Transcripts
1. Trailer: Do you want to learn
how to model and render cosmetic
products like I do? Then this course is for you. I will show you exactly
how I managed to model and render a cosmetic product with only one single
light source. We will cover all aspects
of the process from A to Z and all the shortcuts
I will be using and the tips necessary
to get the job done. First I'll show you how to model the cosmetic bottle and all
of the elements involved. We will dive into geometry, nodes and create a layout. We will also discover how to create the lighting
for this particular set up with one
single light source and then create the camera. Once lighting is done, we will create some
materials together. You will be walked through
the exact steps to take and also what
each note set up does. You will learn how
to add a sticker to a cosmetic bottle
and much more. Finally, we will discuss how
to prepare for a render.
2. Intro: Hello everyone. Welcome
to the introduction of my course where I
teach you how to make this particular
cosmetic product and render it as you can see on
the left side of my screen. This was a previous
project of mine that I worked on somewhere
in the middle of 2023. And I have taught to myself, why don't I make a course
about it and teach everybody how to
achieve this result? I was inspired by a
photograph that I saw online on the website, a
cosmetic photographer. I thought to myself
that I must try to replicate the results
that I saw in that photo. It was quite challenging
to get the lighting right after some
trial and error, and thinking I got it right, I'm quite proud of the
result that I have achieved. Here on the right
side of my screen, you can see the viewport. We can disable X ray exactly how it is laid out and we can go to the rendered preview mode. It is worth mentioning that
we are using Blender 4.0 Blender 4.0 new color profiles. Actually, it comes
with one on film. Was left there for
comparability reasons. As you can see here, it
looks a tad bit different. Like the saturation is
not quite the same. If we go to film, it is
exactly the same render. Perhaps I might stick to filmic throughout this
course to minimize any amount of
discrepancies between the previous result and the result that we are going to achieve by the
end of this course. Now, believe it or not, this particular scene is lit
with a single light source. If I go to lights, I have a soft box turned on. If I turn that off, the scene will go completely
dark As you can see. If I turn it back on, it looks exactly as it
does in the render. The other thing that I
have got going on about the lighting is light
blockers or reflectors. They basically reflect
the light back. You don't have shadows
that are way too dark because the real world
does not work like that. Shadows are not
completely black. To mimic that effect without
using any additional lights, I have light blockers reflecting the singular light source
back into the scene. We have these nice shadows as you can observe
in the render. We will explore that as
well throughout the course. The other thing that we
will be exploring is how to achieve this particular layout
of the cosmetic bottles. We will not be using
the array modifier, which we are probably
familiar with when we want to create a pattern
of treat objects. The modifier is not equipped
to create pattern or layout. Instead, we will be exploring geometry notes
and I will teach you exactly the nodes setup that you need to achieve this
particular layout here. Additionally, we will work on the materials for this
particular scene. It will be quite
straightforward. However, we will need to
work on the sticker here, which will be interesting. We will have the plastic
material, glass material. Also, I will teach
you how to have blender render different
bottles as different colors. It's straightforward,
it's going to be fun, and it looks amazing. I believe that sums up everything we are going
to be doing during this course modeling and
then we have texturing. After that, we will get into creating this layout
using the geometry nodes. I can show you the
geometry set up here. I got the geometry set up there, which results in this, in my
opinion, beautiful layout. After the layout, we will
work on the lighting. We will also set up the camera. After that, we will
get into some of the blender setting rendering settings and how to basically obtain the
resolution that you are after. As far as add ons and
shortcuts I'll be mentioning which adds you
are going to be enabling. If I'm using shortcuts, I'll be making you know
which shortcut I am using. With all of that out of the way, we are ready to start. Let's hop into first
part which is modeling. I hope that you
enjoy this course and if you have enjoyed it, please consider buying it. I'm not sure where you
are watching this, but if you haven't
bought it, please do. If it has benefited you by
the end of last lecture, please consider leaving a
positive review. Thank you.
3. Modeling Part 01: Okay, so let's start a
new project, shall we? We are in a fresh project here. The first thing I want to do is make sure that anything that we don't need is removed
from the start up file. Because I have got
the HDRI set up sun lamp and I save them
as default start up file. So I want to to
remove any confusion. So I'm going to remove the
fake user and delete it. Let's delete the sun as well. Okay, now I would like to
import a reference photo. I have already worked
on this project before. As I have mentioned, I
think it would be better if I was to import an image of my design and try to follow it during the course to minimize any sort of thinking or unnecessary time spent trying to figure out to
figure things out. Okay, to import a reference photo, you
will need an add on. It comes pre installed
with blender and to make sure that it is
on press shift A, and you will see an entry
here called Reference. If you don't find that, that means it is off and
you need to enable it. Let's go to Preferences. Let's go to Add Ons, and let's look for image. There you have import
images as planes. Make sure that that is on
and save your preferences. Okay, let's press Shift a
image and the reference, I'll be including the
reference photo as a download. Double file for you to follow along once I have
the image imported. Actually I did the mistake. We need to go to the front view by pressing one on your numpad. Make sure that the lights
of your numpad are turned off so that you
don't type numbers. Instead you type the auxiliary
keys of the numpad front. Let's do that again,
shift a image reference, that's really important
because it will follow or face whatever
direction you're looking at. And you want it
to face up front. Once I have the reference
photo imported, I want to scale it down to match the dimensions of the project I
worked on before. As I have said, I want
to minimize any figuring out the first step
of doing that is making sure that
the reference photo is or the bot in
the reference photo is as tall as the bottle in the project
I worked on before. I'm going to scale it, go to items, I think
that's what it's called. I will type 0.565 There we go. If you want to follow along, obtain the exact results
that I will be getting. You might want to
scale it down as well. I'm also going to create
a new window here, hover over the corner, and pull to the right. I'm going to be adding the render that I achieved working on this
project a few months back. Just because it's
easier to model the bottle if we can see
how it looks in the render. And also for me to be
able to explain why I'm doing certain things
the way I'm doing them. I'm going to open the render. It's going to be all
the way over here. I'm not sure why it's
all the way here. Yeah. Now let's model the bottle by first
creating a cylinder, Shift A on your keyboard
and create a cylinder. Let's scale it down.
I'll make sure that it is a tick as the bottle
in the reference photo. I'm going to move it with J, actually G on your keyboard. And constraining
the movement with the z axis by pressing
Z on your keyboard. Now we can scale with and press Z to scale it
along the Z axis. Let's move it again. I'm bringing this Pi menu by pressing
Z on my keyboard. If you don't have that enabled, you need to enable
it in the add ons, look for Pi. And. You can find it
there. Enable it. Now if you press Z,
you can easily switch between wire frame rendered
solid material, whatever. Maybe we can bring the
bottom a little bit lower. Go to Edit mode with the
tab on your keyboard. Make sure you are in
the vertex select mode. Let's select these
vertices by clicking and dragging and Z. To move them down, we will
have to bevel this side here. Let's go to the solid mode and bevel with control B.
That's good enough. Let's shade this. I'm going
to bring up the search menu. I believe the default
shortcut for this is F three. If it doesn't work,
then you can try F two. Actually, F two is for renaming. I believe I have it
bound to space bar. I'm going to search for smooth and I'm going to
select shade smooth. We can also go to data
normals and auto smooth, and that will fix the
shading issues until we subdivide our model with
the subdivision modifier. If you pay attention
in the render here, you can see that there is some elevation happening at
the bottom of the bottle. We have the bottom edge, but the inside of the
bottom is higher, is lifted from the ground. We can do that by
going to Edit Mode with the tab on your keyboard. Let's switch to
face select mode. Let's select the bottom face. We need to inst this face by
pressing on the keyboard. We can inset this a few times, maybe three times
will be enough. After we have insert
it for the third time, we need to merge
these at the center. Make sure that your pivot
point is set to median. Let's press to scale and
type zero on your keyboard. Once you have done
this operation, you have multiple vertices stacked up on each other
and you need to fix that. How we fix that is by pressing M on the keyboard to merge. And let's select by distance, we have removed 31 vertices. Now let's switch
to vertex select. Let's select the middle
one on your keyboard. Press control to
increment the selection and move it upwards with and Z. Maybe we can go to the front view with
one on your numpad, except you need to turn
off the Numpad light. Let's go and enable x ray. Get the elevation right there. Perfect. Let's turn off the x ray. Remove the reference photo. That looks good enough now. Now let's subdivide the model. Let's go to the modifier tab and add a subdivision modifier. Let's look for
subdivision surface and I'm going to add the
subdivision to four, looking good enough for now, but at the top we have all
shading issues happening, but that will not be forever. We are going to fix that. Let's go to the front view. Let's go to edit mode with
tab on your keyboard. Let's create some edge
loops by hovering on these. Cylinder and pressing control R with your mouse scroll
wheel, scroll up. I would say this
amount is enough. Now with the top face, as you can see in
the reference photo, we have this inside
effect going on. We need to recreate that
with the top face selected. We don't need to delete it, we can simply extrude with
and bring it downward. Let's go to the front view. Let's disable
subdivision modifier. Let's enable x ray, and let's enable the
reference photo. And let's bring it down to
about there and scale it. If you pay attention here
we have some ness on the model in order for me to
know which edge to follow. Is it the inside or the outside, I'm going to quickly add
a solidify modifier, configuring it to minus one. Let's enable the subdivision, which edge is it? It's creating the inside edge. Let's enable the
reference photo. Let's disable the subdivision, and let's configure it so that it is matching the outer edge of
the reference photo. If you know what I mean, I'm
following this edge here, not the inside, with
the face selected. We need to subdivide it to
get this nice effect here. This nice curvetI'm with control B. I would say
that that's good enough. Let's disable the X ray, and that's the inside
of the bottle.
4. Modeling Part 02: Just as we created edge
loops on the outside, we will need to create edge
loops on the inside as well while we are still
in the edit mode. Control R while hovering on the inside and scroll up
with your mouse a few times. That's enough. Now let's enable the solidify modifier,
subdivision modifier. Now we have some stretching or shading issues
happening here. That's because we did not int the faces inside the bottle. Let's select the face there. And inst with, let's
inst a few times, make sure that you are
on the median point. Let's scale. Let's scale that to zero to merge by distance and
we remove the duplicates. Let's go to the front
view and see where we are heading as far as the reference photo
is concerned. Let's enable the x ray. Let's go to solid
mode by pressing Tab. Let's enable these
modifiers here, I would say we are pretty
close to the reference photo. The only thing that we
need to work on now is maybe the height or
the height of the bottle. As you can see, the
subdivision modifier is affecting its height. That's due to multiple factors. The most important one
is that when we extrude it the top face down
to create the inside, we didn't create a edge there. We can easily fix that by creating an edge
loop in the inside. Move it up with and constraining the
movement to the Z axis, and then scaling a little bit. Now if we enable both modifiers, go to the front view
reference photo, we can see that we are pretty close to what we are
supposed to be getting. I would also like to fix
something that I have done that goes contrary to what I have initially done when I
first made the surrender. If you pay attention on
the solidified modifier, it is -0.01 and initially I had it on 0.01 and I
want to fix that. The mistake was that
instead of following the initial thickness of the bottle on the
reference photo, I followed the thickness added by the
solidified modifier. I was supposed to follow
the inner thickness, and that was the mistake. Let's fix it together. Let's scale the bottom the bottle by every axis
except for the z axis. Shift z and scale it down. Now let's go to edit mode. Let's go to the
vertex select mode. Let's select the bottom vertices and move them up a little. The inner of the bottle is also not matching reference photo. I can fix that by control
plus and select these. And then control
and press H. Now we have hidden every vertex that does not belong to
the inside of the bottle, and we can easily
work on the inside. Let's select these rings here. Press C on your keyboard
and select rings. Let's press delete and
dissolve these rings. That doesn't work. Let's go
to Edge, Select mode instead. Let's select. The middle ones because we
don't want to mess with those. I'm using the
middle mouse button and dissolve these edges. Now let's go to
vertex select mode. I thought that this
would be good to address since it will benefit you in other
projects as well. Now we have the inside
matching, the reference photo. Now let's press Alt H to
Unhide. And there we go. Now we need to apply the
scaling of the model. If we go to the panel by
pressing on your keyboard, you will notice that the scale
is not one and that will cause the solidify modifier
to behave strangely. Let's enable x ray again, let's disable the
reference photo. If you pay attention to
this thickness here, it's not the same
as this thickness. That's because we have
applied the scale. You can do that by
pressing control A. The thickness is even
all over the model. Let's disable the
x ray modifier. Let's go to edit mode. We have an issue here. I'm not sure what happened
for this edge to disappear. Let's press for the knife tool. Let's select that vertex, then the middle
vertex at the bottom, click and then press Enter. Now we can fix, if you want to slide
a vertex along the edge, just press twice. There we go. We have an issue here happening
after we apply the scale. If we go to edit mode, if you remember we
deleted edge loops here, we need to recreate them with
control R And scroll up. Let's enable the
subdivision modifier. The subdivision
modifier needs to be at the bottom of the
solidified modifier. Now we can create a lip here. Let's actually, let's hover on the inside
and create an edge loop. Let's bring it up and then
scale it to the inside. Let's do the same for outside. Actually
we don't need that. Let's dissolve that edge
enabled subdivision modifier. Again, let's select the middle
vertex here and control Alt to select this ring and press and move
it up a little bit. We need an edge loop
here to tighten the lip. I would say that looks good. Maybe I brought this a
little bit too much to the top and Z and move it down. Perfect. Something else I
would like to address is this little curvature. If you may see it here, it might be better to show
you on the reference photo, we have a curvature here. I want to recreate that. So Y bottle is a lot smaller
than the reference photo. After we apply the scale, let's apply the scale again. Bring this bit higher. Actually I'm gonna bring
this, all of this higher. Actually, we don't need
that edge loop there. And then let's work on the top. Let's scale it a
little bit down. Let's also scale the inside. We have the bottle having
that nice curvature. Once we enable the
subdivision modifier, let's tone it a little bit down. Four is a little bit too much. Let's disable auto smoothing. We don't need that anymore. The bottle is looking quite
nice, perhaps just at, at the shift halt
and click an edge or a vertex scale down and
maybe a little bit higher. These little details have a great impact on how
the bottle looks in the under. Good enough.
5. Modeling Part 03: Now let's work on the content of the bottle and that will
be quite straightforward. Let's disable the modifiers. Let's go to the front
view Edit mode with tab. Let's go to wire
frame enable x ray. Let's select the
bottom vertices like so with control plus, let's select all of these
vertices and press Shift to Duplicate Enter and then pee and select
separate by selection. Now we have the bottle
and the content. Let's rename these bottle Content Reference Photo. Now let's go to Solid mode. Let's hide the bottle
for a little while. We need to select
the top vertices. Shift old and click and
then press to fill that. Then we need to insert
this face a few times. Let's scale the
last one by zero. Press M, merge by distance. Now this one will not have a solid defied modifier
turning it completely off. One thing we need to do is go to the front view, enable x ray. And let's turn on the modifiers for the bottle and
for the content. We need to scale it ever so
slightly so that it does not touch the bottle itself. We might have to tweak it up a little bit while rendering, but I believe that I scale
it down just enough. Now let's make the
cup or the cover. We only need one edge for
this edge select mode. Let's select the outer edge. By pressing Shift and
clicking an edge, you will have an edge loop here. Shift to duplicate it. To separate it, let's go to the edge that we just created
and extrude it upwards. Let's go to the front view, Enable the reference
photo and move it just like so we will
fill that face with. Let's insert it using the key I. Let's disable subdivision
modifier and solidify. See what we are doing. Scale by zero and
merge by distance. Let's create some
edge loops here. Let's go to isolated mode by pressing forward slash
on your keyboard. Let's search for shade smooth, probably three on your keyboard, and we have the
cap shaded smooth. Let's exit the isolated mode
by pressing forward again. We might have to
bevel this edge here. Let's hide the reference photo. Maybe not bevel,
maybe a normal edge. I see some pinching here. Let's select all of these edges. Let's that vertex there. We had some discrepancies
happening as far as the positioning on the z
axis and scaling by zero. Fix that for us. We can make sure that the A Yeah, worked. You can see that a
change happened there. That's how we make the cup
or the cover. If you might. Let's enable the
solidified modifier. Let's go to the front view. Let's enable the
reference photo. Let's enable x ray. I would say we nailed it.
6. Grid Geometry Nodes: Now let's work on the array that we can observe
in the render image. In order to do
that, let's create a plane and go to the top view. As you remember, I'm trying to recreate this render
exactly as it is. So I'm going to scale
the plane the way I had it a few months ago when
I worked on this project. Let's bring up the
panel with N on your keyboard and I'm
going to scale this to 30.118 That will make it exactly the same size
as in the render image. We don't need the reference
photo, so let's hide it. We might as well move it
to its own collection while hovering on Outliner, press M and select
New Collection. I'm going to type reference, I'm going to toggle this
off the bottle as I'm going to rename the cup or
the cover to cover. I'm going to move the bottle
to its on collection. Let's hide that as well. The plan. Let's move it to
a collection called Set up. Okay, if you have a
window open here, you can change to
geometry notes. And with the plane selected, let's create a new
geometry note set up. Let's rename that to perhaps. Let's go
to the top view and expand this a little
bit so that you can see the first node that
I'm going to create is instance on point shift A. I will search for
instance on points, then I'm going to
create a geometry node, shift A, join geometry. This node, if you recall, is created by default. It's actually what's displaying
the plane right now. If I disconnected from the
output, the plane disappears. If you pay attention
on the render image, we have the array of the
product but also the plane. We need this node here to
output the plane as well. We need the node
join geometry to combine our arrays
with the plane. I'm going to connect
these just like so. Now let's watch the render
image and make a point here. If you look closely, one row that is parallel
to the second row, not this one but the second one. If you pay attention
to this product here, it's parallel to the other. That's because we
have two arrays, or grids, if you
might call them. Because in the geometry nodes, we are going to create a grid
node to achieve this array, there are two grids here. I'm going to be clicking
shift A and looking for grid. I'm going to be needing two
of these With one created, Let's shift and duplicate it. But with two grids created, we need a way to join them. We are going to need another
joint geometry node. We are going to
duplicate that as well. Let's connect this just like
the geometry two points, the geometry node set
up is almost there. However, we have
to add a couple of things now that we have
two grids we need. The software, What we
want to make grades of. That will bring us
to the next node, which is Collection Info. We can select the
product from here and connect the instances
to instance. As you can see, the
product is starting to appear in the viewport. Now we don't want the product appearing as big as it does. To fix that, we can go to the collection info node and changing the setting
from original to dative that will allow us to display the product
in its original size. We also don't want the
product to appear vertical. We want it to appear horizontal
and align with the plane. To achieve that, we can
enable the product collection again and rotate the
product by the x axis. To do that, let's press, let's press X to constrain
the rotation to the X axis. And typing 90. Now the product is
appearing below the plane. Let's move it above it. By pressing and using the Z button to constrain
the movement to the Z axis. Let's disable show overlays. I'm pressing shift now to
make fine adjustments. Now we can disable the
product collection again, the grid node is quite simple. To demonstrate what it does, I'm going to disable one
of them by pressing on it and pressing M on my
keyboard to mute it. Now that it is muted, I will manipulate the first one. As you can see, I can change
the size of the grid, the number of the vertices. That will allow me
to create a grid. If I combine it with
the second one, I can create interesting grids. However, these two grids
are missing something, and that is the node
which allows us to manipulate their
position on the plane. I'm going to press Shift A and search for transformed geometry. Let's give each, each grid a transform geometry
node, just like so. And I can further customize
my grid with this node. Now, achieving the
grid that I have achieved in the render
was quite tricky because manipulating two grids
and they're corresponding transform geometry nodes is quite a nightmare
to get it right, what I'm going to do is
basically copy the settings, which took me about an hour or so of tinkering to
achieve this grid here. To save time, I'm just going to input the settings and you
can copy them as well, or you can also come up with your own grid
if you want to. I'm going to start
with the grid, node 1.1 and then 1.1 then 16, and then 13. Here. Here I'm going to have 1.11 0.2 16.14 You might start noticing that your viewport
is starting to lag, but that would not be for long. Once we set up the
camera and zoom in, it will be snappy again, or you can temporarily disable the subdivision modifier on the product to speed things up. Then I'm going to change
this to 00.40 50.0 22. And the other one
will have, I believe, 122 or 122, if you
might actually, sorry. Here we are going to
put 0.1 22.0 0.1 22. And that will give us the grid. You can already see that it looks exactly as in
the render image. Let's inspect it
from the top view. Quite neat, don't you think? Here is the note set up in case you want to
take a look at it.
7. Camera and Lighting: Now it is a good time
to start working on the lighting setup
and the camera also, because if you remember, we have absolutely no
light source in the scene, no HDRI, no sun lamp. In order to work on
the materials and preview how the materials
look in cycles, we need at least
one light source. Let's get on to it. First, I would like to create a camera. The positioning of the
camera that I want is roughly where the original
bottle was created or left before we created
the geometry nodes set up that is creating
all these couple of grids. If we toggle the
collection back on, you'll see that the original
bottle is somewhere. Here we can position
our viewport camera, are ready to press shift
A and create a camera. Now it's time to find
where the camera is. It's all the way here
under the plane. Let's turn on the
Shadow overlays option. Let's move the camera
above the plane. Let's press, and twice I'm
pressing twice because I want to move the camera along the local axis of the camera, not the global one. Now let's press zero
on your Numpad with the light of just like. So now I would like to change the frame
size of the camera or the render resolution to match the resolution or the
frame size of the render. On the left side of my screen, I'm going to go to the output tab and I'm
going to type 750. Below it, I'm going to type 938. That is exactly the
frame size that I used while creating the render on the left side of my screen. If you want to render
in a higher resolution, you can simply increase
the resolution scale. If you want to double it, you can type two 100% Then I will work on
the positioning of the camera so that I get roughly the same result as the render that you see on
the left side of my screen. I will disable the product for now and select the
camera and move it. If you want to zoom
out press and Z twice. That is if you are selecting the global transform
orientation. If I switch it to local, I can zoom out with
one key press, but I prefer to
keep it on global. You can rotate the
camera or you can find the angle that you want by using your
middle mouse pattern. And then once you
have a good view, you can press control hold zero on your numpad with
the light turned off. I'm also going to switch to orthographic view that might
help us find a better view. Actually, it is what I'm
using in this result. On the left side, using
the orthographic view, it does not matter where
you take the camera. In the Z axis, there is no change as far as the zoom
is concerned, you can only In and out with the
orthographic scale, I would say that
that's good enough. I'll leave it as
it is right now. Now, I would like to add
a light to the scene. Let's shift a and
find the light entry. And add an area lamp. I believe it is below the plane. So let's move it up. We will
need to change the size. I will use the size of
88 and maybe the power. I'll change it to this number
right here, 5,243.9 E two. I will move the light.
I will rotate it. I'll make it point
directly at the product. Actually, let me see. The product is not
in the camera. We'll have it to
point at the cursor. Let's go to the Camera view
by pressing on your numpad. Let's change the selection mode, cursor. Let's click there. Now it will be easier
for us to make the area lamp point at the cursor good enough. Now let's go to the Camera view. Let's bring up a new window by hovering on the corner
and pulling up. Let's change this to
three D viewport. Let's hide the end panel. Let's press on the non
pad to go to the camera. Let's rendered Viewport,
the scene looks blown out. That's because we need to
tweak the render settings. The first thing I
want to do is change the view transform
from standard to film. By the time perhaps if
you're watching this video, film does not exist. You can use AGx or any
subsequent color profile. Let's reduce
exposure, the gamma. Let's go to the top view and perhaps see how rotating
the light looks like. You want the shadows
to go to the left. We can change the
transform pivot point to treedcursorrot. The light that could be enough for now. Also, I would like to change the light color to
something else, such as this color
value here, 79. That will give us a
brownish color light. If you remember me talking
about the shadows, I mentioned that with
one light source, you will have shadows too dark that they do not quite
mimic the real world. That we will need
some light reflectors or light blockers. We can create them now to get brighter shadows
that we are after. Let's create a plane. And let's rotate the plane
horizontally by 90 degrees. Let's scale the plane
by something like 30. Let's go to the top view. Let's turn rotate the plane to resemble something like this. Let me just turn down the subdivision
modifier or turn it off completely because my
viewpoint is quite laggy. Now I can work without the leg. I'll move it to the camera. Then let's create an
instance by pressing shift D. And let's rotate this
and bring it that way we can isolate an area here for rendering
preview by pre shift. Actually not shift
B, but control B. That will give us this crop
area which will render faster and it will allow
us to see the effect of these light blockers on the
brightness of the shadows. Let's turn them off. You can see that they
do make a difference. We will leave them
as is right now. Maybe rename them
light reflector. One being organized can have a tremendous effect
on your workflow. And also if you are working professionally and
sharing blend files, it will make your clients see you as a
professional designer. Let's move these
to perhaps set up, we can rename this floor. If you want to remove this here, you can press control. Actually no, you can press control if you want to crop the camera and
leave everything outside the frame to not be
rendered outside. You don't need to get it
exact outside of the camera. And we'll get this nice if you're having trouble
setting up the light. Meaning rotating, Moving you can have an empty in
the scene and configure the light to point at the
empty so that you can easily move the empty around and have the light point at it. We can easily set that
up by pressing shift A. Let's create an empty on. Let's press on the
light and go to the Constraints tab
and add a track. Let's search for our empty. Now the light is pointing at
the empty as you can see. Now that will make it a lot easier to set up our lighting. We can also rename
the empty to track. Let's move the light
and the empty. We just created their
own collection. Let's press M. Let's
create a new collection. Let's call it lights. Also, I would like to
some rendering settings. I want to change to look
to very high contrast. The exposure to this value
and the gamma to this value. That will help us get much closer to the render
result we see on the left.
8. Materials: Now we are ready to start
working on the materials. We will be creating about four materials,
one for the glass, one for the content, one for the cover of the bottle, one for the floor. The first material I
would like to work on is the glass material. I can do that by clicking on the bottle and perhaps
bringing up this window here. And I will change it from Geometry Node Editor
to the shader editor. And I'm going to
change from to object, and I'm going to create a
new material and name it Glass on the window on the
right side of my screen. I'm going to press zero with
my cursor hovering on it. Make sure that the light of
your num pad is turned off. And then I will press home
to zoom in into the camera. I'll go to the rendered Viewport mode and disable show overlays. Perhaps we need a
little bit more space for the shader editor. I'm going to press home again. If you don't see any note
set up in the shader editor, you need to press home
on your keyboard. And that will take
you straight to it. Because creating any
material will always create a default
note set up for you. The first thing I want to do is disconnect the
principled BSDFill, drag from surface input and release and search
for mix shader. We want to another shader
with the principled SDF. I'm going to drag from
the second input and search for transparent SDF. And I'm going to connect the principled BSDF to
the first shader input. I will change the transmission, 0-1 Now we can mix these two with a factor, will also decrease
the roughness. Maybe something like 04. Since we can mix
both with a factor, I would like blender to
do it automatically. For that, we will create
a light path, node shift, and search for light, light. I'm going to create another
node shift, a math. I'm going to change
it from a to greater than connecting the
output to the factor. I'll connect the ray depth to the first value and changing
the threshold to two. That is the first branch
for this material. We will be creating
a second branch for the sticker to create the
sticker effect on the glass. We will need to mix this branch
here with another branch. And for that, we will need to
duplicate the mixed shader. And bringing it up, perhaps bring the
output to the right. Let's connect this
to the mix shader. And then connecting the
mix shader to the surface. I will be bringing
a principled BSDF. Then I will be bringing
a image texture. If you have node
Angular add on enabled, you can press control to
bring up the mapping nodes. Click on the textured. First on this image, I'm going to be
loading my artwork. I have two artworks here, One is Black, and the
other one is white, inverted, and you will
see why in a second. My sticker does not appear on the bottle because we
need first a factor, something to help
us or help blender decide how to mix these two. But for demonstration, only
I will bring it to one. That means actually we don't
want it brought to one. We want it in the middle. Somewhere in the middle, I
will open a new window here. I'll hide the end panel. I'll change this
window to UV editor. I'll go to bottle. Let's solid viewport. Let's press forward
on the keyboard. Let's go to the top view. Let's go to edit mode, make sure that you
show overlays. Let's go to edit mode. I'm going to go to
the face select mode, and I'm going to drag and
select all these faces. And then I will press on the
keyboard and select unwrap. We need to unwrap because in order for the sticker
to appear correctly on the bottle and make it
easier for us to work with it, unwrapping is necessary. I'm going to go to the
material preview here. Z on your keyboard for
the Pi and attempting to position the
sticker correctly. One thing you might want
to change is change the image texture
from repeat to clip. That will stop it from
repeating itself. Now however, on the
viewport and click control that will
select everything else. Now go to the UV editor A to select all and move it
outside of the UV space. With that done, we don't
need the UV editor for now. Let's exit the edit mode
with tab on your keyboard. Let's press forward to
remove the isolation mode. Let's hide the show
overlays and go back to the rendered
Viewport mode. We have the sticker
now we need a way to mask the sticker and have these blend together anywhere where there is
no text, no graphic. We will have the main glass
shader displayed for that. Let's drag from the factor and
creating an image texture. Let's load our mask, the white sticker mask, PNG. Since we have a
mapping node here, I'm going to connect
the vector to vector. We see no difference because
we need to in the mask shift a invert color and
connect it in the middle. It looks messed up
because we need to change the repeat mode to clip mode
on the mask image texture. Now we can make adjustments
to the positioning of the sticker on the bottle. We'll bring up the
UV editor again, selecting the bottle
enabling show overlays. Go to edit mode, Press control. Now we can disable
the show overlays. Let's scale the UV island. Let's bring it up. You can also constrain
the movement in the UV editor using the Z, Y, and X, Xs. That looks great. Exit the edit mode with
tab and we are done. Before we proceed, I would
like to make some adjustments to the lighting in the scene
because as you can see, we are missing this glow or reflection
effect on the bottle. We needed the material
to be set up in order to further
improve our lighting. I will go to the front view
and look for the lamp. Bring it down, it's a
little bit too high. Let's go to the To view. I would like to change
the positioning of the tracking empty
to about there. Work on the positioning
of the light to make it easier to see
what we are doing. I'm going to quickly create the content material
complete right now. However, it will make
it easier for us to decide how we want
the reflections to look like and for
the cover as well. Let's name it. Let's give it a darker color. Now, it will be easier for
us to position the light. I'll keep moving it. I might have to
bring it even lower. We are starting to see the
reflections we were seeking. I would like to change
the color of the floor. So I'm going to create
yet another material and call it for the color
of the floor will be this particular hex color 70cc Express center. And that's our floor. It is quite tricky to have it exactly the same as the render. I recommend that you spend
enough time with it. You can also move the
light reflectors. I have settled for
this result here. This is where I have
the lamp roughly positioned from the top view. There's my tracking empty. If you want it to be a
little bit blown out, you can always play with the Gamma and the
exposure of your scene. For now, I will leave
them as they were before. Also, I want to make
a little bit of adjustments to the sticker
and how it appears on the bottle because I believe that it is looking
a little bit different then render maybe making it bigger is all it
takes to be satisfied. I'll leave it there
if I need to. I'll make more
adjustments to it. Once we have the reflections
that we were looking for, I'm going to press control and isolate a bottle
Here I want to show you something that masking and
creating a principled BSDF, because we could always stick the image texture directly
to the mix shader, but we opted for
principle BSDF instead. That's because we
can make the text glossy and have its own material as you can observe in
this render image. Let's make sure that it
is actually working. Yes, it is, I'll change it to roughly 180. If we want more reflections
on the text or sticker, we can go back and
adjust the light, can see that it is
starting to look glossy. If we go back to the bottle
and manipulate the roughness, you'll see that the
sheen has disappeared. Can you see here? That's, that's a
really nice effect. We'll have it on 0.1 86. Let's make sure that we
didn't mess anything up because we moved the light. Let's make sure that
the lighting is good. It actually is good. If you remember, we have disabled the
subdivision modifier on the bottle, on the content. Make sure that you do not
forget to sink these two because if you disable
the render toggle, it will not be rendered. Since we enabled those, the viewport is I'm going
to disable the viewport, and that's the shader set
up for the glass material. Then I would like to work
on the content material. We have already created a
provisionary material for it. However, I want a specialized
material so that we get a variety of shades and colors. I will pull from base color
and search for color ramp. I'm going to change it
from linear to constant. From here I will create probably
two additional sliders. The first slider is going
to have this hex color 777. The second slider will be completely white with
this hex color here. The third one is going to
have this hex color Cc30. The last slider is going to
have this hex color D four. Now, how exactly
do we tell blender to pick a random color? We can easily do that by sliding from the factor and looking for object object info. And we have multiple
options to choose from. I'm going to select the random. As you can see in the viewport, we already have a
similar effect to what we achieved in the render on
the left side of my screen. I'm also going to
change the roughness of the content to something like 0.0 91 if you want
a different result. As far as the random color
selection is concerned, you can play with the sliders, or you could add a noise
texture or a Voronoi texture. In my experience, a Voronoi
texture works better. I'm going to search for a Voronoi texture and
place it in the middle. I'm going to play with the
scale or input a good value. This is the random color
selection I am going to keep with the glass and the
content materials being done, all that they have left
is the cover material. All I'm going to do for it
is changing the roughness to this value and the hex
color to this number. All that's left for us to do
is to get into rendering, and we will discover some
of the settings that we can change depending on how we want to render and for how long. But before we render, let's do a quick comparison
of the result that we have obtained and the result of the render on the left
side of my screen. On first inspection,
I can see that we have a little bit
of lack of shadows, like this bottle here. We almost have
nonexistent shadows. We can easily fix that by tweaking the positioning
of the area lamp. If we go to the viewport, we can select the area lamp and tweak the
positioning of that. If you find that
the render is less blown out or less bright than the render
on the left side, we can always tweak
the exposure. Also, once we render
with a lot of samples, it will actually
look a lot closer to the render and a little
bit brighter as well, perhaps a little
bit to the right. I can demonstrate the change of exposure by playing
with the settings. Now as you can see, the scene is starting
to look bright, as bright as the render on
the left side of my screen, I need to look at
even better once we render with a high sample count.
9. Rendering: Now it's time to make a render. But before we press 12
or click Render Image, we want to double
check some settings. Namely the resolution. If you want to render
exactly the resolution numbers you typed here, then you can leave the resolution
scale to 100% However, if you want to double
it, for example, you can type 200% The other settings
include the sample count. The more samples, the
longer it's going to take to render the image. However, it's a simple scene, so I'm going to
leave it as default. Also, you want to make sure
that you have the denoiser on and that you have chosen the best possible noise
options available. The other thing that you want
to check is the modifiers. We have multiple toggles
and you want to sync the Viewpoart and the render or simply double check
what you want to render. If you have subdivision modifier and you want to render that, make sure that it is turned on. Also, you can change the subdivision level for the render separate
from the viewport. The other thing that you want
to absolutely make sure of is that whatever is turned
on or off in the viewport, it is also turned on or off
in the render settings. If you don't see that icon,
you can toggle it here. Now you can toggle things
on and off for rendering. Once you're ready,
simply render the image, let's wait for it to finish. The rendering is done
and this is the result. I would say we have
successfully replicated the render that you see
on the left side of my screen that I accomplished
a few months back. We have reached the
end of this course. I would like to thank you
for watching this far. I would like to
request that if you feel that this course
helped you learn something, then please leave
a positive review as it helps me get my courses in front of more learners and also it motivates me to
make more courses. Thank you.
10. Make It Pop: This is being recorded
after the fact, and it's going to
be about making this particular render pop the way it does on the
left side of my screen. This is mostly exclusive to Blender 4.0 If you
are on Blender 3.0 or 3.5 you don't
probably need this. The reason that is, is because Blender 4.0 brings
a lot of changes, namely, or principally, as far as this
course is concerned. The new principled BSDF shader
cycles rendering engine was rewritten from scratch, and the principled BSDF has gone through
a lot of changes. That is, what's making this
render on the right side of my screen not pop with the same settings as it does on the left
side of my screen. The first thing I'm
going to do is select the bottle so that we
can work on its shader. We can do that by clicking on the bottle, on the Outliner. If you don't have the
product collection enabled, it appears grade out. You can enable it
using this icon here. Let's click the bottle. I would like to
expand this window. I'm going to drag the divider. The first thing we can
observe on the right side of my screen is that bottles are a lot clearer than they appear on the
left side of my screen. We are going to fix that by adding a volume absorption node. We can do that by finding the material output
and clicking shift A. And I will search for volume, we can find the volume
absorption here. I'm going to click on it, and I'm going to connect it to the volume input of the
material output node. Now on Blender 3.5 0.1
I have this set to two. But as you can see, two is not enough for Blender 4.0 That's because
the cycles rendering engine was rewritten
from scratch to be more akin to real life. It looks more realistic. However, it broke the settings
that I had for Blender 3.5 0.1 I'm going to fix that by pumping the volume absorption
all the way to 32. If you're on Blender 4.0 that's
what you are going to do. If you are on blender three or perhaps lower, keep it at two. But now that we have
the volume absorption added and bumped
all the way to 32, the glass material
looks a little bit too glassy than
it did before. Or on the left
side of my screen, you can see the reflections here are a bit too overwhelming. We can easily fix that by increasing the roughness
on the principled BSDF, the one that controls
the bottle material. Not the sticker that we added
up here, but the bottle. I'm going to increase the
roughness all the way to 500 and that will take care of the overwhelming
roughness that was added by the volume absorption. This node does not
add roughness per se, but we perceived more
or less roughness on the bottle after we added
the volume absorption node. The next thing I would
like to address is the missing bright reflections that we can observe
underneath the bottle. If you pay attention
to my cursor here, we have some bright reflections that we seem to be missing on Blender 4.0 Upon
experimentation, I have found that
the sheen option in the new principle BSDF, is responsible for that effect. In Blender 3.5 0.1 I
didn't have to turn on the sheen in order to achieve this effect, it simply appeared. But in Blender 4.0
I'm going to turn the weight of the sheen all
the way to one to turn it on. The result, by default,
is overwhelming, so I'm going to reduce
the roughness to 0.1 82. That will give us the
shiny bright reflections underneath the bottle. Perhaps I could demonstrate with another bottle, maybe this one. If you pay attention on the
left side of my screen, the arc is not completely
present in the render, unlike the result we have on
the right side of my screen. This can be quite overwhelming when you are
looking at the picture zoomed out because
your eye will keep getting pulled by
this shiny part here. We don't want that.
What we can do is adjust the topology
or the model of the bottle so that the result is akin to what we have on the
left side of my screen. We can do that by bringing
up a Tre D viewport window. In my case, I had it open. I'm going to select the bottle and I'm going to
select or press on my keyboard forward to
isolate the bottle. I'm going to go to edit mode and find the bottom
of the bottle. I'm going to go to the
vertex select mode, select the middle vertex. Then with control
plus I can select the next edge loop until I
select the outermost circle. And then I press control
minus To go back one step, now we need to pull
this part to the top. Toward the top, I'm going
to press on my keyboard and press Y to constrain the
movement to the y axis. And I'm going to move a little. You can press Shift as you
move to make fine adjustments. As you can see, we have
the bright reflections appearing and they are not
overwhelmingly present. We can perhaps move
it a little bit more. We can also increase
the roughness. Ideally, you don't want the
roughness to interfere with the rest of the bottle. You can increase it as
much as you want until you see it interfering with the rest of the bottle.
I'll leave it there. Okay. I'll leave the added
mode using Tab again. And then let's zoom out using the home key on your keyboard while hovering
on the rendered viewport. And that will give us
the ability to center the camera frame
on the viewport. And I'm going to remove the cropping by
pressing control B, selecting outside
the camera frame, that will select the
camera frame for us. Let's press home again and
inspect the results so far. Now there is one
more thing to go. And if we zoom out of the rendered image on the left side of
my screen using home, while hovering on it, we can inspect it from a far. The first thing that
catches my eye is that the bottles seem to have some rim light like
effect on every bottle. Basically, if you pay
attention on this bottle, for example, you can see that we have some bright
reflections here. This, this part as well. However, in Blender 4.0 we are missing most of
those reflections. Even when they are present, they are not as prominent, they don't pop as much. I have experimented a lot with the Blender 4.0 and
the principal BSDF. And all the shader set
up that I have here. And the only thing that
gets it is by instead of having the math node to the math node that is
connected to the light pad, if we bring it down to
1.9 we get most of those, if not all, reflections back. However, this is a
very powerful effect. I wouldn't use it lightly
with that a factor on, you can perhaps experiment
with absorption or less, for that matter, can also play with the
roughness here. Let's, let's zoom
in on this part here and see what
we got going on. I would say we have it pretty close to what we have on
the left side of my screen, but we can only make sure of that if we actually
render the image. And that's what we are
going to do again. Let's leave the
rendered Viewport mode and render the image again and wait for it
to finish rendering, and then inspect our result. Once the render is finished, we can clearly see the impact of the changes
that we have made, namely the rim
light like effect, but also the sheen and the darkening towards the
bottom of the bottles. The current render with the
current settings in Blender 4.0 surely pops a lot more than it used to do
in the previous lecture. Please do not hesitate to share your own result as a project and earn your certificate for
having completed this class. While you're at
it, please do not hesitate to leave a
positive feedback. It surely will help me and motivate me to create even
more classes for you. Thank you for watching this
class and see you soon, bye.
Alaa Eddine ZAIR, CG Artist
