Blender 4 Creating Stylized Environments

1. Blender 4 Creating Stylized Environments: Welcome to an incredible journey into the heart of free D design and creativity with our course, stylized environments, with pleno fore, genes. Imagine being able to craft breathtaking model that captivate and inspire. This is your gateway to mastering the art of free D design with Blend four, transforming your creative visions into stunning reality. In this comprehensive tutorial, we dive deep into the world of meti notes, a powerful feature of blender four that revolutionizes how we approach free modeling. From the lushness of grass meadows to the rustic charms of roof tiles and brick walls. You learn how to bring intricate patterns and textures to life with unprecedented ease and efficiency. But that's just the beginning. Our exclusive resource pack tailored specifically for this course provides you with everything you need to jump start to your creative process. This includes a human reference model, six specialized geometry nodes, and ten advanced material shaded setups. Imagine having the tools to model a stunning will environment, craft detailed stones, labs, and create dynamic roof structures, all at your fingertips. As we guide you through creating support of wooden beams, sculpting terrain, and optimizing your scene for rendering, you'll discover the secrets to achieving realism and vibrancy in your work. Learn how to use blender cycle render and composite to add depth and ambience making your creations pop with live. This course isn't just about learning. It's about applying. Though practical real or projects, you'll not only reinforce your knowledge, but also build a portfolio that showcases your newfound skills. Whether you're season artist or just starting. Our step by step instructions are designed to provide you with the skills and confidence to create visually stunning environments. Why choose this course? Well, it's simple. We offer an unparallel blend of innovative techniques, exclusive resource and practical application. From mastering composite techniques to simplifying the UV wrapping process, every aspect of this course is designed to elevate your pre D modeling skills and streamline your workflow. So are you ready to unlock the full potential of your artistic vision? Join us in stylized environments with plenty for mgy nodes and start your creative journey today. Whether you're enhancing your current skill set or embarking on a new career in freed design. This course is your comprehensive hands on guide to mastering the art of creating visually studying stylized environments. 2. Navigating Blender's Viewport A Beginner's Guide: Hello and welcome everyone to stylized environments with Blender four Jome nodes. And we're going to start off by firstly learning about the viewport controls and actually how to move around within Blender. So I'm going to play a quick video in regards to that. And then in the next lesson, we're going to go ahead and go over the resource pack itself and what we're going to do with it. So that's going to be from this lesson. Thank you so much for watching, and I will be seeing you a bit. Welcome everyone to the basics of Blender navigation. Now, before we begin, it's important to understand how the axises work within Blender. So we can see at the moment, we've got a green line going this way and a red line going this way. This is called the y axis, and this one is called the x axis. We also have one that is the Z axis, which we can't see right now. It doesn't actually come in with blender viewport as default. But if you want to actually set it on, you just come up to the top right hand side, where these two interlocking balls are, and just click the Z axis, and now we can actually see that. So how do we actually move around the blended viewport. There's a number of ways of doing this. One of them is over on the right hand side here. You can see if Aarver over here, it's the zoom in and zoom out. I can actually left click and move these up and down then to zoom in and zoom out. Or I can use the actual mouse to actually zoom in and zoom out using the actual scroll wheel. There's also another thing you can do with Zoom, which is holding control shift and pressing the middle mouse, and you'll see you have a lot more control over zooming in and zooming out. Now, the next thing you want to discuss is actually rotating around an object. So how to do that? First of all, we'll bring in a cube, we shift A, bring in a cube. Now, if I press the middle mouse button and move my mouse left to right, you can see we can actually rotate around. Unfortunately, though, we're not actually rotating around this cube. So to actually fix that, we need to center our view onto the actual cube. We basically want to focus our view onto this actual cube. So to do that, we're just going to press the little dot button on the actual number pad, and then you'll see that we actually zoom in to the cube. Now, if I scroll my mouse wheel out, you will see now if I hold the middle mouse boron and turn left and right, we're actually rotating then around the cube. And this is important because if actually bring in another cube, so I duplicate this cube with shift D, Move it over, so bring in my move Gizmo. And now you'll see if I rotate around this cube, I'm not rotating around this one. So that's fixed side, just press the doubt. Again, zoom out, and now I can actually rotate around this cube as well. Now let's look at something called panning, which means that we're actually going to move left and right, and we do this by holding the ship bar, holding the middle mouse, and then we can actually scroll left and right around our actual viewport. So now we've actually discovered how to zoom in and the different ways we can actually do that. How to rotate around an object and how to actually pan. We can also come up to the top right hand side here and use these buttons, see it. So again, remember, we're looking at the y axis, the x axis, and the Z axis. If we come to our y axis and click that on, you will see now that you've got a front view of the y axis. If you click the x axis, then we can change it to that red x axis, and finally, the Z axis as well. Now, there are other ways as well that we can actually look around the viewport, and these involve using the actual number pad. So if I press one on the number pad, it's going to tap me into that y axis or front view. If I press two, it's going to actually rotate that slightly. And if I press two again, it's going to rotate it slightly more. Now, if I press the eight, it will rotate it the other way as well. Now, to go into the side view or the x axis, we can also press three on the number pad, and that will give us that effect. We can also press seven to go over the top as well. Now, what about if we actually want to go to the opposite? So instead of going from the bird side view, we want to come to the underside of our model. Well, that's actually quite easy as well. All you need to do is press Control seven, and that then will take you to the bottom view of our actual model. We can also do the same inside view and on the x axis and y axis. So, for instance, if I press one, I'm going to be going into the y axis. If I press Control one, I'm going to be going into the opposite side on the actual y axis. Now you can also find these options just in case you forget at the top left hand side of it under view. So if I go down to view and go across the viewport, you can see here that this actually tells me exactly what I need to press to get the viewpoint that I've just actually explained. Now, we also have the button on the number pad, which is number five. And number five button in Blender toggles between perspective and orthographic views. Perspective view offers a more natural and realistic viewpoint with objects appearing smaller as they get further away, mimicking human vision. Orthographic view removes perspective distortion, making all objects appear at their true size regardless of distance. Useful for precision modeling and technical work. The other thing that number five does, for instance, if I come to my cube, at the moment, I am able to actually zoom into the cube. However, if I press number five, I will not be able to actually zoom into this cube, no matter how far I zoom in. I'll still be able to move around it by pressing a little dot button, like so. But if I actually want to actually work on the inside of an object, I can quickly press number five, and then I can actually go in and work around the inside as well. If you're working on a laptop or something like that or a table, and it doesn't actually have a number pad, you can also use if I press five, the actual squiggle key, which is under the escape board on the left hand side of your keyboard, and that then will give you pretty much the same options as we had before. So we can click the right view. We can actually click the back view. And we can click the left view, for instance, the opposite to what we had before. So instead of pressing one and three, we just press the little squiggle line, and then we can actually view whichever side we need to. Now, we're nearly at the end of this short introduction. There are a couple more things that you can actually do. If you come over to the right hand side and you see here where we've actually got the name of the actual parts within our scene, we can also grab them from here and then press the little dot born to zoom in. So I can grab this one, press a little dot dot born, and that then we zoom us in. The other great thing about this is we can also come in, shift select them both. Press the little dot button and then we're able to actually rotate around both of these cubes. All right, everyone, so I hope you enjoyed the short introduction to the navigation within Blender, and I hope from now on, it won't be a struggle navigating around the viewport. Thanks a lot, everyone. Cheers. 3. Unlocking Blender's Resource Pack for Stylized Design: Hello, welcome back, Evon to styles environments with plenty for gum nodes. And right now, we're going to go ahead and talk a little bit about the resource pack itself. Once you extract the resource pack, you get yourself a folder that has a blend file as well as a couple of folders. So let's go ahead and go right over them. So the reference folder is going to give you a nice references. So these are AI generated images, but they're really good for referencing whenever you want to have more ideas. So, for example, if you open one of them up, They're not perfect. But they helped you get some nice ideas over textures over the design, for example, over the scale and whatnot. So for example, this bucket over here might be a little bit too big, but something like that might be a little bit more interesting to do helped out to create the overall style for the well. And I do recommend you going over them if you want to get some ideas for the overall style that you want to get within blender. So then afterwards, after the references, we have ourselves the compositor background. At the end of Blender setup, after we set ourselves up with a nice environment, we're going to need to make sure we render it out in a nice image. So we actually have two variations of the background. We're going to start with the basic one over here. That's a nice gradient to get. But we also gave you a custom one to make use of and that's going to allow you to put any piece basically within blender itself as a background, and it actually works quite well, you'll see in a moment, you'll see by the end of it. And you can make use out of these two backgrounds in any type of environment you want pretty much if you'd like. Feel free to use that. Then afterwards, we got ourselves stylized well resource pack the blender pile. Let's go ahead and go over that real quick. Once you open up, it's going to load. This is a blender version 4.1, but you can use blender blender 4.2 or anything above as well that's going to work. We just need to wait a little bit for it to load. You can see all the material starts to load. Let's go ahead and talk a little bit in regards to the whole set up. To start off at the very top left, we have ourselves a human reference. Okay. The human reference is really good for scaling and making sure that all of the pieces are actually properly scaled up and the whole environment has nice proportions within it. It's a good reference to make use of. Then we have the geometry nodes. You'll notice that the meadow is separated, although it also is a gemtry node over here you can see, but I did separate because it's slightly set up differently. Let's talk a little bit in regards to those. Okay. The brick we have over here is going to be all of them are basically separate geometry nodes like so we have a brick, wood planks, we have a stylized tile. Although right now it's only one, we can always increase the amount to see how it looks like this section over here. We're going to go over all of the functionality, all of the features of it within the lessons. For now, though, all we need to know is that all of these are going to help us out to speed up our workflow in regards to setting up the environment. They're nicely set up to be ease of use. This part over here, you'll notice that we have a grass and the grass has all of these parts on the side. These parts on the side are actually set up within a collection over here. So if we open up a meadow collection on the top right hand side, we'll see that we have grass, flower and leaf collection. So basically, these are all the parts that are required to be placing for the grass geometry none. So we're going to make sure we make use out of that. Then we have ourselves the geometry nodes. Sorry, not the geometry nodes. These are shaders. These shaders are set up with nice materials, PBR materials, a little bit of stylized setup over here to exaggerate certain looks. Some of them have emission to make it glow. Some of them have some more generative type of a setup to make a nice stylized setup of something like a stone, for example, because some of them have things like Edgeware and whatnot. But again, we're going to go over each and every single shader throughout the course. So, yeah, that's all it is in regards to the setup. It's a nice compact blender project that will allow you to basically make use of it and grab all the pieces to just a nice environment overall. We're now going to go ahead and start the actual model ate process. We're going to start creating the well. We're going to make use out of all of these parts for the lessons. That is going to be it from me. So thank you so much for watching, and I will be seeing you in a bit. 4. Blender Modeling Basics for Enchanting Environments: Hello, and welcome back in from the stylist environments with Blender for omic Nodes. In the last lesson, we went over the overall resource pack, and now we're going to create a gray box. But before doing that, I'd like to go over another basics video in which you will learn how to go over basics of modeling in Blender. So without let's get right into it. Welcome everyone to the basics of modeling in blender. And this is a short introduction just to get you started on a few of the basics in modeling. So the first thing I want to do is bring in a primitive. So the way that we're going to bring into primitive is press Shift and A, and then what we're going to do is open up a menu. And you can see that we've got all of these things along this actual primitive menu. But the one we want to focus on is the actual mesh. And from here, you can see we can bring in many, many things like cylinders, cubes, planes, and the one we want to bring in just now is going to be our cube. Now that we brought our cube. The next thing I want to discuss is object and edit mode. And you can see at the moment, over the left hand side, we're actually in something called object mode, and this means basically we can manipulate this whole object. So if I press G, I can actually move it around my viewport light, so. If I press S, the scale, I can actually scale the whole off the object in. But the thing is we don't really want to work in object mode necessarily, and a lot of the time, we're actually going to be working in edit mode. So we can come up to the top left hand side and put this in edit mode, or we can actually press the tabbon and jump into edit mode that way. You will notice once we've actually gone into Edit mode, we have a lot more options to use, and more importantly, we have a lot of the topology now to play around with. So the first thing you'll notice the difference being is that we have now these three options up to the top left hand side. And if you have over them, it will say vertex edges and faces. Now, vertex is going to be these little points here. The edges is going to be these edges of my cubes or any of the edges. And finally, we've got the faces, which is actually the whole polygon face. Now, you can also instead of clicking on these, press one on the keyboard, and that them will jump you into vertex select. If you press two, you can go into edges, and three is going to take you into faces. And from here, we can actually manipulate any of these parts. So you will notice at the moment, I've got gizmo here. Now, if you don't have the Gizmo available, coming over to the left hand side, and you'll have this little born here that says move, or you can press Shift space bar and bring in your move tool like so. So now, because I'm on faces, I can actually pull out this face like so. If I go to edges, I can actually grab one of the edges and pull this out like so. And if we're on vertexes, I can grab this vertex or grab the second vertex with Shift select, and then pull this out like so. Really, really easy to actually manipulate things once you know how to select each of these parts. Now, before we go too much in the weeds with actually modeling in this actual edit mode, let's just jump back into object mode for now. What I want to show you is how we can actually move this actual cube around. So, as well as moving it with the actual gizmo here, we can also press G and actually free move this object around, or we can press G, and Y two, let's put it along the y axis, move it around, or the x axis, for instance, and move it this way, or even the dead axis and move it up and down. To drop it back where we started, let's just right click like so. So that's actually moving the location of it's not a cube anymore, but let's just say it's a cube. We can also scale this in as well with the S bond so we can scale it in or scale it out like so. Now, we can also press the S button, hold the shift button, and then we have a lot more finesse on actual scaling. We can also scale this up by let's say a factor of two, S two, enter, and there we go. And of course, we can scale it down pretty small as well. Now, the next thing I want to discuss is rotating, because if we rotate it with r and just rotate it around, we haven't got a lot of control over how this rotates. So what I want to do instead is, I always want to press R, then attach it to an axis, which might be the white, so the green one, and then rotate it either by free hand, or by actually inputting the value on our number pad. So if I want to rotate it, let's say, by nine zero degrees, press the end born and now rotated this round by 90 degrees. Now, if I want to rotate it back, I can press y, the little minus born on the number pad, 90, and then we can rotate it back. Now, there is something else that you need to know. We also want to reset our transformations, and this is one of the most important things within Blender, because if you don't reset your transformations, Blender still considers this a cube, even though it's not really a cube anymore. So what we want to do to reset the transformations is press control, A, all transforms, Then you'll notice that the orientation has moved over here because it will always move to the center of the world. From there, then we want to actually reset orientation as well. So we want to right click, set origin to geometry, and then it's going to put the origin right back in the center of this object. Now, it's also important to know resetting the transformations will also impact things like UV mapping, things like modifiers. Basically, if you ever have a problem in blender, always make sure that you reset the transformations, and then most of those problems will definitely go away. All right. The next thing about reset in our transformations, it makes it really easy then to get something back to how we add it before. In other words, if I press S and scale this down, And then let's press r and Z and rotate it round this way. Because before this, I actually reset my rotations, what I can now do is press alternS and put it back to the scale that it was before I did anything and then lnR and actually reset that rotation as well. So really, really handy, once you've actually reset your transformations in what you can actually do. Now, moving on, we're actually going to be looking now at duplication. So if I come round here, I'm able to actually duplicate this. If I press Shift D and then press the enter born, It's now a duplication, and I can move this over to the right hand side. So now we have actually two objects. Now, what if you want these two objects actually combined, and you didn't mean to actually duplicate it in object mode, for instance. Well, that's easy. We can just shift select the other one and press Control J, and now they both actually join together, as you can see. So if I press tab now, we're able to come in and actually work on them both at the same time. Now, what happens if we want to actually split them off, so we don't want the objects to actually be together. That's also easy. Just make sure that you select one of them first. And then all you're going to do is press L, just to select everything. So all of these faces, then you're going to press P. Come down to way to say selection, and now, if I press tab, they're both actually split off. Now, of course, using the same command. If I press tab, I can actually come in, grab a face, for instance, press Shift D. I can actually also duplicate things with inside edit mode as well. So we might want to duplicate all three of these Shift D? I can actually come in then and actually duplicate them like so. What it also means, though, is that these, when you duplicate them in edit mode will be part of the same object, of course, because in edit mode, they're not actually claster as an object, they're claster the same actual part. Now, for the next part, I'm going to bring in a brand new cube, and I'm just going to show you some of the basic modeling techniques within blender and go through a few of the options. So here we have a brand new cube. And the first one I'm going to show you is, if we come into Edit mode, we'll always be working in edit mode to show you these things. Just make sure you're in edit mode. I'm going to grab the top face. And what I'm going to do is press, and that then is going to extrude this out. Now, sometimes you will need to extrude something out, and it will need to be along a axis, for instance. So all I'm going to do is go to Edge elect, grab this edge, and then what I'm going to do is press, and you can see because it's not tied to an axis, it's floating around everywhere. However, if I press the x born, you can see now it extrudes out following along that actual axis, which then makes it really, really easy to manipulate it where I actually need it to go. The next one we're going to look at is something called beveling. And then all I need to do is come in, and I'm going to grab my edge. So I'm going to press two on the keyboard, grab an edge like so, and then I'm just going to press control B like so. And you'll notice now it's actually beveled off that side. You'll also notice down on the left hand side here. We have something called an operator panel. It will be closed. Just open it up, and from here then with the actual bevel, we're able then to turn the bevels down, for instance, turn them up, move how the shape of the actual bevel is going to be and all that other good stuff. Now, pretty much anything you do in Blender is going to give you an operator panel like this. We're not going to go too much into this, but basically the moment that you press tab button to come out of edit mode, this is going to disappear, and then you locked in with the actual shape that you've chosen or the insert or the extrusion. So just bear that in mind. So the moment I press tab that actually disappears. Now, what about if we want to bevel off vertices and not edges. So, for instance, if I come to a vertice like this and vertice like this, press control B, you'll see that it bevels off like this. But if I come to one that are the opposites of each other, press control B, you'll see nothing actually happens. However, if I press control shift and B, then we're actually able to bevel off the actual vertices like so. So that's another handy tip for actually beveling. Now, the next modeling technique we want to discuss is actually edge loops. So how do we get more geometry onto this? So, for instance, I want to bring some edges on here. I can press control, and that then will bring me one edge in here. If I left click then, you can see that I can put this either this side or this side. But let's say I want it right in the center. I'm just going to right click on the mouse, and that then is going to put it right in the center. Now, the other thing I can do with the operator panel again is then come in and turn all of these up to give me more actual edge loops, and I can even move them to the left. And the right. Now, I can also, if I press control, come in, press control. I can actually scroll up on the mouse wheel to give me as many edge loops as I actually want. Or if I want a little bit more finesse, I can actually type it out on the actual number part, so I can type out 120, for instance, and a 120 edge loops. To cancel it at any time, just press the escape board, and then that will cancel it out. Now, the next modeling technique I want to show you requires two actual blocks or two cubes like this. And all I'm going to do is I'm going to come in, and I'm going to select opposing faces like so. And then I want to actually join these together, for instance. So all I'm going to do, I've selected them both. I'm going to right click and come down to what it says bridge faces. And now you can see I can actually join those together. Now, if fire press controls that and just go back a minute, you can also do this by coming in and let's say grabbing this edge, And this edge, and what I'm going to do instead is, I'm going to press the F born like so, and come down to the bottom as well, and then grab both of these and press the F born like so. Sometimes bridge will not work because Bridge has to work with two edges and nothing in between. In other words, nothing selected there. If I come into this one now and try right click and come down to what it says Bridge edge loops, you will see select at least two edge loops. So we can't actually join it from there, and that is when it's a good idea to use the F borne instead. And now, the final modeling technique that I actually want to show you is something called insert. So what I'm going to do is I'm going to grab this face here. I'm going to press the i born, and then you can see you can actually insert this face in. And from there, you can actually extrude it out if you want to. You can also then press Control B and bevel it off if you want to. And you can see now it's really easy to use all of those techniques that have actually showed you. Now, lastly, the last thing I want to show you is the insert again. But this time, we're going to grab this base and this base, and if I press I, it's true you can actually insert them both at the same time. Now, the best thing though about insert is if I press the i and then press I again, we can actually insert them separately from each other like so. Now, I see a lot of renders on Facebook and other social media that kind of look really, really blocky. And for instance, if I press tab now and going into object mode, you will see this actually looks pretty blocky. But there's a really easy fix for this, so it doesn't actually have to look like that. All you need to do is once you've actually finished, right click, come up and where it says, shade auto smooth, and that then will shade it off based on the actual angle. So really, really easy to either shade flat, shade completely smooth like so, or shade Autosmoth like so. If you actually are struggling and you actually want it to shade it a little bit smoother than what it is, you can come over to the right side where this little triangle is. Go down and open up the normal, and from there, you can actually increase this and shade it even more smooth based on a higher angle. The default is always set to 30. Just make sure you say it to 30 in case you actually overdo it. Now, the last thing I want to show you in this introduction is the actual cursor because I think it's very, very important to actually modeling. So what I'm going to do with the moons, I'm going to make another cube with Shift D, and then I want this cube on top of this que, for instance. Now, if I move my cursor over here, so shift right click, and then what I can do is I can press Shift and I'm going to go selection to cursor, keep offset, and that then is going to move the exact center of this cube, or the orientation to my actual cursor. Now, how would it get this then on top of this cube? I would literally grab this cube. I would first of all right click and set the origin to geometry just to make sure that origin is right in the center light. So I would then press Shift D, cursor to selected, and that then is going to put my cursor right in the center. And then I would grab this cube. And from there, I'm able to go Shift D, selections cursor, keep offset, and now that cube is right next to this actual cube here. From here then, I can actually bring this up, and let's actually just have a quick play around of everything that we've learned. So you can see now if I pull this up, I'm going to join them both together then with Control J. And then the first thing I'm going to do is come in, grab this face, and this face. I'm going to right click then I'm going to come down to bridge faces. And then we're going to bring in some edge loops. So let's bring in two or three edge loops. Left click, right click. And then what I'm going to do is I'm going to press Alt Shift and click just to select all of this edge going around here and press the S born and pull it out like so. From there, then, what I'm going to do is I'm going to level off both of these tops. So I'm going to grab this top, shifts like this top. I'm going to press control B and actually level them off like so. From there, then, I'm going to bring in an insert, so I'm going to grab the front of here. I'm going to insert this with the eye button, like so. And then from there, I'm actually going to extrude out. So I'm going to extrude this out like so. Now, let's say I want a bigger piece on the next bit. I'm going to press Shift D. Pull it out, so this is a duplicate of this face. I'm going to press the S bond to make it a little bit bigger, and then I'm going to press and pull that out along that axis. Finally, then what I'm going to do is grab this one and this one. I'm going to right click then and bridge faces like so. And you can see just how easy this really is now to actually start building out some really, really complex models with everything that you've just learned. All right, everyone, so I hope you enjoyed that, and I'll see on the next one cheers. 5. The Art of Greyboxing in Blender for Efficient Design: Hello, welcome back everyone to stylized environments with blender for geom nodes. In the last lesson, we went over the basics of modeling itself, and now I'm going to start off by grabbing myself a new project for blender. I still have the resource pack opened up since we're going to be using it forgot the course. But this is going to be a brand new blender file. So what I'm going to do and formot is going to click Control and S to save out my project, and this will prompt where we want to save out the project. I'm just going to go ahead and create myself a new file. Click Save Blender file. Now, after we do it the first time now when we click Control and S, we're going to save out the blend we can see at the bottom says save file. That's what we want. All we're doing is just saving out the project in case it crashes or we want to close down a project and continue on in the next time, we can go ahead and do so. All right. So now that we have it sorted, we're going to go ahead and start off by deleting the cube over here. Like, since we don't really need it, we also are going to delete the camera. So let's go ahead and delete it and the lighting as well. Since for now, we're just going to start off with the gray box. The first thing that we need to do is actually think about the scaling of our entire scene. What we're going to do is we're going to go back to the resource pack We're going to find ourselves the human reference over here. The easiest way for us to actually grab this human reference and put it onto a new blend file is actually quite simple. All we have to do is just click Control C to copy the selected object. Then we can go back onto our brand new project, click Control V, and that's going to paste it in within the scene. Now we can go ahead and start doing some basic modeling using primitive shapes. So we're going to click Shift and A. We're going to select mesh, and we're going to start off with cylinder. The cylinder doesn't need to be too high in regards to this polygon topology count. It's going to be using by default perty two, which is all right. I'm going to go ahead and then click one just so we can see how it looks like. And what we want is we want this human to be basically the well to be next to its waste. That's what we're going to do. I'm going to select this. I'm going to click S and scale it down. G said and maybe put it something like this. And I'm quite happy with this top, but the bottom is a little bit going underneath this red line. The red line is basically where the t axis is set at zero, and this is the origin point of the world, basically. So we ideally want to keep this environment within the center of that. Now we're going to just grab this bottom piece and just bring it upwards. So I'm going to hit a tab, go on to edit mode, hit pre to go onto face selection, select the bottom, click G Z and just move it up until we touch and barely skim through the base. Like so. All right. So now that we have the base of the well set with in regards to its height, we need to think in regards to its width. So how wide does this have to be? Well, let's grab the human G y put it closer to the section and just pink off the overall wip. Since we are making it stylized, ideally, I'd want to keep it a little bit wider. So let's go ahead and click tab go on to edit mode within the face selection. We're going to face select the entire edge loop. Whilst holding old, we're going to tap on the face like so. Because we taped it on the right side of this face over here. Going to basically select this entire edge loop. Now we can click Alton S and just expand it so I want to be maybe a little bit smaller. I think something like this is going to be quite all right. I'm quite happy with this. Now we need to think about in regards to the roof itself, let's go ahead and decide how tall we want this to be. We want the roof to be going just underneath its head. If we go onto the reference, we can see that basically this side of the roof. We just want to be able to lean in a little bit and cover the head of the human. That's what we're going to do. So for that, we're going to hit shift and A. We're going to grab ourselves a cube. We're going to scale down the cube, so it would be to the size of the well more or less, a little bit smaller perhaps like so, and I'm going to drag it all the way up like so. Then what we're going to do is we're going to select the top by hitting tab and going onto edit mode. We're going to hit two to go onto edge selection mode. So now we can select this edge over here. And because the way the edge selection works is because we're selecting this edge is actually also selecting these vertices over here. This one and this one whilst we are in the edge mode. What we're going to do is we're going to make use out of it. So whilst we have this edge selection selected, we can click and merge at center. This way, it'll merge both of these vertices in the center piece, and we're going to do this same on our side as well to get this kind of roof. Now we're going to select this top piece and click GZ to just lower it down to get this kind of an angle. Like so. I think that's actually quite right. The only thing that we need to worry now is in regards to. Actually, I will go ahead and select this object in object mode. Going to scale it down just a little bit more like so. Now we're going to go on to edit mode, go click three and go onto the a selection, select the bottom piece, click to just extend it and extrude it downwards like. We're not going to do it too much. Just something like this amount. This piece is going to be mainly the frame because otherwise it's going to look a little bit too fixed, she'll just going to extend it a little bit more select this. Going to click GZ bring it upwards like so. Now when we click two, we can see that the human is going to be right in the nei I think that's going to be quite right. I do think that this has to be a little bit larger. Let me actually extend a little bit, so this is going to be just a little bit larger. I'm quite happy with this. Now, we need to consider how this is going to be set up. So for example, these parts over here, they're going to be mainly set up with the framework over here. So instead of just using a plane like this and the plane at the end, we're going to break up overall surface a little bit. But for us to do that, we just need to for now think about the overall scaling. So going back to the primitive shapes, Although this looks a little bit too chunky, overall, keep in mind that this piece, for example, is not going to be there. So if we were to delete this, it's actually going to be closer looking like this instead as the upper ends are going to be covered whilst this piece is going to be just a couple of frames supporting the top. And now we need to consider something at the bottom as well. I'm going to click Shift and A, going to hit a cube, and I'm going to just scale this downwards like so. Click one, G, bring it upwards to be sitting right at the top of the well like so. Then we can click G x, put it off to the side like so. I'm going to actually scale it even more like so. I think this is a nice value. Let's go ahead and click G Z, put it at the bottom, and we're going to select on the top pace with the pace selection. We're going to click GZ, bring this upward chest will be sitting right at the top. Now we don't need to worry about the symmetry for the moment. We're just making sure that the overall scale is going to be quite nicely set up. But we do have an issue in which we created this in edit mode. If we are in the edit mode and click Shift A, we're still going to add meshes, but when we are mode and click Shift A, we allow ourselves to create measures, but that's going to be as a separate entity. We actually do need to split this piece off. The easiest way for us to do that is if we hit tab, select this piece, so click L, selected. We can click P to separate by selection, and that's going to give us a new object. So when we are in object mode, you can see these two are separate entities. That way, we can just click free and go onto the object to the side view. Click GZ, put it off to the side like. Okay. I think that's going to be quite all right. G maybe a little bit closer. I'm going to go ahead and click a duplicate real quick. Actually, before doing that, I'd like to fix the transformation because when we split this off, it still keeps the origin point, which we're going to be talking about in the future as the main object piece. We don't want this to happen. What we're going to do is we're going to click Control and A and then just simply apply all transformations. Okay. Right click and set origin to geometry. This just resets everything and make sure it's a complete reset object as a piece. Then we can click one and then click Shift D to duplicate G x to move it in x direction, and we can just put it off to the side. We don't need to worry about accuracy for this particular case because we're just making sure that the overall height and the thickness, the overall proportions are set up properly. The symmetry is we're not so much worried as much as we're worried about the scaling of this. For example, if these are too bulky, if these are too thin, that's what we're looking for in this particular case. So I'm just making sure we duplicate both of them again, so have them with shift selected, have them both selected, hit Shift D, and duplicate off to the side. And this is what we're going to get. So, for now, that's going to be all right. We are going to continue off with this in the next lesson. So thank you so much for watching, and I will be seeing you in a bit. 6. Advanced Cavity Shading Techniques in Blender: Hello, and welcome back front to Stylist environments. We've plan to four geometry nodes. In the last lesson, we left ourselves off by creating this basic gray box using primitive shapes, and now we're going to enhance it a little bit and also turn on cavity so we could see so we could have a better look at our design. So firstly, I'd like to actually load this roof a little bit downwards. If we click one, we can see that it's a little bit too high off. So I'm going to hit a tab. Go to click two and then click on this top. Then click Get and just move it downwards so. There we go. Something like that is looking pretty good. All right. So now we can go ahead and actually think about in regards to the setup of the ground. So we're going to hit Shift and A, we're going to go onto mesh. Whilst we are in object mode, we're going to hit Shift and A mesh. Then go onto circle, select the circle, and now this is what we're going to get. This is not a filled up circle. So what we're going to do is we're going to hit tab right away. We're going to hit F, and that's going to fill it in and it's going to give us a nice plane. The plane that we want is going to be scaled up a little bit like so. We don't want this to be too big, but we want to encompass certain aspects like staircase a little bit and whatnot. So Okay. I would say something like this is quite all right. We don't want this too big, though, because if we start just making it too big, it's just going to be looking to empty and isolated as a piece. So that's why we're making it around maybe this big. I think that's going to be quite all right. So now that we have it like so. We can go ahead and start thinking about the cameras and perspectives. So for example, we're not going to have any camera angles from the bottom, like so. So we don't need to worry about this piece being filled up, but we do need to worry about the overall angle. So we don't want this to be flat. We want this to be a little bit going like a small hill and whatnot. That's going to make it look like a nicer platform. So for that, we're going to go ahead and go into mode for this. We're going to click on free to go into face mode, select the phase itself. We're then going to inset a phase by clicking, in setting it like so, right underneath it like so. Then what we can do is we can go ahead and click two. We can go ahead and select this entire edge loop by holding Alt G s and then dragging it downwards. I think that's quite all right for the height. Doesn't have to be too steep, but something like this is going to be quite all right. Okay, now we need to think in regards to the overall setup. So for CAs, we can see all of this topology which doesn't exactly help for us. So we're going to make sure that we actually smoothing this out. We can either do this by by either using click and clicking on Shades move, which smooths out the entire mesh and just makes it look nice and smooth. Or alternatively, for something like this cylinder where we want edges only to be smoothed out. We can select using right mouse button, we can select shade tos move. By clicking on shade to move, we're going to get ourselves an angle and the fault is going to be working quite well as it shades smooths the edges, but it's going to keep this corner over here as default one. Now that we have it like so, we can actually go ahead and turn on our cavities. Turning on our cavities is actually going to be quite simple. We're going to make sure that we are in solid mode, so make sure that you have this selected top right hand corner. Then we're going to hit this arrow over here, which will allow us to turn on cavity. Cavity is quite useful to getting understanding of the shape and form. As you can see it highlights basically the edges, so before and after looks so much different in regards to just highlighting the edges. Now that we have it like so, we can go ahead and start talking about in regards to how we can break up the shape a little bit for the form for the overall design. So what I mean by that is at the bottom at the very least, is going to look quite plain if we have it just a cylindrical setup. Although we're planning to add a grass, which is going to help us break down the surface. So for example, if we look into the reference that we have over here, we're going to see that we actually have at the bottom some staircase over here, which breaks down that surface like so, and that just helps us to get a nicer piece. We also have something at the top over here. So that's this diamond shape at the top, helps to break down the overall type of a surface for the roof. And we also have a piece that's coming out of the roof as a lantern. At the backside, though, we have something similar. So we have instead of a lantern, we have this cog wheel that turns the rope that allows you to move the bucket up and down. Again, it's not just going to be not going to be a plain type of setup. In this particular case, you can see that because it's actually a back side, we don't need another staircase, but the upper side does not need the staircase, since the front side would be the one that was the main shot. The side would be mainly used, for example, in something like a turntable where it would be just a quick turntable for the camera. Anyway, the final bits that we need to include in regards to the setup for the gray box is going to be just where the location of the lantern would be, also where the location of that back side would be as well for the jack. So let's go ahead and add these in. So I'm just going to go ahead and real quick add in a cylinder over here. Go to click G y moved off to the side, x 90, and then S y and then scale this down. So this is going to be for the backside. Okay. So the sort. Let's make sure we have the right scaling in regards to the reference of the human. I'm going to go ahead and actually, I'm going to click one or in this case, if you click Control one, it's going to do the back side, not the front side, so it's going to give us the opposite angle. I think this is actually just the right amount. Let's go ahead and keep it going to just attach it Gtach it to the end. We're going to be adjusting it whilst modeling. The only thing that we need is going to be Lantern over here. For the laantern we're going to go ahead and just simply I say we can use a simple placeholder for the cylinder. Let's go ahead and move it nicely off to the side. We can also make use out of the move tool over here to get a Gizmo. This way, we can just easily make some nicer adjustments I think something like this scale will be quite nice. Moving it off a little bit to the side, I think that's going to be quite. Let's go ahead and make a quick attachments to where we want it to be I'm just going to use a cube, S y, just make it a little bit extruded, like so now that's going to be quite all right. Hit ship x 90, scale it down a little bit, Gy and something of the sort. I think that's going to be quite all right. Let's have a look from a distance in regards to the scale. Ideally, I'd like this to be a little bit higher up like so. We click one, we can see it's right in the scale of the human head. And that's pretty much it for the base setup of the gray boxing. We don't need much. All we need to do is just understand the proportions and how they work. Even when we are working with a stylized scene, we need to get the proportions down. And once we do, we get a better understanding of the overall scale. And then when we are actually doing modeling and we are getting into small details, we're not actually in the need of worrying for having oversized certain parts. So I think all in all, this is going to be quite all right. Maybe add a couple of parts at the front as well or where the stairs would be. A quick indication for that. I think that's going to be quite all right. So something of the sort. I think that's going to be quite all right, although I probably going to lower down even more actually. I do want to have a couple of extra steps. But we can worry about that later down the line. We just need to make sure that the overall size or where we want to place the stairs and the scale for them would be something along that line. We can worry about the overall proportions for the stairs once we are actually going to be adding them in. Okay. Since we are going to be needing to sculpt down this terrain first in order to actually understand how we're going to be placing it down alongside the terrain. And yeah, that's going to be it from this video. Thank you so much for watching, and I will be seeing you in a bit. 7. Mastering Brick Textures with Blender's Geometry Nodes: Hello, and welcome back everyone to stylized environments with Blender four geometry nodes. In the last lesson, we left ourselves off by completing our quick gray box, which we're now going to be using to actually set ourselves up with a nice well. We're going to start off with creating the well itself, the foundation using the resource pack by making use out of the reference. The ones that we're going to be making use of are going to be the start of the bricks over here. So by the fault, these bricks, as you can see, they're not really set up in a nice stylized medieval kind of way. They're more modern. They have a cement on the side. And that's not what we want. So we're going to need to fix that. But before doing that, let's go ahead and actually get these into our scene. There are multiple ways of getting geometry notes into your scene using things like asset manager or just appending it through the project itself. My personal favorite, especially when I'm not really sure what type of geometry note I'm using, and I'm just having experimentation phase. My personal favorite is just to simply grab it and do it pretty much the same way as we did with the human over here. By having it selected, we can click Control C to copy it. It says, copied one selected object. That's exactly what we want. Then we can go back onto our project and hit Control B over here, and that's going to bring our geometry node over here like so. Now that we have it like so, I'm going to actually just keep the default one. I'm going to hit Shift D and move it off to the side, just like that. This, we're going to start off by actually creating the entire setup. So what we need to firstly find is how this brick generator actually works, how it is being behaved. And I'm going to go ahead and select this brick generator. And then because it's using ometry node, we can go to modifiers as it is. Ometry node is a type of a modifier, and we can see all the settings over here. So these are all the settings that we're going to be using. Some of them we might not need. So for example, things like cement, we don't really need. We can just take off a show, and this should get rid of the cement, like so. And in regards to the parameters themselves, I do recommend you whenever you have a new geometry node opened up, just to experiment with them, just go through every single one of the setup and just for example, change up to C, the layers, what each one of them will do, and just see which option does what. By taking it up to a higher value, lowering down to a minimum value, seeing how each one of them are behaving is a really good way of seeing what they do. Also, another thing that I need to mention is whilst holding shift and clicking and holding on one of those parameters, then dragging it right and left, it's going to basically lower down the intensity. If if you were to do it normally, just clicking and holding on this parameters, dragging left or right, it's going to be quite more intense. Holding shift is just going to lower down the value change whilst doing that motion left and right, whilst holding it. The other thing that I should mention is, although I did say to experiment with all the parameters, there are a couple of parameters, which you should be very careful whilst changing. Bings four parameters like subdivision or resolution, in this case, resolution over here. They're going to be extremely dense if you are increasing the value. So what I mean by density is the mesh itself, this is what controls the density of the entire setup, and we can actually go onto wire frame to see how it looks like. By the fold, this is what it's going to look like for the bricks. If a b to increase the resolution, you can see that the density for these are growing exponentially. We don't want this to happen. We want to make sure that It's actually not too high in resolution or subdivision. So even though I do recommend you experimenting the parameters with all of them, ignore resolution or subdivision or use the value sparingly, so don't overdo it more than a value of let's say six. After that, you can see that the memory increase is going quite heavy over here. Bottom right hand side, we have memory option. If we are increasing it by the way, we can see that it's expanding and after turning after four, you can see that basically doubles every time or more or less so we don't want this to happen. If you want to see the memory usage, by the way, you can do so. I do recommend you making use of within edit mode preferences. Over here, you can go to system and not the system, it's going to be under interference. There's something called a status bar. I just enabled all of them. We can see the blender version, memory usage on the bottom right hand corner and whatnot. Also, things like triangle count and faces for the geometry. It's very useful all of that. Even though it looks a little bit confusing, it's a nice thing to get used to, especially when working with environments in blender. Okay. All right. So I'm going to turn off the wireframe. I'm going to go back to the modeling shader go. Now we can go ahead and actually talk about the brick setup itself. So what we need to understand in regards to the modifiers is the placement of them. We haven't talked about that actually. And if we were to hit tab, we can understand what it's using in regards to the setup. Sometimes geometry nodes don't use anything in regards to the original mesh. Sometimes you're able to place geometry note on top of the mesh, an existing mesh, and it just adds the geometry or any value of the sort. And in this case, it is using curvature. Curvature is nice because you're able to control these points over here. Even now, when we're extending it, for example, I can select the last one, click G x and just extend it and we can see that it actually grows or geometry or bricks. That's actually especially useful when we're want to control shape of them. For example, I can click seven, I can click G and then move it off to the side and we can see it moving around. It's actually very nice and simple to make use of atom. With that in mind, what we can do is there are multiple shapes of the presets of curvature, for example, instead of just using the default one that we have over here, I do recommend you just grab in this entire section and we can just make a new one fresh from the start. If you were to delete this now, click Delete vertices, you can see it being removed the entire brick. And although this is removed, notice how on the modifier stab, we still have the geometry set up. So it's basically this brick setup is making use out of the curvature, and right now it's not detecting anything, any curvature of the sort. So it's going to give us a blank a fresh empty type of setup. But if we look into the scene collection, we can still see that we have the wall. Because we're in edit mode, we're not deleting the entire curvature, we're just deleting its points. So we can create fresh points from the start. We can click Shift and A. We can select circle in this case before, by the way, it was pass, just a straight line. But using circle, It's just going to give us this setup. It's already because it's in the middle, it's already going to give us this kind of setup. I am going to click next to shift. There's a question mark and sort of a slash, this kind of symbol over here. That's going to basically allow us to isolate or go out of isolation mode. It's not hiding anything. It's just basically taking the selection that we have and isolating the entire section. If I were to go to object mode, I can select multiple parts and I can click this isolation button and it's going to isolate our selection. Again, going back to this, I'm going to select this wall. I'm going to isolate it like so, going to go back onto tab. Talk a bit about this kind of a set. What we have over here is just basically four points and each one of those points have a control additional controls the way they interact with each individual points. If we to move those points next to the main ones, next to the vertices, we can see it changing the shape of our eta. We don't want this to happen at this point, but it is nice to know that basically these are the four main points, and when we select them, we have additional controls over the way they interpolate the information for these bricks for the geometry node. So going back to the breaks, we are going to be going ahead and actually working with them, making sure that we have the right setup. But we are running out of time, so I reckon we can start with that fresh in the next lesson. So thank you so much for watching, and I will be seeing you in a bit. 8. Constructing Detailed 3D Wells with Blender Geometry Nodes: Hello and welcome back ever room to stylized environments with blend of four geometry nodes. In the last lesson, we talked a little bit in regards to the setup of this geometry node, and we did set ourselves up with a new shape that allows us a circular design. I'm just going to go out of my focus mode. This is how it looks like so far, and we need to make sure that it's the right size. What I'm going to do first is I'm going to hit a tab, I'm going to go onto the object mode, and I'm going to check real quick. The thing is right now that I have is this origin point is off on the side. We are going to talk a lot a little bit in regards to that in the future for the frame setup. But for now, what we need to know is that we just need to reset this. Let's go ahead and do that. All we need to do right now is simply click a shift or control and A and hit all transform. We're applying all these transformations like so. Then I'm going to go ahead and hit S and just scale this down a little bit, or actually before doing that, let's go ahead and decide how many bricks we're going to have first. We can do so at the very top layers. We can just scale this down until we get let's say four great number. Then we're going to lower down the gaps like so. Now we can actually start working with them. I'm going to go ahead and just increase it like so, higher up this setup. Then just scale it up until we get this result. I think that's a good start. That seems to be all right. Now let's go ahead and actually work with this overall setup. Actually lower this down a little bit more. I'm going to now go into tab into the edit mode, going to hit a if we were to scale this entire setup, we can see that these bricks actually change the radius of the setup because of these four points. Now we can just scale this down a little bit to something like this of a value. And I would say that we should probably increase this a little bit in regards to the size. We do have a brick size over here, I reckon, the height. There you go. We can even just make use out of this and increase it like so. And this seems to be all right. So I'm quite happy with this result and we are having the right setup. So what I'm going to do right now is I'm going to go back to object mode by hitting tab, select this cylinder, and so it wouldn't get in our way. I'm going to hit H and just check how this looks like so far. I think that's going to be good so far. I'm going to go now and hit isolate mode. So we can actually isolate this entire setup and start working with the bricks. So layers, let's go ahead and actually think in regards to that. And I don't yeah, I think having an extra brick in here would be quite nice, or maybe not. I will actually keep this as four, and then when we're working with the supports in the bit, we're going to add a bit of an extra brick. For these bricks, what we need to do is, well, firstly, we need to change the sharpness of them. They're too sharp, they're too modern. Let's go ahead and find the solution for that. This is either going to be over here or if it's scrolled down within a brick setup, it's going to be I think bevels. Let's go ahead and increase it, see what it does, and it is belts. I'm going to right now just change this value to something of 0.5 for now, that's going to be good. I'm going to increase the resolution because I do want to have some displacement, changing it to four, going to go onto the wireframe just to see the density, and I think that's quite all right. Go to go back onto the modeling mode like so, onto modeling shader. The other thing that we need to is make sure that we should probably not have all of this view for the brick. Right now, it's a little bit too Yeah. I do think that it is a little bit too. We need to basically remove each visual topology. So we can just enable shades move. This is going to enable the shades move we talked about in regards to the terrain. That's what we're going to get for now. Now we can start working in regards to the setup if I were to scroll down. So we have height, we have W I think we should increase it a bit. Let's go ahead and actually lower this down. The thing is that we need to work with is with randomness. Randomness is going to basically increase big, how small the bricks are in regards to just each individual brick. To make this more organic, we need to increase its value to quite a bit, although not too much. With randomness, let's go ahead and change this to something more manageable. I'd say while it's holding shift, I'm going to just lower this down. You go something of a value of 0.06. I think that's quite all right. Then we can work with the whip itself. So the bricks should be this amount and Okay. Actually, we should probably make this well a little bit bigger. We'll go ahead and do that. I'm going to go ahead and select it now that we have all of these bricks. It does seem to be quite thin in regards for stylized well. I'm going to go ahead and select it all, click S, and just increase it just a little bit like we might need to adjust everything else, but I think that's quite all right. I think that's going to work quite nice for us actually. I'm going to just move the staircase a little bit to the front, so we wouldn't lose the visualization. Let's go back on these bricks. The other thing that we now need to fix is going to be these gaps. These massive gaps, we definitely need to fix. I think that's going to be not layer gaps. Okay. That's going to be on second, we need to actually work with or even first actually. What we want for this is just slide offset every once in a while a little bit. We don't want it to be on half because that's going to be looking like a pattern, we want the stone to be looking a little bit offset and whatnot. So it's just slight variation, 0.3, it's going to be quite all right for us. Okay. Other thing that we talked about is going to be these gaps over here. Let's go ahead and have a look where we can find these gaps. Layer gaps is going to be between layers. We don't want this, we want to scroll down until we find the bricks. That's probably going to be with. Let's go ahead, no. That's not with. That's not height ever. Let's go ahead. By the way, I'm clicking Control Z whenever I adjust them just to go back to the default state. That's how I do it. And brick gaps. I think that's the one. Yeah, there we go. We want to make sure that they are actually touching here, like so. The issue with this will be a little bit if we look at the inside that they start touching way faster than the ones outside. If we look at the inside ones and look when they start touching over here, whilst the ones outside are not touching. But I think that's all right. We just need to focus on the ones outside because when they are starting to touch over here, these ones inside are actually going to be quite right. Now we have an issue where the bricks, themselves, those stones are a little bit too smooth. So we're going to start adding some, some displacement. We do have a couple of parameters with that. We have noise scale and noise displacement. If you start just adding noise, actually, I'm going to make this a little bit bigger so we can read what it is. There you go, noise scale and displacement. If you start upscaling displacement on its own, we can see that does some weird bizarre stuff. The reason being is if I were to make this quite a high value, and start increasing the noise scale. We can see that it starts deforming. When it was by default set at zero, it was just giving us just one value, it wasn't giving us the right results. But now that we start scaling this, we can start seeing the results. What we want actually right now, it's barely understandable what's happening. I'm going to lower the displacement by quite a bit to the value of 0.05 for now and start working with the scale. We can now understand what it actually is doing. Noise scale, let's keep increasing it until we get this result. Say 5.5 is quite. There we go. Now displacement itself is a little bit too much. Let's go ahead and while it's holding shift. We're going to lower this down until we get something of a value of 0.02. That's quite all right. There we go. All right, I'm quite happy with this result. Although now, I think that the beveling is a little bit too much, and I do realize that there are gaps in the bindle. Let's go ahead and fix these gaps. I think that's going to be at the top odd offset. That's not it. Actually, that's going to be within the bricks themselves. So probably height, nope that's going to be think with randomness. No layer gaps. There we go. I'm going to lower this down to that's a little bit too much to really small value actually 0.001. I think that's going to be quite all right. I'm just going to go ahead and actually click Old h to unhide everything and I realize that this is a little bit now too short. I'm going to actually increase the height of the brakes. Holding shift just slightly increase it to the desired result. I'm going to check it again to the waist just like that. I can go ahead and select the cylinder back, click H to hide it out of the way. Let's go ahead and do final touches for this. I think I this critical case, again, we don't need to touch cement. Let's go ahead and go through the brick setup, so resolution is all right. Beveling Beveling I think we can lower this down by quite a bit to get the right results. I'm going to lower it down to a value that's more manageable. Something like this, I think looks quite nice. Although now that I see it, we can probably get away with lowering the gap, making the gaps a little bit better. I do want to have more randomness, less uniform type of a look in regards to the craftsmanship. Let's go ahead and do that. I think that wasn't whip. If it was brick gaps, there we go, I'm going to lower this down. Holding shift, I'm going to lower this down to a value that's more reasonable. 0.4. I think that's going to be quite nice. We have some small gaps over here that's looking quite nice. I think we have some gaps randomized. That's actually quite good. We're going to whole shift and slightly increase it a little bit. Just a little bit 0.015 is looking quite nice. We do have rotation randomness. Those are the ones that are we're looking for to make it a little bit more chaotic, a little bit more random. Pull randomness is going to basically offset these bricks like so. We wanted to offset it inwards, actually this time. Okay. It would go inwards. So we wouldn't be creating additional gaps if we were to do pull randomness outwards. We can see that the gaps that it starts creating are going to be larger like the gap over here. We're going to do the opposite of that slight amount. Not too much. Let's go ahead and look how this looks like. I think that's looking quite all right actually. Rotation y rotation, it's going to be basically the bricks over here. The offset, I'm going to hold shift and just slightly add in 0.05, both. 0.005 that is. Just a little bit small offset. It's going to look quite nice whilst keeping this well looking like it's not about to fall over. Yeah, I think that's pretty much it in regards to the setup for this well. We do have a nice setup over here for the bricks. We're now going to be starting to work on the foundation of the roof, for the supports, and get ourselves some additional supports of the stone to make sure that we also break off the edges. But we're going to talk about this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 9. Adding Structural Integrity with Stone Supports in Blender: Hello, and welcome back everyone to stylized environment with blender four geometry nodes. In the last lesson, we let ourselves by creating a nice brick type of a setup for the well, but we're still not quite done there. We still have a bit of work to do. If we look at it from a distance, it's going to look quite bland. The reason being is that it's just a plain looking type of brick, although we did have some offset and whatnot. If we look at the reference within the setup, we do have a little bit of a difference, and that being is going to be these parts over here. We want to make sure that we support the roof on the top. And for that, we want to make sure that we have a bit of a difference in the bricks that we have. So you see even at the back, we have a little bit of a difference. And that small kind of a detail does add up to making this well look a little bit more stylized, a little bit more unique. Whilst at the same time, it makes it look manageable for the overall support for the weight, and whatnot, how the well itself just basically sits on the ground. Okay. So let's go ahead and get right into it. We're going to create these bricks. But for us to create these bricks, we actually need to decide where the supports are going to be. We did make this a little bit bigger just to make sure that it looks a little bit nicer overall from a distance, but we now need to decide how these placements are going to be set. So for us to do that, we're going to actually go ahead and start off by selecting one of them in the back leg so, and then we're going to just go use modifier, we're going to add a modifier mirror. So the mirror is a very nice function that will allow us to basically mirror one side to the other. But actually the way the mirror works, it's actually quite interesting because you see this.in the middle for the object, this is an origin point. This is what controls the mirror. If we try to move the origin point, basically, it'll start mirroring off based on that. Right now, even if we have this selected, it doesn't look like it's doing anything. And the reason being is that it basically mirrors one side to the other side, and it doesn't really change anything in regards to that. We need to make sure it mirrors it based on the center of this well. So what we're going to do is, we're just going to make use of this free Dcursor that's set up at the centerpiece of this object of this world. So we can just in case you have misclicked or have this free Dcursor somewhere else, we're going to hit Shift ten S, like so, and then we're going to select cursor to world origin. Then we're going to have this object selected. We're going to right click, and we're going to click Set origin to free de cursor. This way, we have it right in the middle and we can see that it's starting to do something. Now if we go with the mirror tool, if we go on to edit mode like so and have this object selected, so we can click A, we can see that this is selected, we can click G x and move it off to the side and we can see it moving it off onto the other side as well. We can also select y, so mirrors x and y, both at the same time, and we're going to get this result. I'm actually going to go out of the object mode for now, sorry, out of the edit mode onto object mode and select these individual parts, like so, delete them. So we only have this one object with the mirror tool enabled. Now I'm going to go back onto edit mode. Again, with this selected, I'm going to click G and x and just position it nicely. W is to be ideally in the exact location for where one quarter is going to be. The best way the easiest way for us to do that is going to be if you click RZ and select 45, we write that down, it's going to be perfectly diagonal like so. Now we can simply just tune up the location. I'm going to go onto the object move tool, and we're going to use this blue square over here just to move it off to the side where we want it to be. I think that looks quite nice. All right, I'm quite happy with this result. Let's go ahead now and talk about in regards to the support. So the support itself is going to have this wooden part over here, that's going to be covering most of the section. I'm not sure if it's visible within a video, but basically, if we have this part over here, it's going to be basically having a foundation of over rocks. It's going to be slightly going outwards from the support over here. That's what we want to do the support itself is going to be over here at same or similar with the bricks that we just set it up for a cylinder. So I think we can start off by instead of just working on the whip, we just want to find a location, which we did, and I think that looks quite nice. We now need to work on in regards to the bricks themselves that are going to be placed over here. I'm going to actually just select these bricks over here because we already have very nice type of brick setup. And this time, we're going to duplicate it, so ship DGX, we already have all of the parameters that we already set up already for us. Now we're going to need to actually set ourselves up with the right style with the right setup. The way we're going to do it, We're going to go to object mode, hit A, delete all of these vertices, all of the curve vertices that is. We're going to hit shift and A, we're going to select path, and then we're going to get ourselves straight line. That's exactly what we want. Now we're going to just move it a little bit to the back, going to reset the origins of set origin to geometry. We need to think on how we're going to set this up. The layers, we can just set up as two bricks In this particular case, Okay. We want these bricks to basically be vertical. I think that's going to be quite all right. Let's go ahead and do that. First to set it up vertically, so we could actually just place it in regards to the height. We're going to first go onto the edit mode. We're going to delete these last points over here. Let's go ahead and delete the vertices. We only have two left, like so, and then we're going to make sure that the layer offset is set to zero. So it's actually placed nicely across. We're going to extend this last point, gx over here, so we're getting more bricks across. Now we can actually start working in regards to them. Okay. So what we did basically is we removed the additional vertices. We only have two points now to be working with, and we took off the GAP offset, and I think. We can set up the layer gaps to be zero actually. Seed, we can just keep it as zero or a bit of a different one. We just want to make sure that we have a little bit of a different difference in regards to these main bricks, and I think that's quite all right. Now, we're simply going to click r y and 90. We're going to get this kind of a setup. I think we have a width of randomness as well, which we do want to lower this down. W randomness, I think that's there we go. The reason being is that we want the top to be more or less similar to what we had, which it is now. That's quite nice. Okay, four bricks is going to be quite all right. Let's go ahead and actually set it up properly. I'm going to click GZ, maybe four bricks. I'm going to set origin to a geometry like so. Click one, put it off to the side, click Z, make it the right size. Just like so. We're making sure that the bottom and the top is nicely placed like so. I'm going to place it right in here. What I will do right now is I will actually just go and place this off to the side just like that. Now we're going to set it up diagonally to be going in the same rotation as this. We're going to select these bricks, Rs 45. It's going the wrong way, so we're going to add a minus sign, so it's going to be -45, as you can see over here, and that's exactly what we want. I'm now going to use this move tool to just set it up nicely. I'm picking about the thickness of it itself. I do want the beveling to be a little bit sharper, so we'll go actually and holding shift lowers down a little bit. Not sure by how much. Me by something like this. That's look square nice actually quite like this. We do want the thickness to be much bigger, so I'm just going to check the whip. That's not it. The height, P height is the one that's doing it, but it's actually affecting the overall height, which is not what I want to do. I'm going to go ahead and check the set. I don't think that's going to do anything, so it's not the type of change that I want. In this particular case, what I will do is I will actually scale it in a local axis, and if we were to select, change this from global to local, we can now see that the Gizmo changes and it basically paces instead of the world position, I pass local position based on the rotation of this object. Now we can click S and y and just scale it upwards like so. I do want to scale it a little bit upwards or actually maybe just move it upwards and drive scale it. This time, to scale it upwards, instead of using Z, we can see that this is red. If we look at the Gizmo on the top right, we can actually see the world gizmo. Before it was Z that was going top nows x because of the rotation. I'm going to click S x and scale it upwards a little bit to make sure it goes above these bricks over here. I think I'm quite happy with the result. I'm quite happy the way it turned out. So that looks pretty good for us. We now need to make sure that we actually mirror this across to the other sides, the same way as we have or the geometry. The reason being is that because it's using the curvature to generate those bricks, even if we were to add a mirror modify over here, it's not going to give us the right result, even if we were to at the origin points in the center. So what I recommend you doing is we just need to convert this mesh, and It's actually better to do it by having a duplicate out of this. The reason being is in case we want to make some adjustments or something of the sort in the future, we have an option to do so. By default, if we were to do it right away, we're going to lose all the options for the emt nodes, and although I'm quite happy with the result, it's still better to keep it just in case. The way we're going to do it is we're going to hit ship to make a duplicate and then hit Enter, so it's going to make us a duplicate and we can just hide this out of the way by clicking h or just selecting this and just clicking this button over here. If you don't want this to be rendered as well, we can just click on this render icon over here as well. That's going to completely hide it out of our side. And now we're just left with the duplicate for this. It still set the show nodes, so let's go ahead and convert this to a normal mesh. The way we do this is if we have this selected, we can go to object, we can hit, convert, convert to mesh, and that's just going to apply everything and it's going to give us the nice result that we're looking for. All right. So now we have it like so. We can finally go to Modify. Search for a mirror like so, and it's not going to give us the right result right away for the mirroring because we need to reset the origin point. But before doing that, I'd like to actually scale it outwards a little bit more just bricks, just to get a bit more of that gap over here. Let's go ahead and do that. We're going to hit with the local selected. We're going to hit S and X. Sorry, Y. Okay. Actually is. There we go. That's what we're looking for, and we're just going to scale it outwards like so. And you can see there's issues over here. This is because of the mirroring, so we can just ignore that. And I'm going to slightly try it upwards like so to make sure there's no issue. Okay, I'm quite happy with the result. Let's go ahead and enable x and y axis is not going to give us the right result. The reason being is that we need to make sure that the origin is set over here. We also need to make sure that the rotation is also applied. So we can do that all at once by hitting control at A, resetting all transformations, and that's going to put our origin point right in the center, which is exactly what we're looking for, and that's going to give us the right result. And yeah, I'm quite happy to result. Let's go ahead and move on and in the next lesson, we're going to start working on upper section of this well. So thank you so much for watching, and I will be seeing you in a bit. 10. Crafting Stone Slabs in Blender for Stylized Environments: Okay. Hello, and welcome back everyone to stylized environments with blender four Geometri notes. In the last lesson, we set ourselves up with a nice setup or these bricks over here. We're just going to leave them as is, we can apply the mirror for the moment, but I prefer to keep it until the very last second until I'm sure that everything is working out nicely. Let's go ahead and just leave it as is. Now the next thing that we want to do is make sure we get some nice tiles or slabs going across the well. This part is going to be a modeling section, a little bit more of that instead of just doing omet notes. But it is actually going to be quite simple. But before doing that, we actually need to determine what is going to be the base of these parts over here of the supports because we want to make sure that the slabs are actually touching the sides of these supports. Let's go ahead and determine that. Just looking at this, the width of these seem to be all right. If we want to change the width overall, we can do so. We can go onto edit mode. We can make a selection going across for the edge loop. By clicking free and then holding and tapping on the side, we should be able to just select only the edges. We can check even by isolating the view, and we can see that the top and the bottom are not selected, and with that, we can click AltenS and then scale it up and down a little bit. Although I think this a scale is all right. Now we can do some extra supports for the bottom. Let's go ahead and do that. I'm going to click Control R, which will allow us to give us a nice edge mode edge loop creation, basically. We can tap and hold on our left mouse button and then drag it down until we get to this part over here. Then I'm just going to click left mouse button again. And that's what we're going to get a nice edge loop going across. So we can now make use out of this edge loop and actually add an extrusion over here. We're going to click three to go onto the edge sorry, face selection. We can hold old tap on the side of the face. Click, click Enter right away. Since we want to make sure we expand it using inflation, which we can do so using old and S, and then we are just expanding it afterwards, since this is being kept with the same selection. So basically we create an extrusion, and then we straightaway press enter, so it wouldn't actually extrude it in any unwanted way. It would just keep the extrusion on top of the mesh, and then we're going to use old S to basically expand this selection. I want the selection to be just a little bit outside of these bricks over here. Holding old S. I'm just going to expand it like so. I'm going to select this bottom since I can see that it's actually being applied a bit. I want it to be going a little bit downwards. I'm going to actually isolate this entire selection. So isolating the view, selecting the bottom. This time, we can click Control Plus, which will increase basically the selection, and this will select this entire base so just from this single square. Now we can click GSD or actually before doing that, let's go out of the isolation mode. We can click we can click out of the isolation mode. GSD and going down a little bit. Think that's going to be une. So this is what we're going to get for now, and I think it's looking quite right. Okay. I'm quite happy with the result. Let's go ahead and add a bit of a beveling. So we're going to use a modifier for that, which will basically soften out the edges. So in the future, we don't have to do that. Let's go ahead and add a modifier, search for bevel. And that's what we're going to get by default. It's going to add it right underneath the mirror, so we can just scroll with a mouse button while severing over these modifiers. And I'm going to hold shift and just lower this down. Until we get a reasonable amount. So 0.003 seems to give us a nice amount. I think I'm quite happy with that. All right. What we need to do now is we need to determine this type of edge over here for the slabs. We can actually click AltenH and we still have this nice cylinder over here. So we can actually make use out of it. Let's go ahead and do that actually. It's going to make our lives much easier. I'm just thinking if I should make a duplicate out of it just in case and I think. I think I will make a duplicate since I want to keep the gray box for now just yet. Just in case, I'm going to hit ship D, make a duplicate, and then I'm going to hit escape to make sure it's placed in the same position. So, I'm then going to click H to hide this out of the way and then we're left with the original cylinder. Now we can go onto edit mode like so. I can isolate this entire selection. I can select the bottom pace, click Control Plus to basically increase the selection, and now we're going to click delete basis and we're left with this at the very top. We can now go out of isolation mode. Now what we're going to do is we're going to let's see the passes way to do this, would probably be to just simply increase this entire selection, like so just a little bit. Um, I think, yeah, a little bit underneath the bricks themselves. We don't want it to be going outwards too much, but it's going to give us a nice overhang, so that's going to be the maximum point. And then we can click while staving this pace selected we can click and shrink it down for this. I think that's going to be quite all right. We can actually just hit delete faces, and that's what we're going to get. Now we can click two to go into selection, holding old, select this entire selection, and we can actually just click S and actually just scale it down, and I'm thinking There we go. Something like this. Again, it's just going to be right before this main foundation bricks. I think that's going to be quite right. I'm quite happy to result with the result. Now, this is the part where we want to decide how many slabs we actually want to get. I'm thinking of getting just five slabs be like one, two, three, and actually or five. But it's not looking quite right, so I'm going to actually just select this entire p, click Art and just rotate it a little bit, so we fit it in like so. Okay. I think that's a little bit better. Let's have a look, one, two, three, and we do want to have more slabs. So what would be the best way of doing it? So each slab should be a separate phase. That would make our lives so much easier. And I think that's exactly what we're going to do right here. So actually, let me just think how many slabs. I think setting it up five by five by five is going to be quite right. So what I'm going to do in this particular case is just simply going to grab one of one of this, that's going to be quite all right. Yeah, that looks all right. Just do a quick duplicate. Ship G or click scape, then G, and there we go, we're going to have ourselves a separate tile. Which now we're going to make use out of, and that's going to be quite all right. I do want to split this off from the main object, so let's go ahead and do that. P separate by selection, and that's going to give us this separate tile. Now, this style we can just make use array and just go around in this section. I think that's the best way of making the tiles here. Let's go ahead and do that add modifier search for array. So and we want to make sure that it actually is rotating around. Let's go ahead and increase the tile count to six for this moment. So it's going all the way to the side, which is all right. We want to make sure that it is actually the factor over here, it's set to zero, and we want to make sure we are rotating it instead. I'm just looking for rotation. Okay. And for that, we actually do need to grab or selves an object offset. Let's go ahead and do that. The object offset will allow us to basically rotate the setup in a nice way. What I'm going to do for this case is I'm going to hit Shift and A, create an empty, like so, and we can create a simple plane axis like this. We're just looking for this to make sure we're getting basically the controls over the rotation. I'm actually just going to drag it upwards like so, and I will reset the transformation. So click Control A, reset all transformation, so it will be at the center. I'm going to select this part over here. Going to do the same thing, actually, reset all transformation. So it's actually going to be at the center. Basically, these two where did I miss it. G. Actually, this applies the transformation back with the origin point. I'm just going to move it upwards so making sure it's still centered because we're only using x rotation. Anyway, going back to this, we need to select object offset. We're going to select this object like so, and it should give us this empty selection. Now, when we rotate this R we should see ourselves some rotation. This seems to want to go off and that's the reason why. We're basically offsetting it based on the axis. What we're going to do, actually. I just want to make sure we see this empty over here, but we don't necessarily have to. We can just rotate the transformation and it would work in exactly the same way. But instead, what I prefer doing is just real quick. I'm going to set our fredcursor to this point. Ship cursor to active, just going to raise it up, like so. Now I'm going to select this then right click set origin to freecursor there we go. That's exactly what we're getting, exactly what we want. But it's not quite there because the factors need to be set as zero, and there we go. We're going to get ourselves this type of a setup. Now we need to make sure that we have the right type of tile set. Again, we wanted to make sure it's set to five in across each one of these gaps. Let's go ahead and do that. We're just going to grab this set count to five. Grab this empty and now make this something like so. We now need to make sure that the scaling is actually a little bit thinner, so let's go ahead and grab this. I'm actually going to grab Okay. Now all that we need to do is make sure that we are aligning them properly. I think now we can just delete this part over here and fix it afterwards. So I'm just going to go ahead and delete this pace so. Now we're getting this a setup and it's getting closer to what we want, but it's going to give us a gap at the very end. What we're going to do is, we're just going to extend it a little bit like so and the gap is still there. Let's go ahead and fix it right away. The way I'm going to fix it is firstly just click on the MT that we created. Click Z, move it off to the distance, like so. Okay. And have it halfway through just like that, something of the sort. I think that's quite all right. We can now go ahead and fix up these and make sure that these are actually a bit closer to what we want to the edges. Now this part is actually getting much closer to the desired result. I think that's quite all right. There we go. I think that's going to be looking much nicer overall. All right. So we got ourselves this type of result. Now I'm going to create an bar edge loop actually in the middle since I don't want them to be just completely plain, I'm going to add an edge loop. Control top left mouse button right mouse button, and that's what we're going to get. I'm going to select this, I'm going to just do a bit of an inward selection and select this. Use this blue square to make it go outwards, just like that. That's what we're going to get. Slightly tweaking it, slightly adjusting it, making sure that properly sitting is sitting. So I think that's looking quite nice. All right, now that we have it like so. Let's go ahead and add a bit of thickness. I think the easiest way for us to do that would be to just add a new modifier using something called solidify, there we go, within the generate called solidify. Let's go ahead and add it in. For the thickness, we're going to hold shift and just add a bit of an extra thickness. I think that's going to be quite all right. Let's have a look from a distance, how this looks like, and I think that's quite fine. And we are running out of time, so I think we're actually going to leave it here. And in the next lesson, we're going to continue on and actually make it a little bit more organic looking of stone slabs. So thank you so much for watching, and I will be seeing you in a bit. 11. Refining Stone Tile Textures in Blender for Enhanced Realism: Hello and welcome back ever into stylized environments with Blender four geometry nodes. In the last lesson, we let ourselves off with a couple of slabs going across this section of the well, and it's looking quite nice, but we still need some work to be done. I will actually hide this circle out of the way. I'm going to select it click H just to hide it out of the way. And now, let's go ahead and actually add a little bit more of a natural type look. The first thing that we want to do is actually, I'm just going to go ahead and click on these buttons over here to hide the modifiers. It'll make our lives a little bit easier since we're done with them. And I will actually go back to the solidify and increase the fitness just a little bit more. There we go. I think that's a little bit better. Okay. And afterwards, by the way, we can click GSD and just move it up or down. I just realized that it's going to be based on this setup, so now we're not going to touch it. We are going to be changing it afterwards. Or we can do it right away, actually. If we select both the slab and the empty, we can now click GSD and move it up and down to reposition it the way we wanted to. I think setting it up like this is quite all right. Anyways, going back to this, let's go ahead and get ourselves a nice organic type of a look. The first thing that we're going to add is going to be searching for level. Like holding shift, we're going to lower the amount to a value of 0.0 free. By the way, if you're not getting the right results with the bevel, I do recommend you just switching over to just changing the angle over here. You might also want to click Control and A and apply rotation and scale, which will give you a better type of a result in regards to maybe if you had wrong scaling and whatnot, it should give you a better result overall. But for this particular case, it seems to be working quite well for me. Okay. Going to lower this down, add a numifier and I'm going to search for a displacement. Let's go ahead and do that. There we go. We got to self way to big of a displacement. We now need to make sure we set it up properly, so we're going to click on new texture we're going to lower the strength down actually quite a bit for now. Going to lower down to 0.02 for now. Now for the texture itself, we do need to make some changes. Let's go down all the way down until there is a texture properties. We're going to open this up. In here, we're going to change the type to be a musk grave. There we go. We're going to change the size. This is going to affect basically the noise over here. We can see the preview. We're just changing this up so we can get a nicer displacement. We're going to change this to a value of 0.17 to get this result. We don't really need to touch anything else. We can go back to the displacement and change up the strength a little bit, holding shift. I'm just going to make it just a little bit. Actually, now realize that we also need a bit more in regards to this, and we need more topology to work with to make sure that displacement is actually being affected properly. So what I'm going to do is I'm going to add a modifier. I'm going to add a subdivision. Subdivision surface. There we go. We're going to make sure that this is set as simple, and we're going to set both of them to free in the viewport and in render, we're going to get the same result. Now we're going to make sure that this subdivision is right above the displacement texture. We can do so by clicking and holding and dragging it upwards like so on these dots over here, because it's based on hierarchy, it's going to subdivide it and then apply displacement, which is exactly what we want. This particular setup is going to be visible right away. Although right now, I probably want to lower the strength. Holding Shift, I'm going to lower this down even more. Actually 00.005 or 0.001. Maybe two. In this particular case, I'm just writing the values down because we even need more control in this particular case. 0.003. Okay. Something like this might be quite right. Yeah, I'm quite happy with the result actually. Let's go ahead and make use out of that. Now we just need to make sure we basically mirror this around. I do want to increase the fickness looking from a distance. It does look like the thickness is not enough. I will go ahead and add a thickness over here. Holding shift, I will just increase it just like that, and I'm quite happy with the result. Now I'm thinking how we can add to this end. There are multiple ways of doing that. One way would be to simply apply all of these modifiers and then just duplicate it, rotate it and that would give us a nice setup. But I do want to keep the control over the modifiers until the very last second. So now I be have these properly set up. Let's go ahead and have a look if they need additional adjustments and whatnot. So for example, solidify, I still want to make it a little bit figer looking from a distance. They don't seem to be fig enough. I'm going to go ahead and hold shift, extrude it just a little bit more. Okay. There we go. I'm quite happy with this quite much happier. Go to click one actually, holding control at one. Tapping one, there we go. Just looking distance Is going to look like. Now we can finally just set it up to be added on to all the other parts. We could do it within a way that's set up as an array mesh. We're now going to go ahead and apply an array onto this to make sure it wraps all the way around. Let's go ahead and do that. Yeah, let's go ahead and add a modifier, are four array. Again, so we are going to actually go ahead and make a new empty object instead of using this so we can do pretty much the same rotation but have more control over it. Let's go ahead and do that. We're going to hit Shift A, select a sphere this time. I will say this. We should probably make sure that the origin point is actually in the same location. So we'll actually select this object over here. I'm going to hit Shift ins. We're going to now select a cursor to selected, so we're going to go back onto the sphere. Click right click simply snap to the cursor selection to cursor there you go. Now that's just going to make sure that we are in exactly the same location. We can now go back onto our object. We still have the array. We can increase the count to four. Turn off the relative offset. We're going to use offset instead. Select the object and that's going to be the sphere. This line over here. Now, once we select the sphere and rotate it should give us the right rotation. We can just rotate it like so. I think I'm going to set the angle, it's set to 88, so I'm going to set it to 90, should give us the exact rotation as we want. I'm actually going to. What's happening right now is I just realized that the front and the back have the exact proportions, but the ones on the sides, you can see that they're actually overlapping over here. We need to fix that. The best way to fix that would probably be Yeah, the way we're going to do it is going to be if we were to go back onto the object over here. We're going to drag this array all the way to the top like so. Basically, we're applying both of these arrays first, and then everything else afterwards. We want to make sure now that we are applying these arrays, so we're just going to click on this R over here. Click apply, or we can use control an A, give away works. We're applying both of these modifiers. Now we can actually see what it looks like. We can go ahead and go on to edit mode, and this is what it looks like. We can turn off all of these modifiers to be not visible in edit mode by clicking on this button over here. Everything now is turned off, and this is the default that we're getting, so we're looking pretty good except for these parts over here. What I'm going to do is I'm going to go ahead and select these parts over here. We'll actually turn off the normal selected to global. So I will just slightly adjust it to make sure we're not overlapping. Actually, this was, all right. We need to select this one over here. Let's go ahead and select it. Just going to make it a little bit smaller, like so. Make this more centered, just like that. Going to do the same thing on this part as well. So just like that. Essentially, we're making sure that whenever we have a proper setup, these tiles are going to be smaller, so they are actually going to be fitting right before this part over here. If we were to go out of edit mode because we have this still set up, we still should be seeing it within the real time and that's the outcome that we're going to get. I think that's looking quite right. We just need to fix upversit as well. Let's go ahead and do that. And we're just going to move it out a little bit to the side. We position this so doesn't need to be perfect because they stone tiles. We just need to make sure that they're looking nice overall, being attached next to it. Again, this one over here. Let's go ahead and do that. We should get ourselves a really nice result for the slabs. This might have been a bit complex overall. Okay. But when working with modifiers and whatnot, if you have additional bit of control for tweaking and whatnot. Afterwards, it's really nice and simple to just make adjustments afterwards. So what I mean by that is now we can have control for solidify, bevel and all of that displacement stuff. We can still have control over that. And even after all that work, we can still go into this and control the styles, these labs, how D interact with for one another. So for example, this one over here, I don't quite like this, so let's go ahead and simply fix it. Okay. Like so. Now we can go out of edit mode just to see how it looks like. I don't like this middle part over here. Let's go ahead and fix it. There we go. See how this looks like, and I'm much happier with the result. Yeah. That will do. I'm really happy with the overall result that we're getting for these tiles. Now, we're pretty much done with the base of the well. We're going to be moving in regards to the setup, of course, but that's going to be with the next lessons. Thank you so much for watching and I will be seeing you in a bit. 12. Seamless Seams and Sharp Edges Texturing in Blender: Hello, and welcome brown to stylized environments with Blender four Geometry Nodes. Last lesson, we did a bit of modeling for the top section of the slabs, and now we're going to go ahead and continue on with the course. Ideally, I prefer to do modeling all in one, go and then work on texturing to make sure we get the right shapes. But just to make sure that we have this course a little bit more spread out in regards to information, I'm going to go ahead and start the process for texturing. For us to do that, we're going to go ahead and go over the basics of seams and sharps to help us understand how to better UV unwrap such an asset. Then we're going to actually start with the UV. Part of the course. So thank you so much for watching, and I will be seeing you in the bin. Welcome everyone to the short introduction to marking seams and sharps part of the course. So before I give you examples of what I'm actually talking about, let me just briefly explain what they are. Seams you can think of like seams on a piece of clothing, like a shirt or a pair of trousers. The main job of seams is to make sure the texture that you're trying to place on your mesh goes on correctly, but more importantly, gives you control of how that texture will look. Sharps are marked like seams, but serve an entirely different purpose. We use sharps to give us control of how sharp and soft angles are on our measures. This makes them look realistic. It is also important we do this not only for rendering in blender, but also sharps carry on through to other software or games engines, we want to use, like substance painter or real engine as an example. With all that said, let's get started. So here we are in blender with our starting ue. Now, if I click on my cube and go to my UV editing, you'll see that the Que is basically unwrapped in this actual way. So basically, it unwraps like a present. Now, if I come across and I grab this cube and I press Shift D, and then we press Shift spacebar to bring in our gizmo and we move it across. And now, let's say I want to alter this cube a little bit. So what I'm going to do is I'm going to press the tab button. I'm going to go interface elect, click the top face Shift space bar to bring in the move tool, bring it up like so. Now, let's say I want to unwrap this. Now, if I grab this with L just to grab everything and I press the U button for unwrap, you'll see that it unwraps exactly the same way. Even if I reset the transformations of this, it will still unwrap exactly the same way. Now, let's mark some seams and see how that has an actual effect on our actual um wrap. So let's grab the top and we'll come down to the bottom. And what we're going to do is we're going to press control. And then come down to where it says, Mark seams. Now, it's important to remember that it's control leap to mark seams in face select. But if for instance, we're in Edge select, so if we come to this edge, if we press Control leap, you will get this option up as well, mark seams. But you can also right click in Edge select and you can also see we can mark seam this way as well. So for now though I'm not going to actually mark this scene. What I'm going to do is I'm going to grab the whole thing with L, like so, and now I'm going to press Unwrap and you can see it unwraps completely different. Now, let's bring in some textures so you can see what exactly I'm talking about. So if I press tab, I'll come up to my materials panel up here, and I'm going to give this material. So I'm going to come across to the right hand side, click on my material button. So let's now bring the material I've already prepared. So if I come across this little down arrow, come on down, you can see I've got one here called wood, and let's click that on. Now you can see what's happened. We've actually applied our material to this object, but you can see it's pretty much a mess. The top of it looks fine, but the bit going around the side is all bent and skewed. So if I zoom out and I press tab now, you can see that the reason is that it's not actually UV unwrapped correctly. So how do we fix that? If we come up to edge select, I'm going to grab this edge, and now I'm going to do is I'm going to right click. Come down to mark seams, and now grab the whole thing again. I'm going to press, Unwrap, and now you'll see it unwraps absolutely fine. You can see that woods looking really, really nice actually on this mesh now. So what this does, the seams do is actually gives you control of how this actual texture is placed on this mesh. You also need to take into account that this is basically an infinite loop. So if I come round and I look at this face and this face, you can see that they're going round. If we have no seam, when I talk about infinite loops, it's basically going round and round and Blender doesn't actually understand how to unwrap it. So you'll end up with that mess we had before. Now, the other thing to take into account is if I turn this wood around, for instance, so I'm going to do it. I'm going to come over to the left hand side, the viewport of my UV editing, press A to grab everything 90, spin it round. Now, the other thing I want to show you is that where we join these actual seams up is also really important because you'll never ever get it perfect on here, where there's an actual seam. So let me exaggerate this a little bit. So what I'm going to do is I'm going to press tab. I'm going to make this a lot smaller, and I'm going to move it into the center of my UV map, and then I'm going to press tab. Now you can see that these edges don't line up whatsoever against this other side. So this texture here doesn't line up with this texture. And the reason is because we've got a scene down there, and that is the actual break in the texture. Yet if we come round to this side, and I spin this round. So if I grab it or Z 90 and now go to this one where we can see, you can see that these line up perfectly. And the reason is because obviously, there's no seam there. The seam is here. So you need to take that into account on your own measures and objects that when you're applying textures and materials, try and put seams where you're not going to see them. So if it's on a door handle, for instance, try and put them on the inside where no one's actually going to see them. So always bear that in mind when you're actually marking your seams. So now, let's discuss sharps. So if I bring in a new primitive, so if I press shift A, I'm going to go across the mesh, I'm going to bring in a cylinder. Now, you'll notice that this cylinder has all these little edges around there, and let's say you want to make a cup or something. The last thing that you want is all these hard edge faces in there. Now, there are things we can do to sort this out. So the first one we can do is we'll bring in another cylinder. So I'm just going to move this one out of the way. So shift space bar, bring in Mgzmo move it out of the way. Shift A, bring in a another cylinder. And this time, I'm going to come down to where it says, add cylinder and turn up the vertices to 100. And now, you'll notice that we do have a round edge. But the problem is that we've brought in 100 vertices to actually achieve that, and that's not something we want. We want to use as few polygons as possible while still getting a really good looking mesh. So how do we achieve that? Well, there are a number of things we can do. First of all, we can come across to this right hand side, what we can do now is come to where it says normals and click on Auto smooth. Then we can right click on the viewport and click Shad smoot. Now you'll notice it's actually been smoothed off. But the problem with this is, if I turn up my auto smooth, you can see if I turn it up all the way, it goes really, really funky. And that is because at 170 degrees, Blender decides that these edges along here need moving off. So it doesn't give us a lot of control. If we do this on the other one, so grab this one, right click, shapes, move, Autos move on. You can see again, even with lower amounts of polygons, we're still able to smooth it off. But if we turn this off, we're still going to end up with the same problem as what we had before. So how do we solve that? Well, if we come in now, press the tab button, come to the top, grab the top, shifts like the bottom. Press control because we are in face select, and we'll come in and mark a shot. And now you'll notice if I press tab, that now's got hard edges on there. This gives us control. So this is why we actually use shops. No matter what I turn this up to 180 degrees, which is the highest it goes, it will not get rid of those shops that we mark. We can also mark shops around the edges as well, sea grab this one and this one. And now we're in edge select. We can right click. Come down, mark a shop. Press the tab and now you'll see you've got hard edges on there. So it's very important that you mark sharps, where you're going to actually want hard edges. It's also important that you get into the habit of making sharps, when you're actually marking seams. And then what happens is when you join two objects together and you turn up the auto smooth if needed, you're not going to end up with some measures like this. Okay, for one, so I hope you enjoyed that introduction to marking scenes and sharps and as they say, on with the show. 13. Efficient UV Unwrapping for Complex Environmental Designs in Blender: Hello and welcome back everyone to stylist environments with blender four Gem nodes. In the last lesson, we went over the basics of sceams and charps and now we're going to actually set ourselves up with the asset for the UVs to make sure we get the right set up for our materials. So, for us to do that, we're going to go ahead and actually start off by converting this mesh. Before doing that, I just realized that there is for some reason an additional bit of information over here that we made it as a duplicate to keep it just in case, and I can just either delete it or move it out of the way. In case we want to reuse these parameters, we still have it on the side leg for the rest of it, I'm just going to see if everything else is fine, nothing else is overlapping and everything seems to be all right. We can go ahead and just convert this entire setup to mesh. We would have basically all of these applied, we wouldn't have any additional parameters that will affect the UV coordinates. Okay. Whilst we're working with it all. And yeah, for us to do that, we can just simply select each one of the pieces or all of them at once, actually, we can do that as well. We can select it like so. We can go to object, convert and convert mesh. In this way, all of them should have everything converted. Now we can delete those emptss we're not using them anymore. We don't have anything modifiers on these parts over here. And I'm quite happy with the result. Now, let's go ahead and actually sort of ourselves up with the UVs. For us to do that, we're going to go ahead and actually start up with the slabs. Probably, that's the easiest one to do. Since it is set with a nice angle, sharp angles at the corners. We should be able to just make use out of the automatic UVN wrap to get the right setup for our UVs. Let's go ahead and do that. I will go onto the UV editing mode over here onto getting ourselves a new tab, which will now allow us to get this kind of perspective. And before actually doing anything, I would like to actually go onto material mode instead. Even though the cavities are I think cavities are quite nice to see, they would be better to be visible in material. If we're not seeing the material tab, you can see it hidden over here. All we need to do is just simply scroll or mouse button. Once we have over with our mouse on the top right hand side, we can scroll to actually unhide basically whatever is on those corners within the tab for the render view port, and we're just going to go ahead and select this material tab over here. We're going to be seeing this a set up. Now we're going to go ahead and select this go onto our edit mode, select all by clicking A, and we're going to click for wrapping and then select Mart TV project. This should give us this menu, which will allow us to select angle limit. By increasing the angle limit, we will get ourselves less amount of pieces to be unwrap increase this or if we lower this, we're going to get more pieces, but more accurate data for the warping, it's going to give us less warping, but at the same time, it's going to give us more seams. Seams will just make the texture parts visible where they connect with one another within two d space. I prefer to increase this to a value of 80 or 81, and it's going to give us better results. Everything else should be quite right. And we can just go ahead and click on Rap. Or actually before doing on rap, I would like to increase the island margin as well. So changing this to 0.03 will give us a bit of an extra space on the side between each of the islands. If we were to click, we can see what it actually does. And this is the type of setup that we're getting, and I just realized that the type of option that we set ourselves up with is actually a little bit too big for the gaps. So we can actually go back onto this menu over here at the bottom. And we can see that there is island margin. If we were to change this from 0.03 to 0.03, two zero that is. We can go ahead and click Enter, and that's what we're going to get. This is more like it. We're going to get a better result overall. I'm just going to see if we have any issues with overlapping UVs or anything of the sort, and everything seems to be all right. So I'm quite happy with the result, we can go ahead and keep it as is. You'll notice that there are some small parts that are being left on their own. But for this particular case, because it's stone type of noise the texture is going to be quite right if we were to keep it as is, as it won't actually be quite as visible within this kind of a pattern for the stone. It's actually quite forgiving if we were to leave it as is. That's pretty much done with the tiles at the top. Now, if we were to go down, we're going to have a bit of a different issue. Actually, I'm thinking if we should do the pillars to that side. Now let's go ahead and continue on with this could show you a bit of an interesting technique. With this particular case, the way the UVN wrap works is actually projects from different angles, from top right and the front. It gives us different projection basically based on angle, then it cuts off the pieces. But because this is set up in a round of way, if I was to do that with UVM wrap, you'll notice that I'm not sure if it's visible. Actually, it's giving us a very bizarre type of result. I'm trying to figure out why that was a case, so I will Go ahead and do that again. There we go. That's more like. I'm not sure why that was the case in the first one. This is giving us quite a nice result, but if we look at it, some of them might be a little bit more distorted than others based on an angle, especially over here, we can see the difference in density or topology in between because this for example, brick might have been more at an angle when it was projected, so it's not going to give us as good result. In this partical case, what I'd like to do is make a seam based on sharpness of an angle and then unwrap it, which will give us the right result. So for us to do that, we're going to go ahead and go on to edge. Actually, we'll need to go on to select and then go on to select sharp edges. This will give us an option to select. All of these are edges based on sharpness of it, and we can increase or lower them. If we start lowering, you can see that it's being increased. But let's go ahead and try to lower it or increase it to as much as we can. Let's say we're going to increase it to something like 30 31, we're actually keeping it as firt quite right. We want to make sure that basically each of the faces is being selected. We will get those small cuts over here or the parts that do have a bit more of a sharper angle. But in this particular case, it doesn't really affect us. Again, we're going to use a stone texture. So if you want to, for example, we could manually clean it up the selection. But again, in this particular case, it doesn't matter because once we apply the material, you'll notice that it's actually quite difficult to tell which parts are what in the UPN wrap. And Yeah. All in all, I'm quite happy with the selection. So setting as an angle of 30 is quite all right. We just need to make sure that this entire for example face at the front is being set up as its own independent selections. So for example, this part over here does not have a selection. We might make a selection over here. And I'm just looking making sure that there's no mistake with other ones. It really depends on the sharpness of your personal angle, the one that you use for beveling. But basically, we want a little bit more rather than less. Maybe setting it to 29 might have been even better. I'm just going all the way around just seeing, for example, over here again, it is not an angle that was selected. And the rest seem to be all right. Okay. Now that we're happy with the overall selection. We can go ahead and right click and then simply select Mark Sam. This will mark a seam. Which as you can see, there is a bit of a mess, for example, over here and some extra parts, but all in all, it's quite nicely set up. With this in mind, let's go ahead and actually set ourselves up with proper UPA wrap. Let's select it by clicking A. We can now go ahead and click and click on P T should give us a nice setup. So let's have a look. It is giving us a nice set up, but as you can see over here, some of them are actually not split up. So I'm actually going to go ahead and redo this part real quick. Again, within the edge selection, going to go to select and select sharp edges, set this to 29. Hopefully, this time, all of them are going to be selected as I wanted to. In this case, it seems to be a little bit better. There is an edge over here, for example, but let's see how it goes in regards to the wrap. So we'll actually with the selection, Or, actually, I will want to increase just a little bit more. Let me go ahead and go on to select select sharp edges, set it to 28. Make sure it's the selected first. Select sharp edges. So 28 is not going to do it. Going to start lowering until we get a nicer connection. Over here, there is a better connection. Sorry to actually connect the edges that we want to, and that's actually going to be working much better for us. All right. I'm going to mark. Let's going to hopefully fix our issues. Let's go ahead and select it all. Click on wrap, and let's see how it goes, and there we go. We're going to get this setup. We're still getting these parts over here. Okay. And actually, this is going to be quite all right. We just need to make sure that all of them have proportional setup, and each one of them are properly unwrapped. These parts over here, we could split them up if we have it selected to the face selection. We could make a selection like so, just like that. Okay. Just like that. Then after clicking y and you can see that it actually splits it up if we now click G and move it off to the side. It actually does split it off for us. But in this particular case, again, because we're using stone and we will be using seamless textures, we are going to be basically upscaling this entire section when we bring in our materials. So we don't really need to worry about the overall setup. We just need to make sure that they are not stretching our UVs and I think that's going to be quite all right. We can't fix it going back if we see that we are having some issues with the materials themselves. Final part is going to be these ones over here. I think we can go ahead and just select them all, a click V smart project. Let's go ahead and see how it looks like. Okay. And actually, this one turned out quite right. I'm quite happy with the results. Smart UB project seems to work quite nicely for this part. Even if they're faced at an angle pink It's going to be quite all right. Since they're just being basically bricks that they're not bending or anything of the sort. Yeah, they're going to be quite nicely set up. All right. So we're done with the UBN wrapping parts for the base of the well. We're now going to go ahead and move on to the tturing parts. So, that's going to be in the next lesson and thank you so much for watching, and I will be seeing you in a bit. 14. Material Shaders in Blender Bringing Environments to Life: Hello, and welcome back everyone to stylized environments. We plan the four geometry nodes. In the last lesson, we left ourselves up with nice UV setup or the well, and now we're going to actually make use out of them to get ourselves some stone texture. But before we get into it, I'd like to play a quick introduction video to the shaders so we'd better understand how the material setup is going to work. So we're going to go ahead and move with Ingsa well in the next lesson. Do. Thank you so much for watching, and I will be seeing you in a bit. Welcome everyone to the blender shading and texting introduction. And you can see here within my scene I have actually brought in a few shaders just to kind of explain how they actually work. So first of all, what is an actual shader? A blender shader is a type of material that can be applied to three D models within blender. Shaders define the way surface of objects appear under various lighting conditions, simulating a wide range of materials and effects such as metals, glass, plastics, wood, and more. Essentially, shaders tell blender how to render the surface of an object based on its properties like color, transparency, shyness, texture, and reflection. So within Blender, we use actually a no based system for creating and customizing shaders, particularly within its powerful rendering engines like cycles and the newer EV render engine. Now, it's important to note that the actual shaders within Blender react differently to each of those shaders. So at the moment, you can see that I've actually got this on EV. But the moment I put this to cycles, these actual shaders, some of them at least, will react differently. So now you can see that our emission here that we had that was glowing, doesn't glow anymore, and that's what happens in typically in blender cycles. Also, the glass now, we can actually see through the glass and see this is actually a glass shader. So it's important to know straight off the get go that some shaders will work in EV and some in cycles. Now, next of all, we need to look at the different types of shaders within blender. So some are created entirely in blender through node systems, which we're going to look at in just 1 minute, and the others are created through textures. Generally, these will be PBR text Now, a PBR texture is a physically based rendered texture, and it's a texture map designed to mimic the way light interacts with surfaces in the real world, based on physically accurate models. These textures ensure that materials react to lighting conditions in a realistic manner, making them essential for creating life like three D models and environments within blender. So now, enough of all the back story on textures. Let's actually go up then. And first of all, we want to bring in an add on. Now, this add on is in bill within blender. In other words, it comes with blender. I wish they would actually turn this on a standard, but so far, you have to actually enable it, but trust me want to say it's one of the best add ons that Blender ever produced. So let's go up to edit. What we're going to do is come to preferences. We're going to go over to add ons, and the add on we want is called the node wrangler. Type in node. Make sure the node wrangler is turned on, and then all you need to do is just close this down. Next of all, we're going to go over to our shading panel, which is this one over here. And then what we're going to do, we're going to click on this cube, which at the moment, doesn't actually have a shader on it or any material. We know that because if we come over to the right and the side, where our material panel is here, you can see this is completely empty. Also, in the shader panel, you can also see if I zoom out, this is also completely empty. If you do happen to have a shader in here, and then there's nothing in here, just zoom out as far as you can, and then you'll find all of the nodes. Now, what I'm going to do, first of all, is adding a new shader and what we'll do is we'll double click it and we'll call it wood. Like so. And now you can see here is actually set something up within blender, just a basic principle BSDF. Now, this basically is the super node. It's where all of the texture maps will plug into. This is the main node that you will be using. All right. So now what I want to do is, I just want to click on this node. And what I'm going to do is I'm going to press control, shift, and T. And what then that will enable me to do is open up my actual computer file. And from there, I just want to find my textures. So here are my textures that I'm going to use as an example. And you can see here we've got wood grain. And you can also check out what these actually look like by coming over to the right hand side here and clicking this on, and now you have a good idea of what these are actually going to look like. We can also make them larger as well if we need to, so you can see here at the moment the size is 128, and we can just bring that up to actually make them bigger and see exactly what textures they are. Now, to bring them in, all I need to do is select the first one. Shift, select the last one, so we've got a more selected and click principle texture. And what Blenders going to do from there is is actually going to bring them all in and set them up for us like so. So you can see now because of the node wrangler, everything is set up for us. Now, within our actual shade in panel, you will see over the left hand side, we actually have a UV map here, and it's not actually showing anything at the moment. But if we come on over and we select one of these actual textures like so, you will see if zoo we've actually selected this actual metallic shader. I can also come down and select the roughness, for instance, I can select normal, or I can select the actual image texture like so. So just remember, if it's on the wrong one, it's probably because you've got one of the textures or the wrong texture actually selected, and I generally want to have it on the base color. Now, with blender four, comes a new principled BSDF And now, a lot of the options are actually hidden behind these little tabs here. So emission, for instance, is now hidden behind here, so I can turn this up, as you can see, bring it down and change the color of it if I sell one. So just remember that some of them might actually be hidden. Now, because this is a basic video, we're just going to go through a few of the actual options that we normally get within our actual textures. So a PBR setup normally consists of a base color known as the albedo or cut just a color map, a metallic map, a roughness map and a normal map. There are more maps, but they take a little bit of work to actually set them up within blender, and this is the basics video, so we won't be going into those, but we will be going into those later on in the course. So the first one, which is the albedo map, is just defines the basic color of the material without any lighting or shading effects. It represents how the material looks under natural lighting. If we go to the next one, we've got metallic, and this map defines which parts of the texture are metallic and which are not. Influencing how the material reflects light. Metals have a high reflectivity and distinct coloration in their reflections. Now, you will notice if I click on this one, it's completely black because this wood has absolutely no metallic. If this was completely white, all of this wood would be completely metallic. And if it has kind of graze in there, that then is defined the roughness of the actual metallic. In other words, those little spots that you see when you shine light on something. The next one is roughness, and this isn't to be confused with metallic because roughness is how shiny something is, and metallic is obviously how metallic something is. Generally, as well with metallic, either something is metallic or it isn't. You don't really get in the real world half and half. So the roughness map controls how rough or smooth the surface of the material appears, affecting how sharp or blurred the reflections are. A lower value results in a smoother surface with sharp reflections. Why a higher value leads to rough surface with diffused reflections. Now, when I'm talking about values, I'm talking about these values here. So the more sharp this is or the more blurred this is, or the more darker these little spots are, that will give you the result that you actually looking for. And finally, we're going to go now to the normal map, perhaps, one of the most important maps, and the normal map simulate small surface details and textures without actually changing the geometry of the three D model. It affects the way light pounds off the surface, creating the illusion of depth and detail. And this is used a lot in games to actually look as though there's more geometry than what there is. Now, let me show you how that works, then. So if I come down to this strength at the moment, you can see that we've got our wood here, and it's kind of defined. So if we look from here, it kind of looks like it's, you know, three D and these little grooves are going in. But if we turn this all the way up now, you can see that's the effect we actually get. So you can see now it looks as though it's much more ripply along the edges. We can see big groups going down there, and this is what the normal map actually does. Now, at the moment with our actual cube here, you can see we've only got one actual material on there. And what about if you want to put multiple materials onto an actual object. So what I'm going to do is, I'm just going to click the plus button. I'm going to click the down arrow, and I'm just going to choose one glass. I want to click the plus button again. Click the down arrow, and this time, I'll choose one that says stone. Now, if I go into my cube and press the tab button in actual edit mode, come over, select one of these faces. It only works on faces. By the way, you can't select an edge and apply a material on there. You have to select a face or multiple faces. So what I'm going to do then is come down to glass. And finally, then I'll click a sign like Soap. Then I'll come around to the other side. I'll click this face and this face. And what I'll do is I'll come down, click the Stone and click a sign. And there we go. Now we've actually got stone, we've got wood, and we've got glass. And if we put this on our render view now, you can see exactly how that's going to look, and you can see how the light is interacting with all of these surfaces. If I come over just to the right hand side quickly and turn around my sun rotation, we can get a clearer view of what we're talking about. If I come even further around and bring it to the front light, so you can actually see that glass then is actually starting to be see through, and you can also see that actual normal map working on the inside of this cube. Now, let's quickly go back to our wood. So to do that, what I'm going to do at the moment, you can see that we're probably on the stone in this one in this shade of view here. It says, actually stone here, I can actually come down and click on my wood, for instance, and then it will take me and put the wood on there as well. So that's another way to actually apply them. Instead of the stone, it's actually just put on wood instead, as you can see. Now, what I do want to do is I want to come in to my actual wood. So that's the one that we actually brought in this one here and just show you, for instance, we can actually interact with all of these texture maps. Now, there's thousands of nodes available in blender. And the way that you put them all together, it can become extremely complex with huge hundred node maps and shaders. So I'm just going to show you something of the basics just to get you started, and that will be an RGB curve. So an RGB curve as those of you may know who use photoshop changes basically how the actual image is actually lit, darker spots, lighter spots, things like this. So if I come in and press shift day search RGB, and you can see I've got an RGB curve here. Now, just before we do that, if you do press shift day, you can come down. You can just get a flavor of how many nodes there are actually within blender, and you can see also how many shaders there are within blender. Let's discuss that after. But first of all, we're going to go with RGB curves. Bring that in and drop that down like so. And from here now, you can see that I can actually affect the color of this actual wood on the fly in real time, like so. We can also put this onto the metallic onto the roughness and even onto the normal to get different effects and different ways that the metallic or roughness actually work. Now, the next thing is we want to discuss is just shaders. So as I said, this is the main shade within blender. This is like the one ring of shaders. And basically, this will be the main one that you actually use. But of course, there's plenty of shades. So depending on what you want to do, if you come down, you can see, we've got diffuse, we've got emission shaders. We've got glass glossy and a whole range of other shaders that you can actually try out and use. Now that we've discussed that, let's actually come over. Two are actual shaders that I've got to set up here. Now, you can see with this glass one, it's just a very simple shader of glass and got some roughness on, and of course, an IOR value. Next of all, then, we've got an emission shader, and you can see now this is using texture maps, and it's slightly more complex, and you can see how all of these things plug in. In other words, what I'm showing you is that Shaders can be very, very simple or get to be very complex. So the next one is the metal, and you can see this gets even more complex. The next 1 stone, and you can see again, this is slightly more complex, and the final one is wood, and you can see things like this. So we can see that we've actually got some edgewre on this wood, and all of this is actually done with in blender again, with quite a big setup for the nodes. But it's unbelievable really what you can actually do with these shaders. Once you've actually got your head around how to set up the node systems. Now, we really are just scratching the surface in this blender shaders and texturing introduction. And even on the right hand side here, you can see you've got all of these options as well to play around with, as well as the fact that you can actually put these into your asset manager as well. But this is just a basic introduction just to get you started. All right, everyone, so I hope you learned a lot from that, and I'll see you on the next one. Thanks a lot. Cheers. 15. Applying Realistic Materials to 3D Models in Blender: Hello, and welcome back everyone to stylist environments. We planer for Jodes. In the last lesson, we went over the basics of material shades. We went over the setup and the usual PBR materials that we have. Now we're actually going to go onto our resource pack to grab ourselves the stone needed for this well. So by default, the default material that we're going to have if we were to go back onto the solid mode, see it as gray. The reason being is that that's actually a default material for a solid mode, so it actually just shows no material at all whilst the material mode shows what's on it because it has no texture by default, it's just going to show a white solid chunk of a mesh. We need to go ahead and fix that. We're going to go onto our material geometry nodes. Section next to it, we should find ourselves shaders. These are the shaders that we're going to make use of within our setup. All we need to do is just firstly, we're going to make use out of the stone over here. It's a nice setup. Let's just grab it to our scene and actually see how it looks like. We're going to go ahead and select it, click Control C, then go back onto our omet well that we set ourselves up with. We can click Control V, and we should paste it next to the well that we have. There we go. We can now go ahead and go on to shading tab and actually see what it looks like. This is just a simple stone type of material. It has a bit of a mix and the reason being is that it mixes up nice texture. For a tile set. If we zoom in, we can see it being nicely stylized. Basically, what it's doing is is grabbing a material, which we have it set up, simple concrete material. It then applies a bit of a noise for the base color. This is what this is, and increases darbG curves with the color ramp to make sure it adjusts the noise overall, which then afterwards, takes the entire set up onto a principle BS DF, which is basically a PBR material shader and the basic for the blender, the most common one commonly used. This is actually mixed up with another shader over here at the top, which simply just adjusts the texture. This is basically taking geometry and applying different variations for color per island off the geometry. So each one of the bricks will have slight miation that mixes it up back onto the shader. And that's what we're going to get. Right away, we can just simply apply it onto these brick walls, and we can simply select these brick walls over here, go onto the material tab through this section. Then click on this button and select stone. Since we already have it in the project, this cube, it will automatically give us the stone material with it, and this is what we're going to get. So we can see it like so. I'm just wondering if we should make it actually a bit darker. And actually, let's go ahead and apply to the rest of the parts and see if we need to darken this up. Let's go ahead and just apply the stone over here. We're going to apply also the stone onto the tiles slick right away, I can see that these stone slabs want to be a little bit brighter. For that, we should be able to adjust these parts over here. We're not going to do it right away with these. The reason being is if we were to change this with the stone material that we have, it'll change everything else at the same time. We want to make sure that we only are changing it for the tiles. So for us to do that, we're going to click on this useful button over here, which will make a copy out of the material that we already have. Let's go ahead and do that. I'll call it stone 0.001. We can just call it stone light. Okay. So, we can just simply click on this part over here and rename it. Then afterwards, we can play with the RGB curves over here. So for example, make it darker or make it brighter, like so. I think this is actually going to be quite all right for the setup. Now, we just need to think if we need to do the bricks these bricks over here on the side also as a different material. I don't think we actually need that looking from a distance, just rotating around, making sure it nicely blends in from different angles. I think it's quite all right. We only changing in this type of brightness for the tiles. Okay. And yeah, that's pretty much it for the base. I think we got a nice setup. We can now even add water at the bottom, which we can do so by going back to our stylized resource back. Grabbing this water over here, we can click Control C, again, we can go back onto the well, hit Control B, and this is what we're going to get. Let's go onto the shade of for it. And we should find or selves something like this. This shade is a little bit set up differently in regards to the overall setup, and it's actually using if we have a look. We have the alpha, which is basically caustics, ripples in the water and some slight tweaks afterwards with the noise texture to give us this kind of result. Although this is not the pal result, the reason being is that we are mixing these up with some color variations. These color variations are actually getting the position of the sharpness of the bevel within our texture, and that's going to give us a nice variation on the edges of the water within the well. So it's actually quite an interesting setup or the water shader, but it's not going to be visible in a normal material. If we do actually turn on a different renderer, so we can actually go on to viewport shading render preview over here, we're going to see a different result. Well, not with ve, we are going to go from material, we're going to go to the render view, and we're going to change the render engine to cycles. Make sure to also enable the noiser here as well. To make sure that it doesn't give us a noisy texture within a view poort that's where we're going to get basically. This is how it's going to render out within the renderer, we're going to be talking about the render itself in a bit. But for now though, I just want to show how the water is going to look in a final shot. That's exactly how it's going to look like. It's set up for a cube, but we can set up for a cylinder as well. It's going to make use out of the edges of the cylinder. If I were to create a new mesh, shift in A, creating a mesh, cylinder, like so. And then I'm going to go back to the material view, so, so we can actually see what's going on. Then we can use the cylinder and actually apply the texture. I'm going to click G Z to move it upwards so we could actually see how this material looks like, and we're going to go onto the material. We're going to apply the water. And finally, we're going to now go to the render view and you can see that this is what's going to give us nice edges going around the seams of the cylinder. We are going to get these kind of artifacts. The reason being is that it's not smooth shaded yet. We need to right click and set shade to smoo should give us a nicer result. So shade to move material. Let's go ahead and see how it looks like. So they're not quite as important because this is for a stylized scene. This is not a transparent material. It's meant to hide what's underneath the well. So that's exactly what's going to be used. I'm going to just simply click S Z make this smaller G Z and put it into the location. So just like that. Now we've got to decide the height or the water. I'd like to ideally see two layers of the bricks. G and I'm going to see just the top section of the second layer. So now we can go ahead and open this up and we can see that this is what we're going to get. It has a slight emission just to make sure it fits within a stylized themed type of an environment. All in all, I think it's looking pretty nice already. That's all we needed to do in order to get this sort of a water. Act I did say that's all we need to do, but we do actually need to sort out the amount of caustics that we have on the top. The easiest way for us to do that is going to be if you click on UV editing, we can actually select this entire setup by clicking a for the cylinder, are the type of UVs that we're going to get. We're not going to click A on the UVs themselves and click S and then scale it upwards by dragging it right. Something of this sort is going to look quite nice, maybe a little bit smaller, so we get larger caustics. Yeah, I think I'm quite happy with this result. Let's go ahead and go into renderer to see how it looks like, and this looks quite nice. All right. We can also do the same for the bricks, by the way, as well. Although I think it looks quite nice. We can change them up a little bit. So for example, if we want more noise over these bricks over here, we can select them. We can hit tab, select A, so we get all of the UVs on the left hand side and then upscale them like so, and see how this looks like. Maybe I've scaled them even more, and we can see the noise being much, much larger. I'm just going to have scale it by two. I think that's going to be quite right. And we're going to get much noisier type of texture for these bricks, and I'm quite happy with the overall result. These tiles at the top, they're not needed to be changed. I think it's quite right because it doesn't have as many of UV chunks. They don't need to be upscaled. It's going to give us the right set of noise. And yeah, that's pretty much it for the base setup of the material. And in the next lesson, we're going to continue on working with the upper section with this roof over here. So yeah, that's going to be it for this lesson. Thank you so much for watching, and I will be seeing you in a bit. 16. Crafting Wooden Planks and Tiles for Roofs in Blender: H. Hello, and welcome back everyone to stylize the environments with Plano four Gomes. In the last lesson, we last ourselves off by creating a nice material both the water and the well. And now we're going to continue on with the roof modeling section. So to start off, I recommend you that instead of just creating a base, we're going to start off by creating the tiles and then we're going to basically get everything around it. So for us to do that, we're going to get ourselves a foundation for the wood planks, and then we're going to generate the tiles. And let's go to the Resource pad that we have. We're going to have the geometry node for the planks and the tile over here. We're going to use the plank over here. Let's check if there we go, we have a geometry node set. Let's go ahead and hit Control C. Go to the main project file hit Control B to paste it in. Now I'm going to actually just duplicate it ship DGX, put it off to the side, and we can start working with the geometry node itself. How many layers, how many planks do we need? This actually is not controlling. I think I'm actually working on a different setup because it says wall cement. So I might just click Control Z to undo it real quick. And there we go. We have the plank selected now. So yeah, I wasn't sure why that was the case, but the reason being is that I had two of them selected, and the one that's actually highlighted in orange is actually our main selection. So that's what's going to show us for the modifier. We need to make sure that we only select this plank over here. Then we're going to increase the count. We're going to increase it to account of let's say eight or nine. I think that's going to be quite all right. Let's go ahead and click seven. G position it like so next or well, R is said 90, like so, then we can move it off and actually position the plan G put it off to the side. L so I think we're having a nice start. Now we're going to work with a random randomness, the thickness, and we're going to increase at this so we can see what it's actually saying. Thickness randomizer. I think that's what we need to actually start because I do want to have a bit more of variation in planks or actually maybe the opposite way, minus can actually have minus, so I'm going to increase these and lower this holding shift. Holding shift, going to lower this down a little bit, and we're going to get ourselves nice planks. We're going to make this a little bit smaller, G y position it like so, and we're going to work with the length and rotation. First of all, we're going to find ourselves the length randomness actually. We're going to increase this while holding shift, we're going to increase this to a value of 0.03. I think that's going to be quite nice. If, for example, right now, I quite like this overall design. But the issue here, that we have is for some reason, the planks, some of them a project in a different way. And the reason being is that because for some reason, it's being randomized, just to fix that, I'm going to change the seed, which is going to randomize the parameters that I have, and it's going to give us a nice result. So we go all of these planks. All of the wood now is going in the right direction, which I'm happy about. Yeah. Let's go ahead and now adjust the deformation. Let's see what each one of them does. Minimum and maximum for bending, I think that's going to basically give us a random bending. We actually want them to be more or less in the same kind of position. So let's go ahead and set them both to 0.2. Let's see how it looks like we are getting a nice rotation. Now, for rotation randomness. Let's see. This one is x, this one is Z. Go to click Control Z once I saw what they're doing. The x, I'll do like some bit of randomness. The curvature itself, we don't need this, we can keep it as zero. Noise scale, we don't need it either. This placement, we're going to keep it as because it's only for the base. We don't really need to mess with it too much. I think I'm quite happy with the result. Random rotation though is a little bit too much, I think. I'm going to lower it down to 0.02. Now that we have this bent, I can see that this is actually a little bit too fake. Let's go ahead and actually lower the thickness randomizer to 0.03 as well. There we go much happier with this result. The gaps in here, I'm not sure if we should have them. The reason being is that we don't really need to see the light coming through it. We need to make sure that when we're rendering it, it's not going to give us a random light gaps, some bits that are looking like artifacts. We're actually going to go ahead and fix that. I think it's going to be the width and it's not. Let's go ahead and see which one it would be. Length is not going to be it. Gaps. That's going to be it. Let's go ahead and just turn this to 0.030 0.003. There we go. It's going to be a very small type of gaps. Light is not going to pass through that, but it's still going to give us the organic look that we're looking for. All right. Now I'm pretty happy with the setup. We're going to go ahead and just simply click r y and just rotate it into the section that we want. I'm going to click one so we could actually position it in the exact location, and there we go now play around with the length overall. Increase the length a little bit just like that. The bend is now a little bit too much. I'm going to change this 2.1 on both ends since we increase the length, we're going to get ourselves a different result. Actually, I think the bend itself was quite all right. Maybe I can just bend it off like this a little bit. We're not trying to make this to be an actual straight triangle, we do want to have a bit of a curvature. So I think something like that is going to be working quite nicely for us, actually. Okay. I'm quite happy with this. I'm just going to click S and y, just to increase it and we do have some bits of gaps again in regards to the texture. The texture is not going the right way. So why I'm going to change the seed. There we go. Actually, that's going to give us again the right setup. I'm not sure why that's happening. I think it's a glitch, but changing the seed seems to give us the right result. All right. I'm going to just simply duplicate this to the upper end. The way I'm going to do it is I'm going to click seven, going to hit ship Dar, one 80, like so, and then move it off back to the inside. Change up the seed. Okay. We want, and that's going to give us a completely unique type of a look on this bar side because it's going to look differently based on the seed on the randomness that we're giving it. I'm quite happy with the overall result. Let's go ahead now and actually set ourselves up with the tiles. The tiles that we have are going to be in the resource pa. This is a tile. It's just a simple cube on the first glance, but we do need to set it up for the actual well. Let's go ahead and hit control C. Let's go onto the well hit control B over here, going to hit Shift to make a duplicate. And actually start working with this. By default, this is what it's going to look like. We have certain controls. The material that is being used is actually going to look like this. The reason being is that we don't have the setup just yet for the material. We can actually do that. We have the controls on the geometry node. Let's go ahead and actually do that. We're going to go back onto the resource back. We're going to find the one for the tiles, so it's ever this or this. Let's go ahead and find it. This one is called metal. This one is called roof. This is what we want. Let's go ahead and hit Control C. Go back onto the project control, and now we're going to basically apply this onto the tile. So let's go ahead and within the modifier stab, let's find ourselves the roof material. Let's go ahead and just simply select it through here through its geometry node, and that's what we're going to get. It's a nice simple tile. Let's go ahead and increase the count. Okay. And for now, let's go ahead and increase it to a seven and count. We can increase it to something like eight, like so. And that's the basis of our tile setup. We do have a lot, sorry, we do have a lot of tweaking left to do to apply it onto this roof. So let's go ahead and continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 17. Perfecting Roof Tile Details with Geometry Nodes in Blender: Hello and welcome back ever round to stylist environments with Blender four geometry nodes. In the last lesson, we left ourselves off by creating the top section of the roof, and we have some tiles over here, but we're still not quite done with that. We did add the material for the tiles, but the style itself and the overall setup is still not quite done. So let's go ahead and grab ourselves this tile set and start working with it. Okay. Actually, for this particular part, I will go back to modeling part instead of just keeping it up within the UV section just so we could see it more clearly, what we're doing, what we're dealing with, that is, I'm going to extend this a little bit as well, so we could see the overall geometry setup. The first thing that we want to do is if you go on to the reference is have a look how the tile is set up. Instead of just square ones, which is a more modern type of a look. What we want to do is we want to make sure we have a bit of a curve at the bottom, which we can do using this type of umde we also need to make sure that we have a bit of an offset for the gaps basically at the bottom, so it will be more visible as in these parts where the upper tiles go underneath. Going to be having a bit more of a gap. So if we have a look at it what it is right now, it's quite there, but we want to make sure that it's slightly rotated upwards, just a little bit more. And before doing that, we should probably place this overall setup on the roof itself so we could actually understand how it's going to behave. I'm going to click seven, to go ahead and click RZ 90. Think that's the right way. Actually, yeah, it is. There you go. G is Z, going to move it off to the side, and again, move it up. Do this kind of a setup. So now, it's going to be quite all right because we now need to work with this overall setup. Bottom bending. That's what's going to actually give us this nice type of a setup for the tiles. We're going to increase this a little bit. I would say we can keep it to a value of 1.3. I'd say that's quite nice. Then we're going to work with the rotation. Rotation is what's going to give us this entire rotation so I'm going to go ahead and set up to a -45. That's going to give us a nice base for us to work with. And the amount of tiles is a little bit too much for the amount that we're going for. So I'm going to lower this down. I think that's count vertical. There we go. And it's going to right away, going to give us this kind of setup. Now we need to make sure that it's actually bending in the right way. So let's go ahead and see which type of a setup that would be. I think that's going to be roof angle bend. There are two roof angle bends. Let's go ahead and see which one we're looking for. This is going to give us for extreme melees. It's going to bend in the center, which I think is exactly what we want. Let's go ahead and see what this is doing. This is a roof angle bend again. Let's go ahead and see the extreme males of both of them, and This is how it's going to look like with the first one and the upper one is also going to give us. I think this one is a little bit lower, which is exactly what we want. That's what we're going to use actually for this particular case. Let's go ahead and click one, reposition this a little bit and bend this a little bit and also rotate this inwards like so. I'm just wondering, we need to definitely put it upwards and increase the thickness a little bit of these tiles. Let's go ahead and do that. I do think I actually made the bend a little bit too much. Let me just go ahead and low it this down. We're not too worried about the top section because we are going to hide this away. We're just making sure that this bottom section is nicely set up, which is what I'm trying to get at the moment. I think that's quite all right. Let me just go ahead and do so like that. Okay. The bend is still a little bit too much. I'll just lower it just a little bit down again to the value of 16. I think that's perfect. Actually, it looks really nice. Now we need to make sure we make it more natural. We need to make sure that it doesn't look as just a simple cookie co type of a shape. We're going to go ahead and look for randomness and random size. Let's go ahead and see how it looks like with the maximum, and I can see what it's doing. I think for this particular one, I'm going to lower this down to a value of 0.98. That's going to give us slight differences in its scale. Okay. Length random. That's what's going to give us for the length randomness and we can just keep it at 2.1 give us a bit more randomness, not too much though because these are going to be only a couple of tiles. We don't want them to be looking just distorted and we want to actually make it look like it's been made by normal craftsman shift for actually making sure that there's no condomination from the rain going in and whatnot, or just giving us a nice roof overall. Random shape. Let's see what this is doing. It seems that this is actually giving us the thickness. Okay. That's actually what we want. I'm going to make sure we have it as 1.2 randomness width. That's the one we're looking for to actually give us a nice randomization in regards to its width, and 0.98 is actually going to be quite all right. I am looking for a randomness in regards to there we go, randomness for the tile rotation. So that's what we're looking for to make sure that we actually have some breakage in these gaps over here. That's going to look much better overall. Increasing it to the value of, let's see, this one is behaving like so. I'm going to see what other one is behaving like. This one is basically giving us more control over the randomness. So these are different tiles working. I think we can just use this one over here to slightly increase it so value of 0.05, is going to give us a nice result. Let's go ahead and see this one. This one is going to give us this. I think if you set this to one value and this over one to another value, so it's basically going to go between the range of 1.3 and 0.9, and some of them are going to be rotated in one way and others are going to be rotated in over way. Let me just go ahead and see. Yeah, that seems to be the case. All right. Now, we're just going to go ahead and make use of these two to basically rotate. I'm going to set this both 20.1 and -0.1 -0.1. Let's see how this looks like. Maybe even more actually. Just a little bit giving us a very nice result. In regards to rotation, we can also play around with that 0.1 -0.1. A little bit of an extra rotation. It's going to give us such a nicer look. If you want to randomize it, we can also click on the seed just to get a bit of a different offset and that's looking quite nice. Now let's go into material mode just to see how this looks like, or the material because we do have our UV scales. Actually, by default, I think it's looking quite nice for the tiles. I'm quite happy with the result. The only thing I would say is we are missing. All in all, it's looking quite nice, but we might need to increase subdivision a little bit just to make sure we're not seeing any of the angles. It's quite all right. Let's have a look at the wire frame, and for the wire frame, it's also looking quite nice. The thing that we need to do is just put it up to the upper side as well. Let's go ahead and do that actually. I think the easiest way for us to do that would be. Let's go ahead and just simply duplicate it, we'll actually just have a quick check. We need to make sure we move this a little bit more to the back. G y, moving it to the back a little bit. Part of it will be slightly extended on both ends, and I think that's quite nice. Let's go ahead and now actually duplicate it. Seven, Shift D, G and 90, Oh, sorry, G. We need to click RSD 90 or sorry, R one 80. There we go. All right. G x, and then we're going to just slide it off just like that to the other side. And like that went a little bit off to the back for some reason. Let me just go ahead and just redo it. Shift D, R z one 80 G x and move it off to the side. There we go. Now we have ourselves this type of a setup. To make it a little bit different. We can go ahead and just select up side. We can go ahead and change the seed and that's going to give us a nice variation to make it look a little bit more unique, like so. We're pretty much done with this roof. We can go ahead and check it within the material. We do have an option to make it a little bit more beveled in regards to the edges. Okay. But I don't think it's actually going to work for this particular case. The reason being is well, for sides. In some cases, the geometry mode will not allow us to make nice beveled edges. So what we need to do well, first of all, let's go ahead and actually check it. We're going to add a bevel modifier, like so, and this should add it right underneath it. We can check how this is going to look like over here and I'm going to go back to modeling. Even if I were to start lowering it, it just doesn't want to bevel itself properly. Okay. It's going to give us a really bizarre type of bevels. Let's go ahead and actually apply the geometry node first. I'm going to go ahead and just apply it like so. Now we should get ourselves. It still doesn't want to give us the bevel functionality. I'm trying to figure out what to do here. Alternative version would be to just simply do it manually. Let's go ahead and try that. I'm going to just remove the bevel on itself. Go to go ahead and go to the edge selection, select sharp edges. It's going to give us nice selection. If it's 25-40 degrees, should give us this a selection. Now let's go ahead and actually clear controlled B and try to bevel it ourselves. B doesn't want to do it. I think the issue might be something to do with the way the normals are facing. Let's go ahead and actually have a look. Face orientation. There we go. We're going to have an issue with that. It's actually quite an easy fix to do. All we got to do is simply go onto the edit mode, hit free to go to face selection, hit A, select it all, right click or actually, sorry. Let's go ahead and click Shift and, and that's going to recalculate the normals. We're going to go ahead and do the same to this outside as well. Going to go ahead and apply and going to go into the mode, hit free for face mode, hit A, then shift and, and then we're going to have this fixed setup. Now we can go ahead and actually add the bevel modifier. I'm going to go out of the space orientation mode to actually see this setup. Bevel holding Shift, low it is down like so. And we're going to get sell set up. I'm actually just going to go ahead and copy this. The copy modifiers is actually quite nice as well. We select one and then holding shift, select per one. We need to make sure that the main one is selected that's going to be copied from. So this orange selection is the main selection. Then we can just simply click Control an L, copy modifiers, and it's going to put it to the upper side as well. So there we go. We're going to get the right setup. I think it's a different scale, so it's giving us the different setup, going to hit control in a rotation and scale, and there we go. Now we can right click, shade Auto moove, right click shade Autos moove. We can go to the material mode and see how this looks like, and I think that looks quite nice. All right. So we're done with the tiles for here. We need to set ourselves up with something at the top. We can do that in next lesson, though. Thank you so much for watching, and I will be seeing you in a bit. 18. Modeling and Deforming Tiles for Dynamic Roofs in Blender: Okay. Hello, and welcome back Ebron to styles environments, we plan the for geometry nodes. In the last lesson, we finalized our tiles to go on the roof, and now we're going to go ahead and actually get this gap sorted as well. If we leave it as it's not going to look quite right since the gap itself is going to make the rainfall in unwanted area in the middle. So we need to go ahead and sort it. And instead of just using geometry node for tiles, in this particular case, I recommend you to just do the modeling normally as we'll have more control over the deformation of how we want the tiles to be. So we're going to start off by actually getting ourselves a simple cube. Let's go ahead and hit Shift A. Get ourselves a cube, and we're going to actually make it quite a bit smaller, click G Z, drag it upwards like so. And I will go onto solid shading like so we could just see the modeling aspect of this setup. We're going to go ahead now and make this quite a bit smaller. We're going to click SZ and just make it smaller like so a bit picker Z, and we're going to click GZ, drag it downwards. Click S. Make it quite a bit smaller. Now we're going to bring it all the way to the front over here and we're going to do so by clicking G y. Bring it to the front. Now we want it actually to deform. We don't want this to be plain. The way we're going to do it is we're going to go onto editing mode. We're going to hit control and r. We're going to grab ourselves and edge loop, left mouse button, right mouse button, just to get one in the middle, like so. We're going to now click G Z to bring it upwards like so. Okay. On this amount. I reckon that's going to be quite all right. We're now going to go ahead and click Control B, and we're going to make an, an extrusion develing operation. We don't want it to be too much, something like this. We're now going to go ahead and increase the segments. We can just do it using this menu over here on the bottom left. If you're not seeing it, just make sure you click on this tab to open it up and we can just increase the amount and setting it to four is going to be good. Just in case I'm going to set it to five, just to make sure we have enough amount to work with. I'm going to now right click and set shade to tos move, and I will increase the angle like so. That seems to be quite all right. Now we'll also add a modifier. Let's go ahead and add ourselves a bevel. Okay. Like so, and we're going to hold shift and just track down a little bit. Like so. It seems to be not giving us the right setup. I will go ahead and actually right click, go back to shape flat just to see what's going on with this amount. It seems that because it's picking up those angles at the top, it's not giving us the right value, so I'm going to start increasing the angle until we get this kind of amount. So value that's close to 90 85 is going to be quite right, 84 in this particular case. Also, I just realized that we did scale this down so we do need to reset the scaling. Otherwise the beveling is not going to work properly. Let's go ahead and click Control and A, and we're going to use a rotation and scale, and that's going to fix it. There we go. We now need to readjust this a little bit. Holding Shift, I'm just going to drag it like so, and that's what we're going to get. That's exactly what I want actually. That's quite nice. Let's go ahead and keep it. We'll lower the angle a little bit actually 97 95. There we go. 59. So we could actually get these bits at the corner over here, making sure the top is not getting picked up, which is not. So I'm quite happy with the result. Let's go ahead now and right click shade tos Move. And this is what we're going to get a nice tile to work with. All right. So now, we're going to go ahead and make sure that we are tying this across the roof, and we're going to do so by hitting a modifier. Actually, before doing that, I'd like to make this a little bit bigger. We're going to hit a tab, go on t mode, hit a press S y, scale it outwards a little bit. There we go. It's a bit wider. I like the shape a little bit more. Let's go ahead and add a modifier search for array. Nice usability will be to just drag it across. Let's go ahead and do that. We're going to make sure it's not going in x and instead it's going in y. Let's go ahead and switch this up. Now we're going to increase the count by quite a bit by six, and we are going to just shrink it back down because we want it to be actually overlapping with one another. This is going to be shrunk down to a value going to hold shift for this and to value off. Let's see. Okay. Something like that. I will need to increase this a little bit actually. Let me just go ahead and do that. G increase it a little bit. There we go. We are using a relative offset in this case which will end up affecting the way it works when we're changing the overall shape. So if I'm changing this, the offset is going to be behaving differently. If we want it to be acting the constant offset, we can turn this off and we can go to constant offset over here, and that's going to give us a better result. Let's go ahead and actually use this instead. So we're going to make it going right. Right up to this point, basically, holding shift, I'm just going to make it like so. I think that's quite nice. There we go. It's going to go a little bit outwards, which I quite like. I'm going to hit Tab GZ and just drag it downwards a little bit as well. There we go. Now that we are using constant offset instead of relative onset, if we were to select this all and actually I might have made a mistake. Let me just go ahead and check. I'm going to hit Z to see, and yes, I did. I did not select all of the vertices whilst doing that. The reason being is if we were to make a selection with just a normal selection like so, we're going to have an issue where the topology sometimes is not going to get picked up. For example, if I do it from this angle over here, you can see that these bottom vertices are not going to get picked up. So we need to make sure we do it within the wireframe mode. And by clicking Alton Z, we can just go ahead and go into the wireframe mode, which will allow us to now select all the vertices that pass through the selection box like so. I'm going to click S y zero, just to make sure that all of them are leveled. And now I'm going to click Alton Z and actually talk a a little bit in regards to the constant offset. Now when we click G y, we can move it out and move it outwards off the object, and you can see the offset itself is not actually going to be affected. So that's exactly what we want. I want to just slightly bring it outwards like so, and I think I'm quite happy with this result. Although the front, I can just go ahead and select it. Old and select it and old back to see the normal solid wireframe. I think it's a little bit too much plus this at the front is not going to be quite as visible. We want to cover it up a little bit with a decoration, which we're going to do. I'm going to click G y, bring it back like so. And, I'm quite happy with this result. I think this looks quite nice. Let's go ahead and actually make sure that we are setting ourselves up with a bit of elevation. So these tiles are actually just overlaid on top of one another. The way we're going to do it is we'll firstly need to add some topology. So it's not going to when we raise this like so. It's not going to just be looking vertical. We want to have a bit more of variation in curvature, instead of just straight lines. So what we're going to do is we're going to hit Control R. We're going to use our mouse wheel to scroll it up. Until we get free edge lines. Then we're going to click left mouse button, right mouse button, and that's how we're going to get ourselves nice edge loops to get a better topology. So now we're going to hit Old Z. We're going to select these at the front hit ldZ again just to go out of it. And this time, we're going to use something called proportional editing. If we were to click proportional editing over here, we can click G Z and you'll see that everything is moving in a bit of an odd way. The reason it's looking like that is because it's actually being affected by a proportional brush. Now if we were to scroll down, or sorry, if we were to scroll up, We're going to see this circle coming onto our view, and this circle is basically what controls how it's being affected. Right now, small the circle, the less is going to have over radius affected, so we can visualize how it's going to be affecting it. We want it to be going slightly outwards like so, and I think that's quite all right. I'm going to just nicely place it on top of one another in regards to the tiles like so, and we're going to get ourselves a nicely curved base on the top of the tiles. I think that actually looks quite nice. There we go. All right. We're pretty much done with the tiles for the top. We now just need to apply a texture. Let's go back onto our material view. And for this particular case, let's go ahead and actually just simply automatically UV and wrap, see how that works. I'm going to hit Control on a first to reset a rotation and scale. Just in case it had some additional appliances upon it. Now we're going to go onto the UV editing mode, like so. Going to find these tiles. We're now going to apply the array. The reason being is that if we were not to apply the ray whilst TVM wrapping. It's actually going to give us an issue where every single tile is going to be exactly looking the same in regards to the textures. Let's go ahead and just simply select the array. Let's click apply, and now we're going to have each one of those pieces as individual meshes, which is exactly what we want. Now we're going to finally add the texture. So let's go ahead and go onto material tab over here. Let's search for a roof and there we go. A nice tile texture. We now need to just simply make sure that we have a nice texture alight. I'm just going to zoom right in, like so, so we can see all the noise. I'm going to hit a tab to go onto editing mode, select A, selecting all by clicking A, clicking U, and smart UV project. By doing this, we're going to get ourselves a nice setup. Let's hit tab to see the noise in comparison to the over tiles. I think the noise is a little bit too small, so I'm going to go ahead and select all by clicking A in an edit mode, then hit S within the UVs and just scale it down as well. And before we forget, I will turn off the proportional editing. Let's let's make sure we don't forget to do that. Otherwise, it's going to cause us an issue we're modeling something and trying to move something, and it starts moving everything all at once. So UV editing and the viewport both share the same proportional editing. So just make sure you have this tick top. Now we can go back onto modeling and see how it looks like. And yeah, we're pretty much set with in regard to the tile. So let's go ahead and move on with the rest of the roof. So thank you so much for watching, and I will be seeing you in a bed. Okay. 19. Sculpting the Top of Roofs in Blender for Enhanced Realism: And and welcome back everyone to stylist environments with plan of four geometry nodes. In the last lesson, we left ourselves off by creating some nice tiles across the top section of the roof. And now we need to talk a little bit in regards to the overall overlay of the frame. And the top of the roof, if we were to just add a couple of flags over here and then drag downwards le So it's going to look a little bit too flat for cars and also might not structurally sound. So what I mean by that is if we were to go back on to our setup for the plan. We're going to basically have the main beam going across so. That's going to be supported by the vertical wooden beams. Then if we were to just add the one that's on the top and the sides, that's going to make the base of the frame. Then afterwards, we need to decide how it's going to make it seem more structurally sound with additional framework. By that, I mean, The one on the middle. You can see that's going to be a little bit wider, that's going to help it be less looking like it's less voles. And then we're going to add another frame going horizontally over here. And usually normally you'd have a type of framework that's going to be just simple vertical like this. But in this particular case to make it more stylized, we decided to go for we're going to be going basically with more curved types, so it's going to be slightly more curved like that's going to help it sell in regards to how the overall style of the roof looks like the slanted look of the overall roof is already here, which we're going to actually deform it a little bit to make it a little bit going inwards instead of just having it flat straight line like so. And in regards to the bottom, usually you would have things to make it less vobly. You'd have also another supports like this going across like so. In this particular case, again, we're going to go for a more curved type of wood on here as well. So we're going to make sure it's slightly curved on these edges. And in regards to the back side, we can see we have some work as well. To be done, we're going to add a nice structural beam over here. And to be honest, we could leave it as is. If not, we wanted to make sure it's a little bit more covered up for the well. So for that, we're going to add a wall on these sides over here. And just to make it look less plain, we're going to add some small wooden beams going across, which will also make it look a little bit more structurally sound. Whilst at the same time it help us break up that wall to make it a little bit more decorative basically. And with that in mind, we're going to start working basically on the overall setup. So let's go ahead and get right into it. We're going to start off by getting ourselves done with these beams over here. So then we're going to start moving upwards and just kind of connect basically everything with wooden supports. So this particular part is actually going to be quite simple. I did mention that we're going to slightly adjust the roof itself, which I think it's about time that we're going to do it. The reason being is that, let's go ahead and start with the roof. If we were to click on three. There we go, we're going to see that the roof is completely straight. We don't want this to happen. We want to have some bit of variation in regards to its height. One way to do it would be to either use proportional editing and just slightly drag it downwards with both the selected and we have a selection in the middle. The alternative way is to use deformation. Formation for the lettuce, I believe it's called, and that's going to give us a nice set up. But before doing that, let's go ahead and actually apply the beveling on these edges or actually. I'm thinking if we even should. I think both of them, Okay. Yeah, both of them should use the same variation. Let's go ahead and actually grab both of them and click Control J. And what you'll notice is that this actually beveled slightly changes. The reason being is that both of these had the same level, but the amount of the bevel was a little bit smaller for the top, which in this case, it actually works out. Basically, from the main selection, it gets applied onto the top and it gives us the modifiers from one object to another. That's why while before joining, it's actually usually better to make sure we apply the modifiers before and get ourselves just non modified version of the mesh when we join, it's going to be looking exactly as it looked before. Anyway, it's going back to the setup, we're going to now actually minimize this level. We're going to find ourselves a deformer called mesh deform, I believe, called lattice. This one is going to give us a control over the overall shape. But for us to actually use that If you'll notice at the lattice, it says object selection, we do need to create or sell a new object to have control over this roof. Let's go ahead and do that. We're going to hit shift in A, we're going to find ourselves some e called lattice. And once we add it in, we can see that we have something like a box. We can click G Z and see how it looks like, and this is what we're going to get. We're going to actually upscale this a little bit. Let's go ahead and do that. We need to make sure that it encompasses the entire roof, we can click SZ make it smaller, like so, and we do need to control in regards to its subdivision level. So what I mean by that is if we were to go to the data over here, we have resolution for each one of these points. So UV and WD are basically X Y and Z. We can just go ahead and increase it and see which one is affecting what? So we actually need to increase the d over here. I'm going to just do it five times, so we can see we get extra edge loops over here. And now, once we go back to our roof, and I just realized that this other side is not actually joined, so let me just go ahead and actually join it up, so this entire roof now is properly joined, and now we're going to go back onto the modifier and actually add the lettuce again because again, when I was joining, It was the one side that wasn't selected, actually, did not have a lettuce, so I'm just needing to re add it like so. Once we have lettuce, we're just simply going to click on this pi pad over here, select lete object like so. Now, once we go back onto the object, actually, let me check. The strength has to be set as one. Once we go back onto this object, we can now select these vertices over here like so and you can see us when we raise these, it's actually going to be deforming the roof itself. That's exactly what we want to straight really a little amount just lower it down like so. Maybe raise the u one of the back a little bit, just like that, and we're going to get just a slight bit of curve, but it's going to be enough to make it look much nicer, more stylized. I'm going to now go ahead and apply this lettuce, going to remove this lettue box, and it's now going to be nicely curved. You can click free and we can see a slight bit of a curve, which is exactly what we want. Okay. Okay. So now we can actually start working on these setups over here. This part is going to be rather simple. All we need to do is just add bit of texture to it. I do think looking back at the reference, we do actually need to increase the beam length over here. You can see it's actually going all the way to the top section of where the triangle begins. We need to make sure we raise this up. If I were to go onto edit mode, we can click A Z, by the way, just to see what it looks like actually, this is the part that we need to raise it up, so we can now click G Z and move it upwards to where it actually starts with the triangle. Okay. So like so, and it's going to be quite all right. Now we're going to go ahead and actually set ourselves up. Okay. Let me just go ahead and check real quick. Yeah, I think that's quite right. Now we're going to go ahead and actually set ourselves up with the texture for it. So let's go ahead and do that. I'm going to go ahead and click Al ten A rotation and scale reset or apply that in this case. And yeah, that's going to be quite right. And actually, it is done with the roof. Now, we have a nice deformer. We are going to continue on with the framework in the next lesson. I reckon that's going to be for the best of us, and it's going to be a rather short lesson in this case. So yeah, this is it from this lesson. Thank you so much for watching, and I will be seeing you in a bit. 20. Texturing Wood Frames for Stylized Environments in Blender: Hello, and welcome back. On the stylist environments with Blender for Joe MH Nodes. In the last lesson, and we left ourselves off with the top of the roof being slightly deformed, and we ended the lesson there. Now we're going to continue on with these parts over for the section of the framework. We're going to actually grabs the resource pack. We're going to find ourselves this wood over here. And we're going to hit shiro C to copy it, going to go back onto our pack. Onto our course file, we're going to hit Control V to paste it in and we're going to get ourselves this wood set up. This wood setup is quite nice because if we were to go to shading, we can see how it looks like, and I'm going to go ahead and select it so we can see it being used with the normal PVR pack with the normal PBR materials, and then afterwards, it's actually applying a bit of a lighter edge on the bevels. These bevels are not going to be visible by default because they're actually being used with the renderer, it's only going to be visible in render. If we were to go onto render view, it's actually going to be quite dark. The reason being is that we did not set up the lighting. The color that we had on water looked pretty nice, but here, it's not quite there yet. So what we need to do is actually, we need to set ourselves up with a bit of lighting. The easiest way to do that is actually going to be throughout using the shader. And the best way that I like to do at the very start is just quickly grab ourselves the sky. And for us to do that, we're going to go from the object mode to the world mode. In the shading, like so. Within here, you'll see a basic setup or the background, so that's what's controlling basically the color of the setup, and we can see we can change the color, but we're not going to use that. We're going to go ahead and delete it. Instead, what we're going to use is if we were to click Shift and A, we're going to search for sky texture. There we go. This is going to be a very nice, very basic type of setup that will allow us to get a quick lighting onto our scene. Now we can actually see what it looks like. It has a couple of controls for the sun size, for example, if you zoom out, we can see there is a section for where, for example, the sun gradient looks like, we can control that overall. We also have sun intensity. If for example, we see that it's a little bit too intense, we can change that up. But I think by default, we can leave it as I'm going to go ahead and set this 2.3. I think that's quite all right. Sun elevation is going to be basically how high the sun is. We can control the height of the sun. We actually can see for the shadows over here, how it's going to look like. But if you were to increase it to a value of 90, it's going to be right above us basically. That's how it works. I'm going to go ahead and set this to something like 45 degrees. That usually works, gives us a nice diagonal angle, and the rotation is going to be basically the zero is going to be backside. The right side is going to be 90. Okay. And if we were to set this to one 80, it's going to be right in front of us. And two 70, I believe, is going to be to the left of us. Value between is going to obviously give us the sun to be in the angles in between. So for this particular case, we can set this up to be Something like 145. At this particular case, it doesn't really matter. It's only for the preview, and let's go back to quickly to talk about the render engine as well. Again, this is just for a preview, so we're not going to spend too much time on this chest yet. We're going to make sure that we are in cycles, and we are going to make sure that noise threshold is ticked on for both viewport and Dis, and that's going to give us a much nicer preview overall when it's rendering. It's not going to be as noisy. Okay. Now when we zoom in, we can actually see those edgeware pieces over here on the cube. And that's where we're going to get basically with each part of the framework. That's exactly what we want to get. If we were to go back to modeling, we can see that it's not actually going to show us anything in regards to that. So yeah, it doesn't really matter at this point because we only need to apply it, and then based on the angle of the edge, it's going to give us that kind of edgeware. So going back to this, we're going to now actually add in the material. We're going to set ourselves up with the texture. If we look at the reference, we'll notice that this actual wood beam goes all the way to the top of where the roof starts. And the reason for it is because this is a bit more of an open piece. So we need to make sure that it's quite visible that's basically supporting the main section of the weight, which is going to be the upper section. So I think we'll need to fix that first and we can actually I'm thinking if we should actually remove this part over here. We're going to leave this part and we can't actually just select this. We're going to edit mode. We're going to locate which section we're going to have. This is the one that we're going to be manipulating basically. We're now going to hit old Z, and that way we're going to be able to see through the parts of the mesh. We're going to hit three, which will allow us to select the face. We're just going to select the top of the face. We're going to click one, and we're going to just click G Z drag it upwards so until we reach the triangle spot. There we go. We got to selves a nice height. So now we need to think in regards to the mirror modifier itself. If we were to apply the texture right away, which I think we can actually do that. We're going to see that they look identical. Actually, let's go ahead and do that. We're going to go onto material mode. We're going to select wood from here, and we're going to see that right now, we do need to fix the wood itself, but all of them, all of the frame look identical. Because it's such an open section. They're going to be quite obviously duplicated looking like duplicates, so we need to fix that. And for that, we're going to go ahead and go back onto modifiers. We're going to apply the mirror modifier like so. Now we're going to go onto V editing. We're going to find these poles over here. We're going to hit tab, click A, click U, and now Smart V project. Actually, let's see how this looks like. By default, it's actually looking quite nice except. The bottom parts. The smart UV and wrap by default, it should give us a longest parts going vertically, and that's what we're seeing over here. Ignore the piece on the preview over here for the image. It's going horizontally. The reason being is actually in the shading. We did end up rotating if we were to go back onto object and we just turn the material back to make it faster to make it go faster. If we were to check this over here, we did rotate the scale, the UVs over here by 90, which is not going to be visible within the UV preview itself. So this is looking like it's going horizontal. But in reality, you need to imagine that they're going vertically. So that's why it's going to be behaving like that, basically. Now we're going to go ahead and select it all. We're going to see how it looks like. All of them look quite nice except I don't like these pieces over here. Because of the UV automatic UV projection, the way it behaves is each one of those pieces are based on an angle. Just detects all those four pieces over here, as just one piece and it just cannot rotate anything. We need to, of course, go ahead and fix that. For us to actually fix that, we're going to go ahead and select it all. We're now going to go ahead and click on this button over here, a very useful button because once we click it, we can actually deselect it, and it's still going to keep us with all the UV space. So before, if we were to select it and now click A to select it, once we make a deselection over here on the UV coordinates, it's actually going to just deselect it and it's not going to allow us to make as much of a control basically. So if we have this deselected without this button over here, it's just not going to show all the UV coordinates. So there is that. We're just going to basically select each one of those pieces like so in the square, just like that, you should have something similar though it's automatic and you should have those kind of squares, we're just going to select each one of those squares over here. Like so. And that's quite all right. There we go. We're going to click G, and now we're going to be able to move it outwards. We're going to click rs and then 90 and just put it back. It doesn't matter if it's overlapping for this particular case because we're not baking anything, we're not applying any of the upper textures for video games or anything of the sort. It's okay to just overlay them like so. Now we can see that this is actually is this right? I think it is right. There we go. We can see that this wood piece now is going in the way that we wanted to, which is great. And if we zoom in, we can see that the beveling is now actually being affected. The reason being is that we've not applied the beveling. But for this particular case, when we have small bevels, it's actually quite okay to just make use of them as it is, it simplifies our process because we don't have as much topology to work with. Now we can go on to review to see how it looks like, and that's the result we're going to get. Nicely set up. The edgewre and whatnot, all is good. And yeah, we're pretty much done with the main structure with the main wood. Now we're going to continue on moving on to the upper section over here. We're going to continue doing this in the next lesson though. So thank you so much for watching, and I will be seeing you in a bit. 21. Constructing Wooden Frameworks for Roof Tiles in Blender: Hello, welcome back on to stylized environments with Blender for omg nodes. In our last lesson, we left ourselves off with these nice wood frames, which we're now going to continue making use of and actually create a nice support for the triangulated section of this roof. So to start off, we're going to actually Yeah, we're going to simply create ourselves a new mesh to make use out of. We're going to hit Shift and A. We're going to find ourselves a plane, now we're going to make use out of it to drag it across the side of this roof. Let's go ahead and do that. I am going to right away though, go into the edit mode. So we'd keep the same origin point as we had for this predecursor basically in the center of the world. Now we're going to go onto edit mode for that. We're going to go onto modeling mode first, so we could have a larger screen to work with. We're going to hit, we're going to click seven to go to the top down view. We're going to move it like so, and move it this to the side. We're going to start off with just following along the side of this roof over here. For that, we're going to pick G y to make sure we are having it up front a little bit, G y to shorten this down a little bit. Now we can select it all, click a click one, and we're going to position it like so. And the first piece that I'd like to do is we're going to click one to go onto the vertex selection. We're going to select these ones at the end. We're going to click one again. We're going to now go and put it all the way to the top like so. Now we're going to just get some edge loops, basically that follow along this side. So control, Okay. Actually, it's not going to be quite as visible. We need to make sure we are within this view over here. Control R, and we're going to add let's say this amount of edge loops. So five number of cuts right in the middle. Now we can go ahead and edit them out. I'm going to make sure I click Alt and Z to make sure we are within a transparent mode. And I'm not sure if we are in transparent mode. Let me just go ahead and check. So Okay. We are. Okay. Now that we are in a transparent mode, we can click one and we can just simply adjust these to be going alongside the roof. The reason we're doing this is basically we can turn this into an actual mesh simple plane. For us to do that, we're going to go on to add modifier and search for solidify. So solidify will allow us to get a bit of this thickness. If we were to hold shift and increase it, we can see it moving like so. I will change this back to a solid viewport mode, so we wouldn't be seeing the textures. It'll be easier for us to work with. Click A Z and see how this looks like. Okay. The type of wood that we need to make is a little bit thicker. I'm going to hold shift and drag it to a negative value of -0.05. It's going to give us this thickness. I think that's a quite nice base for us to work with. Go to click, go on to edit mode, select it all, click G, move it to the side. Like so, and I'm thinking how far I want it to be in. I think this bar is quite enough. Now, this wood over here is going to be overlapping, which I think is okay because we can just select these last pieces like so. Click G, move it upwards, and there we go. We're going to get ourselves a nice piece. Something like that. I think that's quite all right. There we go. For this particular piece, we want to make sure that it is actually placed right underneath. These would blocks. I'm going to again, click one, go on to edit mode. Make sure we are selected with Alden Z, click one, and now we're going to slightly readjust it. To make sure it's not actually overlapping these planks, not plank story tiles, something like that. We want to make sure that the change in the way the angle is being basically curved. It's not two extremes for example, something over here. It's not quite right. I'm going to click gx and a little bit of so. It's actually consistent with the overall curve. I'm quite happy with this result. All right. Now we have it like so we can go ahead and add a couple of options. We'll start off with mirror. Right away, it's going to mirror on x to the up side, which is great for us. The end is going to be over here. We're going to go ahead and do that. We're going to click mirror x y as well, and there we go. Although in this particular case, I think it is a little too much out, which is totally okay because we are going to be changing it right away. We are going to start off by let's go ahead and add a bevel actually right away. Bevel and I'm going to make sure we have the scaling properly set up. Clicking control at A, rotating and scaling reset like so. Now, find ourselves the bevel, holding shift, lower this down by quite a bit. Okay. Value of 0.04. I think that's quite right. I'm quit happy with this result. In this particular case, what we need to do is basically we need to apply everything except for Bevel. The reason we need to do that is for solidify. If we're not applying solidify, we're not going to get ourselves the textures. It's going to not give us the option to UPN Raptus. For the mirror, we need to make sure that we have some variation in both ends. In this particular case, we also need to move this a little bit back onto the roof itself. Let's go ahead and actually do that. We're going to simply started off by let me think for a second. We're going to just click Control A on solidify and control an A on mirror. A of them are going to be nicely applied. Then we're going to go back onto Edit mode, click OZ to make it C through select this back, click G Y, and there we go nicely hidden out of the site. I think that's quite nice. All right. That is looking quite nice. For this top section is going to look quite empty unless we add something on top of it. But we can do that right after we finish this off. What is, let's go ahead and hit the tab. Click AZ to go out of the C free mode, select it all by clicking A. Click UV and smart TV project. Click Okay. Also, let's apply wood, so we could actually see what it looks like. Click wood. There we go. That's looking like. Okay. Already it's looking quite nice although I reckon, the wood is a little bit too small grained, we're going to go to UV projection UV editing. We're going to select it all with an edit mode. We're going to select it all. We're going to upscale it a little bit like so. I am thinking if we should change this to be straightened up a little bit, which I think we're going to do. Yeah, let's go ahead and do that. For us to actually change this to be strengthened up a little bit because if we look at the UVs, they're actually a little bit curved, which causes the whole grain to be curved as well for something like wood, sorry, stone, it was a neutral type of a noise. So it was totally okay to have a bit of that sort of things on edges and whatnot. But over here, we definitely need to fix that. So for us to do that, we're going to do a quick neat trick for it. If we were to select one of one of the parts, we can click L, which will select this entire chunk. We can now, by the way, I'm still using this over here. Since this is honestly my personal preference, I quite like using the UVC selection. Anyways, going back to the selection itself, let's click L, select one of which, one of the parts. We're going to hold shift and select it wise on the part in the middle. So either this or this. Notice how the first time we click, it's going to basically deselect it, but holding shift. The second time we click, it's going to select it, but it's going to keep that gray color. That means it's the main selection. With the main selection, we can unwrap it based on that selection. By clicking, we can do something called pol acto quads and length of average. If we were to click, it's going to basically straighten everything out based on this single square. That's exactly what we're going to do for each and every single one of them. Let's go ahead and actually just select this. Again, I'm just selecting the piece in the middle, double clicking shift twice, plow acto quads, hit, and just going to go ahead and do that for every single one. There we go. Making sure that this is grayed out. Okay. And we can actually just select it first, click L, and then it's going to select the entire section whilst keeping this active still in the middle. There we go. Nice and easy way of straighten things out. We're going to see a much better result. Now we need to just simply think about the overall scale. I'm going to scale it down a little bit, so we could have that grain actually visible from a distance. It's going to look super nice like so. Yeah, we're pretty much done with this. We now need to add a bit of a wooden beam at the top. Let's go ahead and actually do that going to add a cube, make it smaller, click one and actually just reposition it, going to go onto modeling mode actually, making sure that we are in a solid viewpoint display. Clicking one, G bringing it upwards like so it's going to look so nice when we add this in. Although it's not going to be visible for most of the time, it is going to be useful for us. And the reason being is that because we can hide those unnecessary parts. So, Bringing it in just like that. It's quite nice. There we go just making sure that nowhere else is visible. I'm not sure what this is. We have a bit of an issue over here where these tiles are overlapping slightly. That's okay. We can fix it easily. I'm going to go ahead and just select these parts over here and just manually drag them up. Selecting these a little bit. G I missed one. G Y. There we go. We hit them out of the way. Although this looked a little bit like it's glitching, that's still okay because we managed to fix it. Okay. And to finish it off, we're going to either make this a little bit thicker or not. Let's decide on that. I do think that we need to make it bicker. Let's go ahead and go back to edit mode. Click free, hold old and just select this edge over here, basically for the phase. Going to give us a nice edge loop going all the way around. Hit old upscale. This seems slightly offset. The reason being is that the tile itself has variation for the offset. So it's not actually offset in that kind of way. But all in all, that's quite all right. Okay. We can go ahead and just select the cube. Click old Control A, rotation scale to apply the rotation scale. Go back to modifiers, parch for Bevel, apply this, make sure that the amount is set to quite a low amount, 0.0 I think 0.04 in this case, to make it more leveled out. Go to bring this a little bit more to the front. Just like so. There we go, looking quite nice. Actually, I will bring this back to 0.03. That's looking much better. Let's go back on to UVs. Real quick, we're going to just select it all within edit mode. Click, Smart UV project, click Okay, and let's see how this looks like. Within modeling mode, we can just go back to the material. Of course, we need to make sure that we select the wood material itself, and that's what we're going to look like to get. Um, I'd like to change this at the back to be facing the way. I think I'm going to go ahead and do that. I'll also need to make sure that this is tracked all the way to the front. It's actually more visible. Although we are going to have a nice decoration at the top, just to make sure we break up the surface a little bit in regards to the aesthetics. But this part, yeah, this is definitely going to be visible. We're going to go ahead and select it, go to the UVs and click R 90 over here and so have switched over. There we go. It has switched it over. That's good. And yeah, we're pretty much done with the section for adding the framework for the roof. We're now going to move on with adding additional framework, and we're going to stabilize this section. So we can see that it's just still floating in the air. We'll need to fix that. We'll need to make sure that it's properly connected to the well. 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. 22. Creating Supportive Roof Frameworks and Well Mechanisms in Blender: Hello, and welcome back on the stylized environments with Blender four geometry nodes. In the last lesson, we left ourselves off with a nice setup for the wood going to the side of the roof, and it's going to give us a better support overall. We're now going to continue on moving with the setup and grab our elves a nice beam going across. Then we're going to start thinking in regards to more in regards to the walls. So, let's go ahead and actually grab ourselves a piece of wood to go across this section. And yeah, we can just go ahead and grab our elves a cube, make it smaller G Y G, and use that to move it or actually use this Gizmo move tool to move it to the side. This way, we'll get a much better and easier control. S x, let's go ahead and move it across. Still notice that it's still in the center, so it's easy to scale up outwards on both directions. And we got to decide how it's going to look like in regards to this supporting the board on the side. For this particular case, I think it's going a little bit too much inwards. We're going to click S x and go like so. Actually, I'm going to hide this out of the way and see how this looks like. Overall, this looks quite nice. And I'm quite happy with the way this is interacting with the framework. So I think that's quite all right. Let's go ahead and actually move on with that. Okay, let's go ahead and add wood texture so we can actually see how this looks like. We're going to go to the modifiers, add a level. Set to 0.003, which should be quite all right. Let's click Control and A, reset rotation and scale. That's going to give us the right level. Now we can go ahead and just simply click tab. A, and smart V project. Click with the angle limit that we always use. There we go, we're going to get ourselves a nice set. Although the grain is a little bit too thin. It's going to more It's not going to give us that rough look that we're looking for basically. Let's go ahead and actually go onto UV editing. Let's find ourselves this log. We can click the dot on the numpad to find it like so. And I'm going to go into edit mode, select it all, click S, and then scale it down until we get the right results. Something like that is actually going to look quite nice. Quite happy with this. Now we need to consider how everything else is going to be joined up, so can in this out of the way, and you can see that this needs a bit of support as well. For that, I'm going to go ahead and select this same section over here, it's the same cube. Actually. Looking at this. Yeah, we're going to go ahead and make this a little bit wide, a little bit ficker just to make sure it's not looking like this framework is wider. This needs to be quite a bit chunk here. I'm going to go ahead and hold, select all of these pieces, click Alt, upscale it. The texture should still be the same. I'm going to go back onto modeling mode just to see how this looks like and quite happy with the result, although, let's go ahead and bring it back, so it would be hidden by these sections over here, nice and easy. There we go. We now need to bring one to the back as well, which we can do so I think by either using the mirror. Yeah, let's go ahead and use the mirror. I'm going to actually click Control A, apply all transform reset the origin point back to this section over here, and click the mirror, so we can instead of x axis, we can use y. It's going to give us this nice set up. Looking at this, we might We need to bring it back a little bit, so we're going to go ahead and do that. I'm going to hit control and A to apply the mirror. We're going to go back and select this. Click L to select this entire section, click G and y and bring it inwards like so. So now we have them properly sitting. Now, we just need some vertical beams going over here. To make sure we are supporting this overall structure, Let's go ahead and actually select this all. We're going to hit ship D. Ray said 90 and there we go straightaway, we're going to get this a result, which I'm almost happy but not quite. I'd like to firstly bring them upwards so we sit right underneath on top of this. We're also going to check if they're not overlapping too much with the upper parts. I don't think the R. They're looking quite nice. On both ends, I hope. This part is not actually being placed properly. So what I'm going to do is for this particular case. I'm going to select this one end basically. So this part over here going to delete it. Going to reapply the mirror. So just to make sure that we have it properly mirrored on both ends. Now they're perfectly mirrored. That's good for us, and I will actually make them a little bit wider so we'd have a nice overall set up. Okay. Actually, looking at them. I would like this to, I would like this to be going a little bit more downwards and closer to the bottom of these pieces. The reason being is that these pieces are meant to look like they're supporting. We are going to if you click Alton H, we are going to have them closer to the wall bits over here. Okay. Going to be going outwards a little bit more. Let's go ahead and do that. We're going to go ahead and select this. Go back to edit mode, whichever one it is, going to hit A, G, bring them back. G, G x, something closer to this actually. I think that's going to be much better. Also, we're going to select this piece and click G x, move it to the back a little bit. Just thinking how much to the back we need to move it. I think this is quite enough. Go to select this piece at the top and G, make them look a little bit thinner. I think that's looking really nice actually. It's actually nicely sitting at these frames over here. But I'm wondering if we should move them a little bit more down or if we should make them look like they're going into these parts over here. Let me just think for a second. Which way we should do it. Yeah, we're going to go ahead and move them inwards like so, and then I'm going to look much, much nicer. We just need to make sure that they're not looking too thin, but it is chunks, which I don't think they are. I did bring them outwards over here. It's going to look like it's a nice seam. Maybe I can just even wrap both of them over here, click G Z drag them out a little bit. We need to make sure we do it too much because we unwrap them and we don't want them to be messing up with our textures. So I just brought them down a little bit just a tiny bit to make sure that we have a little bit chunkier side over here doesn't look like it's going to just break off at any piece and it has a nice overall support. And quite happy with the result over here, So this part is quite nice. This part over here needs to be going inwards quite a bit. G y let's bring them inwards, like so. There we go. Now they're sitting nicely on top of one another. We got ourselves a nice frame that's already should be supporting all of these parts. And now we actually before starting up with the wall, we need to think about how this is going to actually behave as a well. So normally with wells, we'd have a sort of if actually bring back this piece over here. We'd have a support. That's going in here. This section would actually be holding a structure, a cylinder of a sort that would allow you to bring the bucket down and up whenever we want to. We need to actually implement this into our rooftop to make sure it's actually being nicely supported. This is what this thick chunk of wood is actually also going to be supporting as well. Let's go ahead and actually create that piece. We're going to go ahead and grab or selves a nice cylinder over here. We're going to lower the amount of vertices. This is too much for such a cylinder. We can set this up to a value of 12. It's going to be much better. We're going to now click S and scale it down. G. Then Gx 90 to rotate it basically this way. We can now click S y and upscale it now. We can think about how we're actually going to attach this Ideally, I'd like to have some roof planks covering this section over here. It's going to basically be covered up this triangle. This should go right underneath it over here and where the wheel is going to be positioned basically. I'm thinking how it has to be. This has to be a little bit higher up, and this has to be a little bit thinner. Let's go ahead and scale it down. To something even finer actually. Keep in mind, this is going to be a stylized setup, so we don't want to make it to fin. This is I think perfect actually. Let's go ahead and make sure that it actually is touching both ends, so I'm going to click free. Going to make sure I click S y and bring it to the section like so. Okay. And this is looking quite nice. Front is going to be less going out. This piece needs to be going in accordance to this wheel over here. I'm going to bring this up just to make sure I don't forget, and I'm going to bring this all the way to touch the wheel. Now that we have this support the cylinder that will be basically bringing the bucket up and down. We need to find a way to actually support its weight. So we're going to work with more structure. That's going to happen actually in the next lesson. So Yeah, that's going to be it from this lesson. Thank you so much for watching, and I will be seeing you in a bed. 23. Modeling the Base of Stylized Roofs in Blender: Hello, and welcome back round the styles environments with blender for geometry nodes. In the last lesson, we left ourselves off by getting a nice setup for the rotation or where the bucket would be placed for it going inside of the well. We're going to go ahead now and actually get ourselves a nice setup for the framework that's going to go to support this weight. So for that, we're going to start off by actually getting ourselves a nice cube to be placed right at the front. Let's go ahead and do that. This will be just to make sure that we're hiding this cylinder away to make sure that it actually looks like it belongs in this location, supported by a piece of chunk of wood. And yeah, that that looks about right for the size. Okay, that's okay. I think we might even raise this a little bit more. I do want this to be basically placed in a way that's going to be above half point of this whilst at the same time not going too far out because this would otherwise look like it would about to break. It would look like it would not support the weight off the roof. So let's go ahead and have a look at this. To make this actual shape instead of just a cue, we're going to make use of the bevel functionality. We're going to hit tab. We're going to select this edge by clicking two and selecting the edge, and we're going to hit Control B to drag it out like so. But this is going to level out in this kind of direction. We want to make sure that it goes inwards. So for that, we're going to change the shape. If we set it up as zero, it's going to give us this kind of setup, and it's looking much nicer. Although it's a little bit too much, so let's go ahead and lower the width a little bit. Well, the segment amount of keeping it as five is going to be okay. So maybe let's see if we can get away with six actually. It's not going to be too much. I think six is actually better. Let's go ahead and keep it. And this p itself, this cube has to go a little bit more inwards. It's sticking out way too much. Let's go ahead and do that. Okay. I do actually want this to be lower down with the selection but the face selected over here. I'm going to turn on the proportional editing. I'm going to click GZ and just slightly move it downwards with the size of the proportional editing, set around this amount, so it will be longer. Then that looks a little bit better. I'm going to grab the upward side over here. It's a little bit too thick. Let's go ahead and click G and y and move it inwards. So make sure that proportion editing is actually turned off for this part we want something like this. I think that's going to be looking quite nice, going inwards. Like so. Let's have a look from a distance. Yeah. I think this looks very nice actually. We're going to bring these upwards a little bit like so. We need to make sure that we now actually set ourselves up with the planks to cover this upper section or the middle section of the roof that is going to look so much nicer overall. Let's go ahead and find the planks that we're looking for. And we do have a jump node over here for the planks. Go to get Shift D, G. Put it up to the side. Increase the count a little bit. And I think we should probably lower the whip a little bit as well. Or maybe increase it actually. Let's go ahead and place it on the roof itself and see how this looks like. I'm going to select the top of the roof, click H and just hide everything out of the way. So we'll actually see how it's being covered up. I'm going to click GSD to move it upwards. I will actually just rotate it around itself. Let's go ahead and click RS 90 would be going in this direction. The reason I want this direction is because the one underneath this cylinder over here is going to look a little bit odd if it's going in everything is going in the same direction. But just having this going in this direction instead, the opposite direction of the cylinder. It's going to I think look much nicer if we look at it from the bottom, for example. So we don't actually need that many counts, seven might be quite right. That's looking quite nice actually. I'm going to click GD move it downwards. And we don't need to do too much. Maybe to take off the gaps a little bit. Holding shift, I'm just going to lower this to a value of 0.00. Eight, that looks quite nice, I think. We don't really need to touch it too much. Again, the reason being is that this is going to be hidden underneath, but we just wanted to cover it up, and that's going to look pretty nice overall. I'm happy with the overall setup. Maybe just drag it outwards. Actually, I'm going to take off the count and increase the width a little bit, and there we go. That's going to give us real nice setup. Now we can actually have a look on how this is going to look like, and I'm going to grab this. Those three pieces that is, lower it down. I'd be slightly hanging underneath. So we'd have some space for our rope actually. Something like this. Actually, there you go. We do need quite a bit of space. We'll actually raise these up a little bit, click Z and just squish them down actually. We don't need them with this fi again, too much. There we go. Something like that. We'll increase the length of a little bit. Okay. Something like this will be touching the borders over here. They're not going to be visible on the corners themselves, but we do want from the bottom to see that there's no gaps. Over here, they don't just look like they're floating. The texture itself, we can leave it as is from the bottom, it's going to be quite all right. Let's go ahead and keep this. Then we're going to start working on actually, let's go ahead and double check if this is going to be enough for the rope. If we want to increase this height a little bit, so it would be sitting in the middle section, just a bit middle section like so. And there we go. There we go. I'm quite happy with this result. Let's go ahead and click AltnHide everything. I'm just thinking if we should keep these or not but this particular part. But now I'm still going to keep it, but I'll show you a way to hide the saddle away. I did realize that we do have this part still visible. So G said, this is not necessary anymore. We can go ahead and delete it like so. We don't need to worry about that. Now go into this part. Let's go ahead and hide the roof. Let's grab this, right click shade tomoth this piece is needing to have a level. I'm going to click control and a rotation at scale to apply that hold shift, lower the amount. To quite a small amount like so. Right click shade auto smooth. It's not looking quite as nice, wondering why that is the case because it's triangulating this part and this part is not actually this is an angle and it's trying to bevel it and it's going to give us this type of a setup, as you can see. It's giving us a bit of a narrative fact. So in this particular case because we're beveling, it's messing ourselves It's messing our setup. It's going to be actually quite visible in the renderer. So let's go ahead and actually fix that real quick. We're going to select both ends like so, click and triangulate faces. And basically. This will take this gon, which is essentially a polygon that has more than four phases. Something like this is a normal topology. It's a simple quad, but something like here. It was just a lot of vertices surrounding it, and when it was beveling, it didn't know what to do. I'm actually going to make sure that we have this selection back on. Then once we tranclated, let's let's go ahead and see, and we should have gotten rid of the issue that we had. To make it a little bit nicer looking, we can actually go ahead and fix it a little bit, at least. We can right click and we can set it up to tritquads which will remove the triangulated parts as much as they can to a quad version. They're not going to be end goons, but they're going to be a looking a little bit better with less overall vertices, vertices edges that are connected. Okay. So yeah, I'm quite happy with this result. Let's go ahead now and well, add the wood to the setup. We're going to now go on to UV editing. There we go. Go to click A to make sure that we select this chunk, click U, Smart UV project. Let's see how this wood looks like. I don't like this rotation actually. I'm going to go ahead and click R 90. There we go, and I'm going to make it a much smaller. Something like this. Big bulky chunky piece. Just wondering what's going on with this part. This part, you can see that there is a seam. I really don't want this to be visible. I'm going to go ahead and find where these pieces are basically. Go to actually Okay. Just select this like so. I'm not going to select the top only this part over here. Now we can go ahead and click. Actually we can make use of of Smart UV project. Let's go ahead and do that. We're going to actually increase the angle limit, which should fix it for us. Let's go ahead and have a look. It doesn't fix it for us. Smart UV project. Does it fix it for us? It does because the angle does not reach high than 89 degrees. It's going to give us the right setup. I'm going to just lower down this. To make sure that we have a more of a grain or this setup. I'm quite happy with the result. Now for the roof itself, or actually before doing the roof, I'd like to add wood texture to this as well. You might as well do it since we're at UV editing. Let's go ahead and simply add a wood. So I think we're going to use the same wood again. There's no reason why we shouldn't. And it's already looking pretty nice actually. I'm just thinking if we should do something else to it. Actually, I'm going to go ahead and select it all. And here, in this particular part, the UVs are stretching. Not sure if it's visible quite enough. I'm actually going to click isolation button, so we'd see it a little bit better. So the wood is actually stretching over here because we stretch out the cylinder. I think it's actually working quite well for us because it's moving out the overall grain. If the grain has jagged edges, it just goes up and down a little bit. Once we stretch it out, it goes more horizontally. What I mean by that is if we select this, we can click S and y, and then increase it, we can see that these lines that were stretched out. Now they go up a little bit down a little bit. But for this particular case, Having it stretched out might actually work in our favor. I will lower the resolution a little bit, so we get this sort of a look. And I'm quite happy with the overall result actually. This looks quite nice. So yeah, let's go ahead and leave it as it is. We're going to go out of isolation mode back to modeling. And now we're left with the upper section of this roof. 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. 24. Organizing and Refining Greybox Sets for Roofs in Blender: And, and welcome back everyone to stylized environments. We've plan the four Joe nodes. In the last lesson, we left ourselves off by creating this piece at the bottom of the wood. We also made sure that we lower this hanger a little bit, so we'd have more space for the rope itself. And now we're going to continue on with this, and actually, I'm just going to check Bevel if's, which it is quite happy with this. We're going to continue on with this. We're going to click AltenH to unhide everything. I'm still going to hide this out of the way. And Actually before doing that, I'm going to click AltnH. What we can do with gray box parts as well. We can also move all of them to a different collection. So they would be treated differently, even if we unhide them, they're not going to be hidden. They're not going to be visible basically even if we unhide certain parts. So for example, this over here, I don't really want to see it, and I'm going to go ahead and actually hide these parts over here as well, might as well do that. Going to select them all basically. Okay. And just simply basically put them in a number of collections. So at the top right hand corner, we see there is collection, they're treated as sort of folders, and everything at the moment is just in one collection that's within the sin collection. S collection itself, it's only going to be you can keep it like one per project. It's what the project is basically. But inside of it, you can have multiple collections. So with this selected, we could, for example, top right, create a new collection and then drag them all into that collection. Or a quick shortcut would be if we were to hover over scene collection itself, we can click M, which is for merge in regards to vertices, if you're doing editing or something. So it's a nice shortcut always to have. We can click new collection over here, and then we can call this gray box and prep. So gray box in preparation, we can go ahead and then click OK. And then these are going to be moved into another section. So if we just untick this icon over here, exclude from view layer, we're just going to exclude everything. And now if we click old age, it's not going to be visible regardless of what we do with it. So it's quite nice to just hide it out of the way every once in a while just to make sure it's not there. Then we can go back onto collection and see all these cube and circle cylinder planks, roof, all of these messes that we created so far. Although it looks quite messy, it's actually quite easy to work with, especially if you have a three D viewport, you can just click through them and have whichever ones selected. If you're working with larger projects, of course, you'd want to maybe put them in different categories, collections, have them slightly renamed and whatnot. But for now for our purposes because we're making small environment. This is totally acceptable and it's often seen whilst doing free die artwork. So going back to this roof. Let's go ahead and see how this looks like. We have holes in here. Let's go ahead and find a way for us to fix it. Easiest way to fix that would be to actually make use out of this strangle over here, if we isolate it, to just grab the strangle basically and then replace it in that hole. And I think that's easiest way for us to do that. So let's actually do that. I am going to I am going to just simply click y and then G y and we can see it being split off. We can click P. Separate by selection, and now we only have this selection. We can go out of isolation mode. We can hide this main chunk out of the way, and we're going to be left with only this. I'm going to click one now, and I'm going to just readjust it. So going to edit mode. I'm going to hit Alt and Z. So we could actually select these and see where they are. Click G Z and just slightly move it. So it would look something like this. Now you can see because this roof is curved, it's not actually going to behave in that kind of way as it might start going off from the size and whatnot. We'll add a couple of topology bits over here. The best way to do that would be to just click K, which will enable our knife tool, and then We're just going to place one over here. If we hold shift, we can put it in the center. We can do the same thing while it's holding shift on the other end as well, and we're going to get ourselves a line that's right in the middle. We can right click to basically stop the knife tool, and there we go. We're going to get ourselves. I'm going to hit X K because they clicked off on the side, and then we can go on to move tool, select vertices, which actually, I just made a mistake. Sorry about that. Let me go back on to edit mode. Holding Shift, basically clicking on both ends, clicking Enter and there we go. Clicking Enter, we apply the knife tool, and now we can just go ahead and select these both edges. Slightly sharing them inwards like so, and that's going to work really well for us. There we go. All right, we do need a wall texture for this though. Let's go back onto our resource pack. Let's find the wall texture, which is going to be this little cube over here. Wall texture, let's go ahead and hit Control C, and go back onto our well, hit Control B. That's what we're going to get. I'm going to right away, move this into our gray box collection, hit M, move this to the gray box and prep, and there we go out of the way. But we're still going to have ourselves detection. So let's go ahead and grab this wallpiece, make sure we are within the material, select the wall, and there we go. Just to make sure that we are having the right noise, we're going to go onto edit mode, select all, click, Smart V project, and click. This should give us, should give us a nice set up overall. So I think I'm quite happy with that. Okay. We're still left with quite a lot actually in regards to the framework setup. Let's go ahead and get right onto it. We're going to create a main beam over here to make sure it's properly set. Let's go ahead and shift an A, grab or sells a cube. Make it smaller, G, G. G. We're making sure that we're not using x axis, so it will be right in the middle. Okay. And for this, I'm going to actually click S y as well, make it quite a bit smaller. There we go. That looks quite all right. Now, I like the placement for the bottom piece, but I'm not happy with the upper section. So let's go ahead and go onto edit mode. We're going to hit free. I'm going to hit Alt and Z to go out of the wireframe mode, select the upper section, bring it all the way up, and let's see how this looks like. I think it's a little bit too thick. I don't want to change overall scale. I'm going to select both of these parts, going to hit S and X. Okay. Shrink it down a little bit. How does this look. I it looks pretty well actually. I'm quite happy with the result. I am looking at this, checking if it has bubble. It does have bubble. That's okay. All right, so we have this setup. It's going to work quite well with this hanging piece, which we're still going to be setting up the Lantern over here. But before doing that, of course, we need to make sure that we have some framework over here. For that. We're going to go ahead and firstly we set up the texture for this part. Select it all, select A, with an edit mode. Smart v project. I will lower this down to the previous value, which was around 40. Let's say. We're going to get this set up. I'm going to also go onto object mode, click Control A, apply rotation and scale, and add a bevel. So holding shift, we're going to lower this down. To a value of 0.03. It's usually quite nice as a starting point. Sometimes we need to increase it. Sometimes we need to lower it, but all in all, it's going to give us a nice piece. I'm going to check it and render how it looks like, and it looks much brighter with the edge wear and whatnot. I'm happy with this result. Let's go ahead and move on. All right. So the front piece. Let's go ahead and actually grab these parts and for now move them out of the way. I'm going to actually just click M and move this to the gray box as well. So we can now have a proper visual representation of how the front is going to look like. This piece needs to be slightly curved. We talked a little bit in regards to that. I'm going to bring out the visuals again. There we go. I'm going to just remind you all that we are just curving it a little bit. This will give us overall composition a nice set up because it's not just a simple support. And all in all, the reason for this is just to have a playful setup of shapes. And most of the shapes that we're having are quite round, especially the well itself. It is a cylinder. The stairs are going to be bit rounded as well in regards to deforming to the well. So the roof itself has a bit of a curve as well, and All in all, we're working mainly with those round shapes. So to keep the aesthetic consistency, we're going to make sure that we are setting this up those same rules. And for this particular case, we're going to hit Shift A. We're going to grab ourselves AQ. It doesn't matter what actual primitive we're going to use. You'll see y in a second. We're going to bring it outwards. We're going to actually just hit tab to go on it mode. Click one to go onto vertice mode, and we're going to select only one vertic. We're going to hit control and I. Which is actually going to inverse this selection like so, and now we can just go ahead and delete, delete vertices and only we're left with this little dot over here. So that's exactly what we want. I'm going to actually right click and I'm going to set origin to geometry, which is going to put it exactly where this dot is. Now we can go ahead and just move this dot to where we want it to be, over here, I'm going to bring it inwards like so. I'm now going to go ahead and simply click one, and I'm going to hit to extrude, and then I'm going to get basically two lines, two vertices and a line in the middle. So that's actually quite nice for us as a starting point. And For that, I would actually like this to be over here. We're looking at where the curve the main curve area, the average out section is. So if we look at the curve over here, the way we want it to be is it starts over here ends over here, and the curve, the main curve is somewhere around this section over here. So that's where we're aiming to have this line, and actually the bottom piece should be going downwards over here. To give us something like this. There we go. I'm going to hit again, going to place it like so. Now when we have this kind of a setup, what we can do is we can add a modifier something called skin. If we add skin, this right away is going to give us this a setup and it's actually a little bit too big. I'm going to go back onto object code, click one and just make this quite a bit smaller actually to start it off, and I'm going to find the vertices and just reposition it still too big, so I'm going to make it even smaller like so. And let's have a look. What this looks like. I think it's still a little too big. Let me lower this down. There we go. That's quite a nice fakness maybe a little bit bigger. I'm going to click Alt and Z just to see these vertices, reposition them back in. Maybe I should have another vertice over here. I'm going to click G, move the saltive upwards, and We're going to have this sort of a result. And we're still not quite done with the overall setup for skinning. We need to make sure that the frame is actually beveled off a little bit. We actually need to make sure that this section has not as sharp as a quarter, which all of that stuff, we're going to make sure we sort out in the next lesson. So thank you so much for watching, and I will be seeing you in a bit. 25. Utilizing Skin Modifiers for Realistic Wood Supports in Blender: And, and welcome back ever on to stylist environments with plan the four geometry nodes. In the last lesson, we finished up by getting this log piece over here using simple setup of the vertices and edges, combination of bob and just applying a skin modifier. And we talked a little bit in regards to the scaling. I showed you how we can simply scale the entire thing all at once. But we've not touched in regards to how we can scale it within the editor mode itself. So if we were to select one of the edges, we can click Control and A, and that will allow us to scale it up and down or we can actually select all of it by clicking A and then control an A and then scale it up and down like so as well. So with that in mind, we have a reasonable control for the overall setup. I'm going to go ahead and just tweak these parts over here so we can get ourselves a nice design, and I'm going to actually just move this inwards a little bit, so as well. I'm quite happy with this result. I think this is looking quite nice. All right. Let's go ahead now and add a bevel modifier. Let's go ahead and do that. So Bevel Let's hold shift and lower the amount to a value of 0.03 or 0.05, maybe. We actually in this case, thinking a little bit more is okay as well. The thing that I want to do is actually make sure that we have a nice bend going through both of these ends. So what we can do is we can hit Control B or sorry, not control B. Usually, for beveling, it's going to be controlled B, but in this case, it's going to be control and B. And that will allow us to if we were to do it properly with this selection. Control A and B, or sorry, maybe control shift and B. There we go. Control Shift and B will give us the beveling option. We have our previous option, so let's go ahead and lower this down. The shape, it's going to be by default 0.5, the width, we can control it and get ourselves in a nice shape. Segments. It's a little bit too much. Let's go ahead and lower this down to four, there we go. We're going to get ourselves a very, very nice type of a curve. We can also just simply duplicate it to the other side and work our way from there. So let's go ahead and do that. I'm going to go ahead and hit Shift and D, move it off to the side. I'm actually going to do a bit of a flip in regards to, I want to have a curvature going in the opposite way basically towards this part. So if we were to rotate it, we can see that it's only going this way. What we can do is we can just simply click S x minus one, and that's just going to flip it overall, and we can position it nicely to this kind of a set up. I'm going to bring this a little bit inwards. So we have this plank over here to be supporting it basically. And I think Okay. Let's go ahead and click one. I do want this to be a little bit more curved. I think I'm going to select this again. I'm going to just select this part, and I'm going to take on the proportional editing. Then I'm going to click R and we can just rotate it a little bit like so it's going to be quite nice. There we go, and maybe rotate it a little bit as well. Something like this. Maybe a little bit too much. Maybe I'll just grab this as well, pull it off a little bit to the side. Just slight variation. What we basically is we want to have both of them going nicely in the direction basically. I'm just going to turn this off and slightly tweak this to have a nice curve. I think that looks very nice. I'm actually going to go ahead and delete psi d on here, G b to the side. S x minus one. Then bring this downwards, so we have identical on this side as well. When we're using it in front view when clicking one, we can just click r and then it's going to rotate it in y completely. If we're doing it from here from a different angle, it's going to just rotate based on the perspective, so you can see that it's rotating diagonally a little bit outwards as well. That's not what we want. By clicking one, I'm basically making sure that we are set in the right direction. So I'd like this setup. I really do, but I don't like this very bottom piece. I pick I'm going to go ahead and select this, grab this downwards like so and get something like this. I think that's actually looks. Yeah, that looks quite nice. I quite happy with this overall result. Let's go ahead and just bring it inwards, just a little bit. Here we go. Let's go ahead and duplicate this and put it onto the upper side. We can go ahead and do that let me. We can either do it by mirroring or just duplicating it. And I think in this case, I'm going to go ahead and keep it as is. Since we do want to mirror it to the side as well to make it easier for ourselves. I'm going to make it super simple for us actually. And We also need to add UV coordinates to make sure that we have normal textures. Yeah, we're going to make it super simple for us. We're going to go to object. We're going to convert it to mesh. That way we remove all the modifiers, apply it directly on this. I'm going to right click also to make sure we have shade to smooth, to make sure we don't see that topology. That is very nice. Now we can go ahead and add a wood texture that would look very nice on both. Wo text there we go. We're going to select both of them. Hit tab, select the mole and click, Smart TV project, click Okay, and we need to fix them. Let's go ahead and do that. We're going to have ourselves this type of a setup, and it's looking quite nice. We might need to make it a little bit smaller to have a larger grain on wood. Then we need to fix these parts. We already fixed it in the previous section over here on the curves, we're going to do the same exact que. We're going to pick the one that has the straightest of the curves of the section, and we're going to just click L, and then we're going to click and follow active ads. There we go. Straighten them up. Just like that, selecting one, clicking L, follow active chords. There we go. All right. Now we have a nice setup. Let's go ahead and actually duplicate this to the upper part. I'm going to actually select both of them, click Control J to join them up. Go to select this wood piece, right in the middle. I'm going to hit Shift and S and select cursor to active. This way, it's actually right in the centerpiece of the roof. We can now select this, right click Set origin to free D cursor, and we can make use of this origin point to mirror. Let's go ahead and do that. Mirror and that's going to be wrong side. We need to actually reset the scale and rotation. Let's go ahead and do that. Now we should we go find ourselves with the x axis to be going the right way. I'm just wondering if it's actually looking quite right or if we should bring it a little bit backwards so G backwards while we still can. Just a little bit not too much. G there we go. All right. I'm going to go into render view real quick just to see how it looks like because we have those edgewares going to be way more visible where they actually combine connect. And so I'm happy with the overall result. So we have these parts set up. We can actually go ahead and select the mole and duplicate it to the other side. I'm just going to check this part as well. I do want to duplicate this part as well. So I'm going to select all of these parts. What we're selecting is basically this, which is what we need to duplicate. I'm going to click actually before doing that. Controls that. Make sure we have this entire selection, going to go back onto modeling. And before doing anything, I want to make sure that everything on modifiers are set up because on some of them, I might resemble in this, I don't have a bevel whilst on this. I have mirror, and on this, I have bevel. Some of them have different variations basically on different setups. Just making sure we have this kind of a selection. And yeah, we need to basically convert this to mesh to apply all the modifiers. And now we have it properly sorted. We can now click Control J to join it all together. We have a nice piece to work with, which we can now mirror to the side. Let's go ahead and do that. I'm going to actually let me think select this water over here, click ship and cursor to selected, then go ahead and over here, then set the origin to free the cursor, and we can mirror to the side, so on Y axis. So based on this, Origin, is going to mirror in wide direction. We can see on the gizmo outer side, and it's already looking pretty nice. This part over here, we don't really need to worry about it just yet because we are going to make a section metal prop that allows us to turn this overall cogwheel. But we're not worried about this yet because we're still needing to work on this roof, we need to make sure that the roof has sections at the bottom over here. If we look at the reference, We're going to have those supports on the side, but we're pretty much done with the overall section at the front. We still also need these, by the way, which we can actually do as part of the next lesson. So that's going to be it for this lesson. Thank you so much for watching, and I will be seeing you in a bit. 26. Crafting Curved Frames with Skin Modifiers in Blender: Okay. Hello, and welcome back. Run to stylized environments with GlenderFur Go Nodes. In the last lesson, we slapped ourselves off by creating this nice front roof. And now we're going to continue on with the setup and make sure we actually have a bit of a more support for this section. But before doing this, I'd like to firstly go over how long or how much down the sides need to go so we can actually know where to place the support for the front. So for that, we're going to I'm actually just going to click ANH just to see this roof piece. We're going to just grab this section over here. And make ourselves a nice setup. I'm going to hit y, and then we can go ahead and click onto edit mode that is within an edited mode, we're going to click P. We're going to break it off by selection, and that within object mode will give us a separate piece. We can go ahead now and hide this back. And Okay. This is the height that we want to go for, but we want to make sure that it actually goes within the normal section. I'm going to right click. Set origin to geometry. Now I'm going to click S y, lower this a little bit and bring this inwards so we actually go within this section for the supports. So, I'm quite happy with this with the way this looks. Now, let's go ahead and grab a nice plank to go underneath. I think I can just use this one over here. Okay. Let's go ahead and actually select it. It already has beveling and mirroring, so all is good. Go to hit ship D, G Z, and move it downwards until we get to this part. Go to go ahead and select it. I don't know which one is actually real. I'm going to go ahead and click, set origin to geometry, and I know that this because we had a mirror, it's not going to work. I'm going to hit Control Z. I will need to edit this position in within the dit mode. Let's go ahead and hit tab. Now we can go ahead and hit A to select it all. To move this off to the side, and let's go ahead and click S to slightly lower this. Bring this back a little bit, to make sure it nicely fits within this section. I'm going to see how this looks like. For the front, what we want to do is we want to make sure that. I'm actually going to click AD to make sure we are outside of the y frame mode. For the front, we want to make sure that it goes right before this section over here, this corner. Let's go ahead and just start bringing it back all the way to this part. I think that's quite all right. And it looks quite nice. Let's go back and go move this wall a little bit to the back. This is looking quite nice. Now we need to make sure that this side is also properly set up, something like this. I'm actually going to select it all, clicking A, S, and y and just make sure that it's outsides that's actually visible on e of the sides. This is actually quite nice. I do need to bring this even more back I reckon. Something like this. There we go. Do we have enough place to work with over here? I think we do. Okay. So we can keep this. We're now going to go ahead with this setup. We're now going to add a wall texture. Let's go ahead and find the wall. Let's go ahead and go to edit mode, A, Smart TV project, should give us a nice setup. We're going to select the bottom piece a little bit, drag it upwards is to make sure it's not visible and it's looking quite nice. Now we need to make sure we add those supports we were talking about before. So for a So we're going to use exactly the same technique as we used for these front bits over here. We're going to hit Shift A Shift A mesh cube, going to select one of the vertices. So going to edit mode, clicking one, selecting one, vertice clicking Control and I, selecting only the opposite basically inverted selection, deleting, and we only have this one vertice going to tab, right clicks at origin to geometry. Now we're going to click one. Go to position this to be right underneath over here. In this section, right next to the wall, and that's quite all right. And now we're going to go ahead and add actually before adding a skin, modifier, I'm going to go ahead and click one. Go on to edit mode, hit, and extrude this outwards. So I think one should go this way, and one should go this way, and we should get a sort of almost an S shape. So this way, we're going to get ourselves a very nice Decorative support. That's not only just going to be going in arc or whatnot. Still going to give us a nice constructive construction type of a design, and it's going to be quite nice. Let's go ahead and add skin. There we go. We're going to go with an added mode, we're going to hit, ten control and A, and we're going to make this quite a bit smaller. There we go. All right. Now let's go ahead and click one. We're going to hit Alt and select these bits, and we're going to hit the control shift B, and we're going to move in it off. The question is, how much do you want this to be smoothed off? That is a good question. I think something like this is quite nice. So it's just slide curvature. I think it's looking very nice actually. Let's go ahead and adjust this a little bit. I think I'm going to go ahead and go to object mode, move this a little bit more to the back. Now we need to a little bit more actually. Now we need to determine how we're actually going to attach this. Ideally, I want this to be within the wood itself right in the middle over here. Doesn't have to be perfect, but something like this is going to be quite nice. I'm also going to right click, shades move, and that's not actually going to work. I'm a bit unfortunate because of the modifier. That's right. We are going to make sure that we position this to be closer to this part over here. I'm just thinking whether or not I want to move this entire section over here a little bit more to the back. Or not. That is a great question. I think I'd rather move this beam to the front. That will give us a very nice setup. Let's go ahead and select this, going to go onto the proportional editing, and just using the proportional editing, I'm just going to extend this a bit. Let's go ahead and see how this looks like. I'm not quite happy with this result. Instead, what we're going to do is actually quite simple. We're going to bring this entire section, at least the bottom bit, a little bit to the back. Let's go ahead and fine. If I were to click AlnZFin this part, I'm going to click Control and plus to make sure we also include these level sections since we already applied them. I'm just going to bring this, turn off the proportional editing. Let's make sure that we do that. Just going to bring this a little bit to the back just like this. Then I'm going to bring this a little bit to the front, just like this and they're nicely connected now a little bit more would be quite nice. Something like this is, I'm quite happy with this result. We just need to make sure that this at the front is actually nicely connected. Let's go ahead and click Old zed to see these vertices. There you go. In edit mode, we're going to go ahead and just slightly move this. I'm thinking this is a little bit if this is too thick or not? Okay. This is actually not fk enough, I think. I'm going to go ahead and go on edit mode, going to hit Control A, sorry, select it all. Control A going to increase the thickness to a nice amount there we go. Now, we'll move this a little bit to the back, just like that. Let's go ahead and see how this looks like. This looks quite nice over here. Should go all the way to the top, so we can go ahead and do that. To hit one, dZ, and we're not seeing anything. What we're going to do in this particular case is I'm going to select this over here, click H. Click H over here as well. There we go. We can now go ahead and just move this all the way to top and we're going to turn on the solid mode so we can actually see what we're doing, and there we go. All right. This is going to be touching the upper section, which is exactly what we want. I'm quite happy with the result. It might look like this is actually going to be grinding against this if it's rotating and whatnot. So We need to decide whether or not we wanted to be resting on this or if we want to add an additional support. But in this particular case, if I was to just have a look from this distance from the setup, I might just want to bring this up a little bit more just doing it like this, it's going to be quite all right. It's actually going to be sitting at the top section, nicely positioned And I think it's actually going to look much nicer overall. So yeah, I'm happy with this result. Let's go back and actually set ourselves up or am I happy with this result? That is a big question. I'm not really happy. The reason being is that this S is now not being seen as quite an S. I'm going to select this part over here. I'm going to make sure we have proportional editing on and just slightly slightly increase this a little bit. Okay. There we go. That's going to give us a nice shape when looking from this angle. Let's go ahead and add a betel. Like, so low it amount holding shift to a value of 0.0 0.006. That's a little bit too much. Let's go and go on to 0.04. There we go. All right. I'm happy with this result. Now because we're adding bevel, this is going to be visible. Let's go ahead and select this a little bit and move it a little bit to the side. I'm actually having proportionality, going to have this turned off. There we go. Now this is looking very nice. Now let's go ahead and actually move this to the side, mirror it and to the same for the back side. We are going to simply select this. We're going to Okay. Actually, let me think. We're going to apply the skin modify. The reason being is that we're going to need to set up the material for it. Let's go ahead and do that right away. We're going to hit control and A once we're happy with the overall shape. Now we can go ahead and add a mirror. Let's go ahead and do that. Mirror from the free Dcursor. Let's go ahead and right click. Set origin, predecursor. There we go. We're going to do the same thing on the upper side as well. Z we've got to selves a nice setup. I go to move the side of the way real quick just to see how this looks like. Okay. And there we go. Now we need to simply apply the material. Let's go ahead and go to material mode. This top out of the way or this time, I think we can even just remove it entirely or move it to the gray box collection. Let's go ahead and click M. Click Gray box and preparation. That's what we're going to get. I'm going to right click Shader smooth because we applied the skin modifier. Go to just select it all, click and wrap. This time, I'm going to smart to be project with the mirror setup. The reason being is that it's going to speed up our workflow. This is quite curved if we were to do it for every single one of them, it's going to take us a time. So what I'm going to do in this case, I'm going to select the one that's at least stretched out, probably this one over here, or actually this one, even if it is going sideways, it's still going to be all right because we're just looking for the straightest one. We're going to go ahead and click L, select it all, then unwrap follow active quads. There we go. And we're going to get this. We're now going to rotate it a little bit and do the same for this up one as well. Low active quads. There we go. Nicely straight. We can now see the material. Actually, we need to apply the material first. Let's go ahead and apply this wood. We're going to get something like this, which is looking very nice for us. But it's not quite there. The reason being is that some of these parts are actually not properly set up. Let's go ahead and select this all. I'm going to isolate the view. And I just realize the mirror modifier for some reason, it's also applying for Z. I'm going to take this off. Let's go ahead and now grab this entire section like so. Holding control, we can just grab the first piece and holding control, we can grab the last piece. Then it's going to basically make a selection between those two. Now we can just click, Smart UV project, increased angle limit, click, click Okay, and it's going to give us the right setup. I going to do the same for the bottom piece. Smart UV project with a nice high angle limit. Now we can go ahead and select it all and lower this amount to get this chunky. Okay. Would texture frame. There we go. Quite like this overall design. Now we can finally apply the mirror over here and go ahead and just simply grab these ones over here, or actually grab one by one, going to select it like so by clicking L. Then I'm going to click G on the UV editor, which you can see that it starts actually moving these outwards because now everything is duplicated onto this one piece. You can see this selection making selection for all three of them now. I'm going to basically select the ones at the back. Click G, move it off to the side. Okay. Clicking L again to select land. Actually, let's make sure we select the previous selection. We can click double A and to select everything, by the way. And we can click L on this island of a mesh. We can click G and move it off to the side. So every single one of them is going to look completely different, which is exactly what we want. And all in all, this is shaping up to be looking pretty nicely. We now need some bits at the back, actually, and we're going to be pretty much done with the roof. We're going to be able to move on to other pieces. So we are running out of time. 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. 27. Designing Side Walls for Stylized Wells in Blender: Hello, and welcome back every room to stylized environments with Blender for get nodes. In the last lesson, we left ourselves off with a nice setup for the support. We're going to continue on and actually add a bit of that extra parts for the framework over here. I'm going to go onto modeling mode, going to go on to the solid mode. And this way, we can see better the model itself. We're going to go ahead and actually work with a nice setup for the framework. As you can see, if we slow a physomin over here. It's not just going straight upwards. It's actually slightly going outwards as it gets higher up to complement the overall shape of this tangle over here. So it's not just simply going upwards, it's going a little bit. In regards to a diamond shape. We're going to be adding that diamond shape over here as well, by the way, which is going to be a nice type of detail. And again, consistency is the key in regards to overall shapes for the silhouette and whatnot. Doing that we'll definitely make this overall setup look a little bit better. We do have quite a bit of thickness over here. I'm just wondering if that's actually all right or if we need to bring this a little bit more to the back. I think we do need to bring this a little bit just a little bit more to the inside. Let's go ahead and hit edit mode. Let's hit A to select it all. Bring it just a little bit back. There we go. I think that's there we go. That looks much nicer overall. I'm not sure about this thickness over here then because it doesn't look quite as nice. I'm going to go ahead and select it, hit S x, bring it in just like that. And that's going to make it look much better. Okay. And yeah, this definitely looks much better. Okay. This part, quite an easy thing to do. We're going to go ahead and start with a cube. We're going to make a tiny cube over here and put it off to the side, just like that. Right away, we're going to make it even smaller actually. We're going to bring this to either this end or that end. We're going to grab ourselves an array. Okay. Array is always nice for us. I'm actually before making use out of the array. I'm going to go ahead and hit controlling a rotation and scale, just to make sure that we have the right consistency. Then I'm going to take off the relative offset, going to use concert offset, and it's going to be going. I think it's going in the wrong direction. Let's go ahead and just go over here. We're going to increase the amount and low this. If we look at the reference, in this case, I just used three, so it's okay if we were to use free like this, set it off in the center, just like that. Value of -200.26 is going to be giving us a nice result. Now, let's talk about in regards to this wall over here. This wall, if we look at it is actually just a single plane or a blender, that's going to be quite all right. But if we look at it in regards to the pace rotation, the backside is actually red, meaning that if we were to be using it somewhere else, if we want to export it and whatnot, we would encounter issues that from the other side is not going to be visible. Personally, I prefer to get a habit of always making a bit of thickness for the walls. Let's go ahead and select it, going to hit a selected and just click to extrude it outwards like so, and we're going to get this type of a setup. That's just going to give us a nice if we look at the pace rotation over here. It's actually. We did it the opposite way. We brought it backwards. This is going to be the entire thing is red. I'm going to go on to edit mode, hit A, hit control and N. Sorry not controlling. Shift an N. There we go. We're going to go ahead and fix it like so. Looking at this, just seeing it that we also have an issue over here. I'm going to go ahead and select it all, going to hit L L on this end, and this is mirrored, so I'm going to hit Shift an N and both of them are going to be fixed. So it's not really a matter of visibility for the renderer. Most of the cases is going to be right. Although with a recent renderer for Blender, I noticed that especially with foliage that has cutouts, it does give certain issues with the face orientation. So it just basically saying which way the topology is facing towards the blue is always going to be facing, meaning that's going to be facing towards us. So that's what we're facing over here. Again, this is basically going to be now just a small wall over here. The sides, by the way, no, they're going to be all right. The sides are going to be stretched out for the UVs, but we're not going to be seeing that, so we don't really need to worry about that. The small edges I mean those sides over here. They're not going to be visible or toll, so we don't need to worry about that. I'm going to start off by just simply dragging it inwards over here. Going to go onto pace mode, bring this inwards as well. Now I'm going to go ahead and just bring this all the way to the top, just like that. I think that's going to be quiet. Like this top section, I do want to actually bring this even more back. Should I do that? Should we do that actually? No. We're going to leave it as is. Although this is looking quite like a thick type of wood, it's actually helping us to get a nice elevation from this now. Let's go ahead and actually make you sat down. Go to bring this all the way to the top. Go to now, let's have a look. Go to now make sure that we're using it properly in regards to how we're setting this up. What I mean by that we're going to make a nice curve. The easiest way for us to do that is if we add an edge loop over here. Adding one edge loop over here. Then this part is going to be actually, we're going to add another edge loop. If when using edge loop, so control R, if we were to use it with a left mouse button, whilst holding left mouse button, we can actually drag it upwards, and we want it to be closer to the top over here like so. So now we can actually go to face selection, select the top, and we can just drag it outwards like so to a reasonable amount. Now we can just select this and drag it wherever we want. With this, we basically created this a shape where the top section has a nice square edge loop going around it. Whilst this edge loop is going to help us to get a nicer shape using the beveling. Let's go ahead and click Control B and simply get this shape. We can now click Shade Atomook this is what we're going to get. Now we need to think whether or not this is thick enough. Let's go ahead and have a look. I think we need a bit more thickness on this end. The reason being is because if we look at it from a distance, it's going to look too plain, too basic. I'm going to actually drag this outside so quiet a bit actually. Then we need to decide what we need to do about this wood over here. Actually, the alternative way instead of dragging these, we can drag this wall a little bit more to the back because this is way too much of an open space. We can actually just make this smaller, but we mainly worry about this outside over here. Now we have much bigger overall setup. We're going to go ahead and add vel. We're going to make sure that this bevel is properly small like always. 0.00. Three, and I think that looks pretty good. All right. Let's go ahead and apply both of the modifiers are actually just an array. So we'd have unique UVs. We're going to go onto edit mode, select it all, and hit Smart UV project. Angle limit, highest possible, but not highest possible, 84 85, it's going to be quite all right. As long as we don't go over 90, basically, that's going to be good. I don't think it even lets us to go over 90. There we go. Um, let's go ahead and add ourselves, wood. Wood is going to be nicely set up. Although the grain is too small, we need to make sure that it's properly set up. Going to UVs, going to edit mode, selecting it by hitting A, and then scaling it down down down. Until we get to this amount, down down down until we get to this amount. There we go. All right. Nice and chunky pieces, although in this case, maybe we need to offset it a little bit. We can click G to get ourselves a different result of the way the grain works. I didn't like the knot that was on this edge. It was slightly on the corner. I didn't like that, so I switched it up and now it looks nice and bulky chunky type of wood. Excellent for our well. From a distance, we're we're going to have a nice set up just going to have a quick check in this kind default lighting for the renders pretty nice. It looks really nice actually. I'm quite happy with that. All right. We're done with this part. Let's go ahead and actually select it and just simply mirror it to the upper end. I'm not sure if how much I moved this part. This one is mirrored, still is. This one is also mirrored, which is fine for us. All we need to do is just make sure we have both of these grabbed. We're going to let's think. The wall does not have bevel, but do we really need bevel on this part or not? Just to make it easier for me, I will just join the wall and the supports over here, which will attach bevel because it's selected as the last object. When we have a look at it with the object I make selection on the wall, then holding ship, I make selection on the frame, and this will select the frame as last piece. We can see it having orange instead of darker orange for the wall, and I'll show the modifier of these frames as well, which means that now if I press control and J, still going to have this bevel applied. That means that this wall is also going to have a bevel applied, which doesn't actually matter for us because we're not seeing this wall. The reason being we're doing this is because we new at a mirror modifier. Mor modifier is going to help us too, just put it on the upper side. We're going to just set it up within a predecursor. Let's go ahead and hit right mouse button, set origin, predecursor. There we go. Nice and simple easy set up for the sides of the walls. Going to check if both ends look the right way and they seem to be doing a test fi Okay. So we have the setup over here. We're going to be working on small details now. We're going to be adding actually instead of working on smaller details, we still need a lot more work in regards to the terrain itself. I think at this point, we should be starting to work on that. So even though we still need a lantern, we still need a bucket at the bottom over here. We can work on that later down line once we get a nicer terrain. The overall shape off the well, is quite finished, so we still need the wheel over here as well. So, yeah, we still have a lot of work to be done, but 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. 28. Dynamic Terrain Sculpting for Stylized Environments in Blender: Hello, welcome back, Ever on to stylist environments. We plan the four geometry nodes. And in this lesson, we're going to continue on by actually getting ourselves the terrain set up. Before doing that, let's go back on to modeling mode, and I'm just going to check the mesh real quick. And there is a slight issue, quick issue to fix. These are going to be the frames over here. All I'm going to do is because this is joined in, is going to give off these smoothing off edges. So all I'm going to do is I'm going to right click shade to smooth, and I'm just going to lower this value down. Until we remove these parts over here that were too soft looking basically. It was moving out the edges, the unwanted edges. Even over here, for example, it's moving it out, just take it down a little bit, there you go to a 34 value. It's going to be pretty good for us. We're going to do the same thing over here, and the default value of 44 that we used before is going to work really nicely for us. Now, if we go back on to rendering, for example, we can see that it's actually looking much nicer overall. Okay. Actually, let's go back and start the terrain process. What we need to do is firstly decide on its shape, and let's go ahead and think a little bit in regards to overall setup. We'd like to have some stairs that are going to be going a little bit more curved, so going outwards like this. They should be more larger, I reckon. We can still have a look at the human size, for example, they by default, were a little bit too small. Let's go ahead and increase that I'd like to have them a little bit go in extra downwards, so a couple of extra steps. We'll need to account for that in our terrain. I'm going to go ahead and actually just grab both of these and hit shift in D GY. Move them downwards like so. Now we can go ahead and actually work with this terrain. I'm going to grab this over here. I'm going to scale it up a little bit, G, move it downwards until we get this shape, a little bit too much. There we go. I think this is going to be perfect for us. Let's go ahead and now set ourselves up with a nice mesh. So for us to do that, we are going to actually increase the topology over here, and then we're going to decimate it to kind of get ourselves a nicer mesh using the brush itself. So right now, we're just going to go ahead and add extra topology. So it would allow the mesh itself to be connected nicely with the Okay each of the polygons, basically. Let's go ahead and click Control and r and scroll up a little bit until we get this a shape or actually, we're going to set it up like so. We're going to left mouse button, right mouse button, and four amount of cuts. It's going to give us a reasonable amount, but we want a little more actually. We're going to select it all. We're going to right click, we're going to subdivide it, and we're going to do it a couple of times. So we get this amount. That is looking much better. We're also going to make sure it at the smoothness of one, we want it to be really nicely smoothed it out, like so. And it's already looking quite nice for us. The only issue right now might be that these edges on the outside are going to be a little bit too jaggered. If we look at it, they still contain that low topology. What we're going to do is we're going to select it within an edge loop holding as an edge loop, we're going to click one and that's going to give us the vertices over here. We're going to right click and then we're going to just select a smooth vertices. So if we were to select this over here, we can increase the repeat time, and you can see that actually smooths out everything it relaxes, the vertices and actually age averages out the overall setup, so we're going to get ourselves that nice circle. So that's the operation that's similar to subdivision, for example. They also smoothing out the overall shape, but in this case, it doesn't actually add topology. It's pretty nice for us. Now we're going to actually make use of the sculpting mode. It is a very nice and interesting tool to make use of if we were to go from edit mode on the upper left hand corner, we can select scalp mode. This option will have a lot of tools over here, but we don't really need to use every single one of them. We don't need to overwhelm our selves with them. All we're going to be using is going to be simple draw, and then we're going to use smooth tool, which is going to be I'm not actually sure which one. Basically, if we were to hold shift whilst using a scalp tool, it will give us the go the smooth tool over here. So start off, if we were to use left mouse button, it's going to raise this terrain like so, and if we were to hold control and left mouse button, it's going to love this down just like that. To fix this mess, we can hold shift and use the smooth tool as we just mentioned. That's how we can erase this extra detail. Additional option would be using the brackets, the squared brackets to make this size larger and smaller, which you can control through the upper section over here as well. Yeah, just using these tools, we can just simply switch out the overall shape, and we can just slightly tap tap tap on the setup to get more interesting shape. I'm going to hold ship to actually smooth it out a little bit. We just want it to be a little bit more interesting. We just want to break down the shape just like that. Something like so. Holding left mouse button, tapping tapping a little bit, and holding shift to smoothing it out. It's going to give us a very nice and unique type of shape. We can also go towards the edges a little bit just to help us break down this overall cylindrical look, make it look a little bit more organic. Doing it like so, it's going to give us a nice setup. Maybe this is a little bit too much. If you feel like the strength is a little bit too much, Like, so we can simply lower down the strength over here, and this will make it just more softer type of a touch. Alternatively, if we if we were to increase the strength all the way, it's going to give us an extreme value. With that in mind, we can actually have nice control over the setup. Now we can start talking about in regards to the topology itself. So the topology that we have over here is still going to be if I were to hit T, actually, I should be able to go to edit mode. So it's still going to be quite simple. If we want to have even further control, we can do so by going on the skip mode, and there is a nice option called dynamic topology. This dynamic topology is going to basically re topologize your mesh. Every single time you're using a brush. So whilst you're sculpting, you're going to get more topology or less topology depending on how far away the brush is basically from the mesh. So if I were to click Okay, select this basically Teton. Now, if I were to start adding the mesh, you can maybe not see the type of a difference, but if we were to hit tab, you can see that it's actually right now repologizing this entire mesh. So that's what it's doing. In this case, it's actually quite useful because we can add a bit of an extra detail, so if we were to zoom in quite a lot, quite a lot and works to increase the strength. We can see that we actually start adding this topology that we previously couldn't. If I were to make, make sure to have this dynamic topology turned on. Now if I start doing it, you can see that it actually is giving us some real nice control overall. With this in mind, if I were to actually zoom out, you can actually lower this amount. If I tap it, you can see that actually lower topology and it cannot sustain itself, the size the overall shape. So if we want, for example, to have even more of the mesh density, we can either lower the brush down, which is going to give us actually will turn on the ira mode, which is going to give us this kind of a mesh. And if we were to increase the scale is going to Actually, I think it's going to give us the same amount. But if we were to for example, zoom out, we can see that it's changing like so. If we were to zoom in, it's going to basically change based on the scale that's shown within the screen. If we want to have more topology, we can change the detail size. If we were to lower this, it's going to make the mesh even denser. I recommend you to keep this default to default value of 12 just to make sure it's not being overly used because it can be quite performance heavy on your computer. I recommend you just making sure you're careful with that. And what we're going to do right now in regards to the shape itself, we've talked a lot about the tool, but we need to talk about the shape itself. What we want the shape to be is, we want it to be well, organic. We want to make sure that it's going up towards the well to make sure that it is looking like a small hill. And we do want to have a bit more of a hump over here. I'm just going to add the hump and just lower it like this. It's going to give us a nice setup for the stairs. Okay. But we need to make sure it looks a little bit more organic. Basically, towards the stairs is going to have more of a slope, and outwards, it's just going to ease off like this. It's going to look like it's been just walked over in the stairs based on their weight, kind just lower down a little bit, and it is a wet damp area since there is a lot of water inside. So the ground itself is going to be rabbit off. Based on that, before we actually continue on with this setup, I do recommend that we actually go ahead and set ourselves up with the staircase. So we'll just go ahead and just add a bit more detail like so to the overall setup. That's quite right. We don't need to touch it too much. At the moment. Again, we need to now work on the stairs. So in the next lesson, we are going to be setting ourselves up with these staircases over here. And then based on that, we can actually determine how the ground is going to be affected by the staircase. So that's going to be it from this lesson. Thank you so much for watching, and I will be seeing you in a bed. 29. Integrating Staircases into Stylized Environments in Blender: Hello, and welcome back over on to stylist environments with Plano four Geometry nodes. In the last lesson, we talked a little bit in regards to the sculpting terrain, and now we're going to continue on with the process. But before doing that, we do need to set ourselves up with this staircase. So let's go ahead and actually look into what we can do. We're going to go back on the object and see what we have. And I think we have the gray box and preparation folder still on. So I'm going to enable it and we should have it within it a staircase over here that we set ourselves up with or these bricks. I think we can actually make use out of it to have the same style, basically, since this is already converted as a mesh. Let's go ahead and grab this. Hit Ship DGX, move it off to the side, and I'm going to click and I'm going to move this to a collection. This way is actually going to be located over here. Over here, instead of the usual setup that we had, I'm going to actually minimize this by clicking on the stick over here to actually take it off from the scene, and now we have this setup. Let's go ahead and click Alt and r, which will basically clear the rotation. If you're wondering how it kept the entire information, we can click N and on the right hand side, we have transformation. When we are rotating something, it's going to keep that information over here unless we click control and A and apply the rotation or location, basically, which is these values over here. If I was to click Alten Rs going to reset the value. If I was to click Alt and it's going to reset the scale. In this particular case, we want the scale to be the same as we had for these bricks over here. That's going to be quite right for us, and we do actually want this to be the same as well to make sure we have a right circle. I actually is deforming around the well itself. For us to do that, we're going to actually do the same exact operation as we did for the well, and then we're going to pick a couple of bricks to use for the staircase. Let's go ahead and do that. We're going to hit tab, we're going to go onto edit mode. We're going to hit A to select all, delete the divertices. We're going to hit Shift and A and add a circle. This should give us this nice circle over here. We can click S to scale it up and down, and I do realize I do think that we need to make these stairs a little bit bigger. I think they need to be a little bit bigger, but all in all, post of scale, let's go ahead and play around with these bricks a little bit. We're going to find the brick over here. I think it's the whip that we need to worry about a little bit more. Over here, what about the height? The height itself, I'm wondering if you should make it like fin or f. I think we're going to go with a fier version. The reason being is that if it goes in the ground, we'd rather have some of that brick going underneath it instead of having the brick look like it's floating. That's basically it. This is looking like a pretty nice set up, although I'm not sure about the whip. I'm happy about the with itself, but I do want to w randomness a little bit more. I'm going to increase that just quite a little bit more. Now I can lower down this with amount. There we go, something like that. Although holding shift, I'm going to lower down the with randomness since I see some crazy and extreme values. We're now going to go all the way up and lower down the layers to one. We just need one layer so we can actually just duplicate this over and over. Finally, I'm wondering about the the gaps themselves. The gaps themselves can be increased a little bit. Is this the one layer gaps? No, that's not it. I'm going to make sure layer gaps doesn't matter for this case. We can keep it zero. I'm looking for gaps over here in the bricks. So where would that be? Let's have a look. Brick gaps there we go. We're going to slightly make it a bit better with that regard. There we go. That's looking pretty nice. The bevel, we can hold shift and just lower it down by a little bit. 0.04 Maybe 0.0 0.35. There we go. They're going to be a little bit more sharper on edges, and we can actually just move it out these parts over here. The ones that are looking like they're being walked on. It's going to give us a very nice set up. Pre gaps. We should definitely work on that. I'm going to go back on D mode and see what is happening with these. Precas we definitely need to make sure that they're not overlapping too much over here. Then let's go ahead and find So the whip the height level, I think all of it is looking quite nice for us. I do want to find the to find it even offset. No, that's going to be for layers again. And I think actually, I'm just going to click on the CC if I can get a better result. There we go something like that. It's actually giving us a nice setup. The height for these bricks are a little bit too much going to lower this down. It's actually changing the entire setup scale. So not only for the height, it's also for the whip itself of the brick. If I was to make it super somal, we can see them finning down. So we want to make sure that we're not overdoing with the height. And going to decrease the scale actually for this just to see how it looks like for the height. This kind of a setup is looking quite nice. I'm happy with the setup. The the wi I will hold and lower this down a little bit to the value of 0.7. There we go. Yeah, I'm really happy with this result. The gaps now need to be slightly lower. Let's lower it down. Okay. Even if they're overlapping, we can fix that. Now that we're done with this, we can go ahead and actually move this all the way to the ground like so. I'm going to go ahead and I'm going to go ahead and hide this out of the way, collecting them before doing that, I will click Control J to join them so we wouldn't have to have a hassle of working with multiple objects. Let's go ahead and just move them out. Okay. Now we have something like this. I will perhaps hide the ground itself as well. We can actually see what we're doing with these bricks and we're going to have one layer like so. I'm going to hit Shift D, G Z, and it's actually not going to work. The reason being is that we need to set ourselves up with this new object. Let's go ahead and go onto object mode. We're going to hit Shift D, G Z, move it downwards to this layer like so, and then go back on more, click S and upscale it like this. This is looking like real nice staircase and we can grab a couple of those bricks basically to get ourselves a nice setup. Again, we're going to continue on doing this until we get ourselves a nice setup. So and final one. Just like that. All right. Now we've got ourselves nice staircase, but they look a little bit same, too identical. We're for each one of them, we're going to change up the seed to get ourselves a bit more of a unique look. Something like this, and we can rotate it actually Z and it should. It's not rotating. It's rotating based on origin point. I'm going to right click and I'm going to actually select all of them, right click set origin point to free Dcursor which was in the center. Now we can go ahead and just slightly offset each one of them. Think about each bricks that we want to take. For example, over here, I do want to have these four bricks of one, two, three, four, right in the center piece, more towards this. I want to make sure that this part of the brick and this part of the brick are slightly touching outside. Then this, let's think about how we want it to be, and I'm going to rotate it quite a bit and do something like this, probably where these bricks a little bit going outwards, actually There we go, something like this. Maybe. Now we'll go ahead and keep it as is and this one, we're going to actually go ahead and just move it a little bit off to the side. There we go. I think that looks very nice actually. A couple of bricks, a couple of bricks, and we can keep this as large bricks. I think that's looking really nice actually. We're only focusing on these front bricks over here. We're not really caring about anything else in the back. These bricks are because of the variation. If we having some issues at the front, make sure to lower the with randomness. Okay. So anyways, now we can go ahead and select them all, go to object and hit convert mesh. Then we can go ahead and select them all. We can hit tab. And because we had them all selected, all of them are going to give us the edit mode. And even though they're separate object, we can still edit them all at once. I'm going to hit free to go onto the base mode, I'm going to hit Alt and are actually a fought. I was in the transparency mode of not. It's just quite a dense mesh. I'm going to go ahead and Then find the right bricks. These bricks over here, I want to take these bricks over here, I want to take these bricks over here, and finally, these bricks over here. Once we have bricks like this, we can hit control, we can select the rest of the bricks, everything except for the front, click the lead vertices, and there we go. We're going to get ourselves a nice path to make us. Question is though, is it actually going to be okay with the rotation? We can still selected and slightly rotated, tweak it, for example, if you want to. There we go. Now we can go ahead and click Alt H. There we go, unhide it. We're going to grab these steps, we're going to click M, we're going to put it onto the gray box, so it doesn't actually boer. And now we can work with this terrain. So yeah, in the next lesson, we're actually going to start deforming this to the terrain. Half of it is hidden away. We still need to decide how much of it is going to be seen through the terrain, through the entire mesh for the steps. 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. 30. Adapting Staircases for Dynamic Environments in Blender: Hello, and welcome back Evern stylized environments with plenty four geometry nodes. In the last lesson, we left ourselves off with making this staircase over here, and we can adjust it. We can make it a little bit better. So for example, these parts over here are overlapping. We're going to go ahead and real quick fix that. So let's go ahead and see how we can do that. For Sys, we can hit a tab. We can go onto this part, and we can hit one. We can select one of the vertices. Go onto proportionally editing, and I'm just going to check real quick. To make sure there we go. We have something called connected only. If we were to move it, clicking GD and moving it upwards, we can see that based on the radio, it's actually going to move everything at once. If we have this option ton connected only, we can click GD and upscale like so. This way, we can actually just control how these bricks are layered up together. That way, I think I'm just going to go ahead and move them like so. We're just making sure that we don't have any clitches or artifacts in between them and I'm not really interested in how they're actually touching, for example, they might be slightly overlapping over here. But the main thing that I'm looking is going to be simply just making sure that they're not we have a look. They're not having any artifacts. This one over here, for example, I do want to move it actually. If I can, I will move it and I will fix this part a little bit over here. We want to make sure it doesn't look like it's made out of clay or something. They are actually stone pieces, so they still need to have that keep consistent rigid look. Over here, it's quite a bit of a mess. Let's go ahead and fix it. Just a little bit over here, just a little bit over here, nothing too much. We want to make as minimal changes as possible because most of the work is already done for us by the Geometri node. Let's go ahead and just move this actually entire set up just like this. And it's quite all right. This one over here, maybe we can move it. This part just a little bit. This part over here is definitely needed to have it fixed. And if you notice, I'm only using this blue section over here. This blue square will basically allow us to move it in the y and x axis and not in axis, which is upwards. So I'm only moving it horizontally basically or we can even click seven, for example, and do the same movement from over here. There's multiple ways of doing it basically. And if we have a problem, there's always a way that we can fly to fix it. All right. Let's think if this is going to be sufficient for us. We have this option over here. I don't like this brick. I don't like the way it's interacting with this setup. I'm going to go ahead and move it slightly. I'm going to even rotate it like so and move this a little bit just like that. Is this better? I'm not sure. I'll need to slightly adjust this, I think as well. Maybe this cap over here. Make sure it's a little bit more straight looking. There we go. It's something I like. All right. So let's go ahead and click Alton H. We can now go onto the process of terrain setup. So let's think about how we're going to do it. Clearly we can see that the stairs are going much, much lower. We don't want this hill to be too slopey in regards to the slope. We want to make sure that it's covering the entire stair Ace whilst at the same time, the angle of this hill is not too big. So if we were to click and Z, for example, this angle, is a little bit too much. It is a little bit too much. What I'm going to do is in order to fix this actually, I'm going to scale this up actually. I will click, scale it up, make sure it covers this entire setup. Then click SZ lower it down a little bit. Readjust it, and now we can go ahead and actually make use out of this shape. To grab ourselves a nicer setup for the staircase. I'm wondering, looking from a distance, always make sure to look from a distance every once in a while to check if, for example, something like this terrain is not going to be too large. And although this right now looks quite plain, we are going to have a lot of grass patches over here. I do think it's actually quite all right. Looking at the human reference, for example, it's not going to be too bad. All right. So let's go ahead and actually start doing this sculpting. Holding control, I'm just going to lower this down quite a bit, getting all of these pieces out, just like that. Here we go. I think this is a little bit too much. We don't need to unhide the entire setup. So even if some parts are hidden away, that's going to be totally acceptable. But we do need to make sure that I don't overdo it in regards to its angle variations. For example, over here, I want to make sure that we have some of them covered. And over here, maybe something like this. Maybe we can even cover even more of that. So something like this, even, that would be totally okay. It really is up to your personal preference. So how we're going to set this up. If we want to instead of just having this kind of popping and whatnot, we can use something called, if we were to look for it, something called grab. Grab is a very nice tool to use when we want to slightly adjust it the way it works is basically using the normal modeling mode where we use Gizmo to drag it up. Based on our camera, we can just drag this up by clicking and holding and dragging it up Alternatively, if we were to hold control, it's going to be based on the normal. If I was to click on something like over here. It's going to start scaling it up from the face of the mesh. It's going to be basically if I was to select something like this, it's going to be probably going straight upwards, but something more at an angle, it's going to be going from that angle. With that in mind, let's go ahead and slightly readjust this perhaps going to hit shift. Slightly fix this over here. I think All in all, this is quite all right. I'm going to hold shift, actually remove a little bit more detail over here. We don't need to have this much, and I'm going to go ahead and just scale this up a little bit. Hold control, move it upwards. Just a little bit. It's not going to be looking quite a large slope at the back. So it is actually going to look something like this. We now need to go ahead and add grass actually onto this to make sure we understand how it dacts with the overall setup for this mesh. For that, I would say that we're going to leave it for the next lesson. We're going to basically grab ourselves the grass that we have in the resource pack. I am going to go ahead and click Control S to save out the project. Let's make sure we don't forget to do that otherwise if it crashes. It's going to be an issue. So going back to this, we're going to set ourselves up with the grass. We're going to think about how the grass interacts with the objects. For example, over here, not only does it interact with the terrain itself. You can also see small parts of grass coming out of it. And the way we're going to do it is actually going to be quite interesting because we're going to apply it as a separate mesh. All of that is going to be done in the next lesson. So let's go ahead and go on to the next lesson. Thank you so much for watching. And I will be seeing you in a bit. 31. Implementing Lush Grass with Geometry Nodes in Blender: Hello, and welcome back onto stylist environments with Blender for geometry nodes. In the last lesson, we left ourselves off with the deformation of staircase a little bit with the terrain, making sure we have a nice setup overall for the base of the terrain, which we're now going to make use of to apply some grass. So let's go ahead and have a look on how we can do that. We're going to go onto the resource back. We're going to find grass resource node. You can see the way this is set up is quite interesting. So We have a cube, and we have a couple of measures over here. All we need to do is just select the cube, the one that has the geometry node. We're going to hit Control C. We're going to go back onto the stylized well. We're going to go back and click Control B, and that's going to actually bring the entire setup with all the objects. Everything that geometry node is using is going to be brought up here. We can actually just move it off to the side of Gx and I'm going to click M. Going to put it off onto the Let's go ahead and put it onto the gray box preparation, like so. And now let's have a look on how we can set this up. So by default, it has no texture. So let's go ahead and actually add a texture as well. We're going to go back onto the resource back. We're going to find the dirt over here. We're going to hit Control C, go back to the well, Control V, and we're going to have ourselves the texture for the terrain. Let's go ahead and select the strain and apply this material real quick. We're going to go ahead and simply go onto material tab, select this material, select dirt, and we're going to have this bit of a mess. The reason being is that we need to UV wrap it. Let's hit A. Let's go back and select it all by clicking a tab A and then, Smart TV project, and then we can click. Let's see how this looks like. There we go. It looks much better. We need to think about in regards to how it's set up. Although it's not going to be quite as visible, we're still going to have a bit of patches seen through it. Let's actually decide how big this needs to be. I think by default, actually, let's go ahead and just play around with it. If we were to go to the end of you, it's going to should be shown as much lighter, so keep that in mind, and that's because of the applied shading that we have. We have a look at dirt. To find it if we're not seeing it. We can just zoom out and there we go, we're going to see it. Basically, it's just making sure that's being applied with RGB curves, and because of the lighting, it's going to do the rest. It's actually quite a simple setup. Let's go back and go on to EB editing. For this case, let's go ahead and click and just scale it Okay. Should we go inwards or outwards? That is a good question. I think scaling it down is going to give us a better resolution. We're still going to keep that nice resolution, I think quite enough. I think that's quite all right. But I think it might be I'm worried that they might be stretching it out a little bit. I'm not sure if that's the case. Let me go ahead and check it within the render review. That seems to be quite right. Okay. Yeah, that seems all right. Let's go ahead and now add the grass that we previously had. Let's go onto modeling mode for this particular case, the easiest way to add grass is actually quite simple. All we need to do is instead of just creating a new mesh and whatnot, there is another way of applying a geometry node. Since we already have the geometry node in the scene. So the grass is already added into our project, we can actually go on to well, select the terrain. We can go onto modifiers and add modifier geometry note as a modifier. If we were to click on this, we can select whether it's new or we can click on this button over here to select meadow. If we select meadow, we're going to get this kind of result, and I'm actually looking if it's going to be all right. There is a difference there's a lot of options over here, but at the top, we have a difference of viewport and render density. And I'm just looking if we should have it added beforehand or afterwards. That's one way of doing it, but it's not I just want to make sure that I'm actually getting the same parameters as we had over here for the grass. This one over here if we go to render We can actually see that actually not giving us the right results. I'm just wondering why that is the case, I think I did make a mistake, actually. Yeah, I didn't make a mistake. All right. So what is happening over here. The biggest mistake that I've done is the fact that this collection includes grass, flower and leaves. So each one of these parts when we dragged it out, they had the collection set up for this geometry node, which you can see over here. They're being used. So grass, flower collection, leaf collection, they all had their own uses. Because we added up just moving all of this collection to the gray box, like so. It gave us this kind of an error. Let's go ahead and actually reimport it. I'm going to go ahead and select it all, delete it. And this time, I'm going to make sure I have the gray box selected. I'm going to go back onto the grass, select the cube over here, hit Control C. Now go back onto the selection. So we have it selected onto the gray box, hit Control B, and this should There we go. This will bring it onto the gray box collection. So we don't need to move each one of those folders, each one of those collections individually from collection folder, onto the gray box and preparation folder. We can now simply just hide it out of the way and it's going to work quite well. This hand, let's go ahead and just remove it and see if we can just add it in like so, and if it works, I think this time is going to be meadow 001 because we copied it, and there we go. We're going to get this sort of a result. So already we're getting a real nice setup. I will, however, go back and see this result instead. And I will actually, I think just copy this parameter. I think it'll give us nicely scaled setup over here. Let me just go ahead and see if we can do that. Basically, that's one way of adding um you know. The way that I'd like to show you and I really quite like it is going to be if I was to select this over here. Just copy all of this omit node onto the section over here for the terrain. All we need to do is just select the terrain and select this cube over here. We already talked about in regards to the selection, the one that's going to be an orange, lighter orange is going to be the main selection. It's going to is going to show the modifiers that it has everything applied for that one object. It's not going to show the upper one. This Jome node, we can copy it onto this terrain by clicking Control on L and then selecting copy modifiers. Just like that, we're going to get this set up. Although I can see that it's not quite there just yet with the terrain. Let's go ahead and just simply tick off the gray box. We don't need it anymore. I'm going to actually apply the scaling first, I'm going to click Control and A, rotation and scale, apply and there we go, we have it six. Basically, what happened was I had this terrain upscaled, because it was upscaled it was actually giving us a larger mesh, basically a larger foliage. So now that we have it like this, we are going to be actually setting it up as a different mesh. But before doing that, ideally would like to actually have some time to talk in regards to this set. You can see that it is chugging on my computer, and it's quite performance v. The reason being is that we have a couple of options with things like folage or things that spawn a lot of items. Often, you would find in Jump notes, something called viewport density and render density. Veport density is what we see over here. That's exactly how it's going to look like. Render density is when we go to the render or when we are actually rendering it out. Because it's going to be rendered out, frame by frame or whatnot, it is going to be much different in comparison to what we're going to get. For viewport, when we're doing modeling and whatnot, I do recommend you to low this down to quite a large amount or quite a small amount actually. Setting up to something like 100, for example, you're going to see a much better performance. Although this is set to 100, if we were to go back onto the render view, we can see everything or actually Actually, it is not going to give us that. Sorry about that. But when we are rendering it out on our camera, it's still going to give us all the density back. So just keep in mind basically when you're doing a final product, you can set a viewpoint density to a low value just to have that performance back and when we're rendering it back out. We are going to get a much better result. There we go. Now, in regards to the scale itself, I will actually change the density to something more reasonable for the grass or actually. I just realized that this is just the grass. Let me just go ahead and see if the grass and the grass itself is being stayed the same. So I'm going to change it to something like 300. I think that's better. SMs. We can also have that same change. So VP density, something like ten 15 of this case is okay. And I think that's quite all right. Flowers, we have all of these options. In regards to options, how do we have it? Seat at the very top, usually at the very top, the randomize the parameter basically. If we start clicking through it, we're going to just randomize it through. We also have the collection. Everything that's within this grass over here is going to be shown basically how it's set up. So This grass, what we have over here because it's being placed, it's going to be affecting how it's going to be populated within this field. So if we change, for example, the scale, everything for the grass is going to change its scale. So even if we have flowers or anything of our custom meshes, it's going to be applied as grass, and we can change the random random well angle and whatnot. All of that good stuff. STEM is an interesting one. It's the one that actually generates a mesh and not our way around where just placing the already existing mesh. Let's talk a little bit in regards to that. We have these brown meshes over here. We can change the material through this part over here or we can access the mesh. For the SM if we were to go to shading, we can actually, let me go ahead and have a look. We can select The measure that we have, we just need to make sure that we select everything. Otherwise, it's going to select the unwanted results. Double click A, to make sure everything is selected. We can then go ahead and select what was it? Let me go ahead and actually go back real quick. Modifiers, and that was SMs. Double click A, to make sure everything is selected. SMs. I'm just going to type it in stem, there we go, and there we go. If we're going to get ourselves the terrain changed don't really like the way it behaves. But basically, if you zoom out, all it is is a simple material node, which we can change the color over here, and that would change the stems as well. Right now it's changing the terrain because of the previous selection. If you don't want this to happen, I do recommend you. I'm going to click controls that a couple of times to go back to the normal terrain that we had. I do recommend you to just create a quick cube like so then select stem over here, and you can just grab the stem like so and should be changing the color, I think it's actually because we made a duplicate, it's going to give us a different stem. I will select stem 001. There we go. If we change it now, We should find ourselves. There we go. We have ourselves interesting stems. So with this, we can actually create our own materials, the textures, and whatnot for these stems. But for this particular case, because it is a styles scene, we're going to be quite all right. I'm going to click control that, to make sure we have a default value for the texture. Going to go back to modeling, and now we're going to be actually applying this properly because you can see that this is being applied on to the staircase is actually being applied inside the well as well, which is going to be overlapping with these parts. So we want to make sure we fix all of that. So, yeah, that's what we're going to do in the next lesson. Going to go ahead and delete this cube. And yeah, thank you so much for watching, and I will be seeing you in a bit. 32. Advanced Grass Application Techniques in Blender for Realistic Environments: Hello and welcome back veran to stylized environments with blender four Geometry nodes. In the last lesson, we left ourselves off by talking a little bit of the setup for this geometry node, and it's quite a nice setup that populates the section of me that has this geometry node with the parts, basically, that has the flowers and grass, leaves, and all of that good stuff. And now we're going to go ahead and actually make use of this setup. And I just realize, I'm going to make sure this is hidden. I'd like this human to actually maybe be side of the gray books. I will keep the human around, actually It's quite nice. For this, we're going to go ahead and actually set ourselves up with a bit of a terrain basically. So what we need to do in order to have control over this mesh over the way it's being populated with the grass is we can simply hit Shift D, click Enter, and then it's going to have a duplicate. I'm going to hit H to hide this out of the way. I'm going to select this and actually remove this geometry node. So it's only going to be dirt. For this part, then I'm going to hit Alton h, and we're going to have basically a duplicate version that has this geometry node. For this part, what we want to do is we want to make sure that it does not have any of the material. So we're going to go ahead and remove this material. So We're going to make sure that this also has a new material applied. So we can just call it transparent. Transparent, basically, we'll make use of this mesh to apply this grass on top of it. We just need to make sure that Alpha is set to zero, so it's completely invisible. Once we do that, this Alpha makes it invisible and we still have the grass, we still have this mesh. If we click on the mesh over here, we can still see that there should be two duplicates. We can click G Z and move it above, we can see that it's being a duplicate like we wanted to, which is great. With that in mind, we can actually make use of it and just delete parts of the mesh that we don't want flowers to be on. And that way we're going to get ourselves a nice set up. Let's go ahead and think about the sections that we don't want the grass to be on. I'm going to actually just select the well over here, the grass itself, the well and the stairs. There we go. Now when we click isolate, it's just going to be this single mesh and the base of the well. This way we're able to nicely work and identify the issues basically with the set up. Okay. But this particular case, I do recommend you to take the viewpoint density to the desired result. So something for a grass. And if I were to look Yeah. Something for grass back to 3,000. It's going to be actually quite dense. I don't want this to be the case, 600 going to go ahead and just keep it as this. The reason we're doing this is basically so we can actually see the exact areas for where we don't want foliage to be. Grass is okay flowers and leaves going to be okay as well. We did have an alternative version. There we go for the stems. For the stems, if I were to set this to ft I think that's going to be quite all right. Yeah, let's go ahead and actually work on this. For, we're going to hit the tab, to go on the edit mode. We're going to have ourselves this setup. I'm going to go on the ira mode as well. That way, we're able to see the exact issues that we're having and basically the mesh that we want to delete. We can click C on our keyboard to have this nice radial selection and using what is it, the mouse wheel. We can scroll up and down to change the scale. Whilst holding left mouse button, we can actually make a selection, whilst holding right mouse button, we can deselect it whilst holding right mouse button. We can hold control, there we go. We can tap or middle mouse button to actually make a deselection. There we go. Most button, select middle mouse button to the select. There we go. We're going to select the area where we have this path, create the right mouse button, right most button to selection, something like that. If we were to go back on to well, click A Z to make sure we remove that, we can click Delete vertices, and by deleting vertices, we can have this sle look, which changes where the flowers are located. Basically, we want to remove the parts here from the front of the steps, we still want to have this part over here. In regards to the area around the well, we want to make sure that we're removing it super close to it, but not close enough, so parts will be overlapping. Let's go ahead and do that. We'll go ahead and actually click control because I did remove this part over here. Hold clicking C and holding middle mouse button and I'm going to make sure we have this part still done. I think I'm going to go ahead and click the lead. Something like that is actually quite nice, maybe a little bit more. I'm going to just make sure we have a little bit more in regards to this part. Something like this. That's quite nice and maybe a part over here. There we go. This is shaped up nicely. We don't need to worry about it too much anymore. I think that's quite all right. Let's go ahead and think about the well itself. I'm going to hit all said. I'm going to just hit seven actually, seven, there we go. From the top down view, I'm going to select around the well just like that. There we go. I think that's going to be quite nice. Make sure we have it in the middle, delete as well. Let's go ahead and have a look. If we're having issues with the gaps, we can always just select individual vertices, make sure that we have the proportional editing and just move these a little bit inwards like so, and we're going to get ourselves a really nice result. Just like that. We're basically tightening up the mesh. This might have been a little bit too much, but I think it's all right. There we go. This part over here. We can do the same thing, by the way, with the staircase as well. Go to the staircase, just slightly adjusting this tweaks. Maybe this part over here is a little bit, needs to be going a bit closer. There we go something like this. Yeah, all we're doing is just we're tightening this mesh a little bit, and it might look like we're going to have a bit of an issue when we're overlapping the main mesh. But actually, let's have a look. No, I'm going to click control sad. I think I click something on dimensions. Let's have a look. This part over here, I don't really like it, so I'm going to just move it slightly out. There we go. Quite happy with this result. Let's go ahead and go click the isolation mode. So the dash or a question mark, and we're going to get this result. So this is looking quite nice. We can see that these are not overlapping anymore. If this part is overlapping slightly. But I think if you click on the material, we can see that it is actually looking quite right. I'm quite happy with this result. This mesh over here on its own. I think it's actually showing up as black. The reason is black, by the way because we need to go onto the material mode. We need to scroll all the way down onto part display, and there's something called blend mode and shadow mode. If we were to just set this as alpha clip and this as none. Okay. We're just going to get ourselves a transparent material. Let me just go ahead and have a look. If it is actually transparent, which it is, I'm quite happy with this. Let me go onto the render review and see if it actually behaves the way I wanted to. Which it does. I was worried a bit because it was showed me some black spots, black patches and material mode for some reason. But when I'm in here, it's actually not being shown. So that's quite all right. Okay. The only thing that we need to do now is make sure we have a bit more of control over the staircase over here. And I'm just wondering if we have enough time. It's already 9 minutes off. We're going to leave this on for the next lesson. Thank you so much for watching and then in the next lesson, we're going to learn how we can actually set it up for the staircase, a bit of grass, patches of grass. So that's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. 33. Optimizing Terrain with Grass Modifiers in Blender: Allon, welcome back over on the stylized environments with Blender pore Joe Nodes. In last lesson, we set ourselves up with a nice type of a setup for the mesh to have a bit of extra flowers on top of it. Now we're going to work on the entire setup to make sure we have some grass and bit of flowers to be next to these stairs over here in between. Actually, for us to do that, we're going to firstly, we're going to decide the amount of flowers and grass we actually have. The reason being is that we need to determine the consistency of how it's going to be applied onto our terrain basically. Let's go ahead and go onto the modifiers and see what we're working with. So we're going to go ahead and go for the overall setup. Density, we're going to actually start by, let's go and lower the stems to zero on the port, so actually we can see only the grass. That way we can actually determine how much of grass we want. In this case, I think changing this to something like 1,200. Okay. Be quite right. Now need to determine whether or not we we want this to be more chunk here or not with the max angles. For example, set some ten, and that's going to third, this is not the one. Max surface angle is the one that's going to basically determine if the angle is too much. It's not going to spawn any grass on top of it. So for example, if I was to add some grass on top of this well, it's not going to put it on the side of the walls. And the one that we're looking for is going to be surface angle, if I were to extend this a little bit actually, I'm going to click and by the way to close down this tab and extend this a little bit. Surface angle randomss we sit this to tens going to be a little bit too much, but you can see the type of patcht that we're going to get if we were to go to render, we can see the difference that it makes. Actually, this seems to be I'm just wondering what's going on over here. I'm going to go back to the end of just to see why this is set up as black. So let's go ahead and actually think I might have done it differently for this. So I'm going to check Alpha blend and clip. This should be quite all right. I'm going to take this to Alpha hash, should also change it up. Because if we look at the setup of the Alpha set to zero. I'm wondering why that's the case, I did have it that's right to zero, and For some reason still showing me this as black. So I'm just wondering why that is the case. Perhaps it is because I'm actually just going to go ahead and hide the main mesh. It's not showing up as black over here. I'm going to go to render. So it's not actually visible, but when I unhide this entire setup, I might need to actually just raise it up there we go. What was happening is because the mesh was right overlaid on top of one another in exactly the same spot, it was giving us some errors. By slightly raising it up, it's going to be barely visible, but at the same time, the offset is going to make sure that we're not getting those patches or errors in the grass. I'm quite happy to result with the result. Going back to this, we're going to work on the angle. So right now we set this up to a max angle of ten it's going to give us some interesting hatches, actually. So it's quite nice. But we don't need to be that much, to be honest. We can set this to five. I think that's going to be quite all right and maybe even set it to lower, set it to free, we go a bit of extra patches and whatnot, in areas where we want them to be, I might need to drag this grass a little bit more off to the side or lower this dirt. We'll see that in a bit though. Let's go ahead and now work on the scale. For the scale of the grass, I'd like to slightly increase it perhaps. I'm going to change the render density for this to 1,200 just to make sure that when we are rendering it, it's going to keep that same consistency. Now for the grass itself, the scale, we can side it to 0.15, just a little bit higher up there we go as what we're looking for. That is looking much nicer overall scale randomness. I think we're going to increase it just a little bit zero six, just a little bit more, from a side we have more of breaking points for this platform. It's going to look quite nice. Now we're left with the stems, the stems for the flowers, basically. And we're going to increase this two five to start off. We're going to change this to eight Something like this, but the scale of these are a little bit too big. So let's go ahead and lower this down to 0.05. If you're interested again with the geometry nodes, if we're interested in what each one of them does, I recommend you to just go back and setting the scales or the parameters to maximum and minimum value, not too much, something over here to 0.01, for example, We can see how it behaves, the overall setup or 0.1, for example, we can see or ten even. We can see how it works basically, and it just basically elevates this entire stem to a reasonable amount. We can make them look like some vines coming out or like a very long type of flowers, you know, so that's quite interesting if you're looking for that kind of effect. For this particular case, we're going to set it up to something like, 0.2, let's say, scale randomness, we can set it up to be a little bit higher. 0.08. There we go. We're getting that nice variation, and viewpoint density, we can slightly change it to actually, let's go ahead and look at the to check the Max angle surface. Again, where they're going to be spawning on surface angle randomness. Okay. We can increase this 20.1, I reckon 0.5. There we go. So 0.3 is going to be in between, and we're going to get ourselves ts result. Then we're going to go ahead and actually mesh radius. We need to decide mesh radius. 00.002 is going to be not enough. So this is what's controlling basically radius of these stems over here. If I said this to one, it might not be quite obvious but there you go, you can see the way it's changing. And we're going to change it to a reasonable amount. We don't want it to be too skinny, but at the same time, this is looking like a chunk of tree. We don't want this to happen. So a value of, again, you can see, I'm just playing around with the values, seeing how they look like, especially from a distance. So I think 0.004, is going to give us a nice result. Yeah, that is quite nice. All right. The next thing is we need to worry about the scale of the flowers. Let's go ahead and change this to one. Let's see what it does and 0.10 0.01. These are the petals basically. How big do we want them to be? If we zoom out and have the reference of a human and just look at it from a distance, we can just work out exactly what we want. 0.02, maybe, that's a little bit too little 0.8. There we go. So it's going to be enough to make it look quite large whilst at the same time, not overwhelm the entire setup. And Yeah, I'm quite happy with this result. Leaves. We can work on leaves a little bit as well. Leaves are a little bit too big personally. I think they're a little bit too big, we can just make them in half a little bit or a little bit more even. There we go. I think that's looking quite nice. Now that we change the scale, I think I'm going to go back onto the stems, changes to one to five, just to lower down the overall height of the stem, and I'm happy with the result. Now, now that we have ourselves a nice setup. I'm going to also make sure that the viewport density is photograph is set to something like 300. Render is going to be kept the same. Then the stems are going to be for SEMs I'm going to keep it as eight for both viewport and render, and that's going to spawn nice flowers. Okay. So now that we have it up like this. We can now that we have a reasonable performance because two grass is not just overly populating and spawning on this section. We can finally just place some grass alongside the corners of these edges. So how we're going to do it? Well, the easiest way for us to do that would simply be to grab some mesh planes. We're going to get ourselves a plane. And actually, we're going to start off with just a, we're just going to start with just a single vertice. Let's go ahead and do that. We're going to select one vertice. We're going to click Control and. Verted and delete these vertices. This way, we can work with just this single vertice over here. I'm going to actually go back on to object mode click set origin to geometry, just so the origin of geometry could be just set over here. I'm going to just lower this down onto the first part of the section. I'm going to take off proportional editing, by the way, because it's just getting in my way to be honest. Now I'm going to go ahead and We can hold control and we can right click and then it creates basically a new vertice over here with a simple line attaching it basically. Now I'm going to go ahead and actually just reposition them a little bit more. Going to go ahead and just simply do it like Holding control and tapping right most button will give us this sort of a line. I'm now going to select them all, going to click and I'm going to click G Y and then drag them out or G. There we go. All right. Then I'm going to hit G Z, hit them off to the side, and that looks like a nice base. So I'm going to go ahead and now copy the grass from one mesh to another. Again, the main selection is going to be the grass, click Control L copy modifiers. And this should have a grass. What's going on? Why are we not having the grass? First of all, I'm going to go ahead and click Control and A, rotation and scale, reset that. Then I'm going to think about the density. Okay. For some reason, this is not showing up on. We can see that when we click on this, we do have a meadow grass this time, but it's not showing up. So I'm going to increase this to 1,200, see if it actually behaves differently and it's not behaving differently. What's going on? Maybe I need to extend them even further. What is going on here? I'm just thinking a little bit. And maybe the seed because it set to one, nope, it's not. Okay. Maybe this needs to be in the collection. And it's not the case. So what is going on? Quick problem solving? Let's go ahead and see what's happening. I'm going to quickly create a new mesh going to go ahead and just copy modifier onto it. We can see that this is working here. Why is it not working over here? Is that's a good question? Well, I'm going to go ahead and extend this, make it larger even. Let's see what's going on. We're going to actually remove the som node. Again, I'm going to go ahead and add it in. So let's see if that fixes it. That still not fixes it. So what is going on over here. Okay. We have to click control, is that to bring this mesh back in to our desired shape? Okay. Let us see what's going on. And for this particular case, I will try maybe going to object, converting it to a mesh. That's not going to do anything. I'm going to actually add a cube over here just off to the side within. Oh, sorry, that's object mode. I'm going to select this part, go to edit mode, make a that's part of this mesh, and I'm going to go ahead and attach the modify the modifier is working. So what is going on over here? That is a great question and perhaps maybe it's liking vertice amount. Now it's working, interesting. For some reason, this wasn't working, and I wasn't sure why. But when I added a bit of extra topology, let's see if this will work, it's not working. I'm not sure why, but for this particular place, it's not working. So all I did is just select it all, click and then extrude it out a little bit in words. I'm not sure this ends up working, but there you go. It does work. And Now, actually, let me go ahead and try to just select the upper section. I'm going to isolate this view, going to hide it out of my editor mode. So if we were to click on this buttons, we've not talked about these buttons, by the way. So these buttons are allowing you to hide the geometry node or modifiers in regards to where we're looking. For example, if we are within edit mode and we have this disabled, we can go on to edit mode, and this is not going to be visible because we have this button disabled. This upper button is real time. So when we are within the render review, we can actually sorry not render review when we are in object mode. We can have this disabled, and it's not going to be visible. Other one, the render view is going to be basically when it's rendered out, when it's rendering. If you have the sticked off, it's not going to be shown as a geometry node or another modifier. Going back to this, let's see what's going on. Actually, I'm going to go ahead and just select them all real quick, sorry, going to be inverted and delete the faces. Now it's working. That's an interesting reason. All it did was just extrude the mesh and then delete to set it back to plane, and now it's working. I really have no idea why it was doing that, but there you go. Extruding it seems to have worked, which is an interesting solution, but hey ho. We'll go ahead and now delete this edge loop over here. Delete edges, sorry, dissolve edges there you go. Now we're going to get ourselves this type of setup. And how let's think in regards to how much grass we want. We don't want any of the flowers. Let's go ahead and remove the flowers, and that's going to be zero, zero on V port and density. We're going to have this a nice section, I'm going to select Let me go ahead and hold control, select this edge loop, bring this a little bit inwards like so. Maybe a little bit more even. It might have been actually because of the angle of the setup. That might have been the case. I'm going to go ahead and right click, set the origin geometry, to make sure we have this ism a little bit closer to where we want them to be. There we go. That's what we're going to get. That's what we're looking for. All right. Now I'm going to go ahead and just duplicate this across to the other stairs as well. Of course, we need to go ahead and fix them. Since we need to lower this down, so we can lower this over here and this part over here. To make sure they're a bit more randomized, I'm going to change the seed for both. And there we go. Nice and pretty type of staircase with a bit of grass coming out of it. We might want to increase them out of grass if we do. We can actually do so by we'll go out of the render mode. We can select them all, like so. Okay. And we can just simply change the density. V density. No, that's for stems for grass, Vpot density, we can change this to 600 and we want to see this 200 is a little bit too much 400. Maybe 500. There we go. 500 is nice. We're going to change the 500 to render as well, and I'm going to go ahead and click Control L. Copy modifiers, that's going to change up the seed. Let's go ahead and just quickly fix that. Se back to the usual. There we go. A nice setup. I'm going to click r and x a little bit just to make them go in direction. So when we're rotating it in object mode, it's going to be switching the entire rotation which is beneficial to us because we are able to make it a little bit more position, make it look like it's coming out in an angle, that's pretty nice. Now, that's pretty much it in regards to the setup. We might need to bring these back in a little bit. Like so. I think I'm happy with this result. I'm not happy with this though, so let's go ahead and quickly fix it. We're running out of time though, so let's make sure we speed this up a little bit. Actually, I'm going to use the next lesson a little bit at the start to finish this up. So that's going to be it for this lesson. Thank you so much for watching, and I will be seeing you in a bit. 34. Finalizing the Terrain with Detailed Touches in Blender: Okay. Hello, and welcome back En to stylized environment with Blender four Jo nodes. In the last lesson, we left ourselves off by doing a bit of problem solving with a couple of errors, a couple of black patches, for example, or adding grass to the edge, and it's not being actually applied onto this mesh. So we're pretty much done with the setup for the grass. Except I do want to fix up this a little part over here. Also, if we look at the texture, we don't have any texture for the stairs, and we don't have the texture or we do have a texture for these planes over here. Let's go ahead and fix it actually. We're going to go ahead and simply attach for these planes transparency that we set ourselves up with previously. That's going to just make sure that we don't see the planes basically. I don't think it's quite as visible. I'm just wondering, we did lower it a little bit into the ground, so that's all right, but just in case might as well just put it on in case we see the gap. For example over here, we were able to see it. We don't want this to happen. We're going to lower this down and now it's going to be looking really nice. For this, I do want to actually think about how we can sort this out. I do want more grass in this part. And well, we got to make sure that we remember that we have rendered density set as 1,200 so it's going to be way different when it's rendered out. I'm actually going to go ahead and check that real quick. Let's see. There we go. So that's how it's going to look like, and it's looking real nice, but we need to make sure that we add it in a little bit off to the sides. So for us to do that, we're going to actually bring these both planes out. I think that's quite a reasonable decision. And I think, yeah, we will need to adjust a little bit this parameter. I do want to cover it up with dirt on both ends and have some grass over these edges. I'm going to select both the terrain and the grass. I'm going to go on the edit mode, going to go onto modeling mode, like so. And I will click actually Old Z just so we can see what we're doing. Go to select with an edit mode, going to select just a couple of points alongside the edge on both ends. Z, we can see that I selected three points going in like so. I will go ahead and enable proportional editing. Let's make sure that it's not selected as connected only because we need to adjust two plays at one. I will go on to, we'll just click GZ, raise it up a little bit. Nice and easy. A little bit more, something like that. I'm quite happy with this result. Now, let's say we want to grab more grass over to the side. The easiest way for us to do that would be to just position our camera a little bit like this. When we click G, it's going to be based on the camera angle. It's actually quite nice for us to adjust overall grass, spring it inwards, like so. There we go. I might need to cover this step as well. I don't want this to be as visible. But if we go to review, we're going to see that this grass is now floating. So we're going to go back onto this terrain. I'm going to select one of the patches, one of the grass bits and just bring this outwards like so and maybe hide this out of the way for the patch. Something like this looks quite nice. Maybe now I'll go back to the grass, select one of the parts, and just bring out this rest of the grass. Let me have a look how it looks like from a distance. I might need to just Okay. Go back and just readjust it just a little bit. Making sure it's not just floating or anything of the sort, which I don't think it is. I actually has a lot more underneath. There we go. There we go. That's what we're looking for. Nicely hidden stairs in the setup. Now this is looking much better, but I don't like this part over here actually. I'm going to go ahead and just love this down for both. Like so Like this. There we go. This part over here, I don't like it, so let's go ahead and just slightly get rid of it. Small twigs like that really makes a big difference, especially when we want to control the shape. When we're looking from a distance, we want to make sure that the overall setup is not the shape itself is rather pleasing from this environment. Mean by that is when we look, well, this angle, we can see that right now it's just going straight and this one is going slightly inwards even. We want it to be maybe going outwards a little bit or just making sure that the noisiness of it is going in more consistent pace for the setup. I'm actually going to go ahead and delete, there we go. What I mean by that is over here, this one goes in too fast for the stair, it's going straight straight, nice and straight and then just off itself. So we either want to hide away this bit of a stair, so it would be like more jagged looking. So this is a little bit higher. This is a little bit higher, but these two would be shorter. Or alternatively, we want to just shorten this bit basically and it'll look like it's slightly curved, but at the same time, it goes back to the normal size. I think I'm just going to do that. I'm going to go ahead and just pick this up, G, move it out. There we go, nice and easy. Do the same progress probably GX g slightly outwards we go. All right. I'm liking this result a lot. I think this looks quite nice. This part on the other hand, I think this is actually. I think I'll just go ahead and move this out of the way. For the terrain, going to open it up a little bit, and we have grass this little bit floating, going to low it is down. Low it is down. There we go. Nice and simple setup as a nice direction for the staircase leading up to our main centerpiece. All right, so we now need to just simply texture these staircase. Let's go ahead and do that because we need to figure out how it's going to look like when it's actually going to have stone applied. Okay. We are going to just grab the stairs and we're probably going to join them in actually. Or I will show you before joining them in how we can easily We're simply going to select all of these stairs. Hold shift, select the base of the well. We're going to go onto material, just to check if it's actually set up properly with n. We're now going to go ahead and click Control L, and we're going to link materials. By doing this, we're going to basically apply material for every single one of them, like so, which is pretty nice. It looks obviously not UV wrapped. So let's go ahead and do that. We're going to make sure we have the selection. We're going to go click A to make sure that the selection is applied on to the entire edit mode. We're going to now click U Smart v project and click Okay. Let's see if it actually works with this angle limit. And I'm going to hit a tab to make sure we see what it looks like. And I think that's actually quite all right. Let's go on to render review to see if it actually looks nice. Okay. So let's wait it out and it does look really nice actually. I'm quite happy with the overall result. If we want to, we can actually just play around a little bit more with the vertices, but all in all, I think it looks nice. Actually, I will go to the modeling mode. I might want to grab this brick and maybe place it a little bit more sideways or something. It looks a little bit frontal too uniform. Sorry. We can turn off the proportional editing first, click Rs and just slightly bring it outwards. R and G, and then put it. I don't like the way this brick is being interacting with this dirt. I will just grab this point. Just a small point G said, bring it upwards here we go. Now it looks a lot more smoother of a transition. Let's go on to material at the render review to see how it looks like, and I think that looks nice. And we are going to be adding vines on this part as well. Let's not forget about that. All in Ato, I think it's looking really nice. The things that we now can focus on actually is modeling the small props, small items that are actually going to be enhancing the overall look. So for example, over here, when we're looking at this type of a well. It's already looking nice, but it's not quite clear that it's a well. We do need a bucket. It's always shown that there's like a bucket nearby next to the well just to grab the water, make sure we add that in somewhere. We can add it in the middle. We can add it on the side. And both of these ways, to be honest, I personally think that would enhance a nice visual look. The other thing that we need to think is the lantern on the front. And this wheel over here at the back. I did actually hide this gray box out of the way. I'm going to bring this back in, I'm going to select this and I'm going to click Mm. Move this back to collection, so I can just hide out the gray box and Okay. Did I do it, right? I'm not sure. Let's go ahead and see. So click M. Bring it to collection and just collection itself, there we go. And now all of it has been moved. I can just hide this out of the way. This cube over here is dirt. I'm going to click M and put it in the gray box. There we go. All right. So now we have ourselves up with this. We're going to move on with the smaller prop. Thank you so much for watching, and I will be seeing you in a bed. 35. Crafting Decorative Elements for Stylized Environments in Blender: Okay. Hell, welcome back on the stylized environments with blender four o nodes. In the last lesson, we finished up the grass section over here, and we have a really nice setup. But now let's go ahead and go back onto the well and actually start off with the front section of the roof. So for us to do that, I'd ideally like to start it off with this diamond shape over here at the very top, just to cover it up this gap over here for cars secondly, just to make sure that it's a little bit more stylized, a little bit more unique looking. So for us to do that, we're actually going to keep it simple. We're going to start with a plane like so. If you'd like, I do recommend you to experiment with shape yourself a little bit, just to get a more unique, maybe shape, like maybe like a hard shape or something of the sort. You can do that. All we're going to do for now is we're going to click seven to go to the top down view. We're going to click isolation button just to ignore everything and just start working with this single plane. So we can either do this a couple of ways actually. And I will show you actually less bit of a less efficient way, mainly for the sake of encouraging you to do it your own way. So we could either just rotate this around, squish both of these sides and just make it into a diamond shape or alternatively, we can have the selected with an edit mode, we can hit K and we can just hold shift and to grab basically pieces in the middle. Left mouse button, and then we can just draw out whatever shape we want. In this particular case, I'm just going to go ahead and draw it something like I'm going to go ahead and just hold shift and do it all the way to the side like so. To finish it, I'm going to click here, enter, and we're going to get this type of a shape. If you want to have a completely symmetrical type of a setup, you can do that. If I was to draw a part right in the middle. I'm going to get this only shape. I can then just click Control and to invert this entire selection, delete everything else except for this. Then I can play a little bit more with the shape itself and basically make whatever shape we want. And then afterwards, let's say we want to make this kind of a diamond shape, like so. We can go on to modifiers. We can hit a modifier and look for a mirror, like so on trust mirror. Make sure that the clipping is enabled and merge is set. This way, even if you are going over here, is going to keep these setup properly for the basically attachments. So We can see that it's not actually going out of the sides. And we want a nice diamond shape, basically. Something like that. We can now hit control A to apply the mirror. Oh, it doesn't seem to want to apply. Just wondering why that's the case. We need to be an object mode. There we go, mirror applied. We can now go ahead and go into this diamond shape. We can select it all. We can click to extrude it a little bit. We can then click again, extrude it one more time. I'm going to click free to go on the pay selection mode. Hold Alt and then select that doesn't select right away. Hold Alt, select the very edge of the side, so it's going to go all the way around in this direction. Click, click Enter, which will apply extrusion and not going to change anything in regards to its motion. Click Alt and S and just drag it outwards like so. Let's go ahead and see how it looks like. If you're having a bit of an issue, for example, over here where the sides are a bit more wider than they need to be, we can click on something called even offset. Even offset, we'll make sure that every single border will have the same thickness. Maybe I can show you if I have it's thicker over here, this is more of an extreme angle, we can see that it's actually a little bit offset more than it needs to be. But hopefully, that makes sense overall. Once we have something like this, let's go ahead and start thinking about the beveling itself. I think we can just add bevel over here. Hold shift and just lower down to this amount and right click shade to move. Is that going to do it well enough for us? I don't think it did. So let's go ahead and increase it a little bit. Maybe something this amount. Let's go ahead and see how this looks like. Or alternatively, we can click smooth. Sorry, Shao smooth if we increase the angle. We can select manually which parts we want to keep shaded and which not. So for example, in this case, I want to have the angle. I will take it off from editing mode, so we don't see the beble in editing mode, and I will go to Selection, hold, select this part, hold old, select this part, and just make sure basically the top and the bottom are selected and maybe this one over here as well. So all of these parts are selected. We can now right click, mark sharp now if we go out of it, we can see that actually sharpens up those edges over here, which looks very nice actually. That's one way of controlling it, if you'd like to sharpen up some edges. Okay. Keep in mind it will not affect the bevel itself, so we can still do this beveling. But basically what it does is it keeps those edges sharp. And because this is splitting at those edges, both of these edges, one at the upper angle and one at the bottom angle are going to be sharpened up. Although this is not quite as visible over here. But that's the gist of it. All right, so we can go out of isolation mode. We can now properly position this in the right area. And I just realize the collection is completely hidden off. So let me just go ahead and re enable this. I'm going to click seven, I'm going to click G Y. Put it up to the side Rx 90. So, click one and then position this Z in the right area. So G Y. Let's think if it's actually big enough. I think we can make it a little bit smaller. So I do want to make sure that this is hidden in the way this tile over here. There we go. Something like this. We can actually squish it down if you want to. We can just click, squish it down a little bit. That's also an option. Keep in mind that because we're squishing it down in this angle, it's actually going to affect the bevel over here. S you can see the bevel actually being shrunken down as well. If you want to squish it down with hot effect in the bevel, my recommendation is to hit tab, select it all and then S and then squish it down over here. This way, this bevel is not going to be squished down as well. So that's something worth noting. All right. Now, let's go ahead and apply this or wood. We're going to just grab ourselves a simple wood texture. Let's go ahead and apply it. We need to unwrap it, obviously. We need to go ahead and smart to be projected for now, let's go ahead and keep the angle as it is, and let's see how this looks like. We do need a lot of work actually on this one. Let's go ahead and sort this out. So although it's a simple shape, we want to make sure that because it's a simple shape, it's done right. So for example, the angle over here, the angle over here, they're not right. Let's go ahead and fix that. We can go ahead and go into the UV and wrap. If we have this selected at the upper left hand corner. So even if we delect parts, we can still easily have everything properly used up over here in the UV section. All we want to do right now is just select the parts that don't look right. These parts over here are going to be just simply changed up, so we can click G, move it off to the way. Again, with this button tick ton, so this one over here, we can just move them off to the side and they're going to be naturally detached. I'm going to go ahead and click R and 90 and actually maybe reposition them a little bit. There we go. The middle part, I do want it to be going straight. So let's go ahead and just rotate it manually like so. There we go. All right. I'm quite happy with this result. Let's go ahead and go to the backside to see how this looks like. And again, the backside is going to give us an issue. Because this is a separate chunk, we can click L on this entire setup. We can click R, move it up. To the side, and there we go. Go to have ourselves a nice set up. Let's go to modeling mode. Let's go to the interview, and let's see how this looks like. This is looking raven ice. All right. I do think I made a mistake though. For this grass, I'm going to go back and just lower down the viewport density. Ve port density will just make sure that we are having proper performance like so, and there we go. All right. Now, let's go ahead and think about the lantern in front. Although we're running out of time, I would like to talk a little bit in regards to that. So the way the lantern is set up is usually going to be. At the front, we have a sort of a pole, either it's a wooden pole or metal pole, something sticking out like so, and then it needs a sort of a support. It can be from the top, like a support that attaches again, so it can also be from the bottom. In this case, we're going to only use one at the bottom. The reason being is that well, firstly, we have this decoration over here. And secondly, we want to make sure that it's well, it looks a little bit nicely attached. Logically speaking, you wouldn't technically need it. If we are dragging this pole all the way to the back or something and actually attaching it at the very back inside. It could be on its own, but because it's a stylized piece, we want to make sure we keep consistency with the framework, so nice curvy framework. That's the reason why we're choosing this kind of curviness over here as well. If you notice the lantern itself is also shaped up a bit curvy. We're going to keep up with those lines to make sure that overall consistency in regards to aesthetics is being kept the same. So hopefully that explains a little bit in regards to the modeling. 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. 36. Modeling Support Structures for Lanterns in Blender: And, and welcome back everyone of the stylized environments with plenty four geometry nodes. In the last lesson, we talked a little bit in regards to the lantern set up and how the front is going to be looking like. And now let's go ahead and actually start adding up those shapes. So, for us to do that, we can simply could actually just make a duplicate out of this actually. I'm wondering if we should do that. And just to make it easier for ourselves, I am going to just duplicate it shift D. We can just duplicate it G sad a little bit. Start thinking about how we're going to attach this. I'm going to click and add it to the collection, just the normal collection, so we can actually hide this out of the way in BID. Actually, we can hide this right now, probably. We can now let me have a look. This part, we're going to be just putting it into the gray box itself. I think it's going to be quite right. Yeah, let's go ahead and do that. We're going to click, put it onto the gray box, like so. For this, we can start by slightly extending it. I reckon that's going to be quite right, or I will just bring this back a little bit just a little bit, so it wouldn't look as long. Now, We're going to grab our selves a new mesh that's going to be placed right underneath. The easiest way for us to do that would be to hit Shift D, GZ, move it downwards. Then we're going to hit the tab. Go on it mode, select only one vertice or actually, we're going to select this entire edge, so we could have the same pickness. We're going to hit control and eye verte. We're going to delete edges like so, and we're going to be left with this edge, which should have just two vertices at at. Now click one or sorry, three to go to the edge view. We're now going to attach this on to the side just like that. So we're going to have it nicely set up so GY, put it right into the setup. Click free. Click, and we're going to decide if we wanted to curve this way or this way. Honestly, it depends on an angle. For example, if we look at it from top down view, a nicer, I reckon a nicer way would have to be going outwards. So this kind of a curve. If we do it from the top, then it might look a bit better if we're having this kind of an angle. Since it actually follows up nicely to the lantern itself, which would be over here, and it would give us a nice breaking point in between the well and the attachment and the lantern itself, that is. So Anyways, because the main camera we're focusing, we're going to have it like this. I reckon it's going to look much better if we have it set up like this. So a nice attachment, we're going to hit Z, click one. Select all of these vertices over here, click free, and from the side, we can click Control Shift and B to give ourselves a nice edge, which I'm not sure what's going on over here. So let's have a look actually. This is not going the right way. So I'm going to actually just select this edge over here. I'm going to click B. O. So what happened before, is I actually just added up leveling both of these vertices individually. Clicking Control Shift and B just levels these vertices and we want to make sure that we only do it for the edge. Make sure to have this edge selected. And before doing the bevel, I'm going to go ahead and go on to object mode, going to click Control and A and select rotation and scale. Now we can go back onto this, click free, click Control B, and it's going to bevel actually properly for us. We need to decide now how it's going to look like. I think if we start leveling it like so, we can increase the angle a little bit and I'd like the top to actually be going more inwards. Something like this, I reckon. There we go. That is going to look very nice as a piece of wood. I'm going to now click electoral, click enter and then l and that's going to give us a nice setup. This can be nicely positioned, so I'm going to go ahead and do that. I'm going to just drag this upwards a little bit like so. Okay. Onto the wood. I'm going to select this top, just in case, I'm going to bring it inwards onto itself. I'm going to select this as well. And keep in mind that I am in the i frame mode so we can see through this setup so I can just have this selection done. I can bring this in a little bit, like so. And now we need to think about in regards to the thickness of it. By default, the thickness is a little bit too much, so it's the right size, the right thickness for this setup, but we need to determine whether or not we want it to be going a little bit more inwards. Actually, before doing that, I would like this to be going a bit more back. So I'm going to go ahead and just select this. Holding control. I'm going to just click on the upper point, and that's going to select this entire setup. I'm going to click Al TNS and just Picking this up. I'm going to select this upper section, I'm going to click S zero, which will make sure that this is straightened out. Now I'm going to think in regards to the setup. So looking from a distance, this looks like it's a little bit too far out. I'm going to bring this inwards and that's going to give us enough length for the chain. So the chain is going to be attached over here. We don't need to worry about that. We can now go ahead and simply, we can now right click shades move click shades move for both of them. Like both of them, and I'm going to actually join them in. So let's go ahead and join. And I'm going to go on to edit mode. Click Alden st actually to make sure it's not transparent. Click L and then click S and X and then make it a little bit a little bit shorter, so it would actually go into it. That is a reckon, quite all right. We can also always come back to it and adjust it, tweak it a little bit. If we want to btnado, let's go ahead and add a bevel nice little bevel like so. Old shift. Low it is down to a nice value. Make sure shades momoth with a lower angle. To make sure you something like this, perhaps. Yeah. That looks quite nice. All right. So I'm happy with this result. Now we're going to start talking about in regards to the chain. So the chain itself, how are we going to do it? Well, luckily, for us, it's actually quite easy. All we need to do is grab ourselves resource pack. Find ourselves the chain, and this little guy will help us create a nice chain on our scene. Let's go ahead and just copy it to another project, selected hit Control C, bring it to this project, hit Control B and we have it over here. I am going to actually let me think. I do want to put it in the gray box itself, so we could just hide it away. But for now, I can just duplicate it and there we go. We have a duplicate of it. We can click M, put this in a gray box like so. Now I'm going to click seven and talk a little bit in regards to this chain. The chain itself is quite a simple looking control setup. All we have is resolution, chain link distance, chain radius, and so forth. But it's actually really useful when we want to have more control. If we hit tab, we can see that this is similar to the, for example, the stone. It's also using curvature. So we can control it in any way we want. We can move it up and down and whatnot, and it's going to just give us really, really nice setup. I'm going to click Control Z to undo it, but all in all, it's really nice to make use. We can just select it all. Click R y 90, and I am going to go ahead and just delete under the lower curvature points. Like, so so we only have two. We don't need any more to be honest than this. Going to click one, put it up to the side, I'm going to click three, and now we got to decide how it's going to be attached. So ideally, I want to first point to be starting with this chain over here. Or actually before doing that, we should talk a little bit more about the parameters themselves. Resolution. The resolution is going to give us basically the roundness of the setup. If we start increasing it, it's going to turn more and more into a circular type of a shape if you lower it, it's actually going to give us a more triangulated quadrangulated, like a square type of a look. It's really good for low topology, especially this kind of setup. But fondo, do you recommend you to keep it to a reasonable amount. Something like six or seven is pretty great for such an environment. If it's a higher type of realism looking setup, we might want to increase it all the way to ten. That's going to be plenty more than enough for most of the setup. So keeping this to actually, now that I looked at the ones, I do want to increase it a little bit up to eight. That's going to look quite nice. So the next thing is going to be the chain link distance. This is what's controlled, basically. You can see over here, how they're going to be attached, and we can see that they're moving in between and we want to make sure that we are attaching it, basically holding shift. We are touching the tips. Basically, we're getting ourselves this type of a setup. The other thing is chain radius. Chain radius is the thickness of it, basically how wide we want these rings to be. Okay. Actually, we cannot do this. So holding control. I'm going to just reset this a little bit. Chain fickness is the one we're looking for. We want this to be quite thick, to be honest. And we do want this Let me have a look. We do want this to be quite a bit smaller, actually. This is too large of a chain. So these I'd like to ideally have them quite thick. But at the same time, I don't want them to look just to big, too big. It's not holding anything heavy, just a single metallic lantern, which for this particular case is going to be quite right. Also, we need to start considering how the upper section is going to be connected. So whether we want this first one to be connected like this or we can click RZ 90 and have this starting as vertically one. So I think we're going to start vertically and have it connected to something like this. We can also go back to this later down the line and just set ourselves up with the custom setup. And for now though, let's go ahead and just make it even smaller. I'm going to right click, set origin to geometry, just to make my life a little bit easier, so we can actually just lower this down and think about how many chains we want this to have. So I'd say we can have it six six is a good amount. So we can actually go back to the edit mode. We can click GD and start lowering this down and you can see actually gets rid of that chain. So setting it up to six is really nice. W that's right. We can change up holding shift in the distance a little bit. I just want it to be just a little bit smaller, maybe. Just thinking where or not, this is right. Okay. And seems to be so it's whether or not I wanted this or this kind of way. I think personally I prefer this setup. That's quite all right. Even if it's slightly overlapping. For a distance, it does look very nice. Okay. So, now that we have it like this. We can actually go ahead and actually, sorry about that. One more thing. That's the one we're looking for. Chain stretch. We're going to increase it to a little bit more, and now we're going to change the chain distance. The reason we're doing it is we don't really want the circular setup, and we have so many curvatures and whatnot. We wanted to have a little bit of that within this section as well. So all in all, I think this is looking quite nice. We might even one less chain at the bottom, but we can always adjust that. And the next lesson, we're going to start actually doing the lantern. So we'll show you how to do that. Hank you so much for watching, and I will be seeing you in the bed. 37. Creating Stylized Lanterns in Blender for Atmospheric Lighting: Hello, and welcome back in to stylized environments with blend of for Geovgy nodes. In the last lesson, we left ourselves off with Polls nice support that is going to give us a nice hanging beam for the lantern. We're now going to keep this as is for now in regards to the chain, we're going to adjust it in a bit once we have ourselves a nice lantern set up. So for the lantern itself, we're going to hit Shift and A. We're going to grab ourselves a basic cylinder. And in this particular case, it is very important that we have the right amount of vertices. The right amount of vertices will be based on how we want it to be in regards to the cage of the laantern itself. What I mean by that is we need to figure out how basically the windows in between the frame we want to have. I'm thinking if we set it up to 12, we can have six frames, and we can have the windows in between, so we can have those frames by making use out of the edges. Having 12 vertices is going to be great for us in this case. Let's go ahead and make use out of that. Okay. Now we can actually go ahead and isolate the entire view. I'm going to just click the dh over here to get this sort of result. And I will just right away go ahead and work on the shape. I think it's going to be best if we click one to go onto the side view. We're going to click tab, and actually before that, we need to go ahead and click three. Select the base, and now let's go ahead and work on this entire shape. So we're going to click G ZED and move this upwards like so. We're going to select the top actually. We're going to click one again. We're going to click S, and we're going to grab or sells this type of a shape. So it's going to be squished up at the top. We're now going to go ahead and select the bottom, click one and click. We're going to extrude this downwards like so. This one is going to be slightly squished up. We don't need to worry about the edge here, we're going to be fixing it. Now, we're worried about just the overall main shape. We're going to also click. Again, we're going to squish this up, and we want to have a nice pinch. I'm going to also click GZ to make sure we're always centered in this regard. Again, we're going to have a nice pinched up hadn't pinched up a section like so. Go to click S to have it nicely set up. Now let's go ahead and actually think about this entire setup. So once we have it like so, we can actually scale this ring over here. I'm going to use old and left mask button across this most of the time, so we get a nice selection for the edge loops. And With that in mind, I'm going to go ahead and actually add a nice edge loop over here. So I'm going to hit control and B and do it like so. Going to lower the segments to one. So it's going to give us this kind of a result. And this is actually a nice base to have. Let's go ahead and hold Alt and click Control and B for this part over here. We're going to increase the segments to this amount. We're going to increase the width as well. Something like this, going to decrease the amount again for the segments. This looks quite nice, although I'd like it to be stretched out a little bit more. What I'm going to do is I'm going to hold Alt and Z to make sure we are in transparent mode. Now we can click one and select all of these vertices and it will pass through. Now I'm going to go ahead and click, squish it outwards like so, and it will basically just give us a and more elegated shape. Okay. That's looking quite nice for. For this partical part, I do want to have a more of a circular setup. I'm going to actually click Control and r, going to add a nice edge loop cut, going to click S, and I'm going to just extrude it outwards like by scaling it outwards. Then we can click let's have a look. Let me we can click Alt actually to make sure it's not transparent anymore. So it'll be easily selected basically, we can click free. We can hold old and select this. Then click. Enter and Alt and S. That way we are inflating it nicely outwards, like so. I do think it's actually going downwards a little bit, so we can slightly readjust it. We can click G and Z and slightly readjust it like so. Now, let's think if we need to add anything extra. And for example, in this particular case, I do want a bit of an extra edge loop going outwards from here. So what I'm going to do in this particular case is I'm going to go ahead and hold Alt, select this edge loop over here at the top, and I'm going to click G twice, like so, and this will allow us to slide it over like so. That's actually what is particular part. I'm going to slide it upwards. Actually, that's not going to work quite as well. We want to make sure we slide it properly upwards. So I'm going to go ahead and select only this edge loop over here. It might work a little bit better. Basically, double tapping G will allow you to move it along the vertices and we want this to be upwards a little bit like so, so we don't actually mess up this overall shape. And then I'm going to go ahead and select this edge loop over here. Click G Z this time and have it like so. Actually, I'm going to select this edge loop at the bottom, G slightly, like so, so it's going to give us a nice setup. The reason we want to do it like this or the bottom is because we can now add an edge loop like this. We can clickree add a nice edge selection over here. We can click Enter lens and we can add a nice edge loop like so. I'm going to zoom out to see that this is actually a little bit too thin. Let me go ahead and fix that actually. I'm going to go ahead and actually this time. Let's see what the best way would be to fix it. I'll just go ahead and select this and holding, basically selecting the edge loop. Then holding alt and shift. We can select second edge loop like so and I'm going to click G and and slightly move it outwards like so. I don't think it's going to affect the edge loop too well too much. I'm going to set this to a shade ts move. Let's see how this looks like. I think it looks quite right, actually. Let's go ahead and now work on the top section, since we need to make sure that it looks quite nice. So for this section over here, we need to figure out how we're going to have a nicely set, we're going to have a nicely set upper section. We're going to go onto edit mode, click Control R, tap this over here. A left mouse button, right mouse button to get a loop cut. Like so. We're now going to have ourselves a nice edge loop, which we can make use of to get more detail. So I think we'll also add a second edge loop over here. So again, control r, actually, we're going to click it off real quick. There we go. Control R. Left left click, right click, and this one is going to be basically scaled in. Like so. And actually, Okay. There you go. I had the point and medium point. I'm going to go ahead and scale this down. I'm going to now for the top section, I'm going to select this, click to inst the face, click, to extrude it in, and we're going to get ourselves a nice setup over here. All right. So let's go ahead and have a look out this looks like we have ourselves at the base over here. We have ourselves at the top, but the top itself does not look quite right, just yet. The reason being is that we need to actually extrude this out. And Let's go ahead and do it this way. We're going to simply click right mouse button, left click and hold it upwards, like so, and I'm just going to bring this to this amount, going to right mouse button. Oh, sorry about that. I'm going to click Control R, bring this up left mouse button. Then I'm going to select this edge loop, click Control E. Sorry, click Enter, and then Allens to scale it outwards, like so. There we go. We're going to get our self as a nice roof and even just adjust it, so ANS, resemble put this a little bit to go so that looks quite nice. I want this to be a little bit upwards to actually have a nice shape for us. G bring this down. I think that looks quite nice. I don't like this being actually too much. I'm going to bring this inwards, just a little bit even more. Okay. Let's go ahead and see how it looks like from a distance. I do want this to be higher a bit. This just a little bit higher. There we go. And this to be inwards, a little bit. Gee you can see I'm slightly just changing up the shape just a little bit, just so it could get a little bit nicer shape. I'm going to right click on this and mark sharp. This way, we should get ourselves a nice edge s going along the side of here, which would have been smoothed off otherwise. Okay. Now, we can actually start working on these parts over here. So what we're going to do for this part, we're going to just select this sol. We're going to hit ship D, and we're going to just right mouse button to make sure that it's in the same position. So now we can go ahead and click troll and P. Sorry, we're just going to click P. We're going to break off the selection, and we're going to have ourselves two parts, basically, one for the lantern and one for the glass that we're going to set ourselves up with. And for now, that's going to be hit for this lesson, we're going to continue on with the lantern in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 38. Utilizing the Magic UV Addon in Blender for Efficient Texturing: H. Hello, and welcome back. You're on the stylized environments with Plano four o nodes. In the last lesson, we left ourselves off with this type of a setup, and it's already looking pretty nice, but we can still work in regards to the overall shape. The way we're going to do it is we already split off this piece over here. We can go back on this and for now we can just hide it out of the way. So if we were to select this, we can click H. Notice when we click AltenH everything back doesn't come back. The reason being is that we still have that focus mode with the selection so we have the selected, we can click out of focus mode, and we should bring the whole well back. Okay. There we go, and I'm going to go back onto focus mode and just select this part in the middle, click H, or sorry, the opposite of that. Select this part and click H. We only have this. We're now going to be working actually a little bit more with the overall shape. I think that's a fair thing to do. We're going to click Control R, make an edge loop over here. Go to click Alton S, extrude it a little bit, then I'm going to make another edge loop over here. I think that's quite enough. The one NAV is going to help us with the shape, make it a little bit more curvy looking. The one that's above it, we're going to make use of to make a frame type of framework work to just hold down the lantern, the glass for it, that is. Let's go ahead and now select holding t and shift every vertical edge loop, and you'll see why in a second. So if we were to do it just like that, we're going to get ourselves basically every second selected. That's already pretty nice. Now, what we're going to do is we're going to hit control and B, and we're going to start extruding it. We're going to lower the segments town to one to get this setup, and I'm going to actually lower the whip while holding shift. To get this result. I'm quite happy with this. We can click free to go into the face mode. We can hit E and we can actually hit Enter. We can then click A ten S and extra this out of the way, and that's what we're going to get. Now what I do recommend you is clicking Control plus, selecting it like so, and now we're going to hit four make it easier for cells, we're going to go on to edge selection, and there is a very neat trick. If we have this selection already done, like I have over here. So basically, after extruding it, we inflated the entire selection, then we click Control plus to expand our selection all the way to these edges over here where the glass plane starts basically and the metal frame meets, we're going to go ahead now and click Select. We're going to find ourselves a very nice option. So I think there you go, it's going to be in select loops, and there is called something called select boundary loop. If we were to select this, it's going to select basically everything outside of the selection or the whole edge, basically, we can now go ahead and click, and we can finally find ourselves Mark Sam. So Mark Sam is actually quite useful for UBN wrapping, but it's also quite useful for when we want to make a quick selection. And what I mean by that is if I were to click free to go on the face selection, we can now click L onto this frame, and if it is selected on the limit as a Sam at the bottom left hand corner, We're going to have this nice selection, so that is very nice for us. For this, we can later make use of it to make a nice and simple framework for the entire lantern. I'm going to go ahead and click Allen H now to get this lantern out of the way. Then we can start thinking about in regards to the setup of this glass. One way to do it is We can actually we'll work with the shape first, actually. I'm going to go ahead and select both of these objects over here. I'm going to make it a little bit longer. I do want to make it a little bit longer. I think that's a little bit too little. Let's go ahead and do that. I'm going to go onto tab mode, going to hit Alton Z to make sure everything is transparent, so we can select both sides. Then I'm going to go ahead and select one, going to just drag it across like so, and I'm going to make this a little bit smaller. G Z a little bit higher. I think that's a nice setup. Also, we can probably extend it a little bit. Extending it just a little bit like so. G Z There we go. All right. As for the bottom is this all right? I think we can make this actually quite a bit smaller. Let's go ahead and do that. Like so and S and Z I'm going to make this a bit wider over here. I don't want this to be super sharp, so I'm going to extend this a little bit and make it like so. And this is the type of shape that I'm getting. Is this shape all right? Let's have a look. I do want these to be a little bit lower. Just a little bit there we go. Keep in mind that whilst we're doing it like this, instead of just grabbing this poping and clicking S Z and just extending it, this wouldn't look good. The reason being is that these frames over here, for example, they would be not affected, but the frames that go horizontally, would be much bigger. We don't want this to happen. We want to make sure that we adjust them part by part, and that's exactly what we did. I'm going to click one just to see how this looks like. And I'm quite happy with the overall result, although I will say that I want the top and the bottom just a little bit, longer, like so and this can probably actually be scaled down just a little bit. So it would actually be going inward, so it would make a start of a nice curve. And like this, we got ourselves a nice setup. In regards to the entire setup inside, I sometimes prefer to make use out of this separately for emission, for example, if I just have a simple texture emission or a material emission, just a solid color, which is quite viable. But for this particular reason, we're going to go ahead and delete it. The reason being is that if I was to actually click Alt H, there we go, The reason being is that we have within the resource pack a real nice setup already or our material. This looks a little bit janky. So let's talk in regards to what this is. I'm going to hit control and C to copy this. I'm going to go back onto the lantern hit Control B to paste it in, which even though everything is in focus mode, it's still going to be visible. Let's go ahead and talk a little bit in regards to this texture. Let's go onto UV editing and see what's actually going on with it. If we load this up, actually, everything is going to be loaded back in, doesn't matter to us. If we hit a tap on this cube, we can see that this is what we're getting. So what is going on with it? Well, this is something called a texture atlas. And without getting too much in depth in regards to it. What we can do is instead of just a seamless section where we have multiple texture detail that we can just go across DZV coordinates. We have a lot of detail, a lot of items that are added, and we can just overlay the overall setup for our glass for the laantern that is. So for us to do that, we are going to make use of this and grab o cells nice glass plane. So you can see over here, because, for example, these parts are square. They're going to give us a very nice type of detail on the edges as a grunge. Let's go ahead and actually go back and make use out of those. We're going to go to modeling. We're going to go ahead and select this lantern over here. There are multiple ways of doing this, but we're going to make sure that we're just keeping it simple. So we're going to hit Alt and Z. One reason for keeping this separate is that it also helps us to BM wrap it nicely together the entire setup. Let's go ahead and do that. I'm going to go ahead and select it all. And I will actually go back onto editing mode. Going to find this lantern over here, see what is going on with this, or actually we'll make sure to grab both of them pieces, isolate the view, and now we can have a proper look on what we're doing. All right. So we're going to go ahead and select the sol. We're going to smart to be project as an angle limit on 75, that's going to be quite all right. Let's go ahead and see what we get. These are the parts that we're getting. Some parts are just like crosses. The reason being that they're not being raped properly, that's fine. Over parts are going to be if I were to click this upper left hand corner, this icon over here. The parts are going to be like this. This part is going to be over here, and I'm just wondering what happened with these parts. The glass, I think it actually kept us a nice shape, and I'm just wondering what is going on with this part. I'm not sure what's going on with this part. It's quite odd actually. I'm going to unwrap this on their own basically. Just make them smaller, basically. I click L to select this play section just using the seams. And then afterwards, I click T wrap, which unwraps only the selection, and that gives us this. We don't need to worry about the size just yet because we're going to go ahead and fix it. I'm just looking where we get those planes over here. I'm not sure why that happens. I think it's based on an angle. That's why it's trying to split them up. So we're going to manually fix those parts up and we're going to get ourselves a nice setup. I am going to find these two as well where this is. There we go. I think all of them are nicely now set up. So we have basically similar parts for the bottom over here, as you can see, and we have the upper section that are squares of two, squares of four and squares of two basically for the glass planes. Let's go ahead and actually make use of them. We're going to actually stack them up. Before doing that, I do recommend you Fixing some parts. So, we're going to actually select all of the pieces. We're going to go to U V, and we're going to get something called average island scale. This will make sure that everything is scaled on average size, and we're going to get everything nicely averaged out. So now we're going to go ahead and select all of these four by two by two for squares. I think that's all of them. This one is missing as well. There we got all of them. We can now clear UV. We can now select Pa islands, and there is something called merge, where is it Yeah. We can basically just click G and move it off to the side for a bit because I'd like to use something called if we click, there's something called Magic UV. This will give us a lot of options. If you're not seeing this tab, you need to go on to edit preferences and with an add on tab, you need to search for Magic UV. This will allow you to get additional options for UPN wrapping and whatnot. In this particular case, we want to basically make use of it out of the copy pav functionality. We're going to select one of the islands by clicking L, selecting it like so. We're going to copy island like so. Now we're going to select the rest and hit Paste island. Sorry, it seems like there was a bit one error. Let me just try this again. Copy Island, select the rest, like so and paste. There we go. I'm not sure why it wasn't work in the first time. We're just doing it again, seems to work it. All it's doing is basically overlapping everything onto one edge and you'll see why we're doing this. It's actually quite helpful. We're going to go ahead and do this to these ones, the upper section. We're going to select them all. G, move it off to the side, so we can actually see what we're doing with them. Select one of them, click L, Copy Island, select ones, paste islands. Oh, there seems to be one. I'm not sure why. Okay. Okay. I'm going to check this real quick. What is going on over here. It seems to be one overlapping. So what is going on with this? Let me just go ahead and check what is going on with this. I'm not sure why. Let me see which side this is on. I'm going to click L. Oh, it seems like I missed one square. Let me just go ahead and quickly P wrap this again, actually. I'm going to click rap. Let's get it down a little bit just for our sake. Now I'm going to go ahead and select one of the islands. Going to hit Copy Island and select these parts over here. So Patlan, and there we go. We go to sell a nice setup. Now what we can do is we can create ourselves a couple of materials or actually assign the materials. We're going to need a metal first to make our lives a little easier. Let's crab from the resource back a metal. Let's search for metal real quick. This is the metal that we're going to make use of. We're going to hit the Control C, go back onto our project, Control V. We're going to grab ourselves a nice cube over here, which we're now going to apply onto this section of the antern. Let's go ahead and search for metal. Apply this over here. And the reason we're applying this metal is because it'll make our life so much easier when we make a selection. So right now, when we have this entire section over here, we can just simply with the upper left selection on, by the way, we can just simply drag and drop, not drag, drag and select all of these windows over here for this selection. We can now go ahead and add a new material using this plus symbol, adding a new material slot. And for this new material slot, we can search for glass. So we should have already glass over here. Then we can simply click a sign, and we should get something like this. We're basically using metal for everything except for the glass. We might as well just add metal over here while we're added to get ourselves a nice metal for both the top and the bottom. We're going to write away actually UBN rapid. Let's go ahead and select this Up smart project. There we go. That's going to be quite all right for a basic noise of a metal. So going back to this, let's have a look how we can do it. Well, for cars, let's go ahead and just get rid of everything else. That's not needed. We're going to actually drag it across like so for the windows. We're going to click this upper left hand button, and we're just going to be left with this selection. Now, even if you select over here, you can see the selection is still being kept over here. So all we did is just make sure we keep the selection for the windows and we can have an isolated view to work with. I'm actually going to click and because this was getting in the way the stab and now we can just work with these parts over here. So if I was to move this like so to get upper type of a section, and that's going to you can see it's giving us those nice gradient grudges. I will actually click S and y, S and X to get griges at the sides as well. I might as well just grab click one and grab these vertices at the bottom, and then I can click S and X and just extend it a little bit like so. So it's a little bit slight cheating in a way, but it is going to give us these nice gringes that's quite nice for us. But this part, we can upscale it and put it off onto the side. If we want variation, let's go ahead and well, finish this up real quick. There we go. Nice grunge on all sides. I think that's quite all right. If we want to have some variation, we can do so easily actually quite easily. We can click free to go into the face selection, we can click L. If it's only one selected, it's just going, we can move it off to the side and that's all we need to maybe slightly adjusted. Click L or actually double click A to deselect everything. Click L, move this to another one, and double click A, click L, move this to another one. Doesn't need to be for every single one of them, actually, but it does give us does give us a nice variation. So really, it's up to you how much you want the detail to be, how much the grunch you want it to be seen. But all in all, We're just scattering them around, basically. We can overlap them, for example, this one, can go over seems I made a mistake with the selection. There we go. We can put it over here, and I think that's quite all right. Okay, so we go to sell nice bit of detail going all the way across. We can go to modeling over here. We can check the renderer to see how it looks like, and that's what we're getting beautiful work. That's looking pretty good for us. Now, we need to think about the overall setup. From a distance, if that's actually going to be a quite right or not, I think it's going to be quite all right. So we have in material mode, I'm just going to go ahead and check. We have a bit of an alpha to show the transparency. But in certain cases, we can just lightly increase it to hide what's inside. So for example, if were to set this to one, we're not going to see what's anything, what's inside. So that's one way of doing it, but just having a bit of alpha, that bit of transparency to have a bit of a silhouette of those frames go behind it. It does really help to sell the dimension overall. We might even. We will be adding a bit of a light source for the overall lantern. I think that's going to be quite right. But all in all, that's pretty much it for the setup of this lantern. We are running out of time, so we will be finishing this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 39. Attaching Lanterns to Chains with Realism in Blender: Hello, and welcome back and run the stylist environments with Glenda four Jo Nodes. In the last lesson, we last ourselves off with this nice Lantern over here. I'm going to grab these boxes over here for the texture, I'm going to click M and just simply move this to the gray box and preparation collection. So now we got ourselves a nice piece. We can actually start finally heading this to our scene. Before doing that, I'd like to combine the bottom piece. The top and the bottom that is combine it to the middle section. I'm going to go ahead and select both of them. I'm going to then click Control J, which is going to make it into a single object. And then I'm going to simply go out of isolation u. Let's go ahead and have this loaded up. There we go. All right. So now we have the material setup and everything for the lantern. All we need to do now is attach it to the top pole. I'm going to click one to go to the front view. I'm going to then select the height that I want this to be in. Okay. And in regards to its size, we need to decide how big this has to be. Actually, you can see by scaling this it's going to be scaling from the centerpiece. What I personally prefer to do is move this origin point to the top so we can actually just scale it within this section over here without actually moving the part, so it would still be sticking to the chain. For us to do that, we're going to go ahead and simply go to edit mode, go to selection, select the upper face like so, hit Shift and S. Select the cursor to active, and now we're going to hit the tab. We're going to click. We're going to select origin, origin to geometry or sorry, origin to free Dcursor so. Now when we scale it is going to be scaled it up and down in regards to this fixed position. So let's go ahead and have a look at it from a bit of a distance, how big we want this to be. I think this is the right size. I think this is looking quite nice. Overall, we can now think about how this is going to be attaching to the chain inside. I'm actually just going to have a look. Is it really the right size for us? It looks about right. I'm quite happy with this result. Okay. Maybe a little bit bigger, a little bit there we go. All right. A small tweaks. So right now we need to consider how it's going to be attached to the chain and how the chain is going to be attached to the pole itself. So now we're going to make it just a little bit smaller. I'm going to drag it outwards. I'm going to select both of them actually. I'm going to bring it back. So we have this chain actually going into. Okay. The pole itself, like so. Maybe select them both and drag them upwards, just a little bit, like so. I'm happy with the chain. That's looking pretty nice. Maybe we need to slightly move this a little bit to the back, so it would be right where the chain is. If you want, we can still go on to modify and change, for example, chain thickness, holding shift, and be lower the stand just a little bit, so it would better fit this overall design. So I'm happy with this setup. If you're done with setting out the chain and whatnot, you can make some additional adjustments for it. And the main one would be, for example, to make sure that this chain at the top is a little bit bigger than the rest, to make sure that it holds a nice foundation for the wood supportable here. So what I personally prefer to do is go onto object mode. Quickly convert this to a mesh it would be just a simple mesh then go to edit mode. Click L on this upper type of a chain and hold, select lens. Tap lens, and then scale this up a little bit, so just a tiny bit. So I think that looks pretty nice. I'm going to select vertice inside as well, going to go ahead and select proportional editing and select connected only. This way, I can just slightly work to scale this upwards, I think. There we go. Now I'm seeing this. We can go ahead and just slightly scale this upwards like so. It's actually going to look a lot nicer overall, I think. The bottom piece, the bottom chain, we can go ahead and select these parts over here. I'm going to select like this, basically holding, selecting the edge loops, while holding shift. I'm going to then turn off actually this connected only proportional editing. Going to click G Z and slightly track this downwards like so. We're going to be looking like it's actually attached to this particular part. Finally, I just want to slightly maybe tweak this a little bit so it actually looks like it's in the center piece. Now, we just need to apply some wood tecture over here. Let's go ahead and do that. We're going to search for wood. I'm going to apply ourselves a nice wood piece. I'm going to hit the tab, select it all, and V wrap with this type of an angle limit. Let's go ahead and see how this looks like. We definitely need to adjust scale and especially this curve over here. Let's go ahead and do that. Let's go on to UV Editing. I'm going to go out of focus mode over here as well, since that's how it was. Go to now select this all piece. Go to select one of them, like so click L, click and follow active quads. Do the same for this as well. Follow active quads. There we go. Rotate nicely now. So, it should be going in the right direction. All right. I'm happy with that. Now we just need to make sure we select it all and scale it down a little bit, so we could get nice grain, so maybe move it off to the side. I'm happy with this result. Okay, so we're pretty much with this. We have completed attaching the overall setup, and I'm just looking at the final piece for example over here. I don't really like how this is going inwards. I prefer this to be going sideways. I'm going to go ahead and actually select this real quick, click L and then just rotate it. R 90. There we go. A nice quick fix. I'm more happy about this result over here. Maybe. Thinking about overall setup. I would prefer to have them a little bit thicker. It's just a perf personal preference because it is working quite nice. But now that I look at the lantern, so I'm going to a 1 second. Let me check. It does have a mirror, actually, it makes it a little bit easier for actually. Yeah, it does make it easier because we only need to change this. The reason I'm changing it, although it looks quite nice, actually, I will go back to modeling mode to see a little bit better of the viewport. Although this is going quite nicely, actually, you might consider this inside would have a bit of a fin a piece that goes inwards and it would look overall nice. Will make this a little bit thicker. The main reason is when we look at it from a distance in comparison to this overall thick type of a lantern. It's going to look maybe a little bit too thin. So we need to make sure we slightly extended a little bit. Small twigs like that, it's often really good just to go in and out a little bit and adjust it to make sure the overall composition setup is nice. So this is quite nice looking already. We can now go ahead and go to the back. We can add a wheel over here, and then we can start finally modeling the bucket or where it's going to go in the well. So, yeah, that's going to be it from this lesson. Thank you so much for watching, and I will be seeing you in a bit. 40. Designing Turning Wheels for Wells in Blender: Okay. Hello and welcome back ever on the stylized environments with plenty four geometry nodes. In the last lesson, we left ourselves off with a nice lantern hanging on the side of the front of the wheel. And now we're going to continue on with this setup and get ourselves a nice type of contraption at the back. We need to make sure that we add ourselves a wheel to get ourselves an overall, basically nice setup for the contraption to being more realistic, basically, more believable. Let's go ahead and do that. We're going to grab ourselves this piece over here, and To start off, I'd say, we can just simply go ahead and set ourselves up with a nice free de cursor position over here. Let's go ahead and do that. We're going to hit Shift and S. We're going to say cursor to Active. This way, when we create new assets, we can go ahead and just simply basically get ourselves right in the right position. I want to make sure that we have a nice setup. I'm going to click Alt Control and one to get ourselves the backside. I'm going to click Alt and it's not actually available in this mode. I'm going to go ahead and actually just select this and then click what was it Control one. There we go. I'm going to just make sure that we have it set in the right area. So we want to be actually properly set up in the centerpiece of this setup. This part over here, which is simply quickly added to make sure we get an overall u position of what we're going to add here. So instead of having the free de cursor over here, we're going to go ahead and select this piece over here. We're going to click Control one. We're going to hit Shift and S. We're going to click cursor to Active. So it's actually positioned at the centerpiece of this. We can now go ahead and click Shift and A and add ourselves. Let's go ahead and see what we're going to add. We're going to add ourselves. Yeah, let's go ahead and add ourselves another cylinder. The reason we're adding another cylinder is, let's go ahead and zoom out a little bit is because we want to play on with the vertisct. What we want to do is we want to make use of this in regards to the setup of the support itself going inwards. Okay. We need to think how we're going to split that up. And I want nine pieces, nine sort of cylindrical sticks to be going inwards. But I want them to be slightly separated by additional polygon. So we need not nine. We need 18 pieces for that. So let's go ahead and do that. So basically, every other one will be used for a creation of a support that goes towards the inside. Now that we have this kind of a cylinder, it's way too large. Let's go ahead and make it smaller. It was a little bit overwhelming for this piece. I'm going to click R x 90, so we have it facing front, and now we can just bring it outwards like so. I will just click S y to make it smaller and scale it up, and let's go ahead and just fit it in the right position. Something like that, and we can go ahead and just hide the out out of the way or just click M, put it onto the gray box, and that's out. All right. Now for this piece, we can just bring it outwards, and think about how this is going to be added up. All right. Let's go ahead and make this maybe a little bit thicker or before doing that, let's go ahead and make it a little bit bicker. Now let's go ahead and simply click onto dit mode, select the front and the back faces and click the lead. This way, we only have this selection. What we're going to do is we're going to select it all. We're going to hit and then enter and then alternS and then bring it inward like this. And now we're finally going to work in regards to the overall setup. So we want to make it metallic. We want to have some smooth enough edges, a bit more circular setup. Instead of just having this and just baling off the edges and whatnot and complicating our lives like that, what we are going to do is we're going to go to modifies and we're going to search for something called subdivision. Subdivision surface, will basically add topology like so, as you can see over here. And I'll give us a more roundish setup. If we grab ourselves to two by two. Basically, we'll see two subdivisions and two subdivisions and render, we're going to get exactly the same result when we're renting it out. We're seeing the topology at this moment, I'm going to right click shade Oto Moove. Now we can start actually working on this. I can see the edge over here. I think I'm going to go ahead and increase this actually lower this down. Still seeing this edge over here. I'm not sure why. Maybe that's not the edge. Maybe that's just a lighting. So I'm just going to go ahead and keep it as 45. All right. Now that we have it like this, we can actually just make use of the slow topology and get ourselves a really nice setup. And for that, we're just going to go ahead and select basically every other one. I'm going to click on this button over here to make sure that when we are in edit mode, we're not seeing this subdivision. It's easier to get our selection like that like this. We have the selection of this entire edge flow, we can go on to select and we can have Checker D select. Checker de select will allow us to just simply select every one, which is very nice when we want to now add ourselves an input that goes towards the center. I'm going to now click I and click click the second time. So actually, we have the I think it's Okay. I don't think it actually matters. Basically, it just splits off the circles if we were to have them all selected. All of these would be split off into a separate individual. Okay. This is for the inset. But once we have it like this, we can slightly tweak it. I'm going to click Allen S just slightly. Actually, that's not going to work because we need to do it based on normal, I believe. We're going to go to the upper section and get ourselves normal transformations, and we're going to get ourselves individual origins. Now if we click AltenS it's still not working the right way. I'm trying to think what the best way for this would be. I think if you click S and y, we can squish it down like this. Now if we click S and X. There we go. We're going to get ourselves nicely squished it up. And that's exactly what we want. We basically want some placeholders over here. And when working with subdivision, I personally prefer to have an edge loop around it. So basically, we're going to insert another section. Click Let's go ahead and click. Insert it like so. Let's click S and y. Again, just slightly go inwards, just like that. We're going to get this type of a result. Now if we were to hit tab, we can see that we're not getting quite circular shape anymore. We're getting some bits that are kind of deforming based on this topology. We can click Enter AltenS and bring this in words like so, and right away, we're going to get ourselves nice result. Now we need to think about in regards to how it's going to behave within subdivision. Let's go ahead and hit the tab, and that's what we're going to get. We're going to also click AltenS even more like so. Then what I'm going to do is once it starts overlapping it, like so, I'm going to hit and enter. The reason I do that it basically add an extrusion. Now, once we go on out of tab mode, we can see that they actually go onto this piece over here. So that's exactly what we want. We want to make sure that basically the subdivision when we have those extra edges at this piece over here doesn't actually shrink down on this part. We want to make sure that we have nice cylindrical, same width type of a set up, and they look nicely deformed to one another. If we don't, for example, like how they being so close if we want them to be deforming more towards the overall cylindrical shape. We can do that. Let me think how we would do that. The easiest way would be to simply hold, select this entire section over here. And then we should be able to go to selection, select similar and select similar length. No, that's not it. Let me go ahead and just That doesn't seem to want to work. What I'm going to do is I'm going to actually click Control one to go to the back view. I'm going to select them also Old Z to make sure that we have the transparency on. Then I'm going to go ahead and just strike it across like so, to click Control plus to add it in and Control plus again. Now I'm going to click Al and Z to go out of the transparency. With this selection, I'm going to click two to go onto the edge mode, and we can now go on to select select all by trait, select boundary loop, like so. And there we go. We're going to get ourselves a nice selection just like we previously. Now we can go back on to the normal selection. We're going to make sure that we have these still on. Now when we have the selection back on, so we can actually preview it in the subdivision level. We can now click S and X and just slightly, it's not quite as visible. S and X should be giving us a nice setup. S and X and doesn't seem to want to work like this individually, I think, but if we were to click S, just normal scale, we can control it like so, for example, if I were to get it closer to the edges, we can go back on the edit mode and see that it actually gives us a bit nicer of a bend towards these parts. That's looking nicer, but the quarts in the edges are going to be sharper. I'm going to actually just bring this inwards. Okay. So I'm quite happy with this result. All we need to do is sort out the handle, as well as a part in the middle. Let's go ahead and do that real quick. For this piece in the middle over here, all we need to do is just add a simple cylinder. Let's go ahead and do that. We can just keep this to something low ten, maybe 12 up to you, to be honest. But for this particular part, because it's small, it's not going to be quite as visible. I'm going to actually make it smaller. Bring this in outwards like Sx 90 to spin it around. I'm going to actually p this as a main piece, the Then I'm going to select this part in the middle. I'm going to make sure that this is set to global and medium point, so this is the default set up global and medium point over here at the top. Now we can actually just make sure we don't worry about the way the normals are facing, and it's not going to affect the way we're setting up the model. What do we want is just slide level in inwards click shade autos move, we're going to get this result. I want this part to be creased off, so let's right click and mark Sharp. So there we go. We're going to get this type of a result. It's looking quite nice. We might need to bring this a little bit outwards like so. And for the back, I'd prefer to grab this piece over here, and then maybe bring this outwards like so, hit I inwards, and then click and then extrude it out like so, and that's going to look like it's part of the setup. Maybe we can even just do this and then click enter and then scale it upwards, then click again and that is the way to do it. This way, it's going to look like it's actually being supported a little bit more and even make it a little bit extra, going to add a bit of a bevel, like so, and that's going to give us a nice result. All right, so I'm happy with this. Now we need to add a bit of a handle, but I just realized that we are right ahead of time, so we will continue on with this setup in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 41. Adjusting and Refining Cog Wheels in Blender for Dynamic Interaction: Hello, and welcome back on to stylized environments with blend of four omg nodes. In the last lesson, we left ourselves off with this nice setup of a cog wheel that's going to turn ourselves, turn the entire section over here to the back. But we're still not quite there yet. We need to get ourselves a nice handle. So what can we do about it? Well, the easiest way is to set ourselves up with a nice piece over here. And the way we can do it is if we firstly create a bit of an extra support. So it would look like it actually slid into this section over here, and it'll get a bit more of a stronger foundation for the handle. We can do so by clicking simply Control and I or sorry. I'm going to go ahead and click Control Z. That's not what I want to do. I'm going to click Alton Z to turn off the transparency mode and take off this part over here. Now we can go ahead and work a little bit with this. I'm going to click Control and r, and I'm going to click do it twice, like so, or actually. Yeah, I will go ahead and do it twice. I will click left mouse button, the right mouse button, and I'm going to make sure that the smoothness is set to one. This way, when we go and actually enable the subdivision, it's still going to keep this similar shape. Actually, it's a little bit too much. Let's go ahead and increase it. So we get basically the same shape over here. Now we can go ahead and actually work with this. If this was not smoothed off at all, those topology parts are going to make this look a little bit too straight and compared to the rest. So that's why. Doing it like so. Again, control R, adding two topology pieces left mouse button, right mouse button. Turning off this movements just a little bit, so we get this nice of a form like so. Then we're going to actually take off the shades move over here. I'm going to select one edge like this, going to click G twice. It's actually going to be sliding it across like so, and I'm going to slide it over here. Go to select this summer one, G twice, slide it over here like so. Now we can select this piece all the way going around it. Like so, and we can click Enter lns, scale it up just a little bit like so. We can even just bring these pieces a little bit inwards. The way we can do it is if we were to make use of the normals transformation orientation. S and X, a little bit inwards like so. We should get ourselves this a piece. This is exactly what we're looking for. And we might even put an edge loop going all the way around this piece over here, maybe a bit closer to here. Actually, instead of doing that, I want an edge loop going over here. So on one end and then end, like so. Now we're going to get ourselves this look. It's really nice. We're going to inst a pace over here. I inset we want to slightly tweak these values over here. I'm going to just make sure it looks more like a square to get more cylindrical shape. I'm going to clear g twice and we can slightly offset it just like that, select this twice. Maybe this is actually a little bit too much. I'm going to click Control to do it like so, and I'm going to select both of them just like that. I'm going to click S and y and just bring them inward just a little bit there we go. Now we can select this. We can click to get a nice edge loop beforehand, can click and extrude it, and let's see how this actually looks like. There we go. We've got ourselves a nice setup. We need to maybe bring this outwards a little bit more. Then we can click again and that's going to give us a nice edge loop basically. Let's see if this handle is actually reasonable from the distance, just looking from a distance, you know. We might make it just a just a little bit ficker actually. Maybe it's not thick enough. Let's go ahead and do that. I'm going to take off the subdivision from the edit mode. Going to select this control plus a couple of times until we get to this part. Now, we're going to click Alt and S, and we should be able to doesn't seem to want to scale over here. I'm not sure why. Oh, it's based on normals. Let's go ahead and actually just go back to transformations for global. This should give us a nice result, doesn't seem to want to work. What I will do actually is I'm going to select this edge loop at the bottom. This edge loop over here, going to click Shift and S cursor to active and Okay. That doesn't seem to want to do it. Control S cursor to selected. There we go. It's right in the middle. The reason we're doing this is simple. We want to make sure that we upscale the entire setup based on this point. I'm going to go ahead and select this all now. I'm going to then change the transform pivot point to free de cursor. Now when we do it, we can scale it outwards like so, and we can see that this handle is now quite a bit larger. So it looks quite nice. I think the chunk here section is a bit needed, maybe a little bit smaller, like so. All right. I'm quite happy with this result. Let's go ahead and actually apply the material metal that we want. Okay. And for that, I think we already have a metal. Let's go ahead and see. Metal, we only have chain metal, we have a normal metal. We do. Let's go ahead and add it in. I'm going to add a metal over here as well. Metal. We can select all of them, select them all, click, SmartV project, click, and that should be more than enough. We don't want to overdo it, but something like this is quite okay we are having issues actually. Issues with subdivision. Let's go ahead and talk a little bit in regards to that. If we have the modifier not applied, it's going to give us stretch out parts in areas where it's actually creating or smoothing off the edges. Over here, we only had this edge loop so. That's why it's stretching it out. If I was to add an edge loop over here a little bit, which sharpens this part over here, see if I can grab an edge loop all the way to the end, it's going to basically make the super sharp and that's quite nice. But it's a little bit too much maybe, so I'm going to do it like so, and if I were to leave it like this, it's basically going to give me this setup. Before it was stretching out because the subdivision was not applied, ideally, I want to avoid applying it. We can do appliance and then you be wrapping. But then if we do it, it's not going to give us that setup anymore. In regards to just basically having us control over this topology, nice and clean topology. So Just to avoid it adding an edge loop over here still allows us to make use of the UVs. Whilst at the same time, we can just make some adjustments. For example, right now, maybe I want this handle to be slightly inwards. So that's a little bit better. It looks like a one handed type of a setup, that's okay. In this part over here, I want to level off. The reason being is it looked a little bit too sharp. I think that's quite all right. Part of the front is okay though. And yeah, I'm happy with the result. Let's go ahead and now move on to the final piece, which is going to be the bucket hanging from this section over here. Or we can use a bucket to place it somewhere else, for example, to be honest. So yeah, let's go ahead and leave this lesson. And then in the next lesson, we're going to continue on with the final pieces. Thank you so much for watching, and I will be seeing you in a bit. 42. Creating Realistic Buckets with Geometry Nodes and Modifiers in Blender: Hello and welcome back ever on to stylist environments with PlenaFGomgdes. In the last lesson, we had a nice setup for the back side over here, and now we're going to continue on and actually finalize the piece on this part. So I'm going to go ahead and quickly select all of these pieces, so the backside, the front side, and the part in the middle, going to hit ShiftinH which is going to hide everything except for these parts. Reason I'm doing this is then we can actually work in these in relation to overall scale while saving the setup. Now we need to determine basically if we want this to be a little bit thinner or not. Finally, we have to figure out how the rope is going to wrap around and how it's going to be attached to the bucket as well. To start off, I reckon what we can do is we can actually just start off with a normal bucket, and the best way that we can do it is probably going to be using the planks, actually. We're going to make use of the planks, and that's going to give us a nice control overall. All right. In regards to the planks, let's go ahead and actually make use of the geometry node, and then we can figure out what we're going to do. I'm going to enable the gray box to find ourselves this plank over here, going to hit Shift and D, move it off to the side. Tick M, move it to the normal collection, like so, and then I'm going to go ahead and go and turn off the rest, basically turn off the gray box. We have this setup. Now I'm going to actually let me think I should probably do a duplicate again. I want to make sure that we have the bucket set up nicely. So basically, if we look at the bucket over here, we want to have the sides over here that go and wrap around the bucket itself. We want to have something at the bottom as well. So it would have a nice piece. So the water basically doesn't leak out, which we're going to be sorting out as well. But it's not overly complex. We just need to have two variations of planks. So for that, we're going to start off by actually creating the cylindrical shape. Let's go ahead and Okay. Yeah, we're going to increase the count step over here on these planks, we're going to make them quite a bit thinner. We're going to go onto the I think that's whip. No, that's not it. We're going to have a length. Nope, and that's going to be thickness there we go holding ship. We're going to lower this down to this amount. That's going to look quite nice. We also have something something called gaps. We're going to change this two zero or a very low value 00.001, just to have a bit of some gaps, but not something that will give us any trouble overall. Something like this is already looking pretty nice. We're going to now go ahead and make use out of it. I'm going to just right click set origin to geometry. Go to click Control and A and actually before doing that, I want to actually rotate this to be vertical. I'm going to click R x 90, and it's using this, we had freed cursor setup, so I'm going to go back onto the median point to get this set up lick so, so we actually know what we're doing. All right. So with this, let's go ahead and think how we can wrap it in around itself. The easiest way for us to do that is going to be making use another modifier. There is something called I believe curve deform. Let's go ahead and search for it. Curve deform curve. There we go. With this deform curve, it's actually really nice and useful to make use out of and allow you to curve to any shape that we want, for example, if I was to make a curve busier over here, we can actually make use out of it and I will just select this first. I'm going to hit Shift and S. Um cursor to active, going to select this and then shift an S selection to cursor, just to make sure that we have it on the same area. Now, for this section, we basically want to select the curve object, which is going to be this one over here, and we already see that it's already looking quite nice. That's all we need to do in order to get ourselves the deformer when we are moving this, you can see that it actually is deforming based on the setup of the curve. So for words to make this, for example, G Y. Moving this off to the side, you can see it actually deforms nicely. This deform curve is actually not the right one. Let's go ahead and delete it. So we're going to hit Shift and S, create a circle of one, like so, and we're going to make this quite a bit smaller. We need to think about how many planks we want to fit it in. So this is looking quite nice. All we need to do is just go back to the curvature, increase the count, like so, couple extra, and maybe one more, and it's a little bit overlapping. But all in all, I think it's looking really nice. Maybe we can add a bit of an extra actually. I think that's going to be quite all right. So if we do want more planks, we can just increase the count like so, and then we can go back onto the bezier curve, go onto edit mode, increase the scaling, we can see that this is what we're going to get. I'm going to slightly tweak this, so the gap would actually be nicely closed off over here. Just like that. There we go. All right. So this is looking really nice, actually. I'm quite happy with the result. Now we need to also think in regards to how we can squish it down. We don't want this to be cylindrical shape. How can we do it in order to actually get ourselves a nicer shape? Well, we're going to use another modifier, which we used previously in the past. Something called lettuce. We're going to make sure that it's set within the same box over here. Okay. Going to make sure that the latisk as a bit more resolution in regards to for us to find it, I'm going to make sure we have prospective mode. We want more resolution in this and W, also U and V, and we have something like this. Keep it simple, doesn't need to be overly complex. Now let's go back on to the set for the planks. We're going to go and add another modifier, something called, I think it's lettuce. There you go, deform lettuce. Let's go ahead and dit, select our object. That's a lettuce. Let's go ahead and go on to edit mode for the lettuce and select all of these at the bottom, click S, and we can scale it down. So I'm just wondering if this is the right setup or not. It's a little maybe it's a little bit too much we're going to go ahead and increase the top instead, just a little bit like so. And maybe middle a little bit as well so we could get a nice shape. The bottom piece like it to be a little bit wider, something like this. I think this is a really nice type of a boot. Let's go ahead and think about the I think it was length randomness. There we go. If we're to change, we can get really interesting shapes we just need to figure out if we actually want those shapes. I think the top we do, but for the bottom. We don't have controls for the top and the bottom, so we need to figure out whether or not we should do it this way or another way. Let me just think for a second. I think, let's go ahead and actually increase the length randomness to a little bit like this. I'm going to just go onto seed to get more unique type of a shape. It's a little bit too much holding shift. I'm going to lower down the randomness. Something like this is looking really nice. But the bucket itself is a little bit too fit. So at this point, we can increase the if we were to find it thickness over here. Let's go ahead and increase it a little bit, there we go. Now we're getting a really nice set up for this bucket. And yeah, that's pretty much it. Let's go ahead and just simply select the bucket. Once we're happy with overall shape. And apply this as an object. Actually, before doing that, I'm going to go ahead and duplicate it Shift D, just duplicate it off to the side. I just realized that it's still being used with a deformer. I'm going to take off the deformers like The reason we're doing this is we want to have a similar setup for the base. I'm just basically duplicating the mesh and take it off of a deformerce other than the omit node. So now that we have it like so. Let's go ahead and actually select this bucket over here. Click object, Convert, mesh, and there we go. We can now go ahead and delete the lettuce and the curvature. That should be over here, like so. And yeah, if we want to, we can also go back onto this bucket, by the way, we can click ten Z to see the transparency, select the base like so, and we can turn on the What is it proportionate? Just simply increase this and just slightly tweak it, for example, if we want to just slight bit of tweak is also quite okay. So as long as we don't do it too much because thethickness of these planks would be too extreme. The main shape itself should be done beforehand. For this part, let's go ahead and see what we can do about it. Well, we can start off by just adding this to the base. I don't want any gaps on this whatsoever, because for the previous one for these ones over here, they were a little bit curved, and so these gaps were not as visible, although they are still visible, so I am going to go ahead and fix that. Selecting this all in edit mode, we can go ahead and click AltnS and just slightly there we go to increase it a little bit until they're touching. The front and the back should still have those edges over here, which is very nice. I really need to be water tight basically to make sure that no water is escaping. So gaps is zero. But we're not seeing anymore those planks, and they're looking too similar. What we can do is we can add thickness for random thickness basically. This way, we can have no gaps, and at the same time, we can have those planks to be more visible basically. I think this is quite nice. For this particular part, let's go ahead and add ourselves a mesh, a new mesh. We'll see soon why. We can basically make use of this mesh to cut out a hole where we want it to be. I'm just making sure that we are setting it up to be like so, to be a cylindrical basically right at the centerpiece of this bucket. Then I'm going to go onto the planks. I'm going to actually add a modifier called bullion. Bolin is very nice when you want to cut out shapes or when you want to just get a real nice setup, for example, this part over here. I don't want to be a square, I want it to be cylindrical. I'm going to make use of of the cylinder with the ban. I'm going to make sure solver is set to pass since it is faster, and for things like this, for simplistic perimeter shapes, especially, it's actually going to work much better. I'm going to go ahead and use the Pete select the cylinder over here. If I was to click H and hide it, you can see that it actually makes a hole. We don't want to hole. We want to make sure that it actually intersects. I think it's actually going to be there we go intersect. We can now click on cylinder click H and we can see it actually intersect. Now, I'm going to let me think for a second. Click Old sd and we should, it's not visible. Why is it not visible? X ray is available in the current mode. I'm going to select this entire thing. There we go. I'm just going to basically select the base. Which we can either do it by just selecting the cylinder selecting H, and there we go, we can select the base. Now we can go ahead and apply this as a mesh convert to mesh, nice base like this. And we should. We can see some bit of edges still showing I'm just going to click S and just scale it down, and we need to scale it down for the centerpiece. I'm going to m I'm going to click R Control and A and or sorry, right click Set origin to geometry. There we go. Now it's centerpiece, to scale it down a little bit, so it's not visible. There we go. Maybe put it down a little bit. Just like that. There we go. Something like this, it's going to be very nice for a bucket. So for this particular setup, we already have a nice piece of wood. We have, I think, still the setup for the cylinder. Or was it last cylinder, I believe. There we go. So I'm just going to basically delete this. It doesn't really matter for this particular case. If you unhide everything, you can still see the cylinder, so we can just delete it afterwards as well. And we need to think about the overall setup of reinforcement of this bucket, so we need to add some metal metal rings around it. But we are running out of time, so we're going to continue on with this in the next lesson. We're almost done with the bucket, and then we're going to move on onto the rendering part. So thank you so much for watching and I will be seeing you in a bit. Okay. 43. Adding Intricate Details to Buckets in Blender for Enhanced Realism: Hello, and welcome back and run to stylized environments with Plano for geometry nodes. In the last lesson, we got ourselves a nice bucket. The shape of it is looking really nice. We made it out of planks and nl is already looking really good. But we still need to support the overall shape. We need to give yourself some metal rings. Actually, before doing that, I noticed that the bottom is not flat. So, for example, if we were to try to put this on the ground, It might not be quite well adjusted. We're going to actually flatten it out a little bit. It's actually quite simple to do. We're going to select this side edge over here. We're going to hit tab, go onto D mode, select the vertices and click one. Make sure you are within X ray mode, so clicking All ten s. Now I'm going to go ahead and just simply select the bottom piece like so, and I think I selected them mole, which I did. Then I can click S and S and just slightly. Oh. What's going on over here? Oh, I do have myself the proportional scaling turned on. I'm going to turn that off. Then I'm going to click S and Z, and we can just slightly tweak it. I'm not going to do it perfectly, since I still want to have some bit of offset, but it's already looking much better. So imagine the more you place it on the ground and stuff, the more it's being used, it actually kind of equalizes itself. I straightens it out a little bit on its own. And the bottom, yeah, definitely needs to be a little bit more straighter like that. Okay, so in regards to the rings, what can we do? Well, the easiest way for us to do that is firstly, we're going to make sure that the free Dcursor is centered out in here. I'm going to go ahead and select this piece over here. I'm going to click Shift and cursor to active, going to click Shift and A and create a selves a nice cylinder. In regards to the cylinder itself, we can increase the amount here to something like 24. That's going to be much better. I'm going to go to edit mode, select the upper section. I'm going to click Alt and Z to make sure that we don't have that nice wireframe mode. I'm going to delete the upper and the bottom piece. Then we can click S and going to select it all and the S is, scale it down, put it off like this, and we can just Nicely tweak it off like this. Then we can also go to modify, select solidify. It's going to give us a set up over here. Going to make the offset go to positive end over here, whole shift and upscale it a little bit. All in all, this is looking quite nice. We can also even add another modifier for beveling. There we go. Holding shift and we're just going to lower the, that's not it. That seems to be just thickness. There we go. That's going to be the amount for the beveling. Going to make it a little bit like so. Now we can just adjust it a little bit. I'm going to grab the bottom pieces as well. So we can go to edit dZ, click one, select the bottom vertices and scale them inwards. The reason being is that it's not actually completely straight going downwards, does have that bit of a shape like so. We're just adjusting it a little bit. This is looking pretty nice. We can click Shift D, GZ, move it downwards, and I will I think I will just go to edit mode, click a, click Alt and S and scale it down. The reason we're doing it like this instead of just scaling it so because the wip of this would be, if I click, you said, would be completely different. You can see the difference over here. That is why we are using just an edit mode, Alt and S to basically shrink itself to this amount, and I think the bottom piece is quite all right as well. You can maybe select this bottom piece a little bit adjust it, but I'll know. I'm quite happy with this result. Now we are going to actually let me just say this a little bit. I'll select this actually, click Alton and just bring it inwards on its own, so there we go. Select both of them, right click, shades moth, and we're going to get ourselves a nice result. All right. Now let's go ahead and select them. Click Object Convert mesh. Now we can actually select it all, Smarty Vw project and apply this with a metal. Let's go ahead and grab ourselves a metal piece for this piece as well. Metal. Metal. There we go. Nice bucket. Ready to be used. Very nice. Now we can actually look at the bucket in regards to the scale for this section over here. And I'm just thinking whether or not we should, we could just merge this up right away and then check it afterwards just to see how it looks. Let's go. Finally, grab it. Go click Control J to join it up and something is going on. Okay. I think what happened here is I'm going to click control to see what's going on. So we had wood with another material, basically. I'm going to make sure that this default material at the top is actually minus out. Now I'm going to go ahead and select the click Control J, and there we go. We also are going to make sure that the shades move that we set up is set nicely for the metal. I'm going to lower this down to a reasonable amount. There we go. Setting it to firty seems to work quite nicely for the metal. Yeah, that is pretty much it. We're going to now scale it down. Put it in this section over here. To see how it looks like. We can turn on the gray box real quick, so I could actually see what the human looks like. Where is the human reference that we have. I think we actually have this. I think we actually have this in collection. I am going to then click Alt H to just unhide everything. Now we can see that the human reference is quite nice. The bucket, we need to decide the size for the bucket. I think this is a reasonable size. If the person is holding a bucket with a handle or something of the sort, that would be looking reasonably. We also got to consider that it is a stylized well, whether or not this needs, for example, be a little bit bigger like this, for example, to be able to highlight the it seems like I went to another preview of material. So if we want to highlight the shape a little bit off the bucket, we could just for example, increase it a little bit just to make sure that it's seen from the distance if it's next to well or being hung around the inside of the well. But all in all, I think this size is a bit smaller. Something like this, that's going to work well enough for us. I'm going to go ahead and select the front, going to select the bucket and the beam in the middle. That's quite all right. Maybe this is well. Going to isolate, collect the isolate button. Now we can actually start working with the row part. So yeah, having a bucket being hang around in this section is going to be looking quite nice for us. So, yeah, that's going to be in the next lesson. We're going to end this lesson quite short since I do want to just make sure we spend a full lesson just getting the rope positioned, looking really nice within go well itself. So yeah. Thank you so much for watching, and I will be seeing you in a bit. 44. Integrating Buckets into Stylized Wells in Blender: Okay. Hello, and welcome back everyone to stylized environments with blend of four o nodes. In the last lesson, we created ourselves, finalized parts of the bucket, and now we have it nicely under the section of this entire part. I will recommend you though to go back and maybe adjust the height real quick, the final time just to be able to have a nice overall section where you want it to be since we're going to be designing a rope that goes towards the upper section. Once you do so, you can go back and grab yourselves all of these parts, isolated view, and now we can finally work on the rope itself. So, in regards to our, we're going to select this beam over here. We're going to hit Shen S, cursor to selected, so we could actually spawn ourselves something called a curvature circle, which we often use throughout the course. We're going to click Sx and x x and 80, for some reason you did that. Sorry, R x and 90. There we go. I'm not sure why went with scaling. Okay. That's what we want. We can now basically go onto the bezier curve options, which has a lot of interesting and nice options to make use out of. But all we're going to do is go to the geometry and we're going to extrude. Extruding it, we'll give you this actually, sorry, it's not going to be extrude. There is another option. Extrude, we'll just give you stripes, which at the moment, we don't want. We just want to make sure it's a circular type of a cylinder basically that gives us a donut shape. For that, we're going to go onto the section over here. But increase in the depth will give you this. Basically, circular shape, nice and easy. We're going to make sure we are in edit mode. We're going to scale this down to the exact proportions of this this part, and I'm wondering if whether or not we need to make this inner. Looking at the bucket, looking at the overall setup of the beams, we should probably select it all, click Alton S, and scale it down. S Y. Maybe something like this. I think it's going to work much better. There we go like this overall shape. Let's go back now and go back on to the depth, which will allow you to make nice size of a rope. We now need to decide how big the rope we want it to be, how thick the rope is going to be. Value of 0.08, I think it's going to be quite a nice amount. It's quite thick but not thick enough and it's going to be just right, I think for the style set up. We can then straight away, just go to material mode, actually, we can apply rope or actually, we don't have the rope. Let's go back actually onto our resource back and find or selves this little cube over here, this one in right here. We're going to hit Control S. Control C, that is. We're going to go back onto the floors and paste it in. We can click M and put it onto the gray box. Now we can select this rope. Click new and sorry, not click new. We're going to just surf a rope over here, add it in, so we're going to get ourselves a better understanding of the overall lighting for this rope. This kind of scale I think is going to be a little too small actually now that I look at the texture. I'm going to go back onto the depth and increase it 20.09 value. That's going to be much better. We're going to go onto edit mode and scale down to the shape of the set up. Now we need to talk about it in regards to the resolution because it's such a small setup, the resolution is going to be maybe a little bit too big. The resolution basically affects how much topology we're going to get if we look at the art frame mode, we can see how it actually behaves. And just setting it to a two is going to be more than enough for something like rope. So I do recommend you having a resolution of two. So, keeping the resolution two is going to be good enough for us. And now we need to actually figure out how it's going to be rolling around the base of this wooden frame. So what we need to consider is the fact that it's actually going to be when you imagine the fact that this bucket is going to be hanging from this rolled up, and it's going to have an access of rope basically, so it could actually lower itself down into the water. You need to consider how this is actually going to be wrapping around. Uh, for that, you don't actually need to have an actual bpe that goes all the way around. We can just sort of fake it. So what I mean by that is if you click free, we can go to the side down view. And then we can click ship DG and y and then move it off to the side. And if we do it a couple of times, like so we can then slightly rotate this a little bit as well. Okay. Just like that, and just by doing it so it looks like this whole rope is actually set up in regards to just wrapping around. We just need to make sure that there is a section where it does look like it's leaving the overall rope. The rope itself, right now, let's have a look. It does. It's not quite there. So what we can also do is I'm going to click free. We can also just duplicate another one, G y and I'm going to go on to edit mode, click a to select role, click S and upscale this entire curve. Okay. So it's going to be nicely sitting at the top. And that way, we can now have another basically rope. I'm going to actually just do rotation in edit mode, so this way. I can make finer adjustments, selecting it all. Maybe this part is going to be going this way. This part is going to be all right to maybe adjust it a little bit like so. And one more, just for a good measure. I think that's going to be quite all right. Once we have it like so, it definitely looks like there's a bunch of rope wrapped around it. Now we can actually make use out of one. I'm going to hit Shift D, G, move this downwards, go into edit mode electrol deleted the vertices. I'm going to hit Shift A and grab our elves a path. Then we can just make this quite a bit smaller G R y 19, just like that, and we're going to get ourselves a nice bit of rope to work with. When we're scaling this down in edit mode, we'll see that it's only scaling just the overall shape. That's exactly what we want because it's just a curvature mode. That's why it's so nice working with the curvature. This particle case, we want to make sure that we have it play somewhere like so. I'm going to click once just to put it off to the side, just like that, and hide this out of the way actually somewhere like this into the section, maybe something like this. Doesn't need to be too much. But just by doing it a little bit, it's going to make it look like it's actually again wrapped around this. But this critical part though, I can see that bucket is not going to be very light. Test matter for this because we are going to be fixing that in a bit shortly. I'm going to duplicate this because we now need to figure out how it's going to be hanging in regs overall set. I want the parts to be hanging on this and at the other end. Keep in mind that the overall section is going to be looking like this. I do want the rope to be shown a little bit from this angle over here. I think it's going to be quite nice. Actually, because I hit, I'm going to go ahead and just select them all. And what's the best way of doing that? I'm going to just position it like so, select it all this, and make sure we have the rope selected. Hide everything out of the way. Now we can actually go back to work in regards to this rope. Let's go ahead and duplicate this, G we're going to actually delete all the vertices except or two. We can now actually just click seven, move this off to the side. There we go. Now we're going to finally just click G Z on one of them, move this downwards, and this is going to be quite all right. So, go to click. Put it off over here, G y like that. And now, let's go ahead and think about how to tweak it a little bit, how to make it a little bit better. So for starts, let's put it on the outer side. I'm going to hit shift en D then R z one 80, just to move it to the up end, then just slightly tweak this back into the right position and move these to the back. So I had proportional editing on accident. And this seems to be looking quite nice. The reason I'm not mirroring this is because I want to make it seem a little bit more organic. And I think This is looking quite a bit organic. I made a slight mistake in regards to adjusting the rope. I want to make sure I'm only adjusting in one direction. Something like this. This is also same mistake, slightly tweaking it. I do want this to be going upwards, higher up. I'm going to just select both of these ropes like so. Going to grab these parts, going to click on the proportional editing, G and just drag it upwards like so. Okay. That's quite all right. This side, maybe slightly tweak this, going to select this actually. That will help me to readjust it so it wouldn't actually just go in a wide direction. L we go. Just a little bit of adjustment. I'm happy with this shape I'm not really happy with this. Let me just go ahead and fix it up real quick. There we go. I think this is a nice shape for a rope. How do we combine this and this part over here. Well, we could do it multiple ways. The easiest way would be to just simply well, select the bucket, shift in as, put the cursor over here and grab ourselves a simple cylinder. So scale it down. Actually, before doing that. Let's create a cylinder and make sure that we lower the resolution. We don't need 32 vertices. You just leave it at something like 12 or nice not looking set up over here. Just like that. I'm going to straightaway, just apply rope rope. Maybe the rope itself is a little bit too high in resolution, but we can fix that later. I do want to have the upper and the bottom to be beveled off, just like that. A little bit like so. A nice setup. I am going to select one of the vertices, just slightly tweak this off just like this. Okay. Just to make sure we have a bit more of a random shape, all in all, this is looking really well. There we go. All right. These parts, what do we do about these parts? Well, the easiest way for us to fix that or to get the setup for these would be to just select the bucket, click Alt and Z, and select this part on one end, select part on the other end. Click int a phase, click, and then enter right away and I actually made a mistake. So let me check Proposal editing off. I'm checking basically right now I do have that extrusion, which I made a mistake with. I'm going to click Enter and then lens and then slightly extrude this outwards, grab these faces over here, these edges. Lens. I think something like this will the tray. Maybe bring this inwards a little bit. So I don't need to be too harsh with the setup. But we want to make sure that actually looks like something is being held down basically over these parts. Let me think. We can actually select these parts, both on both ends. Go to edge selection, click Control B, and just get it nicely pebbled off over here. The middle part is going to be bled, which is actually going to be all right for this particular case. Maybe not. Actually, maybe not. Sorry. We're going to go back out of this. We're going to make nice selection around it without middle selection, just like this. A quick selection, control B, ability of segments, just one. There we go, much better. All right. Now we can actually look at what we've done. With regards to the bucket. Before doing that. Real quick. Final part is the thing is that the rope at the end over here, it's not going to have any gaps filling in. We need to actually go to the bevel and scroll down onto the go bevel part. There's something called fill gaps. This will just fill in the gap. It doesn't need to be anything complex. We just need to make sure that it doesn't become transparent. All in all, that's pretty much it. Let's go ahead and just go out of isolation mode just to see how this looks like. And if the bucket is low or high enough. Okay. And maybe we should put it a little bit to the front. I'd like to have this kind of a setup over here, and the bucket should be going a little bit more to the front. Let's go ahead and do that. If we want to control this, we can go ahead and make a quick selection. So we can click M. We can go to collection, make a new collection within that collection, and call it a bucket just like that. Now we can go onto this collection over here and select the bucket. T should have everything within it, that we can make selection and drag it forwards and maybe have a nicer setup from this angle over here. So yeah, I'm quite happy with the overall result. Let's go ahead and maybe slightly through this bucket just a little bit. So R y, a little bit. Sorry, R x. Just a little bit like so. I think that's quite all right. Okay, now that we're done with this, we're going to finally move on to the setup of the rendering view. So that's going to be it for this lesson. Thank you so much for watching. And I will be seeing you in a bit. 45. Setting Up Cameras and Skies in Blender for Dynamic Renders: Hello. Welcome back, verano Stylist environments with plan the four geometry nodes. In the last lesson, we left ourselves up with a nice setup for the well for the scene. And now we're going to continue on with the overall progression in regards to finalizing composition, getting the camera just right. So we're going to start off by going actually into the random review, and we're going to actually work with the shader just a little bit to get the right setup. So Go back onto the shading on the shading tab, going to the world setup over here and getting the render set up on the top. We can talk a little bit in regards to the sky texture. We talked about the size, the intensity, sun elevation and rotation. There are a couple of other options. There is altitude, air, dust, and ozone. This will affect the overall gradient. Basically, the altitude will affect how high, for example, section is. If it's like 1,000 meters above, it's going to look like it's in the sky or something because it'll blown up the overall shift of the hue. Also, you can see the gradient be going quite much lower like this. This is what it does. I usually tend to keep it at zero and it looks all right. The air and a dust is going to basically again affect the color basically and the gradient on how it interacts with this environment. Leaving this for now at zero, at one, is going to give us an pal setup. Always on the other end, It's going to give you that blue nice shift. Instead of just touching altitude, what I prefer to do is just increase this sometimes to get a nice stylized look for the entire scene to get a nicer lighting. Again, just to let you know, we did touch it in the past in regards to the renderer, but we do use the renderer cycles. I will tell you what render cycles is. I will actually play basics video in the next lesson. But now though, all you need to do is just simply make sure that cycles to render engine is set to cycles, and the noiser is enabled. The noiser will just help you to just remove that noise. And for now, that's all we need to know. So again, going back to zone, we can leave this at a value of 55.65 0.7, I think it's going to be quite all right. There we go. We're going to get ourselves that nice blue shift in the scene, which are quite light. Now, in regards to the camera itself, we now need to consider the exact angle that we want to have the scene set up. For that, I recommend you going to just a normal view, like so and grabbing ourselves a brand new camera. Let's go ahead and click Shift and A, and there is something called camera component. This is what it's going to look like. We're going to see it like so, and it's going to be pointing this way over here. We can click zero to see exactly what it's saying and this, for some reason, it's looking very, very bizarre. So let's see what's going on with this. I think Let's see the focal length is what's causing this. I'm going to increase it to 90. That's usually a really nice setup, and you can see the difference. Before it was just like this, it's actually making it look more like just a high FOB. But yeah, 9,220 is pretty standard for a camera view, and it's going to give us this kind of view. We can click zero to go out of it, and now we can see that the shape actually is based in regards to the focal view. We're also making sure that it's set as perspective. Then we can drag it off to the side and grab ourselves a nice set up. And what we're going to also do in regards to the set of the camera. The easiest way to set up is if you click zero, we can see the frame basically what the camera is seeing. If you're not seeing the same frame, you can go onto this section over here onto the output resolution. Make sure it's 1920 by ten 80. This is the default format that you usually see in the cameras to get video format, basically, a wide screen type of an image that's most common on Internet to upload and stuff like that, especially for videos. You make sure to have that. We can also zoom in, by the way, so we can have a frame to be more in regards to our entire viewport. And now the front part. We can click. We can go onto something cold for to find it. With the camera selected, that is, we can click on view, and there's something called lock 23d cursor, or sorry, Log to camera view. That's the one we're going to select. Now with this selected, we can zoom out and you can see that this frame is not scaling. The reason being is that we're actually, we can now move it around and see that we're getting a real nice type of a setup for the camera. We can click zero, and we can see that we actually just move the camera. So by simply clicking zero and having this option ticked on, we can move our camera, whichever way we want and have ourselves in ice composition. Something like this, I reckon is going to be quiet, all right. Yeah. There we go. Something like that. We can go into render view just to see just to check if it's actually looking all right. And yeah, I'm quite happy with this result. All right. So now we can do final touches in regards to the composition. We set ourselves up with the camera. We go sells a nice lighting already. I'm going to just double check if something like at the back is nice as well. Okay. And yeah, it is quite nice. All right. So, that looks pretty good. I was thinking whether or not we should include some back lighting over here, but going to focus on one shot. And I just realized we are missing some bins going over here. Luckily, it's super fast super easy thing to do. But I do think that splitting up the lessons into two smaller lessons is going to be better. So we're going to leave this lesson as is and then in the next lesson, we're going to include the bin geometry. And then afterwards, we're going to finalize it with composition and rendering. So thank you so much for watching, and I will be seeing you in a bit. 46. Enhancing Environments with Ivy Geometry Nodes in Blender: Hello and welcome back ever on to stylized environments with Blender four geometry nodes. In the last lesson, we lapped ourselves off with a nice setup for the camera composition and just getting ourselves a nicer type of a look out of the sky. Now we still have one more last part to actually do, and that is to add another Geometry node. File That is very simple and easy to do. I'm going to show you after all of these geometry node uses. This one is going to be quite nice to make use out of. Let's go ahead and go ahead and click Control C. Go back to the normal blender mode and go ahead and click Control B to load this in. We are going to right away I think I'm going to make a duplicate out of this, actually, to select these parts over here. Move the gray box selection. Th, I made a mistake. Again, this is going to be, it's going to be part of the leaves section over here. Okay. So what I'm going to do is I'm going to which way would be the best way of doing it. I am going to go ahead and delete this actually and just redo it real quick. I'm going to make sure that we have a selection for the gray box ticked on, so, have it selected, click Control B, and this should paste it in directly into, there we go into the section for the gray box. Go to move off to the side, click Shift D to make a duplicate, click M and move it to the main collection. Now we can hide back the gray box out of the way, just like so. Now we can start actually making use out of it. This, if you go onto edit mode, we'll see that it is set with a nice setup or the curvature. So let's go ahead and right away, start working with it. We can go on to geometry note for it to see what it looks like. We have scaling, which if we touch it, we can see that it does scale up the leaves. Very nice setup. Scale randomness, nice way of making it varied. So back and forth, we can do that. We can click control and set. And actually, that's not going to do it. I'm going to just set this value up to a value of 1.3. That's going to be quite right. Scale follow. That's an interesting one. Let's go ahead and increase it and see that. Basically, at the end of each one of those, it's going to lower down the scale of the leaves, which is very nice. Very simple to do. Dnsity is going to affect how many leaves we have, which we can play around later, and then we have the stem, the stem resolution. We don't need that big of a resolution. I don't think we can lower this down to free, and we can see what it looks like actually. Do we see. If we take off the density of the leaves, we can see the resolution over here. This is basically just doing it in regards to the curvature. We don't need this too high, we can set it to free. It should be giving us a right result. What else profile resolution? That is going to be basically affecting the overall radius of this curve. We can lower this down to something like five, and that's going to give us still great results whilst keeping it at low performance. Radius, that's going to be the thickness of this setup, and radius fall off, again, is just going to be how thin at the very end it's going to be. So we want it to be maybe 0.7. Something like that is going to be great. And actually, this is going to be quite nice now. Let's go ahead and actually delete this entire curve because what we're going to use is going to be called draw. Draw is very nice when using it on a setup. We need to make sure that it is actually a set up surface that should work. Once we just click and hold and then draw it on the surface like so we can see that it actually draws on surface, attaches itself nicely onto an object. It is exactly what we want in order to grab ourselves nice attention to the Nice detail that is to the overall surface of the well. We already set ourselves up with the camera. We can always go back to this and see how it looks like, and I just made a mistake. I'm going to click Control Z. That's not going to actually do it. I'm going to reset the camera real quick to this not make the mistake of moving this camera, going to make sure that this lock is turned off, like so. Now we can just move it around and go back in and out of the curvature. Sorry, out of this camera. We can now go ahead and start working with the curvature that is. So to start off, we're going to grab ourselves some nice vines going to the top, like so, and I'm thinking whether or not we need to change the tolerance. We do need to slylyly tweak this overall setup. Which I'm going to do it in a bit. But now though, I do want to have multiple basically wins coming out this way, like so, and it's looking quite nice. So you can see that just drawing it like this is going to give us a nice setup over here. Not sure why this is not giving me there we go. A nice curvature. And this is actually, I think, being placed on the grass itself. I don't want this to happen. Just one bit of some curvature over here. Let's go ahead and see how this looks like. Just by doing it a little bit, you can see it's giving us really nice detail. We can make some nice extra setup over here. We will need to offset it a little bit, but we're going to do it in a bit. You just need to get the right shape overall. I do want to actually Paper start, reduce minimum maximum off there we go. We should get ourselves the offset if we set it to one. We should we go get this offset basically to be placed on the top, and that's going to be a little bit better for us whilst working with this. So just moving it like so, we're going to get ourselves nice stretching out. The mentality behind the way the IV grows, basically, it's going to start at the very bottom. It's going to start off from the grass and then slightly tries to grow out and see where it can start growing, so for example, tried going towards the stairs, but it was seeing that it was not finding any places to hang around. And then it was just going on top of this section a little bit. So the base was ficked out more. I'm going to lower down the leaves actually a little bit. The base was ficked out more while until it found this section over here, a nice pole to climb on top. Afterwards, it was climbing over here, it was climbing a little bit on the top section over here. Until it found its way to the top. The top itself, the roof was giving a nice amount of sun for the plant. So we're just spreading like crazy in this section. I was just branching out like this, and we can have even more branch over here. Maybe that's a little bit too much. But you see, hopefully, it looks like. And just a bit of an extra stretching out like this. I think that's quite nice. You can even have it like sou So I'm just wondering if it's not too much if it is too much, we can go back to normal mode and just select this control plus until we select this entire setup, delete it, and there we go. I think this one was all right. Not sure. But I think it's a little bit too much. I'm not sure. There we go. Something like this, maybe grab it for the top. And we'll actually make another one, just a tiny one coming from here. There we go. Something like this. I like this setup. And this is looking pretty nice. We can increase the density or actually. Let's go ahead and fix it real quick with in regards to this mess over here. I'm going to select one of them. I'm going to enable the proportion editing, and I'm just going to slightly offset it over here. Okay. Make sure that we have a nice setup. This one is acting a little bit strangely. It is acting a little bit strangely going way off. I'm going to go ahead and just delete these vertices over here, and we can have it nicely placed. Is going nicely to the side. Just like that, maybe a little bit off to the center off to the side it is. Go ahead and do it like so. I'm going to click R to just slightly offset this. Small tweaks, nice adjustments, making sure it's climbing over all of these sections over here. I don't know what's going on here though. Let's see. Oh, I see. It's actually trying to climb up from here, but that's all right because we do have one in that's going to be climbing through this section like so. Or is it actually is there we go. That's what we're looking for. Just a little bit more. I'm going to click Alt actually going to going to go to y frame mode. And that's not going to show there you go. And Find all of the vertices that I'm working with. So this over here, going to be quite all right. This over here. Maybe we just need to rotate it a little bit. There we go. So I'm seeing that this part is being moved, but I'm not sure what's going on over here. Just going to offset it a little bit. There we go. It was just giving us some bizarre results. Slightly moved it off to the end to the end and just gave me nice results. Let's go and actually go and work with the material mode to actually get the right setup. This part is actually, it's a little bit to offset. Going to place it a little bit back like so, and we're going to get a nice result. This part, I'm not sure what's happening with this. I think it's actually being placed from the bottom of this section over here. I'm just going to slightly move it outwards so I think that's quite right. It looks like it's going out of crack, but this part over here don't really like. I'm not sure what's going on with what is going on with this part? It's moving outwards. And then, I see this part is being separate. This part is being nicely set up. And this, what is going on with this. I'm going to isolate the view, see what is going on with this part. Oh, I see. There we go. We're just going to bring this back in like so, and we should get ourselves a nice setup. Maybe isolate it again. We just a bit higher. So this part over here. No. It was this part, I hope. Maybe something like this. What is causing this part to be going inwards? I'm not quite sure. Let's go ahead and see what is going on over here. Mm hmm. Mm hm. There we go. There we go. Found the right by to make use out of this. I'm going to now attach them all nicely to one another and wrap myself this type of a setup. This is a little bit too high up. Let's go ahead and move them. I'm going to make sure I turn off the proportionate thing over here. Just move them all a little bit nicely downwards, hide them behind the leaves, and there we go. This part is way too high up. Let's go ahead and low it down. Like so. Slight movement adjustment, going to maybe even delete some of them to make sure we don't get extreme values. L so. Okay. There we go. Slight adjustments, slight weeks. That's all it takes. We get ourselves a nice setup. Making sure that everything looks like it's connected, going for every single branch. I think that's pretty much it. I think we're done. I'm quite happy with the result. Let's click zero to see how it looks like. Yeah we have a nice buying collection going all the way up. It did take us a whole lesson to do this. Slide slight adjustments, but it is personally my favorite part of this course. I do enjoy adding a bit of that nature design nature onto the projects. Just like that. It's Personally, quite relaxing. Other than the fact that we had a lot of vertices on this end over here, I couldn't find how to get it out. Once you do get it right, I think it looks just really nice overall for the scene. So yeah, that's going to be it for this lesson. Thank you so much for watching. And then in the next lesson, we're going to start learning about composite and actually how to set ourselves up with a nice render shot. So thank you so much for watching, and I will be seeing you in a bit. 47. Fundamentals of Rendering in Blender for Stylized Scenes: Hello, and welcome back in from the stylized environments with plenty four geometry nodes. In the last lesson, we left ourselves off with a nice setup for the IV to be going to give us more greenery, a bit of an extra organic look to this overall setup. We're going to continue on with this and finally get ourselves the render for our stylized scene. I'm going to hide Makin now. We don't really need this guy, going to put this in a gray box, like so. And all we need to do is set ourselves up with a bit of compositor, a nice render view. And before doing that, I'd like to go over the basics of what cycles is and what's different about it from a real time renderer called Eve. So I will play a quick introductionory video that hopefully will explain a little bit more in regards to the renderer setup itself. And then afterwards, we will look into the composite and how to enhance the visuals of this type of a scene. So That's going to be it for me. Thanks so much for watching, and I will be seeing you in the next lesson. Welcome everyone to the EV in cycles part of the course, and this is a full guide on both the EV and the cycles renderer. So the first one we're going to approach is the actual EV. And you can see the moment I have a scene set up like this, and I'll be using this to go through the various options, and after which you can give it a try yourself. So, the first thing at the moment is we're on actual shading object mode, and we want to be on the EV renderer. So I'm going to click that on. Now, you will notice at the moment, I have a son, and I have a aerial light over here as well for the other demonstration. So first of all, let's come to this actual object here. And what I want to do is I want to first of all, go over it to the right hand side where the render options are, and you'll see this is actually on v. Now, the first thing I want to discuss is not the sampling. We'll come back to that in a minute. It's actually the ambient occlusion. If we turn our ambient occlusion on, you will see that able then to actually make much, much bear shadows within our actual scene. So, for instance, this actual here, if I turn it off, you'll see that all of those shadows disappear, and if I turn it on, enhances the shadows. We're also able to go in as well, and we're able to come over to where the distances and turn that down zero, and you'll see that makes them all disappear. And as we turn it off, we end up with more and more actual shadows on there up to a certain point, as you can see. But you can see now turn it off and on, makes a real difference to how your scenes actually going to look. Basically what I'm discussing here is the setup of EV, and then we're actually going to go over and actually render that out. Now, let's move on to the next part of this demonstration. And what we're going to talk about now is the actual samples. So if I come up and open this menu up, you can see at the moment that we have render on 64 samples and the viewport on 16. Now, not only does this give you a better quality of image but also the main reason is that we can actually get a lot more definition on these actual shadows. You can see if I zoom in here, these shadows are kind of pixlated, But if I come in and let's say put this to 300, you will see now it makes a real difference in how the shadows look. It makes a much more realistic and much fair when you actually come to render this. So now we're actually going to discuss the other powerful thing with v, which is screen space reflections. So at the moment, if I turn that on and I come to my ground plane here, let's actually mess around with the actual roughness. If I turn this down, you can see we end up with loads of reflection on here. If I come then over and turn off screen space reflections, you can see that all of those reflections don't actually reflect on this ground plane anymore. So this is why this is so powerful, especially if you're doing things like really, really shiny objects or metal, you really want on screen space reflections. Now, let's just go back to my ground plane now and just turn it back down on the actual roughness. So let's turn it up a little bit, like so. And then we've got some reflections, and let's move over to the next part. So we can see at the moment we have this light, but it doesn't look very good at the moment. We can see it has got a bluish tinge reflection to it. But if we come back over to EV now and what we can do is we can actually turn on bloom. And now you can see that we've got some really, really nice light and also the reflections enhanced as well. We can also open up the bloom, and the best thing about the bloom is, we can actually control how much this is going to actually bloom, how much fogginess is going to have to it. You can see the range that we can put on there as well. And you can also see that we can turn up this intensity all from within the actual EV options. Now, there are a load of options within EV, and to go through all of them, honestly, would be like doing another course. But what I want to show you is just one more thing within EV, which is where we have shadows. If we open this up, we will see that these shadows actually come with their own resolution map. And at the moment, they're on 512. The higher turn The better the actual shadows are going to be. So if I put both of these on 4,096, you will see now that when I actually come to render this out, these shadows are going to look even better. They even look bare in the actual viewport. So now all I've done is brought an actual camera in place, and I just want to show you one more thing before we hit that render b. If we come back to our monkey and we click on our light. So let's click on our light here. You can also come over to the right hand side, and you'll have something that says shadows. Just open that up and click on contact shadows. And you will see now just how much nicer, especially around these eyelids, how that looks, so you can see the difference and how that looks. So all these things together, including the ambient occlusion, the bloom and the screen space reflections can make for a really, really nice render. Now, it's important to remember, though, That V is designed as a real time renderer. So something like in a game, like real engine or unity. That is where a real time renderer will be used. Where a cycle, on the other hand, is not actually meant for that. It's meant for getting really, really high quality images or animations. It's not meant for actual real time. So now what we can do is we can actually go over and hit that render b. So it's just render image, And with EV, it's not like cycles where it builds up and up and up, and then actually get your final render. It actually is just there. So 1 minute it's not the next minute is. Now, depending on how many samples you actually ask EV to actually render out is how long it's actually going to take. So you can see at the moment, this has took around 3 seconds, and this is another reason why you might want to use EV because it's very, very fast at rendering things out. So let's close this down now, and let's move on over to our cycles render engine. The first thing to know is when I actually turn this over to cycles, it's going to be much higher demand on your actual system, especially when we're in the viewport view. You'll also notice as well that it's pretty grainy at the moment, and this is because we just need to turn on the viewport de noising, although this requires a lot of performance from your machine. But you can see straight off the bat that this is looking really, really nice already. The only thing is whenever we turn around, because it's not a real time render it, it's going to take a little bit of work to get to a certain level of samples that you might be happy with. Now, the other thing is at the moment, you can see on the cycles, we also have a device, and this is basically telling Blender what device to use. So it can be your CPU or your GPU. I do recommend that you use your GPU rather than CPU, if available because your GPU is much better at handling rendering. So now, before we go into any of the options in the cycles render engine, what we first need to do is come over to edit, go down to preferences. And what we first need to do is go up to where it says system. And from there, we can actually change the options for cycles. So what I'm going to do is I'm going to come over to where it says Optics x, You might not be able to actually click this on. It might be down to da. This Optics x is the cycles x render engine, so we do have a new version of cycles in Blender for onwards, and it's called cycles X, as well as come in with a host of different features which will increase the quality of your renders. It's also much, much faster than the old cycles. Now, if these options are actually grade out for you, that means that you just haven't got a graphic chord that actually supports it. I do know that da, I think, is anything from Nvidia second series and the Optic x is anything from the high end of the second series, and certainly on the third series of EnVdia I'm not sure about the other graphics chords. So you just have to pick whichever one you can, the highest one you can, and unfortunately, if you can't pick any, then you'll just have to have the basic cycles. You need to do to enable that is again, just put it on optics x and take both of these on. I'd like to take both of these on just in case Blender can use both of them together to speed up performance. Once you've got those ton, or you've got your Kuba tick on, then what you can do is close that down, and then you can come over to where it says CPU and put it onto GPU compute and you'll see just how much faster that actually is. If I now move around, you can see how fast this actually speeds up, and that is because we're now using our GPU. Alright, so now, let's go through a few of the options. So you will see under light paths. We've got a lot of options here. Now, all of these options will change the way that you scene actually looks like. We won't go through these, but these are where all of the light options will actually be from the transparency to the glossiness of the actual scene. So you're free to mess around with these. Just be aware the higher you put these the more performance is actually going to take. The other thing you need to know is that sometimes when we're dealing with certain shaders within blender, they won't be able to be rendered out in V, and it's normally down to the ray tracing power of cycles that will actually be able to render them out. A lot of times when we're dealing with something that has a transparency in it, for instance, or something that has displacement, and it's built through the actual shader, so it's a material built through the shader, you will have to actually use blender cycles. So now what we're going to do is I'm going to come down and just go through the performance options because performance on actual cycles is very important. Now, depending on if you're using your CPU or your GPU is how important it is to get the right tile size. The higher the tile size, it is, the better it is for your graphics code. The lower the tile size, the better it is for your CPU or your computer processor. So, whichever one you're using to render out, whether it be your CPU or GPU, just take these into account. So again, CPU, lower tile size. So something like 64, and GPU, higher tile size, something like 2048. The next thing we want to look at is this use spatial splits, and you can see what it says, longer build times faster render. So make sure that you tick this on because what we're also going to tick on is persistent data. Once we've ticked these two on, what it basically means is, it's going to take longer to actually build out the scene than it is to render. If you don't tick this on, it's going to take a certain length for each one to do. Finally, the next thing we want to discuss now, we've gone through that is the actual color management, and you will have this within EV as well. I've just saved it two cycles. Now, if you use in Blender four, you will have a view transform that says AG x, and this is the new actual view transform. This one is supposed to be the most realistic. If you're using older versions of blender, we'll have something called filmic, but I recommend with the new one using AGX. Now, you've also got a look which you can actually change, which is really handy, especially if you're doing stylized scenes, and you can change this look to something like very high contrast, or you can change anything in between, so you can have base contrast or let's actually let's put it back on AGX. Let's put it on something like a medium, where's medium. So medium high contrast, and you can see now this scene is looking really, really nice. Now, you can also see a few other problems with blender cycles. One of them being we don't actually have any ambient occlusion. We don't actually have any bloom. So although everything looks better in blender cycles, not only are you going to lose all that straight off the bat, But also, you have to then come in and set it up in the composite. So this is why you really need to think when you're rendering out a scene, whether you want to render it out in EV or cycles. EV is much, much faster, and everything is there straight off the get go. Cycles is much, much slower. Needs a lot more performance from your machine, and on the back end, we also have to go into the compositor to get a really, really nice image. Before we finish and actually render this out, it's also very important with blender cycles, how many samples you're actually going to work with. So you can see here where it says render, not the viewport one, where the render one is. You want to set this pretty low to start with. It is set as default at 4,096. I recommend saying this at 200. What will happen is then it's got a noise threshold on there. I'll hit near that 200, and then the noise threshold will kick in and basically denise your actual image. In other words, get rid of all those fly flies and things like that. Now, if we come up and what we're going to do before hitting the render born, I also recommend if you're working in cycles that you put this onto wireframe because then it's going to save on performance, and it's not going to be rendering it out in the viewport, as well as trying to rendering it out. In the actual render. So let's put this on wireframe. What we're going to do then is come over to render, render image, and here we go. Now, you can see it's very, very different from our actual EV works. You can see it builds up, builds up, builds up. You can see on here, the samples going up, and then you'll see it actually finishes, and we can see it took 12 seconds, which is around six times longer than what EV took. But you can see it's a really, really beautiful image. There's just no ambient occlusion or contact shadows and things like that on here. That's the difference, everyone. Now, the final thing before I finishes, I want to show you just one more thing that's important that you can do with both EV or blender cycles. And if I come to my camera, and all I want to do is just hit camera to view, and I just want to put my actual camera in this position just so I can see the background here. And then all I'm going to do is I'm just going to come down to where it says film, open that up, and you will see one that you've got here that says transparent. And this is how you create an image with a transparent background. If I go to render out my image, you can see now it comes with a transparent background. You can also see because we've got that persistent data on now, it's a little bit faster than what it was before, and it's just under 8 seconds instead of 12.5 seconds. All right, everyone, so I hope you enjoyed that. I hope you learned a lot from it. We will go into a lot more detail about this as we're working through the course, whether we're working in EV or blender cycles. Thanks, everyone, cheers. 48. Advanced Compositing Techniques in Blender for Dynamic Scenes: Okay. Hello, and welcome back everyone to stylized environments with PlanderFG nodes. In the last lesson, we finished up by getting a nice setup overall for the vines, and now we're going to finalize the overall setup with in regard to the render. If you click zero, we still have this camera set on the scene. Now, we just need to make sure that it actually brings forth all the detail necessary when it's rendering. And to do that, we're going to make use of the compositor. So if we were to click on the compositor tab over here, we're going to get this type of a setup. Which is not going to give us anything. The reason being is that we've not rendered anything. And so to start off, we're going to make ourselves a nice first render. We're going to do that by firstly going downwards over here. Okay. So from this tab to render, we're going to make sure that firstly, we're going to open up the render tab, and the max samples that we're going to set is just going to be something like a small value. So value of ten is going to be more than enough for a preview. Make sure that the the noiser is also ticked on, and once we have that we can click F 12 on our keyboard to start rendering. You'll notice that the max sample because we set it as a ten, is just going to render ten samples, and we are having some issues over here. You can see the stairs are missing. Let's see what's happening. I'll just let it finish ten samples over here. It's going to finalize it, denoise everything, and it's going to give us a nice setup. It's a good preview start. But again, the stairs are missing. Let's go ahead and fix that. So the reason the stairs are missing is quite simple. If we were to just select the stairs, we can hover over the outliner over here. We can click the dot to locate these objects and we can see that. Next is objects, this icon over here, the camera icon is actually missing on all four of those stairs. I'm just going to go ahead and enable this, making sure that it is not missing anymore. I'm also going to check the water because if I were to click zero, it's not actually quite as visible to water, not as high up as I wanted it to be. Maybe I want to just raise it up a little bit. So I don't want to spark it to be touching it. I think something like this is actually quite all right. If you click zero, we can still see a bit of water and that's more than enough. If a little bit more actually. There we go. Yeah, this looks much better. Full water type of a well looks really great for us. All right. Go back to the compositor. Now if we were to go back to the compositor, we actually, we're not going to see anything. We need to click something over here called use nodes. Once we click use nodes, we're going to get this render layers. This is what's been rendered. You can see the preview over here, and we have no stairs. That's why we're not seeing that yet. But before making an now render, I'd like to enable a couple of options. Those options are going to be in the sorry, view layer. The view layer will allow us to enable a couple of additional render for additional information that we're going to be able to combine. The ones that we want is if we scroll down, we'll want to make sure that the combined is ticked on. And I think for this one, we only want to combine so this is the main image. Then we're going to make use out of the other lighting passes. We're going to make sure that we have emission environment and am occlusion. So as you can see enables it over here. We've not rendered them yet, so it's not going to give us anything at the moment. Emission will basically show us where the emissive setup is. In which case, in our case, it is going to be this light over here. So this light has those emissive setup for the textures. That's what's going to be showing. Abidclusion is basically going to whenever it's going into crevices and sharper angles of combination between objects. It's going to darken those bits out. It's going to look like it's more part of the scene. All of the pieces basically put together. So it's going to actually also help us to highlight some of that conter Then We had a environment. The environment will basically give us a nicer overall color setup, which we're going to be able to make use of for our glare. That's pretty much why we're enabling this. Let's go ahead and render this out again and see how this looks like. Compositor, I'm going to click F 12 and just leave it until it renders out. All right. There we go. If you're wondering why it's cropping out top and the bottom, we can actually just zoom out and we can see that the actual image frame is a lot larger, so it's not cropping out anything like that. Now we can go ahead and actually work on some of those settings. Let's go ahead and see what we have. I'm going to go ahead and just close this down, and I'm going to move the composite onto the right side a little bit more so we can actually start working with it basically. The first thing we're going to do is we're going to just preview the image, we can click and hold Control and Shift and just simply tap on the render layers. This will give us the viewer node, which we'll show it to the background basically for the setup. This is what we're seeing for the image. It's a nice little feature to make use out of. Again, control and shift and then tapping on e one of the nodes. Now because we're just clicking through it, it's going to click through all of them and see what we have. This is the emitter. It's going to show us in the Lantern as well as lighting for the water since we are going through the stylized team. This is the environment. And finally, B declusion. So these are all the types of basically setups that we're going to make use out of. And yeah, let's go ahead and make use out of the first one B declusion. So the B declusion if we've noticed is actually quite noisy by default, so we need to go ahead and fix that. We're going to in order to fix it to actually make use out of it on a photo itself, we need to just drag it and search for a noiser D noise like so. And we're going to get ourselves this type of setup. Put this entire setup this lesson, if you are missing out a node or if you misclick something. You can also just simply redo the reroute basically. You can hold control and you can just take it off and that's going to basically take off this link just like that. In case you have that an issue, you can do so. Anyways. Now that we have this the noiser we can have a look at how this looks like and It should load up. There we go. That's what we're going to get. It's very nice. For the pre filter, but now we can just use a fast one. The reason being is that it's going to just speed up the overall setup whilst he still giving us some nice results. This way, we can actually set ourselves up with a nice combination for the image and the multiplier. For the image and the amber occlusion, using something called multiplier. Now, if we were to go ahead and click Shift and A and search for a mix color node, this will allow us to basically combine our two images in any way that we want. Let's go ahead and just simply tap it in this line over here, and it'll naturally combine those lines, those rear route dots onto the node. And now we can go ahead and just simply mix it up. If we were to just simply attach the image, the main render image and the noser that gives us the Mm occlusion, we can go ahead and click Control Shift and just tap on a mix. We can see how it looks like by default, it's not going to look great because it's basically set with the factor of one. One is basically controlling how much it's overlaying the image with the mix. If we set it to zero, it's going to be giving us the original image like so. Setting it to one is going to give us that at occlusion. But we don't really want to be overlaid with this setup. We want to make sure that we overlay it only it darkens certain parts of our image. For us to do that, we'll change the mix to multiply which now, if we have a look at it, will basically darken everything that's been darkened in am occlusion parts. That's actually really nice set up. The only thing is though, that it's a little bit too much. What we're going to do is for this particular part is we're going to make use out of something very nice and useful called color ramp. Color Ramp will allow us to if we attach it onto the noiser will allow us to basically control how much we want to set up to to be using of the information. We can see how it works if we click control shift and just tap on a color ramp. We can see the effect that it's giving us. So if we were to simply drag this bottom line, we can see two lines basically one, like a black arrow over here, and the other one is a white arrow. And if we drag one of them, towards the, we can see that it actually is being whitened out this entire image. The reason being is that this is basically saying that everywhere that was gray before is now going to be white. The area over here that would look gray before, is going to be washed out, vice versa, if we start increasing this black, is going to start darkening even more of that gray area. That's how it works. And we want to basically darken darken it up a little bit, so we could actually have darker spots to get that better contrast. Then we want to make that use of that white arrow and just bring it more to the centum. But instead of just bringing it out, so we can just click on this plus symbol to add a new arrow, which we're also going to set up as white. The reason being is that it gives us nicer control. Now we can have this white arrow all the way at the back whilst having a bit of a nicer control for the section over here. We want to have something like This, I believe. Let me just have a lot. Something like that. Basically, we have some bit of sharpness coming out of these parts over here, especially over the crevices, over the edges, but it's not going to overwhelm the overall setup. It's just going to give us nicer defining edges for the image. We can have a look how it looks like by clicking control shift and clicking on multiply and seeing how it looks. Before, if we said it is two factor zero, so it's only going to give us the original image, we're going to get this kind of a look. So, but now if you said this to one, we can see all of these once it's unloading. We can see all of these parts sharpen it up and actually giving us a much more refined shapes. So it's already looking pretty nice overall. Now we just simply need to work on the rest of the stuff in regards to mission environment and just simply overlaying the overall composition a little bit better. But we're 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. 49. Fine Tuning Your Renders with Glare and Background Adjustments in Blender: Hello, and welcome back in the stylized environment with plan of four Jumch Node. In the last lesson, we left ourselves off with a nice set up for ambit clusion that highlights the overall composition and refined some of those shapes out of this setup. Now we're going to go ahead and get even more detail, extra detail, especially making use of the Lantern setup over here to get a bit of a glaring effect to make sure that looks like it's actually being lit up in regards to this entire setup for the lantern. So for us to do that, we're going to make use of something called, let me have a look, emission. This is the color information that we're looking for. We're just going to basically make use out of it to give us a glaring effect. For us to do that, I'm going to actually just move this out of the way a little bit, so it wouldn't be as confusing. For us to do that, we're going to just drag this on from emission, like so, and we're going to search for some called glare. So glare, if we just keep it as default, we can click Control Shift and tap over here, we can see that this is the effect we're getting. So already, it's looking quite nice, but this is not the type of a setup that we're looking for. What we're looking for is something called, if we look at the options that we have, something called fog globe. Fog globe will allow us to give us that soft lighting and nice setup already, it's going to give us just a good look for the glare effect. If we were to increase the mix, we can see what it gives us basically the mix basically just mixes up the original one and the effect, the extreme values are quite a bit too much. If we were to keep this at 0.1 default value, it should be looking quite nice. The threshold is going to be basically affecting how much of brightness affects the glare. So for example, how much emissiveness is affecting it. If something is more emissive, we can, for example, target that particular part to make use of the glare effect. And if something is not emissive enough, that the threshold will simply ignore it. So Okay. For this reason, we're going to set it up to zero because we want both of these glows, both the fountain a little bit, the water that is and the lantern to be glowing slightly with their emissions. We can also increase the size, which will basically show us how much it is overall affecting it, which is quite nice. And what's nice about this is that we can actually just simply if it was to scroll down a little bit. We can make a duplicate out of this glare and that would simply amplify the overall result. For us to click Shift and D and make a duplicate simply put it back onto this setup, we can get just a much, much better effect. Although we can do that same thing with the size, sometimes I prefer to just multiply it overlay so that just amplifies the overall effect quite nicely and quite simply works really well. So now that we have ourselves a nice glare. Let's go ahead and actually add it onto our setup. And that is literally, we're going to be adding it onto the image by using a, again, something called mixed color, like so. Then from the already set up ambient occlusion, we're going to add onto the image like so, and then selecting from instead of mix, adding the color. So this will basically add the values Basically, everything that's bright is going to brighten up even more and all of those values are going to be added in. The areas where it's black, so it's just going to add a value of zero, which is black, basically in regards to the RGB values. It's not going to affect anything that's black, but those areas over here is just going to amplify the overall setup. Let me show you how exactly it looks like actually by just adding this image over here, clicking control shift and tapping on the node. And there we go. You can see that it's a nice nice glare. Maybe it's a little bit too much, so we can just lower this down and we can see how it looks like with a smaller amount. I can even set this to zero, and that's going to give us a non, but if I increase it, I can get a nice bit of a glare. Set this value to 0.7 value is going to give us a nice soft type of a glow, which quite keen on and I quite like it. And now we can actually start thinking about the background itself. If you notice well, if we look at the image, we have a completely black background. The reason being is that we've not had anything added to the background itself. And Think. Yeah, the viewer itself is using Alpha by default. If we were to un tik this Alpha, use Alpha, it should give us a different result. But it's not giving us a different result, so I'm not sure why way, we need to go ahead and fix that. We need to change what's inside of this background. Let's go ahead and go onto our resource pack. This time we're going to actually go onto the folder itself, something called composite or background, and there is a very nice image. What I'm going to do is just I'm going to locate it within this folder over here, and I can simply Actually, the easiest way would be for me to just if I have a folder open, I can click and hold and then drag it onto the composite and that's going to just bring the node with that image inside. Just like that, we're going to get ourselves this background image. Okay. And all we need to do now is set ourselves up with it. If we were to click Control Shift and just tap on the screen, that's how it's going to look like. And we can also now go ahead and simply add it within our setup using something called, if I were to search for something called Alpha over. Alpha over will allow us to just simply add this onto our image. So the default image that we had was over here, and this is the final result that we currently have. Let's go ahead and add this onto the image at the bottom, basically. Okay. And the one at the top is actually going to be. Well, let's go ahead and see how it looks like by clicking control shift and tapping. This is how it's going to look like by default. If we were to add the image on top, so, we can composite it and nothing is going to work. The reason being is that we actually need to turn on a small functionality within the blender itself. Although it says something like use Alpha over here and use Alpha over here, it's not actually using Alpha. The reason being is that if we were to go onto our render options, we have something called for have a look at the setup. Something called film. Let's go ahead and open it up and there is a small tick called transparent. If we were to tick on transparency, it's going to give us the transparency with Alpha over. But we need now to re render this image. Let's go ahead and click F 12. And there we go. We see that the background is already giving us that transparency, so the black and white type of squares, indicating that it is in fact transparent. So let's go ahead and give it some weight. And there we go. All right. Now we can close this down. We can see that this has in fact been updated because we enabled Alpha right now. This is actually working with Alpha over. So right away, we're going to get ourselves a nice background. Let's talk about in regards to the background itself, though, just a little bit adjustment and tweaking. Although the background itself is looking quite nice, we can add a bit of an extra detail. We can click Shift and A, we can search for soften. So not soften it's going to be called I believe filter. Okay. That's the one filter, soften, and it's going to give us this type of cet. Soften itself, what it does is basically it just gives us a well blurred out effect before and after. Actually I will go ahead and go onto the noisy real quick and change to maybe just go ahead and have a look. To none. The reason being is that this is actually going to give us a much faster compositor, and then at the very end, we're going to change this accurate for the noiser for the ambient occlusion. But for now though, let's go ahead and just talk about the soften over here. So basically softens out, blurs out a little bit of those values, so we get ourselves a nice gradient basically. I'm actually just going to duplicate it because it's not enough for me and I'm going to simply add a bit of that extra over here and there we go. That's looking quite nice. Additional thing that we can do is something called transform. Transform is a nice tool to make use of when we want to offset something. For example over here, if I was to set this value to something like 11, which is going to start compositing, you can see that the entire setup is moving upwards, basically, like so. Based on that, we can control where the gradient we want is going to be set up. I want this to belly slightly higher maybe, so we can even scale this up a little bit. So for example, if you set to something to ten, it's actually going to. Okay. I'm not sure if it's visible, but actually it's going to zoom in to the image. Or if I set this 2.1, it's actually going to make the image not visible for us. Let me show you there we go. That's the image I'm talking about. Setting it 2.5, is actually going to minimize it, but scaling it upwards sometimes is useful when we want to have that zoom in effect a little bit on the image. In this case, I'd say we can just zoom in just a little bit. 1.2 is going to give us a great result, just slightly zooming in so you can see version before and version after, that's how it's going to look like. And yeah, we're pretty much done with the background itself. We got ourselves a nice set up. We still need to do some color corrections, some bit with the if I were to go back with the environment itself as well. But 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. 50. Applying Color Correction and Contrast Controls in Blender: Hello, and welcome back on the styles environments with plan four Jomon Nodes. In the last lesson, we left ourselves over with a nice setup for the background. We got ourselves a nice blue type of grading. Now, let's go ahead and actually set ourselves up with the rest of color grading and additional information that we can make use out of basically. So what we're going to use is going to be this environment over here. No, that's the emission environment over here. We're going to basically set it up with an overlay from the Alpha over. Let's go ahead and click Shift and A and search Alpha. Sorry. That's my bad color mix. We're going to make color mix, and we're going to set it up with a nice thing called Overlay. So we're going to attach this to the top to the main image, and then we're going to just simply grab or sells this environment over here. We're going to drag it all the way onto the back, like so. I think we can hold shift and just drag it across, there we go an additional bit of information holding shift and dragging it right mouse button across one of those lines is going to give you something called reroute node. These reroute nodes will allow you to basically get the points that you can move around and make sure that it doesn't look overly complex with overall setup. So right now, I can even select both of these points over here, click S y zero, to make sure that they're straightened up, and that's going to give us a nice bit of control basically over the line so it wouldn't actually overlap one another. This overlapping line is actually from the viewer, if I was to just delete this for example. Okay. I'm not going to be seeing that anymore. That's that. Let me just have a look composite. We left the composite way at the back. Let's go ahead and just move this to the front so going back to this mixer. Let's go ahead and click Control Shift and tapping on the setup. We don't need the mixer. We actually need something called overlay. The overlay, if we were to select it, you can see the difference basically is going to darken up the bits at the top. Well, let's go ahead and have a look back onto the environment image to understand what's happening. It's basically going to darken up the parts at the top or brighten them up and overlay in a way that's going to give us a nicer image. So with that in mind, we can actually just make use of this overlay with the already existing setup that we have and we can just lower down the value to value 0.3. I reckon that's going to be quite right. Something like that. It's looking quite nice. The only thing that we need to do is play around with the values themselves in regards to the setup. Let's go ahead and click Shift and A and search for color. Color, going to attach it right before the overlay. I'm going to click Control Shift and see how it looks like. What we want is we want to darken this up a little bit in regards to the setup. Just a little bit more. Before it was looking like this, but we want to basically have it barely visible. So something like this is going to be quite all right. Let's go ahead and keep it. Actually, a little bit more, and you go barely visible. So There is that. Although, also, keep in mind that we can also just scroll up a little bit. Is it going to be visible? It's not going to be visible. Basically, the image itself is going to be zoomed in quite a bit, and we don't see the full frame. So I'm going to just move it all the way to a value of 0.2. That's going to give us a nice result. Let's go back on the overlay. Let's see how it looks like, and there we go. That's what we're getting. Now we can actually control some of the colors. We can set ourselves up with some nicer bit of basically color correction. So once we have the final image, we can click Shift and A, we can search for something called RGB curves. G curse is a really nice type of a tool that allows you to control the contrast as well just as overall levels of the colors, the brightness, the darkness and whatnot. So one at the bottom left is going to be the darkness, and value of zero basically, and the one on top is going to be value of white complete brightness basically in the image. If I was to, for example, increase this black dot over here, you can see the type of difference that we're going to get, it's just going to start washing everything out. It's turning everything that was black into a white or more grayish tint for all the colors and whatnot. But basically, it's really nice type of setup, especially when we want to, for example, add a new dot. By clicking our left mouse button on area, we can add new dot. And then if we click and hold and then drag the same dot over to the corner, it's going to remove it. Using this knowledge, we can add a.in the middle that's going to help us get a more lower saturated color. If we were to make use out of it like this where the curve is going excavating type of a curvature. It's going to give us a really sharp type of a contrast. So by lowering this down, it's going to give us low low contrast exactly what we want out of the set up. Something like this is going to I think that's going to look quite nice. Let's go ahead now and continue working with this. So after RGB curves, I'm going to move this composite way over into the left side, and I'm just going to go ahead and hold control and just untick the image since we're going to be working with that in a bit. So after RGB curve, what we can do is we can sharpen it up a little bit, although we want to have lower contrast. It actually kind of doesn't give us that nice sharpness over all of the shapes. So there's something called box sharpen. I was to find it. Maybe we should just look for sharpen and made a mistake again. It's not going to be sharpen it's going to be another filter, basically. So filter image. Let's go ahead and add it in. And within this filter, there's going to be called box sharp that's what we're looking for. Let's go ahead and add it in, and what basically does just going to sharpen everything like this. You can see that's the stylized effect that we're getting. We don't want this extreme type of value. We want this to be just small amount. So value of 0.1 is going to give us that bit of an extra sharpen up image like so, a nice stylized effect. Afterwards, let's go ahead and actually do some color grading. We're going to search for color balance. Color balance image. And that's going to give us all the necessary controls for needed for the image. So we have something called lift gamma and gain, and these are different slight variations. We set this is something like green, for example, we can see the difference is going to make. It's going to give us this nice green tint. Of course, we don't want this. We want it to be slightly just slightly towards orange, just a little bit, just to kind help us get that nice bit of variation. Gamma is going to be on the bright side. So for example, if you change this to green, everything that's more brighter. Okay. Actually going to get greener tint, and we want this to be towards a little bit more red type of variation. Maybe something like this. I think that's going to be quite all right. Maybe a little bit more. This is a small type of tweaks, but it's actually going to work really well overall. Finally, we have ourselves gain. Gain is just going to give us I believe the overall type of a color variation. So we can see what it's doing basically if we darkens down. Everything is going to be darkened down. Another thing that I did forget to mention is this at the left hand corner is not only we can control the color with the circle. We can also control the brightness and whatnot. Okay. Of the gain gamma and lift using the values on the right hand side. What do we want with this is just a bit more greenish yellow tint, and that's going to give us that nice warm type of effect. Basically, it's going slightly towards orange, towards red, and then towards bit more greenish. Maybe this is a little bit too much greenish. I'm going to just bring this back a little bit like so. See how this looks like. Okay. And yeah, I'm quite happy with the result. All right. So now that we have ourselves this type of setup. Let's go ahead and attach this to the final composite over here. And like so, we can now click F 12 and re render this overall setup just to see the final image. There we go. We got ourselves a nice preview of the render. And we're running out of time. So I reckon in the next lesson, we can continue on with this. Make some small tweaks now that we have ourselves a full visual representation and actually get everything sorted in regards to the render. Thank you so much for watching and I will be seeing you in a bin. 51. The Final Touches Rendering Adjustments for Perfect Presentation: Hell, welcome back over the stylist environments. We plan the four om nodes. In the last lesson, we left ourselves up with a nice render, but we're still not there just yet. We got ourselves a nice composite done, but we want to have a bit more control over the overall render. And for us to do that, let's go ahead and just have a quick look at the color balance, the final result. And I'm going to actually real quick render this out again. Just like that. And now we can talk a little bit in regards to the image setup itself. So what we need to do is we'll firstly need to adjust the leaf size just a little bit just to make sure that we have ourselves a nicer type of shape. In comparison to the grass, it's a little bit too big. We also need to look at the reflection itself. It's a little to reflect in my opinion, it just gives us this white washed out color. So we're going to fix that. And for that right away, I'm just going to actually move this to the screen, since we don't need it for a moment. We're going to go ahead and fix it. So for that, we're going to select these leaves over here. We're going to go to the modifier, and we're going to adjust the scale of the leaves to a value of 1.2. Instead, maybe 1.15 even just a little bit. I'm going to click zero just to see how it looks like. And Yeah, this is looking much much better. All right. Another thing that we need to talk about is going to be if we go onto the render view, is going to be something within. Actually, I will go out of render view, since it's a little bit slower on my end. It's going to be within the render tab. If we scroll all the way down, there is something called color management. Although we already did color management, this is a nice feature to make use of whatever we want quick additional to the setup. For example, right now, we can see that the image itself is a little bit perhaps way too washed out. Although we added a bit of a contrast, it's looking nice and all This typo setup is going to give us a nicer quick adjustment fix in regards to the look. If we change this look to medium high contrast, we're going to get ourselves the overall difference. You can see none or a bit washed out, but medium high contrast is going to sharpen up those colors just a little bit to give us a better result when we render this out. Then we can also slightly tweak the front over here. But before doing that, the y leaves. Let the B. Let's go ahead and slightly adjust the roughness value overall. We're going to select these we're going to go onto shading and we're going to change this to object set up like The roughness, if we select this, we should see this is actually set up as IV stem. I do need to go onto I think gray box preparation to see the IV this one over here. We want to select this, and we want to change the roughness over here. It's already having a roughness. I'm going to hit Shift and A. I'm going to add ourselves to the curve. Okay. R GP curves, we can add it in and just add a bit of a lower tier for the higher value. So this is basically just lowering this down or actually hold on a second. Is the opposite. We need to increase this. So basically the darkest place is going to be wider, which is going to change the roughness over here. As you can see the darker areas is going to be more reflective to the color. But by us increasing this section over here, it's going to brighten everything up, which in turn will make it less reflective overall. So a quick adjustment, a quick tweak, if you will, and that's going to give us a way different result for these vine leaves. So just like that, we get more vibrance out of those IV. The other thing that I don't really like is going to be this section over here. It's a little bit too roundish. So it's quite visible within the rend Vw itself. I was hoping that the density is going to hide this away, but it still is just a single line. I don't really like that. So a quick adjustment is going to be just select one of those edges over here. I'm going to click G and then just move it in like this, make sure that we have a bit more of a jagged look. Just like that. I'm going to click zero to see how it looks like. There we go. A much nicer way of breaking down these edges. The rest though, I think they're okay. I can just select them at random, like so. Just like that, I can click S and just scale it down a little bit. So this way it's just not complete circle, just like that. And all of it is looking quite nice. Now we can also adjust the lighting itself if we were to go to render view. Let's go ahead and see how this looks like. Yeah, we can adjust the lighting. Let's go ahead and find ourselves the lighting within the world view. This lighting over here. We will go on to where is the sun elevation. We're going to actually lower this down now and lowering it should give us there we go, the sun is going down, and that's going to give us nice shadows overall for the setup. Slide tweaks like this is actually quite useful. So rotation, we can also rotate it a little bit, just like that. So making sure we have a bit of a darker edge over here that shadows are going to make the overall view look much nicer. I think that's already looking much better. We can now go ahead and click F 12 and see how it looks like. All right, final compositing. Let's just give it away. There we go. That's what we're getting. It's already looking real nice. If we zoom in, we can see the edges are a bit too sharp. The reason for this is going to be for box sharpen. If we were to go back to composite, we can fix that up a little bit, this box sharpen is a little bit too much. I think for this, we can lower it down to a value of zero point s 0.06. That's going to give us there we go nice edges around it. The other thing that we need to consider is going to be afterwards. So basically, right now, it's giving us a bit lesser amount of sharpen. But we still need to I'm actually just going to leave this render over here so we can zoom in and see it a little bit better on. So we can see it a little bit better on the video itself. And yeah, box sharpen is great. I also like to mix this up with soften afterwards filter. This way, we get ourselves a nice, if I wish to just attach it over here. Afterwards. And again, small amount, same amount 0.6 is going to do quite well. So as you can see, This is going to slightly blur those box sharpen effects, which is going to sharpen up the edges, but at the same time, keep them somewhat soft. It's not going to overly add to the overall contrast and all in all. Let me just have a look. Final results, basically, now I can start zooming in for the render, see what I missed, what I want to do extra. And maybe, for example, going to modeling, I want to add a bit of an extra foliage to be seen at the top over here. So we can just slightly slightly mess around with this, for example, a little bit, like so. And that will give us that's moving everything down. I think I made a mistake and I had a proportion heath. That's why I was doing some we set up. Let me just go ahead and move this There we go. Now we are moving it a little bit better. Let's make sure it's not just floating in the sky. Quick fixes. Okay. So let's see how it looks like from a distance, there we go a bit of a greenery on the top, it's going to look quite nice. All right. So we're quite done with this setup. Let's have a final look at the render. And I think the only thing that I want now is add a bit of that glare effect over a little bit of that extra to make it look like it's actually glowing quite a bit more. For us to do that, we can go back on to the compositor. We can find ourselves the compositor over here, the glare. I'm going to click Control and Shift tap on this, and that's going to give us the preview. I'm going to increase the amount to quite a bit more, so something like 12. I don't think I can actually do that. I'm going to just dupulate glare again even more, and that's going to give us a bit more of a value. Let me just go ahead and have a look. There we go. That's what we want. But now it's actually turning this to white, a little bit too white as a setup, and we'll actually lower this down. And this is a bit too much. Let me lower down the size. Two seven. There we go. The only thing I want is add a bit maybe of a yellow tint, add a bit more of an extra color. We can actually make use of the RGB curves over here. We can actually just change this up to be just a little bit softer in contrast. Changing this should give us there we go a much more nicer bloom. There we go. I think that's going to look much better. Let's have a look after the final result, it's going to look like and there we go. That's what we're looking at. It's looking quite nice. Maybe even if we go to go to where is a bloom glare there we go. We might even add it a little bit of an extra, so we set it to 0.8. Instead, there we go a bit of an extra glow. That's going to look nicer. So I think I'm quite happy with the final result. All we need to do is just give it a final render. The way we're going to do it is we're going to finalize it by firstly going to the noiser making sure it's set to accurate to give us a way better result. Then we're going to go onto the render itself where it says the render settings, Max samples. We're going to set it to something a bit higher. Setting it to 30 or 50 even is going to give us a really nice type of a result. And that is pretty much it. We now have ourselves a nice setup and we can even go ahead and change the background. If you remember correctly, within the resource back, we had a composite background, and there are two variations, so there is a well background as well. And this one is going to be pretty nice. We're just a different bit of a variance, you know, It's going to give us a nicer setup. So this gradient is a nice neutral type of a look. But if we want to have a more nature design, we can go ahead and do that. So all I'm going to do is just grab this well background, drop it in here and just replace it like so. Then we should get ourselves a nice set up overall. The soften should still work quite nicely with the design. Reckon. Let's go ahead and see how it looks like. And we might need to zoom out a little bit scale right now is set to 1.2. We can set it to one, co has a bit of a nicer look. I think I'll even set this up to a zero. We went basically all the way through from scratch to design the well. We got ourselves a nice setup for the base of the well. We then went ahead and added a nice terrain for it. A well, we added a bit of a staircase, all of it using geometry nodes to speed up our workflow. Then we went ahead and added a nice roof. We added a lantern. We got ourselves a nice bucket hanging on within the middle of the well, we finished it up by getting ourselves a nice render for the scene. That's going to be it for me. Thank you so much for watching. I really hope you enjoyed this learning experience and I hope to be seeing you soon.