. So I think I'm going to make this bottom book even chunkier, actually, if we can get away with that. And this book perhaps can just get it a little bit closer even. There we go, I think, it's almost touching. Yeah, it's touching, so so that's just a corner, and that's all we need to be honest. Just a bit of a corner. It doesn't have to look stable. It just has to look like, you know, there is some placement from underneath. Maybe we can have this corner, for example, slightly tilted. So if we just use R, it's going to be based on the camera. That way we can just tilt it slightly. I think it's going to be quite all right. It's going to look like the weight is going onto the side of that book, and I'm quite happy with that. And once we're done with that, once we're done with that, we can just play around with this a little bit because this now is going inside of the book. So I'm going to go ahead and click as Old Set, select as Edges, like so, and then we can use the proportional editing. So it's going to just give us a nice clay playful type of a variation, like so, and we can even use R and just kind of offset it a little bit, like so. And by doing that, we can get ourselves a nice little detail to make it seem like it has some bit of a weight. And I think I'm alright with that. I'm quite happy with this. From this distance, it's going to look quite alright. So yeah, we're going to leave this now as it is. I think I'm quite happy with it. We're going to continue on with it in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 39. Modeling Rolled Scrolls with Curves and Solidify Modifier: Hello. Welcome back up front to Blend of freed modeling a medieval researchers desk. In the last lesson, we left ourselves off with these lovely books in front of the table, which are looking fabulous. We can go into RendaVew and turn on the extra, which has all the lighting variants and see just how it looks like. And I think looking pretty good so far. Now we're just left with the scrolls and the candles. But before doing that, I noticed one little detail, and that is, if we look over here, we have the detail in the render piece. That's well, more detailed over here. This is quite a bit blank section. You don't really need to have this blank section. The outside has that bit of extra detail. So what I'm going to do is I'm going to use, and I'm going to use X. No, actually, I'm going to use local variance. There we go and use S Y minus one, and that ways just going to flip the book to side. Basically just flips it over like, you know? And that's all we need. It's going to give us that extra bit of detail on this corner, which I'm quite liking. Next step is going to be making sure that well, we have some scrolls. Let's go ahead and add those lovely scrolls onto the scene. The way we're going to start is going to be by getting a bezier curve. Using bezier curve, we're then going to go ahead and enable the where is it? Data and then extrude, and we're going to extrude it out to get ourselves this lovely little bit of extrusion detail. Next step is we're going to get ourselves some bit of solidifier. Or if we go to add modifier, solidify, we're going to get this a little bit of a curve. I do want to see how it looks like a little bit better, so I'm going to use shade flat. And for the thickness, it's going to be for a scroll, so very simple and flat. Half of that, I think it is going to be quite right, maybe even lower. Looking at the references, I noticed that it's quite thin, so I think this is quite okay. Anyways, once we have the modifier and the thickness, that's reasonable. We can go ahead and start playing with it. We're going to go onto Edit mode. We're going to actually just click A, delete vertices and then it's going to be empty because that way we can click seven and we can use once in edit mode of the curve, which has no curve right now, we can use something called draw. Draw will allow us to just make a squiggly line like so, and doing this will get us quigly type of a scroll look, which is very nice. This is a little bit not enough. We're going to redo it. I'm going to start off from just drawing around by giving some bit of an extra it's going to zoom in even more. Going to give a little bit of an extra detail in the center, and then we're going to just kind of taper off a little bit like the something like that. And let's have a look. You might need to add some extra detail, but we can just play around with this for now. So for example, here, at the very start, I believe it has we to turn off proposed shelting. I believe here it has multiple dots. We don't need those extra dots, quick to delete these vertices. You just need one dot at one center. Then next up is we're going to go ahead and fix these extra overlaps. So this seems right. This seems it might need some extra work. There we go. So just a little bit quick extra tweaking just to make sure it doesn't overlap too much. It can be close, but it doesn't need to overlap because it's going to be well, not quite as visible, but still we want to make sure, for example, the curve is there. When we select the vertice, we get those extra um what's it called? Handles. And we can use these handles to kind of reposition a little bit how to intersect with this curve. And just like that, we can just play around. And once we have something like so, actually, this would be a little bit lower. I think it's going to be a little bit better like so, and have a look. This is what we have. We have ourselves a little setup. If we want to add extra edges and retess, we can just select the last vertice. We can click E and then it's going to extrude it outwards. Can right click also on it and use automatic, and that's going to kind of position it automatically. And then afterwards, we should be able to click on the handle, which is going to change from red to green once we start moving, indicating that we are indeed in control. If it is red with the automatic, it's going to try to position it with this setup over so it's going to try to connect to what we already have, and you can see that automatically changes the location based on where it is. So sometimes it's helpful. You get these original shapes, and to make one more loop, and I think that's good. Next step is just going to be a little bit of positioning, a little bit of rotation, positioning, and all that lovely stuff. Something like that is going to do us quite well. Next step is we can also play around with Z values. So for example, you can select these last three vertices and I can use GZ to kind of move this upwards, which doesn't seem to work, so we're going to leave it off for now. We can offset the values afterwards. I just want these middle parts to be just a little bit more greater or more curved. So and part over here, I think can go inwards. So we can leave some gaps. We can just flatten some parts. And you notice that, for example, this edge over here, I intentionally went ahead and made it overlap a little bit more. That way, this place can be placed more on the ground, and that's going to be quite right. Anyways, once we have something like this, I'm going to go ahead and make a duplicate out of it. That way we don't have to repeat this entire task on the next scroll, and we can play with the value of where is it? There we go extrude. We can lower this down. So for example, if we want to make a little bit smaller wider, we can use it like so. In this case, we can start off by doing this part over here. And that's quite right. So we can just make it a little bit smaller, and once we're happy with this result, we can convert this to a mesh. Next up in modifiers, we will have to unfortunately turn off the solidify. The reason being is now when we go to object, convert mesh, we are going to have a slight bit of an issue. If we don't have the solidify turned off, it's not going to work, unfortunately, because when we are converting it, we have option to keep original MGBs and there is sometimes an option to keep modifiers. But if the modifier itself, which was the solidify this case was kind of an alternative version for the curve, it's not going to have that option. So when going from curve to mesh, unfortunately, there is no option to that. So that's that. On the bright side, though, we could potentially keep the original option on. That way, we have a duplicate to work with. You can see one and one will have solidify and another one. We don't need the one we solidify at the moment. We can just keep the one without because this is now going to be a mesh. This mesh is going to be helpful for us because we can now go ahead and click Control R, left click, right click and we can just scale this in. This way, we can get that bit of an extra indentation, which is going to be very lovely for us because once we have it to a reasonable amount, there's something like this but look at the top. Something like this will do. Then click Control B and then we can just ourselves a nice bit of curve and we can even play around with the shape over here. I think that's going to be quite right. So yeah, once we're happy with this, we can then bring back to solidify. We can have that same type of value, which was 0.05, like so, and I'm even going to now use Shade Auto Spook because it's going to bring up a lovely value that we had. And next up is going to be adding some bit of edgeware to this part. So the way we're going to do it for this one is going to be selecting this part over here, and we can just lower this down, and there we go. Way, we're going to get ourselves this lovely invitation. Afterwards, we can just play around with a couple of more like this and get some lovely little bit of a visual alteration. And once we're happy with this, we can also just grab a little bit, so in terms of, you know, the extra. And we can, for example, belend it in. But I'm just going to actually do it with the proportional editing. So GZ and we're going to lower Wait where is it? Okay. I'm not seeing the median point in here. Some reason adding it up to the up side. So there we go. For some reason, I was grabbing the uperside as well. Didn't want to do that. Just wanted to make sure we have ourselves I indentation. I'm right now scrolling my mouse. But there we go. I wasn't seeing that proportional editing, so I'm just going to there we go grab myself something like this until we get this value, and now we can around with the values a little bit. To get some variation in here. Bitter variation is always nice. We can do it on the upside or if we want to be a little bit cheeky, what we can do is we can use a mirror modifier. Mirror is always lovely to have. I think I'm going to do that. We have an origin point right in the middle. I'm going to go ahead and delete these points vertices. And we are going to just add mirror. Mirror, is it? Is so and making sure that the merge is there, and it should give us nice little setup. I'm going to go ahead and apply this mirror that way, biangle is going to work nicely. And there we go. Our first little scroll, which we now need to make sure we bind it together. We are running out of time, though, so we're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 40. Scroll Binding with Curve to Tube and Material Details: Hello, and welcome back over on to Blend three D modeling a medieval researchers desk. In the last lesson, we left ourselves off with this lovely little scroll, which we're now going to bind it together. And the way we're going to bind it together is if we were to use a new curve, New curve, that's circle. We're going to wait I moved there by accident. I want to make sure er circle. Nope, it's fine. Okay, so we're going to just go into placing the erb like so. And now the next part is in modifiers, there is a curve you che, I believe option, there we go. This option is very nice. I think it came with Blender five, and it has option to, well, add, for example, UV Maps, so we won't have to deal with circular UVs and whatnot. If we look into UV editing, I think it's visible even go to Edit mode. Nope, it's not. But we'll deal with that later. Ivo case, we have some nice option for this rope, so we're going to make use out of it. For this material, I believe we can just add that blue lever fancy. And should pop pop. So there we go. We have ourselves lovely material. Now with this, we can just go ahead and play around with how we want the shape to be and modify a stab, we're going to love it down the scale to something more reasonable for, you know, you can imagine, like a string or something, like a little blue levery string, like so. And then once we have something like this, we are going to just make sure we duplicate it. So control ship D, and then we can use GS so, and I'm going to turn off the proportional editing for now, and going to make couple edges. So once we have those couple edges, we can have some variation in them, like so. Making a little bit of variation in the positioning. And then we can even have, you know, selecting one of this rope part, like so, and use Shift D again, then S to scale it outwards. And then I'm going to use just R to make sure we have some nicer binding in the area. Something like so. There we go. Something like that. We'll do the trick. I think that's looking very nice. It looks like just a binded piece. Except for this part, go ahead and make sure we fix this part. I'm going to use GX, a little bit, G Y, a little bit more, though looking nice. This part over here, I think it's going to be quite alright to keep it. Maybe this part can be going inward a little bit. Like, so and yeah, I'm happy with this result. I think it looks lovely. So we got ourselves a nice little piece, just going to double check. Yep, it's looking quite lovely. Next up is going to be making sure that we have some textures for it. So I'm going to start off with the solidify not applied, even though the edges are going to be stretched out. I think we can get away with them being stretched out in this case, because it's such a thin piece or paper of render, it might work quite well. Even now, actually, with the default material looks quite nice with such light. So yeah, let's go ahead and do that. We're going to go on to editing, and we are going to, I believe, just go ahead and select it all use wrapping with minimum stretch, and it's going to give us this type of result. There is option for iteration, so this one is going to control how much of relaxation of those vertices we're going to have. If we increase it, it should kind of relax all these vertices in iteration with one another. We should have just, you know, nicely unfolded piece of paper. And once we apply a paper material, so in materials app in asset manager, we should find ourselves scroll paper. We should be able to apply it on the right roll, like so, and we should have something like this. So already looking quite nicely. I'm just going to check whether or not we need to change the resolution or whatnot. Honestly, though, I think it's going to be quite right. I think it's looking lovely as a scroll. So next up is going to be, well, creating a new scroll. Let's go ahead and do that. We're going to grab this previous scroll, which was the curve. We are going to go ahead and play around with the shape a little bit, maybe, from the top. So this one should still have that yeah thickness. There we go, so we could see. And I'm just going to play around with the shape maybe a little bit, just because we can. And it gives some more unique look. Again, we have to consider the tension of the paper. So once at the very end, it's like, you know, harder to keep it, not unfolding. The tension is going to try to unravel it unless, of course, it's going to have something binding at the centerpiece. So we can imagine it hedge is trying to be unraveled. We're going to do something similar. Looking at the reference. This time we're going to use a bit of a thicker piece that's binding it, so we don't have to have such a, you know, extreme slope in comparison. And also, this is going to be a little bit wider, we also have to put consideration into that. So maybe because it's wider than this, we can just upscale it a little bit, like so. And because of that, we can kind of correct attention a little bit. So for example, this part over here would be more like so. Like the last part would be like, you know, trying to undo itself. I think that's quite right. And the rest is, I think it's right, actually now. Let's go ahead and just work with this. This is also going to be taller, but we can fix that after we turn off the solidify and convert this to a mesh, like so. So now we have yet another little mesh to work with. And this mesh is going to get, again, the same treatment, solidify with the thickness of half of the default 0.5, like so. And, of course, we're going to click Shade at smooth, avoid these with little shade smooth artifacts. And next up is just going to be, well, making this wider, which we can do so through scaling the object in edit mode. So as Z, upwards. I'm looking at the reference right now just making sure that when the reference is, we are having the right result. I'm going to actually position this scroll at the bottom in object mode to position so the bottom matches, and now I'm going to go into Edit mode, click Alt Z and click one to go into vertex selection, select the top, and now we can just manually scale this up in comparison to what we have. So it's almost double the size by the looks of it. I'm not looking at the proportion of the human yet, so we don't need to worry about that. We're just looking at the general proportion of overall scale of the scrolls. And once we have something like so, I think we are good. Next step is we can give this well, we got some thickness already. We can give this an edge loop like we did previously, right in the middle. Scale this inwards like so. Scaling, I think it is going to be very similar to this one except because the stroller is going to naturally not be as an extreme type of curve. So I think it's going to be quite nice. I'm just going to make it like so, and then I'm going to click Control B and do something like this. I'm actually going to add a couple of extra edge loops, just scrolling my mouse wheel. And I think that's going to be quite good. We can also play around with the profile shape afterwards as well. So this is looking quite nice, except I don't think it's wide enough looking from the side. This is way wider. This needs to be way wider. So I'm going to go into scale mode, and I'm going to use S and Shift Z and just kind of scale it upwards a little bit, so that way, the wider role is going to be this one, sure. And now next up is just going to be giving ourselves up with a nice little straight edge over here, so we could put that stamp location over here. So I'm going to grab the middle edge, going to click Control B, and I'm going to lower the amount and just give us this straight type of a look. The reason we're doing this is basically because we want to make sure we have ourselves some space to place that nice little detail of the stamp. And something like that, it's going to be quite okay. I think it's going to be quite right. Next step is playing around with the values over here like we did previously, we can go ahead and just select some parts, squish them, rack them, torture them a little bit, make sure that we get nice detail going inwards. I tend to I just noticed that I tend to just make them go inwards, all of them, mostly because we keep that manual shape. Obviously, we can't have triangles sticking out like this, though it makes sense. But with something like, you know, just selecting it some parts and using propulsion editing, it gives us some nice control to make it go inwards, like so. So even now that some parts are going inwards with this, it's still going to look like it's part of, you know, just a general flow. So we select one vertice, upscale it and just kind of make it go inwards over here. And we can even just Control plus again. And with small proportion editing, we can just make it go inwards a little more in this direction. And the bottom part, um should we mirror it? I think we should, honestly. I think we should. I think it's going to help us quite a bit. And I just realized that this I think I lowered the entire vertice over here. Somehow? But that's going to be right. Let's go ahead and just grab ourselves the mirror. Mirror modifier. Let's go ahead and use, we'll need to cut it off a little bit, actually. Let's go ahead and do that. I'm going to turn off axis for now, place this right in the center, use a Z, AZ zero, like so, and move this to where the general origin point is, this orange dot. And then the rest can be just cut off, like so that way, when we mirror it in Z axis, we can see what's going on and we can increase this value. And once we go past this value, it should overlap and should clip. If we have this option prevent from clipping, it should not go over that edge. So I think it should be all right. Yep. So now we can go ahead and apply the miror modifier whilst in edit mode. And I'm going to check one of the vertices without the porch editing just to see that Yep, there's no extra vertices and oversight will also have that lovely detail. I'm quite liking this. And now it's just time to make sure we get ourselves a nice little stamp in the middle, which we're going to do in the next lesson. So thank you so much for watching, and I will be seeing you in a bit. No 41. Creating Wax Seals and Scroll Stamps with Deform Modifiers: Hello and welcome back around to Blended FD modeling a medieval researchers desk. In the last lesson, we left ourselves off with this lovely little setup or a scroll. And we have one more left to do, which we're going to do right away. We're going to go ahead and just firstly finish this off with a circle. We're going to make sure we add a bit of a seal, a stamp. For the Mato vertices 24, I think is a little bit too much. We can lower this down without feeling too guilty because of how it covers the role. And I'm just going to adapt it a little bit to the shape. I was thinking about putting the shape itself into more reasonable setup as in trying to reuse the curvature over here of the scroll itself. But I think having more of a circular design over here is going to look a little bit nicer. Also, it's just going to imply that, you need to slide the scroll into this section, maybe, and I quite like that idea. So let's go ahead and just simply make an extrusion. Like, so we're going to get ourselves nice little setup. And looking at this, I just realized that we need to make sure it's centered. So what I'm going to do is I'm going to just simply make sure it matches with the origin point over here. And the way I'm going to do it is I'm going to firstly do set orgy into geometry, like so, and then I'm just going to move it a little bit. So then there are pieces over here. I'm going to click Z for this, move this to where the grid line is. We don't have to do it perfectly, so I'm just going to eyeball it a little bit. Now when I click this, I'm going to just make sure that it is also within this grid. So just on top of this over here. So you see this one is sitting nicely on the line, and now this is also sitting nicely on the line, using old Z to see transparency and a grid past the mesh, and we got ourselves this little setup. Next step is looking at the reference. We'll be able to see the with of this, and I think the with is reasonable. I'm going to use Shade Oto smooth. And I'm going to add thickness by just selecting it all, clicking E, Enter Alton S, and just manually adding the thickness. I don't think we need to overwork ourselves of s. Going to use S Z, go squish this in a little bit. We're going to have a nice little tapering. Going to select it all and I'm going to just click S and just kind of tighten it up, tighten this up a little bit. And looking at this, I'm wondering if we need to close up this gap as well over here. I don't think we do, honestly. I don't think we do, but we can. I'm going to go ahead and hold, select this a little bit, then use the proportional editing, and then we can just squish this down just a little bit. So going to be a perfect circle, but it's going to be giving us a nice output. Next up is just giving ourselves up with some nice little detail over here on edges. Going to go ahead and just create a couple of edge loops, use a Z and just squish it out without the proportional editing. Squish it out, so that way, we can create ourselves it of extra edge loops. Selecting these edge loops, we enter Alterns and just extruding it out just a little bit. Then afterwards, I'm going to make sure that we use active element and use S, not active lement individual origins as that allows us to kind of damper these off, giving us these nice little edge lines. And I'm going to actually use S, again, just to kind of push them inwards a little bit. So just gives us just a tiny, tiny bit, an extra detail. I think that's going to look quite nice. Then afterwards, I think I will use median point, Clinic Control plus, and use S Z and just kind of push it in words a little bit, so this tampering is a little bit thicker, and I'm quite happy with this result. So next up is just a simple seal. How are we going to do it? Well, do it. We're just going to go ahead and use our lovely little circle over here. I would love to have more detail for this. So 22 or 24 or 18. Yeah, 18 is going to do well. 18 is going to do right. Let's go ahead and just go to the top view. Hide everything out of the way with isolation because we can, and we're going to go ahead and create ourselves a little stamp. For the stamp, we're just going to go ahead and select it Edit mode. Click F, you fill it in. Then click I with this inwards Lo. And we are going to play a little bit with a little bit of proportional editing. Go ahead and select some of those vertices and just kind of squish it in. And what we're doing here is this is going to be made out of wax. So we're making sure that we have just not perfect shapes. We have a little bit of variation, and inside of the center is going to be more circular, but not too much. It's still going to be like after, you know, after the stamp is being placed, if someone does it fast and, like, releases it, then, like, some of the thicker wax, especially for a style I seen a thicker wax will just, you know, brrll a little bit. And yeah, I think this is going to be alright. Let's go ahead and make ourselves we're going to select it all. We're going to click E and then extrude, like so to get some bickness. Next step is we're going to click Control R. We're going to go ahead and left click Right click GZ and move this upwards with tht proportional editing, like so, something like this, then we can use Control B, and we can just get ourselves. This kind of look. Like so and now, right click, shade out of smooth or Shade Smooth even. We go, going to get this type of result. Let's just make sure that this inside is marked sharp. By the way, we're going to get blobby on the outside, and this is going to be flattened up. And all we need to do here is just simply use wax red fancy. So again, within asset manager, just drag and drop it, and you'll get yourself this type of result. And if we just use SmartTV project with high angle limit, we're going to get ourselves this lovely little waxy Dow. Now the thing is, we have some detail to add on top of it potentially. And I was considering about doing it. But honestly, looking at the reference, if we have a look over here, I don't want this to be too distracting. This part over here, like, it has a nice little golden piece, which is kind of darkened up. But if you want to have a bit of a detail but not too much and just make sure to, you know, have something in the center or something, at least a little bit, you know, can do that. We can go ahead and just create ourselves a little bit of that extra detail. So how we're going to do it? Well, first of all, we can just drag the stamp out onto this piece over here, so we already, you can see, have a little bit, so I'm going to use GZ and move this upwards just by a little bit, change the Z val to zero, zero, one. No, so just sit and just up a bit. And next up, we are going to go ahead and convert this to data. So relations, make local all. So there we go. Now, we can see that like, Okay, we are able to change it. All good. And we are then going to grab the ECL material to this part of a year, which is going to simply make a duplicate by clicking on this part of the year. Then a neat little trick going into the shading mode, we're going to go ahead and remove everything except for the normal so holding control, we can just drop it off, except, sorry, for normal and Alpha, we need Alpha, for sure. Next up, it's going to look like this. And with that, we can then change up the color a little bit, so we can make it a little bit darker, brighter, like so. And I think it's going to look quite right. In this case, I think I'll make it a little bit more red and just brighten it up. It's going to look like it's part of that same stamp. I think that's going to look much more nicer than a golden type of a seal. And I'm just going to reposition it a little bit to make it center a little more in regards to the shape. Next up is, I think I can just simply Control J to combine them together. I'm going to double check, and yeah, that looks nice. I quite like this. I wanted to check to make sure there's no, like, black faces or anything going on with some shaders who use ambid eclusion. That might cause issues in, like, material when they use ambid occlusion, get dirt and whatnot. That can be an issue. But here, it's fine. And one more thing I'd like to talk about is just quickly adding some extra topology. So I'm going to go ahead and add some topology in the centerpiece over like so. And I'm going to real quick, just select this, click H, grab the piece behind it and use believe trangulation is enough or we can use let me just go ahead and check. So AltnF uses trangulation. UT trangulation should be right. We're just looking for a way to basically have the option to bend this form, and having this shape should allow us to do that, although I'm still not quite too happy about it. So what I'm going to do is I'm going to manually join in some of those edges. Uh, just to kind of make sure we are just preventing a disaster afterwards because I would like to ideally fold it in. I'm just giving some main edge loops, like so and then afterwards, these parts can just use AltnF with beautify and that's going to be right. We just make sure that we have some clean apology at the front, and I'm going to use AltenH make sure that we're getting that beautiful little stamp over back. And I feel like I made a little bit of a mistake. So what's going on here? A ha. So what I did here was I ended up creating some extra apology, which I did not want to do. I like? What's going on here? Let's go ahead and go into Edit mode real quick. I'm just going to click L H to hide the top view. And this part over here, what's happening over here? To be glitchy, a little bit glitchy. What's going on? Why is it doing that? Bass it's because I had sorry about that. It's because I had Apulgeelect it and forgot to delete these faces, which happens. It's okay. Once we delete these faces, I still have this little face over here, and then I can instead of using and F, I'm going to triangulate these tgulate faces. There we go. I made a mistake with this front, which is going to use UBN rap again, and that's going to fix it. Yeah, for a stamp, it's going to look very nice. Quite happy with this, Let's go ahead and just go out of isolation mode. Let's find ourselves the model. I'm going to go back to modeling model, actually. So that way, we can see everything and use AltonH. There we go. Going to hide everything. Then we can just position this to the side of the stamp R Y 90, like so. Make it reasonably smaller, like so. And I am having some issues with smooth angle modifier. I'm just going to increase it a little bit. There we go. So now we can position this a little bit, like so. And for a deformation, we can use an option called deform. Simple deform is going to be more than enough for us. I think bending in axis? Yeah, that axis seem to be doing well. Maybe y axis? No. Doesn't want to work properly. I'm going to change the origin based on the objects cylinder, and that seems to give me some control over the bend. There we go. N bit of bending. That's not going to work for us, is it? No, it will not. So what's happening here is that the simple deformer, is going to work quite nicely, only if the origin point is set up properly. So what we can do is we can go to options origins, and now if we use the rotation of the set origin, we can just rotate this origin around and we can see how it rotates simple deformer based on that. And so if we were to just change it by 90 degrees, we should find another result. And if we were to play around with the axis, maybe we'll get a more fitting type of a result. So here, it's folding this way. Here, it's folding, I don't know which way. And here, it's folding inward. So if I was the reverse angle, there we go. We're getting something more like it. So very nice. Let's go ahead and just check how it looks like in this view, and I'm happy with this result, although not too much going to lower this do something more reasonable. Something like -15, I think it's going to -20. Let's go all the way. And I'm going to make the Once I turn off the origin point, I'm going to make this much, much smaller. So click G. Oh, click the move tool, move this up for a little bit. And next up is I'm going to reposition the front decal just to go a little bit more up in the front, like so. Alright, so we got ourselves a nice little seal. We need to make sure we texture everything else. This little scroll has an option to be unwrapped with where is it? Minimum stretch. If I was to have this set as scroll paper, be able to see how it looks like, going to UV editing because we need to make sure when we use minimum stretch, we can see how many iterations are going to work. Bert seems to work well. We're going to keep it as it is. And where is our Oh, let's make sure we go out of a localized mode. There we go. So we got ourselves the paper, the scroll and everything. This little piece needs to be inverted using Shift and N, just because we want to make sure that the faces look normal. And yeah, we can just unwrap it using a minimum smart we project. You don't need to worry about it too much, and we can put this as a lever. Lever is going to look very, very nice over here. I think it looks quite nice. Alright, so another scroll properly done. Now we are going to work on an open version of a scroll. So we're going to continue on with that in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 42. Creating a Stylized Scroll with Mirror and Solidify Modifiers: Hello. Welcome back everyone to Blender Fred Morling medieval researchers desk. In the last lesson, we left ourselves off with this lovely little scroll stamp. We're now going to go ahead and continue on with the setup. And I just realized there is this little bit of an issue over here. Just going to go ahead and see what is up with that and just manually give it some detail. Alright. Next up is making a scroll. So we're going to make use out of this previous old setup that we have over here. The reason being is that, well, this is still curvature, and we want to basically make this into something more manageable. I'm going to go to our top down view, and for starters, we are going to go ahead and just select the last point. I'm going to click Control plus a couple of times. I think this is enough. I'm basically just undoing some of the loop. So I'm just selecting a reasonable amount it's going to look at the reference real quick. Yeah, it's more than enough, I think. Let's go ahead and then afterwards, delete these vertices, and we're going to be left with this. Then we can even delete this part over here. Yeah, let's go ahead and delete it, and we're going to be able to just extrude it outwards like so. Then next up is just simply we'll need to make sure that it's well, mirror to the outside. So we can imagine that this is actually going to be lipped upside down. Going to go onto modeling mode because what am I doing in UV editing mode where we can make use out of this whole full space. So Alright, so I believe we can do a mirror modifier over here. Yeah, we can. It's great for us, and then we're going to go ahead and just select this entire piece and then place the mesh into a reasonable size. So something like this perhaps will do the trick. Then I'm going to select this last piece, and I'm just going to combine it connect it at the center, something like this. Make sure that clipping is turned on, it should combine with one another. And we might want to just play around with these, roll pieces over here, make sure that we're getting something more reasonable. After we're happy with just a general shape, you know, we can then Are we happy? Let's see. Here we go. Something like this is good. We can then apply mirror. The reason we're doing this in object mode. The reason we're doing this is, Oh, we cannot. But that's right. I wanted to make our lives a little bit easier because we want to have ideally some bit of control over how these options are for both sides. So we don't want them to look identical. Because if they look identical, they're not going to be quite as nice looking, I don't think. So what we're going to do is we are going to turn off solidify, and we're going to select it all, or in object mode, select this piece, and then we can convert it to mesh, and there we go. We got ourselves this little thin piece, which I believe when converting to mesh, I kept the original based on a previous setup. At this point, we can just go ahead and delete it. We're going to be left with this. I'm going to go ahead and add the solidify. The solidify is going to be the same as this one. So the easiest way to do that is just select this hold Shift, select this. We Control L, and it's just a solidify with 0.05. Just copy modifier onto this, and now we have some thickness, I hope. But we don't know. What's going on over here? This is Oh, this is actually a curve, but this has solidify, so I'm happy about this, so I'm just going to go ahead and do that. There we go. Now, it should have thickness. I hope it does at least. I do not see any thickness. Maybe we can use Control A and apply scale. Is it having any thickness? I do not see any thickness. So what's going on over here? Oh, worry about that. We're going to turn it on in the real time part. Go ahead and use shade out smooth. And, we're just going to go ahead and just make sure that size of this is reasonable. And then we can go back to the top because it has a solidify, we can just click Old Z. And then you click one. And then with this, we can just slightly tweak the way these are with proportional editing and just a little bit, just a tiny bit of tweaking. Make sure that you're getting some more interesting shape. You even select one of the edges over here, for example, so it wouldn't look like a perfect circle, and we can just lightly something like that. Maybe something like this. Yeah, that looks quite all right. I'm quite happy with this result. Next up is, I'm just going to select a couple of points maybe across this section. Or you know what we could do to make our lives maybe potentially, hopefully, a little bit easier. We can just go ahead and click A, select it and use select random, actually. Select random will allow us to deselect some points. Oh, sorry, we need to double tap A, then select random. Although it would work with action if it was set to deselect invo voi. But it will basically allow us to take down the ratio to something like so. And then we can use because it's on both sides, then we can use S Z and just kind of squosh it down. We're going to take off the proportional editing for this, though. But by simply doing this right away, we can see that we are adding lots of scribbles, lots of bobs, and that's nice. We're then going to go ahead and just click SX and rotate it minus. Let's put it a minus. And I believe this is quite right, except this part is I want this to be a little bit wider. I'm just going to grab one random piece, and using old Z, so everything is selected and just going to extend this outwards. As I think that is quite reasonable to do. I don't think we need anything extra over here, it's quite right. And is this wide enough? I think it can be a little bit wider. I'm looking at the reference, and I see that we can definitely make it a little bit nicer. Something like this, I think it's good. I'd like to add some extra edge loops and whatnot. You can do so. You can just add it in the news S and Y and just maybe, you know, wash it up or get some bit of an extra detail. But once we have something like this, it's going to be rapper easy to do. We're just going to go ahead and select it all on a wrap with minimum stretch, maximum duration of 30, give us a nice little setup, and what does it say at the bottom. It says something at the bottom. I didn't quite object has non uniform scale, and wrap will operate on a non uniform scale. Okay. I like it'll be right. We're just going to put on a paper light or scroll paper, and we're going to get this. And then I would like this pattern to be smaller, I think. So it's going to be for, like, a scroll and stuff, so Finer is okay. I'm going to go to Edit Mode, going to go ahead and select this in edit mode and just click and just upscale this until we get something like so. Quite a bit more happier with this result. And next up, adding detail. Of course, we need to do that. So what we're going to do is we're just going to go ahead and grab our lovely little detail from Asset Manager. There is something called B in material. There we go. Map detail. So for now, I'm just going to show you what it is. If I was to grade ourselves a plane, drag this out. We're going to get this. Once we drag it into the scene, it's going to be, you know, within material slots, selectable, so that's great. But essentially, this is a nice little texture which can be used to, well, just cover up some front of the scrolls. And it works quite nicely. I believe this is also a Always to scroll it upwards. It's also aimless. So if you want more detail, you're free to do so if you want a little bit less can also do so. And that will help us here. I'm going to go ahead and just simply select the faces. We only need the front faces, though. So what I'm going to do is I'm going to go on to Modify, and I think at this point, we are totally okay to just apply solidify. Like so, so we can just grab the front faces like so. And we don't need to grab all of the front faces. We can just grab it from one corner to the next. But we can always just select one piece over here, inside of the scroll, and then use Control and apply it to the outside of the scroll. And that way, we can then use Shift D, Enter and use Alt and S will let us rink it in, and offset is going to be 0.001, something like that. And afterwards, we can go ahead and just change the material for this. We can click on a plus symbol over here. We can click on the sign. So it's going to give us that section of the selection, and we can search for the lovely, what's it called? It was like a map detail, I believe. There we go. Lovely little detail. We're just going to make sure we have this selected. We can move it up from the entire mesh, so, because we don't have the sticky selection in UV, I'm going to click R 90, R 180, actually. Basically want to make sure that it's up front, like so, and I'm checking how this looks like, and I'm going to try actually use minimum stretch maybe it's going to work well. I think it's going to do us much better. Yeah, making sure that it's more or less straight. Then we can have ourselves a nicer detail. Is this the right side? Not the right side. There we go. That's the right side. And I'm going to just go ahead and do something like so. Nice little setup, like that. And I'm quite happy with this. Maybe the ship can be a little bit more to the side. Make it a little bit smaller, something like that. And if there is, like, areas where you don't like the details. So for example, I'm not very sure about this starfish over here. What we can do is we can click K and we can just cut it out. We don't really need to, you know, worry about restricting ourselves, we can always use full creativity to get exactly what we want. And I didn't want to starfish. I wanted to have full of ships and the text at the bottom, and that's exactly what I got. So yeah, that's pretty much it. For the scroll. We can now go ahead and just make sure it's one object. These also need to be one objects. These can be deleted, and these can be joined up, except we need to, well, put it in out of the solidify mode and place it on a desktop for us. So we can continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 43. Arranging and Enhancing Scrolls with Rope and Texture Details: Okay. Hello. Welcome back everyone to blend of F D modeling medieval Researchers desk. In the last lesson, we left ourselves up with this lovely little scroll. We're just going to go ahead and delete everything that's unnecessary except for those lovely scrolls. And then we are going to set it up nicely. I'm going to make sure that this is enabled in the viewpoint. Realize it wasn't. All of the modifiers are nicely set up. I'm just going to grab all of these free, like so go to object, convert to mesh, and then I'm going to combine whatever is needed to be combined. So this should it have been converted to mesh. What's going on over here. There we go. Not sure why it wasn't converted, but now it is. Everything else seemed to be. The way that I noticed, by the way, is this is still not a mesh. I'm going to try to combine them, bring these two together. But nope, that doesn't seem to work on to mesh. Doesn't seem to want to be a mesh, and Carbin be applied. Okay, so yeah, it turns out at this spot of fire at this point with version 5.0 doesn't allow the object to be converted. If I was to turn this off, then try to convert it to mesh. I bet it would do it, which I think it does. So that's a little bit odd. But turning it off, it seems like this was a curve to mesh operation. So it works fine. You just need to once you convert it to mesh, I guess, remove that modifier. I think it is like a little bug with the new version. So just keep in mind. But afterwards, the rest should work quite right. You can see that this Ah, so that is a mistake on my part. Sorry about that. I'm going to move this, and I just realize what has happened. Just going to click every single point by one. And you'll notice that I have lots and lots of details. What's happening with it? Well, I made a mistake. I made a massive mistake, which duplicated everything. So, Okay, I'm going to go ahead and select it all. Now not going to make that same mistake. I'm going to click Convert Mesh, and I'm going to make sure that keep original is ticked off. We don't need original. We're done with it. We're going to make sure it's not here. We're going to grab this silhouette and the mannequin. We're going to rotate this by 90 degrees. Oh, sorry, RX, 90 degrees. So everybody's going to make sure that the scaling is up nicely set up. So let's go ahead and see that. We're going to make sure that this is much, much smaller. Turns out this is way too big. Something like this will do. You can look at the reference by the way and see the one that's being used. So this part of the year, you can see that the scrolls aren't actually that big. They're just barely sizable. We can also resize them afterwards, but something like this will do the trick. This one is actually much, much smaller as well. Something like so. Yeah, that will do. This one is going to be I'm just going to make sure that everything is joined now. I'm just going to select parts, join them up, and place them accordingly. And it looks about right. I'm happy with this. Okay, so going to select them now, going to just apply scale. So these are the default scales. Now we can place them on our lovely table. Go ahead and move them up into the table, and we are going to place the scroll over here. Just on the table. So if we look at the reference, we're going to have a scroll on the side. I can go out of the way a little bit, and this one can go over like so. I think it's going to be quite right. We can have some candles placed to keep them the scroll not rolling off, be quite right. This one is going to be just placed like so. That's going to be quite right. That's going to look lovely, I think. And this actually needs to be looking at the reference. So this red was over here. On this side, go ahead and make sure we place that in properly. So put it up in here, facing the front a little bit, going to rotate this in local axis and use RX or sorry Z. There we go. And it seems to be rotating the wrong way. So I'm going to set origin to geometry, or Z and there we go. Going to make sure that the stamp is more visible. So something like this will do, I reckon. Yeah, that's going to look lovely. And then we have this scroll over here, which I think A made a bit of a mistake. Have this rope over here on the side. I'm just going to reposition it, and I forgot to, I suppose, combine them. So you have something like this, we can just control J. I'm going to make sure that the first or the main selection is at the rope ring. That way, it's going to be looking nicely with the origin point. And then we can just place it on at the table. This part goes in here. And yeah, this looks quite nice. Just to make my life a little bit easier and just to save some time, we can also make a duplicate for this. This is basically going to be the same as this one, and we're just going to fix up a bit of this rope. So the way we can do it is we can just make a duplicate over here. I'm going to use scale, it local. So as Z as Y and X is going to move it like so, and we just need to make sure we lock it to shift Z. That way we can just expand this a little make the scroll a little bit chunkier. The thickness of this scroll is going to be still quite right, and we can just rotate it a little bit in Z axis, though. The afterwards, those couple of strings, we can just go ahead and use L I delete them a little bit, like so. So going to be just, you know, loosely tied, like so. And afterwards, I'm just going to slightly reposition this a little bit. Like, so. We're just quick little fixes. I didn't want this to be overlapping too much in this particular area, so we can just lightly raise this up a little bit. Like so except this part now is there we go. Now it's fixed. Next up is we can grab some of this part over here. I'm going to use Alt and Left click, then Control plus to kind of expand this a little bit, so Shift D, and then afterwards, we can use G to move it out after a click Escape. And then we can just fill in these gaps like so and filling in these gaps, and we can then reposition this so it's going this way, look like it's coming from underneath this rope over here. Nice little bits and bobs like so will help us wide a little bit. And I'm just going to tweak this up from the top, though, and there we go. It's going to look like just loose. And I think that's going to be quite nice. Also, another thing is in proportional editing, you can use connected only that way. You can just rotate this, for example, just a little bit and tweak it and nothing else is going to be changed. So something like that is quite nice to have connected only when you want it, and you can see, there we go looking quite nice for a string. And this string over here, at the reference, I realized that it's going to be a Nuer type of material. This is just going to be lever. Lever type of string. Let's go ahead and just basically change it within the slog, and there we go. Nice, little lever string. Let's go ahead and have a look on how this looks like, and there we go. We got ourselves a nice little setup. And looking at this, I realize now that the scroll in the back, I mixed up the directions. This needs to be in the front, actually. I think it's going to look much better. We could keep it in the back as well, but this is going to either go with the text inwards into the fing or it's going to be going away from the camera. And I want the text to be at least somewhat facing the camera. So I'm going to go ahead and just rotate this 180, L so. So now it's facing the direction of the camera, and I'm going to put it on over side. I would much rather prefer that also, it's going to help us with it's just going to be sideways to the camera. It's going to help us with the silhouette. If we look at the reference over here, we're going to place the entire candle over here on the side, just helping us to break down the shapes like so, and then afterwards, here is just a little bit smaller candle, couple of candles over here, and it just helps to ease off from the overall angle. That's the general direction that we're going for. And I think it's going to look very, very nice once we are finished, which we are getting close to, by the way, we're almost done. We just need to set ourselves up with some candles. So we are going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 44. Sculpting Realistic Wax Candles Using Dynamic Topology: Hello and welcome back everyone to Blender F D modeling in medieval researchers desk. In the last lesson, we left ourselves off with this lovely little setup. We now just need some candles. We're going to go ahead and start us off by creating ourselves a simple cylinder like so. Motor vertices, 40 chew reasonable. We're going to be re meshing the candle in a bit. And we can just make it quite a bit smaller. You don't need to be this big with candles. You can make them nice and something like that. We'll do. We have essentially two variations. Well, there's but one, but the biggest ones are like this size. And then there's another that's going to be even smaller, like thinner. And once we have those versions, like general shapes and sizes, over here. Once we have these two, basically, we are able to size, by the way, that's the general size. So it's reasonable and fix it up in a once we have something like this, though, we can start doing some sculpting. The way we're going to do it is we can just grab both of these, and the Mannequin, we can go on the modeling mode. We can just isolate everything and start off with this. So how can we do it? Well, there is an entire tab called sculpting over here on the top, but honestly, it's just I'm not really using that because it's just easier to for me personally, at least, just change the sculpting mode through here. It gives you all the necessary tools and everything is nicely laid out. All we're going to need realistically is an option for essential draw. At the bottom, you can find it in the library over here, and that's going to be it. We're just going to use dynamic topology, which if you enable this, it will essentially we click enable a here as well. It'll essentially change your topology. You generate new topology based on the sculpting data, and that is also going to be based on how close you are to an item. So if I am disclose, you can see me doing some sculpting like this, even though realistically, when it comes to topology, there was no topology, but now there is. So that's pretty cool. But, yeah, it's based on a scale. So if I was to try to sculpt it from here, you can see that amount of topology is not going to be the same as it was before. So that's something worth knowing. You can change this using detail size, but the default version will work for most of the cases, especially for something as simple as creating candles. So what we're going to do is with this dynamic, we can just hold shift and we can just quickly tap it. Oh, that doesn't seem to work because we need to make sure we get ourselves a little bit closer. And now holding shift, we can just tap to add a bit of the extra detail, and I'm just going to go around a little bit as well, like so. And because it's a thinner candle, you can imagine that the flame is going to be like with a bud. On the top, the flame is just going to melt the wax downwards, all around it, most likely, not most likely, but more or less equally when it comes to the candle. So. So in terms of the sculpting, we don't need to do it too much. We're just going to sculpt around it a little bit. We're then going to hold Control, by the way, which is going to just lower down this. And I'm just going to create such a shape, maybe hold shift, and just remove it like so, and we got ourselves something like that. And that's all we need realistically. Afterwards, we can go ahead and simply add, well, a more reasonable topology. There is an option in data objects called geometry data, which Sorry, not, Geometry data, remesh data, which you can select for quad. If you are in object mode, you can then simply click Quad Remesh number of faces, 4,000 more than enough for a candle. Let's go ahead and click on it, and there we go. We got ourselves lovely little candle. We can click Shade Smooth, and that's what we're going to get. Lovely little candle. And then we're going to be able to also apply some well. Picture. We can go ahead and just select it all, MRTVPject. So I think we'll do quite well. As a manager, we still haven't grabbed the wax, freed wax over here. This wax is very interesting. It's not like other textures. When it comes to textures, there are alternative like additional detailing for shaders. So something like a wax, it will use a shader called subsurface scattering. So that shader allows us to get a bit of light. You can see from here from the side a little bit lighting it up. This is what candle wax will get us do. So, for example, that red stamp that we had, I don't think we had a subsurface scattering, but this one required us to have it. And yeah, subsurface scattering is great for, like, skin tone. It's great for partially transparent objects, perhaps. And something like wax, for example, if it's quite thin, you can have some light coming through. Foliage is also good with subsurface scattering. So all it is here is if we go into the wax shader just really want to show you this is a subsurface scattering over here. But I ended up mixing up a little bit with original principal BDSF as well as some additional type of notes just to get a little bit extra detail out of it for a stylised effect. But when it comes to wax, up surface scattering is what you need, and you could just connect it directly to the surface with base color, for example, and such, and some normal values, and you would get really good results. Principal BSF, by the way, has also subsurface so if you look at the tab over here, it does have options for subsurface. So you could even just use it directly for principal PDSF. And yeah, changing up the scale, for example, would allow you to pass the light through the sides a little bit better. But the main controls, for example, would be over here for the radius. Radius will allow you to control how the light bounces in the setup. And all of that good stuff, but it can be a little bit technical, but if you play around with different directions of lighting and stuff, you'd be able to see the difference and whatnot. Or a candle like this, you see, it's glowing from the bottom. It's very nice. From a candle like this, it's very nice. So this part is done. Now let's go on to this uper part, this candle, which is going to be a little bit thicker. So if you imagine the light coming from this thicker candle, it's going to be well, holding control. We can just go inwards, or dynamic pulgs enabled. Holding control, we can go inwards. You can imagine that candle just kind of goes down and down and down, heat ends up picking up onto the sides as well, and that kind of starts melting it, but it doesn't melt it equally. The heat is not able to contain all around it, so it ends up just kind of grabbing the details from, like, parts from, like, this part, and, like, this part maybe ends up grabbing and, like, the hot wax that's inside, it's trying to, like, escape and kind of run out. Once it gets little wall that's, like, close up, then it then it just basically weakens it to the point where it just gives us a little waterfall and then it kind of, like, droops down a little bit. So that's why we have these little details. And some walls just end up being, like, you know, not touched because by the time the candle fire goes a little bit lower, just doesn't touch that part at all. So it just ends up being like so. And with that in mind, we can just go ahead and just, you know, rate ourselves. So nice little shell, like so, and then using control, we can just lowers down. Holding Shift, we can just make sure we don't get weird artifacts, where like here, you know, it's a little bit too thin. But yeah, just doing it like so we can get ourselves very, very nice detail, and we can make the brush even bigger. And for example, we can just make this massive difference in shape, like so. So some parts would be like, taller, other parts would be like, smaller, and just like that, we're able to get some nice little detail just like that. Alright. Do we need to do anything else? Well, I think when it comes to the scandal, the sky is the limit honestly. When it comes to candle shaping and whatnot, we can have, like, a little bit going inwards like so, and all that good stuff, all of that nice stuff is there for us. But we are running out of time. I think we can continue on with this in the next lesson, honestly. We have, like, a bud to add. We have a flame, which is part of the resource pack. But yeah, we can do that all in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 45. Adding Wicks and Flames to Sculpted Candles for Scene Lighting: Hello, and welcome back everyone to Blend of F D, modeling a medieval Research's desk. In last lesson, we left ourselves off with this lovely little candle. I do want to add some bit of drooling over here on the sides. Even though they're not going to be too visible, it's going to be still quite nice. Over here, we can exaggerate some of those details like a little bit, like so you can imagine like a wax maybe over here. And just giving us these kind of bumps and lips and all of that drooliness, softness. Over here, we can use shift a little bit, maybe quick tap, using control to kind of moving it out a little bit. We don't have to have perfectly straight type of a handle. So you notice that some corners I touch, that's okay. Now we can go ahead and use the remshq and in object mode. But this time, I'm just going to increase the amount of pass to 6,000. I think it's going to be more than enough. And it says use mesh symmetry, but we don't have symmetry, so it should not touch it. I'm hoping at least, and there we go. Got ourselves a lovely candle. Go ahead and just apply simple UV smart project. It is quite a noisy texture. The UVs aren't going to be quite as visible. And then afterwards, we can apply the wax and see how it looks like. Going to go into protection mode. So here, it is quite visible. I'm going to go ahead and just lower the angle limit. That was the main reason, and there we go. Fixed, nice and simple. And in render mode, we're going to see something like that. Very, very nice, very lovely. And also, don't forget that once, you know, the re measure is finished, you can still select an object. You can still go into sculpt mode. Another option that's pretty good is grab tool. Grab tool will let you basically just move the items. Similar what we did with motion. And what was it called proportional editing this button over here. It's similar. So you can just, you know, control based on the radius, all these vertices, all these little setups to exaggerate some of those shapes. And if you hold control and use it, it's going to move the vertice, not based on the camera. So, for example, if I move it here to the right, it's going to move it to this direction. You but if I hold control, it's going to be moving it based on the normal. You see, it's going to now move it from the normal. So I have my vertice selected over here and just going to pull it towards the camera. So just nice little extra detail to know about. And let's shade smooth, and there we go. Got ourselves a lovely candle. Let's go ahead and just create ourselves a nice little bud. You don't need to do overly complex setup with this one. We can just go ahead and make something like this. There's something some sort of a shape in here to make sure that we don't have a floating fire. That's we're looking for, not floating fires. And something thin, something nice and simple. And we don't even need to create we don't even need to get ourselves a custom material. We can just create a simple material, like, so turn this butt black roughness, we can increase it. By the way, I never go black. I just almost there, but not quite. Usually the best way to do it. And then afterwards, the roughness value over here. So it's not going to be as shiny, and we're going to get ourselves this plug this little bud over here. Also, this is also going to be smooth shaded, because, well, when we combine it with the wax handle over here, should be end up being smoothing out as well. So it doesn't have to be, but or a render, I think it's going to look nice. Now I just realize I made a mistake by joining this because I need to select it in edit mode, move it off to the side and click P, separate by selection. Now I have this little bud over here, and I'm just going to put it in the centerpiece like S. Now just selecting the bud, selecting the candle, Control L, copy modifiers, and we not copy modifiers, Control L. Control P. Sorry, there we go, or Control J. There we go, Control J. I'm sorry about that. Afterwards, we are only left with asset manager putting in the light. So we got ourselves a little bit of a setup. And I am going to go ahead and find it extra. There we go. GeonautFre. Let's bring it into the scene. I'm going to put it on the flat on empty surface so it wouldn't change the rotation. And once we have something like that, we can just click S to scale it down to more reasonable amount, put it right where the fire should go. And there we go. We are going to have this lovely little flame. You can also click as set and move it downwards. This geometrne is actually very complex, very interesting. You can always play around with it. There's like layer so you can have multiple thickness, radius, which would allow you to make it super wide if you want this, I don't know why, but if you want to set a fire, set tire table on fire. Feel free to do so. No one is going to judge you here. And yeah, let's go ahead and just move this with our flame. We can make this a little smaller for a smaller candle. We have the option to do so. And I think something like that will do quite well. Let's go into render mode to see how it looks like. And you'll notice we have some black spots over here. The reason we're having black spot is because the rend view, by default, has different variants in light light passes through. So the more you overlay, like, planes that have multiple transparencies, at some point, it's basically going the render is going to say, we're not going to pass through any more planes. We're going to stop there, that's going to give us black spots. We can fix that if we go to PAPs. There is option for, I believe, it's just transparent. If we change this to 12, we'll see that it's getting smaller, and if we change something to 24, it's going to disappear. And that's exactly what we want. In lote, there is some side effects over here, but once we render it, it's not going to be visible. It's only in the preview. And that's that. The next part is just getting ourselves another candle. So we have this candle over here, and we can just use Shift D, X or sorry, GX, there we go. And probably I'm just going to make a duplicate leg, so why not like that? And select both of these, move this up when it's going to be a taller candle, and I'm just going to grab the bottom part just like that. Move this down. He said, Ove down, so I'm not too worried about UVs, because we can just select clicking L, select entire mesh. Clicking L, select in normal, which selects entire mesh, then use Smart project again, and there we go. Nice little setup. The seam is over here, but if you go to render view, it's just barely, barely going visible. If you wouldn't know there is a seam, you wouldn't know. I think it's quite right. In terms of the shape, though, you know, I mentioned that you can use just proportional editing. You can do that just to kind of change up the shape a little bit. So I have the proportional editing turned on now and just, you know, moving some parts over here, maybe moving this part over here. Just a little bit. Doesn't need to be much. And there we go. Quick changes, easy fixes, lovely little setups. I'm also going to go ahead and use Control R and just add some topology over here, and there we go. And Shades move. Shades move. Turn of sharp edges for some reason now doesn't want to shade move properly. So what I'm going to do here is I'm going to again do remshing because I don't like this jaggedness that we have over here. I didn't have such jaggedness over here, so I'm not sure why that's being caused. Let's go ahead and do that. Again, remsh and again, I'm going to use Smart TV projection once this is finished. So there we go. And select it all. Smart, we project and done. That is it. We got short, we got tall, all that we need and more. Let's go ahead and use it. I'm going to select this flame, going to hit Shift and select this Control P, that parent two. And that way, we can just move this around and flame is going to be sticking to our lovely little setup. So it's just going to make our lives of moving these candles around much, much easier. We going to go ahead and select them like so, practical seven, move them onto the table. Bit higher up. And now the first sphinx first is we want one candle over here and another candle over here. The reason we're doing this, and I just made a mistake. We need to select both of these. If we want to duplicate, it should D, and now it's going to be duplicated. And this should still, yeah, it's still going to keep that up. So why do we want to have these two flames, these two Les over here. Well, we want to make sure that it keeps this scroll from just wrinkling up from it going back together. You know, the tension of the paper is making it try to fold itself. These candles are a little bit too big, looking from the distance. I'm just going to make them much smaller by half, actually. That's going to be, I think, much better. We then place one candle here, one candle here, and now we're going to see how it looks like. These flames look a little bit too much, but let's see. There we go. We are getting there. That is looking very nice. I'm quite happy with this result, and now these candles over here, they're actually very, very much too big. I'm going to just select both of them and use a 0.5, so they are in half. It's cut in half. There we go. The one candle, the shorter one, this is the longer one. Longer one can go in this section. I'm not going to put it next to the corner over here because if I do, then it's not going to look quite as nice when the corner of the book ends and the candle begins. So I'm just going to go slightly behind it, like so, and that way, it's just going to, like, intersect just a little bit to make it feel more natural. And then next up is going to be this upper candle over here, going to move it down and just place it next to this scroll. Hopefully, we're not going to burn this down. To bring this back a little bit, just snugly fit this in, and I think this can be brought back. So I like the shape, how they intersect with the book. I'm just going to bring it back using this square over here. Just a little bit, like so. Yeah, something like this will do the trick. I'm looking at the bottom over here, just making sure that this part over here is not just ending or the corner doesn't start with the bottom of the candle. But this bottom is also going to be just hidden a little bit with I think I'm just going to move this scroll just a little bit, make it fit in a little bit more. Like so. And I think that's pretty much it. We just need to have one more little candle over here just to fit the space in because we can. Oh, again, let's make sure we select those two items. There are two different items. We're just going to go ahead and place candle over here just to make sure we have enough lighting. We're going to play around with the lighting itself in a little bit, in a little bit. And speaking of little, we're going to make this candle into smaller one. I like this candle, but it just needs to looking at the reference. So if we have a look at it over here, we have this candle over here, which is short, never tall. So we're going to make this squish a little bit downwards, and it's going to give us that right type of shape. I'm going to select this, move it over here. So again, I forgot about the Yomici node. There we go. We got this moved, and now we're going to select this part. Use a Z, squish it, and I don't want this to be squishing this, so I'm going to use lt P, the clear parent, which ends up moving the flame over there, actually. I don't want this to happen. I think I'll just do it a little bit more cheesilyG to lower this down to a value of 0.6, and then just squish this fire back out. And I think that works, I think, quite nicely. Go ahead and have a look at the camera. Let's turn on extra and see how it looks like with all of the items nicely placed. So that is what we have so far. Lovely little book being lit up, the flames and all nicely shining through. So all in all, I think it's looking quite nicely. Alright, so let's continue on with this in the next lesson. Let's just do some pool shop and get this scene ready for rendering. 46. Optimizing Camera Focus and Rendering Settings in Blender: Hello, welcome back everyone to Blend of three D modeling a medieval researchers desk. In the last lesson, we left ourselves off with pretty much finished off setup. We have a couple of things to finalize. So first things first, if we click zero and go onto the camera, which was set up beforehand, we had a setup that's already nice, but if you look at it closely, or you might not need to look as close, you are going to see that it's blurry, it's too blurry. The reason for that is because we have depth of field, which we have never readjusted. We're just going to simply go ahead and click on the Focus on Object. And select the table. I'm just going to actually find a table. Going to see which object it is, so it's circle 01. We could actually just rename it to a table by clicking F two, and all we need to do is just click back on the camera, which is this ame on the side. By clicking zero, you'll be able to see it. Then we can just simply either use this pipette over here by clicking on the table like so, or we could just use the search bar over here to find that object. Uh, Ivo way. Once we have it set up, it's pretty much done. Then we can play around if we want with F stop. So the closer we get to zero, the more blurred out it'll be. And I think the default value of 2.5 was quite right. I think it blurs out the backside nice enough for it to be nicely set up. Next up is going to be in Renders options. We're going to make sure that the renders engine is set up to cycles and GPU compute. If you're not able to see that, you need to go on to edit preferences, and within the system, you should have the option for eva Cuda or Optex and afterwards, just make sure you enable GPU, then you'll be able to make a choice over here. Then next up within the render panel over here, Mac samples, we're just going to set it up as 20 or 30, very basic, very small sample for a quick preview. Also going to make sure that the noiss turned on and it is going to use GPU, just to make sure again, it's faster. Quality, we can keep it as accurate, although if you're running a slow computer, you can change this too fast, which would speed up the rendering. Next step is light paths. For starters, we're just going to click on this one over here and we're going to make sure we use fast global illumination. Is going to remove the transparency over here for the candles. Just keep that in mind. There you go, we're getting back that non transparent part of the candles. But we're basically doing this to make sure that we're rendering at a faster setup. Afterwards, we can go ahead and use full global illumination and then changing the transparency again to higher value. We give us a nicer volume metrics overall, but all in all, this is a very good starting point. So what do we do next? Well, we are going to go onto the compositor tab over here, and with Blender five, they have updated it by quite a bit. And first things first is that we have now option to create a new compositor over here at the top. But this means that the way it works is similar to a modifier, and actually, you can use this setup in Modifier tab when editing videos. So it kind of works the same way. But either way, you can make a compositor setup, and then you can just basically reuse that in our projects, for example. But right now, we're just going to focus on this setup. We have multiple of presets at the bottom, which is a library. We're going to have render layers on the side. And instead of the render output, it is called now group output. So this is what's going to give us that image output. And we need to make sure we set it up nicely before we start rendering because we do need to have ourselves multiple options. We're going to go to output properties. We're going to make sure that the resolution for this image is 90 20 by 1080. And then afterwards, we're going to scroll down output. We need to make sure that the output is set up nicely. So I'm just going to pick an option for that. Like so then I'm going to hit Accept and there we go. Then afterwards, if we were to bind ourselves view layer over here. We're going to go ahead and click on it, and we're going to apply multiple render layers to make sure we have more control over the setup. So combined is going to give us the base nice little render, which is great for us. But we want to have a couple of extra options. One of those options will be if we scroll down a little bit, will be amben oclusion. Amber oclusion will help us get a little bit depth in crevices and whatnot to make sure that the shapes are more visible. We'll be able to make use out of that. And we also are going to use emission. So both of these are going to be turned on, and that's all we need to be honest. That's all we're going to use. Then afterwards, once we have this enabled, we can click F 12 on our keyboard, and it's going to start rendering the entire scene. So let's see what's going on here. First of all, we have some issues where the windows are not visible and the bottom is not visible. What's going on here? Well, my guess is that in our modeling, we are going to make sure that everything is unhidden. There we go. We have a box for particles. So it's not visible in here, but in render, it is visible. So I believe that's what's causing our issue. We're going to go onto particles properties, and we are going to go onto render. There we go. And there we go. Joe emitter, which going to make sure that this is turned off. Now I'm going to go ahead and click F 12 again. And there we go, much better. We got ourselves nice background window setup, and also these particles are looking quite nice, although one thing I would say that we can turn on is motion blur. Motion blur is sometimes nice. Though I would say we can do that. If we go on to render properties, we can go onto this option over here, motion blur. Even though we are rendering an image, it will help us to get that bit of a blur. So I think I will lower this a bit smaller. We don't need much of a blur. 0.2 is quite right, and we're going to click F 12 yet again. There we go. So essentially, what we have when rendering out this piece is, if we go on to composite, this part over here. So already in the back, we're going to see it. If you're not going to be able to see it, you can just simply turn on backdrop. And afterwards, you can use V on your keyboard to zoom out and use Alt and V to zoom in. Then you can also hold Alt and use your mouse button to just move this image around. Otherwise, if you're just using middle mouse button, you're just going to move it move the nodes around. So it's a little bit confusing because essentially you have two layers that you can move around. Or essentially, if you have just two screens, you can just put a blender render onto the side when rendering out, and that's going to be the same outcome. And yeah, we also can check how the outcomes came out. So if I was to hold control and shift and then tap on the render, you'll see that the viewer is getting attached to the top. And then if I was to do it again, it's going to show Alpha. We don't have Alpha emission, which is coming from the flames as well as the environment and back. Then we have ourselves Amber occlusion, which is lovely. And that's going you're going to be able to see how nicely it looks, and you're going to be able to get some detail out of that in a bit. And the noisy image is not quite needed for us, so we don't really care about that. Anyways, this is pretty much it. We're going to continue on with the setup in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 47. Enhance Your Scene with Chromatic Aberration and Vignette: Hello and welcome back around to Blender three D modeling a medieval researchers desk. In the last lesson, we went ahead and created a base render, talked a little bit about render layers. Now let's go ahead and talk a little bit about all of these wonderful options. So with Blender 5, we have multiple options that help do some post processing for the render. And I just would like to let you know that whatever you do for the image, you can also just change the render to be a video, and then it will use the same compositor setup. So first things first, we have chromatic abration. If we were to click and hold and drag it onto the scene, we'll be able to see what it is. And essentially, it's a group that allows us to well, play around with the options and get ourselves Chromatic Aberration. We can even click tab to go into the group itself and see how it's made. That's quite nice. And if we want to go out of it, we can click Control Tab to go out of it. Or alternatively, we can just double click on it and simply click on the top section over here to go back to the compositor nodes. So that's just make sure that we're not getting lost going in and out between those options. Chromatic Aberration. Can we use it? Well, technically, yeah, I think a little bit of it would do us quite nicely. Essentially, what this will do is, if I was to click Control Shift and just tap on it, it'll give us, well, chromatic abration. That means that some of the pixels will give us that kind of offset. You see over here a little bit of offset. If I was to increase it, you'll see it quite a bit over, like so, and it just basically offsets a little bit of those colors, giving us a look that's more like camera lens, let's say. Want to go for more realism, feel free to have it just a little bit, not too much, of course, but just a little bit would to us quite nicely. Honestly, having it as a value of 00.05 is just giving us that bit of imperfection and I think it's going to look lovely overall. Next up is we have some noise. Do we need noise? We could use a bit of noise. I think honestly we can try doing that. The question is whether or not we should do it before chromatic operation or after. I believe after doing it after would help us out because we don't want to offset some random noise with chromatic operation. I think that would be a bit of an issue. So if I was just to put it over here, drag and drop it, so we'll be able to increase the noise and see how noise it can be. Again, we don't need to overdo it. We can also hit backspace to use default value, which was 0.1. But something like this is still too much. 0.01, I believe, would be way, way better. So if you're not seeing the difference, see before and after. Just a little bit of that noise. Although with rendering, you can say that it would give you that bit of a noise, but having it like so is quite nice. So we have ourselves a bit of that. Why not add a little bit of an extra Vignette? Vignette is always nice, honestly, a little bit of vignette, not overdoing it. The key part is not overdoing it. This will essentially darken the parts if I was to zoom out. I'll darken the parts. Of the image. So let's go ahead and drag this and drop it into just after the viewer. There we go. It's going to darken. So default factor of one is right for now because we're able to then play around with the favoring option. And once we get something like this, which darkens the bits angles on the corners, then we can just lower it to a minimal value. You can see before and after. I don't know if that's going to be a good example. I'm just going to reposition it a little bit. So before, and after just a little bit, maybe even 0.4, I would dare to say, just to make sure that the focal is on the books 0.5, even. But I don't like once 0.5 gets to the window I think, I'll go back to 0.4, like so. And this CPM is good for more nostalgic type of look if you're going for kind of like Indiana Jones vibes, maybe or something like that where it's those old school cameras and you want to make it look more adventurous. You can do so. You can have it like so and you can see. Type of variation you can have with this. Honestly, it's quite nice, but it is not for that kind of a setup. So I'm going to go ahead and click Control Z It's not needed in our section. If we can't do it, we can just go ahead and delete it and then afterwards, drag out the image back, like so, and there we go. If you by any chance, by accident, plug it in the wrong direction, you can hold Control and drag it basically like so using the lap Mouse button. Alright, so next up is going to be split toning. So split toning is very, very nice because it gives us all the main controls of, well, playing around with the values. Whether we want it to be I didn't just move this. So whatever we wanted to add a bit of shadow coloring or highlights coloring, we can do so. If I believe we were to put it back to zero, so you can see the type of difference we're going to have. So for shadows, I would like to ideally, make it more bluish. I'm going to change this to a value of one. And then going to lower this do something like, so I'm looking at the reference right now of the rendering, just getting something closer to what I'm more liking. So something like that. And then afterwards, I can play with the tone. Something like so is quite nice. Factor four highlights. I don't think we need it. You can see if we turn it all the way up. This is what we're going to get, but even so I think can just get it a little bit and put this to a value of 0.1. I don't like that it's changing the color of the light here. So maybe I'm just going to keep it at zero, actually. Yeah, just getting dark values, light values to be played around a little bit is quite nice. And I'm putting this before Chromatic Aberration. I think it's going to be quite right. Next up is this lovely thing Ton image. This is all of the main options, honestly. I think it's a must in most of the post processing that we do because it has everything. If I was to put it right after splitoning and before chromatic aberration, we're going to be able to play around with it. So for example, contrast, can we play around with the contrast? Yes, we can. So we can do that. Color boosting. We can bring out some colors a little bit back. Ours we can. We can just see extreme values before and after. Clarity. Clarity, if we hover over with our mouse, we'll be able to see what it is. It's a low frequency contrast using unsharp mask. So that's quite nice. Basically alternative for sharpening it up. Do we need to sharpen it up is question. I think having it a little bit is right. Then detail and sharpen is also quite similar to, well, contrast, detail will be able to highlight those edges a little bit more, which might be quite good, just a little bit, though. I would like to ideally just click Z and recenter it. There we go. And sharpen is also alternative for some bit of values. I'm not liking how the color is washed out at this point. I think I'll just lower the shadow to a value of 0.3 now that I add in this tune image, there we go. We're getting this back or 0.35. There we go. Something like that, I think it's quite nice. Afterwards, unsharp mask, Unsharp mask is an interesting one. Basically, actually, if I was to show you, at the very start, for example, you can see that it gets that, how should I put it, sort of a compression effect. If it's needed, you can add it in. Radius perhaps is a little bit too much, but if I was to increase it, something more reasonable, I'll be able to see that it might work quite nicely. But honestly, yeah, no, in here, it's not I would not recommend it. Let's go ahead and get this out. I think it's just going to remove that classy feeling. It looks a little bit washed out for digital setup. And finally, retime, it's not needed. It's more for video editing and such. I think it's really okay not to use that. It's a bit of a different setup. So, yeah, that's pretty much it in regards to just quick overview of the library. You also have options to go between the tab, so instead of just clicking on A, and you have library selection over here, which again, again, turn on and off. Like that, a little bit of an extra control. If you want to see more, you can just pull it out and down. All of that lovely stuff, it works very similarly to all the other tabs in Blender. Uh, but, yeah, in the next lesson, we're going to continue on with the setup. We're going to make our own custom adjustments and twixs with emission and ambit inclusion and create our own, very own preset that we're going to be able to use afterwards. So that's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. 48. Create Reusable Ambient Occlusion and Emission Node Groups: Hello and welcome back eon to Blender of Free D, modeling MIDWLRsearchs desk. In the last lesson, we went over some of those lovely post processing values. We're now going to go ahead and create our own customization a little bit. So first things first Ambclusion, we can use it to essentially highlight the lovely detail that we have over here. Unfortunately, the default Amber occlusion, as you can see, is very, very noisy. So first things, what we're going to do is we're going to use the noiser. Like, so we're just going to put it in here and we're going to change this too fast because we don't need it to be too accurate. It is something that's overlaying on top of the image and something like accurate, I would personally just leave it mainly for image texture themselves. So something like embolusion is just high and low values. Only okay to keep it as it is. Oh, next up is I'm going to actually move these to the side, like so, we're going to give ourselves some space, and we're going to place Ambient Occlusion right over here. The reason being is that we want original values and fine tuning to be of the image to be done beforehand. Then chromatic operation can be done with the noise afterwards, and Vignette, of course, can be done afterwards. So we're not going to affect this too much. So, what can we do about it? Well, we can use color mix, lovely little option. So if we were to use A and just search for color mix. We're able to get this. We're going to place the top value, the tune image value at the top. I'm going to click Control Shift and just click on this value like so you can see that nothing has changed much. Once we plug this into the value of B, we'll see that some things will start to change and not in the good way. Reason being is that this is mixing up the direct value between factor one and zero. So this is not what we want. We're going to go ahead and change this to multiply blending mode. In that way, we're going to have ourselves an ability to essentially overlay that detail from the ember clusion onto the setup. We're going to put this value to one, and then we're going to create ourselves color ramp after the noiser. That way, we have a lot of control on how the depth is. You can see, I'm just going to zoom out a little bit, though we can see the type of values that we're getting. So this is a little bit too much. I'm going to lay around with values a little bit. So going to bring the whiteness out just to make sure we're getting that original value, and there we go. So before and after, quite lovely. I would say maybe even we can click on this arrow over here, then select the color and just brighten it up just by a little bit. So the multiplier would not be just completely super intense. I think that's a good base, very nice little setup to have. Next up is going to be the emission. Emission is lovely because it allows us to make those lovely lights glow. We're going to make use out of that. We are going to just drag it from emissiveness, like so and search for gloss or glow. There we go. Glare, that's the node we're looking for. So glare node will allow us to if I was to click Control Shift and step it, will allow us to play around with some options for glowing of these candles. There are multiple options now, a couple extra added that allows us to get even more nicer setup. So something like light beams is quite an interesting one. And you'll notice that we also have this over here. Now some of the nodes will allow you to have control within the posit the image itself. So if I was to click on this X X over here, then we can just move it around and change the direction of this value. So this is not a completely new parameter. This is something you can see over here, the positioning. Essentially, we can just control the values parameters over here, and that gives us a nice little options to play around with. But in this case, quite it's not quite what we want. I just wanted to highlight that now some of the options might be also just able to be changed via the options of itself. Anyways, let's go back on to either gloom or ghost. Well, glow is also quite nice because if we were to change it, I think it's quite nice, at least. It gives us a nice bit of glow. And if I was to change the layer, we can just make it nice and glowy. We can even change it to an extreme value like ten and going to do us quite well. Why not? Well, the threshold, for example, might not be allowing us to do that. If I was to change the threshold, there we go to zero, that's what we're going to get. But right now, I'm just making sure that strength is extreme value, there we go. And we're basically having extreme value of size and strength. And this will allow us to play around with the threshold because what we want is we want to affect the candles, but we don't want to affect the back lights in the back. So if I was to change it to two, you can see it's still glowing, but not quite as much. I'm going to lower it, lower it, lower it until I start seeing that windows are going to be starting to get picked up. Actually, 0.2 value, we can leave it as 0.2. I believe value. There we go. Next up, glare is not needed to be such a high value. Instead it to ten is going to be more than enough, then we can play around with the strength. So there we go, we're just going to lower and lower the values until we get something like that. Afterwards, we're going to simply add it on top of our lovely or lovely little setup that we have over here with the Ambient Occlusion. So what we're going to do is we're going to get ourselves mixed color again, like so. We're going to place the multiplayer value, which was the final part that we had after the ambinoclusion onto A, and then we're going to get ourselves this glare and combine it like so. W to click Control Shift and tap this to preview what we have like so, and you can see that this is what we have right now. In these two values. Very nice. So what we're going to do now is we're going to change the mix, be added or color dodge. Both of them work quite nicely, I reckon and play around with these. I don't think color dodge is going to be quite as nice over here. So we're going to go ahead and just use add. That way, it just basically adds the value, never removes it. So that's quite nice. We multiplier was just constantly taking it away and making sure that the darker spots getting darker, but it never affected the lita spots. Here adding it, we're just adding the value on top, so we're only making sure that lita spots is getting affected and never applying the darker mass that we so yeah, after that, we can just play around with the mask a little bit. We can get ourselves a little bit more of a red glow with using tint if we want to. Just a little bit, not too much. A little more. Here we go. Nice bit of redness. Yeah. Yeah, yeah, that's something that I'm quite happy about. So now let's go ahead and check how the final result looks like. We'll shift, tap, and there we go. That's the final setup. It's looking quite nice, but we can play around a little bit with some additional settings. Before doing that, though, I would say that we can just simply make our own custom setup. So these parts that we had over here, with the amber occlusion, with the glare, we can just simply select them all and click Control G, and it creates us a new Gonde. This gende is going to be placed like so. It's going to give us the emissiveness, and amber clusion and we're inputting that into the setup. So the top part is going to be the Amber occlusion. We can go into the node, we can click N, and we can just change the name of the input. So next time if we're using it, we know where to put what. So at the top, this is going to be Ambient Occlusion. So again, I clicked N to open this up, making sure of the group over here, and you can see now that we renamed it. A is going to be a plav the original value. So Image, Image, like so, and B, sorry C is going to be emissive. Missive. Well you like so. Like that. We can click Control tab, go out of it, and there we go. We got ourselves lovely little setup, which is going to look quite nice. We can now click on this Panova here, to change the name and we can just call it default AOE MissIPostPcess. I am not very good with naming. Feel free to change that. I think it's right, though. Afterwards, we can just right click on this part of the here and mark as asset. So if you were to set this up via the edit preferences and file paths, if you were to set this project up with asset library setup, you'd be able to constantly access your own part. And afterwards, you can see it in the library. Now it's being here. I can drag and drop it, and we'll see that here we have that same group with all the setups already done for us. But that's quite nice, I reckon. Okay, so what did we want to do next? Well, we want to make sure we have an output. What's going on with this? That's not right. There is no output. I'm just going to make sure we have this output. So result. That's good. And I'm going to click Control S to save it. And if it is saved, yeah, the result now is here before we weren't able to have the result. We have the result out. We can just drag and drop it onto the next part, and there we go. We're going to get ourselves this lovely little setup. Do we need to add it maybe less contrast? Too much, it is too much. And I'll play around with the values. And honestly, I'm not too happy about the darkness of the Amber occlusion. We can go into it and just lower the amount even more. So there we go. That's a little bit better. I'm liking this. And then we can play around a little bit with, well, do an image. Color boosting, do we need more? We can have a little more. Or sure. And I would like to check if we have everything in here that up. So I just want to see if these items, especially these are that up for us. Yep. I'm just looking, making sure that this camer button is turned on. Otherwise, it's not going to render for us. This dust particle is off on the side. We don't need to render this, that's for sure. And now that we have this setup, we are going to be able to render render the scene out. Oh. 49. Cinematic Camera Animation and Final Scene Export: Hello and welcome back everyone to Blender of FD, modeling a medieval researchers desk. In the last lesson, we left ourselves off with this lovely little setup of our own custom library item piece for the compositor, which we can now reuse it pretty much anywhere we want. Next up is, I do want this to be shadow sorry about that. I'm just going to increase it just a little more because I think it looks very cool. It's bluish hue a little bit too blue. Something like this. Maybe it's a little bit. It's a little bit too much. All right. Go ahead and go back to that setup, little layout, like so, and the highlights part and just lower this down a little bit. There we go. Okay. 0.1. Tag around with the values a little bit, back and forth. Quite right. Next up is going to be setting ourselves up with, well, a render. So now that we're happy with just a general setup we can go ahead and simply prepare this for render. So we can go on to render properties. We can increase the render amount to something like 200. We need to use a reasonable amount because we have the volumetrics, and volumetrics will always demand more samples. Next up is Paps. We can change this to full global illumination, which is very nice. It is full global illumination. Transparent value is good now above 24, which is what I'm happy about. And we also have fat global approximation, which can be good, but I don't think it's needed in this case, we can keep it off. And yeah, let's see how it looks like. Let's go ahead and click F 12. Now that I see the render a little bit better, I'd like to make a couple of final tweaks. So first things first is that I believe that the Caliburn the color itself was a little bit off. It's a little bit unsaturated. We're going to go ahead and increase this colour booze just by a little bit until we get this result. So I have this on my secondary screen just so nothing would be overlaid. I find these to be well a little bit pragmatic when working with the notes because they are overlaying the screen. Eva way, Cal Boost 0.6 now seems a little bit better. Next step is we can get away with using RGB Curves, lovely little option. You'll notice with the new setup, you have standard and film like. Film like is not what you think, actually. It's more. Well, we can look over it. It keeps the hue constant. So this is more used for whenever you're using a higher color range renders. If we go onto, I believe, color management, you'll see that we have, for example, render option to not only use SRGB, but to use Aves, as well, and view, we can use, for example, ACS, which is, like, for film production and stuff. But we're now using that. Standard is going to be good enough for us. This is the default setting, and that's what we need. Uh, so using this is going to be quite simple. We can just lower this down a little bit until we get the sharpened up, darker setup. Looking lovely already. Next up is we need to get ourselves a little bit of bluish hue. Looking at the render. You'll notice that we are lacking that. You see how just too orangy it looks a little bit too orange. We can go ahead and use a mixed color, put it on after RGB curves, Ding ourselves up with soft light, and we can just make this blue. Nice blue value, like so, and then afterwards, we can play around with the factor. So now it's going to look like a very nightly scene if we add it completely like so, and see bit of glow and bring it to a value of 0.8 or 0.7. Yeah, 0.7 will do a little bit too blue perhaps, a little bit too blue. Low down there we go. I find this to be quite quite nice, actually, quite nice, maybe maybe 0.65, maybe 0.6. We don't want to overdo it. I think it's reasonable to keep it like that. And then the glow of these candles is a little bit lacking. It is a little bit lacking. Let's go ahead and just add a bit of an extra strength. Value five. Let's see. There we go. Nice and lovely bit of glow. That's what we like to see. Makes the scene a little bit warmer, and I think it's quite nice. And a little bit of that. There we go. Okay, let's not overdo it. We can play around with it all we want, getting just the right kind of feeling. But once we get it, we can move on to the next part, which would be setting ourselves up with a video. So in the layout, yeah, we can use layout. We're going to have this over here and we're going to have the camera. Now, with the setup, what I would recommend is grab the camera and just find it in outliner, grab the camera and don't start the video with where you want the main shot to be. I often see those kind of mistakes. It's a very bad kind of habit because basically our nicest shot ends up just either being starting point or endpoint, and it kind of goes snap and done, you know. We don't want this. So what I recommend you doing is I recommend you just to click I with the camera selected, click I with the mouse avering over the viewport. You create that main time frame. So right now we have this right in the middle. Doesn't matter where for now, but we just wanted to have it. Afterwards, we're going to go ahead and change transform orientation to local. That way we can move it based on the rotation of the camera. And to make our lives a little bit easier, I would say we can click zero to go into the camera and then we can use GZ, who you can see moving in and out. But right now if we were to do that and move the timeline to the side, it's not going to change. We need to make sure we are at the timeline zero for now or just off the frame that we have over here. And I'm going to click GZ and just kind of move it outwards a little bit. So click I, then move this to something like this and click E Z, and N and Y. Or sorry, I, there we go. Using this might not be the best option. Maybe going back to the dope sheet is okay. Although, from what I heard, a dope sheet might be going off in future updates. Don't quote me on that. But a way, either dope sheet or rough editor, you'd be able to make the right adjustments. You just need to find the Erames. And yeah, once you have something like that, you'll be able to just see the slow bit of motion like so, and it's going to look quite nice. If you're not seeing that, and if you want to simplify it, we can go on to dope sheet like so, and we can, for example, play around with the frames a little bit more. So, for example, if I was to put it more in the middle, it's going to be maybe a little bit more consistent. If we want to have a faster start, we can just put it closer to the starting point and then it's going to be like, Whoop and then slow down. You're having something choppy, I would recommend you just having it all selected, right click and then use interpolation mode to be set as bezier. By default, Bezier just going to equalize everything in terms of the setup. It's not going to give us the constant speed that's going to be easing in and out from one frame to another. So what I would say is that I would personally like this to be closer towards the end, so now it's going to be slow, slow, slow, slow and once it gets to the end, it's going to be like Whoop, maybe too fast too fast now. I'm going to put it somewhere over here. That's quite right. To finalize the setup, what I ended up doing was I actually went back to lower down the value of the lighting. Right now the light intensity that I'm using is actually 600, just to make sure that we're getting those softer shadows instead of just having contrast between light and dark. And then afterwards, if you'd like to make sure to adjust the material for the fog for the volumetrics, you can go ahead and do that as well. I did not touch it at this moment, but if you feel like it, feel free to do so just adding in some value. Then going back to the compositor. The shadow factor, I went down and lowered it to 0.1 just to make sure that it's only a subtle difference. In terms of the color boost, I kept it pretty much the same. And then the soft light, which is a color mix, I ended up just mixing up a bit of blue. So you can do ever. A mix with a soft light, or you can also try using color or overlay. These would give you some nice ways to additional color values into your scene and increase this. It gives us this blue tin. I wanted to add a bit of an extra. And the rest is pretty much is nice little setup, and it gives us this sort of a result. Then also, if you have particles that are too bright, what you can do is you can go ahead and select these particles. So. And instead of using translucent, what you can do is you can also use principle BDSF with the same type of color, something of a brownish setup, and roughness value. Make sure it's one. This will give you a very similar outcome to translucent. But now you can also use Alpha. So if you think that the particles for dust is a little bit too solid, feel free to just change up this and use this as a surface. And now to render out this, we will need to go to the output, make sure that output cache is set up. While format, we are going to go ahead and yeah, keep it as PNG. Compression 15 is okay. Color depth as eight is going to be okay for a fast render. And then afterwards, we just need to make sure that we have a reasonable amount of frames. So I think 130 for a quick motion is okay. Bum bum, bum. Yep, quite nice. So 130 frames is quite okay. We can go ahead and just simply set it up. Yeah. There we go. 130. And frame. And afterwards, you can click Render Animation, and that would be it. But usually, PNGs would require you to use some sort of a program to just combine everything, which is fair enough. You can use that. It's a good practice to do or alternatively. You can change media type to video and use this as an exporter. I think that's going to be pretty much it. So let's go ahead and render animation. And that's pretty much it. Thanks for making all the way through the end of the course. If you're watching this, you have done the hard part. You have shown up, you have put the reps in, and you have taken a full project from blank scene to something you can actually be proud of. Over the course of these lessons, we have gone through the entire process of building an indoor environment, a research space step by step. Started with planning and blockout, then pushed into modeling and shaping the main forms. Then ontoVs and material, lighting and rendering, all of the polished steps required for this render. And more importantly, you have not just copied clicks, you have built a workflow you can repeat on your next environment, whether it is a cabin or a Scifi lamp, dungeon, cozy bedroom, or whatever weird and wonderful things your brain decides to build next. Before you go, I have two quick things to ask. First, if you enjoy the course, please leave a review. It generally helps a lot. Reviews help our students decide a course worth their time, and it also tells the platform to show it to more people, which helps these courses to stay alive and lets us keep making better ones. Second, if you have any feedback, please do tell us what worked for you? What did not? Was there any part that fell too fast or too slow or you wanted a specific topic to be more in depth. We read your feedback and use it. We make sure that the next courses and updates for them are always and constantly improving. If you want to share your finished work, do it as well. We love seeing it, what you make with it, and it is always interesting to see how different everyone's versions turns out to be. We have a discord server that we use, but please do not hesitate to post it there. And right, that is it for me. Thank you so much for learning with me and supporting what we do at Fredy Tudor. Until next time, happy Modeling, everyone.