Blender 4 Creator Class Stylized 3D Models

1. The Blender 4 Creator Course Stylized 3D Models Introduction: Three D artist, or imagine working in one of the top triple studios. Welcome to the blender full creative course, Stylized Three D Models. This course is specifically designed to guide anyone, whether you're new to three D modeling or just new to blender, towards creating professional grade stylized models. And all this. In less than 20 hours, you'll gain the skills and confidence needed to transform your creative ideas into high quality Three D art, perfect for both novices and those looking to transition to blender. This course is your stepping stone to mastering stylized three D models efficiently and effectively. So who am I? My name is Neil, and I am the creator behind three D tutor. I have over a decade of professional experience in three D modeling. Our courses have led the way in Blender and Unreal Engine Five training. But our expertise extends far beyond. We cover the entire creative pipeline from substance painter to Photoshop, pixel art, to real blueprints and stylized designs, to realistic sculpting and professional lighting. With our comprehensive approach, over 200,000 students worldwide embarked on their three D art journey, achieving an average course rating of 4.6 out of five stars. We've produced over 30 courses and hundreds of tutorials on Youtube. Sharing more than 1,000 models currently used in the industry. At three D Tute it, we don't just teach three D art, we actually live it. Join us on this course and gain not just knowledge, but insights from years of real world experience and success. So now let's dive into this brand new Blender four course and find out everything you're going to learn. The course begins with a crucial step in professional three D, Modeling, generating ideas and gray boxing. This initial phase is all about conceptualizing and laying the groundwork for your projects. We start by using tools like Mid Journey to spark creativity and gather inspiration from a single image. We'll show you how to expand into a multitude of ideas forming the basis of your unique designs. This initial stage of the course is designed to mirror the workflows of big companies, providing you with industry standard techniques right from the start. By mastering this process, you'll be equipped to approach your three D modeling projects with a clear vision and a structured plan, setting the stage for successful, detailed and engaging environments. Next run to the asset manager mastery part of the course. We will help you unlock the full potential of the blender asset manager. In this section, we'll guide you through everything from the basics of navigation to advanced asset management techniques along the way. We're thrilled to offer you a free download pack that includes essential resources to kickstart your journey. This pack contains over 20 stylized shaders, valuable references, and a complete collection of foliage and flowers. These resources will make it easy for you to populate your asset manager. Moreover, we'll explore strategies to enhance your workflow, teaching you how to create your own assets tailored for the asset manager. This will enable you to efficiently design impressive buildings and scenes from scratch. As we move on into the course, we'll be starting our three D modeling journey tailored to cater to both beginners and experienced learners. We begin with the fundamental principles in Blender Four, establishing a solid foundation. As the course progresses, we delve into more complex topics. Including the nuanced use of modifiers and array of lesser known, but incredibly potent tools. This course is not just about learning to model, it's a deep dive into optimizing and accelerating your workflow. You'll discover methods to speed up your design process without compromising details or creativity. Next, we'll be exploring the realm of shades and textures in three D modeling. Our journey commences with an in depth look at the shades included in the download pack, providing a solid foundation for you to create your own shades in the future. This section is designed to develop your expertise in texturing and shade of creation, incorporating comprehensive lessons on PBR shades as well as those crafted entirely within blender. In all our courses, we place a strong emphasis on practical application, ensuring that you become proficient in both techniques. As you progress, we'll learn the intricacies of giving surfaces a lifelike appearance, mastering how to manipulate textures and shades to add depth, realism, and personality to your models. This course also includes the detailed exploration of geometry nodes, an integral part of the download pack you'll keep for future projects. These nodes with elements like roofs, planks, chains, and flowers are versatile and essential for your Fred Modeling arsenal. In this section, you'll gain a thorough understanding of how geometry nodes function within procedural modeling. We'll guide you through the process of creating complex, customizable structures, demonstrating how these nodes can be used for both dynamic and efficient modeling. Our focus is on a practical real world application, ensuring that you can seamlessly integrate these tools into your projects. Within the course, you'll also find a large part devoted to environments and mastering lighting and compositing. In this part of the course, we'll explore the creation of engaging environments. Starting with the art of using sky textures. You'll learn techniques to set the mood and atmosphere and in depth and realism to your backgrounds. You can't have a professional looking model and environment without knowing something about lighting and compositing. These elements are fundamental in transforming dull, lifeless images into vibrant, engaging scenes. We teach you a strategic use of lighting to convey mood, highlight details, and add depth which breathes life into your medieval worlds. Within the course, we really do take a deep dive into the art of compositing in blender. You'll discover how to effectively use layers and passes to achieve a professional, polished look. Mastering techniques like ambient occlusion and emission is key to elevating your work. These skills are crucial in turning any image into a visual and narratively compelling masterpiece. Next, we will be covering both of the blender render engines, cycles and the new EV in blender four, you'll understand the unique strengths of each renderer and also how to drastically speed up the process of rendering with cycles. You'll discover how to craft rich detailed textures and lighting that enhance the stylized look of your creations. The new EV in Blender Four offers you the advantage of speed and efficiency. Perfect for achieving impressive, stylized, real time rendering. This section is designed to help you strike that perfect balance between professional quality and speed. It doesn't end there either. In the course we also cover vertex painting and sculpting, We delve into the nuanced world of vertex painting focused on the use of different texture maps and they're blending to create more realistic and dynamic textures. You'll learn how to skillfully overlay textures, enhancing the realism of your medieval buildings. This technique is particularly effective in improving the appearance of shadows, especially at contact points, adding depth and dimension to your designs. We've tried to keep this introduction as short as possible. And as we wrap up this overview of our blender for course, remember what you've heard is just the beginning with Three D Tudor, you're not only learning techniques, you're embarking on a journey to master the art of three D modeling, from the fundamentals of asset management to the intricate details of sculpting and texturing. Each step in the course is designed to build your skills and confidence. We're excited to see the incredible worlds you create and the unique stories you'll tell through your models. Remember, with each module, you're not just crafting three D art. You're shaping your future in the industry. So take this step, join our community of passionate artists and start turning your three D art dreams into reality. Thanks everyone. Happy modeling. Cheers. 2. Blender Project Setup and Fundamentals for Tavern Modeling: Welcome everyone to our brand new course, the Blender Creator Course, Stylized Three D Models. And what's more, we'll be using the brand new blender four to create this amazing looking model. You can see down here on the right hand side. I do have the blender four beta version. And by the time you probably grab this course, we'll be well into blender four and beyond. The first thing we're going to do is just go through everything that you're going to need throughout the course. As far as blender versions go, anything pretty much above blender two point A will be fine to use, but I do recommend anything above Blender three. And the reason for that is because we have things like the asset manager which came in in Blender three or 3.1 And that's something we're going to be using a lot to speed up our workflow. So it's important that you get the workflow right from the start. And if you get this actual workflow working, you're going to be very, very fast at creating models and environments. So basically just make sure that you've got a blender version that is up to date as possible. And first of all, what we're going to do is going to go up to Edit, go down to Preferences, and what we're going to do is we're going to come to the interface. And then we're going to go down and where it's status ball, we want to open that up now at the moment we'll have on blender version ticked on, just tick on scene statistics. And then down at the bottom right hand side here, you'll see that what the object is in the scene. Now we want to do a little bit more than that. I would say that tick on system memory and video memory is also important because then it gives you an idea of how much actual memory using within blender. And this is important if you have in a lot of crashes, you can see where the issues are. All right, so once we do that, I recommend that we go back to system now. And what we do is we increase these undue steps. Now the more you increase these undue steps, the more memory it's going to use for your system. But I recommend putting this on 100 or something like that. And the reason is because then if you make a mistake, you can go back pretty far, 32 I find is a little bit too small. Next of all, then what we're going to do is just press Enter on that. And then I'm going to close this down just for now. Now you'll see in my viewport that my blender is pretty much the start up. And the reason I've got that is because I go down to file, I'm going to go to defaults, and I'm going to load factory setting. So this is how blender comes in. So everything I will be using within blender is pretty much available at the start up. And anything else I'm going to be using is either in the download pack or it will be under the preferences, in other words, built into blender. So you won't need any other resources except what we're going to be using. Now there will be things that I will be showing you which will use other resources outside of this blender file and the download file, but you'll be able to then decide whether you want to use those to create concept art and things like that. All right, then finally then let's save out our work. So the thing is you want to go to file, you want to go down to save S. And then what you want to do is you just want to save it somewhere. So I'm just going to call it stylized Three D Model course and then we're going to enter again and then it's going to save it out. Now you will notice that if for instance I move this cube, so if I just move this cube and drop it back, you'll notice up here at the left hand side we've actually got a little star. And that just means that we've not actually saved this out. Now, the other thing you'll see now is that I've actually switched on my keystroke, so you'll be able to see exactly what keys I'm going to be pressing, So which is going to make it easy in case you missed something or you can't understand my accent. So now I'm going to do is I'm just going to go up to file. I'm going to go down to Save because we don't actually need to save As anymore. We just click Save now because it's already been saved As. And that means then you'll just be able to save your workout. I would save your workout after every single lesson, even if I forget, try and get in the habit of saving it out. Because if not, it's going to be a bit of a mess. If you know you've gone so far and you didn't save out your work. There are ways to get work back which I'll discuss a bit later on in the course, but for now, just make sure you're saving it out. All right, so the first thing I'm going to do, before we do anything, it's important to get through the actual introduction to moving around the blender workspace. So if you're new to blender and you've never used it before, I recommend that you watch this for all of those who already know how to move around the blender viewport. Go on to lesson two. We'll carry on from there. All right everyone. So I hope you enjoyed that. You're going to learn a ton of stuff. And I'll see on the next one. Hello everyone, and welcome to the basics of blender part of the course. I recommend grabbing a pen and paper or a Word document and join down these keyboard shortcuts. He'll be going through the very basics of blender and the keyboard shortcuts you will need. With all that said, let's get started. On the left hand side, you'll kit see I have keycsting on this will show you the keys and pressing in real time. And this will be on pretty much, if not all, of the entire course. The next thing I'd like to show you is any new keys we use, there will be a small animation that will appear down at the bottom right corner. This will only appear the first time we use that particular new key. And I think it really helps keep the flow of the lessons to a decent rate both for beginners and those more familiar with blender, Because they only appear once, they won't plow up the screen. And there's always screen casting to rely on. Also down the bottom right hand side, you'll see a detailed animation of anything that needs more context. This is useful if you neuter three D model in particular because there's a lot of jargon and technical terms that need a decent explanation or more context of why we are doing something. I recommend then if you need more information jumping onto the blender website and checking out their detailed explanations of pretty much anything blender related. So now when we mention blender viewport, this is actually viewpoint. You can see it. All of this gray area here is actually viewport. Now if we go to the UV editing bar up here, you'll see that on the left hand side, it's now in two screens. And if I say the UV editing viewport, all that means is just this gray box over here. So now let's go back to modeling and let's go a little bit further into how to move around in actual blender. So the first thing I will discuss is that the middle mouse part, actually, if you hold it down, you can rotate anywhere within the blender viewport. And then if you want to zoom, it's just scrolling in and scrolling back. Now you can also press control shift and the middle, mouse it down and then just push it forward or push it back. And you can scroll in very slowly. Now to pan, all you need to do is you need to hold shift and the middle mouse, and then you can pan from left to right and to zoom to the object, which is very handy. Let's say you're really far out and you really need to zoom to it. All you need to do is press the dot on the actual number pad and that will zoom you right in to the object you want to zoom to. So for instance, if I'm zoomed out and I want to zoom to my light, for instance, it's very easy then to come across the Sen collection. Click on your light, press the dot on the number pad, and that will zoom you right now. The next thing we need to discuss is just deleting objects. To click on an object is just left click And then what you can press is you can press the delete key and that will just let out of the way. I've just lead to my light there and now I'm going to come across to my camera and actually delete that out of the way as well. The next thing I want to discuss is if we click on this cube and we press shift D, what you'll notice if you move the mouse now, it's actually going to make a duplication of my actual cube. If I don't actually click anything on my mouse and I just click the right click button, it will drop that back in place. Now you can't see there's actually two cubes in at the moment, but there actually is we need to bring in the gizmo. And the gizmo is basically something that we can move things left and right, up and down, things like that. So if I press shift space bar, come down and you'll see we've got one that says move and now we actually have our gizmo. And if I pull this to the right hand side, you can see now we can pull this away, and now we're able to move this around. You can also freely move this as well. If you press the G key, you'll notice if you got it selected. Now you can move it basically anywhere around the viewport. You can drop it back with the right click, or you can put it wherever you want it. And then it click left click, and it will put it wherever I wanted it. Now also why the dot, the zoom tube born is important. If I press the dot born. Now you will see that if I just zoom mou and hold the middle mouse and rotate around, you'll see that I actually rotate around the origin of this actual que. Now if I click on the other cue and I press the dot B, you can see now that I'm actually rotating around the origin of this cue. The next thing we want to discuss is object mode and edit mode. At the moment we are in object mode, we can't really do a lot with this cube except move it round. Now if I press the tab, we will then go into edit mode. And in edit mode we can actually do a lot more things with this cube. Up on the top left hand side here, you will see that we've got three different icons. One of them, this one here is vertices, the next one across is edges, and the next one across is face. Now if we're on vertices and we come over to this vertices, for instance I, then if I press shift space part to bring in my gizmo again, I then can move this around. Now if I come into edge select, I can grab the whole edge and move this around like. So finally if I come into face select, I can now grab a whole phase and move it around like so. Now the other thing is if we come to our verte select, I can select a vertise. You can also select another vertese or another object or something else like that. Just by holding the shift button and actually clicking on the other vertice or the other object. Or if we come to face Sl, for instance, we can grab this phase shift, select the second phase. This is how we can select multiple objects. Now the next thing we need to discuss is the axis. We can see here we have a red axis and a green axis. Now just to show you what this actually relates to, if we come up on the top right hand side here, where you've got these two interlocking balls and you click this little down arrow, you will see that we can turn on the z axis. Now we're just going to turn this on just to show you what I mean if we turn that on. Now you'll see another axis appears here. Now the green axis is representation of the y. If I want to scale this out on the Y, all I would have to press is and Y. And now you can see I can scale it out along that axis. Now if I want to scale out on the X, so that's the red axis, I'll press and X, and I can scale it out along the axis again, the same thing. And the up and down axis is z. And it's and z. And then you can scale it up and down finally as well. This is also important if we actually want to rotate it, because we'll rotate it on an actual axis. So what I'm going to do is I'm going to grab the whole of this by pressing the button. And then I'm going to rotate it around. So I want to rotate it on the Y axis so it's Y. And then you can see it will only rotate on the Y axis. And no matter where up on the mouse, it will always rotate on that axis. To click it back to where it was just again, the right click. And if you want to turn it, all you need to press is and Y again. And then let's give it a degrees we're going to do is going to press 90 on the actual number pad. 90, Enter button. And now you'll see it's rotated by 90 degrees. Just to summarize that is scale and R is rotate normally when we scale something or we rotate something, it's followed by the actual axis and then it's followed by a number. Specifically when we rotate something, normally when we scale something, we just hit scale, pull them out, out, and we'll scale it up. When we rotate something, it's normally followed by the axis, followed by a number on the number pad. Now the last thing I want to discuss is if we go to object mode. Now we need a way to actually view this a little bit easier than the way it is at the moment. Let's first of all turn off the z axis. And what we'll do now is we'll use the number pad to actually view this. If I press one on the number pad, that will go actually into the front view of our viewport. If I press three on the number pad, that will go into the side view. And if I press seven on the number pad, that will go into the top view of our viewport. Now the opposite. To get to the opposite, all you need to do is you need to hold control. In this occasion we'll press control and seven, and that will bring us to the bottom of this object in the viewport. Control one is the rear of the object and control three is the opposite side of the object. So now before we finish this section of the course, I need to show you something that's also very important. If we come up to the top left hand side, you'll see you've got a button here that says Edit. And if we come down to Preferences, one thing, they should always do that when you first download a blender, you should always put on the Status Bar, which is this button here. And if I click all of these on, you will see now if I click them all on, and I close that down down at the bottom right hand side here, you have all the details that you need. For instance, we've got how many faces and how many triangles are actually in the scene and the objects are in the scene. And the memory and V Ram that's actually taken up. This is really important if you want to get a good idea of how much power your computer is actually using and how many polygons and triangles are in the scene. Polygons and triangles you'll learn more about as we progress through the course. And that pretty much covers the basis of blender. And hope you'll found that both helpful and informative, but more importantly, easy to understand. So now as they say on with the show. 3. 3D Modeling Strategy and Preparation for Stylized Taverns: Welcome back everyone to the blender, create a course, stylized Three D models. And this is where we left off, absolutely nowhere, because we've just worked out how to move around blender. Now the first thing we're going to do is we're going to actually open up the download pack. So with the course you'll see that there's a download packet for drag this over here. And when you open it up, it's gonna look something like this. Now at the moment, this is in kind of object mode, so you can't really see anything. But if we come up to the top right hand side here and click this little ball, and if you have over, it says Viewport Shading. And what this is going to be is just going to be the actual textures and things like that that these actually have on them. Now yours will probably say loading up shaders over here on the left hand side. Don't worry about that, just let them load up. Now with this course, I'm going to give you a short overview of how we actually created these textures. I'm basically just going to tell you how we created them so you can actually go out and actually create your own textures once you've done your own research. The other thing is in here, you will see that we have some plants. We have not only plants, we also have some geometry nodes as well. What you're going to do is we're going to be using these and the asset manager to bring them into our main actual blend file where we're going to actually create the model. And this way of working really will speed up your workflow. And what you can have then is many, many blend files with lots of different textures or geometry nodes, and it's going to really, really help you. This is also going to speed up the course content because everything is already pre built, but don't be afraid. We're actually going to go in and see how these textures are put together and also show you how to bring in your own textures, either because you can't actually open this because the files too big or something like that, or you want to actually be able to do this in the end long term and create your own models. So what we're going to do is we're actually going to go through this a little bit more once we've actually gone through how to create some concept, ready to actually create our model to somewhat, basically what I'm trying to say is this is going to be some course so if you're new to blender or new to three D modeling in general, get yourself strapped in and with a note pad and pen as this will be a massive information download. So getting started, the first thing I think you should do is go and get something called Purev. And this basically is a place where you can put all of your images to actually design your concept around the building you're actually building. Then what I would say do is go and get something like Bing. Or, or some of you out there might have mid journey. And this is something that we use heavily to create concepts for our buildings. We also use Google still. And we use Pinterest as well. But you know how to use Pinterest, I'm sure, and I'm sure you know how to use Google. So the main focus of this part of the course is how to use one of the AI software to get, to get the images out where you can actually create buildings from. So I'm going to pull over now my actual discord, which is mid journey. And on here you can see that I have typed in here, stylized three D model building of a wizard's Tower. Now I know we're not building a wizard's tower, but this is to give you an idea, if you were to do something like that, of what you want to actually put in. And then you can see that what came out was these four images here. Now what I tend to do is I will tend to either change the prompt to get something a little bit close to one. But in general, this actually came out with a really, really nice image. This one that I actually liked from there. What I did was I actually generated a higher version of it. So I upscaled this version and I ended up with this. And then from there what I'm going to do is I'm going to take this. So I'm going to take this image, open it in the browser, copy the actual HTTPS and then put that back in. Followed by stylized three D model building a wizard's tower. And what it did was then it generated these four images based on that original image. Now from there I can actually generate more and more images. So what I did was I just actually typed out generate more of these images. And in mid journey you can actually put repeat five or something like that and then it'll just repeat this amount. So what I did was, as you can see, have generated 481-216-2020 images. And then he upscaled every single one of those and he ended up with all of these images. Which is really great because then when you're building out a gray box, which I'm going to show you in a little bit, you can actually have loads and loads of images to actually work with. Now I'm just showing you the basics of this, so it's important not to just get images of the building. You also want to get images of lighting and you want images of. Things like doors or things like windows and mid journey. Although it does a good job at the overall concept, sometimes you can see if I click on this one, for instance, it is lacking with little bits stuck out and things like that. So of course you don't want to actually copy this directly. And what that means is the more actual images you have to work with, then the better your actual gray box is going to come out and the better the overall image is going to come out. The one good thing though, that mid journey is very good at, as I'm sure the other things like binges is actually amazing composition. You'll notice how the lighting is pretty good on here. The background really suits the image and the overall aesthetic of the image, you can see as really high good composition from an artistic point of view. All right, so now enough of that. Let's actually open Prev and show you. So if I come to this image right click, I'm going to copy image. And then we're going to go back to prev, I'm going to right click and I'm going to come down to paste in image. Let's paste that in. And there we go, we have one image. Now what I tend to do is I'll tend to grab a load of these images and put them in. So if I come to the next one, for instance, let's go down to the next one. We'll copy an image, we'll go back to Purerev and I'm going to put it in. So paste in image. You can also press control C, control V. What I mainly tend to do though, all this, is I will come to the main image. So for instance, if I go to my main image, which is a little bit up here. So this one here is my favorite. This is what all of the other images were based off. So I'm going to copy image, I'm going to paste it in. So paste in image so. And then what I tend to do is I tend to open this one up a little bit. So in other words, make it a little bit bigger. So now what I do is when I am going to build my gray boxes, this is my main image. But I've also got 20 other images to actually look at to decide how I'm going to create this from there. Then what you want to do is you want to work on the smaller parts of the actual building. So this is where you can use things like Pinterest and Google. And you want to be putting in stylized Windows, for instance. And you want to get, you know, 1020 different stylized windows. And from there you're going to use them to build out your actual building and make it look really, really nice. Then what I would do is I would also do the same thing for doors. I would do that for maybe flags, maybe some wood. And this is the way then that we can get a whole reference of what we're actually doing. The next thing I would do is I would also look at Stylized Building lighting. So for instance, if we go to Pinterest and we put in something like three D building, we can see here that we have a load of references and what we're looking for here is lighting. We're not too concerned with what the building looks like. It doesn't matter if it's a low poly or a building that's not very good for here. You can see the lighting isn't very good. For instance, it's just basic sunlight on here. And this is not something we're actually looking for. What we're looking for is the more interesting lightning. So some of the more interesting lightning is like this. And you can see here that the lighting and how it's lit looks really, really nice, even though this is really low poly. So I would get probably another ten images of lighting. You can see that this one is also lit very nicely. So we get some ideas of how things are glinting off metal and things like that. Next of all I would actually look at as well, while I've actually got this open, I would also be looking at backgrounds. So you can see a lot of these are very rudimentary backgrounds where it's just black. You can see here though, this one has spent a lot of work on creating the backgrounds. You've got all of this beautiful lighting on here. It goes really, really nice together. All of this has probably been put in after, you know, over the top of it and things like that. That is something that you want to really look into if you're thinking of using this as a portfolio piece. So just make sure that you've got lighting doors and windows and barrels and little assets like that. And then finally, for the whole composition, you want to look at backgrounds, Whether it's raining, whether there's some lighting lightning from all of these things, you can pull together an amazing looking building or character. And I'm hoping that this part of the course actually gave you a real insight into how we actually create models. Now the next thing of course is textures. And the way that we create textures here is we will either create them from scratch in Photoshop or we will use Mid Journey again. So I'll quickly show you that as well. So here we are again, back in mid journey again. You could use something like Bing or Darle. And what you want to do is you want to generate stylized stonewall, simplistic. And then what we're going to do from this is we're actually going to make it tylable, in other words, seamless. And then finally what we do is we take it into a program like substance painter and from there we can generate maps, we can generate roughness maps, we can generate curvature maps, normal maps, and really then bring this to life. And this is how the very basics of how we create textures for our courses. Some of the time we will create them from scratch, so we will actually go in and we'll create a wall in actual Photoshop. But generally what we tend to do nowadays, we base it on something out of Mid Journey or Pinterest to get some references and then we'll actually create the textures from there. This means as well that we can really nail down the idea of what we're trying to create for the stylized building that we've just created. We had a real set idea of how we wanted it to look and we were able to generate pretty much exactly that from using these techniques. All right everyone, so I hope you enjoyed that part of the course. I hope you found it really informative. And now on the next part of the course, what we'll do is we'll go into the download pack and we'll have a quick look around of what we've actually got in that download pack because it really is going to make your life much, much easier. Al right everyone. So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 4. Exploring Resource Packs for Blender Tavern Design: Welcome back everyone, to the blender creator course, Stylized Three D Models. And we want to call it actually a blender creator course because we wanted to show you the whole process so that you can go away once you've done this course and create your own models simply and easily. And they will get better in time. But starting with this part and starting with the things that I've actually showed you is really going to make sure that you become something from a beginner to a professional in a really, really fast way. All right, so let's look at what we've actually got in here. So let's go to our grass first. Now our grass, if I click on one of these, you can see these are very, very simple. If I go into this piece of grass here, you can see that these are made very, very simply simple mesh. And as we bring these in, I'm actually going to show you how to create one or two of these just so you have an idea of how to create them. But it's basically a very, very simple flat two D geometry that's been bent around and then a texture placed over the top of it. So we've got a lot of grass there to work with. And you can pretty much, you know, get grass free from a lot of places on the internet. So I recommend learning, first of all, how to create your own grass and then getting some free ones and building up kind of a database of all different types of grass that you can bring in to create when you're creating your own models. All right, next of all what we've got is the actual textures. Now when we bring these textures in, we're quickly going to have a look at what's different about them. I'm going to also show you how to, first of all, bring textures in two ways. The first way will be with the asset manager, but I'm also going to show you, just in case you haven't got the asset manager, how to create your own textures as well. Now the good thing about this is we're going to put these into the asset manager and then on our own project that we're going to create the building on, you'll just be able to drag and drop these in. Now if we go into the first texture, you will see as well. The good thing is that all if I press dot, just the dot born just to go to this. If I actually put this onto our shared option, you'll see this as our wall. You'll also see that not only have we brought all these textures in, but we've actually come in and messed around with each of these. Now when I bring textures in, as we get further in the course, I'm also going to talk about what these actual parts are actually doing over the top of the basic textures that we've brought in. You can see that pretty much on all of these, maybe not this one. Let's go to this one that we do have some changes in how the shade is put together. Because it's important that not only do you learn how to bring shaders in, how to create shaders, but also how to change shaders. So we can see that these wood, for instance, they're actually the same texture maps, but we've actually changed how the actual shade is working. We can also see like something with the mission we actually do really want to have control over, you know, how the light is being emitted or how dark are the dark patches. Because honestly, when you bring in a texture to blender, it's nearly always wants a little bit of a change. For instance, this one is the window, but without the emission. So we need to make sure that this looks right. And you can see that this is the set up for this actual shade. So as I say, as we move on further into the course, we will be not only bringing the shaders in, but we'll be quickly going through and seeing how we put the shader together. That leads us on to the actual geometry nodes. It will be exactly the same thing. Now at the moment you can see at the top over here, there's already an option for geometry nodes. So if we click on geometry nodes and let's go into something like the chain now, these geometry nodes I have pretty much created from scratch. I've borrowed a lot of ideas from people out there who are way better than I am creating geometry nodes. And I've kind of looked at their tutorials or looked at their geometry node builds and created my own things from them. Sometimes where geometry nodes and people have given them way for free, I will take that and add in my own, you know, textures, materials, our own parts to the geometry node as well. So it's important that we, we'll go through some of the more basic geometry nodes. So you can see like this chain is a pretty much basic geometry node. You're going to learn how to use them. And what's more, what's better than all of that is the fact that you're going to have a resource pack you'll be able to use time and time again. Because these geometry notes actually are really, really handy to ha, I mean, pretty much most of the models, whether it's a wizard's tower, whether it's, you know, a stylized library building. You'll be able to use these geometry nodes time and time again from now on. Because you've got this download pack, I will show you as well how you put them into asset manager. So when you're creating, you know, your own projects, you can just bring in this geometry node and then it's easy for you and set up. But I do think that it's also important that you understand how to use these just so you can change them on the fly to suit what you need. But this then gives you the basics for what you're trying to do. So we can see, first of all. That. We do have a chain, we have a roof which is a very, very complex geometry node. So we'll just go through a very brief part of that. And then we have something a little bit more simple like planks of wood. We'll also be going through on the right hand side what we can actually do with these. Because whenever I'm creating a geometry node, I always make sure that I have loads of group inputs. And that then enables you to change it without actually going into the geometry node, which is kind of annoying. So whenever you're creating these things, make sure you've got a lot of options over on the right hand side, so you haven't got to go in and change too much. We've also then got flowers. Another geometry node is ivy, and we've got these flowers which are individual flowers. And then on top of that, finally, we've also got this bunch of flowers where you can put them in hanging baskets or, you know, blocks of wood where you can put loads of flowers in. All right, so pretty much in this you have got everything that you're going to need. So let me just press Tab. Let me just make sure that's on. So what we're now going to do is I'm going to play a short video on the asset Manager. And then from there I'm going to actually put these in an asset manager before we actually start our gray box. I know it might seem a bit weird that we're doing that first, but trust me, it's going to make it much easier in the long run once you've got your blend file set up. Because from there, you can actually set that blend file up then to be used in the future with the asset manager. All right everyone. So I'm going to play that now. Please watch it. Even if you're familiar with the asset manager, please watch it so that you'll be able to follow along when you actually come back. All right everyone. So hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. Welcome everyone to the short introduction on the Asset Manager within Blender. Now before we get started, let's take a quick look at what we're actually trying to achieve here. So if you see on the top left hand side here, I have actually one called Assets, which we're actually going to create. If we actually click on that, you'll see it opens up a new window. And within that window we have assets. The left hand side group together. Not only do we have assets, we also have actually a material library as well. So we're going to learn actually how to actually put these into this group and how blender can actually find them. But before we do that, let me just show you how they actually work. Within my stylized assets, I have all of these assets which are from multiple courses and I can simply drag and drop my asset actually into place. Now the asset doesn't just come in with the actual model, it also comes in if I click on my Materials tab with the actual materials, so I can bring any asset in. And they should come in nice and flat view into any scene that you want to create. Now with the actual materials, if I actually just bring in a cube, so I'm just going to bring in a cube. I'm going to move it over to the left hand side and I'm going to come over to my stylized materials. Then I'm simply going to drag and drop onto my actual cube. And there you go, you can see this one is glass. I've only got on materials at the moment, so you won't actually see through it or anything like that. But you can see that we can just drag and drop materials onto our actual cube and things like that. You can see that this one is water. And you can see how easy it is just to drag and drop them on. Now, some of them, depending on how complex they are going to take, a little bit longer actually, to place on your cube. But apart from that, work really, really well. Now, enough of all that. Let's go back now to a brand new blender file. And I'll show you exactly how we're going to set this up where we are in our blender, actual default view. And what I'm going to do is I'm first of all going to come up to the right hand side. I'm going to come across and you'll notice if we come across the general, we have one that says asset. Now some of you might not actually have asset, and if you haven't got asset, just click on something like modeling. We'll click on modeling. And you'll notice now that we've got another one called Modeling One. And the reason is of course because we already have one called modeling. Now if I come and let flick double left click on here, Let's call this asset like so. And then what I'm going to do is I'm going to right click, I'm going to pre order this to the actual front. So we now have asset layout and modeling. Now at the moment, this is just a copy of my modeling and I don't really want that. So what I want to do is you want to come down to the left hand side. As I come to this corner, you'll see this little kind of cursor appear. And if I left click and from the corner left click and drag up, you'll now have actual two windows. Now what you want to do is you want to come over to where this actual light on, you see it, left click it, and over on the right hand side you'll have one that says Asset Browser. And there we go. So now we actually have our asset browser. And now you can click on this anytime that you want. Now it's important for this to actually work that. First on, I'm going to press Tab just to get out of my edit view. If I come over to file and I come down and what I want to do is I want to come to defaults. I don't want to save it as a start up file, but you don't probably want it here, like looking here in the assets when you first open up blender. So if you don't want that, just come to modeling. And then what you're going to do is you're going to go to file default, save start up file, and now every time you load up Blender, you're also going to have this asset manager in place. Now, how do we make groups? So the way we make new groups, as you can see here, we can change this from all. You can see it's on current file, and you can see there's also an unassigned button. Now it's important that we keep that unassigned button there, because many times I've created assets and I can't find them. And of course they'll be in the unassigned. Now let's create a new group. So if we create one called Material Materials like so, and then we know we can place all of our materials in this one. It's just a little plus to create a subgroup under all, if you want to subgroups with under Materials, you just click the plus on the actual materials and then it'll create a subgroup under this actual materials as you can see there. All right, you can see there's also a little star there. That just means that we need to save this blend file out. Just save your blend file out if you actually want to save out these materials once you've actually got them in place. Now how does blend know where to actually look for these assets? Well, what you need to do is you need to come up to Edit, go down to Preferences. And then what you need to do is you can see how here, where it says use a library. This is where Blender needs to actually know where to actually look. You can see mine. At the moment, I've created a desktop icon that's called Blender Assets, and that's where I'm actually a time blender to actually go and look. Now the thing is any blend file that you create, just create a copy of it and actually put it into this new desktop. Blend file Doesn't have to be on your desktop, but it needs to all be in the same file to actually work. Once you've actually done that, then we can close that down or save preferences. You can also do it that way. Close it down, and now you'll see if I come down to use the library, you will have a problem here that we haven't actually got anything in there. So if we go to Open Preferences, and now we click on this, and I'm going to go to my Desktop. And now I'm going to find my Blender Asset Library, which is this one here. And you can see I've got all of these blend files in there. If I click except now, close that down. And now when I come and actually click on my catalog, you can see that I've got all of these actual materials and things in place. This is why it's really important that you actually make sure that you actually put in your blend piles into that directory. Now the next thing we need to discuss is how to actually create our actual assets. So for instance, let's create a material. So if I come over to the right hand side, I'm just going to create a cube material. And then what I'm going to do is I'm going to make a base color. So let's just change the base color to a red. Let's put it on material so we can see it. And there we go, we've got our cube material. Now what I want to do is I want to right click, I want to come down and mark as asset. And you'll notice now that it's got these kind of books stacked together. And that basically means this has been saved out now as an actual material. Now of course, this blend file hasn't been saved out into my assets. So all I need to do now is go to File Save As. And then I'm going to go to my desktop and come to my Blender asset library, which is this one. And now I need to save this out as a blend file within here. Then what blender will do is it will pick up that this is a blend file within that actual file. So this one here. And then it actually, you'll actually have access to this material. Now the next thing you need to do is you need to actually, let's save a Cuba for instance, instead of an actual material, let's save out an object. So all you do is you write, click, come down to Markets Asset. And again you'll see now that we've got those three actual stat books. And now because you have actually saved this blend file out into your asset library every single time now that we open blender. So if I close this down and reopen blender, you'll see you can go to your assets. And now we can see that we can go to our user library, Open Preferences. And let's find our actual blend asset library. Click except, close that down, and there we go. You can see I've got all of my assets in. You can even see the ones that aren't actually assigned. But you can see I've got all of these assets in place already. Now, just before we finish up, a couple of things to remember. First of all, when you go to Edit Preferences, you will see that this is normally read. You just have to name it something so it's not actually read and then you won't have any problems with it. Second thing is that once you've taken the time to actually create all of your assets and all of the materials and things like that by right clicking them and mark as asset. Just remember to save that file out in the actual place where you save them out. So for me it's my Blender Asset Library. If you don't save out a separate version of blender in there and you end up overwriting it, then you will lose all of those assets. Of course, basically it's a blend file just with all of your assets in there. That's all that should be in there. All right everyone. So I hope you enjoyed that. A few troubleshooting problems at the end as well, and as they say on with the show. 5. Geometry Node Setup with Resource Packs in Blender: Welcome back everyone to the Blender. Critical stylized three D models and this is where we left off. All right, so hopefully you watch that video on Asset Manager. Now what we can do is we can come up to the top, this little plus here, click the plus and just put it on something like animation. It doesn't matter which one you're going to pick, because what we're going to do is we're actually going to change the name of this and we're going to call it Asset Manager. Asset Manager. Now you will notice that in this Asset Manager, my blender is 3.63 This is just for actually putting our assets in. It's not what we're going to be using. So it doesn't matter which version of Blender you're going to be using for your asset manager. As long as it's above Blender 3.1 I think that's when they brought in the Asset manager. Now what I'm going to do is I'm going to move this, this top corner here, over to the left hand side. Now it's important that you get that little cursor there. And then you move it over to the right hand side like so. And then you'll have the whole of the viewport in this top part. The next thing I want to do is I want to change this. At the moment we've got our timeline laid out here. We don't really want that. What we want to do is click down on this down arrow here. Go over to the right hand side, and you'll see one that says Asset Manager. Now you're greeted at the moment with these assets. These are the inbuilt assets in Blender. We're not really interested in those. What we need to do is create our own. So the first thing I'm going to do is I'm going to create a new one. So if I come to, let's just close that up. Click the plus button like so. And I think, does it put another one in there? I'm going to click on this down arrow. I'm going to put it on current file instead. Then I'm going to click Plus. And now, there we go. We've actually got one it. Let's call this materials first. So materials like so. And you'll see that the money has a little star in there. And that's simply because we haven't saved out. So if we save now, that hopefully should disappear, which it does. Let's put this back on textures then, so we can see what we're doing. Now at the moment we have all of these textures and we need to put those into materials so that when we come to another blend file, it's easy to actually find what we're actually looking for. So at the moment, we don't want geometry nodes, we don't want plants and we don't want grass into materials. We just want materials. So what I'm going to do is we're going to click on the wall. And we're going to go then go over to the right hand side where the material panel is, which is this ball in here. And then we can see our walls here. If I right click this, we can actually mark this as an asset. And now you won't see anything happening. But if you go to unassigned, we've actually got our wall. So what we're going to do is we're just going to quickly go to each of these. Right click them. Markers asset. And you'll see now they start popping in here. Now we don't want to right click on here and Markers asset, because what that'll do is it'll actually put this geometry in there, that's not what we want. We won't be able to drag and drop these materials onto anything that we want. In other words, now if I drag and drop this onto here, you'll see it actually changes the material which is exactly what we want. So when we're actually creating plants toward or walls, we want to just be able to drag and drop this material onto the actual asset, all right? The one thing that you need to understand though is if you want to change an asset or material, it's better to change it in the main file. So this is the file where they're actually come from. We want to change that from here. Let's say we want to change the wood direction. We want to change that within this file. So then it updates to our file within our Blender project. So I'm going to now come down each of these and I'm just going to mark as asset on each of these. You'll also notice that they come in really beautiful and named pretty much. Although I think this one is called Let's look planks. I'm just wondering which one is named light wood material. We've got main main wood material. I'm wondering if I can actually change the name of that. Let's see. Yeah, For some reason, this main wood is coming at three. I actually don't know why it's coming at that, but never mind. Okay, let's work our way down. So going to come to this one now. Right click markers Asset, please do the same as what I'm doing here so that you've got them all. And by doing this, you'll actually understand how the asset manager is going to work, all right? Click markers Asset. Right? Click markers, asset. All right. So now we've got all of these assets in there. I want to grab all of them. So grab one shift, click the other, and want to drop them into materials. Now, we have not unassigned, we have it all in materials. So now you can see that if you create more materials, drag them into this blend file, and then you can actually create more of these materials in here. All right, so the next one I want to do is I want to make a new one then. So I'm going to click the plus. I'm going to call this reference. Now with the reference, you can actually put in things like our human OBJ, which is used to show as scale. You can put in things like world lighting for instance. So you might have a HDRI map, You might have a sky texture in there that you really like and you want to use over and over again. This is how you can do it. Now with our guy here, what we want to do is we want to come over to the right hand side. Let's pull this down a little bit. Let's press the dot one to see where he is and here he is. Now what I can do now is I can right click, come down marker's asset. Now he won't actually appear here, of course because he's not in reference. But he will appear in here. So here he is. Let's bring him, and drop him in to our reference. And let's go to file and save out. Now the thing is as well at the moment, I think if I viewed him like this, So let's just delete him. So I can come in, I can clear the asset like so. And then what I can do is I can come in again. Right click marker's asset. Let's see if he's coming in any better. No he's not. So what I'll do is I'll clear asset. And what I'm going to do is I'm going to press control all transforms, right clicks at origins, geometry. And then I'm going to go over right click markers asset. And now you can see that he stood up really nicely. And we can see much, much easier than we could before. Now let's left click and drag him and put him in our reference. Let's come up to file and save that out. All right, now the best thing about the asset manager is not only can you use, you know, objects, but you can also use geometry node, which makes it really, really handy. Now let's come in and hide our floor. So I'm going to press H to hide our floor out. And then what I'm going to do is I'm going to show you how to do them altogether. So I'm going to grab all of my grass. I'm going to grab one of them just so it's highlighted in yellow. And then I'm going to press control all transforms rightly to origin geometry. And the reason I'm going to do that is because what that's doing is it's telling blender, hey, all of these transforms have been reset. In other words, if we said, you know, we built a cube and from that cube we built a blade of grass. Blender will still think that it's dealing with a cube. So by resetting all the transformations, blender understands that that cube has changed in to a piece of grass. Now that is a very rudimentary explanation, but that's basically what's going on now if I press one on the number pad now to get all of these the same view. And then I come over to the right hand side with them all selected. I can press right click markers I set here. They all are all of our piece of grass and they're all stood out really, really nicely. Exactly the way we want them. Now I want to do is I want to come over here, I'm going to put this down as plants. In fact, I'll call it foliage. I think there'll be a better name for it. And then I'll go to unassigned. I'm going to grab all of these and I'm going to drag them across and drop them into foliage. So let's go to final Save Out. Now what we're going to do is we're going to do the plants. So I want to grab all of these like so Controla all transforms and you'll see that that messes them all up. So we can't set all the transforms on these. Sometimes that does happen with geometry notes, so just be aware of that. What I'm gonna do is though, I'm still going to press one on the number pad and then we're going to go over to the right hand side. I'm going to press a little dot, Born again. And here the law. Now let's right click and mark as assets. It's going to take a little bit of time to do that because there's a lot of assets here and there to go to unassigned, we'll end up with all of these assets. Now, the thing is with the geometry node, you do need to keep the parts that are making up the assets. So you can see here, for instance, this one is a geometry node. It relies upon all of these parts to make this geometry node. So we need to keep all of these parts in the same file. The same thing with the V. You'll see that the stem of the IV is actually a geometry node, but the actual leaves are made up from this object here. We need to keep these in the same file. Now we've got this, let's come in and grab all of these. And then what we're going to do is, in fact we need to make another one. We'll call this plants geometry node. Geometry nodes. Then one going to do is I'm going to go back to unassigned. I'm going to grab all these and drop them into plants geometry nodes. So now find that we've got our main geometry nodes. Now it's up to you whether you split these off. I'm just simply going to call them geometry nodes. So I'm going to double click this. Then one going to do is I'm going to grab all three of these. I'm going to press one on the number part to go over the right hand side. I'm going to find these parts. Here they are. And then what we're going to do is I'm going to right click and I'm going to mark as that set. All right, let's now go to unassigned. Here are the chains, planks, and roof. And you will notice that they've actually got known materials on them. And the reason is generally with geometry nodes, they don't actually come through with all the textures and materials on. Now when I pull this out though, you will see when I pull this out on another file for instance, it will come in with the materials on. So don't worry if it's gray is what I'm saying. All right, let's delete out of the way. What I'm going to do is now I'm going to put these under geometry nodes. So drag drop, there's the three in there. And then what we're going to do now is I'm going to save this out. So file and Safe. All right, so that's pretty much done. So what we're going to do on the next lesson is I'm going to open up the new blender for file where we're actually going to start our grade box and I'm going to show you actually how we can actually bring these in. So in other words, how do we make these usable in the new blend file. All right everyone, so hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 6. Greyboxing Techniques for Effective Groundwork Planning: Welcome back everyone to the blender creator Core stylized Three D models. And this is where we left it off. Well, we didn't leave quit, we left it off with all of our models and geometry nodes and things like that in the asset manager. And now we're moving back over to our blender. All the file that you've picked with this set up in there. Now what we first of all want to do is we want to come in, click the little plus B and we want to make a asset manager. So again, I'm just going to click on animation. I'm doing a double click it. I'm going to point Asset Manager like so. And then I'm going to drag across again like we did before. So drag this across and then what I'm going to do is come down to this and put it onto Asset Browser. And this is what we've got so far, exactly the same set up as what we had. Now what we can do is we can actually click on user library. And we won't actually get anything in there because we need to change it in the actual preferences. So if we go to Edit now come down to Preferences and what we're going to do is we're going to come down to where it says File Paths. I think it's File Paths. Yes, there it is. Asset library. Let's click on plus now. And then what we're going to do is we're going to find that file where that blender is. So if we look at texture maps, it's not in there. If we go to set ups, it should be this one in here. So better what you want to do is you want to look at the file that you've got this in. So you can see Blender users, desktop three D. We can see this is the file, Let's click Add Asset Library, like so. And let's close that down. Now what we can do is we can come and go to Set up. And there we are. All of our actual items are in the asset browser for us ready to use. And the thing is about this, as I said, if you put this onto shade of material and then we drop on, let's say glass onto here, when it loads up. Now you'll see that we've actually got our glass on there. Or we can put our floor on there, let it load up compiling samples at the moment. And there you go. You can see how easy it is. You can also then bring out your chain. And what I can also do then is I can actually use this to actually create more chain because this is a geometry node. Now what I'm going to do is I'm just going to leap that offer there. I'm also going to come in and just take off the shader at the moment, because I don't want my cube having that shader on. So I'm just going to click the little minus board in here. And here we are, then this is how we will start it. We'll also see that we've got foliage, we've got geometry nodes. We've got the materials that we put in plant geometry nodes. And of course, we've got our reference as well to build our gray box. Now the thing is, again, if you want to change something, so let's just open up the other one, which is this one here, which is this one here, if we want to change something. So in other words, if we want to change what one of these plants look like, we need to actually change it. Let's just come in and I'll just show you quickly. If I go to shading on this rock here or this brick. And what I'm going to do is I'm just going to come in and I'm just going to make these bricks a little bit larger. So I'm going to put 1.51 0.51 0.5 like so. And then what I'm going to do is I'm just going to show you what it's actually going to look like. So I'm going to just save this out. So I'm going to click file, Save our, let it save out. That should then have saved out all of everything. I'm going to put this end down. I'm going to come back, I'm going to come back to my asset manager here. I'm going to click File and Save. So now let's go to our materials, and let's see what the material looks like. Let's drop that on there. Let it compile shaders. And let's see now if we go to shader panel, if this is 1.5 and you can see now it's been all upscaled to 1.5 from one. So you can see it's actually updated. That is exactly what I want. Now let's click on modeling. Let's go to our cube. Let's actually take off that shader once more. And then what I recommend doing now is, first of all, deleting your camera. Deleting your Pin light, so you've just got a cube in there maybe. And then what I would also say do, I wouldn't actually keep your cube in there for this, I would actually come in, delete the cube out. And then I would go back to Asset Manager and bring out your reference. Bring out your reference and put him in there, so like so. And you can see that if I press one now on the number pad there is our actual guy. And he's actually stood on the actual ground plane, which is this little line going this way. So you can see it's stood perfectly in light. Now from this, I go back to modeling there and I know this seems a lot of messing around. I'm going to double tap the just to un highlighting and then you should end up with something like this. And from there I'm going to go to file, I'm going to go to defaults, and I'm going to say save start up file. And the reason I'm going to do this then is because now whenever I open Blender, I'm going to end up with it opening with my reference inside with the asset manager already set up and everything is ready to use, you know, to create models basically. So let's go to file. We're going to go to save start up file. Click okay. Like so. And now whenever you open up your new blend file, it's going to have exactly this, what we've grown here. So let's click File, and let's just save this out. All right then. So from here and now, what we want to do is we want to actually start creating a gray box. We don't actually want to worry about the asset manager or shading or anything like that right now. What we want to do is create our gray box ready to create our building. So it's the first thing you should always do, because it's going to give you a really, really good idea of how things are actually going to look. So first of all, what I'm going to do is I'm going to actually move my man over to the left hand side. So I'm going to press shift and spacebar to bring in my move tool. So bring in my move tool like so, and then drop him over there. Next of all what I'm going to do is I'm going to bring in a cube with my cursor in the center. If you cursor is not in the center, press shift cursor to world origin. That then is going to put it right in the center. If you want to move your cursor anywhere else, it's going to be shift right click So and then shift cursor to World origin. Now let's bring in a cube. So shift, let's come in and I'm going to bring mesh cube. So now what I want to do first of all, is I want to press one on the number pad. And I want to bring this cube up a little bit. Now we can see at the moment, this is how high the cube is. Now the moment this cube is going to be 2 meters by 2 meters, because it's a cube obviously. But the thing is, we don't want it to be 2 meters, we want it to be a little bit higher than that. And the reason is, whenever you're starting a building, you have to take into account that we actually have a door on here. If I press one, you can see if I grab my guy and put him in front, the door will come up to here, and the arch over the door would actually have to be over here. So in other words, this height of this first cube is going to have to be a little bit higher. So what I'm going to do is I'm going to come in, I'm going to grab this in face Lex. So we have Facelex, which is over here. We also have edge select so we can grab edges like so. And if you hover over here, you can always also see vertex select, which means you can grab each one of these as well. So let's come in first of all and grab face select. And what I'm going to do is I'm going to come to my cube. I'm going to press the tab button to go into edit mode. So we have object mode which is this one. Edit mode which is this one. And I'm going to go into edit mode, grab this, press one. And what I always need to do when I first start editing, whenever you're in each one of these tabs is press shift space bar to bring in the move to. You'll have to do that in object mode and edit mode. And then you'll have to do it if you go, let's say to layout. You can see now from layout I've got no move tool. If I grab this space, I've got no move tool. So you'll have to do it on each tab that you come into. What I'm going to do is I'm going to move this up very slightly like so to something like that. Which means now I can actually put a door in where the guy is going to be able to walk through. And I'm also going to be able to put another, another piece of wood on here as well. And then I can actually start my building from there. Now what I'm going to do is I'm going to use these cubes to basically build out the bottom part of my model. Now I've got the right height, so what I'm going to do is I'm going to grab this click on the cube. I'm then going to press Shift D. So if you click on it, Shift D, Enter, so that I've not moved it anywhere. And now you'll see I can move this across and then put it into place of where I actually want the next part to be. So I'm thinking that if the door is going to be around here, let's move it out a little bit so we have plenty of room for the actual door. Now let's come round to the back. So I'd say the back or the front of this, how wide should it be on my building? I think this should be a little bit wider. So what I'm going to do with this cube is I'm going to press Tab. I'm going to grab this face. I'm going to press one, and then I'm going to pull this out a little bit. So now I'm going to do is I'm going to think, how long do I actually want the side of the building to be? So I'm going to come in, grab my guy, bring him over here. And I'm thinking that I want it probably to be at least three of these. So if I grab this, I'm going to press shift, bring it out. And then I'm going to press shift again, bring you out. So I'm thinking, is that a little bit too short? Maybe I want it a little bit bigger. Now, it's important that when we're doing this, we're not thinking in terms of, right, this is how it's going to be and that's it. Final. No, we're going to actually be working around this to pull these out and things like that. What we want to do is just get a basin here. I'm probably going to bring out another one and put it around there, something like that. And I think that is a good size for a size of a building. Let's now go around the back. Now with the back, I want to actually bring this in a little bit so we can see at the moment this is the width of the building. I'm thinking that probably around the back will be this wide. So what I'm going to do is I'm just going to pull this out. So I'm going to press shift, I'm going to pull this out a little bit. Then what I'm going to do is I want it to level with this part here. So I'm going to pull this up and then I'm going to bring it out to wherever I want it. So I'm thinking like this, as you see on the image of our actual building that we built. What we're looking for here is to get lots and lots of variation within our building. We don't want it just a straight up building or anything like that, which is a little bit boring, Al right? So the next thing then I obviously want to do is I want to bring another Cuban. So shift D, let's bring it in. Drop it in here. Double tap the and there is the first part of our building now. Is that going to look good? We don't know yet until we start building the other parts up. All right everyone. So I hope you enjoyed that. The first part. Then up getting the gray box together. You should do this every single time you're creating a model. Make it as simple and easy as possible. You don't want anything complex, you don't want to think about even doors or windows thing at all yet. All you want is the basic model. The one thing that I would say is you want to think about walls and you want to think about the overall complexity of the building. And then you want to think about roofs. And once you've got those nailed down, pretty much everything from there will fall into place. All right everyone. So hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 7. Building the Second Floor with Greyboxing in Blender: Welcome back everyone. To the Blend, the care to Core, stylized three D models, and this is where we left it off. Now we can actually come in and close this down. We don't actually need this open. The only time we're going to need to open this is basically when we're going to go in and, you know, change some of the shades round and things like that. So it updates the other part, you know, the other models within our main blend file. So I'm just going to make sure that I've saved this out. So file, make sure it's all saved out. And then what I'm going to do is I'm just going to close this down back, so. All right, so now what we want to do is we want to basically work on the second floor. Now with the first floor, what I want to do is I want to grab where's the front of my building? So the front of my building is going to be here, so this is the front. I'm going to grab my guy, bring him round. And what I'm going to do is I'm just going to grab this cube, in fact. Yeah, I'll just grab this cube. I'm just going to press 50. I'm going to bring it up. And then what I'm going to do is I'm going to press S and Z. And what that's going to do is it's going to scale it along the z axis. And what I can do then is put that in place on top of that. So with this building, the way I'm going to build it is I'm going to have the main wall here, a second part of the wall above here, and then another main wall above that. So let's again work our way round this because basically now we've chosen that we need to make this the same, going all the way across. All I'm going to do is I'm going to grab all of these. Shift click, all of them like so. And then I'm going to press the tab. And the beautiful thing about Blender is we can grab them all at the same time. And then I can come in and grab each of these like so I can then pull them up like so. And the way I grab them is just shift, click each one. So pull them up like so now I did make a mistake there in that I don't just want to pull them up. So I'm going to press controls head and go back. So let's put them down again like so. And then instead of that, what I'm going to do is I'm going to actually duplicate them. So I'm going to press shift, so I'm going to bring them up a little bit like so. And now we can see that we've got a separation between them. And the reason I do that is just more for a visual for me. So I can see what I'm looking at when I light this thing before I actually build anything. So what I'm going to do now, now I've got that, is I'm going to press E to extrude, pull them up to where this one is, and there we go. Now finally what I'm going to do is I want to separate these off from these other parts because it's going to make it easier, long term building if we have everything separated off. So what I'm going to do is I'm going to press L on each of these. L, L, L, L, L and L. Just to grab all of those. And then I'm going to press and separate by selection. And now we can see all of these are separated off and we have basically a middle second floor, if you want to call it that. Okay. So from there now what I want to do is I want to build up the next part up. So I want to build this going up, so this is the front door here. So I want to come in now and build the next part up. So what I'm going to do for the next part is I'm going to actually grab this one here. I'm going to press shift D. I'm going to pull it up like so I'm going to grab my man then and pull up as well. Because we basically want this to be round about the same height as this one here. We could also, instead of doing that, we could just delete that other way. Grab this one then, and bring it up like so. And drop that on there. And then we know that we've got a nice high for this next floor. And I think that's actually the way that we'll go with this. All right, now let's come to our next bit. So what we'll do is we'll grab this bottom one. I'm going to press shift, I'm going to drag it up. So put that on there and then I'm going to work my way around. Now pretty much as I work my way round, I'm going to just grab all three of these, press shift, bring them up to the same height as this one. Now remember, I'm not actually going to keep all of these the same. So for instance, I want to basically make a little bit of an outcrop in here and a little bit of an outcropping on this one. In other words, a little bit going in. So what I'm going to do on this part is I'm actually going to come in, grab this part. Press control, left click, and I think I'm going to put it over there. Something like that. Actually, I'm going to pull this a little bit over, something like that. Now I'm going to do is I'm actually going to delete off this next part. So I'm going to come in, I'm going to press ol shifting click just on this one old shift click going around it like press Delete Faces and just delete that off. I'm also then going to delete this part as well. So I'm going to grab this, Delete faces, and finally then I'm just going to fill in this face here. So I'm just going to grab. This actual edge here. So in edge select this edge as well, press the bone and just fill that in. And you should end up with something like that. So now you can see that this wall is going to follow along here. And we can put a nice door or window and some little bars along here. Okay? So I'm happy with that. Okay, so the next thing then, let's think about this part here. So I'm thinking that I need a little bit coming out from this part going all the way probably round to this part here. So what I'm going to do is I'm going to actually come in and I'll grab this part here actually, and use that. So I'm going to do is I'm going to press shift, I'm going to pull it out to here. And then one we're going to do is I'm going to press tab face, select, grab this face. And then I'm going to pull it out maybe to something like that so we have something for this to stand on. So I'm thinking that's probably out far enough. And then what' going to do now is I'm going to grab this, I'm going to press shift D, drag it across. And then shift D, and then drag it across maybe to this first part here. Yeah, something like that. I think looks pretty nice. Now, it might be the case that this is too big, it could be that we might have made this building too big, but we're going to go with it and see how it turns out. Okay, so now we've got this second floor. Let's go round then to the next part of the floor, which is these parts here. And all I want to do with these parts is I want to just drag these parts out. So I'm just going to grab both of these. Shift D, let's drag them out like so and let's pull them into place. So we can see here that these two here, so these two need dragging into place like so. And now things are starting to fit together. All right? So I'm happy with how all of this is looking so far. What I need to do now is I need to think about the top of the roof and also, sorry, the top floor and then the roof on top of that. So what I'm going to do, I'm going to first of all grab all of these like so all of these second floor basically. I'm going to press Tab and then one win to do is I'm going to come and grab all of these parts here. So can we grab that one? I don't think actually, I grab this. There we go. And then I'm going to take that off, grab this one. And then going to do is I'm going to press shift D again. Pull it up a little bit, I'm going to press Selection. So I'm going to press tab then. And then one win to do is I'm just going to grab all of these again. Because now they're separated off and now I can actually extrude them. Now go all these. What I'm going to do is press Tab. I'm going to press a select them all. And then what we're going to do now is I'm going to pull them up now. I want to pull them up around the same height as this, so I'm going to press, pull them up. And then what I'm going to do is I'm just going to grab one of them. Press shift, drag this up and see how far I'm off. Now you can see quite a long way off. We need to make these a little bit smaller, I think. So what I'm going to do is I'm going to then come in, grab all these again, especially this one press tab. They're already selected. And then I can just drop them down to the top of this one, like so now I should be able to actually grab this one, press G, just to move it away. And then just put it there and I can actually delete that one out of the way. All right, so now let's come back round to the front. This is the front, this is where our guys stood. And what we want is on this bit here, we want a little bit of an outcropping with a roof. So what I'm going to do is I'm going to grab this one here. I'm going to press control A all transforms. I'm going to right click, set origin to geometry. And then what I'm going to do now is I'm going to bring in another cube. So if I press shift A now, sorry, I can't bring in another cube yet because I want to make sure that my cursor is there. So I'm going to press shift curse, selected shift A cube. Let's bring this out into a place that we want it now. If I want it something like that, I'm going to squish in a little bit and X and X bring it in. And then what I want to do is put a roof on there and find out how far I want it out. I want it something out like that and then I also want to of bottom of it's going to come. Yeah. The other thing is, as you can see, this cube at the moment, it's too wide that way, so I'm going to press and Y squish it in the other way, pull it out. All right, the next thing we're to do is I'm going to pull this up a little bit. Let's pull it up, and then let's also pull this down a little bit like so. And then what we'll do then is extrude, and basically this is going to be a window with a roof on. And now I'm going to do is I'm going to grab this edge, pull it back a little bit, so now they don't need to be perfect or anything. Again, what we're looking for here, the main thing we're looking for is the overall sense of how the building is going to be. You can see already that this building has a fair bit of complexity and that is exactly what we're looking for. So we want to make sure that it looks interesting. It's built the way that they would build it, you know, back in time in the medieval times, even though it is stylized. Alright everyone. So hope you enjoyed that and I'll see you on the next one. Oh yeah. Before we go, don't forget to save our, your word. We don't want to lose anywhere. Alright everyone. Thanks a lot. Bye bye. 8. Strategic Roof Positioning and Angle Design in Blender: Welcome back everyone to the Blender Crater Core Stylized three D models and this is where we left. They are. All right, so the first thing I want to do before carrying on is I want to actually lift up this a little bit. I think it's a little bit too, even with this here, this here, and all being the same eye. So what I want to do is I'm going to press one, I'm going to drag like so, and hopefully it's selected all of those. And then what I'm going to do is I'm going to pick these up just a little bit like so It's also going to give us more room for when we want to put windows in here, for instance, or where the roof is going to come up to here. And I think it's going to look better overall. So then what I'm going to do is I'm going to hide those out the way. I'm going to press H to hide them out of the way. And then we're going to come in, I'm going to grab all of these then like so. And what we want to do is we're going to grab the tops of them. So we've got all these. You can press G and then right click to drop them in place just to make sure you've got them. When you press Tab, then you should be able to now come in with Face Select and grab each of these tops. So, and then what we're going to do is I'm going to pull them up a little bit like so. Now I'm going to press tap. I'm going to press voltage, bring everything back. And you can see now this is what we've actually got. Don't worry about the gap being down there. We're not worried about that. What we want to do though is we want to make sure that we're happy with where this window is. So at the moment you can see that we've not got a lot of gap to actually put this. So I'm going to lift this up now. And then I'm going to press Esens ad and pull it up a little bit and get it reasonably where I actually want it. So somewhere like that doesn't need to be perfect. It just needs to be an idea of where we actually want it. Now the next thing is that this top of this roof, so this outcropping part here, I want to pull down, I want to make this basically the roof of this. So what I'm going to do is I'm going to grab each of these three. I'm going to press tab. I've got three of them already selected. And what I'm going to do is I'm just going to pull them down like so. And then I'm going to come to edge, select, grab each of the edges on this side and pull them back. And that then will be the roof for this part. Now we can see straight away that this probably isn't coming out far enough. So what I'm going to do is I'm going to grab each three of these. And then what I'm going to do is I'm going to press S and X and pull these out a little bit and then put them back in place. So again, this is really, really rough. Don't think too much of it. What we need to first of all do is just get a really nice idea of what this building is going to look like next of all then what I want to show you is if you come over to the little an arrow here. When you're on object mode, the easiest way to see what something's going to look like is to put cavity on. And it's going to give you a much, much better visualization of what things are going to look like. All right, so now we've got that. We're pretty happy with how this is set out so far, let's move them around. So we've got pretty much done as far as where the windows are going to go, how the outcroppings are going to go, how there's a little bit of a setback from here to here, and I'm pretty happy with that if we go around to the side, I'm pretty happy with the side. I'm not so sure yet if this is, you know, not coming out enough yet, I think it needs to come out a little bit further. So one going to do is I'm going to come in and I'm going to grab these three. First I'm going to press tab base select, pull these out like so. And then one going to do is I'm going to come down to edge select, grab these three. And then I'm going to go to the bottom of them. Shift like the mole, pull them out like so. And I think now that's looking a little bit more towards how I actually want it. All right, so now let's move around to the back of the building and let's figure out what we're going to do here. So at the moment we can see that we've got this part here which is going to be a nice outcropping with a banister on there or something. So yeah, I think actually that's going to look nice as it is. The only one thing. The problem is at the top of it. We don't want it going all the way up the top. So what I'm going to do is I'm going to come into this one here. I'm going to grab this face face, grab this face. And then one going to do is I'm going to pull this out further than the other part. Just a little bit of an out dropping, coming out maybe something like this. Yeah, and I think that's going to look good. Now what I'm also going to do here is I'm going to imagine that there's going to be another window on here. I'm going to grab this part shift. I'm going to pull it over. And then what I'm going to do now is I'm going to rotate it around O and we need to rotate to 180 degrees, 180. Let me try that again. 180, rotate it round. And then to go to the rear to put this in place. Instead of pressing one, which will give you a front view, press control one. And then that will give you a rear view. And then we can actually put this in place like so. And then let's pull it back again. We're not too concerned with you, is this in the right place? Is it the right size? We'll make it a little bit smaller just to get a good visual on it, but apart from that, not going to worry about it. All right, the next thing is, and then we're looking at this part that's gone back like so I think we need another roof in this part here. A roof coming down here. So what I'm going to do is I'm going to come to these two parts here. So grab these two parts. Shift S selected And then what I'm going to do now is I'm going to bring in a plane mesh. Let's bring in a plane. And then we'll drag that out. And what I'm going to do is I'm just going to put it up to something like here. I'm going to press and y and pull it out a little bit like so. And then I'm going to pull it out a little bit more like so. And then finally what we're going to do is I'm going to grab this edge. Edge, select, grab this edge. And then we're going to drag it down. Something like that. Now when we're doing this, we want to make sure that our guy, so if we press one, make sure he's on the ground plane. So pull him up so his feet are just on that ground plane there. Pull him back. We want to make sure that this roof is not too low down where he's going to crack his head along there. When we've got some wood here, we want to make sure going to be able to actually walk under this. So that's all I'm checking out there. All right, so the next thing is then I want to also make sure that I've got a little bit of a banister coming out here. So what I'm going to do is, first of all, I'm going to give this some, some depth because I hate working with things and when the two D, I don't think you get enough visualization from it. So what I'm going to do is I'm going to grab this with a press, the born and just extrude it down like so. Just to give me an idea now I'm going to do is I'm going to press shift A. I'm going to bring in another plane and this time I'm going to bring this plane up onto this part. So let's bring it out. So I'm going to stick it just above this, like so. And what I'm also going to do as well as I think this one here, you can see it's going to overlap this. This is a little bit of an outcrop in where people can walk out on, you know, a banister going around here. So I need to make this a little bit smaller. So X and Y, let's pull it in like so. And if you're ever wondering, by the way, which one to press, just have a check on the green. The green will always be the y axis and the red will always be the x axis, unless you've changed the global up. If you've changed that, they'll probably swap over. All right, so now I'm going to do is I'm going to press S and Y on this one to pull it in. And then I think I'll pull it out just a little bit more. And again, I'm going to press tab, pull it up just to give me some depth to that double tap the A, and there we go. All right, so I'm happy with that. Now, let's come up then to our top bit, because on this bit here, all this bit here, I want to pull this out a little bit just to give it a little bit more, you know, kind of nuance and make it look a little bit different. So what I'm going to do is I'm going to come to the top part, grab both of these faces, pull them out. So just a little bit like so. And now we can see that it's looking really, really lots of bits stuck out everywhere. You know, the kind of way that medieval buildings are going to look, which is kind of what we're looking for. All right, so now we've got that. What we need to do is we need to think about roof. So we can see we've got a main roof, we've got another roof here. And the idea here is where do you want your roof parts? Because wherever you've got your roof parts, you want them kind of, you don't just want one big roof sat on the area. Just it's not going to look as good as if you've got many, many little roofs. So what I'm going to do is I'm going to come, first of all, I'm going to grab all of the tops of these. I'm going to press Tab. And then I'm going to come in shift select all of the tops of these. And then what we're going to do is we're going to press Shift D, bring them up a tiny bit. Press P selection, just to separate them all out. And then what we're going to do now is I'm going to come in and regrab all of these like, so I'm going to press Tab and then I'm going to grab these three first. So these three ones first. And I'm going to pull them all to the height that I want them Now, generally speaking, probably going to be around the same height as this. I would start with that, and then you can work your way around that once you've actually got other things in. So let's press and bring them up like so. So you can see that roughly, roughly, they don't have to be exact the same size as this one. Then I'm going to press and X and pull them in. So that looks then like the first part of my roof. And then what I can do now is I can do the same with this one. Now with this one, I'm going to make it a little bit different as in I'm going to pull them the other way. We can see at the moment we might have a problem because these ones are not quite touching. But we'll see, let's pull it up, then we'll pull it up to nearly the same height as this. Then what I'm going to do is now I'm going to come in, grab this edge and this edge and y pull them in. Let's also come in then and grab the faces of these back ones, Pull them back. Now, we've just got one left, which is this one here. Again, I think I'll have it the same way around as this one. So all I'm going to do is I'm going to press, I'm going to pull it nearly to the height of this one, nearly to this he. Then what I'm going to do is we're going to bring these in. So I'm going to press and X, bring them in like so. And then I'm going to come round to the back of this and just pull it out into my main roof. Now I can see here that this one is probably a little bit higher than this and we don't want that, we don't want them the same eye. In other words, some just going to drop it down like so double tap the A. And I think pretty much from that we've got a very, very nice building. Now the next thing I want to do is just put a floor on there just to give me a visualization of the floor. So what I'm going to do with the floor is I'm just, I'm thinking whether to put this building more in the center and I think I will. So what I'll do is I'll grab all of these like, so I want to press control all transforms. You can see all of the points go to the center. And then right click, set Origin to Geometry. It's going to put all the geometry in there. And then what you can do is you can press Shift Selection, cursor, keep offset, it's going to move the whole building. And then finally we can go over the top. We can see we've pretty much got center point here. So what I'm going to do is I'm going to then put it near enough in that center point. I'm going to press one then to go into front view and then just pull it up to where I want to. All right, so that seems more now in the center. And now I'm going to do is, I think before I finish, what I'll do is I'm going to pull these out at the moment. So I'm going to grab all of these. I'm going to pull them out just a little bit more because I don't think they're actually out enough. And there we go. All right, let's give this a floor now. So I'm going to press shift S, cursor to World Origin shift A. Let's bring in a plane, make the plane bigger. So now let's work out where we want our actual floor to come up to nothing set in stone at the moment. We just need something to actually work with. So what I'm going to do is we're going to press tap. I'm going to come into this part, pull it back a little bit. So we want to make sure that any window, so if you go over the top, none of the windows are sticking out past the path. The main thing we want to make sure is if we put our guy here, how much room is he going to have to walk along here? Wants to have some kind of path. And then we want those blocks that are going to show the outside of it. So I think something like that's going to be fine. Let's do the other side now. So something like that could go over the top. We can see it's not extending over. Let's do the same on this bit now like so. And then finally, let's do the same on this bit here. So again, none of this set in stone. Now let's bevel these parts here. So let's be level these parts so we can come in shift, select each of these vertices. So then what you're going to do is you're going to come in and you're going to press control shift. And important you're pressing control shift and B because control to bevel is not going to work on vertices. So it's control shift and you're going to bring them in. And then what you're going to do is you're going to straw your mouse. We log maybe 12 times, something like that, and it's going to give you a nice, beautiful round edge. All right, so on the next one then what we'll do is we'll finish off this, this floor. And then what we're gonna do is we're gonna take a look. We're gonna get some lightning. We're then going to take a look at what our gray box is gonna look like. All right, every once, I hope you enjoyed that. Let's save it out and I'll see on the next one. Thanks a lot. Bye bye. 9. Essential Lighting Setup Techniques for Stylized Taverns: Welcome back everyone to the Blend that created Course Stylized three D models and this is where we left off. All right, so what I want to do now is I want to come into this floor and I'm going to, first of all I will bring in an insert. And then we can have those blocks actually going around the outside. So I'm want to press and insert. Then on I'm going to do is I'm going to grab the whole thing. So I'm going to press L. I want to press and bring it down just a little bit. And what you can also do is when you're pressing or you're bringing, you know, using the arrows, like so, you can also hold the shift button and it will really slow it down rather than it coming in like this if you hold the shift much, much slower and easier to use. So let's bring it up, something like that. And then what I'm going to do is now I'm going to grab all of these going all the way around the outside. Now the easiest way to do that is to grab one of them and press Ol shift click, old shift click twice. And then you can see it grabs it going all the way around. Now depending on where you've got, your mouse position is where it will actually select. So in other words, if I gert it this way, ol shift click, it will select going all the way around here. As you can see Gray going this way. Old ship click, it will go all the way around here. Now once we've got it, what I want to do is press eat and extrude here. A little bit like so. There we go. There is our actual gray box, pretty much finished. We don't need to put in any kind of sophisticated things, We don't need to, you put in any windows or anything like that. What we want is a really, really nice visual of how it's actually going to look. And from there we can start building from that. Now this is pretty much, you know, the main body of the building. So it means that we can kind of change it. What you should be happy with is the overall structure. You want to have a look and make sure everything of the overall structure you're actually happy with. Now the next thing that you want to do is you want to light it and you want to actually have a look at what it's going to look like with the lighting. How the lighting is going to, you know, interact with all the various parts in this building is important before you actually start building anything. Now what I recommend you do though, instead of bringing, you know, like you'll see a normal courses, they'll bring in a sun and start lighting this, so you know to bring in the sun. We'll press shift, we'll come down, we'll bring in a sun. We'll bring it up, and then we'll start R, X, rotate it around. And then R and Z and rotate it around again. We've got a nice sun in there. Let's have a look what it looks like. So let's go on to, and there you go. Doesn't really look like anything. You can't really get an idea what this is going to look like because you're just dealing with the basic sum. So you might think, well, I'll just bring in another sum. So I'm just going to shift the duplicate it round ours hundred 80. And now I can see something, but we've lost a lot of that light in there because we actually have two suns in the scene. Now, I don't recommend doing this at all. I think this is a bad way of actually working. So what I'm going to do is I'm going to delete. Delete our other sun. And then what I'm going to do now is I'm going to save out my work and I'm going to open up the other file we had with the asset manager. So let's open that up now. All right, so here we find ourselves with the actual file opened. What I recommend you do, instead of using those suns, is I recommend yourself a sky within this scene here or another blender scene. And then you can use it in your asset manager as well. So if we come over to the right hand side where our world is, you'll see at the moment we have some very, very basic lighting in here. If I click this on, you'll see that all we've got in here at the moment is a sum. Now let's actually get rid of that sun. So I'm going to delete that sum. And you'll end up with something like that. And let's come over to our world. And what I want to do is I want to click on New World. So click New World, and we'll put it as Sky Lighting. And you can call it, of course, whatever you like. Now you'll see that we've got something called Skylighting. And what do we do now? But what we need to do, first of all, at the moment we are in shading panel and we want to be in the shading panel, but we don't want to be in object mode. What we want to be in is world. If I scroll out now we can see that we've got a basic background with a strength of one. If I turn this up, you'll see it gets much, much brighter. But we don't really want to use this because it's pretty much useless. It doesn't give you a lot of idea of what things are going to look like. So what I'm going to do is I'm going to actually come in and delete that other way. And then I'm going to bring in a sky texture. So let's press **** Day and we're going to go to Search Search. And then I'm going to print sky texture and bring that in. Then we're going to do is I'm going to plug this straight into my world output like so. Now what you can do is you can actually mark this as an asset. Now I'm not going to do that yet, because I'm going to change it a little bit. But what you can see is already how nice this actually looks in comparison to the suns that we brought in, or, you know, the lighting that was in here before. It looks so much better. So that's what we want to do. So what I'm going to do, first of all, is I'm going to come in. And alter a few of these. I'm going to set this to zero degrees and then I'm going to come in and set the intensity of the sun down to 0.05 So then what I'm going to do is I'm going to change the sun elevation to 50 degrees. You'll notice straight away that things are actually starting to change now. Let's set the sun rotation to 190. Again, you can play around with this. Just set them as I've got them here and then you can actually really play around with it. Let's set the air then 0.5, let's set the dust to 1.769, let's set the ozone to 6.923 So you should have all of these options like so. And you can see how nice that lighting actually looks a, So it's really, really nice. We shouldn't need anything else. And now what we can do is finally we can come and right click and click marks asset like so. And then it's going to mark as an asset. And then we can go to our Asset manager and we can come down to assigned and we'll see Sky Lighting is there. Now let's come into where it says Current file and where it says all. Let's click the plus board. And what we're going to do is we're going to call this World Lighting. This is really good because if you ever get any HDRIs that you want to set up, anything like that, you can also bring those in here and put them in your world lighting, and then use them in all your other scenes. Let's come to an assigned, let's drag and drop this into World Lighting. And there we are. Now let's come and click File and Safe, let that save out. And it needs to get rid of that little star there, and then you know it's safe. And then what you can do is you can now put this down and we can come back to our scene and we can click File and safe. Hopefully then if I go Tasset Manager, now this is actually updated, which it is now. The moment as we can see we've got on nothing. If we come to World Lighting, we've got our sky lighting drag, drop it in place. There we go. All set up for you. And now we can really see what our actual building is going to look like. Looking pretty nice actually. Now, the other thing that I tend to do is at the moment, if we go over to the right hand side, we will see that we're on V, which is great and all that. We now the good thing is that because we're used in blender, all it means that we're actually using something called V next, which is the new EV engine. So you can see already that it's looking pretty nice. But we can actually make this look a little bit better if we come in and bring in ambient occlusion. You can see now how all of this ambient occlusion actually starts affecting the scene. We can actually come down as well and increase the distance for the ambient occlusion. So let's bring this down a little bit. Let's look at the ray tracing and bring that up a little bit, maybe got that a little bit too high like. So we're just going to basically set this out how we actually want this before we actually start. We can also see we can add bloom in there and we can add screen space reflections in there as well. Let's turn on ambient occlusion screen space reflections. Let's mess around with this raytracing now and just bring it back a little bit. Let's bring this down just a little bit like so. And we can see that we've got some really nice live mounts in there because this is the way the sun's looking. We can see we've got some really dark shadows in these parts as well, so it all looks really, really nice. We can also come over and put this on cycles as well, and we'll end up with something like that. And then what we need to do to use blender, you know, cycles in a good way is actually click on Noise. And what that's going to do is it's going to smooth everything out. Now for me, I still prefer using blender cycles in the viewport even though it takes a little bit longer. Because for me personally, it gives me a bare visual for you though, you might need to use V because you might have a lower end system or computer or something like that. Now the next thing we want to do before carrying on there now we've got this set up is go to file and save this out. Let's save it out. And then what we want to do is we want to use where it says device, we want to put this onto our GPU, in other words, our graphics card. And the reason we want to do that is because the graphics card generally is much, much faster than your CPU. Let's click that on then. What further we want to do is we want to go over to Edit, come down to Preferences, and we want to go over to where it says system. And on system you can see cycles render devices. We want to put this on the optics X, which is cycles X. And the reason I want to do that is because when I'm going to actually be rendering this out or looking to see what it looks like, it's going to speed things up dramatically. So let's put this on optics x, we can see here in the moment we click this on, we have my graphics card and my CPU. I'm going to click them both on. Now for you, you might only have cutter or you might have none. If you have none, there's not a lot really you can do here. But generally if you've got cutter, click it on and if you have optics X click it on over cutter, that's basically what you're going to be doing. And now we've got it on GPU compu, we've got both of these ticked on which means now we can actually just come in. I'm just going to turn my undo steps up to 150. If you can go to 150, you've got a lot of manu system, please do that. And then what I'm going to do is close that down. Now what that means is now is that this is going to be much, much faster for me, as you can see. Look how fast that is, turning around much, much faster than what it was before. And that is because I've clicked both of those on and using my GPU. Okay, so what we'll do is I'll show you on the next list and then how we can change a little bit of this sum to be more of a preference that you'd like to actually view your model before we actually start building this model out. So it's been quite a long process to get to this part, but I feel like all of the things that we've learned up to this point are really, really worth learning. All right everyone. So I hope you enjoyed that, and I hope you enjoy enjoying the course so far. And I'll see you on the next one. Thanks a lot. Bye bye. 10. Crafting a Stylized Timber Base in Blender: Welcome back everyone to the Blender Creator Core stylized three D models. And this is where we left it off. Now one thing you can do to see your model a little bit clearer is if you come up to these two interlocking balls, we can actually turn those off like so. And now we have a much, much better visualization of where everything is going to look like. The other thing we can do, the actual sky texture is set up for viewing this when it's actually got materials on. And generally this material here hasn't actually got material on, so you'll see no material on this. So what I tend to do is I will come in now and change the base color of this to be a little bit more gray like so. And then what I'll do is I will move my guy just over here. Now I'll turn my two interlocking links on. And then what I'll do is I'll just left click, drag all of the building. And then shift select this one last. So if I shift select this one last, you can see it's now got a yellow highlight around it. And then what I'm going to do is I'm going to press control and L and I'm going to link materials. So double tap the A, and now you can see we have a much, much better visualization. More than that though, we can actually come in. Now turn this down and it's going to turn the whole model down and give you a much better idea what this is going to look like. Because the actual material we had on before, it was solid white. Which means it has a lot of brightness bouncing off it. Now the other thing we can do as well is if we come over the right hand side where our world skylighting is, we can also come around and mess around with these. We can mess around with the sun intensity for instance. We can come down and mess around with the sun rotation. So we can turn it so it's a different way round. So it's looking at a different way around where the shadows are cascading. We can also come down and turn the altitude up, and this will probably make the biggest difference if I come in and turn the altitude up to 100. We can also come down and turn the air up or the sun elevation up. If I come in and turn the sun elevation up, it will make a huge difference. So you can see, if I bring it up, you can see the difference we get in there in how the sun is actually shining on this model. You can also come in and mess around with the air. So we can see now it's much, much thicker. So in other words, it's taking the sunlight and actually adding more volume in there, which is making a much thicker smog type look to it. And this is why I've set to be these levels because I think they're actually perfect for, you know, viewing your model in this way. I have a very, very good visual now of the model as you can see. And from there then I can actually start modeling this out. All right, so now I'll do is I'll put my guy just over here. Again. I'm going to put this onto material mode. So I'm going to put it onto material, let it load up, and then we're going to come in file. I'm going to save it out. And the other thing you can do is if you come over and hit this little button now we can see that we can turn on scene lights or seen world on as well. And it's up to you whether you want to work like that. Generally, I will turn my scene lights on when I've actually got some, you know, point lights in there or something like that. But at the moment, I don't think they're actually worth turning on. So I think actually working like this is going to be absolutely fine. Now, what do we do with the next part then? The next part is we want to actually build out now and make this as easy as possible to build. In other words, we want to create things where we've not got to keep creating things over and over again. We want to make it very, very easy for ourselves. So the way we're going to do that is first of all we're going to make some blocks of wood. So what I'm going to do is I'm going to press **** date. I'm going to bring in a cube. So let's bring in a cube. I'm going to make this cube then much smaller with the S point like. So what I want this to do, this cube, this cube is basically going to be my blocks of wood. Now you can see here, if I use this block of wood, look how thick this block of wood is. If I press S and shrink it down a little bit, now we can see that's much more usable for these points here. So these blocks of wood going over here. So what I'm going to do now is I want to basically pull this out to be certain sizes. If I come over here over the right hand side here and open this up, you can even open up this panel with N bone. Or just click that little arrow over there and we can see that the dimensions of the eggs are not 0.21 meters. Now if I pull this down, put it on 1 meter, you can see it pulls it out like so. I think that we'll pull this out to 1 meter. And what we'll do then is we'll press shift D, and we'll pull another one out, and this time we'll put this on 1.5 So, and then we'll pull another one out, shift D, we'll put this on two, and then we'll pull another one out. We'll put this on 2.5 like so. And then finally the last one we'll pull out and we'll put on 3 meters, 3 meters. So let's also save that, our work so we don't lose anything. Now we have these three blocks of wood here. Now what I'm going to do is I'm actually going to come in and I'm going to duplicate them. Before actually I duplicate them, I need to put in what they're actually called. It's going to make it life much, much easier if we do that. If I press over the right hand side into my panel here. As you can see, we've got all of these as part of our scene collection. Now what I want to do is at the moment, you can see that all of these are called cube. Not really handy for what we need. So I'm going to do is I'm going to come to my Scene Collection. Click this on, right click, and click Collection. Now if I scroll down to the bottom, we can see we've got collection two in there. I'm going to call this modular parts. Again, this is the way that you should work when you create new parts for sure. Because it's going to make it much, much easier. Now I'm going to do is I'm going to come over to this first one. I'm going to call it, let's call it wood block. We'll call it by what it is, it's one. Then what we can do is the next one, I'll just copy this, actually I'm going to copy it up to this point. So I'm going to press control C. And then we're going to come to the next one. Double click it control V. Then we're going to call this, this is 1.5 meters. 1.5 meters. Then we'll come to the next one, which is going to be two. If you're ever wondering which it is, just check on your dimensions again. Control two. Control V, this one is 2.5 Me like so. And then control V23 light. So then what I'm going to do is I'm going to drag these now. So I'm going to grab each one of these. Shift select each one and I'm going to drag them into my modular parts like. So what I'm going to do now is I'm going to make another part in here just so it's easier to see things. I'm going to put right click new, and then I'm going to put wooden blocks, then going to make sure that everything is nice and clean within here. Drop those in. So what that also means is because we've got all these parts now, I can close these up and I can turn off the parts that I want or don't want. So I can turn this off, I can turn my blocks off really, really easy then to use. All right, so the next thing I'm going to do is I'm going to just strike these over here. So, and then we're going to duplicate these. So shift D in fact, let's not duplicate them right yet. Let's just delete the other way. Let's first of all come in and add in some edge loops because it's going to save us a lot of time if we actually do that, whatever's going to save us time we want to be using right now. So what I'm going to do is I'm going to come into the first one and I'm going to press control two, left click, right click. And you can see what we've done there is we've actually put in two edge loops. Now how do I do that? Let's go back just a second. Let's press control, and you'll see that you've got a line down there, and no matter where you move your mouse, you can't do anything. However, if you scroll the mouse wheel up or scroll it down, it will give you more edge loops or less edge loops. Now if I scroll it up, two, so just one push up, left click. You can see now that I can move this up and down. However, if I press right click on the mouse, it'll drop it right in the center. Now don't worry if you want more edge loops in, you can come down form left hand side and increase am the edge loops are actually in there and we'll be fine with two on this one. Let's come to this next one then. I'm going to press Tab control. Scroll it up two, so we've got three edge loops in there. Left click, right click. Why are we doing this? Well, you're going to find out that in a minute. Because what that's going to do is it's going to allow us to actually mess around with this mesh more and make it look a little bit more stylized than what it does right now. Now let's come to the next one. Same thing again, Control law. Let's bring in five this time. So left click, right click. Let's come to the next one, Tab Control Law. Let's bring in six. Left click, right click. So we can see six on here. Let's come to the next one. Tab control. And let's bring in left click, right click nine. Let's bring in nine from there. It's not going to make that much difference to what we're doing as well. All right, so the next thing then that we want to do is I want to basically U V unwrap these, and I'm going to show you how to do that on the next lesson. And the reason we want to do that is because we're duplicating all these and we're doing things to them. We want to make sure that we're making it as easy as possible, so we want them unmapped, unwrapped, before doing anything else. All right everyone. So I hope you enjoyed that and you're going to learn so much. And it's such a brilliant way of doing things following this course that I hope you're looking forward to it. All right everyone. I'll see on the next one. Thanks a lot. Bye bye. 11. Understanding Seams and Sharps in Blender Modeling: Welcome back everyone to the blend that creates course stylized three D models. And this where we left off now I'm going to do is I'm actually going to introduce you to marking seams and marking shops and UV unwrapping. And we're going to do that just in this part so that when we move forward we know how to make shops and we will be doing it together anyway. But you need a basic background on how to actually do that. All right, so I'm going to play this now. And if you already know how to do this, then it's fine to move on to the next lesson. If not, highly recommend that you watch this. All right everyone. So see you on the next lesson. Thanks a lot. Bye bye. 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 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 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 that 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 Unreal Engine as an example. With all that said, let's get started. Here we are in Blender with our starting cue. Now if I click on my Cube and go to my UV editing, you'll see that the cue is basically unwrapped in this actual way. Basically, it unwrapped like a present. 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. 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 select click the Top Shift Spacebar to bring in the move tool. Bring it up. 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, our actual 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 leap. 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 Facelect. 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 Sam this way as well. So for now though, I'm not going to actually mark this theme. 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 Wrap. 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. How do we fix that? If we come up to edge, Slx'ming, 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 you unwrap, and now you'll see it. Unwraps absolutely fine. You can see that wood's looking really, really nice actually, on this mesh. Now 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. What I'm going to do, I'm going to come over to the left hand side the viewport of my UV editing, Press A to grab everything, R 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. This texture here doesn't line up with this texture. And the reason is because we've got a seam 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 that try and put seams where you're not going to see them, so if it's on a door handle for instance, and put them on the inside where no one's actually going to see them. Always bear that in mind when you're actually marking your seams. Now let's discuss sharps. 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 edged faces in there. Now there are things we can do to sort this out. 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 shift base part. Bring in ma gizmo. Move it out of the way, shift a, bring in other cylinder and this time I'm going to come down to where it sets, 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 up. But the problem with this is if I turn up my autos move, 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 needs moving off. It doesn't give us a lot of control. If we do this on the other one, Surf, grab this one. Right click shades, move autos, move on. You can see, again, even with lower amounts of polygonts, 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. How do we solve that? Well, if we come in now, press a 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 shop. Now you'll notice if I press tab that now it's got hard edges on there. This gives us control. 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. Se grab this one and this one. Now because we're in Edge select, we can write, click, come down, mark a shop, press the tab button, 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 marking 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 seas and sharps and as they say on with the show. 12. Creating Wood Texture Shaders in Blender: Welcome back everyone to the Blend. The Create, of course, stylize three D models and that's where we left off. All right, so you should have had a bit of a journey looking at how to actually mark seams and shops on the models that you create. What we're going to do now is just go through and create these wooden blocks. And then I'll show you another video on how we actually put textures on there. Although we'll be doing it a little bit of a different way, you still need that background process like you need with seams and sharps. But I'm going to show you some very, very simple techniques as well, which will also speed up your workflow. So let's now grab all of these and what I'm going to do is I'm just going to press Shift D. I'm going to move those over to this side like so. Now I'm going to do is I'm actually going to come in and grab all of these. I'm going to press the Tab button. I'm going to press A to actually grab everything. And then one going to do is I'm going to come to mesh transform. And we're going to go down to randomize. And then one going to do is now we can see that we've got a lot of random form on here, which is really, really nice. What I'm going to do though is I'm going to turn this down just a little bit to maybe not 0.2 just to make them a little bit uneven, but not too uneven. So no, 0.2 we can see we've got a bit of uneveness. Now, I'm actually going to put this onto object mode at the moment just to have a bear view now. It's very, very hard to see at the moment. And don't worry, we're going to do more of the randomness thing as well, but we just want them a little bit uneven, just to start with. Now the next thing that I'm going to do is I'm going to come over, add in a modifier. And the modifier that I'm going to add in is going to be a bevel. So we're going to go to Add modifier and we're going to go to Edit. There we go, undergenerate. We've got one that says Bevel. Now the other thing I want to do, at the moment, you can see that the bevel is looking really, really uneven. That's not how we want the bevel to look. So what I'm going to do is I'm going to press control A all transforms right click, set origin to geometry. Now you can see that the bevel has only actually been done on one of these and we want to do it on all of them at the same time. So what I'm going to do first of all though, is I'm going to turn the amount down of this bevel to maybe not 0.1 And we can see now that that's looking much, much nicer than how it should be. All right, so now I'm going to do is I'm going to press control L. While I've got this one selected, I'm going to link or copy modifiers. And there we go. Now all those are actually done. Now what we can actually do, let's come into the first one and see if we can actually randomize this a bit more. So what we're going to do is we're going to go to Tab and we're going to make sure we've got everything and grab everything with a. And we're going to come to mesh, transform and randomize. Now you'll see that the problem we have is now if I turn this down, we're still not randomizing it too much. So we can randomize it by not 0.1 or something like that. And you can see now that that's actually looking much, much nicer. Now you can see that when I press Tab that we've got all this blockiness on there and we don't really want that. So what we're going to do is we're going to right click shade or to smooth. And now we can see that we've got some real nice randomness to this block. Now what you could do on top of that is you could come in, apply this modifier with control A. So you can either press control A to apply it, or you can click Apply like so. And now you can do it if you press Tab again, A to grab everything you can come. Now, mesh transform, randomize. And it'll randomize it even more because you've got all of those levels now which have been applied. So if I press Naut 0.1 again, now we can see it's even more random. Now, I actually don't want to go that far, so I'm just going to press control head just to go back before this modifier gets applied. And I actually want it like this because I'm fairly happy with how this looks. So what I'm going to do now is I'm going to do it for the same of the others. So I'm going to come in, I'm going to grab all these. I'm going to do, yeah, I'll grab all of them at the same time, but I will show you that it's probably worth doing them individually. So I'm going to do is I'm going to press A to grab them all. Mesh transform, randomize. Let's see if I turn this down to not 0.1 are we going to get a good? I'm wanting it to be a little bit like this now. If I press Tab and then right click, shade, auto, smooth. Actually I think they are probably going to look actually. Okay, So you can see we've got a lot of variation in our blocks. But the thing is, is it gone too far me or has it gone far enough? Some of them look okay, some of them don't. This one here, for instance, it looks okay. This one here, the same. This one looks okay. So what I'm going to do is I'm just going to come into this one any I'm not happy with, I'm just going to go to mesh transform, randomize, and then put this on no point n one. And then just randomize them a little bit more. Do the same for this one as well. So mesh randomize. And it's important that we get these right because we're going to be using them all over, basically our building here. So we want them to look a little bit stylized straight off the bat. We want them to look really, really uneven. So any of that don't look uneven. Just make sure that you go in and you randomize them a little bit. So let's come to this one. Again, mesh tran no 0.1 like so. And now that's looking pretty nice. So just make sure that you're happy with them all. And I think I am. And then what we're going to do now is We're going to actually drop on a material on these, and we'll notice straight away that we will have an issue with our materials. So let's come up to file first. Let's go to save. Let's go over now to our asset manager. And then what we're going to do now is we're just going to open this up. You can see because my Glenda shut down, I have reopened it actually, that we've not got this on anymore. So it just says unassigned. So what I want to do is I just want to click on all user library open preferences and basically I want to re add that in at the moment. It's Blender assets, this is the path. I just want to change that to where my set up is. So here is my textures. Click except close that down. And now I've actually got in my materials, which is what I want. All right, so we can see that we've got light wood, main wood. Now the one we want on this is the main wood. So I'm going to put this on shading, and then what I'm going to do is drop this main wood on. Now you'll see that we end up with a few problems when I do this. So let's just drop this on and let it load up. So it says compiling shaders. And we can see, first of all, it's very, very blurred and we don't want that. Now the other thing is if I unwrap this, so if you see if I go to unwrap it, unwraps like this, which is it says fail to solve. And the reason it's failed to solve is the fact that I've not actually wrap this properly. Because if I go to my UV editing, I've not marked any seams. And this is what it looks like at the moment, If I press dot, just a zoom in there. Let's move this over a little bit, all the way over. Let's put this onto material. And let's then just put this back while we actually view this. So at the moment you can see it's no wrap properly. Now what? How if I press U? Come down to Smart UV Project. Click Okay. Now we can see, actually that's unwrapped, pretty nice, without marking any seams. So you can see that actually you can get away on some models without marking any seams or anything and just clicking Which one is it? Smart UV project, So that's great. But we have another problem in that this wood is actually the wrong way round. Now that's going to be a real pain because we're forever going to be able to go in to grab it all or 90 and spin it around. We don't really want to have to be doing that for every single model. So how do we actually stop that happening? Also, we want to dictate when we unwrap one, how small or big the actual this is going to be. So this wood is going to be. Because at the moment, if I want to make this look smaller. So for instance, if I press Tab and I press, I can really make this really low resolution. If I want to make it high resolution, I have to bring it all the way out like so. And now you can see it's looking pretty nice. Okay. But we don't actually want to do it that way. So the way we want to do it is we want to first of all come in. So let's press controls. Let's put it back. Let's press Smart UV Project. Click Okay. And you'll notice now he drops it right in the center of my UV map. In other words, it's not going around the outsides or anything like that. And that is exactly what we want. Now what I'm going to do now is I'm going to go over to my shading panel. And with this wood, so it's this wood here. As you can see, if I go into this first wood, this is how it's made up. Now if I pull this up here like so, you can see that this wood is made up from the texture maps that you've also got in your download pack. And then those texture maps are to the principled. And what I'm going to do now is on the next lesson is I'm going to show you actually how to bring those in so you actually understand a little bit better. But you can see here that generally we have a color, we have a metallic, we have a roughness, and we have a normal map. If for instance I want to turn up the strength of the normal map, what they'll do is I'll make all the little bumps and things stick out a little bit more. Now, heading from there, we've got both of these basically going into material output. Now the difference on this one is what I've done is I've actually used two bevels connected to a difference to a color ramp. And what they're actually doing is they're going to make the edges of the wood appear lighter. So if I just save this out and then go to this one here. And what I'm going to show you is once it's compound, so you can see loading render kernels. This will take a few minutes, so just leave it to actually finish that off. Okay, so now that's work to actually talk probably three or 4 minutes. It might take longer in your machine, so just don't worry about it. It's going to take a little bit of time. And now what you can see is we've got this wood on here. Now we can see a little bit of a fine line on here. And this is what this actual shade is set up to do. If I come in and turn this down, you can see now it gets a lot lighter and it gives the illusion of planks of wood on the edges of planks of wood. We actually have a lighter contrast than the sides of the wood. Now I'm going to put that back because I only did it very slightly, so it's only slightly noticeable. And what it works is it's using the edges of the actual model to actually make a difference in which one is darker and which parts are actually lighter. All right, so now we've discussed that on the next lesson. Before we do anything else, I'm just going to show you how you actually can bring in your own textures into your own scenes. All right? Every want, so I'll see on the next one. Thanks a lot. Bye bye. 13. Basics of Texture Import and Setup in Blender: Welcome back everyone to the Blend, the creator course, stylized three D models, and this is how we left it off. Now I'm going to do is I'm just going to play you a short video which will take up the rest of this lesson showing you how to bring in your own textures and they can be found in the download pack. In your download pack, you're actually going to have the set up, which is the set up which you already open, which was the the asset manager. And then you're also going to have the texture maps. And all of the texture maps can be found in here. If you open any of these, you'll see that we have a texture map for each of the height, the base color, the metallic, the normals, and the roughness, just in case you want to put them into, you know, your own scenes or you want to play around with them yourself. So let's just put that back and now I'll play this for you and hopefully by the next lesson, you'll actually understand how we can bring these in. The last thing I'm going to do before doing that is I'm going to go to Preferences and I'm going to go to Add Ons. And I'm going to bring in an actual add on that we're going to need, which is called Node Wrangler. So let's come in, click Node Wrangler on, Let's close that down. Let's save that our work now. And then on the next lesson we should be ready to rock and roll. All right everyone. So I hope you enjoyed that. See on the next one. Thanks a lot. Bye bye. Welcome everyone to this short introduction on importing texture maps and creating materials within blender. Here we'll be going through basic material set ups and easy ways to import your texture maps all within blender. Then we'll be moving on to an explanation of what maps do and why they're important. So with all that said, let's get started. So in this basic scene that I've set up, you will see that I've got these three objects and they're all UV unwrapped. So now let's succumb to our first object. Let's say we've already marked our seams as you can see. Now let's come up to edit first of all, and what we're going to bring in is a add on called Node Wrangler. And this is going to make it very easy to set up materials within your scene. So let's come to it, come down to preferences, come over to where it says add ons. And then we're going to search for node ODE. And you'll see one called nodrangler. Make sure that's ticked on. And then let's close this down. Now what I want to do is actually create our material. So if you come over to the right hand side, you'll see this little football kind of icon. Let's click on the Plus. And then what that actually does is create a new material, and let's click New and give it a name. So let's call this Wood because I've already created a ward. It will come up as wood 001. If you've got 001, it will come up as wood 002, and so on. You'll notice as well that this has come in as a principle, BSD. This basically is the magical node shader within blender that makes it easy to import all your maps and things like that. So now we've got this. What we need to do now is we need to head on over to our shading panel, which is this button here. Once in the shading panel you'll see basic set up, same as what we had in the modeling panel. And now if I zoom out of here a little bit, you'll see that we've actually got a basic set up already. We've got our material output, and of course, this is where all the nodes end up in the end. Then we've got our principles, which is what I told you about is the magic blender node. And if we zoom in a little bit, you'll see we've got all of these things where we can plug things in, or we can mess around with these without actually a map plugged in. Now let's come and click on our principled BSDF. What we're going to press is Control Shift, and that then will open up the file of where you want to actually find your map. So make sure you store them in a place where you know where they are, go find them. And then you should end up with five maps. Normally it's five maps actually you can download. One is the base color, the next one down is metallic, the next one down is roughness, the next one down is height. And then you've got normal there, normally the basic five maps. So now what we need to do is you need to come to the first one and shift select the bottom one and then that'll select them all. And then come over to where, say it's principal texture set up and click that on. There you go. They've all actually come in and you'll notice Blender has automatically set everything up for us. And this is part of what the Node Wrangler actually does. Now if we zoom in a little bit so we can see what we're doing. And now we can actually go through some of these nodes over here. Let's zoom into here as well. The first one we've got is texture coordinates. Now basically this node tells blender whereabouts to place this texture on this object. So you notice at the moment it's basically plugged in from the UV. Now if we quickly just go over to the UV and I grab everything you can see this is our UV map and this is how basically this texture is placed on this. For instance, you can see that this one has been turned round, so it's going the correct way. Now let's go back over to our shading panel, and if we plug in the generator instead to the vector, let it load up. And you'll see now that blender is trying to generate how this texture is actually going to go onto this object. This is useful when you create in textures within blender itself without maps but useless if you're actually bringing in your own map. So let's put it back on UV. Next one, macros is called mapping and this basically is how this texture is mapped onto this subject. So you can see here that we can actually move the location of our actual texture, and this basically is kind of moving the UV map. Now if we come, we can also scale this up as well as you can see. So you can scale it smaller and bigger and it gives you a lot of control within actually the shader to mess around with the scale and things like that. Normally, I would actually do this in the UV map, but if there's any small details that I want to make a little bit smaller or something like that, I will do it within the shade. Moving across, you can see that all of these nodes over here, which are our maps, are plugged into our mapping node. So let's come to the first one. The first one is color, and basically down on the right hand side here, I'm going to be showing you exactly what they mean. And then if you want more information, you can go onto the blender website and find all of the rest of the information out about all of these maps that we're talking about. As I say, the first one is the color. And if we unplug that, it's basically what we can see is it's just base color. Now sometimes you'll get colors where they come in with ambient occlusion. And I'm going to talk about ambient inclusion just in a few minutes. If we plug this in, we can actually alter the color with other nodes that we can slide into here. I'm quickly going to show you that, so if we press shift A, do a search, and we'll just bring in a gamma, which is just going to lighten or darken our actual color. Now I've put that in, then you can see if I bring that down or bring it up, I can make it much darker or much lighter. So that's something that we can actually do and the Node Wrangler enables us to bring in a new node and just drop it in there. So what I'm going to do now, I'm just going to delete that and I'm going to plug that in now to go onto the next map is metallic, so I'm just going to head on over. We've actually brought in a metallic texture. So here we are in our set up now with our actual metal texture and material. So if we zoom in now, we can see that we have the next one down which is metallic. And we can see that if we come and actually unplug that, you'll see that not a lot happens. And this is because this metallic is very closely based on the metallic that's already there, which is zero. It's quite a dull metal. Now if we come in and we turn up our metallic, you can see that it goes really, really, really metallic like so. And you don't have to actually use a map to make something metallic, all you need to do is turn up this metallic. Now normally when we're doing things like using this slider here and no map, either something is metallic, so if I turn this down or it isn't like, so we don't really have anything in between when we're not actually using a map. So if we plug this back in now to our metallic and let it load up and there you go. Now the next one down is roughness. And roughness is basically, if you think of a sheet of glass, when you look at it, it's not completely see through. You might have certain scratches on there. You might have things like smears, hand marks, things like that. And basically that is what the roughness map does. Basically, the roughness is determined by this map. So if I unplug this map, you can see we've got a lot of kind of shinier parts and duller parts here. So let's unplug this, and then you'll see that it's all one kind of shine. You can also see if I come in and actually turn the roughness up or turn it down, I can make something like ice, or I can make something very, very dumb. And this is why we use this map because it gives us a lot of control of how much smearing and things like that and makes it look a lot more realistic. So now let's move over back to our wood. And what we'll do is now we'll come down and look at our normal map. So if I double tap the A quickly, that'll just highlight this. And then we can just zoom in a little bit and look what this normal map does. As you can see, the normal map always plugs into a normal map node. And then we can mess around with the strength. If I turn this strength right up, you can see now we've got a lot more pushing through of that actual texture now. Just be very careful when using this node. You can turn it up too high and it won't look very real. In other words, try and just get it somewhere where you're really happy with it and it still looks realistic. For instance, you do get some wood which looks like this, where it's really elevated from the base, but I wouldn't go again too high with this. Okay. So that's the normal map. And now let's move to the displacement map. For displacement map, I'm actually going to bring in a new material now, so we'll head on over to that one. So here we are with our cobblestone texture, which we're going to use for our displacement example. What displacement does is it basically gives this texture. It basically pushes it out. It's like using tesselation, as you'll see shortly. Well, the one thing is, if you're using the displacement map, well, you really need to know two things. First of all, it doesn't work in B. Second of all, it really needs a lot more geometry than what you would normally have here. We've got a flat plane, and we can see that they're slightly pushed up, and you can still see that this is basically a three D texture. So, how do we create displacement on this? First of all, what we're going to do is we're going to come over to our little spanner. First of all, what we're going to do, we're actually going to subdivide this a couple of times. Let's press Tab. And what we're going to do is right click and subdivide. Click subdivide. Now what we're going to do is we're going to press Tab, and we're going to bring in a modifier. And what we've done now is basically increase the geometry a lot. Let's come over to add modifier. We're going to come down where it says multi resolution, and we're going to subdivide. Subdivide again and again four times. If you press Tab, you'll see that it still actually looks like this. So you can't really see all the subdivisions on here. But when we finish this I'll actually apply it and then you'll be able to see them. Next of all, what we need to do now is we need to put this on cycle. If we come over here and we change it from V and we put it on cycles, then what we can do is we can come down now to our material, which is this boton here. Scroll down and you'll see one where it says settings. And under settings you'll have one that says surface. And what you need to do now is change this, it should say bump only. Change this to displacement and bump. Once you've done that, then all you need to do is go to your Cycles shader, which is this button here. And there we go. You can see now how actually realistic that looks, and now you can actually mess around with these. We can really, really bump up the scale as you can see. We can also change the mid level, like so it really push it out or you can really pull it in as well. Okay, so that's a bit of an explanation on there. Now as I said, I will move over now to the actual spanner. We're a modifiers on, I want to press control A. To apply that, I want to press Tab. And now you can see just how much geometry that actually took. Now you can get away with a little bit less geometry. So if I press control Z and just bring it back and just bring it down one. So if I bring this down one like so, and you can see that it's still looking quite good. But if we put the viewport level up a little bit, it's nowhere near the level of this. If I put it on three, press control a press the table. You can see now there's not so much geometry, but we're still getting a pretty decent effect. Okay, so the last thing I want to show you is if we come back to our material shader and we put this back on V. So we come to our computer icon, put it back on EV, and now we'll just scroll around and zoom in to this wood. Now, what does ambient occlusion do? So I'll put a brief explanation down the right hand side of what actually ambient occlusion is. But we can actually enable it by coming over to our computer, putting this on V, and you'll have one that says ambient occlusion. When you click this on, you can see already that we really, really get much more shading on here, much more realism and things like that. Now as I said, you can get textures here. They have ambient inclusion already built in. But I find actually doing it this way generally gives you a better result. Now the other thing you can do is you can mess around with the ambient inclusion and really bring it up or down, mess around with factors and things like that. And really get kind of the shadows that you really want on the surface of the actual object. So that concludes the material and texture introduction part of the course. And I hope you all got a lot out of it and have a much better understanding of maps and materials within blending. So with that said, let's get on with the show. 14. Techniques for Texturing Wood Beams in Blender: Welcome back everyone to the blend that creates course stylized three D models. And this is where we left off. Now the moment this what we're using here, this shading panel isn't really ideal for what we want to do. So what I'm going to do is I'm just going to pull that down. I'm actually going to pull this thing across. So if I grab down the bomb left inside where the cursor is, I'm going to pull that across like so. And then what I'm going to do is I'm just going to move this out and this should be UV editing. So if you come down here, UV editor wants to be tied. Now if I press tab, we will see Zouma a little bit. On this left hand side, everything opens up, which means I can alter the shader, I can see what I'm doing, and that can alter the UV map. So if I want to come in here or 90 to spin it round together right way, I can actually see what I'm doing, which is really, really great. Now one thing that we're going to have is let's just put that back a minute, because rather than spinning these round every single time, what we want to do is we want to do this all from the shader. We also want to make sure that we're happy with how big the wood is. Now you can do this on your actual, so on this on here, we can actually go in and alter these on here within the asset manager. But honestly, preferably, I like to do it on a project basis because these are really nice, but they might be the right way on another project. Now if we turn these round on our project here, there'll be turn around for all of the parts within this project. So if I come in, I put the rotation, so let's turn the rotation round to 90. And let's also come in to the other one, because we have two of these on this one and we're going to turn the rotation around on this one to 90 like so. And then finally what I'm going to do is I'm going to also come in and make this scale a little bit bigger. Because what they'll do is it'll alter this UV map and make the scale bigger. If I come in and put this on, let's say 1.5 so you'll notice there rather than go one by one, so if I put this on 1.5 you'll see that happens. But rather than do that, we need to alter all of these. So I'm just going to grab with left click, grab the all, pull your mouse down, and then put them all on 1.5 And there you go. I'll alter them all to 1.5 Now if we alter these all to 0.1 you'll see what happens. They get very, very blurred. So that's one point on 1.5 And I think 1.5 is actually going to be really, really nice for us. So let's now come in to this one. Let's put those on 1.5 as well. Now the one problem you're going to have is when you've changed these all to 1.5 you're going to have some repeat. We don't actually want repeating, so what we want to do is maybe turn it to 1.2 or something like that, just so we don't get these repeating. So let's put it on 1.2 and let's also put the next bit. So this bit here, also 1.2 And now we're not going to get as much repeating. We are still going to get a little bit, but not as much. Now what we can do is we can come in press G, once we've grabbed it all, then move it around a little bit, and now you'll see very little repeating. There's a little bit here and there, but not as much as we did have. So that's looking pretty nice. Now what we need to do is we need to basically do the same thing on these other ones. So what I can do is instead of going through all that, what I can do is I can come in, grab all of these like. So then what I want to do is I want to basically put this material from here onto these. If I come into this one, I can press control L copy or link materials and there we go. Now they all look the same at the moment. What I'm going to do is come into this one. I'm going to make sure, grab the all with a smart UV project. Click okay. And there you go. Now we can see we've got wood that's lock in similar but different to this one. Now I'm going to come to this one and then I'm just going to do the same thing. So smart UV project like so. And the reason I'm doing them individually and not altogether is because if I do them all together, it will take up a lot of UV space at the moment. If you click on that one, you can see it's took up this UV space. If I click on all of these and press a smart UV project, click okay. You'll see now it's took all of the UV space up. So all of that space now has been taken up. You can do that. You just need to be careful that they still look the same resolution as the ones that you have not done. Now let's do these last two here. So I'm going to grab them both. Smart UV Project. Click Okay. Tab, double tap the A, and there we go. Now let's have a look at what this looks like in Material View. So there we go, this is in Material View. Now the one thing that you do have to be what you have to consider, maybe if you was doing this, is just that the wood grain is going a certain way. So in some projects, you might want that wood grain on the ends of these blocks of wood to be going a certain way. Luckily for us on this one, we're going to be using these and turning them around and things like that. Which is going to mean that it doesn't really matter which way this is going on, these buildings, they're not all going to be going the same way. It's just not how they would work. All right. So I'm happy with all these woods. I think I'm happy with, you know, are they bent enough? That's the question that you need to ask yourself before you actually want to start building with them. So I think I'm going to do is I just think I'm going to bend them around a little bit. So the final thing to do before finishing is if you come in. And you grab one there. Put on this little board here, which is called proportional editing. So if you click that on, come down then so click it on, come down to where it says connected only on because we don't want to alter the other woods around it. And then put it on random. And then what you're going to do is just going to press one and you're going to press shift space bar because I've gone into a new shading tab, so I'm going to move on. And then what I'm going to do is I'm just going to pick this up and pull it out and you'll see what that does. You want to be very, very gentle with this? Very, very slowly pull it up like so, just to make them a little bit more bent. Now what I'm going to do is I'm going to come in to all of these. I'm going to grab this one here, this one here, this one here. And then shift this one here. Going to press one. And I'm just going to pull them up gently. Maybe a little bit down as well. Let's pull them down, let's have a look they're looking at, it might feel like it's taking a long time to do just these bits of wood, but once you've actually got them, you'll see it's absolutely worth doing this. There we go. Double tap the. Now let's come into these parts. We'll alter this one first, pull it up a little bit, alter this one, maybe a little bit too much. Let's come into this one then. So remember the other thing is that because we've done these, we're not going to just use these for one project. We can use these for as many projects as we have. Wherever we want stylized wood, we can use these pieces of wood. And that's another reason why we're really taking our time with making these. Okay, now let's go over to our asset manager and what we're going to do is in this actual scene, we're going to press the, I'm going to press, and I'm going to call this, I think they're called wooden blocks, so we'll call them wooden blocks. So now I'm going to do is, first of all, I'm going to come over, grab one of them because I know where they are. Press Dot, then it'll take me to all my wooden blocks which are here. And then what I can do is I can come down, grab them. All right. Click mark as I set, and then it's going to load them all in. And then finally I want to come down to unassigned. And let's have a look, see if they're in here. I think on this actually it's going to be the current file and here's all our blocks. I put them in the wrong place and we can see this is what they're going to look like now. Now you can see when I drag these out, I can just drag them out. Simple as this. I can actually have a 1 meter, 11. And you can see just how easy it is to drag them out easy. They all look different. Now let's delete those out of the way because I need to put in the current file. I'll actually work with this current file. And what I'll do is I'll click plus and I'll call them this one here, Wooden blocks, like so. And then what I'll do is now I'm going to go to unassigned. I'm going to drop them all in to wooden blocks. So I'm going to go up to file Save. And there we go. Let this start disappear. Let's go back to modeling. Now all you want to do is you want to put these over here just out of the way. Now make sure when you're moving them, don't move them with, you know, I don't want a proportional editing on, so I'm just going to move them over there like so. And then one I'm going to do is I'm just going to press double tap the and there we go. There's our wooden blocks. The reason I've moved them out there is in your asset manager, you need to have them in a file. And this is why you could take these and drop them in your asset manager instead, which might make it a bit easier to work with. In other words, if I grab all these, press control C and then go to my asset manager, which is this one here, I can come in control V, drop them in place, and here they are, they're in here as well. So then we could actually set these up in our asset manager over here as well, and then you can have access to them, again, the same way that you've got access to these materials and textures. So completely up to you how you want to do this. I'm going to delete those out of the way and just keep this clean, this part. And then what I might do in the future is I might put those in their own asset manager. Because I like to have many, many different asset managers. Otherwise I find like this asset manager, it's already a 3.37 gigabytes. They tend to get a little bit bloated, so I don't really want that. So what I tend to do is save my blend files that I'm using for asset manager and put them in the same folder. So as long as you can have many blender files in the same folder, and then you'll have access to them. In other words, let's just open this. So you can see here, this is the three, Where is it set up? Here we are. So this is the texture and geometry nodes. As long as I'm putting him in this set up, as long as I'm saving my Blender files in here, I will have access to them within the asset manager. All right, So I'm going to close that down. I'm going to actually close this down at the moment because I'm not going to need access to this anymore. So let's close it down. Let's just save it out. And now what I can do is I can actually start building with the I put this on material, double tap the A, and now I'll just show you quickly just one that I can bring in. So if I go to Asset Manager now, come over here, let's put it on wooden blocks. Let's, let's pick a 2.5 meter. We shift space bar, move. And now I can actually put it into place wherever I want it. Obviously what I'm trying to do there is I'm trying to put them in the place of where these cracks are and I can actually start building this out. Okay, so what we're going to do is we're going to actually, on the next lesson, I'm just going to leave that on The next lesson, what we're going to do is we're going to make the other bits of wood that are going to be these ones down here that are going to have those blocks of stone in them. And then we can actually start with the supports as well. So what we should have by the end before we actually start, we should have some walls, we should have our wood, and we should have the posts that are gonna go down there. And everything is going to be point an asset manager, so we can just drop and really start building this fast. As you can see, it's really slow to start with, but the pace will be so fast once we've got these in. It'll be incredible, trust me. All right everyone. So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 15. Reinforcing Wood with Stone Supports in Blender Modeling: Welcome back everyone to the Blend, the Create Core, stylized three D models, and this is where we left off. All right, so let's now think about these blocks that I'm going to go up there. So what I'm going to do is I'm going to press shift date. I'm going to bring in a cube. I'm going to bring the cube over here. I'm going to make it smaller, so I want it to be a little bit thicker. So if I grab one of these shift, just bring it over and we're going to leave this out all the way after. But what I want it to be is a little bit thicker than this W. The reason is because obviously these are supports. We don't want it too thick, but we do want it to be a little bit thicker than this. We can see if we bring this down, it's way, way too thick at the moment. So I'm just going to process and make it a little bit thicker. So now the next thing I want to do is I'm going to leave that other way. I'm going to put this to get a nice measurement of how high I want these blocks to go. So I'm going to stick this in the floor like so we're going to pull this out into the corner here like so. And then one going to do is now I'm going to grab the top of it. So I'm going to press tab grub, the top with face select. Then we press shift space bar, Move, pull it up. Now the moment you can see I've got proportion editing on. Turn that off, we're not going to need it on, and let's pull it up to somewhere like that. That's how tall we actually want it. Let's actually have a look at how tall this actually is. Press tab. Go to item. At the moment you can see it's 2.36 If I press S and Z, you can see this z dropping down is 2.36 Let's set it to 2.4 and then we'll have a good round number for it rather than 2.36 Now what I can do is I can pull this out. Now what I want to do is I want to create perhaps four of one type and four of another type. So what do I mean by that? First of all, what I'm going to do is I'm going to create the wood. Now we're going to do the wood exactly the same way as we did with the others. So what I'm going to do is though, I will make it a little bit different though. Let's press shift D. So we're going to create four different types. Shift shift D, like so. And then what we're going to do is I'm going to grab each of these. Press tab and we're going into the first one. Control left click, right click. And then the next one, Control law, left click, but this time not right click, just drag it up a little bit. Control, bring in some edge loops. Left click, drag it up, left click, control left click, drag it down, left click. And then control. And then just do whatever you want with this one. Something like that we're going to end up with. All right, so now the next thing we want to do is we want to randomize these. So we're going to press a to grab everything, mesh. Come in, and we're going to go to transform. Randomize. Actually, that's not looking that bad. Now the reason that happened is because I didn't reset the transformations. I'm going to turn it down a little bit, though we don't want them quite so randomized. So you can see now there's a little bit of randomization on those. Looking good so far. Now let's press tab. Let's press control all transforms, right click Origin to geometry. And now what we're going to do is we're going to actually come in and we're going to give them some levels like we did before. Generate bevel like so turn it down to not 0.1 like so. And then I'm going to press control L link materials, not L control L link or copy modifiers. And there we go. Now what I want to do is I want to go back to my user library, come down to materials, and we want to go with the main wood. Now the problem is if I drop this main wood on, you're going to see two problems that are going to happen. First of all, if I come in and drop this on there, you'll see that it's going to be blurred again. And the reason for that is we haven't wrap these yet. And second of all, you're going to see that when I unwrap this one, so you smart UV project. Click okay. Actually, that's gone on the right way. I'm just wondering if this has been changed. So if I go to shading panel, yes, it's actually been changed in this file. I didn't actually know that. So once you've updated one of the shaders in here, even though you're using it from your asset manager, it will update it within this file. Not in the asset manager file, but it will update in here, which actually is really, really handy. So now what I can do is I can go back to modeling. I can have a look at that, and that's absolutely fine. So now we can do the same with the other ones as well. So we can grab each of these, drop it on this one, Press control L link materials, and then come to each of these. And then press tab A to grab them all. Smart UV project. Click Okay. And there we go. We can see these log entirely different from each other. Now I'm really, really happy with how those look. I'm happy with the thickness of them. I think I am. The next thing now that I need to do, I can make the smaller if I need to. Anyway, the next thing now I need to do is think about the blocks that I'm going to be using with these. The other thing is I want four more of these. So what I'm going to do is I'm going to grab these shift D, drag them over. And then what we're going to do is I'm going to press Tab, make sure I've got them all grabbed, Go over to my shading panel, come back to them, press Tab again. And there it, they all are. And then I'm simply going to press A and move them over just so they're different from these ones. Now why I'm able to do that with this texture is because this texture is a seamless texture, which means that it's basely repeats itself over and over again without any seams along here. So that's why I'm able to do that. I'm able to put them however I want. That's why it's really good using seamless textures. Now there's a real big difference between UV mapping a asset and using seamless textures. I'll put down on the right hand side here the little bit of difference that there is. But basically with this technique, you struggle to get the shading and the lighting along the actual texture. When you're working with UV mapping it, you're able to actually put darkness and light and things like that up against other objects touching these. But with seamless, you're not able to really do that apart from the way that we've just done with this bevel where it makes it a little bit lighter along these edges. All right, so now we've got that. Let's actually come in there and work on our blocks. So what I'm going to do is I'm going to come to this one first. I'm going to grab the top of here, I'm going to press shift S Custer selected like so. And then what I'm going to do is I'm going to press shift and we're going to bring in a cube. I'm going to press the S Born to bring it in to where I want it. And basically I want it a little bit bigger than that, so this is how it's going to look on the top. And we want this to be shift space bar, move a little bit down just so it's above that top. And then what I'm going to do is with this one, is I'm going to get variations with this one. I'm going to grab it, press the S, born to bring it out a little bit. And there we go. In fact, before I do that, I'll actually bring it over to this one as well and then we can make use because they all need a top of them on them. Some of them are going to be pulled out like that and some of them are going to be flat. That's the difference I want to make them with this one. I'm just going to press controls there just to go back. And then what I'm going to do them is I'm going to put a block on each of these. How I'm going to do that, I've got the right size of the block. What I want to do now is I want to come to, I want to grab this Shifty. Let's press control all transform, right origin to geometry. And there we go. And then what I want to do is 1234567. So I'm going to do is I'm going to press Shift, Duplicate it. Grab them both. Duplicate them. And then grab three of them and duplicate that shift. Now I've got seven there. That's exactly what I want. Now what I want to do is put these blocks into each of these parts. So I'm going to come to this one first. Grab the top of it. Shift cura selected. Grab this one shift and selection two. Cursor. There we go. Now let's do, we'll bring them down all at the same time. So I'm just going to press shift Cal, grab this one. Shift selections cursor. And then we're just going to do the same thing for all of these just to get these blocks into where I actually want them. Again, you will think that this has taken a long time, but you'll see again in the end that this is going to speed up the process of actually building out buildings to a very fast way. And also that will look really realistic and really professional. Let's grab this one, Chi S, and then this one. Shift selections Cursor. All right. Now let's grab all of these. Let's press one, and what we're going to do is drop them down to the same height as this one. So, all right, so now we want to do is we want to vary these a little bit. Some of them we want to look, you know, we're a little bit smaller but a little bit longer. So I tend to do now is I'll come in, I'll grab this one for instance. And then what I'll do is I'll pull it down. I'll come to this one, I'll pull it up a little bit, and then I'll come to this one. I'll pull this one down a little bit and maybe rotate it just a tad, so and then I'll do the same thing with these ones. So I'm going to come in, I'm going to grab this one a little bit, I'm going to grab this one. I'm going to grab all three. Actually I can do them pretty much all at the same time, so R, Y, rotate it round and then grab this one. And what we're looking for here, of course, is variations because we want them to look different. All right, so they are those, we can say they're already looking different. Now with the back ones, what I want to do with these is I want to actually pull out the tops of them, so I'm going to grab each top of these. I'm going to make sure that where my interlocking links is, we're on individual origins. If we have it on medium point, you'll see if I press S, it's going to pull them out all from the point up here. We don't want that, we're going to pull them out on individual origins. Now if I press S, we can see they all get pulled out individually, and that's perfect. Now what I want to do is I want to come in and I want to drag these down to the bottom off here. So I'm going to press Shift D, drag them down, and I want to spin them round. So I want to press R Y 180. And because we're on individual origins, it will spin them all round at the same time. And now we can press three on the number pad and we can go inside view. And now we can bring them all down and put them all down at the bottom like so. Now you will see that these are the same as these, but you're really not going to notice that at all. Now let's do the same with these ones as well. And the other thing is what you can also do is instead of doing just that, you can actually spin them round from here as well. If I put this on to medium point or 180, you'll see that they all get spin around. The one problem you're going to have is of course you've got to line them all up. But if you really want to spin them round and make them all look different, then you can do it that way as well. All right, so let's just put them back there. I'm going to keep them the same. Instead of doing it that way, all I'm going to do is I'm just going to come in and make some of them bigger, some of them taller, and just make them a little bit of variation from the ones I had before. Now let's do these ones, so we'll grab these ones. What we'll do is we'll press shift D, so I'm going to make sure that they're at the bottom. So if I bring them all down to the bottom, now you can see we have one problem in that the need spinning around. These ones, these ones didn't, but these ones do. So what I'm going to do is I'm going to press R and X 180. Spinning them around, press one, and now I'm going to drop them all down to the floor like so. Then what I'm going to do with these ones is I'm going to mix them up a little bit. Maybe rotate this one a little bit differently, like so, like, so. All right, so we've pretty much got all of the parts we need. The one thing is we need to put parts along all of these now. So let's do that next. So what I'm going to do is I'll, I'll do these first because they're a little bit easier. I'll make sure my work is saved out. And the other thing is, while I'm working in this kind of really small space, it does make it hard to work. So instead of doing that, what I'll do is I'll go back to modeling. And then what I'll do is I'll enable me to much easier grab these and mix them up a little bit. Also I think what I'll do is I'll grab these before finishing and just move them over here just so I have a better view of what I'm actually doing. The other thing you can do is as well, you can grab all of them and press Shift H. And what they'll do is they'll light everything else out of the way except what you're actually working on. So now you'll see if there's no building, no nothing to take, you know, away what you're doing at the moment. And now you can just focus on these. All right everyone, Sir, hope you enjoy that. Hope you're following along really nicely. And I'll see you on the next one. Thanks a lot. Bye bye. 16. Adding 3D Support Variations in Blender Tavern Design: Welcome back everyone. To blend the create, core stylized three D model, and this is where we left off. All right, then what we want to do now is let's do these first because these will be easy. If I press one, I'm going to press shift D. And what I'm going to do is I'm going to bring this one down, press S's'm, going to press shift, bring it down to here and make it a little bit different like so. Now come to this one. We can see we've got a little bit of an angle on this one. So what I'm going to do is I'm going to press Shift, bring it down. I'm going to press R ninth, spin it around and then sens Ed, make it a little bit different, like so. And then, and a little bit of randomness like you can see all we're looking for here really is randomness. So shift D bring this one down and then express essens bring it up and then this one express shift D bring it down and then shift D bring it down. And we'll leave that one of the same. All right, so you can see now we've got some pretty nice blocks. They're all very, very different. Maybe, maybe I'm just going to have look and see if these ones are a little bit too thick. So let's press essinsn, make them a little bit thinner, like soap. All right. Now let's deal with these. Now, with these, we can't do the same thing as you can see. And the reason is because these are angled and we don't want to angle going down. So I'm going to do in studies, I'm going to grab each of these. I'm going to press Tab, and then we're going to come in, grab each of these faces. Press Shift D, bring them down. I'm going to press selection, separate them, and then I'm going to press Tab, regrab them again. Press tab A to grab them. Bring them down. All right, so now we can start work on this one as well. I might as well reset the transform control. Or transforms, right, origins, geometry. And now can work with each one of these. I'm just going to press Es, shift D, S, then shift D. I'll leave that one like that. And then Sensed. Then with this one I'm going to press shift D and then shift D. And then with this one, let's do it a little bit different. So essen ed put it here and then shift D. This one maybe here and then sensed, maybe we'll put one more in there as well. Something like that thing looks absolutely fine. All right. Now let's do these altogether. So what I'm going to do is I'm just going to grab each of my logs. We're going to hide those out of the way. Now go just these blocks left, which means I can grab them all with a. Now press control all transforms right click Syrogen's geometry. And then what we can do is now we can come in and we can bring in a Bevel modifier. So if I click on one of them, I can go to Add modifier, generate Bevel. I can then turn this down to zero. Turn it up to not 0.1 or not 0.2 Let's have a will that look better now? At this point, it's probably better off bringing in a new shader. Let's see if we do that. So first of all I'm going to do is I'm going to press A Just on this one. Sorry, not a. What I'm going to do is I'm just going to grab this one on its own, press tab A to grab it all. And then Smart UV Project. Click Okay. Then what I'm going to do is now I'm going to come back to my shading panel, not my shading panel, asset manager. And then what we're going to do now, I'm looking for dark stone. So this one here, I want to drop dark stone on there, let it load up. It says compiling shader. So just let that load up. It's going to take a little bit of time. And there we go. All right, so this is the actual block. And I think what we should do before doing anything else is we should actually go over to shading now and just have a look at how this actual shader is made up so we can see again, it starts with the texture notes. We've got the four text notes, the color, the metallic, the roughness, and finally the normal. You can see the normals been set to one because if we turn this up, you will see if we put this onto cycles, it's not going to do a real lot to it, as you can see. Not really going to do a lot because there's not a lot in this of the stone. In other words, it's pretty flat anyway. Now we can see that we lead into from the color, we've got a noise in there. I can see if I want to plug just this in, you'll see what happens. So plug this in, you'll see this is the color it should be. So this is the color when it came in. But what I've done is I've actually come and brought some noise in. So I've brought in a noise texture, and I've actually used a color Ram to distribute the noise around the texture we already had. Finally then we have an RGB curve, which will dictate the overall darkness. All ness as you can see of the overall texture. So let's just put that back and then we've got this as you can see, the color ramp. And we can see that brings in these basically colors there. And finally it plugs into the base color and everything else is pretty much the same. Now I think actually as this has come in like this, it's actually looking pretty nice as it is. I don't think we should actually really have to change anything. So what I'm going to do now is I'm going to grab all of these. So I'm going to press a, I'm going to press Tab. I'm going to press A on them. And then what we're going to do is I'm going to press U, Smart UV Project. Click Okay. Like so. And then finally what I'm going to do is now I'm going to copy all of these. So if I press tab again, I've got this one highlighted press control L link materials. And there we go. Now we have materials and all of these. Now one problem that you can see is all of these apart from this one are beveled, So we need to bevel them. So I'm going to press a grab this one finally. So shift select this one, press control L, and we're going to copy modifiers like so. Now finally what we want to do is we want to grab them all and we want to make sure that they are moved out a little bit. So if we go to Mesh, come down to transform, we're going to go to randomize. And then all I'm going to do is open up this randomize and turn it down to n 0.2 or no 0.1 Let's have a look at n 0.2 Let's put it on. Not 0.1 Maybe I think 0.1 is going to mean that we don't end up with any broken parts. Sometimes with the randomize, you might end up with some broken parts. Let's actually have a look at that. We can go back and do this again anyway. So just press tab, double tap the A and just have a look at what that looks like. Actually, I think that's looking pretty good at N 0.2 All I'm going to do now, I'm going to grab them all. I'm going to right click, shade, auto, smooth, double tap the A. And there we go. Now let's make sure that we're happy with how this grain is on the actual stone. I think, I think it looks pretty good. Let's press stage. Bring back everything else. Double tap the A, and there we go. That is what we're left with. And you can see they are looking pretty nice. All right, so let's go back to modeling. And then what we'll do is now we need to join all of these together. So if I grab all of these and join them together, the one problem that you've got is the fact that you've got a bevel on there, means that when you join them together, it's going to inherit. So in other words, the amount here is not 0.02 point not one. The amount here is not 0.02 If I join these altogether, it means that it's going to inherit the bevel value and I don't want that. So unfortunately on these what I need to do is I need to actually apply the bevel, normally it's called non destructive modeling. And what that means is you're basically building things and leaving on the modifiers, you're actually applying them. And what that does is it saves you actually a lot of memory and you can actually come back and edit things as you want to. So it's important if you can, to actually work non destructively. But on this occasion we're actually going to have to be destructive and actually apply these modifiers. So what I'm going to do is I'm going to grab all of these. So I'm just going to go over the top. I'm going to press B to grab them all. And instead of going in and applying them one by one on the modifiers, all I'm going to do is I'm going to come to object, I'm going to come down to where it says convert, and I'm going to convert to mesh. And now you'll see that everything gets applied on for us already. All right, so the next thing we want to do is we want to come to each of these like so and we want to press control J. And join everything together because we want them to be complete posts control J. And now you'll see when I move this, it's all actually joined together. So let's join them all up. Control J just to make sure. Join the more look control to make sure now we'll just finish these of us up. Now we've pretty much got here except for our wall, everything we're going to need to build out this actual building done right here. Apart from the plants, the roofs, things like that. Pretty much got everything set up and ready because the best thing is about all of these parts. We can rotate them, you're going to get even more variation from the control. So now let's grab them all. Let's press control. All transforms and let's right click and set origin to geometry. And there we go. All right, so they are looking good. Now the one thing that we need to test out, if I come to this one, I'm going to, so we've got modular parts in here we need to bring in then a new one. This is wooden blocks. The next one I'm going to call new. And you can see now we've got a new one under there. But I don't actually want it there. So what I'm going to do is I'm just going to delete that one. Actually, I'm going to grab modular parts. Right click, New. And now we've got one down here and we're going to call this wooden supports. I'm, I'm going to grab the first one. I'm going to call it support. And it's a straight one. You can see these are angled and these are straight on the top of them. So we'll call it straight and then we'll call it one like so. And then what I'm going to do is I'm going to drop this into there. I'm going to press one on the number path just so I've got straight view. And then one'm going to do now is I'm going to press right click and I'm going to mark as Asset. And there we go, now it's marked as asset. So now if I go over to master manager, I should be able to be able to column two. We've got wooden blocks here as you can see. Where is it unassigned? Nothing in unassigned. And the reason is because, is it in my user library, current file? There we go. All right, so let's now make a new once, so I'm going to kick plus, I'm going to call it wooden supports. Like so unassigned. Let's drop this now into my wooden supports like so. Now if I open this up because of where my orientation is, is it's going to put it flat for me. And the answer is yes, it's going to put it right down on the floor like so, which is absolutely perfect. And that's exactly what I want. All right, so let's leave that the way now we know that works. What we can do is we can come to where our wooden support is straight. I can copy this. So one is, I'm going to copy it where it says one just before. So I'm going to press control C. I'm going to go them to this one control, then two, and then control three, and then finally control. Now we're going to go to our orders. What I'm going to do is I'm going to come to this one first control. Instead of it being straight, I'm going to call it angle, copy that part, and then in put space and then copy that part. And then I can put one and then I can go to the next 12. And then finally these other two and you get the point now three and this one. So all right, so now I'm going to do is I'm going to grab all of these and I'm going to drop them in my wooden supports like so. And then what I'm going to do now is right plate marks asset and I'm hoping on a sign. Yeah, they've all got in and they all look right as you can see. All right. So let's grab all of these. Put them in our wooden supports like in there. And there we go. So we've got wooden blocks. Wooden supports. And there we go. Now what we want to do is you want to drag these over here, put them with your other parts. Let's grab this one as well, like so. And then we can start building these up. Okay, there we go. Now the final part that we want to really have is a wall. And we just want to have a wall just so it's set ready for us. We're going to have to change all the walls. And we don't want to make hundreds of different walls, so what we want to do is we just want a wall that's set out ready where we can just move the UV's over and we can put broken parts in them and things. But we definitely need a wall to start because it is going to make it easier for us. What we'll do is we'll just create one wall. I'm going to press shift, I'm going to bring in a plane. I'm going to spin this round, the O x 90. Spin it round, and they're no longer going to do is. I'm just going to try and line it up to be somewhere around the right side. So we can see that it's going to need stretching out things. I'm going to stretch out a little bit so that then can be our wall. Now on the next lesson, all we'll do is we'll get some shader and material on this, and then we're ready to actually go and start building the main part of this out. All right everyone. So I hope you enjoyed that. I hope you're excited for the next lesson, and I'll see you on the next one. Thanks a lot. Bye bye. 17. Constructing Your First Wooden Framework in Blender: Welcome back everyone to the Blend, The critic core, stylized three D models, and this is where we left the art. All right, so now what I want to do is that yours want to create a wall? So all I'm going to do, I've got the right scaling, I'm going to press Tab, you unwrap because we don't need to mark any seams because there's clearly not any seams. And then what I want to do now is I want to come down to my user library, come to materials, and then let's drop on our wall, which is this one here. Drop that on there. Let's go to Material, this one here. Let's press tab, double tap the A. I'm just making sure that I'm happy with my wall. It's not got the material on, so I need to drop that on. There we go. Now it's got the material on compiling shaders. And there we go. Now the one thing is about this wall is I don't think I'm happy with how much of this is. In other words, I think I need to make the UV a little bit smaller. So what I'm going to do is I'm going to go to shading, I'm going to come to my wall, and then I'm going to do is I'm going to press Tab. You can see it's took up all of this UV map. So I'm going to do is I'm going to press A over in my UV map. Press the Born and make it smaller, so I I click this on. I'm happy with that. That's looking much, much better now with the wall. What we've done here is again, we've used a mus grave texture this time, so this is an actual noise texture. And we've plugged an RGB curves into this. So we can see here, if I move this round, not too much. We can see here what this is doing. It's making it darker or lighter for the main actual base color. So if a press controls head, let's just put it back to where it was basically. The closer you have the RGB curves, the more impactful it's going to be to the main texture. Whereas here, if I alter the RGB curves, as you can see, it's not quite as impactful. The reason is, of course, is because it's down here after the color Am at the moment, we've got a Musgrave, which is a noise texture. We can mess around with these. So we can change the scale as you can see. Let me just turn that down a little bit, actually like, so what you can also do is we can change the detail. If we change the detail, look, let me just turn that down. The reason is because we've got a color ramp on here. If I plug this straight in, let's plug this straight in so we can actually see what we're doing. There we go. Now we can see this is what we're altering, this grime here. Turn this, turn this off. Let's see. Let's just put that back and turn it this way. I've actually clicked them up, that's the reason why. Let's plug it into, let's even plug this straight into surface now. Let's even bring that up a little bit down. Yeah, I'm actually messing around with this. I'm making a hash of this because I'm coming from this part here. In other words, I'm coming straight from here. If I want to change how this looks as you can see now, I can actually change how it looks. Basically what I'm trying to say is without making a hash of this, is that this here changes how dark this actual base color is. This one here brings in all of this noise. That's basically what it does, so you can use a different noise texture if you want. This one here basically gives color to this. So if I make this, I know for a fact, if I make this red, it's going to change the wall to red. The same with the black. If I make this to be, I don't know, let's have a look. A bright blue. Now we can see, we're going to get some blue in there. All right. The next thing is this is how dark or light this actual wall is going to be. And finally it's plugged in then to the principle to give us this effect. Nothing else has been changed, even the strength is still the same because it's not really going to do a lot to it. And that's basically how we've actually created this shader. Again, a very, very simple shade. All right, so now we've got a wall. Let's come in then and tidy everything up, the same as what we've been doing. If press on here. Let's first of all press control or transforms. Right click the origins geometry and let's call it wall plan. Then what we're going to do is right click and we're going to mark as asset like so. And then I'm going to go to Asset Manager, I'm going to come back to my own user library which is the current file. And then what we're going to do is we're going to click plus on here and we'll call it wall like so. And then unassigned here is our wall. And we're going to drop that into my wall on there. There we go. And now I save this out, so file save, let our little dot disappear. Bring in a wall. And there we go, there's our wall. Now let's grab this wall and we'll put it over here with the other parts that we've actually created. So seven now finally we can actually start building our actual model out. Let's come to our wooden blocks. We'll go with our wooden blocks first. Not wooden blocks, so wooden supports. And then what we can do is now we can bring some of these out. So we can see we've got some of these angles. So we can see angle angle angle four, and this is straight. So we can see our angles are over here. So I'm going to do is I'm going to just bring the first one out. I'm going to put it in place right in the corner of this part here. And this is the point where you'll find out whether everything's working for one thing and the second thing, whether the building is going to be the right scale or not. Because we can see if I bring my guy over here and put him here, is the door still going to fit in there? Once I've got this other block in there, I don't know, but we'll find out. So let's now put this one in place. It was a different one from the other one. We're going to put it in place. And don't worry too much in the beginning where you're actually putting things because we're going to be moving them around. And then what we'll do is we'll grab the next one and we'll plug that in place. All right, that's looking pretty nice. Now let's bring some wooden blocks in. We've got 1 meter, 2.5, we've got many different variations. Let's bring this one in. The thing is, do not be scared at all to stretch things out or make them smaller as long as you're not altering the UV map too much. Let's pull this, let's pull it out a little bit. Next, let's pull it out, We're going to put it into place. I think we'll put it above there. I think instead of putting it there, what I'm going to do is we're going to put it this way. I'm going to put it on top of here, like plug it into there. And then I'm going to pull this out a little bit, and X's pull it out a little bit. Just going over this part here. Then what I want to do is I want to make sure that this is back slightly further than this block of wood. I'm going to pull it back to the, pull it back to here. There we go. Now as we start to build round, you'll find out that hey, you need to move these around a little bit and things like that. All right, so now we need a very, very small one. So we've got a 1 meter one here. Let's bring that in as we can see. Let's turn it around, I'll say 90. Spin it around, Let's put this one into place, just in this little crack down here. Let's plug it in, just in there. And then pull it back to there, because I'm going to have another piece of wood that's going to go over here. Now let's grab another bit. It's going to be a big bit. Let's grab one of these. Plug that up there, then drag it across. I want it up a little bit. It's sat on that support as you can see, X holding shift, making sure that these are under, making sure that it's not too much out. So you can see it's probably a little bit too much out there. Making sure then that these are going under like so. All right, so the one piece is, do we want this to be out a little bit more like so and then back so it fits into place a little bit bare. I think actually that's looking pretty good, like soap. All right. I'm happy with the height. The one thing is that we might need to make the whole thing a little bit higher because this what is then going to go up to there. Now the good thing is about the next part is that we can grab all of these press of D, drag them up, put them into place where we want them. So let's say here like, so maybe they want to be a bit higher, maybe something like that. And then what we can do is we can grab this one, for instance, press R and X and spin it round by, let's say 180 and now look like a completely different piece of wood. What's more, you can also press R Z 180. Spin it around that way as well. And now look like a different piece of wood again. And yet everything's falling in place. So now let's grab this one. Let's spin it around, so R x 90. So let's grab this one then, R Y 90. So now we can see completely different pieces of wood, which is exactly what we're looking for. All right, so now we've got these in, and we can see already that we're getting somewhere. Now let's bring in some smaller parts again. So I'm looking at the 1 meter ones which are these. So I'm going to bring this one in, spin it around, so R Y 90. And then what I want to do is I want to pop that into this corner here. So I'm going to grab it, bring it across. I'm going to press and bring it right in, making it live very small in comparison, like 180. Let's see if your looks bear that way. I think it actually does double tap the A. And then I'm just going to pull it out a little bit. All right, let's now press shift. Pull this over. The other thing is don't be afraid. If you're not happy without the wood looks, just grab it. Press Tab Suv Project, and just wrap it again. If you're not happy without that looks, go back to shading panel, press Tab and then press A and make it smaller press. And now you'll see that that bit of wood looks entirely different. Only if you really need to, I would say do that. We can see here that this one looks completely different from this. Let's press Shift D. Drag this out to something like that. Spin it round, so 180, making sure it's covered underneath. And then what we'll do is we'll drag it over here, shift D, and I'm going to spin it round the other way now, R Y 180. Then what I'm also going to do is press 90. And let's have a look. Because we have made them quite small. If there's a big gap in there, we don't want to big gaps. So I'm going to press, Son said stretch it out a little bit. And there we go. Now you can see already this is really coming together really, really fast because of all the work we did. Now let's go back to Asset Manager. What I'm going to do is save out my work. And then what I'm going to do is now I'm going to bring in our first wall on the next lesson. And we'll start getting those in, and then we can actually start bringing in the other little parts as well. All right everyone. So I hope you enjoyed it so far. And you can see really how easy it is now. Now we've got those bits in. What we'll focus on first is we'll focus on this main wall here. And I tend to focus on a front bit and then I'll work my way around the side. And I tend to leave the windows and everything like that till the last part. I'm not sure if I'll do that this time because I want to keep you engaged as much as possible. So we might actually going to make, you know, a couple of windows or something in the meantime. All right everyone. So I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 18. Creating Walls and Cracks for Realistic Tavern Textures: Welcome back everyone to the Blend, The Create Core, stylized three D models. And this is where we left off. All right, so let's bring in our walls. So we've got a wall here, let's bring it in. So I'm just going to slot down there. And then all I want to do with the wall really is I want to make sure that it's just going to fit in place in really, really nice place. So I'm actually going to come to this square now, and I'm actually going to delete it. And then what I'm going to do is just make sure that I'm happy where this walls fin so you can see here, I need to pull it back a fair bit. And then you can also see this top bit at the moment isn't really fell in place either, so I'm just going to press Delete. And then what I'm going to do is I'm going to stretch my wall now. Sensed pull it up, put it into place like so. Now we can also see that this bit here round here isn't looking too good. We need another block of wood in here and we need probably another Be wall. But before I do that, what I'll do is I'll press shift. I'll copy this wall. And then what I'll do is I'll bring it over again. What I want to do is just make sure it's fell in place. Delete this block. Delete it out the way. Let's put it right in the center. Now we know this wall is high enough. We're going to pull it out. And x, I think it was. Yes it is. Let's pull it back. Make sure it's in there, nice and neatly, making sure it goes to the top. I'm going to also delete this out the way. Delete, there we go. There's a wall in. Now let's come to the top. I'm going to press Shift D. Bring it up, Press, and don't worry about the material or anything yet, let's put it in. What I'm going to do, instead of deleting this out because I still want this part, is I'm going to come into both of these press tab and just grab the bombs of them and just pull them up into place. Then what I can do is I can then pull this out and X pull it out. And then I'm going to press shift D, drag it over, press one and X pull it in. And then I'm going to slot that into place like so. Now we need a wall going into this part and a piece of wood. So what we'll do is we'll go back to our wooden blocks and we'll get a two meter one. Say look, is that going to be high enough? Maybe a three meter one. So we'll come to our 3 meters. Spin it around so R Y 90. And let's pick it up. We can see here, it's going to be way too long, so we don't want that really. What I'm going to do instead, I'm just going to shrink it down. Now, shrink it down, put that into place, so now we can grab this wall shift, D, R, z 90. Spin it round, let's put that in place. And Y, so let's also make sure it's far enough in. Then finally, now let's come in and think about this part here. We've got a little gap down here. Everything's fine on that. All we need to do now is get a piece of wolf and bring that down and plot that into place within here. It's only a tiny, tiny bit, so we'll just put it into place like so. And then I'm going to do is going to grab the bomb of it with edge select on each edge select is on grab the bomb and then pull it down. Now we can see we have some problems. First of all, the wall law looks the same. We don't want that. We're going to do is we're just going to come to this part smart UV project. Come to the next part individually is easier, then find this one and then finally this one. All right, now we can see we're getting somewhere now. This one still looks a little bit stretched, so I'm going to actually look in the UV map now by going to shading panel. I'm going to press Tab, and we can see the problem is here, they're not unwrap correctly. Why is that? The reason is because we need to go in, grab them all, and then press control all transforms right click origin geometry because Blender still thinks they're all the same. Instead of now what I'll do is I'll grab them a to grab them all. Smart UV project. Click Ok, and now you'll see they've unwrapped all the same. Now all I can do is I can press pull them out and get them double tap the A to be the size that I want. Now, I think at this point, it's a good idea to make sure that our lighting is okay and see how we're getting on with this. So what I'm going to do is I'm going to save our work. I'm going to come over now to rendered view sin cycles. And I can't really see anything at the moment because of the way that the sun is. So I'm going to come over to my world and what I'm going to do is I'm going to rotate around the sun rotation. So if I rotate this round slowly now, we're going to start getting a really, really nice view of what our actual building is going to look like. And you can see already it's looking fantastic. So now what we can do is we can just Build up this front. So the next part is if we go to Asset Manager, going to be wooden supports. But this time we don't want the ones that say angle, we want the ones that say straight. So we just need three of these laying out. So if I put 12.3 and then I'm going to do is I'm going to place those on top of here. If I grab the first one, I'm going to place it roughly in the same place. The other one doesn't need to be exact, just needs to sit on top of this part here. And the other thing is we need to make sure that these are stretched out a bit. So what I'm going to do is I'm going to put it halfway in between. The same for this one. And do the same thing. So I'm going to make sure that it's not crossing over this before I actually make it a little bit longer. I'm going to put it into place like so. And then I'm going to grab this one now, and in fact, we'll pull that one halfway as well. And then I'm going to grab this one, put this one over here, and then we're going to pull it up to here. And making sure that it's going to go in place, maybe something like that. Again, we can move these around as we want. Now, I'm going to grab all three of these. We're going to press one and then what we're going to do is we're just going to press and's and just pull them out a little bit so the sat on top of those points there. Now we can see that we do have a problem in that we need a piece of wood in here. So I'm going to grab this piece of wood here. Shift. Let's bring it up, let's put it in place. We can see we need a bit of a difference in length, So S and's pull it out. Let's pull it into place. Maybe a little bit further back. Because we have to remember that we haven't got our walls in yet. Maybe just leave it there. Now on this time, what I'm going to do is I'm just going to come to this one, I'm going to come to face light. I'm just going to delete this face out of the way. Because I want to keep the rest of this here. It's okay down here, we have a good idea. But up here I think we should keep it a little bit easier for ourselves. So I'm just going to put it like that and I'm just going to get rid of the top as well because I don't really need that. Now in this one I'm going to do pretty much the same thing. So I'm going to come in and grab this side and the top delete faces like so. And then what I'm going to do now, again, I'm going to grab my wall. So both of these walls because they're roughly the right size. And then what I'm going to do is press shift and bring them up into place. Now we can see we need to make them a little bit longer and let's make them a little bit longer. The thing is, with the walls, they're easier to place because you can just actually stick them into the wood. So we need to make sure that they're also a little bit out of here because the wood is going to be on top of there as well. Now, let's grab both of these walls now. So if I grab them both, go to shading and then what I'm going to do is press Tab. And now I'm going to do is just move them around. So now what will happen is they will look different from these walls down here. And that's exactly what we're looking for. Double tap, the and there we go. There's what we've got so far. All right, so now what we're going to do is we're going to actually carry on and we're going to build all the way up to the top here. And then what we're going to do is we're going to do some other things to the front just to make it look a little bit different and things like that. And then I think we'll build around this side and then finally we'll start actually making, I think some windows just to keep it, you know, a little bit of variation and things. All right. So also we can build this fit out as well. This is a little bit different apart from the roof bar thing. We'll leave that till we've built out this other top part up here. Okay everyone. So I hope you enjoyed that. And I'll see on the next one I'm going to save out my file, so file save and I'll see on the next one. Thanks a lot. Bye bye. 19. Incorporating Brick Variations in Blender Tavern Models: Welcome back everyone to the Blender Career Course, Stylized Three D Models, and this is where we left off. All right, so let's carry on building this up. So let's get this final bit up here. What we can do with this. You can either grab these parts of ward or you can put new parts in. You can spin them around and things and just make sure that they're looking different. I'm just looking there to make sure that they look a bit different. What I'll do is I'll come to my asset manager. I think what do I first of all, does that one look a little bit different from this one or is it the same? Yeah, I think it looks different enough. Let's put on the top first. I'm going to come in and grab 2.5 and grab a three. I'll pull this one up. I'm going to press one on the number pad and I'm going to pull it into roughly the place where I want it, which is somewhere around jaws fitting on top of there. And then I'm going to do the same with this. We pull that into place. Then what I'm going to do is now I'm going to pull this back to here. So I want to make sure that with this part go in over this pulse, you can see it's a little bit, not quite high enough. Needs to be just like so. And then the same with this, now pull that up a little bit, pull out. Then what I want to do is I want to pull this out a little bit and x. I also want to just make sure that this is not the same as this. As you can see, what I'm going to do is x 90. Now you can see it's the same as that one, x 90. We can see it's completely different. Again, with this one, do they look the same? This one doesn't look the same. This one doesn't look the same either. So that's good. What I'm going to do is I'm just going to steal this one shift, drag it up. This of course, is going to go right next to this part here. Double tap. There we go. I think I'll just spin this one round as well. Y 90. It looks different. All right, that's now on the top part, we're not actually going to be having these blocks, for instance, we're going to make this one probably a little bit different and then put the tops on these parts. In other words, these are going to be mainly wood going up here. We can see that we've got blocks here. We don't want another block up there. We want to make it a little bit different. First of all, I'm going to grab this one to make it a little bit different. You should always think about how you can vary your building then. What I'm going to do now is I'm just going to pull this part back a bit like so. And then have it go back a bit. Double tap the A. I think if I pull it back a little bit more so then what I'll do is I'll try and pull this out, your little tap. And there we go. A thing about's looking a little bit of variation there. All right, now let's think about these topics. We might be able to get away with 2.5 Let's have a look. So I'm going to bring in a 2.5 so I'm going to bring in another 2.5 So you can see how I drag those on very, very easily. I'm going to put this up to the top of here. First of all, I'm going to make sure it's fitting in place. In other words, it's going to fit on top of this. You can see I've got a fair bit of work here to make sure that the height of this is going to be okay. Because I think I'm going to keep this height. I think I'm going to have this height that it is what I'm going to do. Instead I'm going to lift up my roof just to fill on top of there. Because I think that's going to be much it gives a much better look with the height on there. What I'm going to do then, I'm going to keep that there. I'm going to bring it across shift, bring it over into there. I'm going to spin it around the Y 180. Then what I'm going to do is I'm going to spin it around again. I'll said 90. And then I'm going to pull this fit out, shift D. And then obviously I need to spin it around again. So I said 90 and now we can see that one's facing that way and that one's facing that way. We can't see, they look the same at all. The one thing we can see though is that we need to pick it up a little bit because it wasn't sat on there properly. But there it is. And now we can put this one in place over here. We want to sit this right on top of there. We still want to keep to our corners. Even if we've got a little bit sticking out like that, that's absolutely fine. I would say though maybe that needs pulling out of jawst a little bit to give some edge down there. Again, with this one. This one also might need pulling out a little bit, but we'll see when we get to this part, let's place the way you've got to do anyway. You've got to, you know, change them around a lot. All right. So now let's come up and what we'll do is we'll grab our wall. Do we have a wall in there? No, we don't. So we need to grab this wall here, right in there. We can grab it. There we go. And then one going to do is I'm going to pressure D and because you can't see this wall, there's no point in actually altering it. You just want to make sure it's tall enough so I'm going to press En's head, pull it out. And then one' going to do, I'm just going to make sure it's not, you know, sticking through the bomber there. And then all I'm going to do is pressure D, going to pull it up. I'm going to press sensed, making sure that it's in the right place. And I'm going to delete this face. Delete bases, there is my wall. Let's pull it out a little bit. Pull it into place, there it is. And then what we'll do is we'll grab this wall. I'm going to press Shift D, bring it up, make it a little bit smaller. S's Ed, like so. Then I'm going to come in, I'm going to grab the top side, delete face. Then we'll do the same with this one shift D, what you're looking for when you're doing this is to have variation. Pretty much every single wall face. That's the aim as the next pull it out like so. And then let's come into this part and this part, Delete pass. There we go. Let's save out our work. Now what we need to do is just change these around. I'm going to come into this one, and this one I'm going to go to my shading panel. I'm going to press tab press, Move those around, making sure they look a little bit different from the ones below which they do. Now, double tap the there we go. I'm very, very happy with that look so far. Now let's adjust this top bit here. This is a bit harder to do. And the reason is because obviously you're going to have a roof on here. And before you do this top bit, you want to make sure that you've got your roof on because it's going to make it much, much easier. The other thing is you don't need to put the tiles on. You can actually just put the wood on, but it is easier for you actually put the tiles on first. But I think what we'll do is we'll come back down to this part down here and what I'm going to show you is how we actually make these parts look different. For instance, if I press one at the moment, we can see that on this part of the wall, we've got a window of some kind on this part of the wall. We're going to have another window on these parts here. They're just walls and they're very, very tiny, but we can actually put a bit of broken wool in here. So we'll do that on this part of go do this part of our window. And as we move up we've got a window and then we're going to have a piece of wood coming across here. We'll do a couple of things first. So first of all, what we'll do is we'll grab this part of wood here. I'm going to press Shift, I'm going to move it over, pick it up. And then what I'm going to do is I'm just going to rotate it. So I'm going to press R, Z 180, spin it around. And then I'm going to press R and Y and just spin it around like so. And then I'm just going to put this part in here now the moment this is a little bit too small, so I'm going to make it a little bit bigger. And then on'm going to do then is just pull it back a little bit and Y make it a little bit thinner. Then I'm going to do is I'm just going to stick that intermal wall like so you can see just how nice that looks. Just doing that. Now I'm going to do is I'm going to press shift, I'm going to press R 180. And we can see now when I put this here, it's going to look completely different, while at the same time making the wall look really, really nice and different from the other parts. All right, so I'm happy with that. Now let's talk about this broken piece of wall here. And we also need to put in the bottom planks as well into the floor. Okay, So let's press one. And what I'm going to do is I'm going to come to this wall here. And I'm going to press, I'm going to press Tab. So I've got face leg on. And then I'm going to do, actually I'll cut it away and then I'll show you what I did because it's quite hard to visualize. So what I'm going to do is press Tab. I'm going to press K. And what that's going to do is it's going to bring me a knife to all in. But you'll notice as I can, these are the bottom and tops of the walls. This is the left and it's the right of the wall. If I come to, let's say something around here. What I can actually do if I click Ben, is just cut away this part of the wall up to there. Press the enter Born, and now you'll see we've got a beautiful line along there. Now what we can actually do with this is we can actually put our bricks into there. But before I do that, I'm actually going to show you how to use the knife tool, just so you understand. So what I'm going to do is I'm going to put this on object mode. I'm going to press **** Day and bring in a plane. So let's bring in a plane. And then what I'm going to do is I'm going to pres seven to go over the top because the knife tool is much better if you're like central to it. In other words, if you're looking right over the top from a bird's eye view or something, I'm going to do. I'm going to press Tab. I'm going to press the button to bring in the knife tool. And then I'll show you that you can actually click on the edge. Left click, left cl, left, left L. You can actually just click around and make any shape you want. Now the thing is, you'll notice as well when we come up to this top, it actually magnetizes onto that part. Now you might not want that. If you don't want that on, just hold the control button and then it won't actually do that. It's important with the knife tool that you don't leave it here. In other words, if I leave it in the center and I press Enter, you'll see that it ends up cutting in a weird way. We don't really want that. It's important to come in and cut all the way to the edge. So if I cut that edge now, you'll see we've got a nice cut going along there. Now what this means is of course that we now have two parts of our mesh. And on one part we can actually use to do some really, really nice things with, for instance, with our wall. What we're going to use it for is we're going to come in and we're going to extrude it. So if I press and pull that down, you can see now that we've got a nice extrusion which is really, really easy to make some broken wall. All right, so now I've showed you that now you know how to use the knife tool. Now what we can do is we can go by to this part here where we cut it. We can press the tab on. In fact, what I'll do first is I'll just pull this out a little bit because at the moment it was a little bit too far back. And then what I'll do is I'll grab this part here. I'm going to press and pull it back just a little bit just to give us a sliver of wool. And now if we put it onto material, you'll see for press tab, we've still got that on there. Let's write, click and shade or to smooth as well. And then what we can do now with this, we can bring in some brick. So what I'm going to do is I'm going to grab this, I'm going to press one on my number pad. I might actually have to change that, actually, because I need to go to Asset Manager. Now, let's go to our user library. Let's go to Materials. And this is the one that we want to use on here by press tab. Now, drop my brick onto here, we'll see that hoping yes, it didn't do that. I was hoping that we could use our broken wall. What's happened now is that we've basically put the broken wall onto our wall and changed it for the other one. What we need to do instead of that is we need to press plus down arrow. And we should have one that says Wall. Let's click that on. Let's then click this arrow to go to the up. And then what we're going to do is we're going to press tab A to grab everything, a sign. And it will get assigned back to that wall. But now we've also got broken wall on here which now we can go in, grab this wall, press one on the number pad, and we're going to assign this broken wall. Now you'll see at the moment, First of all, it's the wrong way round. Second of all, these are huge bricks and we don't really want them that bit. So what I'm going to do is instead I want to press you come down project from view. What that's going to do is it's going to project it from the way that I'm looking at this. Now, in other words, if I was looking at this way and I said project from view, you'll see that it looks really, really weird. And that's because it's projecting from a really weird angle. But if gone front view project from view, you can see now that they're nice and straight. One problem we do have is of course, is that they're really, really chunky these bricks. So what I'm going to do is I'm going to go to shading panel and then I'm going to press Tab. And what I'm going to do is just grab this bit here. I'm going to pull it out a little bit. So if I press S, I can pull it out a little bit like so. And now fit it into the place that I want it. The one problem that you want to make sure that you don't do is that these bricks need to be the size, roughly of realistic bricks. So you can see these bricks, they're probably still a little bit too small. So I'm going to come to my wall, come back in and press S and make them a little bit smaller. So I'm also going to press and Y and then I'll be able to move these up and down and holding the shipborne to where I actually want them. Now if I press tab, double tap the A, you can see those bricks. They're about the right size. And if I bring my guy back down to where it was and then put lighting on. So let's have the scene lit. You'll see now they're looking pretty nice. They're actually going as part of the scene. You can see it looks as though it's really caught away. And you can see that these bricks have a lot of three dimensional qualities to them. All right, so that's that part. Now, thinking on the next lesson that it'll be better if we actually build a window. So let's build a window out. And then we can use that window to base everything else off and it will keep things fresh as I said. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 20. 3D Modeling Windows for Stylized Taverns: Welcome back everyone, to the blender course, Stylized Three D Models. And this is where we left the Re. All right, so first of all, let's bring in our asset manager again. Let's put it on. Can we put on all? Actually, yeah, maybe we can. Let's have a look. Wooden supports wooden blocks? Yes, we can. Wooden supports, wooden blocks. Let's use that instead, then we ain't got to keep swapping between them. All right, so 3 meters. Let's have a look and bring this one in. And I want it obviously to be different. The only thing I'm going to do with this is press S and X. Shrink it down a little bit and I just want it into the floor making sure that it's in on the floor. And this then we'll make sure that the building looks properly when it's actually grounded on the floor. If we don't put those in, it just won't look right. Just making sure then that this is not the same as this, which it is as you can see. So our side hundred and 80 spin it around. Now it looks different from this. And then finally, let's bring in a 2.5 meter one. Drop that in there. And this one we might need to change once we have our door in. Because the door is actually going to come up to this point and this point here. So we might need to cut some of this away, but for now, we'll leave that like that. Now let's think about our window. So what I'm going to do is I'm going to, first of all grab my guy. I'm going to press Shift H to hide everything else around him. And now we know how big roughly a window needs to be because you know, you know how big a window is in comparison to, you know, a human or a person. So what we're going to do now is press shift S cust selected. And how we're going to make this window is going a nice round window. So what I'm going to do is first of all I'm going to press shift A. I'm going to come down to mesh, bring in a cylinder. And the thing is when you're thinking about cylinders, you need to think how many vertices is it going to have At the moment, this looks great and all that, but it's going to have a lot of vertices and we don't really want that. So what I want to do is I want to put this on something like 24, for instance, like so. And that then is going to make it much easier and a much lower amount of vertices to actually work with. Once I've got that, if now I move my cylinder away, this is going to disappear. So the moment I even move it up, that disappears and you can't go back to it. So just bear that in mind. So x 90, let's spin it round. And what I'm going to do is I'm just going to pull it back just so my guy is actually in front of it. Then I'm going to lift it up, and I'm going to make it a little bit smaller. So let's make it smaller. And this basically is the start of our window, so how wide do we want it to be? I think this is a little bit too wide, so I'm going to press and X and bring it in a little bit. And now what I'm going to use is mainly just the top part here. The other part I'm actually going to bring down from this part. So what do I mean by that? I'm going to come in and just grab this part. And this part, I'm going to delete them. So delete faces. And then what I want is the halfway points. In other words, the points that are pointing down. So we can see if we press one, these points here, as you can see, are the ones where I want to come down from because these are straight near enough. So what I want to do to do that is I'm going to come over and go into wire frame. And what that enables me to do if I come now to vertex select, is now I can see where these two points are now if I press B and grab this box select all the way through, I can now come in, delete faces, and we can see that it's deleted up to this point. Now what I can do now is come round and just delete both of these. So I select it where these little points are, delete faces, and this is what you're actually left with. Now what we need to do is we need to go back to object mode. And what I'm going to do now is I'm just going to make it a little bit smaller. So if I press A and Y, I can pull it back now into the window that I actually want. So I'm thinking something like that is looking pretty nice. And now I need to bring these sides down. So I'm going to come in, grab both of these sides like so. So ship select, press one on the number pad, press and bring them down. Now you'll notice that they wobble around everywhere. Just press Z just to attach it to the actual Z axis and then bring them down like so. Then finally one I'm going to do is I'm going to press and that then is just going to fill in this whole ear and that's going to make it easier to create the next bear. Because this is basically like a mold or something, you could think of it like that. And from this, we need to take our window from it. Now this window at the moment, is going to be a little bit too big. So I am going to make it a little bit smaller, so I'm going to make it this small, like so. And then what I'm going to do now is I'm going to actually create my window from this part. It generally takes a few parts to actually create this. First of all, I always kind of start on the sill of the window. So I'll come in and I'll grab this part here. And what it is, I'll press shift like so. And bring that down a little bit and then I'll pull this out. So I'm going to press and X pull it out. And then I'm going to grab the front of it and just pull this out a little bit. And you can see already now we've got a pretty decent sill now if I grab all of this with L pull it up. Something like there, just underneath it. Press the Born. Then I can actually give it some depth as well, like so. All right, so that's that bit. Now let's put the next sillon. So I'm going to press shift D. I'm going to press to pull it out like so. Now I'm going to do, make things a little bit more complex is we want to pull it out slightly on each of these sites. So I want to make sure that I'm on medium point. Because I want it to be pulled from this point, this way and this way. And the way I'm going to do that is pressing and X. And now I can pull those out like so now I'm going to grab the front, I'm going to pull this out like so finally then, because this is looking a little bit blocky at the bottom, I'm going to grab the whole thing in object mode. Press control layer all transforms, right click Orogen to geometry. And we're going to now come in to these edges here, this one here and this one here. Press control, and we're just going to level them off. Now, I think that just needs one bevel. So one bevel, like this is fine, because we're going to level the whole thing off as well. Now let's think about the rest of our window at the moment. It'll be easier if we split this off. So if I grab this one and this one, press P selection, then it's split off. And now I can grab my main window, I can press one on it, and I won't be able to see anything, obviously because I'm in object mode, it needs to be in y ray mode. So let's not do it that way. Let's come in, grab all of this old shift and click. And then what I'm going to do is I'm going to press the F B and fill that in. And I'm doing that, so I can actually use this now to create my window. If I press one now, now I can see what I'm doing. Face select, grab this face, press the be. You'll see now I can actually bring it in to create my window. I'm going to bring it in further actually than I would normally because I'm going to level these parts off. Now, we do have some problems here. If I make this window at the moment, it's not going to go down to my sill, it's just going to come down to here. You can see we're going to end up with a part like this. We don't really want that. What we want is this to come all the way down to the bottom. But if I bring this down to the bottom, you can see it distorts our window. So we don't want to do that. What we want to do instead is we want to use the knife tool. If I come in, press K, grab this. Now at the moment you can see it goes really nice there. But how do I get the angle perfectly? I can try and line it up. All you have to do is press A, and then you can line up perfectly. Press left click to Born. And now do the same on this, drag it down all the way to the bottom left click Born. And there we go. Now we've got this part of the window. Now I want another sill coming across here. While we've got this, we might as well come in, grab both of these. And I'm just going to press J and then that will put as a piece of topology in there. All right? So far so good. Now what I'm going to do is I'm going to use this line to create some actual mesh that's going to come this way. So I'm going to press shift D, and then what I'm going to do is I'm going to put that where I want it, and then I'm going to press E to extrude, move it along the x axis, and then just pull it out to something like this. Now finally what I'm going to do is I want to grab both of these, so both of these edges here. And then I'm going to press one, I'm going to pull them out just past these edges here. So I'm going to press and X pull them out just so the past there. Now, the moment as you can see, I need to not be in front of you because I can't really see what I'm doing. So I'm just going to pull them out to there. And then thing one I'm going to do now is I'm going to grab the whole thing with L. I'm going to press to pull that down. There we go. We have a very, very nice window, Now we need to work on the inside up here. The moment we've pulled all of this out, what I want to do is I want to keep these parts. I'm going to come in, keep in this part and this part and this part, press Y like so. And there we go. Now we've got that part separated from the rest of it. Now at the moment we have a window like this, but we have this part going around here, which is going to make it actually difficult. So what I'm going to do is I'm going to come in old shift and click or click, shift, click, going all the way around. And what I want to do is I want to delete these faces. Delete faces, and you'll end up with something like that. The other problem we've got is at the moment down here, we have this edge here which we don't really want if I come grab all of these. Delete and then what I'm going to do is I'm going to press Limited Dissolve and that's going to get rid of those. Now, we shouldn't have any vertices on here. Before doing that, you will see that we had vertices here and that's what we're trying to get rid of. Delete limited dissolve, and there we go with fixed. Now the next thing I want to look at, I need to hide this part out of the way. If I hide this L, you can see that we've got an end on here. What is an end? End? One is more than four sides. Typically, if modeling you have triangles and you have quads. Quads are obviously four triangles are three. Quads are good, triangles are bare, generally, unless you're dealing with animation or something like that. But generally when we retopologize things, we read apologize in quads, not triangles. And the reason is because it's easier, it's actually easier to model and retopologize or make topology in quads rather than making triangles. You'd have a triangle here, this side, a triangle that side. And that's hard work, We generally model in quads. Now what happens is when you send it through to a games engine, like on real engine or Unity, you will actually triangulate the model for you. It actually triangulates every quad and every part for you. But you really want to gather the habit of leaving models with bad topology. Because if you send it through to someone else and they come to UV unwrap it, it just causes a mess, the lighting doesn't work in it properly, the animation is hard to do. So in general, you want to have quads in your models. Now at the moment you can see that this is 123456 sides and anything over four sides, a quad is classed as an end. Gone and we don't really want dons simple fix to fix that. We grab both of these, press J, both of these press J that fixes that issue with this part of mesh. All right, so now we've discussed that what we want to do now is we want to extrude this out on the next one and actually level this off. All right, so the window, as you can see, it's going to take a couple of lessons to get the hang of it, but once you've actually got the way to actually build windows, they're actually pretty easy. And creating, you know, many, many windows that look pretty realistic and pretty stylized is quite easy. Alright everyone. So I hope you enjoyed that. I'll see on the next one. Thanks a lot. Bye bye. 21. Designing Window Frame Decorations in Blender: Welcome back everyone to the blend that create course stylize three D models and that's where we left off. All right, so now we've got this, let's actually extrude this house. What I'm going to do is I'm going to grab the whole thing with L. I'm going to press and extrude it, L just back to their nay and see that's solid object. Now what we can do is income. We press shift and click. Just grab this ready, press transforms right click, Srogens geometry. And the reason I'm doing that is because I want to level this off. So now if I press control B, I can actually level this off and create a pretty nice window. Now the thing is when you're actually doing something like this, you want to make sure now where the window sill is going to come. So you can see at the moment, the window sill has to go all the way back here. We don't particularly want that. We want to press this tab, and I want to move this window a little bit forward like so. And you can see now we've got a really, really nice edge around there. Now, the other problem we're going to have is once we level this off, this is actually no longer going to be short. So I'm going to show you how to fix that as well. You can also see at the moment, if I right click, shade, auto, smooth, now it's looking a lot better. Now the one thing is I want to make this a little bit different. In other words, I want to make sure that this part here comes back into it at the moment It's too far pushed out. And they also want to give it a little bit of variation. So what I'm going to do is I'm going to press Tab. I'm going to press Sltage. Then what I'm going to do is I'm going to grab the front of this like so pull it back a little bit. And then what I'm going to do is going to press controller two, left click, right click. I'm going to come in now grab the front of this and pull it out just a little bit. And now I can see it gives it a really nice look to it. All right, so now we've got that bit. What we want to do now is we want to have three little blocks going around the top. The other thing is probably want to pull this part out as well. So what I'm going to do is I'm going to come into this part. I'm going to press control two, left click, right click, down to the bottom one. Control two, left click, right click. Now you can see on the bottom one, we have a problem. The problem is it's not going all the way around. Why is that? Because this again is an end. On if I come into this press shift H, you can see that we've got how many sides? A lot of sides on this. Now to fix that, we could right click face leg. We can right click, come down, triangulate faces and then right click tries to quartz. And you can see that actual fixes it. The problem is though when I move this out, it's not really going to be right. If I come in and move this out, you can see we've got really bad topology, and we don't really want that. Another way to fix this, instead of actually doing that is to come in with our N tool. So what I'm going to do is we're going to hide everything else out of the way. So I'm going to press shift H seven to go over the top. And then I'm going to press Tab. Just make sure I'm on this. So you can see here we're, let's actually go over the top. In fact, before we do that, what we'll do is we'll just press Delete Limited Dissolve. And that gets rid of those two marks that up on there. Seven to go over the top. And then what we're going to do is we're going to put it onto the vertex select. I'm going to press K, grab this vertex, press the button. And that then is going to send it all through to there. Which is great, that's what I want. Press the B, and then let's do this one. Grab this one. A, grab it all the way through to there. Now we do have one problem in that this now doesn't have them on the back. So we can come through and do it on the back as well. We could either do that or re, extrude it out, but I think coming over the top, pressing K, grabbing this A doesn't take too long, so we might as well just do it that way. You can see now we just need to join those up as well to control seven, go over the top, A, drop it in place like so. Now let's finish this off by grabbing each of these, pressing the J bone, coming to this one, pressing the J Born, and now going back around the front. So let's press seven to go back around the front. And now when we press control, we'll be able to bring in a nice couple of edge loops like. So let's press Alt H and bring back the other part. Let's press Tab. Press Alt H again to bring back everything. And now all I'm going to do is I'm going to grab my window. So all of my window, all of the bomb and my man press Alt, sorry, shift H, hide everything else out of the way. And now we can carry on working with this window. So the idea of all that was just so we can pull this out a little bit, so these two here. So we can pull them out just a little bit. So making that window look a little bit nicer. Now all I want to do is I want to put those blocks in place that I talked about. We want one on the top and one on each side up here. So the way I'm going to do is by using the topology I've already got. So we can see here we will have a nice block here, although it'll probably be a little bit chunky. Let's think about this. Can I press control? Let's click right click Control. Let's click right click and make one out of this instead, I think that's probably going to be a bit bare. And then maybe out of this one and this one. Let's give it a try. We can make them smaller if we need to as well, so there is always that. So what I'm going to do is I'm going to come to this one. Oh, Click, ****. Click. And then I'm going to come to, let's say, this one here. Old shift click. Old shift click. And then what I'm going to do now is I'm going to press shift D, just to duplicate them. Now you won't see anything happen at the moment they have been duplicated, but you can't see anything. So what I want to do is I want to press P selection. And now you can see they've been duplicated. And if I actually come in and hide this main window, this is what we're actually left with. And now we're going to come to these parts. Press control or transforms. Right click, set, origins, geometry, press Alta to bring back my window. Now at the moment we're actually having a problem where we're bringing everything back at the same time. We don't really want that. So what we want to do is grab your window, grab your guy. Grab the bomp part of your window. And instead of pressing shift ate, you're going to press the little question mark next to the shift key. And that then is going to isolate everything out. Now if I press Alt Tate, you'll see nothing happens. And that's what we want, because we don't want to bring everything back again. We can come to our guy, and now we can hide our guy other way, Press Alt, and only our guy will come back because we're using isolation and not hiding something. So let's actually hide our guy other way. Let's come back to our window now. And we can see we do have a problem in that I didn't actually isolate the other things other way. So I'm just going to press voltage and I'm going to hide out the window. And these are the parts that I actually want. So I want to, first of all, give these some depth so that I can hide everything else other way. So now we've actually resell our transformations. Let's come over to our modifiers add, modify it, generate, and we're going to bring in one that's called solidify. Now if I press voltage now I can see what I'm actually doing. That's much better. So now I'm going to do is I'm going to shift like this, shifts like this. Press the little question mark and there we go. Hide the guy out the way with H. And here we are. Now we can actually work on these parts. And what we're going to do is we're going to increase the thickness of our actual solidify. And I'm also going to make sure that I've got even thickness on so you can see once I've got even thickness on, it's going to make them even thicker. I want to then just come to this, bring it back into place using the ship born to get the size that I actually want. And I'm thinking something like that. Size is pretty nice now we've got a nice beble on there, we've got these that follow the bevel as well. And it's all looking pretty good. All right, so I'm happy with that. Now the final stage is to actually create now the actual glass and the frame on the inside. Let's do that next. So what I'm going to do is I'm going to come to this part, LP selection, just split it up. Control all transforms, right click, so origin geometry. And then what I'm going to do now, I'm going to pull this into place where I actually want it. I'm thinking I want it somewhere around here to start with. So I've got some actual edge that I can actually wit with. You can see here, I can pull it out up to this point. Now I'm going to do is I'm going to press Tab. And the problem you're going to have is once I start inserting this, it's probably going to make it harder to make those little panes that go across. So what I'm going to do is I'm going to insert and then split. So I'm going to come in, I'm going to come in and grab all of these. I'm hoping that it's grabbed all of these. There might be one on the inside. Let's have a look. So we'll use the X ray as well. So now we can see that. We can see on the inside of it with this bond without going into Y frame. And that's basically what I actually wanted. Now I'm going to do is I'm just going to press delete. I'm going to limit to dissolve this. And now if we go to x ray, you can see this is just one pane now which is going to make it easier to work with. And now what I can do is I can go round to the front and I can press the bond and I can bring this in and make that beautiful frame that's going to go round here now. Don't worry if you ain't going in further enough with the eye or you can press, you don't want to press S, You can press old tests as well and that will bring it back. Or you want to press the S button to bring it in a little bit more if you want to. All right. So I'm happy with how that looks. Now what I'm going to do is, as I said, I'm going to separate this away from it. So I'm going to press the Y button. And then this now, as you can see is separated, Just pressing there and I'll just drop it back into place. Now what I want to do is I want to separate out now these over here. And the reason is I want to separate this is because when I extrude these out, I want these to have that little edge in there and made them look a little bit nicer. So what I'm going to do is just grab the bott, press Y so, and then I'm going to press L, going all the way around. And then what I'm going to do is extrude it. So I'm going to press and extrude it out up to the edge of here. Maybe I've gone a little bit too far there. I think I'll just go back just to tad, just to give us that little relief there. And that's looking bare. Okay. So now we can go back to this part here. Now what I want to do on this, if I press one, is I want some bars going across my window. And I want some bars coming across this, like this and one down. So to do that, what we need to do is we need to, on the next lesson, probably use either our Ni tool to create some topology to make this all possible. I think we can make the downwards one. It's just wherever we want to put these ones going across. All right everyone, So hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 22. Advanced Detailing of Stylized Windows in Blender: Welcome back everyone to the blend the crater called stylized three D model on this. Where left off? All right. So the bottom one to do is going to be pretty easy. First of all though, let's separate it off. So I'm going to just make sure I've got this graph. I'm going to press P selection and just separate it off. Then what I'm gonna do is I'm going to grab just my window, because this is going to be a window with the little parts that are going to come down here. Press control transforms right, clicks, origins, geometry. And now I can finally start working on this. So I'm going to do is'm going to press Tab, come into vertex slick, I'm going to grab this vertex. And you can see that I can't join it going down there. So what I need to do is press K instead and come down, press the Born to get it nice and straight drop it to the bot and press the enter born. All right, so far, so good. Now what I want to do is I want one going across here like soap. Now with this one, this is quite easy because all I need to do is just grab this one and this one, press the J Born and then we've got that actual pain there. Now you might want yours a little bit down. If you do use the knife torch. Now with this, I want two in here. Now, I can't press control because you'll see that I end up with two going like this. But actually that is going to help us out a lot because it's be able to put them evenly in space where we want them. So I press control, you can see I've got two dots left click. And then what I can do is I can grab both of these and drag them down and put them in the same area. So you can see now we've got one there and one there. Now what we can do is we can press K. We can come in with a knife, tool, grab this one, press A and go to the side here. Enter, come to this one K, grab this one. Go to the side, press A, drop it off, Enter, and then the same with this. So now I can come to this point, A enter, then books. I've made a mess there, as you can see, escape, If you make a mess, drop it into place. All right, that's looking pretty nice. They're probably too far away from each other. So I'm going to grab both of these. Hess, bring them closer to making sure that you have a medium point on. All right, so now we've got that. How do we turn them into glass? Well, what we're going to do is we're going to grab all of these and you're going to press the born. And it's not going to work, but what you're going to press is again, now you'll see can actually create panes of glass. Now the one problem you're going to see here is that it's going to actually create another one going around the outside. There is another way of doing it. What we need to do instead is we're just going to grab all of these that we want to actually create. And instead of doing that, we're going to press control B. And we're going to pull it out like that. Then you've not got that problem of those parts being around the outside. Once you've got this, now what you should do is you should actually probably mark a seam. So I'm going to press control. I'm going to come in, mark a seam, and then I'm going to press E. And once I bring that out, you can see all the seams are marked as well, which means now it's easy to come in and grab each of these where we actually want light to be. So this is going to be the glass with the light. Now what we need to do is we just probably need to make this a little bit bigger. Because you can see we've got some edges here and maybe a little bit smaller on these parts. So let's see. Let's first of all make it a little bit bigger, like so, so that they all fit. And then let's press and Y and pull it back a little bit like so was that the right one? S Y? Yes it is. Pull it back a little bit like so double tap the and there we go. There is a beautiful window, but we've not finished yet. Because now what we can do is we can actually start to bevel everything up and get that real nice look. But they're actually looking for. So first of all, let's come to the bottom part and I'll show you what to mean with the actual sharp, especially on pieces like this. So if I press control, lay your transforms right clicks, orogen geometry. We're going to come in and we're going to add in a modifier which will be a edit. Sorry I generate and it's going to be under bevel like so I'm going to turn the bevel down then to something like Nor 0.1 And you can see here that we do have a problem in that the bevel, even though turning it down to Nor 0.1 is not really looking right. That's not where one, so all I'm going to do is put n n three. And there we go. Now it's looking much, much nicer. Now you can also see that on these edges we've actually kept some nice edges here. Which is surprising. I didn't think we would. We'll definitely see that though on some other parts where this part here for sure. Now what we can do is instead we can come to this part. Press control or transforms right click, rogen geometry, shift select this one. Now control L and copy modifiers. And there we go. Now we can see this is the part that I'm talking about. We've lost all that sharpness. We want to retain that. So what I'm going to do is I'm going to press Tab. Come over old ship. Click. So he's going all the way around here. Right click. And what I'm going to do is I'm going to mark in a sharp. And there we go. Now we can see dad's looking much, much nicer. Now we also probably want to mark sharp, going all the way around there as well. Right click, mark a sharp. Now we can see that's looking really nice. Now the one problem. That we may have is that this window, we might want to put it further back into the wall. So what I'm going to do right now before I do anything else, is I'm just going to grab in phase select. You can see that this part, by the way, it's still got my solidify on and I don't really want that on at the moment. So what I'm going to do is I'm just going to apply it. Control a, let's apply that. And now I can actually come in and pull these parts back. So I'm going to pull these parts just back a little bit further like so. And then we're going to come in and grab this part. So old shift click and I'm going to pull that back a little bit further. And then we're going to come to the bottom parts as well. So going to grab all of these. So the way I'm going to do, grab this, by the way, Shift select, Control select. It's going to just grab mold the way through. Shift select, Control select, grab mold the way through. Let's pull them back. So now what we've done there is apart from this one, we're going to have enough room to put this back into the wall where we want it, without the glass being hidden in the wall as well. That's what we're wanting because we've got all this room now. Here. All right, so now we've done that. Let's come to these parts and we'll do the same thing. Again, bear in mind we're going to have to use a sharp on these because as we saw on this part here, we had to put sharp in here. So let's do that now. Control all transforms, right? Click Rogen geometry, add in modifier, generate bevel, and let's put it on north point n three and envelop what that looks like. Let's also then come in with our sharps. Now old ship click old ship. Click on these two parts, right click, mark sharp. And there we go. That's pretty nice. I'm happy with that. I'm happy with the top part. I think I am. Do I need a You can see there's a bit of a lump in this bit. Do I want to pull that out at the moment? Now's the time to think about that. I think I will pull it out slightly. I think that actually looks bare. I'm thinking now that I just want to right click and mark a sharp in there as well. Now that's looking really nice. I'm also thinking I mark a sharp going around here, I think I will. Around all of these edges sharp. And there we go, that's looking really nice. Now finally, we're onto this frame here. Same thing again. I'm going to grab the frame, Grab this barn window, press control, L link modifiers. And now we can see it's put in those beautiful bits in place so we don't even have to do that. And now finally we're onto our window. Same thing again. Control all transforms rightly so origin is geometry. And then I'm just going to grab this part here. Control L link modifiers, double tap the a and there we go. A beautiful window as you can see now with the window, because there is so many parts, you can see that we've got a bit of an issue on this part here. So let's see what's caused in there. That probably needs flattening these parts. So to actually fix that, come in with face select, grab both of these. Both of these. Now, I would say, once we plan them now the reason we're going to get that is because it's slightly bent. So we can go in and right click on faces and we can where is it? Shade flat. You can see now that it's actually fixed most of those issues. Or you could put a sharp down there if you wanted to. I think actually though, that's looking pretty nice the way it is. Okay. So the last thing we want to do is now we're going to make sure this is all joined together because there's a lot of parts. So I'm just going to be box selected, object convert to mesh. And then finally I'm going to press control J to join it all together. All transforms rightly to origin to geometry. Now finally what we'll do is on the next lesson is we'll get in the material for this. We'll put it in our Asset manager, ready to use. And then we'll see if we need to make it bigger or smaller and start putting this into our actual building. All right everyone. So hope you enjoyed creating that window, and I'll see on the next one. Thanks a lot. Bye bye. 23. Texturing Techniques for Window Frames in Blender: Welcome back everyone to the blender created Core stylized three D models in this for a left off. All right, so now let's come in and just put this onto material so we can see what we're doing. So we have something like this. And what I want to do first of all, is I want to bring in the material which is light wood. So we already have main wood in. Let's bring in white light wood. Drop that on there. Let's also bring in glass, lit drop that on there. Let's also bring in glass unlit drop down there. And the reason I'm doing all of that is because I want them available over here in the shader. Now the first one I want to bring in is going to be called Main wood. So this is my main wood. The second one, so we're going to take the plus down arrow is going to be the light wood. And the third down arrow is going to be glass lit. There we go. Now the glass unlit is already in there. Then for the other windows, let's say we don't want light in a window or something like that. So now of course we have an issue in that this is a not unwrapped at all, so I'm going to just grab it. A smart UV project. Click, Okay. And let's have a look what that unwraps like. Absolutely terrible. Sometimes this happens, the UV unwrapping doesn't always unwrap. Great. And sometimes we actually have to go in and unwrap themselves. Mainly the issues will be normally in the fact that these will be timing. So if we're going to hear UV editing. Uv editing, sorry, shading, let's press dot and zoom in. This is what it looks like at the moment. Actually, it doesn't look that bad. Now let's come in and grab these. And we can see that they're very tiny over here. Let's make them a little bit bigger. And now we can see they're already starting to look really nice. Let's come in then and unwrap this one. This one again, let's make it a little bit bigger. With, I'm just looking to make sure because that doesn't look right to me. Definitely doesn't look right. It shouldn't be one key like that. It's, let's press control. Lal transforms, reset the origins again. Let's just grab this one. Let's press Smart UV Project. Click Okay. And there we go. Now it's looking much better now, I just need to make it a little bit smaller like so. Now you can see that we've got this really big knot on there. We really don't want that on there because even though if we put another window on the other side, it's going to be obvious it's the same texture map because it's just, you know, stands out so much. So what I'm going to do is instead of that, I'm just going to move it around to be a little bit different. All right, so now we've got that. Now we can see on this part here, it goes up, which is great. But this part round here is going the wrong way. So we need to fix that as well. So I'm going to come in with edge, slick. Grab my island. So L, L and L hide those out the way. And then what I'm going to do now is I'm going to mark a scene now. The moment we can see, we can still see this here for whatever reason. And that's just because we need to be on Material mode. And then you don't, won't see it. I'm going to do is shift click, shift, click, shift click, shift click, right click, mark scene. Now let's come in with face leg, this time, L, L and then we're going to Smart UV Project. Click okay. Can see, not looking too good, but we don't really mark because we can't actually see in there Anyway, let's actually fix these parts as well. So at the moment, we need to fix just these parts. So what I'm going to do is just put it on render. Step another, look, let's come in and grab these parts here. Actually, we need to press Alt. Bring back those parts. L L L Smart UV Project. Click okay. Let's have a lower. That looks like sometimes you'll end up with them going all different ways. We really don't want that, sometimes we can't be lazy, so we have to go in table L, L, L. And let's press Shift. Hide everything else out of the way. And this is what we actually want to work on. In other words, we're actually going to have to go in and mark our own seams on this old ship click. We'll do the inside of this one first, like so old ship click. And then what we'll do is we'll right click and mark a seam. Now also the problem we have here is at the moment we can see the seams and the sharps. That's annoying, so we don't really want to see that. So what I'm going to do is I'm going to click on this down arrow here. Think is this one or is it this one? Let me just have a look. I'm looking for edge marks that there we go. So if we turn off sharps, there we go. Now we can see what we're doing. I'm going to come in, I'm going to mark the inside of each of these. Old ship click, old shift click. Right click and mark Sam. I'm going to then click on the backs of these, all the way up to that mark that I already did. Right click mark seam. Then what we're going to do now is the outside of each of these, I'm going to come on the outside shift, click, shift click on the outside of each of these right click mark seam. Then finally, now I want to make sure we've got no infinite loops. In other words, going loop and loop, we need to just make sure we get rid of those. I'm just going to come to the back because I know that these backs are not going to be seen by anyone. Right click, mark seam. Now let's see what these wrap like, a unwrap instead of smart UV Rap because we've actually marked the seams. So let's just click wrap. We have some problems, we have some infinite loops still, which we need to actually fix. Where are those infinite loops? So we can see here, these here are where the infinite loops are. Next fine, where these parts are. We know that the def, we can see here have, we've got an infinite loop on this. We can see going around here, this is probably not too good. Let's have a look where that's going wrong. We can see we've got this part here, which is absolutely fine if I come into face select and grab this face on here. This is, this going around here. This is actually fine as well. So we can see it's non, this part, it is going to be on this part here, look, this looks like an infinite loop to me. So let's see what's going on with that. I think it's this part here. Look, actually all of those are quite nice. It must be. There it is, the inside of there. Miss that one. Here we go. Right click, mark seen, and there we go. Now let's give this a try. I've unmixed that one as well, so smart UV project. Click Okay. There we go. Now there's look, um, bear, except this one. Why is this one going like that? Have a look. So we can see is a bit of a broken mesh there. Let's come in L, Smart UV, not smart Unwrap. There we go. Now that's looking bear. Don't know why that one didn't unwrap properly, but now the rest of them out unwrapped. And now we've done that. So now let's press sltage. Let's bring back the rest of it. And then what we're going to do is just hide these bits out of the way. I'm going to hide these. And I want to unwrap just this part here. Now we'll have a problem when we unwrap it. So what I want you to do is I want you to just to grab the actual part near to where this seam is, so you can see the semi. Grab this part, press L, and then what you're going to do is you're going to make sure, first of all, it's an infinite loop again. So before doing that, actually we need to make sure. Old shift and click or click control. Click, right click, mark seam. Then we can come in facet again near the scene. Make sure you grab the face near the scene L U unwrap, and now you'll see we unwrap like that. Let's press R 90 and let's just see what that's like. Actually, that doesn't look too bad, we're going to actually straight now, but I think that looks pretty nice. Now, the one problem we can see is that this is not the same scale. You can see all this is not the same scale. So what we want to do is we want it to all be the same scale. What we're going to do is press tab A, A over here in UV map. And then what you want to do is you want to come over and right click. And we're going to actually come over, where is it you want to come over and click these three little dots here. Then we're going to go down to UV. And that opens up big menu for us. Now what we want to do is we want to have average island scale clicked on. Because that then is going to make all of the islands exactly the same size based on the scale, what's in the scene. So if we click that on, you'll end up with something like that. And then what we're going to do is we're also going to pack the islands. I'm going to go to UV, I'm going to go to pack islands. We don't want to change the rotation, so we don't want to click this on. And then you click okay. It's going to pack all those islands really nice and neatly for us. And now we can just scale these out with the S. There we go, beautiful window, although we can't see much, so we need to change some of this wood as well. So what we're going to do is, I think on the next lessons we'll bring in our other material just to give a bit of variation between these 'cause they all look pretty much the same at the moment. And then what we can do is we can actually work on changing the scales and things like that and making sure these unwrapped correctly. All right everyone. So, I hope you enjoyed that. And I'll see on the next one. I know it's a, a long way making a window, but trust me, once you've made one window, they actually get much easier. Alright everyone. Thanks a lot. Bye bye. 24. Setting Up Window Emission in Blender Models: Welcome back everyone to the Blender Critic Core stylized three D models, and this is where we left off. Now let's come in and change a few of these. So what do I mean by that? I want to basically change the material on the bottom and top. In other words, these two here. I want to keep the same. But these here, I want to come in, make sure I'm on edge, Select L not that one. These on here still. T, there we go. That's what I want. So I want to select all of these material, light wood, click a sign, and there we go. Now the thing is with the light wood, as you can see, it's going the wrong way. I need to rotate these around. What I'm going to do is I'm going to go to my asset. In fact, I've actually got it here. Yeah, I can rotate them around here. I'm going to go to rotate 90 and then rotate on the bottom, 190 here. There we go. Now they're going the right way. Now if I put, there we go, you can see there's hardly any difference in these. If I click a sign, you can see hardly any difference in these. But it is a slight difference. It is notable when you've got a quiet low stuff in here. Now let's come to the next part. Let's put it onto material mode again. Then let's come to these parts. Now we can see that of unwrapped in this way. Now are they wrap in the right way? We see if I come to this, they're probably unwrapping the right way. Apart from this center point. What I'm going to do, if I don't have this center point, the problem is it's going to unwrap all of this in one go and then we'll end up with one grain this way and one grain that way. I don't actually want that. So what I'm going to do instead is I'm going to remove just these parts. The seam, right click, clear seam. I'll do it on this one as well. Right click, clear seam. Now let's see what these Unwrap like. So if I press L U unwrap, let's have a look. Now it looks like they're unwrapping much Bear. Now actually we can see we've all of this part, which is this inner part, I think I'm actually going to press Smart UV project. Okay. And I think that's going to wrap it a little bit better than what we had actually. Yes, that's much, much better. As you can see, I'm just looking now making sure. Yes, I think I'm much happier with that. I'm going to actually get a sign. I think actually that will also work for us now. The one thing we need to do now is the glass, and we need this frame round here. I'll do the frame first. I'm going to grab this part going around here. And this part down here, we can see this is what they've un wrap like, let's hit lightwodlick sign And I think now we need to pack them. So I'm going to go to UV and pack islands, no rotation on. Click. Okay. I think that's going to look much, much better. Now let's bring our glass in and then we'll get a real good view of what it's going to look like. If I come to Tab, let's go to Face Select. We're going to select all of these spaces going down. Now you can see the problem we're going to have actually is here. Let me just hide this out of the way first. The problem we're going to have is that it needs to have a little bit going over here, and I'll explain why once we've actually done it. If I come in this one, this one, you'll see that I shouldn't be able to actually make a piece of topology on there, which is annoying. But there is luckily another way of doing this. We can probably get away with doing it with nitor. Let's see if we can. I'm going to grab, I want to grab this one in there. I'm going to hide this out the way first. Hide out of the way. Then I'm going to press K. What I'm going to do is I'm going to press A to go all the way over to this point, press the button. There we go. Now, did it actually go all the way around there? No, it didn't. But I can press K again and come to this point, press the Enter, just so I don't end up with any engons. All right, now let's undo these parts. So what I'm going to do is I'm going to actually make a seam on here as well. Right click mark seen. Then what we're going to do now is we're going to grab all of these pieces of glass. So what I'm going to do is I'm going to press one, I'm going to wrap these a little bit different. I'm going to press you. Project from view. Click Okay. And this is what we'll end up with now. I'm going to make them a little bit bigger. And then one window is a sign glass, and there we go. All right, so we've got these now that we can actually use. If I press, what I want to do is I want them roughly to be the size. So I can stick these in there. You can see now I bring this down, this is nearly the right size. This one here, you can see over press a little bit more. There we go, drop this one in like, so. Now we can actually start work on these parts here. If I come in L, you can see that these aren't split and we need to split them are. What I'm going to do is I'm going to come in, grab this one and this one, and then press a and just move them out the way. Now you'll see that when I grab all of these now I can grab them all. So you can see now these are split, which is one. Now let's just a thing we'll do is at the moment, because we're working in here and I need to show you what I'm doing. I'm going to move this part up here. If I put this up here and then drag this part over here, now, it's going to be much easier for you to see what I'm doing, even though it's a bit easier actually to work this way. But never mind. I'm going to do is I'm going to grab this one. I'm going to press just to move across. There we go. Then I'm going to grab this one. I'm going to press to move it across. I'm going to grab this one, move it across. And then I'm going to press S, same for this one, it across, make it a little bit smaller. Again, we only need to do this once because once we've done it, it means that we can actually re, use this window over and over again. I'm going to grab this one. I'm going to put this here like so. Now we can see that we do have a problem in these. What I need to do is I need to grab these separately. So I'm just going to click this on, grab these Y, bring them down. And then we're going to do the same with this Y, bring them down. And then finally, I'm just going to move this one. So I'm going to press the same for this. Move them out, Maybe move this one back a little bit. Now let's have a look at the window. Now you can see the windows looking like this. We can see these Bob parts aren't right. This part is not right. So let's come into this one first. Let's grab it with all of it. So click this on, then it'll grab it all. And y, stretch it out a little bit. One looks good now. And then we've got this one here. This one here. Let's have a look. Let's bring these up, bring these up there. And then bring these up to A, and then Y, pull them out. Then let's just fit them in maybe a little bit smaller. Then just this one's place. Then finally, let's come to this one here, because I'm not happy with this one. It needs to be a little bit more dirt. I'm going to grab it. G put it in, and then let's look at this one. The reason is because we put that one that All right, there we go. That's looking pretty nice. If we turn this on now, you'll see nice. Now the next thing we just want to make sure of is that the other parts, these parts here are also lightwoodment. If I click on this, you'll see that's lightwo. Is this one light wood? No, it's not. Let's come in. What we want to do is press actually, there we go. Now it's the right one. L L all light wood. Double tap the Now let's have a look at it now. It's finished. There we go. There's our window. All right, that's looking pretty nice. Now let's measure it up and make sure it's the right size Before we do anything else, so let's go back to modeling, finally a modeling mode. Let's grab this. Let's press one. And what we want to do is we want to make sure how is this going to fit in place. So if I bring this up, is it going to be a nice size to fit in place? And I actually think that looks pretty nice. Yeah, that's looking really, really nice there. Put rendered view on. There we go, Really, really nice window. Okay, now we've got that. What we want to do is want to pull it back out because we want to actually call it a round window. So we're going to come up to here where you say where you can see we've got all of these wall planes in here. We really don't want these in the wooden supports as well, so we've got to move all of those out. Unfortunately, probably better off cleaning up everything once we've actually finished. Okay. Because it just takes so much work cleaning up. Because you need to make sure when you build anything that you're clicking on the right parts and things. The main thing is that we've got these laid out. So what I'm going to do is I'm just going to close that up like so I'm going to go to Modular Parts, right click, Click New. And this one I'll call Windows. What do is I'll grab this window. I'm going to press a little on, and then I'm going to move this into my window. And then I'm going to open it up. I'm going to close this one up and I'm going to call this round window and I'm going to right markers. I set. I'm hoping actually I'm going to clear that set. Clear set. Now when I'm straight on now, I'm going to right click markers. I set, then one I'm going to do now. Put this on to Material mode. I'm going to go over here, put my window in place where the rest of the things have been building. Double tap the, I want to keep it there anyway to make sure my other windows look good. Now, let's go to asset manager and what I'm going to do is I'm going to go to where is it wall? It's going to be an unassigned. There's my window. I got wooden blocks. So what I need to do is I need to make a new one. But I think what I'll do is I'll go to current file, and then I'll make a new one, and I'll call this Windows unassigned. Drop it in now I'll go to Windows, save it out. I'm going to press Old Age to bring back everything else. If nothing's coming back, press the little question mark. There we go. And then what we can do is we can bring this window into second. I'm wondering why I've got that little mark on there. There we go. That's windows, maybe we're saving out, I'm hoping. Let's press one. Let's bring it in. For some reason, it doesn't go around the right way. That's not how we wanted it. Let's go back and reset everything. I'm going to remove this. Let's clear set. Let's press dot to zoom in. Let's press one. Let's press Control. All transforms origin geometry. Let's come over to our window. Let's right click mark as set unassigned. Drop it into Windows. Now let's go over and see if it's going to come in properly. No, still didn't come in properly? Never mind. I'm not sure why that actually is. But anyway, Y 90 and then X -90 Let's drop this into the place where we want it. It's going to be the second floor. We're going to put it round about there. And what I'm going to do is drop it back. And you'll see now that what we're talking about, I can now put this right the way back into the wall, just in front of where the glass is. And you can see, because I've done that, it actually looks now as though it's actually into the wall. It's got the illusion of it being into the wall without actually making a Boolean or something like that. All right, finally let's double tap the, Let's save our work. And then what we'll do now is we'll just have a quick look at what everything looks like. There we go. That is looking pretty nice. Now while we're here, we might as well move around our sun rotation. So let's make it a little bit darker on this part. And there is what a window looks like. Pretty cool. All right, so let's put the rotation back. And then again, I'll put this onto modeling. And I think what we'll do on the next lesson is we'll actually probably start building this bit out. And finally then we can probably start building round this bit. All right, one more save out and I'll see on the next On everyone. Thanks a lot. Bye bye. 25. Framing a Stylized Mansion in Blender: Welcome back everyone to the blend. The crit, of course, dialyzed three D models and this is where we left it off. All right, so now, like I said, I think we should probably start and build this bit out. Probably not put the roof on yet. I'm not actually sure if we should put the roof on yet because that's a geometry known. It's quite a complex one. I was thinking more or less to do the plant one first, to go through that one. So actually I think we'll come round to this side and we'll start building this side out. What we'll first of all do though is we'll actually hide this part out of the way. So we'll just go it all, press H it out of the way. And then what we can do is we can actually get these parts in place first. So we know that it's going to come up to here. And we know then that it's going to come down to here. And then we know we've got a big part in this. And it's probably going to come if you look from this part here. So it's going to go across all the way over here. And then this part is going to start as we can see. All right, then let's actually start that. What we'll do first of all, is we're going to Material View and then we have a good view of what we're doing. And then we're just going to come down to Asset Manager and I'm hoping, yeah, back into material view like so. And let's come down now and go to I think first of all, let's bring in some wooden supports. I think that will be the easiest way and it's up to you really along here, how you put your wooden supports. When I do it, I'd like to make them look a little bit different from each other. So what I'm going to do, especially each side, I'd like to have each side looking very different from each other. With this as well, I think I'll also be using which ones are the now the angled ones. So we have four angled ones. So let's bring all four of these angled ones in at the same time. Hopefully, no, I only brought one in, so let's have a look which one. Let's delete that one out of the way. That's 123.4 or angle ones as we can see. Then what we'll do now, we'll drop this one into here. Then what we'll do is we'll bring a wall in as well. You can see that we're maybe a little bit out on this. We'll see once we've actually gone in place, but we want one on the end now. So we'll put one on the end, get it in that corner. And it's probably going to be way out, but we'll see. And then what we'll do is we'll put one near enough in the middle of these two, So if I press three, I can go and see this is pretty much in the middle. So now let's pull it back a little bit. Now let's get some supports in, I think I'll make it a little bit easier. So I'm going to go to my wooden blocks, and then let's pick, we've got 111.5 Let's see how big that one is, 1.5 I think that's going to be a little bit small for going across these. So what I'm going to pick is the bigger ones. So let's bring the three meter one in. I'm going to spin that round, then I'll say 90. I'm going to pick that up and put that in place. Then I think I'll be able to actually get away with using this one probably twice, and then spinning it around if I get it to round about there. And then if I press and y, I'm going to just pull it out a tiny bit. I'm thinking probably going to be better off if I come a little bit further along here. And then what I'm going to do is I'm going to pull it out and then make sure that these are a little bit back under that. All right. That one maybe a little bit too far, but we're going to bring some walls in and we'll see. Now let's pull this one across shift, let's make it a bit smaller. Let's then spin this one round, y 90. Let's pull these up a tiny bit, I think they're a little bit too low. And then let's pull this one back into place like All right, so that's looking pretty good so far. The only thing is I would say is that this is probably hanging over maybe a little bit too much. So let's press and Y and then break back in place. Yeah, a thing that's going to be bad. Let's bring in a two meter one, now, the 90. Let's pull it into place. Let's make it a little bit smaller with S and y. Let's press three on the number pad, and then and y's pull it out and fit it in. They don't need to line up perfectly. It's actually better. Something like that's absolutely fine. All right, let's save about our work. Now what we'll do is we'll look at the next layer up. So what we'll do is we'll bring in some different ones. Now I'll bring in a two meter one, again said 90. And I'll try and make it look actually a little bit different. So I'm going to still slot in here, but I'll let it come a little bit further over. So what do I mean by that? You're going to slot it down to there. You can see how it comes a little bit further past this one and you just add to the randomness and that's exactly what we're looking for, Something like that. And then what we can do is we can add another three meter one, or even a 2.5 Let's see if we can add one of these, 90. Let's bring that one up, that one next to it, so we have a line at least now where we can actually go to. And that's the good thing because it does make things easier for us. Let's bring it across. I'm actually probably going to stretch this one out a little bit, so I'm just going to press and Y, stretch it out a little bit. Then what I'm going to do now, I'm going to use this one again, shift, then we're going to stretch it back in and Y. Then what I'm going to do, I'm just going to line it up and then I'll spin it around, X, x, Y, and 180. Let's spin it around that way. And then let's line it up. I press three, I just want to line it up now. And Y, So All right, that's looking pretty nice, I think Now I'll do is we'll probably get these little parts in. Once we've got these little parts in and this floor in, then I can actually start bringing in the wall. That would be great. All right. Now, before we carry on, I think I'm just going to pull these out a little bit. Just a little bit. And then what I'm going to do is I'm just going to fit a wall in here. So I'm going to go to my walls, I'm going to grab my wall, I'm going to spin it round. So I said 90. I'm going to press three just to slot this one into place. So it's going to be something like that. I'm going to make it a little bit taller, so S and D. B a little bit more in the middle. And then what I'm going to do is I'm just going to put this into place like so. And that's what I actually want. I actually want this to be stuck out just that little bit, So I just need to make sure that this fits in. As you can see, I don't want it too much where it's actually going around the back of it. I still want to make sure that these fit. So what I'm going to do is I'm just going to grab these, pull them back just a tiny bit and now they're actually fitting into place, and that's what I want. And then what I want to do is I just want to pull these out now. So both of these. Let's pull them out a little bit. So just till they're slotting into this part like that. And then what I'm going to do is I'm going to come down and put in a wooden block. So I'm going to get my tiniest wooden block, I think it's 1 meter, this one here. And then I'm going to spin it around, so we 90. Then let's put this one in first. So if I press three now you can see I've got to make it a fair bit smaller. So I'm going to press S and's head just to shrink that down a little bit. And I think because I've shrunk it down so much, I'm probably going to have to, 'cause I need to shrink this down even more. So there's two ways of doing this, really. I'm just going to put this back a minute and show you the one way. So we're going to pull it down just the way we want it to go. So we can see that we would like it to go probably into there. Something like that. And then what I'm going to do, instead of, you know, shrinking it down, what I'll do is I'll cut it around here. So I'll just come in and I'll grab the top and the bottom. And then what I'll do is I'll press Y. And then what I can do is now I can come to the bottom of it, Press control plus. And sorry, I didn't actually show you what I did there. I grabbed the top of it. I press control plus. And what that enabled me to do then is just increase the selection. Now if I come to this one with old shift click press control, I can increase the selection again. And what I'm going to do is I'm just going to press Delete and faces like so. And then I'm going to bring this top up to somewhere around the bottom of here like so. And I'm not just going to leave it like that actually. I'm going to try that and join these together. And the way I'm going to do that is I'm just going to grab it all like so in edit mode, press A to grab everything and then I'm just going to try and seep these all join together. So we're going to go to mesh, I'm going to go to clean up, Merge by distance and then just increase your distance. Not that way, this way. Nearly. There we go. And now it's actually joined all of that up. And you can see that's quite a nice way to actually do this. All right, let's press control A. Then all transforms, right click, set origin to geometry. And now let's just put that into the place where we want it. We can see here a little bit out, but now stretching that just that tiny bit, it's not really going to make any difference. So what I'm going to do is I'm, jaws going to put that into place around there. And I'm probably going to actually shift the, get another one in there, drop it to the back and then our zed 90. Just spin that round. Then what I'm going to do is now I'm going to grab these. I'm thinking that I'll just, I'm thinking, actually I could move this one across to the top here, and this one back a little bit. So I'll actually do that as well. So I'm going to come in, grab this one, pull it back like so. And then we'll come in, grab this one and pull it over like so. And actually, I think that looks a little bit better than what it did. All right. So now what I'm going to do is I'm going to actually grab another support. So if we come into wooden supports, I'm going to grab the one now which is not the angle one, so this one is a straight one. And then what I'm going to do is I'm going to press yeah, three on the number pad. I'm going to bring it up then to where I want it so we can see it has to be fair bit higher. So I'm going to bring it to there essens head then just to pull it out and then let's put that into place like so. And we just want this then going back into that kind of corner then. It doesn't need to be straight, so don't worry about that. We just want it to cover that little bit there and make sure it's actually sat on there. And we can see that it's probably a little bit, probably going a little, tiny bit too much. So I'm just going to press essens head, shrink it down a little bit, and there we go. That should be absolutely fine. Now if we come in, what we can do now is we can grab each of these ones. And on the next lesson, we'll start moving these across. And I understand this is a slow process. But trust me, if you were doing this the other way, where it's just making a piece, putting it in place, unwrapping it, it's going to be so slow in comparison to what we're doing here. Remember, we're making a fully flushed out, stylized building. And this building is going to look like really professional, and that's what we're trying to achieve while making it as quick a workflow as possible. And if you can imagine that you're going to come into your own blended projects and you're going to have all these parts already built out and you're going to have all these materials as well. In your asset manager, you can really see how quickly and easily you'll be able to create buildings, really professional looking buildings easily. Especially if you also consider that within your asset manager, you're going to have lighting set up, you're going to have HDRI set up. You're probably going to have even the compositing set up geometry nodes set up in there as well, and a library of materials. All right everyone. So I hope you're really enjoying this so far, and I'll see on the next one. Thanks a lot. Bye bye. 26. 3D Wall Building Techniques for Taverns in Blender: Welcome back everyone to blend the Creater Core stylized three D models and this is where we're left the art. All right, so let's come in now and grab this part that we actually made. And what I want to do is I want one probably here, one around here, and one around here. And then of course we want one on the end as well. So I'm going to grab this one. I'm going to press shift, I'm going to move it over. I'm going to press a 90. Spin that one round, move it over, and then finally I'll put shift and move it over here like so. And I'm just thinking they're spread out actually. Yeah, I think they'll be absolutely fine. I can't move them over anyway if I want to in a bit. I'm just wondering. I don't want them to be even. In other words, I want to kind of a mishmash of how they're actually put together. Now I'll do is I'll just grab this one. I'll press zed 90. Then I'll grab this one and I'll press R x 180. Spin that one round, zed 180, spin that one round. Let's see now what they look like. I'm looking for them to be very different from each other. As you can see now they all look different and it's just really, really easy to work with. Now let's come into our wall and what we'll do is we'll put our wall on all of these parts. So I'm going to come in and looking, can I actually get rid of this part yet? I think I probably can get rid of the bottom part right now, so I can get rid of the bottom part. And this part up here, I'm just wondering how far it comes across. Actually we want to keep these parts here. So instead what I'm going to do is I'm just going to come in, hit the faces like so delete faces. And there we go. I'll also delete the inside of each of these as well and the bottom, just to make it a little bit easier for me to see. So delete faces and then come in and delete this last phase. All right, so I've still managed to keep that part there, and that's exactly what I wanted. Okay, so now let's bring in this wall. So what I'm going to do is I'm gonna grab this wall. Shift D and then pull it over and Y, let's pull it out. And then shift, pull it over, and then and Y, pull it out. And you can see now the very different sizes. And then what I'll do is I'll bring this wall up. I could probably use this wall going all the way along. But the problem you've got there is that the longer you make it, the harder it's going to be because of UV's. Now we've also got this issue of, I think this in the top, so you can see these here. So these in the top. Let's just hide our wall a minute and just look at these underneath because I just want to get rid of those because I won't be able to see my wall properly. So I'm just going to come in, I'll grab all of these then like so. And then what I'm going to do is I'm also going to grab all of these as well. I'm going to press Tab. And then I'm just going to come in and try and delete those faces. So delete face, can't grab that one, grab that one. Delete faces. And then let's come in and grab this one. And this one, this one delete faces like so. And then, yes I do. I'll come in as well. I'll do the same thing for this, delete faces. All right, so now I've got a really nice area to work with. I've still got all of this back that can see that where I need to work. And that's absolutely fine. All right, let's press Alt H and bring back my wall this bit we've still got on here, so I'm just going to hide this out of the way, Just for now, I'm actually going to join that together, make it easier for hiding it. So control J. Join it together to hide it out of the way. Now let's come and put in our top wall. So I'm going to press instead of, you can see I need another part here as well. So I'll bring that in from this part that I've already created. So what I'm going to do is I'm just going to pull this out into place like so I'll grab this one, then shift, I'll pull it over. And then let's spin this one round. So I'll say 90. Let's spin it round, let's get that one in place. And then what I'll do is I'll just drag this wall over. So I need to be an edge select and drag it over to there. All right, now let's come in and grab the wall shift D, bring it over and then I'm just going to press and Y. So three, just to make sure that that's in place, which it looks like it is shift D, and then S, Y, and then finally this one here, shift D, which I'm going to have to pull back a little bit as well. I'm just going to get into the right place first, S and Y, and then let's just pull it back now into place. And you can see already how that actually looks. Now we actually put a rendered on. It looks really, really nice. Because we've made it look just that little bit different. It just does make the world of difference. Okay, let's now come up to file and save. Now we haven't done this bit, but we need to bring these down now to put on some floor in along here. We might as well do that. So what I'm going to do is I'm going to grab this one shift, spin it round so Y. 180. Let's spin it round. And then what we'll do is we'll put it in place but a little bit lower. Just again, to make it a little bit different, I'm going to pull it back into place. And then what I think I'll do is as well, I'll pull it back to there. And then our head just rotate it around just a tiny bit, always the lit, the most delicate kind of bits when you're doing those. The rotation or the little bit of angles and things should be really delicate. All right, so now let's come, let's grab this one and maybe this one as well. Let's press Shift D, bring them down and these are going to be in the floor ones and they want to be slightly higher than this one that I've already created. I'm just going to pull them into place like so I'm going to grab this one then and pull it in, and then and Y just pull it in a little bit, So all right, now let's grab this one and do the same thing. So S and Y just so it's not poking out anywhere. And finally, now let's rotate these round. So Y, 90, double the eight, and then just make sure that they look different from each of those above which they now do. Okay, so now all of one is one piece of wood that's going to come down from here, and then one piece of wood that's going to come down from here as well. So let's grab a new wooden blocks. Let's bring in, I'm not sure if these are 2.53 but let's bring in this one. Let's spin it round, so Y 90. Let's press three. And what I want to do is I want to slot it in there. And I want one slotted in here shift, bring it into here said 90 and then I can grab them both and pull them both back. There we go. All right. They're probably not going back a little bit too far. So you can see that the problem I'm having here is I need to pull these forward. So I'm going to put these into place first, so that's where they need to go realistically. Then what I'll do is I'll just pull these forward. And that means then, of course, and probably because I need these in front of these going to have to pull my walls forward as well. So let's pull these walls forward like so let's make sure everything's still in place, which it is. And there we go. All right, now what we can do is we can reopen each of these if I grab this one here. So I can press three actually. And what I'll do is I'll just go now to shading panel, because then I can open them in there. I'll come down to this by pressing dot three again. And now let's open this up, We can see it over here. So what I'm going to do is I'm going to go to my wall, press the tab button. I'm going to press you on wrap. And there we go. Let's make it a little bit smaller and put that one there, then we'll come to the next one. And then you wrap a little bit smaller, move it over so it's not in the same space as this one. And then just work your way along, doing the same thing you wrap to make smaller, move it somewhere else. And then let's work our way up to these. Now these ones, because they are so small, can be all done together. So if I press tab A to grab everything you wrap, you can see now it's unwrap them altogether and everyone is different. What I'm looking for though, I just want to make sure that there's no stretching on these. It looks like there is a little bit of stretching. If I put it on material mode, you can see it looks as though they are slightly stretched. So instead of doing it the way I've just done it, I can actually come in, press U and let's Project from View. And then let's press the S born and bring them out. And now you can see they look like they're not stretched at all. Just an easier way of dealing with it in that way. All right, so now what I want to do is we want to work our way up up to here. So we actually, we might as well only work our way up to here and then start the actual outcropping of this actual building, start building around it. In other words, I think that'll be the best thing to do. So what I'll do is I'll actually, yeah, we'll do that first. We'll just press Alt Tage and bring this back. This is where we want to come out to, so this is where we're actually going to build around. We've, I think have we got a post in there? I think actually there's a post. Let me just hide that again. Yes, we have a post in there. We can see though, if I bring this in, that it's a little bit too long. So I'm going to do, I'm just going to grab both of these sites. So this one and this one. I'm going to pull them across and put them where I actually want them. So something like that is looking pretty nice. And if you go round the other side, you can see that this is probably angled in the right way. I'm thinking. Yeah, I'm thinking that this is probably a little bit too high. I need a little we just basically need to fit it all into place and it's easier said than done sometimes. Now, the other thing is have I got something underneath here, so if I pull this up, I'm going to sit that then right on top of there, because I actually want some planks of wood to come and support this. So now you can see we've grow all fitted into place. Now all we need to do is just build this part here and then find that we can get our planks of wood on and then the roof. All right everyone, But we'll do that on the next lesson. I'm going to come out and save my work and I'll see you on the next one. Thanks everyone. Bye bye. 27. Angling Framework for Stylized Tavern Structures: Welcome back everyone to the Blend, the Create Core, stylized three D models, and this is where left art. All right, so now let's think about these parts on here. So I think on this part here especially, I'm also going to be using some of the actual supports. Let's go back to our asset manager. We'll come to our supports and I think we'll get those in first. So what I'm going to do is I've got all of these supports, These are the ones that are angled, so I don't want those, I just want these. So again, I'm going to bring these in. Can I actually bring them in? So look, press tab, Let's bring them in now to 3.4 So let's bring those in. Let's delete this one out the way. And then what we'll do now, we actually want four, so I'm going to put these 123.4 And I'm going to make them a little bit uneven because I want actually a window in here. So I'm going to do is just going to press three. I'm going to bring this up to where I want it, so I'm going to fit that one over there somewhere. I'm going to bring this one up, and I want a window in here. And luckily for us, we actually have the window that I want to put in place. So I can put that in place straight away as well. So I'm going to put that one there, and then I'm going to put this one in this corner here. And then what I'm going to do is I'm going to grab each of these. I'm going to press R, Z, and 180. Let's spin them around. You can see that they're spinning around very, very strangely. We don't want that, so let's bring in individual origins. 180, spin them around, and then, and let's pull them up and make sure that they're going to sit perfectly on where I want them. Okay, so now I can actually pull these into some sort of place. So I'm going to pull these, I'm going to actually focus on this corner one first, so I'm going to pull it into place. So, and then I'm going to pull this one back. So let's pull this one back then. And then what we'll do is we'll bring this one forward. And what I'm also going to do, I'm just going to steal that one. I'm going to press Shifty. And then what I'm going to do is I'm going to move this roundabout here. So in other words, I'm going to, again, make this a little bit uneven. We don't want things lining up perfectly, so let's put it into here, something like that. And we can see that we're going to have to make this a little bit taller or it's actually going to sit on the beam here going across. So I'll just pull it up. This is when it gets a little bit finicky, dealing with so many little parts in that. All right. So I think I'm happy with that. Now what we can do is we can actually work on the underneath here. Let's put our window in first though. I think that'll be a good idea. So what I'm going to do is I'm just going to grab this window. Shift. The thing is, because this window is facing over here, it's not so obvious when you're looking at it and you're seeing that it's the same UV. So we don't need to worry about this UV. The one window down here probably have to change the UV's a little bit. So I've said 93. Let's put it into place like so let's have it a little bit off center as well, and probably a little bit higher, so. All right, let's drop that in place. And what you do is you go all the way back, pull the shift bon, pull it forward just till those lights appear. And that should be absolutely fine. Okay. So now what I want does I want to put my wooden blocks. So my wooden blocks should be based around these parts here. In other words, these parts here, I should be moving them across to be in line with these wooden blocks, which are going to be the supports to them. We can see here as well that I just need to pull this one down, Pull this one down just a little bit like, so move this one across and there we go. Okay, so let's bring in then some wooden supports to actually come and drop on the bottom of here. And then we can move these up a little bit. So I'm going to go to my wooden blocks. Let's go for the 2.5 meter ones. So let's drop that in there. Let's drop that one in there. And then we'll shrink them both down. So what I'm going to do is I'm going to pull this one across, press three. I'm going to bring it up. Just drop it at the bottom of there. And then what I'm going to do is push it back. So I'm going to push it back into place. And you can see now how that's actually going to work. Let's pull it up a little bit more. It wants to be right at the bottom of here, supporting this in this way. It doesn't, the other parts of wood are a little bit higher up than that. Let's pull this up now. Pull it up a little bit, it just sits on there. Okay, perfect. Now, let's do the same thing with this one. So we're going to pull this one back. Where is it? Into this one here, you'll see why we're doing this. And while we're trying to just add a little bit of realism to how actually things are supported, let's pull this back. So, okay, that's looking pretty nice. Now let's do the outside parts. What I'll do is I'll grab this one shift, then what I'll do is I'll spin it around, so I'll 180. There we go. And let's pull this one back a little bit. Making sure that this has sat on there so we can pull it off a little tiny bit. Holding shift born again. Okay, I'm happy with that one. Now let's think about the other side again. I'm going to grab this one this time shift, bring it over. And then R 180. Spin it round and there you can see that's looking really, really beautiful, actually. Okay, there we go. Let's pull that one up now. I don't want this one going all the way from there. I'm actually going to shrink this down. Sx. Let's shrink it down a little bit. Let's pull it out ex shrink it down. Double tap the A. There we go. Okay, happy with that. Now, let's think about the bars going across here. So what we'll do is, and also I want my wall going under there, but let's put these bars in first. So we're going to grab, let's see how big the 1 meter one is, so let's bring that one and that one. And then the 1.5 meter one. And I think we can use these. I'm going to grab them all, so sad. 90, I'm going to pull them up. Then they're nearly into place as you can see, three. Let's come to this one first. And what we want to do is we want to place it around here and then pull it out and y, let's pull it out into place. So let's do the same now with this one. Let's pull it into place, and then and y, and a little bit closer then. And then this one here. Let's pull it out. We just don't want to make sure there's too much stretching on this one, Let's just be careful of that or mindful of that double up the A. I actually think that's going to be fine on this one. I'm just going to pull them back into place, just making sure they're not too far out. As you can see here, This one is a bit, they are a little bit too far out. This one looks okay. All right. That looks perfect. Now let's grab one of these walls. So what I'm going to do is I'm just going to grab it, shift D, we don't need to worry about UV mapping, UV wrapping this again, R Y 90. And the reason is they're never going to see into that space there, really. In other words, it just wants to be there just to fill in that gap. So as you can see, filling this gap here, let's pull it out a little bit and Y, and then we'll just bring it over shift D, bring it over and then and Y, and then spin it round, so Sd 180, spin it around, so okay, so we've pretty much got the underside of here done as you can see. What we need to do now is put in the supporting parts. So these parts here, I think that would be a good idea. And then what we'll do is we'll work on this top bit on here before putting the roof on. So we'll basically get all of this finished going all the way across here, and then we'll do a little bit of broken walls down this part here, I'm thinking. Then we can actually finally finish with putting this first roof on because we've got planks and we've got a roof. So I think we should do that. So the first thing I think we should do, let's put the top on here. So we'll just put a top on here, because that's not actually going to be that hard. So I'm going to press shift D on this one, I'm going to bring it up, I'm going to spin it around, so R Y 180. Let's spin it around. Just make sure, as you can see, because we've done the same thing there, that we want to spin it around again. So I'll said 180, spin it round again and just make sure that it's a little bit different from the more we don't want it looking the same. In other words, let's pull it out then. So and Y, let's pull it out a little bit, let's get it right into that part there. And let's also make sure you can see here it's a little bit out, but here it's even. So let's just press R and X and just rotate it slowly up a little bit. So you'll find doing things like that makes such a huge difference. All right, so that's in there. Now let's think about bringing this part round here. Again, what I'm going to do is I'm going to bring this one up, shift D, then I'm going to press x eight. Hopefully that was 180. So let's have a look. Let's still look the same. R x 180. Spin it round or 180, spin it around that way. And I just want them looking a little bit different from each other. Let's pull it up now, and let's actually bring it into place. So you can see again, we've got a problem where it needs bending slightly. So we'll bend it so y, we'll bend it slightly like so. And there we go. That we'll tap the. And the other thing is, I don't really want this bit overhanging because our roof's actually going to be there. So I'm going to make sure that it's pretty much going to be level with this now. Forget about this part here. We don't need to worry too much about that. What we need to do now is though we need to get a nice long piece going across here. So let's actually bring that in. So it's going to be a three meter piece, Rs 90. Let's bring that in, and let's pull it up and drop that into place. So I'm thinking, I'm not too concerned with them overhanging too far, but we can see that they do need picking up a little bit. And some of them like this one especially need a little bit of work just to make sure that they're not too big and let's drop it down a little bit. So there we go. And what I'm going to do is I'm going to have this piece coming in right to here. And then I'll have another piece, Shifty. Bring in another piece and then spin it round so as 180 make it smaller. And y, just so those two pieces join up. As you can see, we want them joining up here. And then we're just going to make this one I think, a little bit smaller as well. So essens d shrink it down. Maybe that's over. Look, might be a little bit too much that let's pull it down just a slight bit. And then essens, there we go. Double tap the yeah, there we go. That's looking pretty good. Accept these walls. All right, so let's pull these walls back now into place. And we just want to make sure that we haven't grown going all the way over there. So finally then what we'll do is we'll just turn on next Ray, we're going to come in, grab these two, and then just pull them back like so we're gonna have a piece of wood going over there. As long as it's tucked into that bit, that's absolutely fine. All right, so as I said on the next lesson, then we can get these parts finished and finally we can probably, and this part here and finally then we can make a start on this roof. Alright everyone. So I hope you enjoyed that and I'll see in the next one. Thanks a lot. Bye bye. 28. Using Geometry Node Wood Plank Generators in Blender: Welcome back everyone to the blend that create a core stylized three D models. And this is where we left off. All right, now let's think about doing, let's have a look. So we've got this part here, we need to just change this wall. And I'm thinking then we can actually create this roof and finally then we can do the top of here, and that's the way we will go up. So I'm also thinking as well, I'm just actually looking at my own model. That's what I tend to actually do as well. And I think what we'll do is we'll actually start with this part here. So if I press three, what I'm going to do is I'm going to actually make a broken part coming down here. So I'm just going to press Tab. I'm going to press K and just grab it from there. Going down like so, making a broken piece of wood. Now the other thing is we didn't discuss is when you're actually doing this, we should actually be triangulating it as well. So we're going to do that as well. Let's just, first of all though, pull it back because it's easier to triangulate once you've actually finished it. So pull it back so we don't want it too far, too much of a gap there. We just want to look a bit broken. And then what we're going to do is we're going to press three again. And I'm going to press And Smart, where is it? Project from View. Click Okay. Let's go to the shading panel. And then what we'll do is we'll click the plus. We'll click the down and we're looking for broken wall. And then what we're going to do is we're going to press Tab, click a sign. And there we go. Here's our broken wall. Now what we want to do is you really want to line it up to be the same size as this one here. So we want to make this, if I press, I can bring it out and what I'm looking for is to make sure that it's roughly the same size as here. Which I can see that it is. Now we want to basically bring this wall up as well and Y bring it up just so it's fitting into place. Right the bott there, press the tab, and there you go. There's your broken wall on this bit. Now let's put our other broken wall. So we'll have one more broken wall coming in this bit here. So what I'll do is I'll come to this bit, same sort of thing, only a little bit smaller. So okay, grab it from here. And then what we'll do is we'll pull this back, pull it back. Then what we'll do is again three, and then you project from view down, broken, broken wall like that in. Let's just go back down. What am I doing here? There it is, Down, where is my wall? In fact, that's actually not working. So we're just going to come in, grab this one control level, and link materials. There we go. Perfect. Now I can come back to this one and I have a broken wall. So I can click a sign. Perfect. Now let's make this bigger. So what we want to do, obviously, is we want to make sure that it's the same size as these over here. So you can see here now they're looking around the same size as those ones, and that looks perfect. Now let's talk about triangulation. So if I come into here, I'm going to press Tab. I'm going to press A, I'm going to right click triangulate faces, and then right click and tries to quads. That's what I always do as well. Now the thing is, it might look messy, but at least it's not an end on, which means that it's going to be a much better mesh. Um, you know, we could go round and really clean this mesh up, adding in some edge loops and things like that, and then it would really clean it up. But I'm not going to do that. I'm actually going to do the same on this one then. So I'm going to right click triangulate faces, try to quads. And there we go. Okay. Now let's think about our next piece of Walt. So what I'm going to do is I'm going to grab this one shift. I'm going to bring it up then and put this into place and then work my way along so we can see now we can actually pick up the pace if we really want to. The other thing is as well, I'm going to probably delete this part now. So I'm going to delete this part out of the way. I'm not going to need it anymore. And then what I'm going to do now, I'm going to press and Y bring it in, put it into place, and let's put it into place, making sure that it's fitting in very nicely. It's a little bit, probably not long enough at the bomb. So S and then shift D, bring it over, let's fit it into this one then and Y, then finally this one. Shift D, then and Y. Then let's bring it around here, Shift D, 90. Put it into here. I'm just going to leave it there just for now. And what I'm going to do is I'm going to press shift D and bring it over then to the other side. Put it in there and we can see that we've got a little bit of hanging over here with this wall here. So let's press S Y. Bring it in a little bit, making sure it's not overhanging. Pull it over. There we go. That's now nice and clean. Pull this out a little bit, making sure that it's not too far that way. And then finally, what we can do is we can just delete this wall here. Delete faces of that gray box. And now bring my wall around. In fact, shift D R 90. Bring in my wall. And then on I'm going to do is I'm just going to make sure that I didn't duplicate this and create two walls instead of one. Okay, so there's that one there. Grab this one. Let's just press right click to drop back in place. And we can see that's fine. It's just that it's stuck out here. So I'm going to press S X and pull it in like so. All right, so now I'm going to do is I'm going to grab each of these going all the way around. Press control all transforms, right. Click, set, origins, geometry, press the unwrap, make them bigger. And there we go. Now they're looking pretty nice, exactly the way I want them to. Okay, so finally, one more broken bit of wool, which I'm going to put probably just down here. I'm also wanting to pull this out, Jaws to Tad, because it's not, this actual platform was hanging over there. That's not something to want. So what I'll do is I'll pull this over now, press and Y pull it out. Double tap the A like so. And then I'm going to do the same thing with this one. This one's hanging over a little bit. Now, instead of moving this part, this time I'll just move this to the side like so double tap the A, Maybe just move it a little bit. Double tap the A. Yeah, that looks really nice now. Okay, let's come to file save three and then we'll make this little broken piece of wall in here. So I'm going to come to this one, I'm going to press K. Come on in, and just a little sliver of a broken wall, come round, grab the face. Then what we're going to do is press, pull it back a little bit. And then finally now what I can do is I can come grab this one, grab this one with the broken wall. Press control L, and we're going to link materials. Then we're going to do this. I'm going to press three on the number pad. Come back to this one, grab this part. Click project from view sign to make it bigger. And then again, we're trying to get it to be the same size as these bricks here, which now it is double tap the A. And before we carry on, now let's just have a quick look at what we've actually created here. And there you go. Absolutely beautiful as you can see. Okay, so now let's think about our actual roof. So first of all though, before we do our roof, we want to actually give it some plants. Now it's easier to do it with plants because we want some planks actually stood out here as well. So our first chance to use our geometry nodes. So what I'm going to do, I'm going to come to my asset manager. So I'm going to come down to the other file. So we go down to use the library. And the one we want is geometry nodes. And the one we want first is planks. So let's bring in planks. Let's spin this round. You will notice, by the way, that the planks of wood already come in with a material. It's just a basic material. Now you will see that it's just a simple material. But actually if you click this on, you will see that all the plants have a different color. And to actually get this effect, if we go to the shading panel, Now you can see that all it is based on is a geometry node with random per island, very, very close together color ramps, so to get these different colors. An RGB curve to distribute whether it's dark or light. And then finally into a principled and inter material output. I'm not actually sure, can I actually plug that straight into there? Yeah, it makes a little bit of difference. So the principle does make a bit of a difference. Anyway, this is there, just so that if you just want to use the material that the geometry node comes with you, of course can do that. Now if we go over to the geometry nodes, you will see this is one that I actually made from scratch. You can, aside from the roof, you can tell that I knew a lot more what I was doing when I actually created this one. The roof is a little bit more of an older geometry node, whereas this one is. It's more simple than the roof, but also it's put together much easier. So I'm saying that for this course we're not actually going to be going into geometry nodes, but you can of course, come in and mess around with these. Most of the time. You will see what all of these do, at least in the plank one. So you can see here that this is the plank thickness, for instance. And you can see how that ties in to the extruded mesh, because this one is basically made from a grid. So it's made from a grid. And then from that grid, we split it up into planks. We extruded them out, so you can see as we're going along. And then we basically join the geometry, in other words, we extruded and then we put a top on, and then we joined the geometry, and then we merged by distance to make sure that the top and the bottom were together. You can also see if we come over, where is it? We've got one that says set material. This is how you set a material in geometry notes to make sure that it's, I don't know the texture or the shade of that you want it to be. You can see that's how that works. Finally, then we've got the bend. Now the bend is a very complex. If I open this up like so, you'll see that this is pretty complex. To get that actual bend into place. Now I can just go back to go back, all you're going to do is just got a right click and exit group, and then he's going to take you back to there now. Then we needed a few bends on this, so once we got a bend, then we can actually change which angle repre bending that. And that's what we're going to be using this for, of course you will find as well. This has a lot of subdivisions in this. And also the longer you make the plank thickness or the plank length, the more subdivisions it's going to give it so that you can have a nice bend with this. All right? So that's pretty much, as I said, we're not going to really dive into get geometry notes. What I'm going to do though is supply you with your first geometry notes. And then you can build up or make your own and use them throughout your scenes and projects. Really, really handy things to have these geometry nodes. The roof one took me two or three days, The plant one took me about a day. But it was actually well worth it 'cause this actual geometry node I'm gonna be using time and time again. It's so good. And I'll show you that on the next lesson you'll see just how useful it is to have these things and how much time it'll actually save you. All right everyone. So I really hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 29. Stylizing Roofs with Geometry Bend Nodes in Blender: Welcome back if you want to. The blend, the critical, stylized three D models. And this is where we left off. Now. The best thing is when you're creating a geometry node, just make sure that you have a lot of group imports. And the reason is because then we can go actually to modeling and we don't need to worry about going into the geometry nodes. Now you can see I can bring this up. I'm going to slot this into place, first of all. So I'm going to press seven to 12 over the top. We can see that we need a few more planks on there. So let's get maybe one more plank on there. So plank count, Let's put it up. And then what I'll do is I'll shrink this down a little bit. So going press S, shrink it down a little bit. Seven to 12 of the top again. And maybe I have shrunk it down a little bit, too much like so. And then what I'm going to do is I'm going to pull it back. Now we can see that the plank length needs bringing down, so I'm going to bring that down a little bit. And then also we want to change the angle. Now I want to change the angle, and I want to bend it a little bit. Now with the planks, if I press one, I need to bring it round y. Let's bring it down to. We'll want it. So I'm thinking that the top of the roof is going to be a long here, so I'm just going to put this wood up. So shifted. Let's just bring it up and just show where the top of the actual roof is going to be. The top of the roof is going to be around here. And what we want to do is we want to make another piece that's going to go down here. So what I'm going to do is just going to stretch this out. So Y just to show me, give me an idea where it's going to go. And then I'm going to put another piece. So shift D and bring it down. And that is where I want my plank of wood to come. I want it to come down to here. Down to here. But I also want it to have a slope. Now ever gave enough room. Let's put it down just a little bit more and then what we'll do is we'll bring it into there. That is where I want it to come to. And then I'll increase the plank length. Let's increase the plank length like, so let's bring it down a little bit more, pull it out a little bit, and then I want it to come really down to the bottom here. So r y, spend it round. Let's pull it down into place like so. Now it's important that we get it to be the right place before we start anything. Because that way then we can actually work with what we've actually got. Don't forget as well. There's also going to be a roof on top of here, so it actually needs pulling down a little bit lower like so. And now you can see it's slotting right on there. Now the one thing we can see is that these are overhanging way, way too much. So I'm going to pull these back now. So the plank length, pull it back perhaps something like that plank thickness, I'm also going to pull back because I feel like these plans, they are quite thick. So let's pull them back a little bit. So let's pull them back like, so let's actually move down what we've actually got now, the width. Are you happy with that width or do you want planks that are a little bit thinner than this? I think actually I want planks that are a little bit thinner. So what I'm going to do is turn my plank up and then what I'm going to do is I'm going to bring down my gap. So, and then I'm going to bring actual width of my planks. And there you go. You can see how easy this is to work with. Let's put one more in place like so. And then we'll just move it over just like that. Just getting it in some sort of place that we're happy with. Now let's move our way down. So we have the number of subdivisions. This is the number of subdivisions going across. You're going to need more of these if you're actually bending it really, really violently. Let's say now the rotation up or down. If we turn this up or down, you can see that we've got a lot of control then of how this is going to look really, really random. And I actually want it to look kind of random. So what I'm going to do is I'm just going to come down, turn it so it's like this. And then we've got a fair bit of randomness in there. That's what I'd like to see. So maybe a little bit less. Okay. Up and down seed. This is just the seed basically of this up and down, so it just gives you a different seed in case you happy with this one without doing too much work. Then we have a random width. Let's turn this down a little bit. Now I have to be very careful when you do this, because obviously you're going to lose some gap. So what you need to do is you need to work with this random width and you gap to make sure that they all come together. Now you can see that I've got to bring them in a little bit, but I don't want to bring them in, so they're actually really touching over each other. You can see exactly what I mean, there probably too much gap in this one here. So what I'll do is I'll come down to where it says, where is it, random width, and just turn that up very slightly. Come to my gap, turn this down or up very slightly like so. And I think that looks pretty good, adding another plant just to the side of it. There we go. All right. Working our way down then. So rotation left and right. You want to be very careful when you're using this because you don't want it to do too much. So you can see there, I can rotate it, jaws a little bit to the left or right up to you. Whether you have that on, I think I will just rotate it, jaws very slightly to the left. And then what you can do is you can change the seed on that random width. We've already done width, seed, we've already done random length is one I always like to mess around with. Let's bring that either up or down, so let's bring it down like that. And you can see now this is looking really, really cool already. Now finally, let's save out our work. I always save out my work before I mess around with the bend angle. Because it seems to take a lot of computer power to actually bend these things. So I always do that first. Now with the bend we want to go to bend, we can see that we can bend it like this, which we don't really want. We can also bend it like this. Not that one. Sorry, bend angle. Yes, there we go. We can bend it like this. And that is actually what we want to do, but before we do that, let's go to compress. So we can also compress it for your Japanese type roofs or something like that, or you can compress it the other way like so. And you can actually mix these together as well. So on one hand, you can bend the angle. So let's say we want it bending like this, and on the other hand, you can also bend it in like this. So you can see we have a lot of control over this actual geometry node, all in this menu over here. So this is why you really want to get into geometry nodes. They're really, really handy to have and use. Now you can see, because I've been bending it all kinds of places, that I'm going to have to move it back down now, and I'm going to move it down just to there. And then what I'm going to do now is we're going to bring in our roof because Bates, we want our roof to kind of follow this as well. And they're not going to follow exactly. So you've just got to bring in a roof, put it on top, and then kind of put them together. And then you'll be able to use them and then build around that. Well, at the moment, I'm happy with how far this is stuck out. My roof tiles want to be stuck out a little bit further. So I have got the option of bringing this back a little bit with my plank length, so I can actually bring it back as you can see like so. And then we'll get our roof on and see if that's actually going to fit in place as well. So now we've got this on, let's come in and bring in our next geometry node. So we'll go to Asset Manager, and then what we'll do is we'll come in, bring in my roof like so. And you can see, again, this actually has the same sort of material on where every single island has been randomized with a different material. I'm going to press Art and Z and move this round. And then what we're going to do now, we're going to go back to geometry nodes. So I'm going to come to my geometry nodes and go through this one as well. Now you can see with this one, it's a lot more messy. And the other thing is the group inputs aren't as obvious because when I created this one, I didn't actually know that you can actually have group outputs on each of these. So you can see that this is, this is really not how you want to actually build geometry nodes. This is, this is a mess, and we don't actually want this mess in there. The thing is though, honestly, when you start dealing with geometry nodes and the more complex they are, you're like just trying to work out and figure out how to do something. Something actually works and then you're plug it into something else. So this one here, I should come in and really tidy this up much more than what I did. Now. We do have the geometry bend nodes in there as well. So we can actually bend this at the same time this geometry node is more for you, so you can use it for your projects. If you I wouldn't actually mess around with this one too much. What I would do is I would take what this has in it, copy it, and make your own geometry node, which probably be better than what I've created. All right everyone, so let's now go back to modeling. The one good thing is though, on the right hand side, we have a lot of options like we did with this one. So that's the good thing. Now remember, whatever size you are making, who you are making your roof tiles, you need to consider that you need these over the other parts as well. So what I would do is I would bring this in and I would copy this then over to the rest. Now you can see with this roof, it's already bent, but it's nowhere near enough. So what I'm going to do is I'm just going to put this up on here and then I'm going to change the angle on this one. So the angle on this one is actually you're able to change it as you can see. So let's press one. What we'll do is we'll try and line this up. So I'm going to try and line this up to my roof tiles I've already got. And you can see that I'm going to have to bring out a lot more. So we've got a vertical count, which is the ones going down of course. And you can see as bring these down, I'm going to have to pull it out. So I'm going to pull it out, put it into place like so. You can also see that my bend here is not while one, so the first thing I'm going to do is I'm going to come down to my roof angle bend. And I'm actually going to bend that a little bit more. Now, you might ask, we've got a roof angle bend here, but we've got a lock center as well. It means it bends from different points. In other words, lock center basically bends it from the center. If you turn it off, it's going to bend it from this point to here. So it just makes it, sometimes it's easier to bend from this point rather than the center. That's what it's basically doing. Now let's put this in place and we've not got this quite right yet. We can see we've probably an angles a little bit out and the bends also a little bit out. So let's bend it round a little bit more. Let's pick it up, and let's see what the bends like now. Is the bend going to be okay? We can see we've still got some issues in there. Let's pull it up a little bit. It doesn't need to be perfect. Now what we can see though is that we're probably going to need this to be a little bit smaller because these are actually coming off of here. So let's make it a little bit smaller. Let's pull it back a little bit, let's pull it up, and let's sort that bend out. Not just so it's not quite as extreme. It's very, very finicky this thing to get this right, but once you've got it right, you can actually use this in the other builds again, I can see that probably a little bit out on there. So I'm going to come in, change my roof angle down a little bit, then it's my angle that's a little bit of a mess. So I'm going to change the angle up a little bit and let's have a look at that. And that, to me, is looking much, much better. Now what I'm going to do is I'm going to increase the horizontal count. Keep going. Keep going. Keep going all the way along. So we can see it's overlapping. Just a little bit on here now. Don't be afraid. What we can do is we can just press S and Y, make it thinner on the fly. And there we go, we've got that in place. And what we'll do then on the next lesson is I will go through these options and just talk about a little bit more what we can actually do with this. The other thing, of course, is both the planks of wood and this actual roof we want to actually use again. But we do want to put our own materials on there, so we just need to take that into account as well. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 30. Texturing Techniques for Tavern Tiles in Blender: Welcome back everyone to the blender. Creates core stylized three D models, and this is where we left off. All right, let me just pull this window out because it's actually not pulled out far enough. So let's zoom, zoom back and then just pop that out like now. Let's actually come to this geometry node. Now you will notice that if I go down here, we can actually reset to default Vue, so it's just the right click and reset to default value. And what that means is now if I go to random size, for instance, I can actually right click here and reset to default value that's changing the random size. So we can see here, this is the random size that I wanted to change. I'm just going to put that back to whatever I had it at one oh 57 to length. The same thing. Reset default value. And you can see now they're all nice and straight. I don't want that of course, but I'm just showing you what these actually do to width randomize is the same. Now the only one we might need to go into the geometry node for is the actual random shape. Now the random shape basically will change depending if we go to our geometry node here. So the one I've highlighted, which is up here, the one in red, if I zoom into this, let's put it on material so we can see what we're doing. Now this, if I pull this up, we'll change the tiles to look like this. So this is the best thing about this is the fact that we can change tiles to look however we want them to, which is pretty cool right now. Let's go back and just put those back. So at the moment they're flat tiles, you can even change them, so they're actually inverted as well. Whatever you want to change them to, you can change them to. So you can see we can have terracotta tiles on a Spanish villa somewhere. We could have Egyptian themed tiles in some way. The only thing that we can't do is change the roundness on them. That's something I think I'll create further into this. So the tile shape for the actual roundness of the ends because I know there are some tiles that are rounded and it would be nice to have those as well. So I think in the future I'll create or add to this geometry node and create those parts as well. But apart from that, you can see this is absolutely useful in any of the projects that you're going to be working on. All right, so now we've got that, let's go back to modeling. I think we can work from there. And then what I want to do is I don't actually, well, I want to apply this tile and these plants. So I do want to apply them. But what I'm going to do first is I'm going to copy them both. So I'm going to grab my planks, grab my tiles. And then what I'm going to do is I'm going to press shifty and bring them over here. And the reason I'm going to do that is because it's going to be easier then Zed -90 It's going to be much easier, it doesn't matter where they're actually going to be, but it's going to be much easier then to get the right scale for the roof and the other parts of the tiles that we're actually working with. Forget about the bend. We can reset the bend anyway. It's just actually the size of the planks and the size of the tiles that we want because we want some pretty uniform over the whole of the model. We don't want, you know, much larger tiles on the top of the roof rather than on this part here. So that's the reason why we're doing that. And the reason why I've sent them over there as well is because I want to actually apply this geometry node. And the reason I want to apply it is because I want to actually put in my own textures on here. So I also want to put in my own textures on the wood. So let's come in now. We'll hide our roof out of the way. We'll come back then to our planks of wood. And what I'm going to do is I'm going to go up to object. Come down to where says convert and convert to mesh. Now I should say, before you do that, you need to make sure when you're creating a geometry node, that you have one that says realized instances right near the end. If you haven't got this node in, you won't be able to change this into mesh. So it's important that you actually have that on. Now let's go back to modeling. And what I'm going to do is I'm going to come to object, come down to convert, convert to mesh, And hey, presto, there we go. All right, so now what we want is we want a different material on here. So we're going to go to Asset Manager. I'm going to come over then to my materials. And the one I want of course is going to be, where is it? Plank. Wood plank. Here we go. So let's drag this, drop it on our planks and there we go. We can see already they're looking quite beautiful without even doing anything else. We can see that bevel, in effect that we talked about on the edges of them is quite prominent, especially when you've not got the actual texture working properly. We can see over here at the moment we have this one which is there. I don't know why. I think it's because we replaced the geometry of one. I'm just going to minus that off of my planks. And then one going to do is press tab A to grab everything. And let's smart UV Project and see how that's going to turn out for us. Now we can see again with the planks of wood. The wood is going the wrong way, so I need to spin that round. So let's come into my composition because I know most of the time these planks of wood, of course, are going to be using the plank material. Which means that if I turn it around, it'll be the same for all of them, which is exactly what it wants. So let's come to shading. And then what we're going to do is we're going to zoom in. And the first thing I'm going to do is turn it around so it's always, most of the time on the Z 90. Spin it around, and there we go. Now what I want to also do is turn it round on this one as well. So I'm going to come in rotation because there is two, because of that bevel in effect that we talked about. And then finally, let's think about the scale of these rather than going in. If you can see here, this is what it looks like, we're in one UV map. Rather than going in and doing that, let's actually change the UV map a little bit. So what we'll do is we'll come to the first one and where it says scale, let's put it on 1.3 So let's come now down to the bottom one and put that, in fact, we'll do this top one first. Let's try it on two, Let's see what happens on there. Let's try 1.5 and let's get some happy medium. All right, so I think 1.5 seems to, at least to me, pretty nice. Actually, 1.5 looks really nice. Let's try going to three or something like that. I always like to go a little bit further up. Yeah. And I think actually three looks much better. Okay, happy with that. Let's go now down to the bottom one. We're going to grab all of these three, and there we go. Okay. So that's now set up, this actual material is set up for planks of wood. Now the next one of course, we want to do is our roof. So let's come to our roof. Now, the roof, we need to go again to the asset manager. So let's come over to asset manager. And I'm looking for roof, which is this one here, drop onto my roof. And there we go. We just need to minus this one off. So minus this one off. Not a lot of difference as you can see. And now we need to do is we need to unwrap these. And the reason is actually because I've not actually converted yet. Object convert mesh minus roof drop on, and there we go. All right, so that's looking a lot there. The only thing is, obviously we've not unwrapped this yet, so they're all going to be pretty much in the same place. So let's press Tab. Let's press A, Let's press U. And this might take a little bit of time because you have a lot of roof tiles here. To just be one, it might take a bit of time. So let's go to Smart UV Project. Click Okay, let it load up. Let's go to the shading panel. Now here is what our roof tiles look like. We can see that if I press Tab, we can see that all of these roof tiles are like this. They look really weird. Now, rather than we could come in and change the mapping on these, there is only one mapping on these. Let's actually go in and change the mapping first. Let's put the scale on something like three, and let's see what that looks like, if that's any bear. And actually I think that's looking much, much better. Now, we can see that we do have a few issues in that some of these aren't looking too good. And the reason is because what it's doing is it's basically taking the tops and the bottoms and kind of splitting them in half sometimes if you've got that issue. Another way you can do this is if you come in and let's say you grab this one and this one, and then you go to select. What you're going to do is you're going to select by similar, and let's select by normals. So you can see here now, it's selected all these ones because they're pointing at this angle, based at the normal angle. If we come in though, and we select all these, select all these, select all these, just work your way down Just on these ones here, you can see that we can also come in then select just the top of pretty much all of these tiles. There might be one or two missing, but it's a lot easier than trying to select all these tiles like. So then what you can do is you can select, select similar normal. And there you go. Now we can see that we've just got these selected. And now what you can do is you can just press Unwrap. So now this should unwrap. Much much nicer. Now I'm just looking to see if we do have any problems. And I'm wondering if it would be better to press seven to go over the top. Press U, and let's Project from View instead. And then let's press S and then R 90. So let's just have a look what that's going to look like. Because that actually might look a little bit better than what we had. Now there is some shadow, of course, on here. Let's press S, Y, let's pull it out a little bit, then Y. And what? I'm trying to get these lines off there, I don't actually want these lines, as you can see these lines, of all of these, I don't really want these. I'm actually going to also look on material and see if I can actually see those better. Because if they show up on material, it's going to be much easier. And as you can see, this is the reason why this is happening. If I press Tab, we can see that. Let's have a look. They're not in the right place. And the reason not in the right place is because we've got this on three. If I come in, I'm just going to put this on one again. And I think actually now that's actually going to be better. Now I can press and y and the tops of them. Now I can have more dirt on than the bottoms. And now you can see they're looking much, much nicer than what they were before. Now let's put this up back onto were lit and there we go. Now that's looking much, much better than where it was. I'm just wondering as well whether I yeah, I'm going to press Tab again. I actually think it's looking better than what I had before actually because of the way I've done it. I'm going to actually keep that. What I'm going to press is now tab. I'm going to actually look at the sides of them just to make sure I'm happy with those. Actually, I just looking at the normal map now. The map might be, let's have a look at the normal map. Just want to check that it's on three at the moment. If I turn this down to zero, you'll see now all of that disappear. I think it's a little bit high actually. Let's put it on. One at that is probably going to look a bit better than more I had it on. I do the one thing you might want to do on the act, you might want to bevel the more. But it will, obviously there's a lot of bevel in here. Let's actually have a look. Actually, let's save it out. Before we do that, the modifier generate. Yeah, it's not going to be vel them right anyway. I think it's because control al transforms. Nope, it's not because of that. It's origin to geometry. Bring it down. Bring it up. Yeah, it's not beveling them off. I'm not actually going to use the bevel. I think it was a long shot anyway. I think I think they look good enough. But I definitely think having the normal map on one thing I'm going to do before I do that is I'm just going to move my rotation of my son just so I can see what they're going to look like on top. And I'm going to press cheap wine. Yes, I'm going to leave them like that. I think actually they are looking pretty nice and they all look a little bit different from each other. You'll also see that I've also tried to put this over the top of them. You'll see if I come to this before we finish and I bring this up, you can see, actually we can really bring up the colors, these colors here. We can also bring up how these actually are. Although it doesn't actually seem to work too well. I think I need to work on this color here. If you want them a little bit lighter, just a little bit D. I'm going to also turn down this back to one No. 0.108 But if you do want to bring in a bit more randomness in those light, you can see it's just coming through here. Then you can turn this up as well. All right, let's say that our work, and I know that was a long explanation into where jump, you know, tiles and putting materials on, but I think actually it's well worth going through it. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 31. Integrating Stylized Roofing into Tavern Designs: Welcome back everyone to the Blender created Core, stylized three D models and this where we left off. All right, so let's now put it, we'll put it onto Material mode. And what we'll do then is we'll come to this one here. And I'm going to grab this old shift and click. What we want to do is want to grab it from the bottom, going all the way to the top. And then what I want to do is want to press sift, pull it out. So press selection, just to separate that off. Now I should just end up with this, which is exactly what I want. Control all transforms, right? Click the origin to geometry. And now what I'm going to do is I'm just going to pull this out. If I grab this L to grab it all and then and move it along the y axis, I should be able to move it like So now finally what I want to do is I want to pull this bit out. So if I press one, we can see roughly this is where it's coming because it's the same as obviously this plank or wood behind it. So what I want to do now is press and pull this out, like trying to keep that actual curve. So I'm going to pull it out to probably, maybe like that, maybe that's a little bit far actually. I'm going to go back and leave it at that. Okay, so we've got this now what do we want to do with this? We want to come in again, control a or transforms right click Rogen geometry, add, modify it, and this time we're going to bring in a solidify. And then what I'm going to do is I'm going to turn the solidify the other way. And then hopefully I should end up with something like this. This is exactly what I want, because I want it to cover this part here. Now we're going to have a bit of a wall in here, but I need it to be above the tiles here, as you can see. Now, don't be afraid to actually bend this a little bit if you need to. So you can press and y just to bend it a little bit more, slot it back in place. Also, don't be afraid to actually experiment with dropping this down. And in other words, apply your actual solidify control. Apply that. Then what you want to do is you want to come in a shift click on this part. And then coming over to where this is. What's it called? Proportional Bertin, put it on. Smooth, smooth. So then what we'll do now, what we can do is we can bring it up and down on these parts wherever we need them. In other words, if I come to this one, shift click, shift click, and then just bring it up just a tad so it's just in front of those. And I think that's looking much, much better. Now, the thing is I can see that it doesn't need pulling back probably behind there. Because I do think, but actually I think that on this bit actually, rather than having this bit across here, I think there should be a piece of wood coming up here and then we'll make it go together a little bit better. But before we do that, let's actually finish with this. At the moment, we've got this and we want to actually make it look a little bit more wonky. So what we'll do is we'll come in a and then we'll go to Mesh transform, Randomize. And then turn it down to not 0.2 or not 0.1 not 0.1 Let's try that. And then what we'll do is we'll also add in a modifier. Turn it all the way down and then maybe one like. So now what I'm going to do is want to copy the material from here. So what I'm going to do is I'm going to grab this, grab this one control link materials. And then I'm going to come back to this tab, Smart UV Project. Click Okay. And there we go. There we've got our piece of wood. And that's looking pretty good. Now I can simply come over shift, duplicate it, and I can also put it into here. Now you can see that this is going to be a little bit too far over on there. So what I want to do is I want to put that into place around there, just so it's level with this part here. We can also see now that this is perhaps not quite lowering up on the end. We can see probably needs dropping down a little bit. So this one I'll probably need dropping down a little bit. So we can also see now that this needs to be made a little bit smaller. So I'm going to do is press and why shrink it a little bit and then drop it into place? Double tap the A. There we go. That's looking much nicer. The thing is, though, I've actually lost some of the length there. I'm going to actually grab it again. Shift, bring it over. Yeah. And it's just because it's a little bit bent this part over here, so no problem. What we'll do is I'll grab this part with face let and then I'll come in with proportional editing on. Then we'll do is I'll bring it back and bring it up and it makes it look a little bit uneven anyway. Yeah, I think that's looking pretty good except this roof tile. Not happy with the roof tile Y bring it in these roof tiles then just touching this end and that looks a lot more realistic than what it did. Okay, So that's looking pretty nice. I'm happy with that. I think I might move them just over. There we go. Okay. Now let's grab another plank of wood. So we can put a plank of wood going up here. We'll do that. Now what I can do, I can get rid of this and I can get rid of this one. And then what I can do now is can go to my asset manager again. Let's put it onto shader. Let's, let's go to our current file. Let's go to wooden blocks. Let's how tall are going to be. Let's come to the two meter one first. We'll do that one first. R Y 90. What I'm going to do is I probably going to make this a little bit bigger, making it a little bit chunkier. I'm going to bring that then up to there. And I want it into the top. So you can see here. It's just going to fit like there with this bit going into it. In other words, this is not wide enough yet and Y make it a little bit wider, pull it over. That is exactly how I want it. Now, the one thing I don't want here is the fact that this is going to be popping through the roof. I really don't want that. So I'm going to press En's head. Bring it down. Drop that into place there. That might fit much, much better. Still might be a little bit high, as you can see. So let's bring it down. Bring it down a little bit more. Yeah, there we go. I think that's going to look much, much better. Okay. So now I'm going to do is I'm going to bring that then over the other side. So shift, bring it over the other side. And then what I'm going to do now is spin this round just so it doesn't look the same zed. Spin it around 180 because you've actually changed the scale. In other words, it's longer this way, you don't want it. If you press zed 90, you'll see it's the wrong scale and this bottom bit is not going to fit in. So just make sure you do that. And then what we can do is we can use, yeah, let's see if we can stretch one out going along this top part. So what I'm going to do is I'm going to grab a three meter one. I'm going to put it against there. And then what I'm going to do is stretch it out and y, let's pull it out. And I might need to put that in there, like, so I think with this I'm going to have to re unwrap it because I think it's too much stretching. Actually, this is probably the longest you're going to have a piece of wood, because I don't think realistically having very long piece of wood is a good idea. Actually, I'm going to drop it down a little bit so it fits in place. So now let's come over, let's go to our UV unwrapping Smart UV Project. Click okay. Let's now go to UV editing. And we can see by zoom into there that I'm going to have to make this a bit bigger. So make it a little bit bigger. And I think now that's looking much nicer than it was. All right, with the top bit along here though, I'm actually just going to use a few parts here. Maybe I'm going to pick, it's going to be one going into here, then one going into here. Maybe we need to pick these up a little bit to fit all this together. Again, as you build in, don't worry about having little parts here and there. It should look like that. Anyway, it's there, if it does. So let's go back to modeling. And what I'll do is I'll use this part here. And I'm going to pick this up shifts, pick it up, let's spin it round, so said 180 and let's spin it, R Y 90. And the other thing you can do actually, is come to object, go down to mirror mirror on the x global axis. And then that will mirror it round for you as well, which is also a good way to mix up UV's. Okay, let's put this up here, and I want this going, let's say to the top here. So then what I'll do is then I'll bring another one, another one of these. Let's press three and just see how much the gaps there. The gap seems fine there. Actually, let's bring it over just to tab like. So then what we want now is one going across here and then a little bit on here. Let's, let's see what we've got. We'll grab this one here. We're going to press shift. We're going to bring it up. We're going to press three. So then what I'm going to do is I'm going to slot that into place. I'm going to press and y just make it a little bit thinner so let's put it back into place there. That's looking pretty nice. And then what we'll do is we'll bring another one shift D, let's bring it over R S, 180. Spin it around, then let's make sure it's going to fit in there. And Y, let's that in place. So that's also looking good. Let's drop them both back just a little bit. Okay, now we want one more piece of wood. We have a very small piece of wood here, so let's grab that one. So I'm going to press shift, I'm going to bring it up and I'm going to slot that into there. Just back a little bit, so again, randomness is always good. Okay, so now let's figure out the walls. So let's just check the time. Yeah, actually I think we'll do the walls on the next one. We still have a fair bit of work actually to get this done. We have this point here. We have these little piece of wood to point here. And then, yeah, we have the top bit to go around here as well. A actual bit of work, I think with this top bit as well, we'll actually work our way round here as well. And we might even create a window next and put some little bricks in. I think that would be a good idea at this point. All right everyone. So I'm going to say about my work and I'll see you on the next one. Thanks a lot. Bye bye. 32. Creating Stylized Brick Protrusions in Blender Models: Welcome back everyone to the Blender crater course stylized three D models and this is where we left off. All right. So now, let's grab this part here. Let's press Shift D. Let's bring it up. Let's make it a little bit smaller. Like so. And then let's bring it over to this side, so Shift D. Let's press S and Z and really shrink that down. S and y. Let's bring it over to the next part now. So Shift D. S and Y. L so now let's actually do these sides as well. So Shift D. Spin it around. So Z 90. Let's put it into place into around there. Now, we've got this is a very weird angle to do. We could use the night tool on this, I guess. That would probably be the easiest way. Let's first of all, get it into place then. So without proportional editing on. Pull it over into place there. And then let's just press. Sorry, one. Let's press K. Let's come in and cut it from here. Okay. Like so. And then we can come in, grab this top phase, let's delete phases. There we go. All right. Now, let's grab this one. Shift D. Let's drag it over. Let's put it into place. Let's get. I'm thinking Probably a piece of wood. We've got a little bit of a gap there, as you can see. I don't really want that. I think what I'll do with that is actually come in, grab the top of this portion editing on, and just pull it up, zooming in my mouse, like so. Then it looks a little bit tighter on that part, and then we're going to grab this bit shift, bring that up. I'm going to drop it back as well into place like so, and then of course, I'm going to spin this round, so sad 180, spin it round. Maybe drop it back a little bit more, and I'm also going to rotate it just to tied as well, so ly, rotate it, double tap the eight, and now you can see that's going together very, very nicely. Okay, so now, We want to make sure though with the sides that we're going to be putting some other things in there. In other words, we want it to look a little bit different. So I'm probably going to put a piece of wood going over here. Basically, what you want to do, again, is you want to make sure that near enough, every single wall looks different from the other part, the other piece of wood. So whether it's a window on there, whether it's a piece of brick, whether it's some grass, whether it's the little small bricks that we're going to use soon, it's entirely up to you. You just want to make sure though that you're actually doing that. So I think what we'll do now is we'll just go to save So save. And then what we'll do is we'll just create a couple of bricks. So the way I'm going to do that is, I'm going to press Shift A. I'm going to bring in a plane, 90. Let's bring this plane out, like so, and I just want something just to get the right scale off. So what I'm going to do is I'm going to press S S and y, just to pull it out a little bit. Something like that looks around the right sort of scale. So you can see now, these are going to be in the wall like this. I think I'll make it a little bit thinner as well. So I'm going to have one like that. Let's have another one. Like this. So S and y, another one like that. Let's grab this one again. So Shift D. And let's pull this one out. So we're going to come to Edge select, pull it out without proportion editing on, pull it out, like so, and let's make one a little bit of a different brick, so Shift D. And with this one, we'll press tab, press control. Left click, and then I'll pull it over to that side, grab both of these, pull them up. And then what we're going to do is, I'm just going to pull a little bit down. So E and Z, pull it down a little bit. L. Now what we'll do is we'll pull a couple of these together as well. So if I grab these two, I'm going to press Shift D. Like, so. And then what I'll do is I'll put this one close to this, so like that, and then I'll create I think one more variation. So Shift D, let's bring it up. And then what I'll do with this one is, I'll move this to the side, press Shift D, move it to the side, S and y. Like so. Then make it a little bit uneven and then S and so. All right, so now I've got a lot of variations of bricks. Now, the next thing you want to do is you want to pull them all out. So let's join them all together first. Like so, press Control J. Control A, all transforms, clicks the origin geometry, and then tap A to grab everything. E, pull them out, like so. And then what we want to do is we want to level them. So we also want to make sure as well that these ones especially here. If we've got one of them, we'll just pull it out a little bit. And then we'll get the other one, pull it back in a little tiny bit, just to give us more variation. And then with this one, we'll do the same thing. So, pull it out a little bit, like so. All right, they're looking pretty nice. Now, let's come in. Controle again, 'cause we've actually pulled them out. And then what we'll do is we'll come in and bring in a bevel. So we'll bevel them off, turn it all the way down. Turn it up. Maybe two. And now let's bring in the material. So the material is going to be this stone here. So I can basically come in, grab this press Control L link material. And then what I can do with these now is then can come in two material. Take off my wood because I'm not going to need that on, and then press tab, A, Smart UV project, click. And there we go. Now we have our bricks. Now we need to do is name all of these bricks and split them up because we don't obviously want them all together, and we want to bring them in with ease. So let's actually do that now. So what I'm going to do is You can actually split them up and then probably join them together. So if I grab them all, I can come to let me have a look if it's the mesh. Separate by loose parts. There we go. Now what I can do is I can actually come join these two together, so Control J. Join these three together, Control J. And then what I can do is I can just come in now and put brick one, two, and three. So let's come in. Brick Okay. One, but I'll copy it from there. So I'm going to copy it from here. Control C. Brick one. Let's come to this one. Brick two. Like next one. And then the last one, this one here. Like so. Now, let's put those into our asset manager. So I'm just going to grab all of them right click, Markus asset. And then what I'm going to do now is I'm going to move these out over here because I'm not going to have them there. I'm going to spin them all around, so our 90. Let's have a look to see if they're in the right place. Let's drop them down a little bit. Like so. All right. And as we're building now, obviously, we're creating our new asset manager at the same time. Now, let's come in and put a few bricks in. So what I'm going to do is I'm going to press three. I'm going to go to my asset manager. I'll have to line up again, actually. And we're going to have some on the sign. So I'm going to call this one. I'm going to click the plus, and we're going to call it small bricks. Like so, and then I'm going to go to unassigned, grab these bricks, and then we're going to drop them into small bricks, like so. Okay. So now what you'll find is that it's very easy then just to grab a brick and put it in place. So x 90. Let's put that one in place. We're going to shove it into place. I can see that I did make a little bit of a mess, and it might be y all of these now are in this position. So let's just clear the assets and let's do this properly. I'm going to zoom into this one. And then what I'm going to do is, I'm just going to grab all three or six of these bricks, press control or transforms, right click, seg into geometry, and that's then going to make it much easier. I press one now to get front of you, right click, markers as set, and now we're going to have unassigned and this should lot better now. So if I come in and drop that small bricks into there, Okay. Now, let's see if they go on properly. So what I'm going to do is I'm going to just delete this brick out of the way. So delete. Press serve three, to go to side view. Zoom in. And then what I'm going to do is bring my brick in, and there we go, now we can see, it's coming in very nicely. So what I'm going to do is I'm going to put I'm going to zoom in to my brick. I'm going to put it into place. Maybe something like this. And then we'll get the little L brick. I'll drop that in. So x or y, 90. And then x 180. Spin this one round, put this brick in here. Pull it back a little bit. Like, so. And I think have look round here. So now, there is plenty more to do on the next one. We've got to get in this piece of wood here. We want a piece of wood going over here. Same on this side. And we also want to put in our supports, which are going to support this part here because it's no good, you know, just hanging down here. We need some sort of supports. And it also makes it look a lot nicer. Alright, everyone. So let's save out our work, and I'll see on the next one. Thanks a lot. Bye bye. Okay. 33. 3D Pillar Creation with Asset Manager in Blender: Welcome back, everyone to the blend the creator core stylized three D models, and this is where we left off. All right. So now let's make some actual posts. So we can actually put these as well, wooden supports. We can put them in in here, I think. We'll just call them large wooden supports or something like that, but let's actually make the sizing of what we want first. So what I'm going to do is I'm going to come over here. I'm going to press Shift S, Cursor selector, just to give me a starting point shift A, and let's bring in a cube. And then what I'm going to do is make the cube a little bit smaller. And I just want to make sure, first of all, that it's going to line up okay, so we can see if I put my cube in here. How thick is this going to be? It has to be relatively thick, obviously, because it's carrying a lot of weight on there. So I'm just going to put it in making sure that it's fitting nicely. I think then I'm going to make it a little bit thinner because we do have a post at the bottom. So something like this. And then one way to do now is I'm going to drag this down. All the way down like so, down to the floor. And then what we're going to do now is I'm going to press control. Bring in one edge to where I want the actual support to come to. So something like that. And also turn off X ray. I don't really need that on. Come to face select. We're going to grab this facet shifting clicks so it goes all the way around this way. We're going to press, Enter, and then you're going to press test. And what test is going to do is going to bring it out. Nice and even. You can even put offset even as well, and then you'll end up with something like this where it's really, really nice and flat. Now, if I showed you the other way, instead of doing that, I just press S, you can see this as what happens. All test, though, brings it out, really, really nice and even. And then what you can do is when you put offset even on, test again, make it a little bit thinner if you want to do that, and there we go. Now, let's come in. And make these a little bit more uneven. So control, bring in some H loops, left click, right click. And then what we'll do now is we'll split this away from this block. And the reason I want to do that is because I want this to be a little bit more uneven than this. So what I want to do is old shifting click going all the way around, right click. Marks seam. And then one going to do is I'm going to come into face select and grab just this island because I've marked a seam. The reason I'm grabbing in face leg. If I grab an edge select, it's grown to grab it all. If I'm grabbing face leg, though, it's going to grab only up to the island, which is split by our seam. Now I can just press y and now I can press G, and that is split away from there. Now, if I press Shift H, just to hide that part out of the way, I'm going to put bob on here. So I'm just going to grab this one, this one, F. Then I'm going to press lth. And instead, I'm just going to press on this now, so I'm going to grab this one H for hide. And then what I'm going to do now is, I just want to put a proper face on here, grabbing all of these delete faces. And let's give it a proper face, like so F. And now we're ready to actually change this part of the mesh. So I'm just going to make sure I've got only this one selected, and then I'm going to go to modeling, not modeling, sorry, not going to go. But I can be a modeling. Doesn't make any difference, but I want to be on mesh, transform and randomize And actually, that's not really randomized much, but it has randomized enough that I think I would be able to use it. Now, before I do that actually, I'm just going to press control. And now I've got this. What I'm going to do is instead is I'm going to press Shift D, and I'm going to move it over. And I can see as well that actually, I need to press control all transforms right. To geometry. Now, where do I want this? I actually want this probably somewhere around here. And then I'll probably want the next one. Going to be right just near the end, somewhere around there. And then this one, I want to be around there. So like that. So we've got a bigger gap here and a smaller gap here. That's what we're actually looking for. Now, let's think about actually doing these all at the same time. So I'm going to grab all of these, join them all together, so control J. Let's put it on object mode because I'll really be able to get an idea then what this actually looks like. And then what we'll do is we'll press tab, we'll grab all of these. So if they're not grab, just grab them all in face select and then mesh, transform, randomize bring them down to what I want them. So it's probably on these going to be naught 0.1, like so. And now we'll do these other parts as well. So I'm going to grab these. I'm going to come to mesh, transform, randomize, and bring them down. I feel like if I if I did them together, it probably won't work out so well. So that's why I've done it like that. All right. So the next thing now I want to do. Now, I've got these is right click shade Auto Smooth, just to get rid of all that lumpiness. And then what we want to do is come in, add modifier, generate and bevel, and then turn it all the way down, turn it up one. And let's make sure I'm actually happy with how that looks. And I think I am. Now, the one thing is, I want to actually change these a little bit, so I'm going to come in, grab this one, for instance, and just pull it up a little bit, grab this one, and let's rotate it on the X, just a little bit, like so, make them look a little bit different, as you can see, Yeah. And I think I'm happy with those. Now, we want to put some supports going in this way in this way, but I don't think that we want to do that and save them in the asset manager. I think these supports should be on their own. So that's what I'm going to do. But before do that, obviously, I want to bring in some materials. I'm going to put on shader again. I'm going to grab this one here, press Control link materials. And now let's come in. Grab all of these, not this one, sorry, these three. So press tab, smart UV project. Click Okay. And now all does will come just to these wooden bits. So L, L and L, material, main wood, a sign. And there we go. Now we can see they all look different, fitting in with their stone looks good. Everything looks fantastic. Okay, Contra now, let's split them up, first of all, so we'll come in. And we'll split these up. So I'm going to press P selection. Next one, L P selection so. Alright, now they're all split. We just need to reset the transformation, so Control A, A transforms, right click to origin to geometry. And now we actually have a choice to make. We need to move these over there, put them in or as the manager, and then bring them back in. So what I'm going to do is and I'm just going to pull them. Yeah, I'm going to pull them over there and just restack them. It's not going to take much time. So is there, 90, I want to spin them all round. So I'm going to put on medium point z 90. Let's get them closer together. Let's scrab all of them, press in one on the number pad. And then what I'll do is I'll just call them. Yeah, I can't call them the same thing together. So we'll call them large supports, post space copy, B one, and then we'll do the same on this one. We'll call it two, of course. And then the same on this one. So. Alright, now we'll grab all three of these. We'll right click and we'll mark as asset. And then what we'll do is. We'll now go to our asset manager. We'll come to unassigned. And what we're going to do is then drop these in. So I'm going to drop these in to wooden supports. Like so, and there they are. Okay, now we can bring them in. So let's bring in this one. Let's bring in this one, and let's bring in this one. Let's press three. Now what we'll do is we'll get them lined up. I want this one to be there. I want this one to be there like so, and finally, I want this one to be on the inside. I think, actually, whether I want this one this way or I think I'm going to just move it there because I think it looks a little bit bare for the support like so. All right. Now let's move them back into place. Like so. And now let's think about creating the other support. So in other words, we want some pieces of wood come in this way as well. So what I'm going to do is, I'm just going to grab this one, Shift D, urs to selected. Now, anything like this, actually, rather than creating new piece of wood, let's not do that. Let's just use the blocks that we've already got. We might as well use these. So if I bring this in here and then Z 90, maybe that one's a little bit too big. So let's come in with let's have a look at the 1 meter one. Yeah, that one is too small. So we've got 2.5. Let's have a look at that. No, not that one. We want 2 meters. Or 1.5. Let's try that one. Said 90. Let's see if I can actually get that in place. So what I'm going to do is I'm just going to press three. I'm going to press r and x, rotate it round. And then what I'm going to do is, I'm just going to fit this into place where I want it so we can see it's nearly in place. So, making sure that there's a gap each side of there. Making sure also that that's not poking out at the end. We don't want it poking at the top of there. Let's pull it down. Let's pull it back a little bit. I think that's actually perfect. Don't worry about this gap on this side. Now, let's press three, let's press Shift D, bring it over, and then Z 180, spin it round, get this one in place as well. We know we've got at the right height now. Then what we'll do is bring it. We need it going up here to this part, so shift D. And then Oz hundred 80, spin it round, making sure that we're going from here, making sure these kind of line up, like so. And then this one's going to be a short one. So shifty then Oz 80, spin it round. So, and you can see, we've got a nice short one there. And all of those are lining up pretty nice. All right. So what we'll do then on the next lesson is, we'll tidy all these up of course, and I'm thinking that we'll cut these little parts off. And then what we can do is we can start actually adding the little bit the other little pieces of wood on here. And yeah, then we can probably move back round to the front on here and finish the window. We might even start the window on the next lesson. All right, everyone, so hope you enjoyed that. I'll see on the next one. Thanks a lot. Bye bye. God. 34. Building a Tavern Extension in Blender: Welcome back everyone to the blender. Create course, stylized three D models. Nearly set that wrong. But anyway, let's carry on. So what we want to do now is we want to, we want to actually cut these off. I'm going to do is we're just going to press three. I'll come to this one first. I want to press to grab everything I'm want to come over then and click on something called be really, really amazing tool. Let's come in. And now we've clicked on it, nothing happens. But if you come in and you just pull this down like so, you'll see nothing happens again. But if we come now and clear, clear inner, we can actually delete that part of the post. And what's actually happened there is it's basically made a cut down here. And then you can either clear the inner or the outer and you can also fill the ending as well. So really, really handy cutting things, much easier for this sort of thing than using, let's say something like the knife tool or something. Let's now come in and we'll do the same thing on the ear. So a, there is no short cut unfortunately. So bisect straight down. Change these over. Let's come to this one then. Same thing, so are you can see how quickly it is to actually use. Let's cut it down, let's clear the inner and let's come to the final one as grab everythin By the way, when you're pressing A to grab everything, what that's doing is it's telling the Bicyc tool where it can cut. If Itly click on this bit here, it would just take away this part. So it's really actually handy to know that. So let's come down all the way around. Okay, now we've done that. Let's first of all bring this one up because it's a little bit too low. And then what we'll do now is we can see all these the same, This one, this one are the same. This one and this one are the same. Rather than spin them around, rotating them round, we could do that. Of course, let's actually not do that. Let's just come into both of them, grab them both, come into shading, let it load up. Zoom in tab, then what we'll do is just a G and just move them over just so they look a little bit different. Just make sure we aren't going big parts like that. And I don't really want those. I'm just going to move them over like so Yeah, and they look much, much nicer. Okay. So that's that done. Now we've got all of this supports in, they look good. Now let's think about another piece of wood up at the top here. So what I'm going to do is I'm going to probably go back to Asset Manager and then what I'll do is I'll bring in another piece of wood. Let's bring in a two meter part. So I'm going to put in my two meter part on there. And what I'm going to do now, I'm going to rotate it, I'm going to rotate it on the X. Then what I want to do now is I want to make this going up to there, but I want to actually stretch it along here. So I'm going to show you how to do that as well. If I put this, actually I'll put it in the middle because I'll make it easier. Now if we put this onto now normal, you can see now that we've actually got this arrow pointing the other way round, pointing in the direction that this is going in. Now if you set your reset your transformations, if I press control, all transforms right. Click origin geometry. You can see now that it has gone back to how it was. In other words, Blender then has reset the transformation to be this angle that it is. And reset it so that normal is reset as well. We don't actually want that on this occasion, we actually want it like that. Because what that means now is if I press and X, it's actually going to follow that angle that we want. So what I'm going to do is I'm just going to pull it out of there, R and X. Put it on global again, R X and then spin it around. And now I can put that into place, really, really handy when you're dealing with things like this because you can actually move them around in the position that you want. Now you can see this part of the wood, absolutely fine fitting in there really nicely. This part of the wood, Not now. Rather than move this part out, let's give it a bit more randomness. So that's what we're looking at doing. Let's put smooth on, and then let's pull this back. Bring the mouse out so we're actually pull in a lot of it back. Let's just drop into place. And you can see already that's looking really nice. We can't even tell that this war, not too much stretching on there. Exactly what we're looking for. Okay, now let's come and put these little parts in here. Do we have any little parts that we can actually use? Maybe. Let's have a look. We got one. Yeah, one. Let's use the one. So what I'm going to do is we're going to bring this in, bring it up. Spin it around, so Y 90. Let's drop this into place. Let's pull it up a little bit. Drops on there. And then just make sure that we're happy with how far in the wall it is. I think I am. The one thing I'm thinking maybe this plank of wood, let's see if I drop that down. How far I'm going to drop it down? We can see we're losing a lot of that from there. I think while doing studies, I'll just put that back up and what I'm going to do is I'm going to pull my wall out because then I can hide that they this part's looking good anyway. Now what I want to do is I want to make it another part right on here. Maybe a tiny piece. Chunk Rony. And now I know I already have some tiny pieces that I actually created, this one here, so I use those as you can see as well. The best thing is, as you're working around here, you can just grab blag low pieces from everywhere. And it makes the easier the further you go along. Now of course you can imagine as well, if you're working on your own on this, you're not producing, of course you can imagine how quick this is actually going to be. All right, so we've got that there. Obviously it's sticking way out of where we want it. Let's press N's head and just shrink that back in. Let's pull it down then let's also shrink it on this as well. So and Y, let's pull it out into place. Now with little pieces like this, the best thing you can do is if we've got around here, we've got our wall here, shift D, you can't see both of them at the same time. Really don't need to worry about UV's in that situation. And then all I can do is just pull it into place. Let's pull it back a little bit. Let's have a look at this. This was way too far out, as you can see. Also with this one, we have to pull it down a little bit. Double tap the A. There we go. Simple as that. Now let's think about the next bit, which will be this part here. I might as well. I'll grab this one and use this shift D. I'm going to pull this out. I'm going to press Z 90. Then what I'm going to do is I'm just going to press and Z, pull it out a little bit and then Y, put it into place wherever I want it, which will be something like that. Then what I want to do is with this, especially I just want to bend it a little bit just to give it a little bit more to it. If I press one, go to side view and then all I can do is press just bend it like double tap. And there we go again with this. I'm just going to bring it around now to the other side. I'm going to put that into there like, so I'll be glad actually, when I'm building that part out because I'll have a much better idea of what that's going to look like. But we can see now if we just put this on rendered view and take a step back, just how nice that actually looks. And all that work that we've actually done was really, really worth it. All those little parts that you're putting in, all these little bricks and things like that, they're absolutely worth doing. So you can see now it's really, really starting to come together. Okay. So what we're going to do now is we'll actually come round and we'll actually start working on this front a little bit more. We might even get this roof in as well, but I think the first thing we should do is we'll work on this part here. Just going around, just making sure everything's okay. So I think we'll start working on this. I think this is a little bit too big at the moment, so I need to make it a little bit smaller, maybe just looking how far it is out. Yeah, I think I'll make this a little bit smaller now, so. And Ed. Just a little bit because I want it to be supported from underneath with some more pieces of wood. So we'll work on this part now. So what I'm going to do is just put it onto material mode. And then what we'll do now is I think the shape of it is actually fine. It's going to be a very, very tiny roof. We need a window on this as well. Yeah, let's go from there. So what I'm going to do is with this, I'm going to have a piece of wood going probably all the way up from the bottom. All the way into this actually. So let's do that. So what I'm going to do is 2.5 Let's see if that's going to do it Y 90. Let's bring it up. So I'm going to press one. Put that into place there. I'm going to shrink it down a little bit, but I'm actually going to make it a little bit wider because this is supporting on top of these as well. And x, pull it out a little bit, pull it up a little bit, something like that. Let's get thy in place first of all, so we're just gonna drop thy in place like so. And that is a good start. And then we can have some parts that come from the bottom of here. So what I'm going to do then is shift, bring it over to the other side. Then of course we're gonna rotate it round, so our zed 180. Rotate it round like so. All right, so that's the main start of this part. We'll build this out. Then on the next lesson, let's go to File and Save. And I'll see on the next one, Everyone thanks a lot and I hope you're really enjoying the course. Bye bye. 35. Resolving Mesh Problems with Geometry Nodes in Blender: Welcome back everyone to blend the critical, stylized three D models and this is where we left off. All right, so now let's see if we've got a two meter, one. So let's bring in our two meter. And what we're going to do is we're going to spin this round. So all said, 90, let's spin it around and let's put this into play. So we want it just under the bottom up here, perhaps poking out just a little bit, but not too far. We don't want to go too crazy because we're going to have actually a window on here. We want it probably around there, something like that. And then we want to pull it out just a little bit, just so it's actually sat below that actual, this part here. Then I'm going to press Shift, bring it over. And then what we're going to do is I'm going to spin this round, so ours hundred 80. Spin it around. There we go. And then we'll do is I use the same one again. Shift D, shift space bar, move. And I'm wondering why that hasn't gotten to move to all in. And the reason is because I press space bar, which started the animation. So let's spin it around. So are the 90. Let's pull it together. S and X, pull it in. Let's lift that up then. Now, underneath this one, I do actually want some planks of wood. So what I'm going to do is I'm just going to grab, actually we'll use another plank of wood. So we'll come into geometry notes, Not geometry notes, asset manager. And then what I'll do is I'll go to my planks which are in my user library. No, they're not. They're in All look, yes they are. Is this where they are? No, I'm wondering why my user library isn't there. And I think it's because I actually close blend down. Let's actually see if I can actually add in my user library which is, let's just find that here is my user library. Let's double click, click except now let's see, we've actually got those. There we go. We. Yes, this is exactly I want because my blender closed out, it doesn't seem to save out your preferences with the user library for some reason, I'm not sure why. But anyway, let's bring this in place, let's make these smaller. So the first thing I'm going to do is then we're just going to make them a little bit smaller. So because then they're going to be much easier to use, let's get them in place. We all we need to worry about here really is just making sure that these fit into place under here. So in other words, we want them going from there, a little bit further down like so. And now we'll get rid of some of these. So I'm going to come over to geometry nodes. Let's plant count is 11, let's turn that down, something like that. Let's pull the length back a little bit. So we've got plank length, let's pull it back like so. And we'll use this over and over again as well. So it might take a little bit of time just to do it in the beginning, but after that it's going to be relatively easy. Then what I'm going to do is I think actually we'll save this once we've actually got the materials on as well because we might use this for other things. And I think that will make it a little bit easier. So what I'll do is I'll come in with rolling up and down. So let's make them a little bit more jangled. Let's also decrease the gap. So let's bring the gap a little bit down. Let's bring them the random width down a little bit like so. And then let's pull them out. And X, let's pull them out just a little bit so they fit into place. And X, double tap the A and there we go. They're looking pretty nice already. I'm just looking at the unevenness. That's why actually one maybe a little bit of rotation on the right or left, so just a tiny bit and now they're looking pretty uneven. All right, so now we've got that. Let's actually come in and apply that. So I'm going to grab geometry nodes, object convert mesh. And then what I'm going to do is grab them all. A smart UV project. Click okay. And then what I'm going to do finally, is I'm going to come in to the bottoms of these. So we can see the bottoms of these. Now you can see we do have an actual problem in that this geometry nodes got changed because of the fact that I altered this one. So what I'm going to do is I'm have to go back. There we go. That's what happened. So I'm going to go up to this point. Here controls head. And then one is I'm just going to grab that. I'm wondering if I press this, shouldn't be a geometry. Now I'm wondering why did that control a? Create object data and apply transform. There we go. Now let's try coming in and seeing if I now create this as a geomet node, is it going to mess around with this? So all we do is object convert mesh and there we go. Now we've not got that issue. Who? I thought we'd have a big issue then, but apparently not. All right, let's come in now and what we'll do is we'll press Tab Smart UV Project. Click Okay. And then what we'll also do, actually, before doing that, before actually applying the Jome node. Sorry about that. What I want to do is I want to pull these out a little bit, just so I can use them on the other parts. Because if I don't pull them out, they're going to be flat and I don't really want that. So what I'm going to do is I'm just going to change, where is it? Random width. Random length. There we go. I'm just going to change that even though this is going to be hidden. I'm just going to change that round. And I'm going to change the seed round as well, just making sure they're a little bit different from each other. Let's change the seed on length Width. There we go. All right, that's better. That's what I actually want. Now what I'm going to do is I'm going to press control all transforms. In fact, no, I'm not going to do that. I'm going to go to object, convert to mesh. Now I'm going to press control all transforms. Right click, so origin geometry. And I'm just making sure those now are actually okay. Which they are. As you can see, I'm also going to come to this hopefully. Yeah, that one is okay. So the roof is okay. It looks like it was just these two. For some reason, these planks were actually linked in some way. All right. Now I've got that. Let's press Tab Smart UV Project. Click okay Tab. And then we're just going to select these other planks of wood. And what I'm going to do now is press control L link materials. And now it can go to materials. And hopefully if I assign these to planks and there we go. All right, let's have a look underneath. I'm just wondering. I think they're going the wrong way. Let's actually just isolate these out. So shift H for some reason on these ones they would be going the wrong way. So let's go to shading and just log what's going on there. Let's press Tab, and then we'll zoom back into it. And let's press Smart UV Project. Click Okay. Yeah, and for some reason, these ones are actually going the wrong way. And I'm just wondering why that is, because the other ones were going the right way. Anyway, we can fix that. We're just going to press R 90. Spin them around, and there we go. Now they're all going, they're not all going the right way. All right, let's actually do this a different way. We'll come in, we'll grab all these. What we'll do is press control mark seam, and then we're going to mark a seam on each of these edges. Now old shift click, just going down each of these with the old shift click. And we can see as well. It's, I'm just wondering if I take off my proportional editing. Yeah, they're all joined up. There's no reason why it should be like that. So all I'm going to do is I'm just going to come down each one, shift, click, control, click, shift, click, control, click. And what we're going to do is we're just going to make sure all of these have a mark scene, right click, mark, see wrap. And now they should unwrap the right way when I've turned them around. So our 90 spin them round, not wrap in the right way for me and I don't know why that is, it seems so. Let's press control. Or transforms its origins. Geometry. Spin them around. It looks like they're all messed up. Let's actually try something else. So we're going to mesh. Cleanup. Merge by distance. Let's put it up on, and we can see that the starting to merge there. So that's not what the issue is. I come here though, press G. We can see that the measures are correct just for some reason they're actually wrapping correctly. The sides are, it's just not the tops. So there are ways actually to get around this, but it just, it's taking a little bit longer than we expected. So what we're going to do is we're going to come in and I'll press one on the number pad and I'll show you another way to actually fix this. So what we'll do is we'll press Z, go into wire frame. And then what I'm going to do, I'm going to make sure I'm on face select. I'm going to press B. And what I'm going to do is I'm just going to grab the bottom ones down here, and then I'm going to grab the top one. So grab the top ones on the top like so. And now you should have selected all of the tops and all of the bott. If I clicker this on, you can see we've got all the tops, all the bott selected, press seven to go over the top. And what you're going to do instead is you're going to project from view. And then what we're going to do is now we're going to put this on material just so we can see what we're doing and making sure that they're the right way. And there we go. Now they're looking really, really nice. I don't know why I had to do that, but it was a bit of a pain. But now what I want to do instead of that, I'm going to press H to hide everything out of the way. Here is our problem. So each one of these for some reason has a piece of mesh inside these. I'm not sure why that happened when we actually converted them, but this is the reason why. So now I'm going to do, instead of, you know, messing around and doing that, I'm actually going to come in because I want to make it easier for myself when I actually have to deal with these again. So what I'm going to do is I'm going to put this on frame. I'm going to make sure I'm in face select. And then what I'm going to do is I'm going to see if I can actually select these. I'm going to press C on my number pad, C on my keyboard. And then I'm going to just move my scroll my mouse wheel in to get the right size. And you can see there that this is also going to be a little bit of a pain. Instead of that, what I'm going to do is another way. I'm going to select all of these, so I'm going to hide them out of the way. Then I'm going to do is I'm going to press one and then I'm going to make sure I'm in wire frame. And I'm going to come in and press C. Just select them all. So then what we should have is everything selected apart from these. Then I can press Delete Faces. I'm hoping that, yeah, you can see it's still not fixing it. Let's dissolve vertices. That's not going to work. Delete dissolve edges. Dissolve as that's also not going to work. I'm actually wondering, oh, we have mind actually work now. Yeah, let's delete faces and then we'll press old. Let's put it back onto material. And now we're just going to try that again. Smart UV project. Click Okay, there we go. Finally we had a load of edges in here. That was what's causing the issue when it actually deleted the faces as you saw there. What it did was if I open up one of these now, so if I come to this hide out of the way, you can see that we deleted all the faces down there. Why it looked like we didn't is because this bar was still there in wire frame. So they looked like we didn't. But now you can see that we've unwrapped them perfectly well. Not sure actually why the others. So the other planks they unwrapped, absolutely fine, these didn't. So I'm just going to quickly go round, press Altage, bring everything back. And what I want to do is I just want to come to my planks and see you can see these actually you've unwrapped absolutely fine. So I've no idea why these actually did this. But anyway, that's the way it is. We've got it fixed. Took a fairly long time to fix it, but hey ho Okay, so on the next lesson, actually I'm kind of glad like when anything like this actually happens where there is an issue, at least we're solving the issue together. So it means that, you know, if you come across this issue on your own, then it's solved right now and right here. And you've seen that. All right everyone, So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 36. Developing Smaller Extensions for Taverns in Blender: Welcome back everyone to the Blend that creates course stylized three D models. Now let's go to our asset manager and let's try and make up for that little bit of time that we actually lost. Wooden blocks is not this one we want to go up to here, we want to go to current file, and there's our wooden blocks. And for some reason, our wooden blocks, small bricks, here they are. Wooden blocks are now appearing. We're appearing before. Maybe there's a little bit of a buck here, I'm not actually sure. Anyway, let's bring in the one 1 meter. Let's bring it up and we're going to use this along this side, so Ward's 90. Let's pull it into place. Just very, very small parts. Let's pull it into place, so making sure that it is into that wood. And then what we'll do is we'll just bring it across shift, bring it across. Spin it round, so's Ed. Hundred and 80. Make sure it's into that piece of wood. Grab them both. And then what I'm going to do is press S Y, double tap the A. Yeah, think that looks absolutely fine. Now we just want to block going this way. Blocks are going this way, and of course blocks are going this way. And then finally we just want to our actual wall on here. All right, now let's come in and we need something a little bit bigger, 1.5 I think we'll bring these two in. These two like so. And then what I'll do is I'll bring this one. So I'm going to press one. Put this one into place. So put it back, just there. And then bring this one. Same thing. Okay, press one. Let's put it into where some place is going to be, something like that. And then pull it out. Now remember on this one we're actually going to have the roof actually coming over the top. We just need to take that into account. All I'm going to do now is just put these side bits in. So I'm going to press Shift D to duplicate this one. Rotate it around our Y 90. Put it into this place here. And then once I've got this one in place, I'm going to actually bring in my roof. I'm going to press the S P to shrink this down a little bit as well. We can see that this is a little bit out, so you can see that it needs to be probably up to, yeah, it's a little bit out. What I'm going to do instead, I'm going to grab this portion editing on. I'm going to see if I can get away with pulling that out a little bit like so and then pull it out this way a little bit again. Don't be too scared to change these things. And then what I'm going to do is grab this one shift, bring it over, then our 90. Let's spin that round and let's put this in place. So, all right, now let's bring in our roof. So first thing we'll do is we'll delete this out of the way. We don't need this anymore. That is what it looks like so far as you can see. Pretty nice. Now let's bring in a roof. So I'm thinking I could use this one, but I want to keep this one because I want to actually use it on there. So if I press lag, just want to make sure that's there. Okay? I want to make sure that I use it a long gear because these are the same size tiles. So what I could do instead is I could just duplicate this. Now shift because then that will be the same size tiles. What I then can do is I come over to geometry node and what I can do is, rather than this bend here, I can just set this back then to roof angle rightly. Let's where is it reset to default value? And there we go. We've got a straight roof now, while keeping those tile sizes. Now let's bring down the horizontal count. So let's bring it down, let's put it in some type of place. We don't actually one this part bent or anything like that. It's too small actually. So all we want is we just want it like this, but we want it a different angle. Of course, the rotation is going to be like this even more. We'll rotate like this and put it into place. I'm thinking that's probably going to work out pretty nice. Let's remove the vertical ones. Let's put it back into place and see if we've got this. Now, I think one more, so let's put it back in maybe one more. There we go. Yeah, that's looking good, like that. And then let's remove some of the horizontal ones there that might be just perfect. All right, now what I want to do is I just want to squish it in a little bit and X pull it in a little bit. I can work with that now on something so small, we don't really need to put any planks underneath for something like this. We just poking over there. Actually, I'm going to leave them like acting. Have a look from here. Yeah, that looks absolutely fine, just making sure they're leveled up. Okay, what we need now is just some piece of wood. So I'm just going to grab this one. I'm going to press Shift, bring it up, and then spin it round, so 180. And then what I'm going to do is press and X, No, S and Y. Just put it out a little bit. Three to go inside view. Then I just want to probably making a little bit thinner, this one and a little bit thinner. And then R X and get it to the right angle. So you can see that angles a little bit out. X, right angle. We don't want to bend this or anything like that. We actually want to make this just a little bit easier for ourselves. So I'm just going to slot in there. And then all I'm going to do is I'm going to grab the end of it and I'm going to put this onto normal and then pull it out with proportional editing on. Now you can see that I just need to lift this up a little bit. So I'm just going to pull it up just so it's sliding right on the end of the, the actual wall is going to cover here, so that's no problem. And then what I want to do now is I want to squish this in once I've got this in the other side shift now, we do want to rotate this one round. I'm thinking probably, yeah, what I'll do is I'll rotate it around, so I'm going to press R 180. Then I also want to do, because you can tell that they're pretty much the same along here. What I want to do is also rotate it on the Y. Let's see then if I can rotate on the Y, R, Y, or X. Yeah, we can see that we're not getting the right rotation on there. You can see it's rotating in a really weird angle. Maybe that's because we didn't reset our transformation after what I'm going to do with this one. Instead I'm just going to go to my shader shading panel. Instead of that, I'm going to press Tab G. Just move them around and then I'll make it easy for us, making sure that's the same now. And let's put that over this side, let's just make sure that is going to slot in relatively easy. I'm going to grab this side and pull it out a little bit like so grab my roof then, and S and X pull it in a little bit. Then what I want to do is now just check to make sure that these are looking similar, which they are. Okay, So we've got all of that done now. Now what we want to do is we just want to come in and again, we want to have this material on there. What I'm going to do is I'm going to come over to here. I'm going to apply my geometry node. I think I'm not going to need anything so small like this. Yeah, I think I'll just apply it. So all I'm going to do is just going to hover over here. Control and apply that. Grab this one after control L link materials and then what I'm going to do now come back to this one. Take off I think, Yeah, this is roof, so I want this one taken off like so then what I want to do now is unwrap these. Let's see if I can unwrap these the same way as I did with the other ones. So what I'll do is I'll press seven. I'll just go over the top and see if this works. And then I'm going to press you and project from view like so. And then what I'm going to do is I'm just going to move these up to here. So double tap the E, and then we'll just have a quick look at this to see what it looks like. Let's have a look round. And yes, that's looking pretty nice, so everything's looking good on there. Now what we want to do is for this last little bit on this, we just need to put some walls in here. And then what we'll do is we'll actually create the window for here. Because then it'll mean that we've nearly actually got the front finished except the door, because this window down here is going to be exactly the same as here. Now we do need another big window on here, but again, once we've created these windows, it's easy because then we can use them over the other part of the build. So it seems like we're doing a lot of work to get all of these in place. But honestly, most of the work now as far as like the main build is done is actually done. The other things are the lights and the little windows. But again, once you've actually got these in your asset Manager, when you're coming to create, you know, a new asset, it's going to be really, really quick and easy. All right, everyone. So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 37. Manually Bending Wood Textures in Blender: Welcome back everyone to the Blend. That creates core stylized three D's model and this is where we left the art. All right, now let's go back to modeling because we'll see a little bit better about what we're doing. Then what we'll do is now we'll steal this wall. And I'm going to press shift D. I'm going to bring it over, pull it up, put that into place, press drop it into place. So then what I'm going to do is I'm going to pull this out X. Then I'm going to do is we're going to press shift D, rotated 90, then drop this into place where we want it. So something like that. I'm probably going to come in as well because I hate wasted UV. All of this in the back of ear would be wasted UV. So it's important that we don't waste too much UV because even though we're using seamless textures, it's still part of the render, it being back here, so it still costs a little tiny bit of something, but those little bits of something actually add up. So what I'm going to do is put in this, I'm going to come select, grab this edge, pull it back without proportional editing on. So, all right, that's that bit. Now let's press shift, bring it up, and I actually want it to come to round about here, so I'm going to pull it this way a little bit. And then going to do now, I'm going to bring this down. So I'm going to grab this, bring it down, and then I'm going to come text Slate Global and bring this one down as well. So All right, that's all done now. We just need to transfer those over to the other side. So I'm going to grab all these shift, bring them over to the other side, the grab all of these. Then what I'm going to do now is press tab A, unwrap. Let's try wrapping them. There we go. They look fine. They look fine. Everything looks fine on there. That's looking pretty nice. Let's have a look round. I'm thinking all we need now is the parts that are going to go underneath here. All right, so let's make those. We'll just have some little struts that are going to actually come rounded and hold this into place. And the way that I'm going to do it is I'll grab this part here, press shift desks, selected shift, and then I'm going to bring in a cylinder. And I'm going to bring the cylinder down something like 12. And then I'm going to do is I'm going to rotate this round now, Y 90. That then is facing pretty much the right way as well want it. So I can see here that it's going to be coming round here as you see. And this will be where the end of it is. And it'll curve round here in some way. All right, so we've got that pretty much set out, so what we'll do is you'll delete the front and the back, delete faces. And then we're going to delete this part. And we're going to delete everything from here. Then this part going all the way around to here. Control, click, Control. Click, Delete faces. We should be left with something like that. Now I can take this x ray off and then I can do is I can grab it and X pull it in. And then what I want to do now is I want a couple more edge loops because we can see it's a bit, it's not rounded enough, so I'm going to do is control left click, right click. Control click, right click, grab this one. And then just have a little bit more of a bend there. As you can see now, I'm still not sure actually, if this one's making a bit smaller because this should really be coming down here. I'm not actually sure how I actually want this yet. So I'm just going to pull this out and put it down to, let's say the bottom of there. Let's straighten this up. So we're going to press three, make sure this is relatively straight. And then what I'm going to do is I'm just going to bring in another few edge loop control three, left click, right click. Grab this, 13. Let's go to side view and let's have it actually bending out a little bit more like, so. Now let's give this some actual depth and then we can really see what we're actually doing. So what I'm going to do is I'm going to press Tab Control all transforms origin geometry. Then what we're going to do is generate, solidify. And I'm going to make this a little bit bigger, making sure even thickness is on. And also making sure that this now has a straight bit coming out. In other words, if I come in, make sure I'm on edge, select and grab this front edge. So this one here, press three again, and then and y, and follow that along. That is what I want. So I want it to look something like this. Now of course, it's not actually in the wall, so I needed to go into the actual wall. So something like that you can see would be in the wall. Now this is the point where I was on about where you can put it on the front, but it has to have something that's going to be supporting it on this side. It's going to have to have another block going across here, which might not work out for our piece of wood here. I'm thinking it might be better off if we put it back here like so, and then pull this part out. Now I can pull this part out and I'm thinking that's probably going to be much better like that. Now all I need to do is just need to think about this bombit. I'm going to put my X ray on. I'm going to come in and delete this one. And this one delete bases, You can see it's not altered at all. And then what we can do now is we can actually work with this. I think we're going to move it to the side, so I'm going to squish it in a little, tiny bit. So S and X, just a tiny bit like so. Yeah, thinking that that's going to look pretty nice. Okay, so let's come in and apply our solidify control. Let's right click now and shade auto, smooth. Let's come in now and what we'll do is we'll also bevel it off. So add modifier. Once we've reset all the transforms generate bevel, turn the bubble down to zero, turn it up to one. And now what we can do is we can come in a grab everything. Let's turn off the x ray, we don't need it on mesh transform, randomize. Turn it all the way down to maybe not 0.1 like so. There we go. Now let's give this some material. So our can do is I can grab just this one here. Control L link material. Let's come back to this now. Smart UV project. Click Okay. There we go. As it actually works. No it's not. So let's go in, fix that tab, grab this one and this one control mark. Then what I'm going to do is I'm going to press Ol Shift and click along each of these edges, right click and mark a scene. Now I'm going to grab it, press sorry. Unwrap, because we've done all that. And there we go. Now the one thing is not too happy about how this looks, and the reason is if we go to the shading panel and we press Tab, we can see that these are bent like bananas. And we don't really want that. So what I'm going to do in steadies, I'm going to come in, I'm going to grab this part here, all the way up to here. So grab from here to here. Make sure you grab this one first. So it's grabbing this control, clicking this. And what you want to do instead is light Mac pack. Click Okay. And then I'm going to click, you follow active quads. Click Okay. And then I'm going to spin this round, a 90. Spin this round and X, then just to make it a little bit thinner. So let's have a look at that. And there we go. You can see just how much nicer that actually looks. It's following the actual contour of the wood. Now let's do the same on this one. So we'll just quickly do it. We can copy UV's, but I'm not going to do that because I think it's good practice just to get used to doing this Mac Pac click. Okay. Again, make sure you select this one that's nearest to the seam. And then this one over here. And then you follow active quads. Click okay. And then this is going the wrong way. Again. A R, 90 S and X squish it in a little bit. And there we go. That's lock in tons, tons, bare. Now what we can do is we've got these the right way. So all I need to do now is press al tag, Bring back everything. Grab these, Let's you can put it onto material if you want, or you can do it this way. Shift D, bring it over. And then finally all I want to do is press tab on this one A, to grab everything A again. And then then just move them in a different direction and then you'll end up with completely different wood. Now let's go back to modeling. Double tap the A, and there we go. That's looking pretty nice, let's say, about our work. And now what I want to do is we want to work on creating this simple window. Now it is going to be a pretty simple window, but we need to make sure we get the size in right first. So I'm going to do is I'm going to grab this wall shift S, Ursa selected shift date. We're going to bring in a plane, R, Y or Rx. 90 press the S born, pull it out. And I want it a little bit thinner sensed. And that is going to be the size of my window. All right, so let's actually start making our window. What I'm going to do is I'm going to first of all, reset transformations. And then what I'm going to do is I'm now going to bring in a couple of edge loops. Control two, left click, right click. I'm going to pull those out. So just make sure your medium point, press one. And then what we're going to do is we're going to press and X and pull those out to where you want it. I'm thinking something like that seems to be a nice size for the edges of the window. Then what you can do is if you want them perfectly, you can actually copy this down here. So seriess 2.28 If I press control two, left click, right click, and then and Z like. So I can just come in now and put 2.28 And what I'll do is I'll make sure it's the same. Going all the way around. Pretty handy to know, something like that. Now what I want to do is before I actually split all this off, I want to come in, grab the center part, and then I want to press to bring that in like that. But before I do that, because of the fact that I need to also think about the other part of the frame I'm doing. I want to press control left click, right click. Control left click, right click. And now I can bring them in. So I'm just going to grab all of these, Press the Ebone and bring them in for my frame on the inside. What that means is now also got these which I can use to create the actual window. The middle window part of the Frank. All right everyone. So we'll actually finish this off on the next lesson. I hope you're really enjoying it and I'll see on the next one. Thanks a lot. Bye bye. 38. Crafting Windows with Shutters in Blender: Welcome back everyone to the Blender Create course stylized three D models and this where left off. All right, now let's start then splitting this up. So what I'm going to do is grab this corner control. Click this corner shift, click this corner control, click this corner, and just press Y. I'm next of all going to come to these two. And again, I'm going to press, now what I'm going to do this, I'm going to split all of these off. So again, I'm going to grab, I'm going to press, and I'm going to grab these. I'm going to press Y. Now what I'm going to do is I'm actually going to extrude these out. So I'll grab this one first. I can press L on them now, because they're all split off L on each of those. Let's pull these out like so. And then we'll come to this one and we'll pull these out. Not quite as far, so I'm going to press pull them out. So now we'll do the actual frame. So I'm going to do is I'm just going to press L on each of these and then I'm going to pull them out. So now I'm going to do is I'm going to grab all of these and I'm going to pull them forward because they're a little bit too far back there, I think. So I'm going to pull them forward just a little bit. Just making shelf grab them all. Let's pull them forward just a little bit. Now, the window, the final part. The window. Okay. So what I'm going to do is I'm going to bring that out like soap. And then what I'm going to do now is I'm going to grab each one of these. I'm going to press control B and pull it out like so. While I'm also going to do now as well before doing anything else is I'm just going to mark some seams in here just to make it a little bit easier for myself. So right click, mark seam. And now what I can do is I can come in and grab all of these and press E, and pull them out like so. And there we go. Pretty easy to make that window. Now, we have not finished though with the window, because we actually won on this one some actual shutters on it. So what we're going to do is, first of all, we need to find the halfway point in there here or roughly the halfway point, that will make it a lot easier for us. The other thing is, as well with this window, we do want an actual bottom on this. So that's one thing we didn't think about. So let's pull it back first, then put it into place so it fits nicely in there. We are going to want though, a bottom part in here. So I'm going to make this part, so this Bom part just a little bit thinner. And then one way to do is I'm going to press shift D. I'm going to drag it down just a fraction, press to pull it out like so. And then one way to do is grab the whole thing and then pull it to the side. And X pull it to the side a little bit, grab the front. So this one here, control select, pull it out a little bit. So now that you only want it out that far, and the reason is because you're going to have some shutters on here. So we need to make sure that it's all fit together properly. Now with the shutters, the main thing that you want to do is, first of all, you want to bring in a plane shift. Let's bring in a plane. Make the plane, so we're going to spin it around R x 90. Make the plane the same size, near enough as the window. Something like that. Don't worry about actually making it the right length because actually the length really suits us. So we're going to make it like that. What I'm going to do then is press control. Tab control, left click, right click. And then what I'm going to do is actually going to delete this side, delete faces like so why have I done that? Well, it's going to enable us then to actually open and shut this door. If I put this around here, which is where it's going to be now, I should be able to, if I grab this and rotate this round, I want to rotate this part round from here and see where it comes up to. So what I'm going to do is I'm going to come in, I'm going to split this off first. So just make sure this is split off. Press shift cursor selected, so it's going along that length S. So just make sure you've selected it. Then we're going to do is press control all transforms. Right click, set origin three D cursor. Now what we can do is we can press R and Z and look at how this thing closes. So you can see it's actually going to close near enough, the halfway point. So you can see there's going to be a tiny, tiny sliver of a gap down there. Now to reset this rotation, you can just press Alt and that then we'll reset it, because we reset the transformation. Now, I'm not going to do that quite yet, because what I want to do first is I want to press one on a number pad. And I want to pull this out a little bit more towards this halfway point. So I'm going to pull it out just a little bit. So now that when I've got the one on the other side, they're going to nearly touch, that is what I want, because these obviously are shutters now, let's press Alt and put it back to where it was. The other thing is you can also, if you press S and you want to reset the scale, you can just press Alt S as well. So it's really good way of actually working with these parts. All right, so now we've got that. What we want to do is we want to actually create this into some piece of wood. So the easiest way to do that is just to press tab control. Two, left click, right click. And what I'm going to do now is mark a same. So I'm going to press right click. Mark a seam. And then what we're going to do is press control, Bring in a few edge loops, like four or five, left click, right click, like. So now what I want to do is I want to actually mirror this onto the other side. So I want to mirror this over here. And then before I do anything else, because it's going to make it a lot easier for me. So what I'm going to do is instead of the actual orientation being in there, I want it to be in the middle of my window. So what I'm going to do is I'm going to come to my window, grab this right in the center, pressure des cursor selected. And then what I'm going to do is come back to this shutter. I'm going to press right click and set origin three D cursor. And now I'm going to come over adding a modifier, generate a mirror. And that then is going to put it on the other side. Now the good thing is on here. As you can see, we can't really see anything on this side. We have, I click this on now, we can see that this is mirrored with these parts in plate. That's the most important thing that I actually want because I want to be able to randomize these a little bit. So what I'm going to do is I'm going to just turn that off a minute. And then what I'm going to do now is I'm going to actually apply this mirror. So control, let's apply the mirror. And then what I'm going to do now, I'm going to come in and split these up, L and L, and L, and L, and then Y, and split them up. Now what I want to do is I want to actually pull these apart, so I'm going to grab all of them. I'm going to make sure that I'm on individual origins and X pull them together. And you can see now that they're actually split up. And now we want to do is we actually want to probably come in and try mesh in transform randomize. And then bring that all the way down. And hopefully not 0.1 should do it. Now you can see that these are actually looking pretty nice, pretty different from each other. That is exactly what we want. Now the last thing we want to do is just make sure anywhere they're not quite level, come in and just make them a little bit uneven. And Y also works, so you can make them a little bit uneven like this. And finally, now what we can do before finishing with these parts is we can come in and we can add in a solidify, or we can extrude them. Whichever way you really want to do it doesn't really make any difference. So what I'll do is I'll press control A all transforms right? Clicks, origins, three, cursory again. And then we're going to press tab A to grab everything and then to pull them out like so. Now the one problem you're going to have when you pull them out with E is maybe because they're already an angle. They already an angle, maybe they're actually, so maybe we can get away with that. So I'm just going to pull them out like so. All right, so there we go. I'm pretty happy with those. Now, the next part we need to do is we need pretty much a, another piece of wood behind these, on these edges here. And from there we can actually attach our hinges. If we don't have those in, we won't have anything to attach the hingeres, they wouldn't really be attached to the actual windows. So let's bring in a block of wood. So what I'm going to do is I'm going to press Shift. I'm going to bring in a cube. They're not going to use any of the ones we've already created. I'm just going to bring it in just a bit higher than this. So I'm going to press S and Ed pull it up into place. And then I'm going to make it a little bit thinner, so I'm going to press S and then and pull it up into place. And then what I'm going to do now is I'm going to put it into place so it's just behind those there. Now you can see that if I pull this out a little bit, pull it out a little bit, not quite in front of there, just about there. And then grab my windows and pull them back just a little tad. I should now be able to put in a hinge on each of those, and I'm just making sure that then I can actually close it. All right. I think I'm happy with that. Let's see now, if I can put my hinges in here and if we're going to, it might be too big of a gap as you can see. Which means I might need to pull this out a little bit. I'm thinking that it probably is, actually. So let's pull it out a little bit and then we'll work on actually pulling these bits out. You can see down the bottom. It's fine. It's just up at the top this bit. And I need pulling out. So let's go to this bit. Just pull it out a little bit. So there we go. All right. Now let's think about a hinges. So the way I'm going to make hinges actually is going to be a little bit different. You probably wouldn't think to start with a hinge, with a cube, but I am, so shift, let's bring in a cube, let's make it smaller like so, let's bring it into place where we actually want it. So I'm going to put something like that. Then I'm going to do is I'm going to press and pull it out. Let's pull it into place. All right, that's looking pretty nice. Now I want to do is I want to bend the parts off and create this into an actual hinge. The way I'm going to do that is I'm going to press shift H to isolate it out. I'm going to come in give two edge loops or three let's two edge loops, left click, right click. Then what you're going to do is you're going to be level those off control B. Now finally you're going to go to each edge, old shift click. And then you're going to press control B again. You're going to level those off. So finally then we just need this inner part. So it's going to be Alt shift, click, shift click for extrude and Enter. Don't move your mouse anywhere. And then alternS, you should be able to bring them in. So there is a nice, stylized he. Now let's right click and shade. Auto, smooth. Let's press Alta to bring everything back. Double tap the A, and there we go. There is our actual hinge. And hopefully, hopefully we should be able to close this on the actual window. That's one thing we need to check before we finish. What I'm going to do is I'm going to split this one off from this. I'm going to press on edge, select L, L, L. In fact, I need to select this one first. So L LLP selection. You can see now that these two are split off from each other. Let's now go back to this one. And what I want to do is I want to set my hinge to turn from here. So if I press shift S curse to selected back to my actual cover, I'm going to press right click, set origin three D cursor. And now if I press R and we should end up with it closing like soap. Now what I want to make sure as you can see, it's a little bit too close to that. And that's not something we want, so I need to pull it out a little bit and then rotate it back so that's perfectly okay if it's like here. So we need to close it there and then pull it out like so. And then we need to fit in our other part. So we can see here that we need to fit in this as well. So I've pulled it out, now I need to pull my hinge out like so. And now I need to pull my piece of wood out just to make sure it's all going to fit in together. And finally, then I need to pull the bottom window out. But now, at least we know if I press Holt and R, that this is going to actually fit into place. The one thing I can see is we're still a long way out. Instead of doing it this way, where we're pulling this out constantly, I think what we'll do is we'll grab our hinge, we'll put our hinge on this. And then this piece of wood can go back. So what we'll do is we'll just create another piece of wood. Shift D, We'll bring this piece of wood out. We'll press S to make it smaller. And then we'll bring it out and put it into place. So I think that way it's going to work much better. Now it looks a lot more realistic. So now I'm going to do is just press S and's just to make sure it's a little bit bigger than the hinge. So double tap the I think now that's going to look a lot better than what it did. All right, so on the next lesson then we'll get this sectal finished. And then what we'll do is we'll actually get all the materials on. And then we've got a beautiful window that we can use over the other parts of the other built. All right. Thanks everyone. Hope you enjoyed that. See on the next one. Bye bye. 39. Detailing Window Shutters for Stylized Taverns: Welcome back everyone to the Blender Creer Core, stylized three D model. And this is where we left off. All right, let's go into Object because I can actually see a little bit better. And then what I'm going to do now, I'm just going to grab all of the parts I'm actually working on. So including these bag parts as well, including this one shift age, let's hide everything else out of the way and then we can really see what we're doing. Now we will notice as well because we've done that to actually shade auto smooth on the same, on this one. There we go. Now let's bring in two more pieces of wood. The other thing is as well. Yeah, I think actually they look actually fine. I'm just looking at how they're actually together. Let's press Shift, and let's bring in a cube. Let's make it smaller. And we're going to just make sure that these windows are supported, because at the moment they're not supported by anything. We're going to press and y and bring it in. And we want this to be said to this part of the wood, obviously. We don't want it touching there, so we want to come all the way over to here like so. And just then poking through here. Now, I'm going to just pull it out a little bit. I'm going to press control. Er, I'm going to grab probably this middle one. Pull it down a little bit. So just to make it a little bit even then, I'm going to press Shift D, bring it down to the bottom. So this is in case as well that we actually shut this. If we shut it and put these short, for instance, if you want them short, then you've actually got it built correctly. And you're not just hiding away the parts which you an built. What I'm also going to do is press Y and just rotate this one round. Just a slide bit. And then I'm going to grab this center point. Just make it a little bit straighter like so. And now you can see that's looking a bit different from the other one. All right, so now I want to do is I just want to put this on the other side. So the way I'm going to do that is join both of these together with control J. I'm going to come back to my window, then shift cursor selected, grab these two. And then what we're going to do is control or transformed. Right click, set origin to three D, cursor, add modifier, generate mirror. Let's get these on the other side. And we can see that this one is a little bit out. Now, I need to pull this one back. Now the way I'm going to do that, actually I'm thinking go over the top. I can actually roughly get an idea of where this is going to be. So I can see. I don't want to exact or anything like that. And what I also want to do is I want to put this over this side as well. We've got our mirror in the center, hopefully, yes it is. So I want to control all transforms. Right click, set origin geometry and then origin three decursor add modifier, generate mirror over the other side. Let's do the same now for these two. So I'm going to join these both together. Control J and then one going to do is I'm going to control a right click add modifier. So all right, that's looking good. Now the one thing I didn't do with these hinges before I carry on is I also want to level the top of them off. Just a little bit of bevel on the top. So I'm just going to grab both of those faces. Press control B, and just level them off. Right click, shade, auto, smooth. Now I want to do is I want to come back to this one here, press A, and what I want to do is I want to put one down to the bottom shift D like so. And we can see because we've got the mirror on, it's putting one down to the bomb there, and then one more shift over here like so. All right, that's looking pretty nice now. I'm very happy with that. Okay, now we've got all these, we're basically done with these. All we want to do is just make sure that these windows, they don't all look the same. So what I'm going to do is I'm going to come to this window first. We've got, you know, our point right there. It would be easy if you had it in the middle. And the reason is, if I come to this one here, we know that's roughly in the middle. So I'm just going to hide these hinges out the way. Come back to this vertex slglect this vertex shift S, curslected right click, set origin 23 cursor. And then what we're going to do is I'm just going to close it a bit. Now the main point of this though is you can also y and angle it a little bit like so very gentle on the angle. But it will actually make a huge difference to the overall model, adding a lot more realism to it. Now let's do the same with this one. So we're going to come in, pick this one shift, come back control all transforms right clicks, origin three cursor and then what we're going to do is R, z and angle this one as well. So now we can see that I didn't angle these either maybe. I'm just wondering if I should angle these now. I think actually War D is, so sorry about that. I need to go back because I forgot completely about those. So let's grab these as well. Let's actually apply our mirror. Let's split them up. So we'll come to LLP selection. Split them up. And then what we'll do now is grab these, grab this control J, Join them together. Old tag. Let's just bring back everything just to see where it looks like. And then let's come to these two control J, join them together. All right, now let's grab all of these parts once more. Shift H, hide everything else out of the way. You can see I didn't grab that one. Shift H, hide everything else out of the way. And now I want to do is angle these first before doing anything else. So I'll come to this one first. I'm going to come to my middle point again. Shift S, ursa selected and then sit in fact, right click origin three D cursor and then R Z and then R Y. So there we go. All right, now let's do the same thing for this. We're going to do is center shift S Ursa selected. And if I right click Gen 30, cursor zed, bring them in. Alright, there we go. Now these are looking pretty nice. Now, the one thing we haven't done yet is beveled anything. So let's go in and bevel something and I'm just wondering where these actual parts are coming from, not actually sure why they've got those parts there. But either way I can actually come in L L delete versus and I'm just making sure that I've got my ends on here. I think actually because it was a mirror was on or something. What I want to check but was making sure that this has got no crossover. In other words, mesh hiding behind it. So I'm just checking that quickly. All right, it looks absolutely fine. So now we can actually start beveling. So what I'm going to do is I will, yeah, we could have an empty and it joined to the empty or something to actually move these whenever we want. Or we could just go in and use them. I think actually we'll leave it like this. We'll leave them like this. I think we'll, we could make an empty here and parent it up and every time I want to move it, we just turn the empty and things like this. We could do things like that. New mind, make it a little bit easier, I'm thinking, yes, it probably would be better to do that then we're able to close them and things. Let's have a go that actually, we'll press shift curled. Let's bring in the first empty. So we'll come down, bring in a plane axis empty. We'll make this empty smaller, like so, but you can still actually see it. Then we'll come to this one, shift selected, and then we'll bring in another empty, or we can grab this empty. We have shift D and then shift select. Nope. Shifts selected and then shift selections. Urkepfset. All right, we've got two empties in now. Let's parent these parts up. So we're going to pair this with this. So we're going to press control, set parent to object. And then we're going to do the same thing on this one and this one. Control set parent to object. Now if I'm come in and I want to move this door, just press our head and the door will move. I can move it on the axis as well, like, so all of this is great. Now what we want to do is we want to pair all of these up to this actual window. We might as well separate these out. All of these might as well be joined with these hinges. We've still got a mirror on, which we don't really want on, so I'm going to press control A, and the window is all one piece anyway, so that's great. Now it might seem a bit, you know, we're doing a lot of work to just get a window in, but it is making things easier for when we actually save this house a geometry note. So just bear that in mind. All right. So now what we want to do is let's bevel everything off so we'll come to this one first. Control eight all transforms right? Clay, it's origin geometry, add modifier, generate bevel. Let's turn the bevel down then. Put it up one, and there we go. Now the thing is the bevel is still too high, so not point n n three. Let's try that. That's looking pretty nice now. Now let's do the same with these. So I'll do this one first, add, generate, bevel, turn it down. Turn it up. Maybe one still too high, not 0.3 That's looking good. Now I'll do is I'll grab both of these. Now I know that this is all looking good. Grab this one. Finally, grab this one. And then what we're going to do is control L and link copy modifiers. There we go. Everything is done now. Okay. So I'm happy with all of that. We don't want to bevel off the injures or anything like that. What we finally want to do now, he's joining everything together. So all of these now we can press control on control A control, just apply those bevels control and just make sure everything's got applied. We can see we've still got a mirror on here, so let's press control A. Now finally, let's join all of this up to this mirror. So what I'm going to do is I'm going to grab both of these. Finally, no, the mirror, the window, press control object, and there we go. Now, wherever I move this, everything will move yet. In fact, will it move? No, it won't, because we also need to join these up. Join these up to the mirror control object. Now, wherever I move this, everything will move. Yet I'm still able to move my windows. No, not they're not actually moving. And the reason is, I'll tell you what the reason is. Let's restart that before I join everything up. So let's go back and I'll explain exactly why that isn't working. These are the moment a parented to these. If I parent this to the window, it means that they would no longer be parented to these. So I don't actually want to do that. I want to do is I want to hide these out of the way, like so then I want to grab these, I want to grab my hinges and I want to grab both of these. And then I want to paring these up to the window. If I grab the window, now press control, keep object. And now press voltage, bring out back everything. Now when I move this window, everything should move, which it does. And when I grab this part here, this empty and press our Z, it will still move this independently. That is because these are only parented to these, but these are actually parented to this main window. That is how that works. All right. I hope you actually understood what I was doing there. I hope it made sense. And now we'll do on the next lesson is we'll get some materials on there and then we'll get it into our asset manager. And then you'll have a really nice window set up for your other projects and for the rest of this one. All right, for one, so hope you enjoyed that. See on the next one. Thanks a lot. Bye bye. 40. Attaching Windows to a Stylized Blender House: Welcome back everyone to the Blender, Create a core stylized three D models. And this is where we left off. Okay, so let's now put on our shading panel. And what we want to do is we want to actually give this some textures. Now textures on here, they're all pretty much the same because they're all going to be the exactly the same texture. So what I'm going to do is I'm just going to put this onto material so I can actually see what I'm doing. Let it load up. It's going to take a little bit time because we actually, we've got a few things in here now. What I'm going to do is I'm going to grab all of these. Including these. I'm going to make sure that I've got my hinges as well. Actually, I don't need my hinges because I'm going to put those as a different material. So what I'm going to do is now I'm going to basically copy this control L link materials like so. And then what I'm going to do is now I'm going to press A and smart UV Project. Click Okay. So now I'm hoping that the windows actually, they have come out looking pretty nice. I think they look good, especially this split here. They might need to be on the UV end. I've also got that one in there as well, which I didn't really want. So let's deselect that there might be a little bit small. So let's go to shading panel. And then what I'll do is I'll press Tab. I'll press A to grab everything. I'm going to, I can see what I'm doing. And then I'm going to press and pull them out a little bit. Now we can see with this part on here, it's not looking right. So I'll just fix that quickly. So what I'm going to do is I'm just going to grab in phase select. You can see it's building on my samples as well. I'm just going to grab these ones here. And then what I'm going to do now, I'm just going to press you Project from View And there we go. Now we can also see that we've got these two ends need going the other way. So I'm going to grab this one and this one R 90. Spin them round and now they lock in absolutely fine. Finally then the window, we need to bring in glass. So I'm just going to click plus down arrow glass lid. And then I'm going to come into this part here like so. And then what I'm going to do is glass click a sign. Now I need to just put these in place, so I'm going to press, get them into the right sort of place. And then press make them so they're the right size. And then just press S and X. Pull them out a little bit. I'm just focusing on one of them, which is this one. And then I can come to the next one, put that one in place, next one put that one in place, and then final one put that one in place like so there we go, There is the window actually pretty much done and we can see, except for these parts, these parts here, we're going to bring in a new material actually. So what we'll do is we'll actually save it out before we do anything. And then we'll go to our asset manager and we're looking for the user library and we're looking for materials. The one we want on here. So the one we want on here is going to be. Let's have a look. I'm just looking on the other one. I think it's going to be main metal. Let's have a look. Yes, main metal. So the one we want is this one here. So what I'm going to do is I'm going to drag and drop this onto the, onto these like So hopefully you dropped on. Yes, there we go. And then what I'm going to do now, I'm going to unwrap these. So I'm going to press a smart UV project. Okay. And there we go. There is our metal on there. Double tap the A, and let's actually have a look now what that actually looks like. So let's click it on, and there we go. And if these again in the way, by the way, you can just turn them off like so then you can see what your window's going to look like, really, really nice looking from the back, really cool. There we go. All right. Last of all, then, before we do anything, what I want to do is I want to turn this back on first. I want to actually copy. In fact, I'll just bring this over because I can put it actually back. So if I bring this over with G, I can put it here and then what I can do is see if this actually works. So I'm going to grab all of these and what I'm going to do is I'm going to come down and I'm hoping that I can actually create them as one asset in the asset manager. I'm hoping so. Let's write click and mark as asset like so. Let's then come to current file unassigned. And there we are now it's only going to create that. That is what I was worried about. I'm wondering how we can join all these together while still moving it. Well guys, after a long pause on my end, it seems like you can't actually save all this out in the asset manager. But what we can do instead is we can come in, we can clear the asset, even in blender pot. We can't actually do this. What I'm going to do is instead I'm going to press shift, I'm going to duplicate this one, and I'm going to put it over here. And then with this one, what I'm going to do is I'm going to, first of all, come to these parts, these parts here. I want to press Control and clear. Just clear the clearing and keep transformations. Now what I should be able to do is delete these two parts. Press Delete. And now I should be able to join all of this together. Join it all together. Control J, select the last one. Control J, control transforms right click, origin geometry. And there we go. Let's right click and shade to smooth. And now I'm going to do is, I'm just going to come up to here, I'm going to call it window With shutters. With shutters like so. And then what I'm going to do is Jaws, we're gonna press the Bob to find it. And now we're going to right click. And I'm going to mark as asset. And there we go. So there is our asset. It's actually working now. Just not able to put those parts in, but we also have it saved over here so we can use this in our scene. You've got this. All you would need to do is go in in your new scenes and just make sure you put those empties in as they showed you how to move them. Now all we need to do is we need to put this in our windows, so we're going to drag drop it in our windows. And there we go. Now I'm just going to delete this out of the way. Wait a minute. No, I can't delete this one. I'm going to move this one over here as well. I'm going to move it out of the way over here because I'll need to keep in my scene to keep the actual asset. And then what I'm going to do now, I'm going to come to this one and drop this back over here. So I'm going to grab my wall here. Shift S, Ursa selected, grab this one. Shift S and Selection To cursor this one here, and there we go. Now let's just bring it out. Hopefully this saga for me at least on the back end is over. Okay, so what I want to do is I want to draws, pull these up a little bit like so can get that fit in really, really nicely. And there we go. All right, so now let's have a quick look at what this looks like and make sure I'm happy with it. Let's turn this off, and there we go. Okay. I'm happy with that. Now, what do I want to do now? I think the next thing we need to do, we need to bring this window down. So let's bring this window down. So I'm going to grab this window, I'm going to press Shift D, And I don't want it to be the same. In other words, I want the UV's in this to be a little bit different. Some of the lights were going to turn opens well, But I want in this one in particular, just the UV's to be a little bit different from this one over here. So what I'm going to do is I'm going to grab the whole thing. I press a, I'm going to go over to Shade, let it load up. I'm going to put this on material so I can actually see what I'm doing. So I'm going to do that again. Grab everything A, to grab everything. Let's move them over so that they look different. And then all I'm going to do now, these should roughly be in the, in the same panels. So I'm just going to grab all of these like so grab the bot ones and then all I'm going to do is move these over. If I move these over now, I don't want to put them straight back in the same place as the other ones. I want to make sure that they're in different places. The way I'm going to do that actually is just going to put them like that. And then I'm just going to move these round and get as well, just into some new places and then just make sure I'm happy with them. There's one there with a halfway point. Let's have a look at which one this is. In this, there we are, Let's put that one in place, and there we go. Now all I want to do is I just want to make sure that these windows are looking different from each other. If you double tap the now we can see at this part, you can see this pine here, that's not done round. We need to fix that. But the other parts, they're looking absolutely fine. Now, let's just fix this one. Just this one here, you can see it's hanging over. So let's grab it. G, put it into place and there we go. All right, so that's that window done now. Now I recommend what we do is something a little bit different now. I think what we should do is we should actually, on the next lesson, go in and actually create one of the lamps so we can have one of the lamps coming over here. And I think you'll just give us a little bit of respite from all of the building that we're doing. Something a little bit different is what me. All right everyone. So I hope you enjoyed that one. I'm sorry that the linking didn't work, I think in the future. So maybe Blender 4.3 or something. It'll actually be working, but for now it's not actually working. So we'll just have to get around it that way. All right, everyone, hope you enjoyed that seeing the next one. Thanks a lot. Bye bye. 41. Modeling 3D Lanterns for Taverns in Blender: Welcome back everyone to the Blender Crater Course. Stylized three D models. And this is where we left off. All right, let's go back to modeling now and let's actually start modeling. Let's just put cursor Rani, so shift right click and what we'll do now is we'll start modeling. Yeah, we'll do the lamp above the window here. So what I'm going to do is I'm gonna, first of all press shift. I'm not going to worry too much about the size of the moment. All I want to do is get the right dimension. So I'm just going to press sensed like so. And this lamp, it seems complex but it's not really. So let's actually come in and what we'll do is we'll bend in this part first. So what I'm going to do is I'm going to grab the bomb of it, press the button like so. And then what I'm going to do is I'm going to bring in a couple of edge loops. So controller two, left click and right click. And then what I'm going to do is I'm going to now bring these in. Now I find it really handy when you're bringing things in if you're using either the sharp or the root. Those to me seem to be the best ones. So if I come into sharp now and just bend this in, as you can see, we've got a really, really nice bend already on that, and that's looking pretty nice. But what I want to do is, as well as I want to bring this bomb in just a little bit, so I'm just going to grab the bottom and then I'm going to press S, bring it in just a little bit, so we've got a nice curve on there that is what I'm looking for. Now what I want to do is I want to stretch this out a little bit. So I'm going to press and Z. Let's grab this and Z. Stretch it out a little bit like, so from this now I think I can actually create my actual lamp. So what I'm going to do now, I'll put a top on there, so I'm going to grab the top press for extrude to bring it out without proportional editing on this time. And then I'm going to do is going to press to bring it up and then again bring it up again. And then to bring it in so we're about our chain is going to be on top of it. Now let's also think about bending these in as well. So I'm going to press control generally, when you want to bend something in, better off bring in three or an odd number. So left click, right click, which means that you've got one then in the center from the center one. It's always easier with this proportional editing on sharp on to then bring it in so you can really bring in. As you can see, I'm thinking I'll pull it out to yours to tad. Let's actually try that again. It might be better off on the root. Let's try. Yes, there you go. There's the root. You can see now it's made it much, much smoother. So I said, you know, it really isn't root or sharp for me that they're the ones that I want to use. All right, now let's do the bottom part. Turn proportional editing off again. Let's press Enter, Bring it out, and let's press E. Bring it down and let's press maybe a little bit more than that. And let's press again. In fact, we won't actually press it again. I'm just going to press control set. What I'm going to do instead is I'll bring it in a little bit first, then press, and now press the S, like so now actually, because I actually came in then and actually pressed, you know, a couple or three times. It's always best when you've used extrude, If you're not sure just to grab the whole thing, come to mesh, clean up. And what you want to do is you want to merge by a distance and then he'll just tell you if any of them are removed. So let me show you a quick example of that. If I come to this ball, one, press Enter, Enter. We can't actually see anything there, but if I press, you can see that it's actually extruded. Now if you come in and press A and come to mesh, clean up, merge by distance, eight vertices removed. And now if it comes to the bottom of it, you can see there's nothing actually there. So that's what that actually does. Okay, so the next thing I want to do is I want to squish this together a little bit. It's a little bit too long now, so squish it together just a little bit like so. And I think I'm actually happy with that. Now. One thing I'm not happy with is this bit here. I want this leveled off. So what I'm going to do is I'm going to come in old shift click control plus just to grab the next ones along y, to split them off. And then what I'm going to do now is I'm going to come in and just level these edges a little bit. So I'm going to come in control old shift click like so. And then I'm going to press control B and just level those off. So now we will have a problem with the insides of this, but I'm not worried about that because I can actually bring those in. That's no problem. Now what I want to do is I actually want to extrude these parts out. So I want to extrude these parts out and then deal with these parts. But let's deal with these parts first, At least to make the band that we actually want, because we have another one going up here. So let's do that first. Actually, control left click, right click. Control left click, right click. And we're going to do this a little bit different from the window. So control control like so how we're going to do this. So first of all we are going to level it off. So we're going to just grab all these and we're going to level them off because that will make it a little easier for us. And we'll just see if it bends it too much. If it bends it too much, we're better off using the insert. So we'll give it a try, whichever one is going to be the easiest like. So let's press control B. And luckily for us on this one, as you can see, it's got a nice line down there and a nice one on there. Unfortunately for us though, it's actually not the same width on each of these. We really want them to be roughly the same width. So what I'm going to do is grab this control click, this one control click. This one control click. And finally this one control click. And then what I'm going to do is I'm going to put this onto individuals. And I'm going to put this then on normal. Now what I can do is if I press and X, I can actually should be able to pull those out always from the side. So you can see now all of those have been pulled out from the side. That is exactly what we wanted. Okay, so now I want to pull these parts out as well. So what I'm going to do is I'm actually going to come in all shift click and just go round them. Because that then is going to make it really easy to actually grab these. So grab them like that, right click, mark, seam, and then you can just simply come in and just press L on each of these islands. Makes it really easy to grab them. And then I'm going to press, you can see that should be able to pull them out. If I just pulled them out this way, now I've been able to pull them out. And we can see that's looking pretty nice already. Now the one problem we are going to have is when we pull these ones out, we need to actually get them to line up. Let's actually deal with these. Now what I'm going to do is I'm going to grab all of these. We need to grab all of these going down. So I'm just going to control select them. Not that one of course. Shift, click control. And then shift and shift the same here. Shift control, Yeah, like that. And then there is another way we could actually do, but yeah, there's so many ways we could do this, but we'll just keep it to this. Okay. And then what we're going to do is press and hopefully I should be able to pull those out now. Of course we can see the problem we've got got here is that when I pull these out, these need pulling out now I'm going to pull these out separately from the bring them round and then I'm just going to press and y, I'm just going to pull those out. Now, see we do have one problem that we need to pull them back. So all test, let's even pull them back a little bit. There we go. Now that's looking pretty nice. Yes. That's exactly what I wanted to achieve with this. Okay. So I'm happy with how that looks and now we do, we want to actually come in and give this some materials And the materials are pretty simple with this one. They're just going to be. So we should have already. Let's have a look. Main Metal. Let's give it that. Now let's write. Click and shade. Auto, smooth. Let's grab it and make sure that it's unwrapped properly, so it's my UV project. Click okay, and let's now bring in our glass. So what I'm going to do is just grab each of these. The good thing is, because I'll show you another way of selecting things, which is really, really handy once we've brought this in. Click plus, down arrow, glass. Click a sign. Let's say you click it. Now we click to it, but we want to select all the glass. Don't want to go round and select all the glass again. What we can do is just select one and then you go to similar by material, and then it'll select them all for you. Now we can actually go over to the shading panel, press on zoom in T, make sure we've got them all. And now we can see that they're all like this. Now, instead of making them all bigger, let's press a. Let's come up then to the little three dots. Let's go to UV. And what we're going to do is pack islands, and we're not going to rotate them. Click Okay, let it think about, it's going to pack them really nicely for us. And now we should be able to have something which is around the right size. Now it's not going to be perfect, so we're going to have to make them a little bit bigger like. So again, this is going to take a little bit of time just to get these in, but once you've done it, it's done so you don't need to worry about it. So what I'm going to do is I'm just going to stretch them out as well. So S and X stretch them out. And then I'm going to grab each one and just put them in some sort of place. Now as well on this one, we don't actually need to worry about rounded once because we haven't got any rounded on, so that's good. What I'm going to do is I'm just going to put this in S and X and just deal with them individually like so I'm just going to make sure they all line up. Then I'll go round and look at ones that I'm not happy with. I'm just going to make generalization of them at the moment. There is a fair few, we will see the ones that are really going to stick out like us or thumb. Then we can just go in and alter those again. This will be another asset that you can put in your asset manager and use time and time again. That's why we're taking our time and making sure that they're done correctly, okay? And it doesn't take too long. I'm just basically grabbing them, pressing to move them. We can see that there's one which has got a round one on, and now that's moved, and this should be, that's the last one. All right, so let's join that now. We'll just go around and make sure that we're happy with all of them. We can see that we've got three on here. We've got this one which is halfway in between, as you can see. Let's fix that one. We've got this one where it's a little bit big. We've got this one which is a little bit out as well. Let's move around the other side. Let's try and nail these in the right position. They're all okay. They're all okay and they're all okay. Apart from these, I think it just needs drop in. Yeah. Now, let's have a look at what that looks like. This is what it looks like from far away. Yeah. I think I'm happy with how that looks. Let's just put it onto here. Shade a panel. And I'm just wondering whether I want it a little bit more yellow. So I think now the only thing I would like to probably do is make this a little bit more yellow. But I think I'm actually going to do that in post processing or the compositing. So I think for the next lesson, what we'll do is we'll actually create the tops of this, we'll get the chain on there and we'll actually get this sat above the doorway. Alright everyone, So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 42. Attaching Lanterns Using Geometry Chain Nodes in Blender: Welcome back everyone to the Blending Critic Core stylized three D model, and this is where we left it off. All right, then let's move this over here and then what we'll do is we'll go seven over the top. And we can see that this is probably going to be pretty huge as you can see. So let's make it a little bit smaller and more viable. So first of all, what I'm going to do is put it down near the guy and it is a style theme, but we still, you know, want to keep within the realms of possibility. So I'm going to make it probably around that sort of size. And then what I'm going to do is I'm just going to lift it up. So, and I'm going to put it somewhere around here, but I want it to hang down. So remember it's going to be hanging in front of the door. So if I press one, just make sure my guys down on the ground plane and my door is going to come around here and then this is going to hang down kind of around here like so. And I think that sort of distance hanging down maybe a little bit lower like there. And let's pull it out a little bit, just so it comes in front of this as well. Yeah. And I think something like that's going to look pretty nice. All right, so now let's bring in just the pieces of wood that are going to hold this altogether. So rather than create nose piece of wood, we'll just do the same thing where we've got in our asset manager going to go to wooden blocks. I'm going to put this onto material so I can see what I'm doing. And then what I'm going to do is I'm probably going to pick one, so 1 meter d nine feet. And we'll be speeding through a lot more of this now with the actual building. We've pretty much done a lot of this already. Now when we bring this up, let's make this a little bit smaller. Let's make it a little bit smaller. Let's pull it out a little bit like so. And if we need to stretch it out, x and x, let's pull it out as well. And then what I'll do is I'll use this one again. So I'm going to press Shifty, bring it down 180 just to change how it looks. And then R and x 90. And then let's spin it round. So x, or in this case, because we have this normal on, let's burn global R x. And there we go. Now it's fitting round. Now what we want to do is you want to make sure that it's secured on the bottom of here. So what we're going to do is our X and then let's bring it in now X, let's bring it in. All right, so that's looking pretty good. Now we need some actual chain. So what we're going to do is we're going to bring in the chain from our other blend file, so it'll be under user library and it's going to be, Let's have a look. We've got one that's called geometry nodes and here is our chain. Let's bring that in. Now, this chain is very, very nice and you want to use this a lot. So over first of all, on the right hand side, you can see we've got resolution chain link distance, and all of these things. But first of all, before we do that, let's actually go into the geometry node. Let's actually make sure our chain is actually selected. Let's zoom out. And basically what this chain is, it's actually made up from a couple of circles. So there's a couple of circles as you can see. So if you think of just these two here. And then what we've done is we've turned that into mesh. And then what we've done is we've rotated, so every single other point along this curve, the actual chain is actually rotated around. And then what we've done is we've just realized it into where is it realized instances and then set the material for this. Now of course, the set material, I think actually, let's see if I can have a group input, so I can actually change that. So what I'm going to do here is I'm just going to see if I can pull this out and put in group input. I think, there we go now we can actually change the material on the fly. Now I'm going to leave that material as it is, But it's really, really great that we can actually change that as well. Because basically now I can come in and click this up, and then click a new material without actually going into the geometry node. So that's it, it's pretty much based on that. And now what I'll just show you is how it actually works. So the resolution is basically how many little chunks of this. If I turn this up, you can see the chain becomes really, really rounded. The chain link, if I turn it down, actually you can see we can get some really nice kind of stylized look to it. I'm going to turn it up a little bit, not too happy with that. And then what we've got is the chain link distance. So this is how far away the chains are from each other, as you can see. Then we've got the chain radius, So this is how big each chain is, so you can get some really, really chunky effects. Then we've got the chain thickness, which is this one, as you can see. And of course, this is why we've done the chain link distance. Because if you're having something chunkier, it's going to actually increase or decrease the chain distance. Then also we've got chain stretch, which is how much these actual links are stretching. So you can see it stretching like so, and that's basically it. So let's go back and put it on that. And I think I'm happy with that. And now what can we do with this? The best thing about this is if I press Tab, coming over to my drawer and then just go like this and you'll see we have chain that's actually just been drawn out. Now that's really good and all that, can we use it on another piece of Curve. And what I'm going to do first of all is just delete that. So I'm going to go all the way to the delete versus. And then what I'm going to do is I'm going to press shift a curve and come to want a path. So I'm going to bring in a path. Here's my path here. And then what I'm going to do now is with this, I'm going to click, sometimes you have to click New in the down arrow. I'm just going to try the down arrow and go to chain. Click that on, and you can see that nothing happened. Sometimes that happens, I'm not sure why. So what I tend to do is just click New, and then click the down arrow, put it onto chain. And there we go. Now let's actually fix this chain then, how we want it. Now luckily for us as well, we can actually move this on the fly. So Y 90. So let's press Shift Spacebar to bring in my move tool. And I'm just going to pull it over here just so I can start, get an idea of what this is going to look like. I'm going to make it a little bit ser, then what I'm going to do now, first of all, I'm going to increase the resolution because we don't want triangles like this. Let's increase that resolution to something like that. Let's increase, probably increase the chain thickness. I'm still going to make it a little bit smaller. I still feel like it's a little bit too big now. Once we've actually increased, decrease the size of this, then I can actually put it in place, spin it around, so while 90 and then actually look at what, where I'm actually going to put it and things like that. So I can see it's spin in the wood nicely there. It's not quite in the center. Jaws going to move it across a little bit. And then what I'm going to do now is just have a look. I'm thinking that the whole thing, so including this needs to come down a little bit like so. And it all needs to go across a little bit. And then double tap the eight and let's have a look at that. Okay, so think I'm happy with that. I can now go in and increase the, let's increase the chain thickness a little bit. So let's now increase the chain distance. So let's bring it just a little bit up like so. And there we go. I think I'm happy with how that looks. All right, so now what I can do is I can actually go in and I can delete these ones out. So I can delete delete vertices. And no, not that last one, so I'll untick this last one, delete vertices, and that's what we should be left with. And now finally I'm just going to turn this now into an object object convert to mesh. And there we go. Now I'm going to hide my light out the way, and I know that it's the first three links. So now I'm going to do is going to come in with L, L, L delete versus. All right, now let's have a look at what the material should be. The material on these. I'm just looking on my other screen and I think it should be light metal. Let's see if these actually have light metal on them. So if we click on this chain based material. So we're not going to leave that on there. So we could have changed it on the geometry. You know what I thought it was, that on board? Ah, it's not. So what we're going to do now is we'll bring in our new materials. So let's go back to Asset manager to our materials and we have one called Light Metal. Here it is. Let's press Dot and let's actually drag and drop this onto my chain, let it load up, and that's what it's going to look like. Now the thing is with metal, always remember, it will never look the same in your materials panel as what it does in your rendered view. So just take that into account. So now we've got light metal on there. Let's put this on there, rendered view once we've brought our light back. So double tap the A and you'll see the complete difference in how it looks. All right, So I think I'm happy with that. It's got a lot of lighting on it. The other thing is as well that I forgot to say is on your material view, you can actually come down, click this down now and bring in scene lights and the scene wild at the same time. Why? You're actually just in the material view, which is sometimes actually really, really handy. Now, we'll have a cost associated with it, of course, because you're actually dealing with lights. And lights are one of the most costly things in a scene in blender, so just take that. Volume metrics is simulations and lighting. They are the things that cost the most as well as if you've got like really, really big textures, so four K textures everywhere will also cost a lot of Ram to actually run. All right, nevertheless we've actually done that. So what we'll do now on the next lesson is I think we'll make a start on our other window up here. We'll get that out of the way. And then we'll actually start fixing the other parts of the wall. We'll want to change it. And I think finally then we might actually start on this roof and then we should have a lot of these parts already done, ready to actually put round the other side. All right everyone. So I'm going to save out my work. I hope you're really enjoyed the course so far. And I'll see on the next one. Thanks a lot. Bye bye. 43. Creating Variations of Stylized Windows in Blender: Welcome back everyone to the Blend. The Critic Core, stylized three D models, and this is where we left off. Now over here we actually have our window and I'm going to base my new window, which is going to be a much, much bigger window on this one over here. Now this sounds and well, it sounds easy, but it's actually much harder than you think because you've got to base it around actually how you built this one. So what I'm going to do is I'm going to come over here first and I'm going to get the right dimensions. I'm going to come to this wool press shift cursor, Cursor to selected. There we go. And then I'm going to press one. I'm going to press shift and what I'm going to bring in is a mesh. I'm going to bring in a cylinder and I'm going to put this cylinder on something like 24. Let's try 24. Let's then spin it round, so Y, Y, R x 90. Let's spin it around like so. And we want it coming in probably a little bit thinner. So S and X pull it in a little bit, and then and z, and there we go. That's what kind of curve I want and I want that to be roundabout up there. Something like that. So it's that curve going round there and then it's going to be coming down from here, down to roundabout here. So what we're going to do is we're going to create just the basis of this. So I'm going to press and Y and squish it in like so. And then what I'm going to do now is I'm just going to take this front and this back. So I'm going to click on the back and actually delete them. Delete faces. I'm also going to go into modeling mode because I'm going to have a much, much better view of what I'm actually doing. So here we are. Let's just grab one part. Press the dot B on the number pad, and then we can see what we're doing. And now what we can do is we can come round going all the way around to here like so. Now if you look at this again, it should be going out to here before it bends in, because then we can drag these parts down. So let's press Delete and Faces, and we should be left with something like this. And now finally, let's think about if we've actually got the right size. So I'm thinking at this point I'm going to squish it in probably a little bit more. And then what I'm going to do is S and X bring it in a little bit because we can always make it bigger, that's no problem. And then sens, eg, a little bit more. And now I'm going to do is pull out these bottoms. So I'm going to grab this bottom and this bomb here, press one on the number pad, Press and Z and pull them down like so. And then were door want it to probably there, press the Born just to join that in. And you're going to be left with something like that. Now, from this point onwards, it's easier now to bring this over to the window. So I'm going to grab this window, press Shift S, Ursa selected. Grab this part. Now, shift S and selection to Urs, keep offset. And now press the dot borne on the number pad. And now we can actually bring it in. And the reason I did that was because I want to actually kind of keep to this sort of scaling and things like that. So in other words, I want to make a replica of this actual window. So the first thing I'm going to do is I'm going to take the bottom. So I'm going to press Tab. I'm going to press Y to separate the bottom off like so. And then with this, in fact, we'll actually separate with P. Now y, we'll separate it. So it's still part of the same object. This is still part of the same object as you can see. But if I press P selection, now we've separated two objects. And that's important because like solidify or whatever we put on this part as a modifier will not affect the other part. Now once I've got them, the first thing is to reset all the transforms like so, so set origin geometry. And then what we want to do now is let's do the bottom first. So we can see at the moment that this is the thickness of the bottom. So if I just come in and pull this over, press one again and pull this top. So this is the top here. Now I can actually work in here. And all I'm going to do with this is I'm just going to pull it down First I'm going to press L, E, and just pull it down so it's level with this one. So in other words, it's a much, much chunkier window, bottom window ledge. But it's still around the same size as the window we've already created. Now what we're going to do is we're going to come in to the edges. So this edge and this edge. And we're going to press S and X and pull those out. If they're not pulling out, just make sure you're on medium point and X pull those out. And then I'm going to go to the front now and pull this one out as well. Now the thing we can see as well is it's nowhere near thick enough. You can see we've got a lot of thickness to this one. So let's actually fix that while we're here. So all I'm going to do is I'm just going to come round to the front old shift and click. And just pull that out like so now it doesn't matter if it's a lot more thick this way because obviously we're going to put that into the wall. So that's not going to really affect what we're actually doing. Now, what we want to do now, the main thing is we want to get this kind of scale. It's probably easier if we go to object mode. We want to actually create this sort of scale for this window and these little parts here. So let's actually do that now. So what I'm going to do is I'm going to press come in modifier. Add modifier. Generate and let's come in to solidify, like so let's bring the solidify out. So we can see at this point here, we've got it roughly around the thickness of this. And then what we want to do is a little bit further to allow for the bevel in it, so I'm going to increase it a little bit more like so. And that then looks around the thickness. So if I move it over here, for instance, you can see it's roughly roughly around the right thickness. Press controls here. Let's go back. So now I've got that. What I want to do now is I actually want to turn this into mesh. And then what I can do is I can start work on these because this window actually is a little bit easier then the window, this window that we created here, believe it or not, there's a lot more intricacy into this window and they're all pretty much the same. Once you get good at creating one window, you're going to actually be able to create pretty much any window you want. So first of all, before we do anything, let's actually apply this solidify. So control solidify, and then what we'll do is we'll fill in this part here. So ol shift and click, going all the way around. Press the button, and then what we're going to do is press Selection. And of course we're going to use this part for our actual frame and our window. All right, so we've pretty much got that so far. Now we can actually start work on these part, these two parts here. So what I'm going to do is I'm going to come into this part. I'm going to grab each of these. So Alt shift click, Alt shift click, Alt shift click, Alt shift click. And I think that's going to look pretty good. And then what I'm going to do is I'm going to press Shift. And we can see we have grabbed them because I just press Shift D. Move my mouse, right click, drop it back in place, press P, selection, grab them again. And then what we can do is reset the transformations. And then what we can do is add in a modifier, so generate solidify. And then what we can do is pull those out all the other way. And then we go and then we obviously want to put even thickness on and then just bring them into the size that we actually want them so we can see these ones. Maybe they're a little bit out, we'll see, we'll bring them in a little bit. They're a little bit too chunky. We want to keep this kind of chunkiness that we've got here. We don't want them too crazy. So something like that looks about right. And actually I think now we've brought them into there, it's probably going to be about the right sort of size. We can really, really, you know, go crazy with this. You could take another one from here. So let's say you come in here, take another one, make it slightly bigger, and then you've got another part to your window. There's so much you can do with working with this technique, actually. All right, so now we've got that. Let's think about the inside of our window as well. We might as well level these. Now you can see we might have a problem here in that I didn't level them before these parts, so Yeah, I forgot to do that. Probably going to be easier actually for just delete that off and then just come in and level these parts. I'm going to come in Edge select. You can press two as well, 321 on, sorry, on your keyboard. And that then we'll swap between them. So ol shift and click and then one do is control. And I want to really make sure that I'm trying to stick towards what this actually has. So you can see this is quite thick. If you mess it up, just come down on the bottom left hand side. And then all you can do is increase the width, holding the shift button like. So just make sure you don't go past the thickness of this. You'll get it right, you'll know it's right as soon as you've got this thickness because we did line them up basically. Okay, so now let's come in with face slip. So three on the number pad, there's three on the keyboard, we always press the number pad. So a bit of confusion there. All shift click, shift D, and then what we'll do is we'll press P selection. So grab these ones, control all transforms. And then what you're going to do is add, modify, generate, and solidify like. So bring them out a little bit, make sure even thickness is on. And then just make sure that the right thickness in comparison to these, so they need to be a little bit thinner, like so. And there we go, grab this part, right shade at smooth. All right, so what we'll do now on the next lesson is we'll actually start with the frame. We'll get that in. And you can see that this window in particular, now we've done all of those windows, doesn't actually take that long to do. All right everyone, So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 44. Window Frame Construction Techniques in Blender: Welcome back everyone to the blending created course stylize three D models and this is where we left off. All right, so let's come into this part then. Let's press control, just making sure I've reset all of my transforms. And then what I do is just press one. I'm going to press Tab. I'm gonna grab this face. And then we're going to press and bring it in. Now we want to be a little, probably a little bit bigger than this frame here, because this is a huge, huge window. So just make sure you make it a tiny, tiny bit bigger. And then what you're going to do is you're going to press Y, just to separate that out. And now we've just got this to work with. And that's exactly what we want, because we actually want to make the actual window from this part. All right, so now we've got that part. What I also want to do with this part is I actually want to separate it out. So I want to separate it going from here and here, so I'm just going to press Y. And then when I separate things with a little bit more complexity, once I've separated it, I'll press H to hide it out. The way we can see this part is already separated from this. But I would really like to separate these two parts as well. So this part away from this part. So I'm going to press Y, and normally if I had more to do, I would just hide it out the way. Then I press sltage, bring everything back. And now N is this one separated? Let's have a look. Yeah, let's go back and just make sure what I actually did. I didn't grab it from there and now I'm going to grab it from there. Why separate it? And then let's press, and there we go. Now we're separated properly. So if I press sortage now, just to see what I did, if I grab this part, you can see this is separated, this is separated, this is separated, and all the parts are actually separated out. So now let's focus on this window part. So what I'm going to do is I'm going to press Y, sorry. Shift and H, hide everything else out of the way. And then what I'm going to do is press one, I'm a number pad, making sure I'm looking straight on. And now I'm going to create these actual bars that are going to go down. So what I'm going to do is I'm going to come in to vertex, I'm going to grab this top vertex knife, hold the story, press the Bart, go straight down. Enter Now we want one here. It's okay. Again a go straight down. And you can see there's an even split between them. It's okay. Grab a straight down. All right, so that's looking good. Now I want one going across here. So I'm going to do is I'm gonna press, instead of doing it that way, I can just actually grab this one, grab this one, press J, and that will make that nice edge going across here. And now want one more edge which is probably going to go from about here. So what I'm going to do is again the knife, tool K to make sure it's straight, going across enter and there we go. All right, so now we've got that, now we can actually come in and bevel these parts off. So I'm going to grab this one. Control, click shift, click, control, click, shift, click control, click, shift, click, control, click. And just keep swapping in between them until you've got this effect. Then what you're going to do is you're going to press control B and bring them out like so, creating those window frames like this one. And then what we're going to do now is I'm thinking that it's probably going to be easier at this point to mark my seams before doing anything else. So I'm going to come in and I'm going to grab it. Going all the way over there. All the way over there. So right click, mark scene. And then what I'm going to do is the same thing on this one. Shift click, right click, mark scene. Now what you want to do is you just want to remove these ones here. Because of course you want a nice wood grain going this way, and the wood grain doesn't want to get mixed up with this. We're taking this a little bit further actually, on this one, and I'll show you what I mean by that. So I'm just going to right click and where is it? Clear scene, there we go. And you should end up with something like that. Now what we can do is finally we can come in and compress L, L, L, and just grab all of these islands like so. And then what I can do is now I can pull it out. So let's pull it out like so. And then what we're going to do is we're going to bring this part. So just this part. So grab this one, so L in fact, we can't grab it all the way around. So what I'll do is I'll grab it from here. Control, click, ship click, control, click. And what I want to do is bring it forward a little bit. So I'm going to press bring it forward, just tab. And now you can see that's looking much, much better. Now, the next thing we want to make sure is that this is actually in. So in other words, we just want to make sure all this frame is fitting now. So I'm going to press Alten H or go back in Alt H. And there we go. And of course, we need to fix this frame now. So I'm going to come in L, L, L, L, and L. And then what I'm going to do now is pull this out. So I'm going to press, pull it out into place. So there you go. Now you can see that's looking pretty nice. Okay, so now I'm going to do is right click and shade auto. Smoove on here. All right, so now we've got that, let's just press Tab and we can see what we've got here. So I think the next thing to do is we want to be vel all this off so we've got these split up at the moment. We might as well be level them all individually. So what I'm going to do is I'll come to this one first. And I'm going to press control. All transforms, right clicks at origin to geometry. I'm gonna modify it and it's going to be obviously a bevel. Let's turn this bevel all the way down. Bring it up one and just make sure that it's like this one. We don't want it too chunk, you can see that. It's like that. So not point, not not three. And just bring it down, that might be a little bit to less. So point not not five. And that's looking about right, because it should be a tiny, tiny bit more, if possible, other bevel. All right, so now we've got that. Let's come to these parts now that I've got here and what I'm going to do is I'm just going to make sure, so object convert to mesh. Just to make sure that I've got all of the modifiers on control. All transforms right click to origins geometry, so we've reset all the transform on them. And then finally I'm going to shift select this one control L, and I'm going to copy modifiers onto here. And there we go. That is what we've got. And that's looking really, really nice. Now the one thing that I want to do is I may put a sharp on here. You can see we're losing a little bit of how this actually looks. So I might actually put a sharp on here. And the other thing I might do is I might try and pull this down a little bit, just this edge. So let's do that first. So we'll come to this one here and we're going to go out shift and click out shift, click on the inside, right click, and we're going to mark a sharp. And there we go, you can see that it's looking tons bare. Okay, so now let's come to this part here. And then what we can do is we can see if it's going to look bare. Pull down a little bit. So, and there we go. And I think actually that's looking better than it was before. Also, you might not like this sharp going across here. So what you can do instead is you can grab all of the parts. Edge loop, going all the way around, press control B and then pull it out. And you'll end up with something like that. Right click, shade, auto, smooth. And there we go. You might like that bear. I actually think I like that bear. The one thing I don't like is this. I need it definitely need some sharps in here. So all we do is old shift click, old shift clip working my way down them. So right clip mark sharp. And there we go. Now you can see it just looks so much better. Okay, so finally then we want to join all of this together. So just grabe them all like, so make sure you've got more with G just to make sure. And then what you're going to do is now you're going to come up first object, convert mesh, and then control J. And then finally control all transforms. Right click, set origin geometry, and now finally right click shade, auto smooth. And there we go. Now if I move this a little bit over, what I want to do is I just want to make sure you can see we've got a little bit of an edge around there and that's something I want to fix. So before I do anything, I'm going to go in with edge left and grab all of this part. And then just make it a little bit bigger. So I'm going to just press S and just pull it out a tiny, tiny bit. And there we go. You can see the other thing is because we split up these, we've actually got a nice caught in between these, which looks pretty realistic on how a frame is actually put together. So I'm happy with that as well. So now what's left to do is put on some material. So I'm going to grab my material, put that on. So I'm going to click this on. And then what I'm going to do is save out my work so I don't lose it. And I will show you actually before we end this, before we do anything else, how to actually get your work back. So if you blender does crash, come up to file, go down to where it says recover. And what you want to do is recover an auto save. And then the huge list will come up of all of these files that you've actually been creating if you've been busy, that is. And what you want to do is you want to make sure that hidden, where is it hidden? Files show hidden is actually ticked on. This will just make sure that if there's any of these hidden, what blender tends to do is it'll save so many out and then it'll hide some of the others. It does that a lot on some systems, so just make sure that's ticked on. And now actually you can actually go through these. I think you can, actually, no, we can't. I thought you could actually go and look at what the images look like, but never mind. You can see here that, for instance, this was last saved on its own auto save here at 10:03 So you can see I've got two blender files open at the moment. And you can see here they are saved out, so it's really, really handy. You can also change in the preferences, how many times blender is saved out, or how many save files blender has on its system and keeps on its system, which of course, will take up more storage on your device. But generally, if you knew it to blender, it's really handicap rather than have to go through, you know, five or 10 minutes worth of work because it's really actually surprising how much work you get done in that time. Alright everyone, So before we finish, all we're going to do is we're going to grab this one control L, we're going to link them materials like so. And on the next less. And what we'll do is we'll get all of this wrapped. All right everyone. So I'll see on the next one. Thanks a lot. Bye bye. 45. Texturing Stylized Windows for Enhanced Realism: Welcome Mac, onto the Blender Critic course, Stylized Three D models. And if we go over to this one first we can see we've got main wood, light wood, and glass lid. Now think the lightwod, If I come into here and put it on face select, we can actually see what the actual material is. If you click on this one, you can see lightwo, click on this one, main wood. Click on this one. Lightwod we know apart from the bottom, so this one's going to be main wood. We can actually come in now and put those on. What I'm going to do is I'm going to come into this part now and I'm going to grab all of these like so and this one and the frame like so. And then what I'm going to do is I'm going to sign light wood. And now I don't need to worry about it. Next of all I'm going to come in and I'm going to sign the glass to these windows. So sign glass lid. So what I'm going to do with the glasses, before I do anything, I'm going to press one on the number pad. I'm going to press and I'm going to project from view like so. And now they're all done. And now I can pretty much hide those out the way, because now I can just deal with these parts. So what I'm going to do now is I'm going to come in, I'm going to grab all of these. I'm going to press Smart UV Project. Click Okay. And let's have a look what they're actually going to look like. So we're just comparing now from this to this. And we're looking what they look like. And you can see everything looks really nice. Now let's come in and do these now. So I'm going to grab these and these, and then what I'm going to do is press you Smart UV Project, click okay. And there we are. That's what we've got. Now as you can see on this one, we left these like this, which is fine because it's just a bit of window frame. But you could go in and turn these around and make them follow that wood grain. I think when it's something so small, it's probably not worth bothering with actually. Okay, so now let's come in and grab each of these and then what we're going to do is pressure smart UV project. Click okay. And they're going fine. They're going the right way And looking at how they look, everything's looking good. Now with these chunkier bits, we might want to follow the wood grain like we did with these. So I'm going to go in and I'm going to open all of these. Let's see, not that one, sorry. Let's grab all of these. I might need to go in with this and actually mark some seams on this because it might be a little bit more difficult. Now let's see if we can do that. So Smart UV Project. Click Okay and let's see what we get. First of all, you can see that the wood here is very blurry. That means obviously it's not big enough on the UV map. Now, before I do that, let's just do this one first. So L U smart UV project. Click okay. And that want to come out really nice. So now we know similar, we want it to be similar to this. Now what I'm going to do is I'm going to come in, now I'm going to grab all of this. I'm going to press shift, he, just to hide the rest of it out of the way. And then what I'm going to do is I'm going to mark a seam on these parts here. I'm going to then right click mark scene. I'm going to press Alt H. And we can see now that the other seam should be on the next one up and on this top one here. So what I'm going to do now is I'm going to come in, put x ray on mine. Yeah, you can see it might be a little bit hard to actually get to these, So all I'm going to do is turn that off. I'm going to regrab this again, Shift H, and then what I'm going to do now is Alt shift click, Alt shift click, Alt shift click, Alt shift click. So right click, mark seam. Now I'm going to come in to the bottom. Now these botbs really, you don't actually need them there, no one's ever going to see those bottoms. And if you want to start saving on, you know, how many polygons you've got in a scene, it's really important that you get rid of any polygons that you don't need. So the bottoms, for instance, the backs of these that are into the wall, you really don't need these polygons And you can really save on a lot of polygons. We're talking here thousands of polygons, probably over, you know, a big model. If you actually delete the polygons you don't need completely up to you. I'm going to leave mine there because this is already a huge course and the reason that I'm not deleting them is because it takes a lot of time. So we're not going to delete those and yeah, so I'm going to leave these on. The one thing I'm going to do is control. Actually, instead of that, we're going to come in and we're going to do it from here. So Alt shift, click shift, right click, mark seam. And now what we can do is we can re undo these. So I'm going to grab all of this with a U and I'm going to click on, I can't actually click on Rap actually, because I need to actually mark another seam. So what I'm going to do is Alt Shift click. I'm going to click it going round there. It's going to follow it all the way around here. And then I can right click and mark seam. Now all I want to do is I want to come in and grab it from here and here to tidy this up. Right click, clear seam. And now you can see if I click off, it's still the bottom there. It's not gone all the way through. And now we'll do the same thing on here. So grab this one, just this corner control, select this one. Right click, clear seam. All right, now we can try on wrapping this. So a smart UV project. Click okay. And now we can already see that's looking much, much nicer now. It still might need, you know, making a little bit bigger on these parts. So let's go in now to the shading panel. And then what I'm going to do is I'm going to press dot to zoom into it. Press Tab. And here we are. Now let's grab everything and make it a little bit bigger like. So just to try and get to the same as these parts here. And I can see this part here. Now I want it to actually follow a longer thing. So what I'm going to do is I'm going to come in and I'm going to grab it from, let's say here. So I'm going to grab it from here. And then I'm going to press L. I'm going to press on wrap like so. And there we go. Now we can see that's looking much better. And then I'm going to do the same thing on this one, so I'm going to grab it from here, L on wrap. And there we go. Now let's think about this part in here because they bugging me a little bit. So all tag, bring everything back. And then what I'm going to do is I'm going to actually have a look at this. So if I grab this, I can see that these parts here. Now, there are other things you can do, by the way. So if you grab this here, for instance, we can see one is at the front, one is at the back. So first of all, we can see this one is actually at the back. What we can also do then is if we grab all of this one, this should just be the front. And what we can do is we can come and let's say can we grab this one going all the way around there? And then what you can do is you can actually right click a line auto and then that's going to actually straighten everything out. And I'm just going to see actually if I can actually grab all of these. So I'm going to grab all of these. Going down to here, I'm going to right click, and I'm going to straighten. Let's have a look, let's just click. Straighten like so, in fact, I'll grab these ones first. I'm going all the way down here, Straighten, and then I'll grab all of these. Going over here, I'm thinking, actually, is there another piece behind there? I think actually there's another piece behind there. So instead of doing it that way, I'm just going to come in and grab it. Going all the way down there. And then I know that if I grab all of these, right click, straighten, grab all of these, Then it's going the other way. So control, click, control click, right click, straighten. And there we go. Let's pull these out a little bit. So x and x, pull them out. And there we go, you can see just how much nicer that actually looks. So let's go through how I actually did that. I'm going to come to this one to show that point. So I'm going to grab this one and this front of this one. And then one going to do is make sure that this is on. If you click on this, it just grabs the whole thing. If you click on this, then you can grab individual ones control click. So it goes all the way down, right click, straighten. And yeah, this one. Straighten out the other way first, let's try, let's try this one first, right Cliff. Straighten. There we go. And then this one coming all the way to here. Right click. Straighten, and there we go. Let's now straighten it up so R, rotate. And then S the next. Let's pull it out a little bit because it did get a little bit stretched. And there we go. Let's move it as well into a different part. And now you can see just how nice that actually looks. So that's the way that he can actually straighten these out, which is actually pretty handy to know. All right, so now let's come in and let's grab each of these, and you'll notice the best thing about the new blender is that as soon as you grab a new part, the actual UV map actually changes, which makes incredibly easy to work with. So let's come in now, grab all of these parts like so. And we can see this is what it looks like because we did the project from view A to grab everything. And then what I'm going to do is I'm just going to bring these big enough to make sure that I can fit them into place. The one I'm looking at here is this one here. And as I'm pulling it out, I'm going to pull it out from here. And then just pop that back into place, making sure that it actually fits. We can see these bottom ones, they're a little bit too big. So next we'll focus on these. So I'm going to do is L, L, L. I'm going to bring them up and I'm focusing on this one here. So I'm going to press S and Y. S, Y, pull them down, and then Y and pull that one in place. And then S and Y pull them down. Now what I want to focus on is these ones here. Let's come to this one and let's see how far this one's out. And we can see, actually it's not very far out at all. So you can see here. What you can also do is you can also come in and pull them, not this one. Let's move that one out of the way first. We can also come in then and actually move these out a little bit if we need to. Now, I'm just going to this one is I think this one here. Yes it is. So I'm going to look at this one here, and I'm looking at this top here. So I'm thinking that either need to pull it down or move it up. Actually, I don't think. Yeah, it is. There it is now it's happening. And then we can Jaws follow this along. So all right, let's come into this one. I'm going to do pretty much the same as this and then A and just drag this one in. And then I'll just move these down now. So if I press, let's just move this into place like so. All right, let's come to the next one. A, put this one in place like so. And then we'll come to this one, and then A, and let's put this one in place. So what I'm going to do with this one is I'm jaws going to move these into place very, very slightly. I don't want to bend the UV. All right, so now we've got these. Let's do these four first. This one you can see the still needs shrinking down a little bit. Let's shrink them down. Let's focus on this middle one here. This one's a little bit out, so all I'm going to do is x, pull it across like so. And then I'm going to work on my bottom ones. Now I'm going to bring in all these. I'm going to focus on this one again. First, this one actually looks good. This one looks a little bit out actually. Let's move this X, move into place. And then let's think about these two. A, move it into place. And then finally, G, move this one into place like so. And that looks a really, really nice window. Okay, so what we'll do then on the next lesson, is we'll actually get this window into place. We'll also think, I think actually with this window, will put the parts, the little parts that go underneath here on it as well. Just so you can save it out in your asset manager. Alright everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 46. Constructing Wood Structural Supports in Blender: Welcome back everyone to the Blender Cota course, stylized Three D Models. Now let's come and build a little b bit more to this and then we're completely finished with it. So what I'm going to do is to press Shift S, us to selected shift eight, Let's bring in a cube. Let's press S to make it a little bit smaller. And then what I'm going to do is just put this on the left hand side, like so probably under this first pane or somewhere around that. Just making sure it's got a lot of support. And then what we're going to do is maybe pull it down a bit, like let's pull it back then. So it looks as though it's actually into our wall. When we're great in there were probably as well probably pushing that a little bit too far back. So I'm just going to pull it forward a little bit. And then all I'm going to do now is thinking that to make this easier, I'll just press Shift D. Duplicate it. And then I'll press pull it up a little bit. And then all I'm going to do is press E, And then let's pull the whole thing back, L, let's pull it back into place. And then finally all I'm going to do is grab this edge. This edge is the top edge along here. If you want to, you can just click this on. You can see I grab that top edge. Let's just pull it out into place. And then also pull this out into place as well. And there we go. All right, that's looking pretty nice. Now let's press control all transforms, right click. And we're going to set the origin to the three D cursor because we're just going to bring in a quick mirror just to put it over the other side. Let's apply that mirror. And then let's press Tab. And then Smart UV Project. Click Okay. And then all I'm going to do now is I'm just going to join this to the rest of this and it will inherit the actual. In fact, before I do that, I need to level them. Add modifier, generate bevel, there we go. Let's turn this to nought point, not five. And there we go. Let's right click and shade Auto, smooth. And finally, now let's press control to apply that. And then let's join it to the rest of the window with control J. And there we go, we'll inherit the actual material as well. Now one thing is I just want to make sure that the material that I've got is the main wood. So if I come over here, you can see it's the main wood on all of these parts, which is fantastic. All right, so this is looking pretty good. Let's have a final check with our rendered view of what that actually looks like. And yeah, I think that looks perfect. Okay, so now what we want to do is we want to call this large window. I'm going to grab it window. I'm hoping it's that one. Actually, Let's have a look. No, it's not. I don't know which one this one is. Let's see, What do I just grab there? Oh, yeah, that's what I forgot. That's actually pretty good because we actually forgot that. What I'm going to do is before we do that, I'm going to grab this one. This one and this one. And then what we're going to do is I'm going to go to object, I'm going to go to convert mesh control J to join it altogether. Now let's find that one again. So here it is, wooden block, let's call it lantern or hanging lantern like so. And then what we'll do is we'll press one. And then I'm going to right click over here. So right click and we're going to mark as asset. All right, so we forgot to mark that as asset. We did mark these as asset. I'm fairly sure of that. Let's have a look on the window. I thought we actually marked those as assets. Going to have to check that. I thought we did put that in our assets. I will actually have a look at that as well. But before I do that, I'm obviously going to mark this as asset. So we're going to press dot large window like so. And then what we'll do is right click Markers, Asset going to save that more work. And then what we're going to do is going to come to Asset Manager. And now I'm just going to look in the file that we're in. So if I come up, scroll up and current file, I'm going to look, yes, there is that window there unassigned. Is these two here? All right, so we've got a lantern and we've got a large window. Now this lantern is looking a bit and bent like so. I don't really want that. So what I'm going to do is I'm just going to come back to it. Button, right click and clear asset control or transforms. Right click to origin to geometry. And now let's right click and markers asset. And there we go. Now it's coming in much nicer. All right, so we haven't gotten here lights. So what I'm going to do is I'm going to click plus I'm going to put lights like so. And then what I'm going to do is I'm going to come to the unsigned. I'm going to drop that then into my light, and I'm going to drop this one into my windows. And finally then I'm just going to save that out and then they are there to use. Now the other thing is I want to actually bring, because this is the actual asset, so I want to bring this over here. But before I bring it over here, what I might as well do is press Shift S curse selected. Now I can actually bring this over here. Press one just to make sure I'm going to put it down here because these are still my assets. And then what I'm going to do now is I'm going to come to my asset manager, go to my light, bring in this light. And then all I'm going to do now is press shift S selections curse to keep offset. And that then is going to put. Right back in the right place where we had it before, so that's fantastic. Now we want a window, so we're going to come to our windows. I'm going to press one and what I'm going to do is bring in this window, and I'm going to spin it around, so let's have a look. Z, 90. Y, Y -90 So, and there we go. Let's pot that window into place where we want it, which will be something, something like that, I think. All right, so now we just need to pull this back. So let's pull it back into place. And pull, pull, pull just before you get there and then you can pull it out a little bit. The thing that I'm worried about is it's the wrong way round. So ours head 180, spin it around. And now let's pull it out. And there we go. And now you can see it's fitting into place. Now, you might want to pull this out a little bit more to have, you know, a little bit more chunk chunkier part on there. So I'll pull it out to there, let's have a look. Yeah. And I think that's looking fantastic the way it is now. Okay. So now what I want to do is we're looking at this wall. We've got a window here, we're going to have a door here, lantern, another window here. And what we need is part here, I think. And we'll also put some engine in here. Let's put the top on this first. So what I'm going to do is I'm going to come in, I'm going to grab probably this one here, shift, let's drag it up and put it over Y x hundred 80 like. So let's put that on top of that. Now with this part here, because we've got a roof here, we're going to probably create this roof next after we've actually put the top on it and put a piece of wood into here. So I think that's the way we'll do it. We'll grab this piece first though, shift, bring it up and then I'm going to spin it around z 180 and then x 90. And let's drop that part in place. We'll drop it in place just on the top of here, like so. Then what we'll do is we'll bring in this little part here, shifty, bring it up and then spin it round x N. Yeah, we can actually R x 180. There we go. Let's spin that round, let's bring this up a little bit more so it's just so there. Then what we need to do is we just need to bring this wall up. So I'm going to come in edge select and start really fitting all of this stuff in together. Bring this up. You can see that little movement doesn't really do anything to the wall, so we don't need to worry about that. All right. The next thing then I want to do is I want some little chunky parts like this. So maybe I should come to my wood blocks and I'm thinking that I've got a couple of 1 meter ones. And maybe on these ones they're not actually small enough, but let's bring them in anyway. So I'm going to bring one in there and one in there. And then what I'm going to do is I'm going to grab them both. Press En's head, just to strink them down a little bit. And then I'm going to grab this one. I'm going to press one. Why? Spin it round and let's put that into place now. Is it going to be small enough to fit into place or do I want it to be a bit chunkier? I think actually I'm going to press controls head, just to put that back. And then what we're going to do is grab both of these and we're going to press and X and pull them out. I'm going to do that on individual origins, of course, so S and X pull them out. And now I think that's actually going to be better. Now I press Y 45 degrees and then R Y 45 degrees. So now I can actually put these into place. Now you can see this one needs spinning around again. So RY hundred 80 or 90 R Y 90. And there we go. Let's put that into place. We can see that we might need to bend it a little bit more so R Y. Let's put that into place now. We can see that it's still hanging out over there. Don't really want that, but we actually want this in the wall, like so I'm Yeah, I'm thinking that looks good like that. I'm going to cut this away. Once I've actually finished, I'll come to this one now. I'm going to press one, Put this into place Y, drop that into place. Then what I'm going to do is I'm going to, I think I'll re unwrap this actually. So I'm going to press a smart UV Project. Click Okay. And there we go. That's looking better now. And then what I'll do is I'll grab both of these. Shifty, I'll grab this one first. As we can see, it's the wrong way around. Z 90, 90. Put that into place like so. And then this 1,100.80 tab Smart UV project. Okay, drop that one in place, then double tap the, And there we go. This is looking nice. I'm still not happy about these two bits here. What I'm going to do is I'm going to join these together control tab to grab them both. Let's go back to shading and then see where they are. The press tab, here we are. So if I press A, make them a little bit smaller. I'm just looking if I'm happy with how these unwrapped, I'm not. Let's press control all transforms, right? Click Rogin Geometry tab again, Smart UV project. Click Okay. And then now I'm happier with those. Much happier with those. Look now, double tap the Now let's come to these, pretty much the same thing. Control all transforms, right Click Rogin geometry, tab A, grab them all. Smart UV project. Click, okay, A S, and let's move them to the side. Okay? So let's join these two together. So control J. And now what we're going to do is we'll simply cut each of these sides. So I'm going to do that before the end of the video. So I'm just going to press one, and then we're going to press tab A to make sure I've grab them all mesh. Come down to where it says bisect and you're going to cut it straight down here like so. And then you're going to clear the inner or the outer, whichever one it is. And then we're going to go across to the other ones. So grab these two A to grab the all mesh bisect. And if we go up it will cut that way. So as you can see it's cut in that way now. So, and then I just want to make sure that they're in place properly. So I'm just going to pull these back a little bit more, making sure they're in place like So finally then I'm happy with other looks. I want to press file, save up my work, and then on the next one what we'll do is we'll put a piece of wood in here and then we'll think about bringing in this roof part into here. All right everyone. So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 47. Upper Roof Creation for Stylized Blender Taverns: Welcome back everyone to the blender Cray course. Stylize three D models and this is where we left off. All right, so now let's put just a little piece of wood into this part here. So what I'm going to do is I'll just grab this piece, shift D, bring it over. And then what we'll do is we'll just make it a little bit bigger first. So in fact, I've got everything selected. So and, and now let's rotate it. In fact, before we rotate it, let's just rotate it around as well. So R Ed 90. Am I happy with that? Yes, I am. And Y, let's drop it into place. Let's bring it then into place and just make sure it's fitting in there where it's not going over the edges here. Down here. Yeah, that's looking pretty cool. We can see that we do have a problem with this sticking out here. We really don't want this. I'm actually glad I found that. What I'll do with this one before I do anything else is and in just squish it in just a little bit. And then I can just move them out just making sure nothing's poking through there. And now you can see that's looking pretty nice. And then finally back to this, what I'm going to do is I'm just going to bend it slightly so I'm going to grab the center of it. I'm going to press one on the number pad. I'm going to make sure proportional editing is on. And then I'm going to just press, while holding this out a little bit, do I need to hold it out a little bit? More like, so double tap the A and there we go. Now before we start anything, let's just take stock of what we've actually done. So what I'm going to do is I'm going to go into render view mode. In fact, we'll go to modeling and actually have a look at this properly. So we'll come over here. I'm going to press tab, double tap the A, just make sure I've got nothing selected. Turn off my interlocking links, turn on my rendered view, and there we go. We can see already this is looking like a professional piece now. We've not even nowhere near done yet, and we've certainly not done with the lighting or anything like that. There's tons to go on this. It is a huge project, but you can already see now you've pretty much got a lot of the basics down of what you need to do to create a professional looking building. And I'm sure like once you've actually finished this, you'd be able to take all of those things away and create some amazing stuff. This is going to save you years, years of work because it's going to teach you the right way from the ground up. Okay, so let's put it back on material mode. And what I'm going to do now is just put my into locking links back on. I'm going to come over then to my asset manager. And what I want to do now is just bring in a couple of bricks. So I'm going to bring in, you've got small bricks here, let's bring in one brick here, like so let's spin it around. Let's actually have a look at that brick. So I'm going to spin it around so whiles head 90 and then Y 90. And then we'll bring in one more little brick which we'll put at the side of it. So I'll bring in this one. Oops, let's bring in this one. So I'm going to go to Front view again. Grab this brick, and then R, Y, 90, and then I'm just going to pull this over here I think. And then this brick, bigger brick, a little bit up and just over to here like so. And then I'm going to grab them both, pull them back into my wall. And then finally I'll grab this one and just pull it out just a little bit. And there we go. All right, so that's that bit done. Now let's make a start on our actual roof. So we already have a roof which is here. So what I'm going to do is I'm going to press 50 because I want to keep the tile size, so I'm going to bring that over and then go to do is I'm going to press our head 90 and then I'm going to bring this up. Now, this roof is the biggest, roof is the hardest one to get, right? So let's first of all bring it up into place like so. And then what we'll do is we'll come over first and put this, so we'll go to the little spanner. I'm going to reset this rotation. So where is it reset the default value? You can see that the default value is actually -21 Let's put that on zero, and then we can actually work from there. Now I'm going to rotate it up and I also want to make sure that the roof angle is on zero, like so. Now it's nice and flat. Now I have something to work front. Let's actually see. Yeah, that's roof angle then also needs to be on zero, I think. Let's have a look. I've got something wrong here. Let's first of all just go back a minute and see why I actually did that lock center. Let's turn off Ben. Let's turn off lock center. Let's turn off the roof angle down to zero. Yeah, and that's what's planning it out so we really don't want to turn that one down. Zero, root angle. Let's turn that one. Yeah, and it's just bending it all out for us, that's not something we want. So let's come in instead of doing that, and let's bend it round to where we want it instead. So what we'll do is we'll try, Yes, there we go. Now we're straightening it out. And now we can bend it round. Not this one. This one here. Bend it round like so. And let's drop it into place and let's see how far we need to bring it down. We're happy with the top. I think that when we increase the vertical count, yeah, it's going to increase the top. That's fine. We can get that in place now. Now we can work on bringing this to here, so you can see it needs to come pretty much down to this part here. Let's first of all bring our rotation round. It's a bit, it's going to be a little bit fiddly, but I think actually it's not going to take us too long just to get it into place, actually, When we've got some piece of wood here, this is going to be near enough, perfect. So what I'm going to do now is I'm going to increase now the horizontal because it's going all the way. It's going to come all the way out here as you can see. So we need another piece of wood here and then we'll see where we're going to put it. Let's increase the count. Increase, increase to something like that. And let's have a look. I think we'll pull it out a little bit more. I think that's going to be near enough perfect. Now the one thing we can see is we've actually got no real bend in here. And we would like a little bit of a bend in here. I'm just going to come to the bend, let's see if I can bend it this way a little bit. I'm going to actually come in, I think I'll lock the angle and then I'll bend it. Yeah, you can see that I'm actually locking the angle there. That's probably not the best thing. So I'm going to do is going to click bend. There we go. That is what I want. And now I can actually rotate this back to there. And then I can actually bend it a little bit more and then rotate it not on there. Rotate back round to there. And then let's just pull it out a little bit and there we go. Now I'm actually much happier with that. We've got a nice bend in there and it's fitting well. Is it come in below where I actually want it? So I can see we're going to get rid of this, so I'm going to just pull it back into place like so we're not going to have anything in there, so we just want it underneath here as you can see. So that is about perfect, obviously, We can still see this gray bit in there, but we're not going to see that in the end, so we don't need to worry about that too much. And also with this, once we've actually built it, we're actually going to be bending it in the center as well, But we've got a long way to go before then. So first of all, then let's bring in some other piece of wood. Now I'm thinking on this part, probably bringing in a piece of wood that's exactly going to follow this the way that I want. So I think in other words, what I'm saying is I would sooner bring in my own piece of wood rather than creating another piece, you know, bringing it in from the asset manager and me. Okay, so let's actually do that. So how am I going to do that? Well, I'm going to bring in a plane, so I'm just going to come to this here. I'm going to press Shift cursor selected. And then we're going to bring in a plane. Shift. Let's bring in a plane. Let's spin that plane round, so Y 99. Let's pull it out then. And I want this plane to be in front up here, so I'm going to pull it in front up here like so. And then what I'm going to do is press one. I'm then going to press Tab, and then I'm going to press Z. Going to It Frame. And now I can see where I need to cut this along. So I'm going to cut it coming from here, going down here, and finally ending over here somewhere. So I might as well start the bomb here. So I'm going to press K, and then I'm going to bring it up and follow this going along like so all the way into this part here. And then what we're going to do is just end it over here through the end to be, we have got something like that. Now this is the point where you probably want to start messing around them with these vertices. So what I'm going to do is I'm just going to straighten it all out. I'm going to turn off portion of editing. And what I want to get them is just below, just below where the actual tiles are. Just below where this line is. As you can see, the other roof actually is the more complex one. The one on over this side. Because actually you've got to pull that out at the same time. So that roof is pretty complex. And then what we're going to do is bring this down, all right. Something like that's looking pretty good. And now what I can do is I can actually grab this. Coming all the way from here, going down to here. So we can see that nice, beautiful slope that we've got. And then all we're going to do is press shift D, bring it out, and that's what we're left with. Now we can actually come in and delete this out the way. So delete just this part. So delete vertices, let's put it on object mode. And now we should be left this. Now if we can press control lay all transforms rightly so. Origins, geometry. And then what we'll do on the next lesson is we'll actually start bringing this out and creating it into a really nice piece of wood that's going to cover that end for us. All right everyone, So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 48. Adjusting and Texturing Tiles in Blender Models: Welcome back everyone to the Blend, the critic core, stylized three D models, and this is where we left. All right, so what I'm going to do now is I'm just going to come in, grab all of this, we're going to sorry into edit mode. And then what I'm going to do is going to extrude it on the y axis and y extrude it out. And then what I'm going to do now is I'm going to press control. Transforms, right click, origins, geometry, shade, auto, smooth. And then what we'll do is come over, generate and bring in a solidify. Let's bring that out, and then let's pull that back into place like so. And now what we want to do is really just move this around and making sure that it's all into place. So you can see here at the moment, I'm going to have to pull it back probably around to something like that, making sure that this bottom is on there, making sure that it's all fitting into place nicely. Now, the next thing I want to do now is make sure that either my towels are over the front of this or they're behind it. So whichever you feel is better for you. Now I'm thinking that if I brought these tiles out a little bit, so if I brought them, let's say out to there, that's probably going to look better for me. At least I just need to bend them out just on the bom here. And then I just have to be careful that this bit is going round to the tiles. In other words, we've not got a big gap down there. And that's going to be one of the problems we face. So what I tend to do in a situation like that is I'm just going to pull all of this down a little bit. So pull it down a little bit like so. And now you'll see we've got a little corner poking from there. But you can see this is fitting on here much, much nicer. Now what I want to do is a just want to increase this and bend it around a little bit and just making sure that all fits in place. Now let's have a look at the bottom and making sure these tiles are probably poking out a little bit too much. So what I'm going to do is I'm just going to pull them up, pull them back into place so that we've got that nice kind of bit poking out. And even that might be not enough yet. So let's pull them up, pull them back. So let's look at that. And then the way I've pulled that back might be a little bit too much. What I might need to do now is just pull these up a little bit. I'm just going to increase this just so they go under there and I shouldn't have a lot to actually move Now I am going to also come out and it's basically just, again, tidying everything up. So I'm just going to pull this forward just a little bit of this wall, little bit more forge to get rid of that plot on there. In fact, I'm going to pull that wall back a little bit. And then what I'm going to do instead, this bit on here as we can see, is poking out through there. So I'm going to do is I'm going to press, I'm going to write click sorry. Origin Geometry and Y. And then I'm just going to squish them in. Now the thing is I've just got these two squished in. So I should be able to work with that. I should be able to pull them out. Now, that's nearly fixed. You can see now it's fixed once it's in there. And there we go. Now let's move on to this part. So we can see here that these are going to have to be pulled out, pulled up probably a little bit more. So I'm going to have to pull this up a little bit more like so I'm I'm just want it basically to rest on those and making sure that is resting on those and not really into it. So I need to pull it down a little bit and then I'm going to pull this one up and level it up with that one. And then pull this one up and level it up with that one there. This fits actually really important to get everything leveled up because then it's going to play around to the other side. Now the other thing is I do want to pull all of this up as well, but the thing is, I want to make sure I'm onto material, so I let that load up. And then I also want to make sure that I'm pulling the whole thing up. In other words, I want to actually smooth proportional editing on, and now I should be able to pull the whole thing up without moving too much out of the way. Let's now do the same thing on here. So I'm going to come into this part, I'm going to grab it from underneath, so I'm going to put on x ray that part there and then pull it up like so double tap. And now I think we can see that that's pretty much in line with where it needs to be. This part is in line where it needs to be. We're going to have to cut off this end. And I know this has, you know, took a few minutes to actually get right, but I think actually it's really important. We can also see now as well that this part here is actually looking good. It's following that curve really, really nicely. You just have to decide how far you want this part out. But yeah, I think that looks pretty much the way that I want to. Now, what I need to do is I need to come in and decide how far out this part here is going to go. What I'm going to do is I'm going to bring this part over with shift, bring it over, put it on the other side because we're not going to see the front and back at the same time. And put that there. Yeah. I think I'll have it like that. I think that's going to look look pretty good. All right. So that I can actually wear. Let's save out our work now before we do anything else. Now what we can do is we can actually think about coming in and we'll fix this part first. I'm going to try instead with this part, just bring these parts in. I've just grabbed all those parts as you see. And then all I'm going to do is just press without proportionally and x and just bring them in. Like. So. And I think actually that's going to fix that. Okay, so now we need to put this over the other side. So what I'm going to do is I'm going to grab this. I've got my center of origin, hopefully in the center where this cursor is. If not, you can put it along here. And then what we're going to do and we're going to control all transforms. Right, click the origin to geometry. Set origin to three D cursor. Add in a modifier. Let's bring in a generator. And we'll bring in a mirror. And then that's going to put it over the other side for us. Now we can see that we do have some problems in that, we need to pull these out a little bit. Now, when we pull these out, it does mean that we're going to have to pull, we either pull these back or we pull these out. Let's see if we pull these out a little bit like so. And then let's see now if we pull this across a little bit, how much room. And I think actually that is going to actually look a bit there. I'm just wondering whether I want the tiles to be slightly over on this bit, and I think I do, which means I'm probably going to add in another tile. So in other words, my horizontal count is going to go slightly up like so and maybe up to 45. There we go, it popped on there. And there we go. I think that's much better where we can see these tiles on here. Now we just have to be very careful that you've not actually got them into the wood. So maybe I want to bend this. What I'm going to do is I'm going to see bend this a little bit more. Really holding shift bond to get into place. We can see that this is what it's looking like a moment. Can I bend the horizontal to be more in place or do I need to put it all the way there and then bend it more? That's what I'm thinking. The other thing we can do is while we've got the mirror on, we can actually come in to this. And I can actually pull these out. Now I think I'll come in and I'll just press one on the number pad. And what I'm going to do is going to pull it out. Now I'm going to do that with proportional editing, so I'm going to pull it out like so. And then I'm going to come to the next part and I'm going to do the same thing. So one, we're going to pull this out like so. And now that's looking much, much cleaner, much much nicer. Okay? So I'm happy with that. Now what I want to do is I want to actually put this on the other side as well. I want to actually either pull this out because you can see here that this one, Yeah, actually that's in the right place. That's fine. It's still going along there. The only thing is we've changed this piece of wood now. So this piece of wood is obviously not here. So let's press delete. Let's grab this one. Press shift. Bring it over to where I want it to be, which is going to be just around about there, I think. And that looks fine. All right. A lot of work to get this done. I know, but it's very important that we did this. And what we're going to do now is if we grab this part here, we now need to change this into mesh and then we can mirror over the other side. So let's do that Now what I'm going to do is I'm just going to come over control to actually apply that. And then what I'm going to do now is I'm going to put it over the other side. I'm going to put it over the other side by coming to the center point of here, grabbing maybe two point shift because selected. And now coming to this control all transforms rightly set origin to three D cursor. And then what we'll do is add modifier generate and we'll bring in a mirror like so. Now you can see perfectly on that side. That's exactly what we want. Okay, so now we've done that before we actually apply that mirror. We obviously want to come into this one and we want to unwrap them first. But then we want to unwrap the front. So what I'm going to do is I'm going to grab all of them first, Smart UV project. Click okay. And we're going to end up with this obviously mess which we've had before. We click it on, we can see now this is what we're going to end up with. We really want some dirt coming in and down here. So what I'm going to do with that is I'm going to come in, I'm going to do what I did before, which is selecting each of these. Shift select, control select. Shift select, control select. And then what we're going to do from there is we're going to grab all of these going across hopefully, and then we can unwrap them. So shift select. Control select. And because we've mirrored it, it means that it's going to be much, much easier to do the other part as well because we're going to be mirroring the UV's as well on the other side. Shift select, Control Shift control select. And now we'll go to select and we're going to select similar based on normal. And then it should select them, going all the way over and leaving these parts here, hopefully now what we can do is we can go over the top and I can basically come in and press, and I can project from view, project from view. Let's have a look what we've got now. So I'm going to go to my UV or actually I'll go to shading because we already have it there anyway. And then what I'm going to do is I'm going to press tab. We haven't got our material on yet, so let's put our material on first. So what I'm going to do with this is I'm going to grab this one, grab this one, press control, L link materials. And then we'll come back to this one. We're going to minus which one is this? This is roof. So this one has to also be roof. So let's minus this R. There we go now. And then what we can do is now we can come in and grab this. Spin it around first of all, 90. And then what we can do is we can pull this out now, pull it out, and then put it back in place. Let's have a look what that looks like. And now you can see we've got all of that dirt going a long M, jaws looking, making sure that these other parts, as you can see, these are not on wrapped properly. For whatever reason. I think it's because they're not on wrapped properly. So what I'm going to do now, I'm going to hide this part of the moment. I'm going to press H to hide it. A to grab everything else. And now we can see what the issues are. Now I'm going to do is I'm just, let's press Smart UV Project. Click Okay. And then what we'll do is we'll bring those out. I'm hoping not a lot of brokenness in there. Yeah, and I think that's actually looking Okay. All right. So now what I should have done as well is before doing that, I'm actually going to go back and I'm going to show you one other thing that you can do. And what I'm actually going to do is instead of doing that way, what I'm going to do is I'm going to grab all of these, all of these graphs, selection, I'm going to separate them out. So now we can actually grab the front and the bottom. So if I hide this out of the way, you can see all of that actually gets hidden away. Now you can also see that behind these as well, we've actually selected the normals on the back as well. But now what we can do is we can actually select these. Come in, grab them all, Smart UV project. Click okay. And then what we can do is we can press S, bring those out like so. Now at this point as well, I'm also going to get rid of these parts going down here. We're really not going to need them at this point. So we can just delete them. So delete the other one as well. And we should be left with something like this. And now what we can do is we can press Lth. Bring back the other part. Come to this part now. And then you can see this is what we've got. Grab everything. And now I'm going to do is I'm going to pull this out a little bit. And Y, let's pull it out a little bit. Let's press G now and move it into place like so. And let's look at what that looks like. And that is looking pretty nice as you can see and pretty realistic. Now the one problem I've got is I'm just looking to see. Yeah, we've got some different color in here, slight different coloring in here. So yeah, that's looking pretty good. All right. Yeah, I think I'm happy with that. We'll just have to make sure when we come to the other side that the other side along here is also. I mean, we're not going to see both sides of the building at the same time, but we do want to make sure there's a little bit of difference. So what I'm going to do now is I'm just going to come to my modifier. Just press control A. And then what I can do now is come to this part. So I've got both of these selected. I'm going to press seven to go over the top. And what I'm going to do is seven. I'm going to zoom out a little bit. Double tap the control, sorry. Just to select the control. Plus to make sure I've got them all A over the other side. And then and X to move them just along this way. And now this one's gonna look different from the other one. And that's exactly what I'm looking for. All right everyone, that brings this lesson to a close, and then the next lesson what we'll do is we'll really then start working on getting this wood into place, getting the wall into place, and getting the top of here with the chimney and things like that. And then you can see most of the things that we put on this side, maybe that I think there's one different window on here or something which we can use has been done. So that's really good. All right everyone. So hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 49. Chimney Modeling for Stylized Taverns in Blender: Welcome back everyone to the blend. The critical, stylized three D models on this where left art. All right, so now let's think about putting our chimney on and putting our wall on. I think first of all the best thing to do is to put our wall on, Make these wooden bits, parts and then we can actually copy some of those onto the other side. So what I'm going to do is I'm just going to press D. I'm going to drag this up, then put this into place. And then what I'm going to do with these two here is I'm going to come in, I'm going to put it onto shading first material. And then what I'm going to do is I'm just going to grab when it loads up both of these vertexes, rightly merge vert at center, then it's going to merge them at the center like so. And then of course I want to actually unwrap this. Instead of it being like that, I actually want to press Unwrap. And then it hopefully should look right, which it does. Okay, so now I've got that. I can pull this now a little bit forward. And then what I can do is I can press Shift and drag it all the way to the back. Then I can also do, well, I've got all of this part here. I might as well grab this part here, shift D, and bring that also to the back here. Just to get that into place of something where it's going to be already done for us, I might as well bring it in. Okay. So that's that. Now I want to do is I want to actually come in and fix these wooden planks because we've got all this on, they're not actually beveled or anything like that. So what I want to do is I want to first of all apply the modifier so I can press control over there. And then what I can do is I can add in another modifier which will be a bevel, I'm going to just put it onto object mode just so I can see what I'm doing. I'm going to turn the bevel down then turn it one. So have a look at that. Yeah, and I think that's going to be absolutely fine like that. And then what I can do is I can come in now Smart UV project. Click Okay. And then what I can also do now I've unwrapped it, is I can join this with this wood so I can press control L link materials. And there we go. Now we can see we've got a little bit of a problem here as we always have. You will see that if I go into this now press the tab Burn. This is the reason why we've got this. So let's actually come in and straighten this up. So I'm going to just move this over here. Move this one over here. And then what I'm going to do now is I'm just going to straighten this up so I think I'll grab the front. This one here. First control click. And then what I'm going to do is I'm going to right click, and I'm going to straighten and then I'm going to grab this one. And this one right click and straighten. And I'm hoping that's actually straightened. I'm just wondering which one that's actually straightened out. So let's have a look. It's probably the back of it instead. Let's have a look at this one. I think these actually, let's have a look. Is it this one? Is it any of these? None of these are moving at the moment, so let's have a look. There we go. Oh, it's a mirror. That's why, yeah, let's grab these two. Right click, straighten. Let's grab these two. Right click, straighten, and there we go. Now that's looking a tons better. Okay, so I was wondering, why aren't they straightening out. Let's make them a little bit smaller. Let's have a look what they look like. Absolutely fine now. And now I can do is I can actually press control A, control A, and then I can come in again, grab this one and then press, just move it to the side a little bit. Like maybe not have this big black mark down there. Let's try to put it somewhere else. Yeah, like that. And then what I do is I can actually grab this one and then grab this one. And then what I can do is actually because we've not done a bevel on this or anything. Yeah, we've not got any bevel, I'm basically going to just grab this one and I'm just going to press shift D. Duplicate it and then just move it over into place over here rather than actually recreating it again. It's just going to old shift, drop it into place and then grab the other one. This one, delete ol tag, bring it back and there we go. All right, so that's looking good. Now let's think about our top of here and our chimney. If I come in, I've got my cursor there, so I can just press shift A, bring in a cube. And then I can bring this cube out. I can make it smaller then and put my chimney on where I actually want it to be. So I think it's still going to have to be much, much smaller than this actually. It's way, way too big at the moment. And I think my chimney wants to realistically be probably this sauce size. I'm going to drag it down now. So I'm just going to pull this down, take off proportional editing, drag this down. And I want to be probably just under there like so. And I think actually that is out enough. I think I need to make it a little bit higher like so. And then what I'm going to do is we're going to press, pull it out and then pull it up and then grab the top of it. Press the bond to insert. And then finally what I'm going to do is I'm going to bring it down now. So I'm going to press, bring it down. You can see that the problem is that it's going in there. So, but we're just going to press S and pull it back below there, because no one's ever going to see in there anyway, so we're not going to worry about it. The one thing I would, I think like to do though is just bring it up just so we can't see that empty space in there. So I'm just going to press Tab and bring up this just to cover those parts of the roof like so. And now we can't see it and it looks pretty nice. Alright, so let's now get some materials on this because then it will make it much, much easier to have a visual of what this is going to look like. So I'm going to press edge slick, old ship. Click, right click, Mark Sem. I'm actually going to come in and mark the seam on the bottom as well. So select this one control mark seam. And then what going to do is I'm going to come around the back. And the reason I'm marking seams on this is because of the fact that it's going to have a brick texture and we want it to go all the way around. So right click mark Sem. In other words, I want a little bit more control of this. Next thing I want to do is control all transforms. Right click, set origin geometry. And finally, add in a generate and a bevel. Turn the bevel all the way down. Turn it up one. And I think, yeah, that's smoothed off enough, now that's perfect. And now I want to do is I want to actually use this brick texture. So this brick texture, if we go into this, is called broken walls. So we have broken walls and we have dark stone. So let's come into our brick and what I'm gonna do is click the down arrow. I'm going to bring in broken walls first, and then I'm going to click the plus one. Down arrow and then dark stone. So now we've basically got both of those materials ready to use. Let's now come in and what we'll do is we'll grab this part and this part. And then I'm going to press one, and I'm going to press you Unwrap. And then I'm going to come over R 90, Spin it around. And finally then I just want to make sure that this is the same size as these bricks here. So just you can eye them and see roughly they're actually the same size. So I got lucky there. Also, if we look here now, we can see because the way I unwrapped it, it's unwrapping really, really nicely going all the way around here. And even on this bit you'll see there's a little bit of kind of jarriness on there. You can actually fix that by pressing and X and then just moving it round a little bit like so. And then we'll fix some of that as well. Okay, so happy with that. Now let's come to the top part. The top part is going to be much easier because all you need to do is smart UV project, click Okay and then all we're going to do is assign the dark stone like so. Now the one thing I think is I've gone a little bit too crazy on how far I've brought it out, but that's an easy fix. All I can do is I can select them going all the way around. Press Ts, and then I can bring them in to how far out I want them like so. And then I'm also going to go on the inside and then Ts and bring them in like so. And there you go. You can see we had a lot of control over there. Okay. So the next thing then what we want to do is we want to do the top part. So the top part, that's going to go along here. Now we want to make sure that it keeps within this bridge. We don't want, I'm going on the outside. So what do I mean by that? First of all, I'm going to press shift day. I'm going to bring in a plane. So I'm going to bring in a plane. I'm going to set this then. So and X to where I actually want it. So something like this. I'm going to pull it then back to my wall, sorry, my chimney. And then I know that I need to make it thinner, so x bring it in. And then I'm going to pull it up just to the top of those. And then what I'm going to do now is I'm going to pull it back a little bit, just starting in the right place. So just before. And then I'm going to come in, grab the edge up here. And then I'm going to put it all the way, just so it's slightly over the edge here. So slightly. So now what we want to do is we want to bring in some edge loops, but we want to make sure that they look pretty random. So I'm going to do is control left click, bring it up. Control left click, bring it over. And we can see now we're getting some randomness already. So control, so jaws to be some blade of randomness. So then control two more control. So yeah, and a thing that's looking good. Now what we can do is we can split these off, select every other one. Actually, I'll show you a way of doing that actually. You can select all these. You can come to select them and we can go to Check Select. And then I'll just select every other one for you. Now you can press Y and just separate them off. If you press the key now you'll see they're all separated. Right click, drop them back in place. And now what you can do is you can press A and then we can extrude them up. So let's extrude them up like so. Now, the next thing we need to do before doing anything else, we just want to come in to, let's say, just this one. And then all I want to do is just lift them up and randomize them a little bit. We want them relatively straight, but we want them to be picked up a little bit. So I'm just going to come in and pick some of them up, pull some of them down like this one here. And just make them a little bit uneven. Because at the moment there was too. Even now, it's very, very slight that you're going to do this. You don't want to go too crazy with it. Well, let's grab both of these, actually like so. And then let's grab the last one. Pull it up like so. And there we go. That's going to look really nice. Now let's come in and what we'll do is now we'll just quickly level these off. So I'm going to come to the modifiers tab control or transforms, right click, set origin geometry, add modifier, generate bevel. Turn the bevel all the way down. Turn it up one, and that's going to look absolutely fine a thing. And then finally we're going to come across to our material, Click the down arrow, and we're looking for dark stone. And then all I need to do is press a smart UV project. Click Okay. And there we go. That was really fast. Let's have a quick look at what we're actually looking like now. And there we go, you can see that's looking absolutely fantastic. The one thing, yeah, actually the bottom of there actually came out pretty nicely as well. So I'm happy with that. Everything on there is looking really nice. So what we'll do now on the next lesson is we'll get the wood in here. We'll get the wood in this part here. And then what we can do is we can actually use this and actually bend it a little bit. Which you're going to see which is a lot of fun actually, on the next lesson. All right everyone. So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 50. Creating Curved Symmetry Wood Frameworks in Blender: Welcome back everyone to the Blender. Create Core, stylized three D models. Now let's put this back on Material, and let's think about actually creating this part going in here. So I'm going to do is I'm going to come to my wall here, Press ship desks to center shift and let's bring in a cylinder. Let's keep the, let's put it on 20. I think that should be enough. Let's then spin it round so x 90. And then what I'm going to do is I want to put my cylinder into here. So something like that. I want to probably stretch it out or bring it out a little bit. I'm going to put it round here, something like this. And then what I'm going to do is pretty much the same technique as what we've been using before, which is to get rid of the front and back. And also to get rid of it Going all the way around here, all the way up to probably this point here. Press Delete and Faces. And you should end up with just this little part here. Now let's press L. Let's press and Y and squish it in a little bit. Let's get it actually into place because this is going to be another piece of wood. So y's bring it in, pull it out. And you can see it's way, way too thick at the moment. And Y, we want it in to be something like that. And then what I'm going to do now, I'm going to basically solidify this control all transforms right click, set origin to geometry. And then what I'm going to do now is I'm going to actually, I'll set the geometry to the three D cursor because I'm actually going to mirror that as well. Add, modify it. And then we're going to go to generate and we're going to have a solidify. I'm going to pull it back this time, so the other way like so. And we can see here that we do have a problem in that it's going to cross over there. So what I'm going to do is I'm going to put my mirror on now because then I'll be able to see exactly where the issue is going to lie. So you can see here that now I can actually come in, grab all of this. So A to grab it all. And I can actually move it over now and actually bend it now. So r and y, Let's bend it a little bit to where we actually want it. We might actually want to have a look. I want to actually have more bend probably to it. So what I'm going to do is I'm just going to grab this point and I'm going to put on x rays so I can see this point here. And then what I'm going to do is I'm just going to bend them a little bit more, so I'm not going to worry too much about those parts of the moment. And then what I'm going to do is I'm going to come in with these two points. So these two here. I'm going to bend them. So there, near enough touching. And then finally I'm going to bend this one like so, and just really get them exactly how I want them. Now we can see that these two parts are actually touching. I don't really want that, so I'm just going to grab the whole thing and pull it out very slightly like so. Now, the last thing is I'm probably going to want this to be support. Yeah. Do I want it supporting this brick wall? Let's have a look what it would look like if I do have it supporting the brick wall. So if it was coming, you know, something like that. Let's lift this up a little bit so if it was coming just under my brick wall. So I'm going to press control. I'm bringing another edge loop, left click, right click. And then actually I've got a little bit more control over there. And then what I think I'll do is I think now I'll bring these out. So I'm just going to grab all three of these. This one in there, and then I'm just going to bring them out. And now we can see we're actually going somewhere now. This is looking much, much nicer. And now I can just grab both of these like so press one, let's pull them out, and there we go. I think I'm happy with how that looks now. Now, the one problem we do have, as you can see, is that this part is sticking out. Can I actually fix that without actually altering it too much? So I'm just going to bring it back. Bring it in, Bring it back. And bring it in. And there we go. All right. Looks easy, right? But it's actually a little bit of work to actually get that in place. Okay, so now let's add one more modifier. So add modifier, generate bevel. Let's turn the bevel down. The bevel, because we brought in last, will be all the way down here. Turn it down zero, turn it up to one. And this actually what we're doing here is called modifier stacking. And you can see now this is how it actually works, because we're stacking modifiers on top of each other. We can also close these up and actually add in more modifiers, which makes it very, very easy to actually work with. So now what we'll do is we'll actually, I think we're ready to near enough apply that. One thing I'll do before that though is I will apply, let's have a look. I'll apply my solidify. So let's apply that. And what that means is now I can press shift H and go into there. And what I can do is let's turn the x ray off. I can actually come in now and actually mark some seams on here. So I'm just going to grab both of these control because it's on face select, Mark seam, and then come around the back. And then Holt shift click, right click, marked Team, and now I can actually grab it all. Smart UV Project. Click okay. I'm actually probably not actually going to use Smart UV project. What I'm going to use is Unwrap. Let's try what that looks like, because I think it'll give us a better Unwrap. Now let's come in, press Oltage, and let's join this to this material. So control L link materials and there we go. I think that's actually looking pretty nice. Okay, so now let's come back to our wood and let's apply all these. I'm not going to just go in and plying both of them. I'll just come up to object convert mesh, ply those. And then what I'm going to do now is I'll grab this one here, making sure I'm an edge select. G, move it over just to make sure it looks a little bit different. And there we go. That's that part of the roof done. Now if we come over and we put on our shading, we can see that nearly the front is nearly done. And as we move around the side, we can see all that unevenness on there. All that work we actually did, and now we just need to finish this part off. And then we can actually bend this roof a little bit. So I think now on the other side, we'll actually Jaws put one chunky piece of wood up here. So back to material, grab this wall kirst selected. And then we'll do, I'll actually come to my asset manager this time, Jaws going to go round zoom in. And then what I'm going to do is we're going to come down to wooden blocks. And I'm probably looking at one that's either maybe 2.5 meters, so this one here. Let's pull that one in. Let's put it into place like, so let's put it thinking, it's going to have to go all the way up there. Let's put this on material mode. You can see it's going to have to go up all the way up there to cover that. So I'm going to pull it up because we haven't got a roof a part on here which is the chimney. So I need some way to actually cover that. If I pull this out a little bit, you can see now that we've got in the center, let's press and X and pull this out just so it is a very, very chunky piece of wood like you see there. I think that's actually going to do the job for it. So if I double tap the yeah, that's going to look pretty good. However, the one problem we do have is at the bottom here. One, it's not pulled out enough, and two, we don't want this bit hanging over it. So what we want to do instead, let's put proportional editing on and let's pull it down, and then let's pull it back like so, while increasing this. So we've got a nice smooth transition there. And that looks really cool. Now what we need to do now is we just need to make sure that we can join it all together. What we want to join together on this is we want to join it all the way from the bottom. So all of these points here going all the way along to this part here, to this part, to this part, to the actual wall, to wall of these parts on here and to the actual chimney. Now, once you've grabbed it all, press G, and then you'll see whether you've grabbed it all, and you can see that we do have a problem. And before we actually move on, we should actually address that problem. So what I'm going to do is I'm just going to go into my roof, I'm going to press a. And now what I want to do is I want to make sure that all these are joined together. We've not groll those gaps. So I'm going to do is I'm going to go to Mesh cleanup and then merge by distance and we can see no vertices actually fixed at the moment. Turn this up on 1,732 vertices fixed. That means now that all those tiles have been joined on the inside. If I come in and grab one tile, for instance, I press, let's have a look. Let's see if I can actually grab them all. So I'm going to come in edge select. Just oh, that's the other thing. Yeah, let's go. Let me just have a look at that. Yeah, there we go. That's the problem. I need to go back Actually, before doing that, there we go. All right. So before doing that, the reason why they're like this is because we didn't join these parts here. So we can see now if I press, everything comes together. And they're not joined up and they're still mirrored from the other side. We don't actually want that, so what I want to do is I want to come to this one first. So this is the inner part. So you can see here, these inner parts, not the front and back. And I want to apply this mirror. So I want to apply this mirror like so seven to go over the top. And then what I want to do is I want to press tab, double tap the A. And now I'm going to do is I'm going to press B, grab all of these, and then I'm going to come into my UV editing. And what I'm going to do is I'm going to just move these, move them along now. So we can see now by open this, the fronts of these are going to look different from each other. So you can see now they're looking a little bit different from each other. Double tap the A. That is what we wanted. Now the next problem we've got is, of course, is that these fronts and backs are not joined. So in other words, I need to join all of these up. So I need to grab press al Tage. I need to grab these. Now for press G, that's the whole roof. And now I'm going to press control J. And join them all up together. Let's reset transformations. Now the one problem you're going to have is if I come in now and try and grab these, you can see that they're not actually joined together. Let's join them all together now. So now we've done that, We can actually come in to mesh, clean up, merge by distance, and 43,852 Veras joined together. Now if I come in and grab this one, we can see that it's joined basically everything together, which is not a problem. I'm hoping, yeah, we might have some mess there. Let's actually have a look to see if I can actually fix that before joining more. I actually do have some mess there and I don't want to actually do that. I'm thinking these here look as you can see, these are pretty much a mess. And I don't actually want them to be a ladder. We don't want all these bits going to the front and back. So I'm just going to have another look and see, yeah, we can grab the front and back of them. What I'm going to do is instead of that, I'm going to actually go back before joining them all up together. So now you can see we have got two parts now and I'm going to actually re unwrap those on the next lesson. All right everyone. So I hope you enjoyed that. Sorry about that, I made a little bit of a snake there. But we'll fix that on the next lesson. Thanks a lot. Bye bye. 51. Detailing Roof Sides with Lattice Deform in Blender: Welcome back everyone, to the Blend, the critic stylized, read the model course and this is where we left off. All right, let's hide this now, and this is what we should be left with. Let's come in then and see if I can actually unwrap these much better than what I had been before. So we can see the problem is that we never got unwrapped properly. So let's come in. Pressure Smart UV project, click okay and now let's have a look. See if we have all of those. Yeah, we still have a lot of problems as you can see. Now, sometimes when this happens, there are easier ways to actually fix this if I go over the top. So if I go over the top like so I'm going to do is I'm going to press, let's have a look and project from view. And let's press make them bigger. And now let's have a look at what we've got. Now we can see that these now go together. Which is exactly what I wanted, but still might not be right. So I'm going to just put them like that because we have a lot of issues. For instance, on the front, we've lost, if I put this onto a look, yeah, we can see we've got a lot of issues along here. I'm thinking the best way to do this probably to put an angle on each of these based on normals. Let's see if I can actually do that. So what I'm going to do is I'm going to come in, I'm just going to grab one here and I'm going to see if I can then come to select Select similar by sharpness. Let's select by sharpness. Bring this over. Yes, what I'll do is I'll just select sharp edges. I'll do it that way. Select sharp edges. There we go. Right click Mark Scene. Let's do it that way. Okay, you unwrap, because we can unwrap them. Now, let's have a look. And there we go. Now that's fixed all of those issues that we had before. So now we can see the tiles look like this. Let's press Alt tag. Bring back everything. Double tap the, and there we go. Now they should be fixed. I'm just wondering if I should also select the sharp edges on the top and on the bottom to line them up. Actually, let's put it onto this. I think actually they're going to look. Okay. I'm just looking at these ones as well. Yeah, I think they're going to look. I'm looking at the sides. They look pretty nice. I think actually these are going to look okay. I don't think I need to do anything more with them. I think what I need to do now is join them up. So at the moment, we've still got two separate parts. So I'm going to grab both of these. Let's just grab these sides, these tops. Press control J, join them all together. Control A all transforms, right clicks the origin of geometry. And now finally, let's grab everything. So A to grab everything. And let's go to Mesh. Clean up, and let's merge by distance. And there we go, 44,000 vertices joined, which means now most of these, so if I grab these two can actually come away. We don't really care about them joining, you know, slightly up with things. I'm just looking if so you can see here that we do have some bending in there. I'm just wondering if that's actually what caused it. So let's have a look. Yeah. And that is what's caused it. So you know what, I'm not going to join them together. I'm going to join them together in the way that I've got it. But what I'm not going to do is I'm not going to join them together. As in when I select each of these, I don't want them joined to the next one because it's going to create a little bit of a mess for me because some of these are really, really close together. So let's leave them as is. And I think it's going to be much better that way. Okay, so a little bit of rambling there, a little bit of a mess. Hopefully you got through that. Hopefully you understand what I said. Hopefully understood why I wrap them in a certain way so we didn't get all those little bits on each one that we had. And hopefully you can see that I didn't join them up in the end because it would create too much mess. Because some of the vertices are really, really close together in the sides a bit, as well as, you know, the tops and the sides this way. So that's why I didn't do that. All right, now we've got that. We've done that. Let's join everything together. So we're going to come in and we're going to grab all of these up to the bottom part. So you should be able to come and go all the way around. We haven't grow a part on here. Maybe we should put that in first. I'm thinking before we actually do this, I think that will makes the most sense. And you're going to see why that is in a minute. So let's come in to Asset Manager. Let's press Dart and zoom in. We'll do this one first. So we'll put in a piece of wood here. Probably going to steal this piece of wood, actually. So this one here, shift. Let's bring it over. And what we'll do is we'll put that right under. Here. So I'm going to pull it out into something like that, make sure it's not actually going through the roof. The other thing is you don't want to actually change where it is. So up and down, you don't want to do that. What I'm going to do then is just slot that into place and then I'm going to press S and Y pull it out, put it into place, double tap the and there we go. Okay, that's that side and that side done. Now let's think about this part. So I want to lit so 1 meter and let's spin it round, so Y or X 97 to go over the top. And then I'm just going to put it in place where I want it. Then I'm going to make it smaller and Y, let's make it smaller. I might need to re unwrap this. I think it will S and Y because it will be to squished up and Y. Let's drop it into place. It'll tap the A. And there we go. That's that one in place. Now let's grab it. So let's press a Smart UV Project. Click Okay. Let's also reset the transformations. And let's press U again. Smart UV project. Click okay. And now we can see that's looking much, much better. Okay, so now finally we can actually grab all of these parts. So what I'm going to do is I'm going to grab all of these bottom parts, not the wall, the roof, And then I'm going to grab all of these, including the wall, including these two parts. And then we're going to go around to the other side, and we're going to grab this one here, around to the back. Grabbing this part, this part and the ceiling. Finally the chimney. Let's press G, and now we can see that we've got everything except this part here. So I'm going to grab this part as well. And now I'm going to do is I'm going to go up to object, come down to convert mesh. And now finally I'm ready to join it altogether with control J, join it altogether. Control all transforms, right, so origin to geometry. And now, and there you go. There is your roof. Now, why did we do all of that? Why did we join all of that up? The reason we join all of that up is because now I actually want to bring in a lattice. And the lattice is going to be used to actually bend this a little bit. So what I'm going to do is I'm going to press shift S cast to selected. I'm going to press three to go inside shift A. I'm going to come down, bring in a lattice. And we can see my lattice is in there. Someway I'm going to press S, bring it out to make it bigger three again. And then I'm going to make it, pull it up and then and Y out, making sure that everything fits in from our roof. So we can see here, this is where it comes down to, just make sure everything is fitting in. It doesn't matter if it's a little bit bigger than everything, that's okay. Just make sure everything fits in. We can see the entire part of this now fits in. If we go to the front, we can see that everything fits in. Now finally, the last thing we do now is we want to give this a way to actually pull things up. So you have to think of this as like a grid and you have to be able to pull the parts that you want to pull up or drop them in. In other words, if we come over to this side and we bring up the resolution, if you see we increase that. We're increasing now, these vertices going along here. Now we don't actually want to increase those. You don't want to put it down to one either because it actually makes it flat. So it actually might be easier, but I wouldn't recommend it. What you want to do now is increase this one. And we can see now that as I increase it, I'm going to have more points where I can actually bend this roof in. So if I press three, this is the view that I actually want. Let's put it up to ten. Let's put the up then, like, so now let's work on actually bending this. I think what we'll do is, first of all, we'll join this to it. So we'll come to our roof, we'll come to our modifiers tab, add modifier. And we want to find the lattice which is going to be under deform, I think Deform lattice. And then we want to pick what our object is, that is going to be our lattices, which is this one here. And then what you want to do, you've got your strength on here. We might want to alter this, but we'll see as we work on it. But we'll do that on the next lesson. All right everyone. So hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 52. Starting Staircase Modeling in Blender for Taverns: Welcome back everyone to the blend, the critical, stylized three D models, and now we're at the exciting part. So how exactly do we use this lies? Well we've got the lattice applied to the roof, now we've got all of the little edge loops that we want in the lattice. So now what we can do is we can actually click on the lies. I recommend pressing three on the numpad. You've actually got a good view of it. Press Tab, and then you'll actually be able to go into the Lite. And now what you can do is you can actually come in and just select whichever ones you want like. So you can also come in and press control and select and deselect the ones that you want. Now what you'll notice is as I come in, I'm going to hold the shift bond down, select all of these like. So you'll see that it goes actually all the way through. And that is exactly what I want. And we want that because now if I press shift space bar, bringing the move tool, I can actually start to bring this down. As you can see now you can see that I don't actually want to bring this too much down and I don't want to bring all of this down to start with. I want to work a little bit of a time working smarter. So what I'm going to do is I'm going to select all of these, just these ones. And then what I'm going to do now is I'm going to bring this down a little bit, so just a tiny baer of time. And then I'm going to come in, I'm going to select all these. I'm going to bring this up a little bit, just a tiny bit like so. Then I'm going to select the outside of them. I'm going to bring this up just a little bit like so. And then I'm going to come in, grab all of these, and bring them up just a little bit like so. And finally then I can now come down and I can grab all of these and I can bring them down holding the shift burn as well like. So now we actually have behind the lattice out of the way, a really nice bended roof. Now if we come in and we put on our render, we can see now it's fairly obvious that that roof is bent. And it really, really adds a little bit to the appeal of that roof. Now the thing is, why did this is because you might want to go in and really, really bend this roof. And if you want to do that, you need to make sure that you've got all of these bottom parts selected as well so that everything moves together. I don't want to go too crazy with this, but you can see the power of lattices. All right, so let's come in now. Come to our roof. Apply our lattice with control. A press voltage to bring your lights back. And just delete it out of the way, you're not going to need it anymore. Just make sure you apply it first. The other thing is that I should have said is on the lattice, you had the strength there. If you're not quite happy with, you know how much you're moving it, just turn that down and then you'll be able to use it a little bit more effectively. Okay, so now we've got this. Now I think at this point that it might be time to start work on the bottom part. So on this part of our other side, and basically this part, now we've near enough got everything, The only thing we're missing is a door. But pretty much everything else we've got in here, we can actually start working on this. Okay, so let's actually come in, and actually I'm just hiding them away on the other screen so I can actually see what I'm going to be doing. So I'm just going to hide a few of these blocks away, and now I can actually start. So let's actually think about, first of all, putting in some more of these blocks. So what I'm going to do, I think I'm going to have one block maybe here, and then the second block right at the corner. So let's do that first. So again, wooden support. Let's bring in the ones that say angled, so I'm going to bring in this one. So over look, making sure that's different from that one. And then I'll bring in this one. Let's put it up there, let's pull it forward. Just making sure that they're all different, which they are. Okay. Now let's put this in place. I'm going to put this into there. I'm going to put this into here. And then remember, can now bring in my wooden planks and things like that and I can bring them over here. I'm just wondering how big this support here is going to be. Realistically, a good support for this part. I think I can actually build from this to create some kind of archway along here. I'm going to hide this part other way as well. And then I've got this, actually I've got to work with. What I'm going to do is I think first of all, we'll bring in one plank of wood. Let's go to our wooden blocks. Let's come to two meter. On these two meter ones, let's bring this in, spin it around, so zed 90. Let's pull it up into place, then let's get this into place around the same height as this one. I also want to make sure that this block then is actually underneath underneath, so it looks like Ford. So then what I'll do is Bring in another one. So I'll grab this shift D, and then what I'll do is I'll spin that one round, Y, 180. Let's spin it around. Let's also spin it around R 180. Spin it around that way as well. And then just drop it down, because I want it to come along here so that this is a bit bare supported. Because this is going to be some planks of wood which are like these ones here. I might actually be able to take these and use these and put these in place. Let's have a look. So shift, let's bring it over. And then said -90 Let's go over the top then and see if I can actually use those to put those in place there. I think we can. It's a little bit out. I need a, a little bit more. It's actually a shame because I'm looking. It needs to really come up to here. I could just make them a little bit bigger. Let's have a look out. If I make them a little bit bigger, are they going to fit in nicely? You know what, I actually think they are. I'm going to pull these down, put them into place, Delete this out of the way. I'm not going to need that anymore and pull them down into place like so actually actually I think that's going to be I think that's going to be enough. All right. So yeah, let's let's keep it like that. Okay. So the next thing that I want to do is this is a little bit more complex, this wall, because we have a lot of parts to actually deal with here. So this wall here will go across. And then we're going to have a door. We didn't put a door in, but what I'm going to do is I'm just going to create a little bit more of a gray box to put in our steps. Because we didn't actually put in, if I press stage, we didn't actually put in our steps. What we've put in here is a roof. So what I'm going to do is I'm just going to hide that other way. I'm going to come in, grab this part here, press shift curse to selected shift curse. Selected shift A, shift A, bring in a cube. So let's bring in a cube. Let's press the S be and let's put the cube where I want it. So it pretty much wants to be in the center of these two. Here, I think. Yeah, in the center of there. So I'm going to put it down to here. I'm going to press control three to go to my back view. And I can see here, I do have a problem in that. All of these again in the way. So I'm just going to move these over here. And now I'm to press control three. Now I can actually see what I'm doing. This is where the middle is, as you can see. So if I put this a bit more over this way, I think tiny bit, there we go. All right, let's bring our little guy over because we are going to need him for this. And what I want to do now is I want to create some steps. Now basically, when you create steps, the easiest way to imagine it is if you put your guy down to the floor, is that the shin is where the next step is going to be, so you don't want the steps too steep. In other words, if I've got my step here, what I'm going to do is I'm going to pull it down now. So I'm going to pull this top face down to be round about there. Then what I'm going to do is now I need to look at how steep or how rigid these steps are going to be. Our said 90, let's put him in our step, on the top step. And now we know that roughly we should be able to get a foot length on the step. So we can see here, roughly the next step is going to be here. We basically want three steps. So what I'm going to do is I'm going to pull this out all the way over to here. Because how far, how close to the edge of here do want my steps to call? I think actually I don't want them actually moving too much. I'm going to pull it just a little bit over here, then I'm going to grab my guy, pull him on top. And then what I'm going to do now is I just want to make sure they stood on it. So I'm going to make these steps a little bit wider then so, and Y make them a little bit wider like so. And I think those actually are going to look like some nice steps. And then what I'm going to do is I'm going to come, in fact we'll bring this back first. So what I'll do is I'll put on x ray press tab and then I'll just pull this back to the point where where the wall is. And then what I'm going to do now is I'm going to divide this up. Two, left click, right click. Hopefully our guy, if we grab our guy, should still stay on there. If I click this on, let's go into wire frame. Yeah, you can still stay on there as you can see. All right, let's go into object mode. Let's turn off x ray. Let's come in now. And what we'll do now is we'll pull our steps off a little bit. So what we're trying to do is we don't really need to have them. Exactly. And that's the good thing about doing these steps, is because it means that I don't need to measure this and then bring this in, because we can actually measure the sides of this. If you come in over here, let me just find where the measurement tool is. I think it is Slocrid here it is. Edge length. When you turn that on, you can see now no 0.829 So I then can grab both of these. Press the one and bring it up 0.829 and we can have it exactly the same as you can see. I'm bringing that down bout round about there as you can see is about the right step length because that's not 0.83 which is a millimeter or something. It makes no difference. Now, we can come into the next one and we can press, pull it up. And then 0.831 should be absolutely fine. So now you can see we've got some steps and they're all pretty even done. Now the other thing about this part is as well is I actually want to make a bullion. In other words, I want the actual door in this to go back a little bit further than the outside of the wall. Just to add a little bit to it, we could have put like an alleyway going through here or something, you know. That also would have been around the back or something. So it's entirely up to you how you're going to do, you know, how you're going to sour your own building when you actually come to your own projects. But I think actually putting this bit a little bit further back will look really, really cool. All right, so now we've done that. What we're gonna do then on the next lesson is I'm going to save up my work. And then the next one what we'll do is we'll start just building this out a little bit more because then it'll be easier to actually visualize where the roof and all of that stuff is going to go. All right everyone. So hope you enjoyed that. See on the next one. Thanks a lot. Bye bye. 53. Setting Up Back Staircase Entrances in Blender: Welcome back everyone to the Blend, the Cre Core, stylized three D model, and this is where we left the art. Okay, so what I want to do now is I want to think about where this actual door is going to go. So the first thing we're going to do is press control. All transforms right. Clicks, origin geometry on my steps. Shift S, cursor selected. And then what we're going to do is we're gonna press shift A, bring in a cube. And then we're going to make the cube smaller. I'm going to put it up here at the top of this. Now this is the point where we want to check, see if this door is going to be big enough. So I'm going to pull it down to the floor, to the steps. And then what we're going to do now is bring it up. I'm also going to turn off my edge length. I don't need that on anymore. And then what we're going to do now is I'm going to pull it up to where I think it needs to go. I'm thinking that it's probably going to need to go just below this part here if I put it up to there. Something like that. And then of course he's never going to slither through this doorway. So we need to put him up to this part of the, the step, so now we can have a really good visual on how tall this door is. So once we've got the door edge in here, you can see that his head's just gonna fit in here. If I press S and Y then and pull it out, we can see then he's easily, easily going to fit in this door. So we're going to put it probably something, something around there like so now, is that going back further up far enough? I think so. But the thing is we haven't got the walls on yet. And all we're going to be bolling into is these part here which we don't really want to do. We might as well, first of all, finish the actual, this part off here. So let's go into material mode. And then what I'm going to do is I'm going to first of all come round, steal this wall here. I'm going to press R -90 and spin it around. And then I'm going to press control three. And I'm going to put this into place like so pull it back and we're going to unwrap these all at the same time. We're also going to make this a little bit smaller and Y, let's pull it in a little bit like so. And then we need one at the top. Just going under this here, I'm thinking. I'm just wondering whether Yeah, that'll be fine. So I'll press shift, bring it up. Said pull it in to place and then I just want to pull it across. You can see it's not quite thin in and Y pull it out. And then we're going to need a little, tiny, tiny chunk here. And we're also going to need a bigger part. I'm thinking it's going to go over there. It's going to come up to here. Yeah, I'm thinking I'll put a little piece on here. So let's go for a really, really small block. Let's put that there, x 90. Let's spin it around. And then let's press and Z. And bring it down. I'm going to sit it on top of there. And then coming down to the top of this one, pull it down to the top of this one, as you can see, said a little bit more. All right? And then what I'm going to do is I'm going to bring this in and y, bring it in and Y, double tap A. Just don't want it going over there a little bit too much there. Hold in shift, born again. Double tap the A. And there we go. That's fitting in very, very nicely. Let's wrap this while we've got it. First of all, control all transforms, right? Click Origin Geometry tab now smart UV project. Click Okay. And there we go. That piece of wood is looking very nice, albeit it's probably a little bit too big on the UV map. So let's just quickly change that. So I'm going to press S bring it in, I don't even need to see it to do that. I'm then I'm going to go back to modeling. And now I can see if I double tap the that's looking pretty nice already. And now I can do is I can carry on going a long here. So I'm basically gonna grab this piece. In fact, I won't grab that piece of wood. What I'll do is I'll go to my asset manager 'cause it will make it easier to bring parts in. And then what I'll do is I'll bring in this three meter one. And I'm going to have to actually stretch this out, so I'm going to bring it to there. And then I'm going to press and y, I'm going to pull it just to the top of here. Like then I'm, I'm going to pull this all the way over. So I'm just going to grab this edge portion. Let let's pull it out, I think to there. And then we'll have another piece of wood coming in. This way I'll just fit that piece of wood in now. So I'm going to bring in a two, let's have a look. Maybe 2.5. Let's see if I can actually get that piece of wood in. So I'm going to pull it into there. Yeah, I'm going to bring a 2.5 meter one in just to make sure it's fitting a little bit bare. Yeah, that's going to fit much bare. I'm going to bring that in, drop it down, bring it to me, edge of my wall. Then I'm just going to have it any now. Just a little bit. And what that means is now I can actually put this a bit bare into place of where it's going to go. Let's have a look, where's the corner? There's the corner of this. Let's pull it out a little bit. Let's pull this down a little bit. And there we go. It's all fit into place now. Okay, that's cool. Except this bit. Now the thing is about this piece. We don't want to going across there. So what I want to do is I want to come in. Old shift, click, shift click, shift click, delete faces. And then I just want to put face on here now. So I'm going to press old shift click again. Come into this one Oli click. And then what I want to do now is I want to move this this way. And then I want to come in with this one. You can see I can't press shift click, so I'm going to be on Selkace. Just pull it out. Zoom in the mouse a little bit, so I'm not pulling so much of it out. Just up to the edge like so. All right, so that's that bit. Now we want to also have a bottom on here. So what I'm going to do is I'm going to bring in a three meter. One again three meter. Let's spin it round. So I'll add 90. And let's bring this into place on the bottom up here because it can go through the steps. It doesn't matter about that, but we do want it going up to the edge, in the edge up here and Y pull it over and let's actually fit it into place now. Just making sure it's in there. And there we go. That's that bit done. And now finally we want two pieces of wood, one going up this side here and then one going up. Yeah, Just I think what we need is because we actually need a roof on here and we're supporting it, we need one block award going up here and one block award going up there, and then that will actually support the roof. So let's see if you can get away with 2.5 meters. I think we probably can. So R Y 90. Let's press control three again. And let's bring it up and put this in place. So what we want to do, we want this sticking out further than this one. We're sticking out slightly further than this one, but going into this part here as you can see. So you can see now that I want it dropping down. Dropping down, Okay, so now let's grab this and just move it over to this part here. And then what we'll do is we'll press Shift and grab it. Move it over to here, so next to this one. And then I'm going to do spin this round, so ours 90 like so. And finally then I'm going to bring one more in right at the side of here. And this will be supporting the actual lamp that we've grown there. So ours, Ed 90 again. And now all three of those pieces of wood look entirely different. Okay, so now we can do is we can start bringing in our actual wool. So let's bring this over. In fact, I'm going to actually delete these two out of the way because I don't actually want them in there. So I'm going to press delete, Delete them out the way like so. And then I'm going to bring my wall over. Now it's important where I put this piece of wall because I actually want to bullion this part so you can see it's easier if I actually bring this wall and use it over the whole of this part. Not those little tiny bits in here. So what do I mean by that? I'm going to press S and Y and pull it out like so. And then I want to go all the way over to here as well. So S and Y, pull it all the way over. And then I want to press Tab, make sure I've got x ray on, come in, grab the tops of them, and then I'm going to pull it up without proportion editing on into this part here. Now I'm going to have another part of the wall going over here. And I'm also looking at what I'm actually going to have on this side as well. So I'm actually going to fix on the next lesson, I'm going to fix all of these parts going around here and here. And then I can actually bull in in this part here and get this actual door done. All right everyone. So I hope you enjoyed that. I hope you're learning tons and tons. I'm sure you are. And I'll see on the next one. Thanks a lot. Bye bye. 54. Door Framework Modeling Techniques in Blender: Welcome back everyone to the Blender Critic Core stylized Three D model. And I messed up a little bit, actually moved this wall and I didn't put it back, let's grab this wall then shift D, let's just grab it, let's spin it around, so ours 90. And let's then put that one in place back in. You go to where I want you. I'm also going to need a bottom on here as well, so I might as well fix that while I'm here. I'm just going to put this back into place. I'm going to press and so, and there's my wall back in now. Will bring this part down. Shift D, Spin it round, R, Y, 90. Let's drop it back into place in here. I think I've gone too far in there, so I'm just going to put it that way. And now it's going to be hidden in there, which is absolutely fine. Now let's actually think about this top part. So what I'm going to do is I'm going to come grab this part here. I'm going to press Shift D, Bring it up. We can see that's two parts, we don't want to use that. We want to use this ball one shift, bring it up, then let's spin it around. Y, 9,180 and then S and y. And just pull it out all the way over there. And then let's just sitting on top of this one here. And again, you can see making it look a little bit different. You can see though that this now needs to come up a little bit, so we're going to pull it up into place. And then what I'm going to do is I'm going to use this one shift D. I'm going to bring that up, bring it up, spin it around, soars hundred 80. Put that one in place. I don't want it to be quite this far out on this part. I want it to be probably a little bit back. So I'm going to press and X just again, make it look a little bit different. I'm actually going to pull that up just so it's there. Yeah. And I think I'm happy with that now. We need one of these parts. So I'm going to press Shift, bring this over, drop this into this corner here, and then I'm going to spin it round so I 90, make sure that's actually fitting in place. Double tap the A, and that's what I'm looking at and I'm thinking I need to squish this up just a tiny bit more. So I'm going to grab this and Ed, Then this wall, of course, I need to pull back a little bit. So I'm going to grab it, pull it into place. Finally, we're nearly there on this part. All right. We might as well put this other piece of wall in as well. So I'm going to grab this smaller one, shift D, bring it over 90. We're going to press control one to go to the rear of the building. And then what I'm going to do is I'm going to press and X pull it out and put that into place right about there. All right, last bit then is we'll actually grab this one. We'll press shift D. We'll bring it up. We'll press and's ad and just drop it into place in there. And then what I'm going to do is I'll actually delete this off as well. So I'm going to delete that part of the grade box off. And now I can see that I need to move this forward, and then also will need to move this one forward as well. And there we go, all of those parts now, except this part, this gray box is a little bit pull that out. So Okay. So this is the main part of the door. Now, I think we should actually look at now the size of the door. I'm thinking it's probably, at the moment, a little bit too small. So what I'm going to do is I'm just going to grab both of these and Y and just pull them out a tiny bit and then move them just over into place. And I think that's going to be a little bit bare because once we've got the wooden parts on here, it's going to feel a little bit different. Okay. So now we've got a wall. We've got all of these walls actually. Now what I want to do is I want to actually unwrap this wall again. So I'm going to press control three. I'm going to press tab A, unwrap. And let's just unwrap the wall again. And now I can see that's looking to thumb bat. Let's unwrap both of these at the same time. So tab wrap and there we go. And let's also, while we're here, just unwrap these two as well. Wrap and there we go. Now the one thing I'm thinking is that's still not unwrap properly. I'm actually, instead of doing that, going to grab all of these press control all transforms, right? Clip set origin two geometry and then I'm just going to see if I press control and three tab, you unwrap. Yeah, now it's unwrap there. So there we go. Let's unwrap these two again at the same time. So unwrap and let's also unwrap. We shouldn't get that bluriness that we've got there, so unwrap like so. All right, I'm going to just save my work out and now we can actually make start finally on this actual door. So I'm going to grab my cube here. First things first, I want to make sure that it's going back far enough so I can see here. It's going back, you know, this far, can see through there. And I'm thinking if it goes back that far, can actually put a door on there. I think that will be absolutely fine. Okay. So now we've got that, let's actually come to this wall. So I'm going to come to this wall. I'm going to add in a modifier. I'm going to pick a boolean, which I think, let's see, there we are, generate boolean and the one thing we want to pick is this pre. That's going to be our boolean. I always tick on fast because I feel like it makes a much, much better cut in the wall. On this occasion though, it looked as though he was actually trying to join to the wall. So instead of doing that, what I'm going to do is I want to put on difference. Let's have a look. Union, intersect. Difference. Yes. Difference. Let's press control A. And now I want to just pull this out. So if I pull this out, what are we actually left with? And that is what we're left with. All right, the next thing then I want to actually delete this off this gray box. So delete that off, and now grow a nice solid place to actually bring this back. So how far is this going to come up? Let's have a look. So what I'm going to do is I'm going to come in, grab each of these, and then what I'm going to do is I'm going to press and X and pull them back to where actually I want them now. I think I want it probably around that far back. And then what I'm going to do now, straightaway, is I'm going to grab these and mark a seam. So I'm going to mark a seam on each of these. And then I'm going to right click marker scene. And then what I'm going to do is I'm going to come into face select old shift click just to select them all. Unwrap. And then I've got my walls all done now, ready for me for my door. Now with this part here, I want to actually use this to create my actual door. So I'm going to, first of all, create the parts coming down. So I'm going to use the wood going around here, round here, and then at the back as well. So the easiest way I'm going to do that is I'm going to, first of all press control three. I'm then going to come in with face select, Face select. And I want to press control two, left click, right click. And then I'm going to pull them out and Y pull them out. If they're not pulling out, make sure you're on medium point S and Y pull them out, get the right thickness. These are going to be the thickness of your actual parts at the site. So you can see this is how thick they're going to be. And then what you want to do then is one last one. Control three, control R, and bring it up to the thickness of the top like so. All right. I'm happy with that. Now from this, I can turn off my x ray. And what I can do is I can actually bring all of these out, just these three, shift D bring them out. And then this one here, shift D, bring it out. And then we can finally get rid of this L delete vertices. Get rid of it. And what I'm going to do now is I'm going to have one more. So I'm going to select this shifty. And you'll see why I'm doing that all in a minute. All right, so now we can bring our guy back and we can check out how big the door is going to be. So you can see, this is where the door is. You can see now his head is not going to bang on the top. These doors, though, they would have been a little bit smaller on the back for sure. And you can see no one walks around with their arms out like that, you know, unless you're a big body builder or something. So, you know, he's going to fit in this doorway pretty easily. It's going to be a thin door regardless. Okay. So let's now bring the wood. So I'm going to do is I'm going to grab all of these. So these here. I'm going to press it and split them off. Grab both of these then. And then I can press and pull them out, and hopefully I can make this a door jar. So now I've got all that. I want to split both of these off first. So I'm going to split this one. Selection, selection. And there we go. Now let's think about our actual door. So we'll come back to our door now. Or our door arch control all transforms, right click, so origin to geometry. And then we're going to add in a modifier. And we're going to add in a bevel, turn it all the way down. Turn it up one, and there we go. Now let's come into the front and just pull these out. So pull them out like so. And we can also, we don't need these little edge loops on here as well. So we can just press Delete Limited Dissolve, and delete those off. Okay, so that's my first door jar. Now what we want to do is we want to actually put this into place and then we want to actually create a door. And we want to create a hand up, the reason why we've done this. So this one is going to be our actual door and this one is going to be the back of it where it's going to be a little bit black. It's going to be black on the back of it. Just so we can't see through the back because we don't want anything like that. So with this one, basically we can make it a little bit, Y, make it a little bit wider. Make it a little bit bigger as well said. And then that's going to fit right on the back of there. Okay, so on the next lesson then, what we'll do is we'll get our materials in. We might randomize these a little bit just to make them a little bit different. And then we'll make a start on the door and I'll show you a really, really easy technique to create doors. Okay everyone, hope you enjoyed that. I'll see on the next one. Thanks a lot. Bye bye. 55. Crafting Metal Door Handles in Blender: We welcome back everyone to the Blender, create a core stylized three D models. And this is where we left off. All right, let's deal with this part first. So what I'm going to do is I'm going to, first of all, I'm going to come in and I'm going to give this edge loop control. Left click, right click, control left click, right click. Doesn't really mat when you give, doesn't matter if they're even or anything like that. Control click. All we're going to do and use them for is to make sure that we mesh, randomize, turn this down all the way. Maybe to hear something like that. And I think actually that's going to look perfect. And then what I'm going to do is I'm going to grab this, grab this press control, L link materials like. So now what I can do is I can come in, grab it all. And then what I'm going to do is I'm going to pressure you. Smart UV project. Click Okay, there we go. Easy as that. Now let's come in and what we'll do is we'll actually apply this bevel, so control A. Let's bring this now into place where it's going to go and it hopefully, hopefully should fit really nicely into place and you can see there, but just bring it out like so, that's actually fitting in pretty nice. Now what we're going to do is we're going to bring this back. So I'm going to pressure D again, drop it all the way back like so. And put it into place where my actual door is going to be. So somewhere like that. I think it's nice because we don't want it too far back where if you're taking a video, you know an image of this, you're not going to see the door. So you want it close enough but far enough back where you can actually see it. The other thing is you don't want these to be all the same. So I'm going to click on this one. Press a go over to Shading. Over to the shading panel. Let's press dot to zoom into it. Let's grab all of these X and just move them to the side. And then it will make them all look different from the other ones. Including the top ones. Very easy. Okay, so now let's think about the back bit. So we'll do the back bit first. So on your shading your asset manager, you should have, if we go to here, use the library, come down to materials. We have one that says, we actually haven't got one that says Black. So actually we'll make our own. So what we'll do is I'll come in, add a material new, and we'll do is I'll keep it on the principled, put it onto black, so all the way onto black. And you can see that we've still got a lot of shine on there. But if we turn down this roughness or up this roughness, turn up the metallic, you'll see it ends up near enough pitch black. So really black. That's what we want. Now I'm going to do is I'm going to drag this control lay or transforms set origin to geometry. I'm going to bring it all the way back into place, just behind, but go in here. Now if you can't go in your building, press five on your number pad. And that will either stop you going in your building so you only go around the outside or it will allow you to go into your building like so. So I'm just going to go into my building, pull these back down to there like so. And you should end up with something like this, which is exactly what want. Okay, now let's figure out our door. So we're going to come in now and fix our door. So what I'm going to do is just move my guy to the side. I'm going to come into my door. I'm going to press control 23 or four. Let's think about maybe three on this one or maybe four. Yes. Let's go for 41234 gaps Then what I'm going to do is we're going to right click mark scene. I'm going to press control, bring in a few edge loops. Let click, right click. And then what I'm going to do now is I'm just going to separate these out. So I'm going to come in L, L in face slick Y. Make sure they're separated like so. And then what I'm going to do is grab them all and I'm going to come in now mesh transform. And we're going to come down to randomize. Bring this down like we always do. Maybe, maybe not 0.1 I think will be better on this one. So then what I'm going to do is pull them out like so. And then I'm finally going to give it a bevel control or transforms right clicks, origin to geometry. And we're going to come in and add in a bevel, bring it all the way down. Turn it up one, there you go. As simple as that for an actual door. Now the actual doors, I'm actually going to use the plank wood just to make them look. So this wood here just to make them look a little bit different. The other thing is with this door, we don't need to worry really about the tops and bombs, so we can keep those exactly the same. What I normally tend to do though is I tend to come into the bott and what I'll do is I'll just lift it up. And on this side I might lift it up and rotate it. So sorry, actually you extruded that, didn't mean to, so I'll X rotate it around. And then it just adds a little bit of something onto the bottom. You basically try, you want to create as much variation in your models as possible because the eye really picks up on things like that, even though it might not be obvious. Okay, so now we've got that, let's actually bring in a material. So all I'm going to do is I'm going to grab my door, grab my planks, press control, L link materials. And then let's come in to just the door tab, and then let's press Smart UV Project. Click. Okay. And there we go. There's your door. Done? As easy as that. Now, the next thing that I want to do is I also want to create a handle on here. And I might as well create a handle on this one, because then I can use it for my other build, in other words, my other door. What's going to go on here? So we might as well actually create that now. So what I'm going to do is I'm just going to press Shift S, Case selected. Well, my guys here basically shift, let's bring in a curve and we're going to bring in a path. We're going to spin that round then, so Y 90. And we're going to make it much, much smaller. And then we're going to pull it out like so, so we can't really see a lot of this at the moment. What we need to do first is we need to make sure that we're going to use this curve and bring it and turn it into mesh. So what we're going to do is when you're bringing a curve, you will notice on the right hand side, you've actually now got curve option. So coming into your curve option, go to geometry and the one we want is the depth. We want to turn this depth forward because that is going to give us what we actually want. So you can see now we've actually got our curve and we can actually manipulate this while it's actually got the depth actually turned up. So if I bring my little guy over, I can see now that this probably going to be a bit big for a door, so I'm going to make it a little bit smaller so I'm going to put it near enough in his hand and n I can see probably be rather than that actual size. So that's actually quite nice. The other thing is we need to fill caps. So let's fill the caps else we'll end up with emptiness on there. And we don't really want that. And then what we need to do is we want to bend it out. So what I'm going to do is just put this proportional to n shift space part. Bring in a move tool and then just bring it out. So bring it in and just bend it like so. And there we go, got a bit of a door handle nearly done now. Now the other thing with the door handle, what you can do is because you've got curve, you can actually come into this part, press old test. And what you can do is you can actually make it thicker or thinner on these actual parts. In other words, if you come in and press S, you'll see it just shrinks it all. But if you press old test, you actually just shrink this part here. Which is sometimes really handy to make a really nice looking, you know, door handle or something like that. Okay. So now I've got that. I'm happy with how this looks. Now what I want to do is the first thing is I want to turn down the number of resolutions. Because at the moment, I don't think you can see, Actually, yeah, you can see how many resolutions this is at the moment. Way, way too much. We don't want that. So if we turn this down, look, you'll see it starts turning down. And now you can see it's got enough resolutions in to work with just on two without all of those. Okay, so let's turn this back onto object mode. You can see it's done nothing really to the shape of it or anything like that. I'm just looking around here making sure that should be still okay. I think it will be. I think I'm going to just turn it up one more like so. And then what I'm going to do now is same procedure, object convert mesh, and there we go. Now we've got our actual door handle, and if a press tab there is our door. Now the one problem you might have is that these on top, the way that fills in the caps, not ideal. In fact, it's not ideal at all because I actually wanted to use these to create some tops on here. So what I'm going to do is I'm going to come in, grab this edge, this edge, delete faces. And I'm also going to do the same thing on the other one. So this edge, this edge. So I'm going to control click, delete faces. And then we're going to come in and just fill these in. Old shift click. And then the same on this one. In fact, I'll also add a sharp while I'm here. Right click, mark shop. And then we'll do the same thing on this one. Shift click, right click, mark, sharp. All right, so now, right click, shade, auto, smooth. This is what we're left with. Now you can see we do have some issues in here in that, that these aren't rounded up en. You come over here though, to the little triangle come to normal. You will be able to turn that up and actually get rid of those just with a slide bit on there. All right, so now what I want to do is I want to bring up these parts. I'm going to come in, I'm going to make sure I'm on face select. Grab both of these. This one here, face select, this one and this one. And then what I'm going to do is I'm going to Insert, Insert, and then Enter. Pull it out but make sure bedings not on and Z pull it out. And then pull them over to the side. Like finally I'm just going to press old test. Yeah, I can't press old tests. So I'll do is I'll come up, put it into individual origins, and then I can actually make it smaller like so. Now finally what I want to do is I need something to hold this handle onto the door. So what I'm going to do is I'm going to come in and Olha click, and Olshap click. I've got two gaps there and three gaps here. And I actually think that's going to look bare rather than making it really uniform. So I'm going to do now is I'm going to press for extrude and enter without moving my mouse bond. And then I'm going to press Lns. And I should be able to pull those out like so. And that's looking pretty good. And now finally, if I come around this side, I should be able to grab both of these. So all of these maybe from here, actually. So I'll grab four of them and then what we'll do is we'll press and pull it along. Let's have a look. The x axis, like so. And there we go. There is near enough, your door handle. Now, I think it's easier if we don't have these so rounded because it's easier to pull them in and make sure that there's no gaps. So I'll just presses and X while I've got those and just flatten them out. So S and X again, flatten them out. There we go, really, really nice. Okay, on the next one, then what we'll do is we'll finish with the actual door handle way it goes onto, goes onto our door. We'll actually get this door in place and finally we'll just put some wooden parts around here and make sure this has got a ceiling on it, because at the moment it has no ceiling and we're just going to probably take the floor. Oh yeah, it has it actually did because we extraded it out. So as a ceiling on it just needs some wooden parts in the corners here just to finish it off. And they're easy enough to get in. Finally, then we can actually make a start, I think, on building this part out a little bit before putting this roof on. I want to save out my work and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 56. Final Touches to Wooden Doors in Blender Taverns: Welcome back everyone to the Blend. That creates Core stylized three D models. And this is where we left off. All right, we left it off with our handle. Let's actually finish our handle. So what I'm going to do now is I've got my main bulk off my handle. Let's press shift S cursor selected to put that in the middle shift. And let's bring in a cube. We'll bring in a cube, we'll make the cube or much smaller. I'm going to press control just to get the right dimension of the moment, so I can see probably needs to come out to round about there and's X then to bring it up. And then what I'm going to do is pull it back into place like so. And finally I'm just going to squish it in. So S and X pull it in, put it on the like. So now, of course we don't want it just looking like that. We want it to look a little bit, you know, kind of ornate you could call it, but not really ornate. Just a little bit of something to it. So what I'll do is I'll come in. First of all, I'll reset the transformation. So control or transforms the origins, geometry. And then one' going to do is I'm going to come in this corner, this corner, this corner, and this corner. And then one' going to do is I'm going to press control and bevel it. Now I don't know if I want it beveled like that. I can come in, turn up the amount of segments, so like this. But I can also change the shape as well. So I can actually bring it back and change the shape to be more like this. And I think actually this is probably going to look a little bit better. All right, so now what we can do is we can come in and now we've got the shape of it. We can press the eye button and bring it in and then pull it back, pull it back, and you can just see just how easy that was to actually create this handle. Okay. Like so Now, last of all, what I want to do is I want to right click, shade, auto, smooth. And we can see we do have a little bit of a problem in the fact that it's not really shading so smooth because we've not growing up edges in here now we can actually fix that. Of course, we can come in press control on these parts. Press control, so then you'll end up with a much more smoother part. Now you can also see that the way I did that is when I press control, it still inherited these parts from here, from this part here, which we don't really want. So if I want to smooth this out, I can actually smooth it out like so. And now you can see that's much, much more smoother. All right, so I think I'll do that on the bomb then just to smooth these parts out. So I'll shift click both of these. Control B, pull it out a little bit. And there we go. Nice smooth door. Finally, then let's come in, add a modifier and we'll bring in a bevel, and we'll turn that all the way down. Turn it up to one too high n 0.3 That's much bear. There we go, is a beautiful door handle. Let's press control, lay on the bevel. Let's grab the handle. Let's press control H, join it altogether. Let's press control, lay all transforms, right click, set origin, geometry. And now with the door handle. The material we want is going to be the main metal. So it's actually going to be the same material as our lamp over here. Let's put on material, let it load up, and then what I'll do is I'll just grab this link materials and then it's pretty much done because it's Mel, it's really easy to unwrap anyway. So let's grab this one here. Control L link materials like so, and we can see we've got the wrong material on, so we'll come to this. Minus off the wood, minus off the glass. Minus off the line metal. And that's what we're left with. Let's press tab now. A U and Smart UV Project. Click Okay. There we go. There is your door handle. Let's double tap the A. And I'm just wondering whether I want to pull the handle out a little bit, maybe. So let's come in, grab the handle, let's pull it out a little bit. Something like that. And then what I'll do is I'll press old shifting click, going around each of these. If you can't, just do the tops and the sides and then underneath underneath here. And then you should be able to pull it all out into place. Yeah, and I think that's looking a bit better. Okay. Now, let's put this actually into the door. Into the door, wherever it's going to be. I'm thinking somewhere like there. I'm thinking probably a little bit higher up there. And then what I'll do now is I'll join this to the door control J. Join it to the door. You might want to change this, you might want it. You can see there that actually messed up. Reason it messed up is I've still got the bevalon control. Now let's join it together. Control J and there we go. Now you might want to separate your door and your handle out from each other. In other words, you might want to have it in your asset manager as just the door and then just, you know, the handle completely up to you. Of course, I'm going to press control all transforms, right click, rig and geometry. And the last thing I want to do, actually before finishing this door, this plant you can see on here, it's way, way too big. So I'm just going to go back to shading. I'm going to have to read, grab a again anyway. So I'm going to grab all of these. Like so and I'm going to grab them and just make them a little bit smaller just so the woods, Not looking all the same, you can see that. Yeah. Let's move them over. We get one eye in there as you can see. And now it's looking a little bit different. Still not happy with these top parsley all look the same Y. Pull them up. Now these are looking the same as well. Let's have a look. Because these look near enough. Exactly the same. Why is it doing that? Let's grab this one. Press G. Let's grab this one. Press G over this side. There we go. Now they're looking different. All right, now what we can do is we can press control three. And what we can do is we can come up over this side and we can put simple door. So I can find it again with the dot one. And I can right click and I can put it, Markers Asset. So Markers Asset. And now what I want to do is I want to take this asset. So I'm going to come back to asset manager. I'm going to take this asset and put it over with my other parts over here. So I'm going to bring it over here, Oz 90, and let's just put it in place over there. You can tidy those things up as well when you want to. And then what we can do is we can come to user file, so a current file. And we're going to have one assigned and we need another one called Doors. So going to click plus doors like so assigned. And let's drop that into doors. All right. Let's click file and save the On' going to do is I'm going to zoom down to here, so do. And then on going to Do is going to bring in my door. Let's go to doors. Bring it in and there is our door and let's put it onto our steps control three, let's put it onto where we're going to go. We're going to go roughly on there. Then it's going to go back into this place, back into these all the way back to there to the, and there is our door. And then finally let's just have a lot way it looks like on the rendered view. There you go. Pretty nice door. Okay, so as I said, now what we want to do is we want to put block of wood here and the block of wood in the tops off here, I know we can't see them that much, but it's just going to make it look a little bit bare. And then what we'll do is we'll actually create these steps. And then finally, we can actually start creating this part out a little bit. So I'm going to actually save my work, so file save, and then I'm going to put it back onto shader. And I'm going to use these blocks of wood here. So shift D, let's bring them into place. Let's spin them round, so Y 90 in place. Drop them down. And then let's do the same thing for this side shift. You can see it's stuck out a little bit. We don't really want that. We're going to put it just into place, Spin it round, so s 880. And then what we'll do is grab them both, pull them into place so they're not stuck through there. And finally then I'm going to shift, bring them, put them into the top there. I'll spin this one round, 90. Spin this one round, then x 90, we'll tap the A and that is that done. Okay, so now we can actually think about creating our actual steps. And we should really think about something, a stepping part on top of here as well. So we'll create the top part first. So we'll do that part first. All I'm going to do to do that is I'm going to steal this top part of this step. I'm going to press shift D. And then what I'm going to do is I'm going to make it a little bit. Yeah, I think I'll keep it that size. Actually, I'm going to do it's going to press pull it up. And obviously he wants to be a little bit smaller than this, so he wants dropping down a little bit. You don't want that big step there. You want it just above something like that. Then I'm going to press P selection. And there we go. That's that part there. Let's hide the steps out the way then. And then I can just come in and grab this one and this one. And I can press control and bevel, I don't really want to bevel it with two, so I'm just going to turn it down to just one like so. Then all I'm going to do is press control layer. You'll transform. Right click it's origin geometry. And then let's add in the material. I think the material should be the same as this one. So I'm just going to grab this control La link materials back to this then. Tab, Smart V Project. Click Okay, there we go. This's the actual part where they're going to walk up to ol tag. Then let's bring back the steps. I'm going to grab the steps. I'm going to press Essence Ad and make them a little bit thinner. And drop them down to the floor where they're going to go. And now from here I can actually start work on making these steps over the top of here, which is going to be pretty easy actually. We're just going to take these three parts and create from them some stone steps out of them. All right everyone, So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 57. Adding Detailed Orientations to Staircases in Blender: Welcome back everyone to the Blender Critic Core stylized three D models and here we are. All right, let's get on them with our steps. So what I'm going to do is I'm going to grab this one. This one and this one. And what I'm going to do is I'm going to press shift D and then selection. Separate them out, come back to my steps, then we're going to hide them out of the way. Now with these, what I want to do is I want to come in, come to the first one, press control law. And all I'm going to do is just bring in an edge loop. Just there control law. Bring in an edge loop here. Control law and maybe one there, Control law. Let's do the same thing then. I want them different to how these ones are. Control like so. And then control like so and then finally the bone. So control then control. So something like that, I think absolutely fine. Now let's split these off. What I'm going to do is just go underneath there. So grab every other one. So I'm grabbing these two. These two, these two and these two Y, to make sure they're all split off. Drop them back in place with the, the right click A then. And then what you're going to do is just pull them out like, so now what you want to do is now you want to actually make them look a little bit different. So I'm going to pull this one out. In fact, I'm going to pull these all the way out, actually I'm going to pull them out like, so drop that one back in and maybe rotate this one on. The Z, Z, rotate it this way, like so. And then we'll do the same on these. Now we'll do exactly the same thing. So pull this one out, pull this one out, not as far. Pull this one out, probably a little bit further. I'm just making them a little bit uneven. Pull this one out. And the reason I'm pulling them out first is because I know my steps are going to be right up to there. There we go. Something like that. Control all transforms right Click, surrogen geometry. Let's now add in some stone. So I'm going to grab this one control. We're going to link materials, it's gone to stone, which is good. But you might as well delete the other one, main wood minus off, and then let's come in and unwrap them. We don't want both of them, obviously. We only want this UV project. Click Okay. There we go. Now finally let's actually come in and we will be level them off. We're going to add modifier and we're going to be level them generate bevel like let's turn it down, turn it up one. Then finally what I want to do is I want to give them some gaps between them. So I'm going to press A and then make sure I'm on individual origins, which I am. And then and y bring a little bit of a gap in. And the reason I want to do that gap is because I want to make them a little bit uneven. So the way I'm going to do that is of course the way that we always do it, which is transform and randomize and turn this down to not 0.1 There we go. Now they're looking pretty random with good job. We gave it a gap there because it means that we can actually randomize them a little bit more. Now, the last thing I want to do is I want to pull this one out. So let's pull this one out. Let's pull this out a little bit. Let's look. Now when we bring our steps back, if I press all tapes, bring my steps back, we can see obviously the steps need pulling down on each one. So what I'm going to do is I'm going to come to this, not this. I'm going to come to my steps, grab the top, pull it down. It's jaws fitting underneath. So same on this one. Then I'm going to pull it down. So it's fitting jaws underneath like so. And then the same on this one. Pull it down so it's just underneath like. So finally now we need to actually give this some texture as well. We also probably better off beveling this off while we've got it. So I'm going to press control all transforms, origin, geometry, link to this wall. So control L link materials. And then go to the Steps tab to grab everything. Smart UV Project. Click okay. And there's the steps. Now finally, let's add in a Bevel. Bevel. Let's turn this down. Turn one, and there we go. There is our steps done. And that's looking pretty nice. Really, really easy to actually get those in now. Now let's think about, before we carry on, let's just hide this roof out of the way, so we're going to hide this roof and we're going to actually save my work now. And what I'm going to do now is I'm just going to, I think adding some broken wall coming through here and then some broken wall coming through here. And then what we're going to do is just adding a couple of bricks and then the lamp, we'll add that in. And then we've pretty much done with this part of the wall except the roof and all of the, you know, the supports and things, But we can get on with that after. So let's press three on the number path. So three, Sorry. Control three. So look, is it in control three? Yeah, there we go. There we go. Control three. Didn't think he was working for a minute. All right, let's come to this wall first then. Okay, We're going to cut from probably here going down to here. Like enter. And then from this wall we'll do this wall as well. So we're going to cut it, probably coming from here. Let's go in, Press the K from here. And we'll go all the way down to here. Now let's grab both of these at the same time, this one and this one. And then we'll press this tab and come in, then grab this one and this one. And what I can do is I can press and just pull them back. Now you will see we do have a problem with both of them back. One's being pulled this way, one's being pulled the other way. And the reason for that is actually, is because we probably not checked our face orientation. And you can see one is red, one is blue. Now what is face orientation? Face orientation basically means this is the way that the material will be facing. In other words, if you talk this into a Games engine, anything that's red is the inside of a material. In other words, to save on processing power in games engines, we basically limit whether we can see one side of the material or the other side. So in other words, it basically says, right, we can't see it. So it will be invisible. This here will be invisible. This here will be seen. And this wall will also be invisible. So it's important when we finish that we come in and we check all of our face orientations. We're not going to do that right now, but I certainly am going to change which way round this is facing. The other thing is with face orientation, if you've ever rendered something and something looks really dark or it doesn't quite look the same as the material, it's nearly always down to face orientation. So how do we fix this? Well, we come into this one here. I'm no longer going to press this tab A to grab it all. Press control, sorry. Shift. And that then is going to change it. And over here you can say recalculate Normals. Let's recalculate Normals. And there we go. We're actually fixed. And you can see we do have a lot of problems in a lot of places, not going to worry about those yet. We're going to deal with those once we've finished. Let's come up then and turn off base orientation. It's one here, like so. And then what I'm going to do now is I should be able to come in, grab this one, that we'll grab this one as well. Grab this one. And now I should be able to come back and pull them both back at the same time like so. And you can see now it's pulled them both back and that was all the issue was. Now we need to bring in a nother material on these. So let's go to plus. And what we're going to do is we're going to click plus, down arrow, broken wall. Click a sign and you can see it's done it with this one, not done it with this one. So let's now go to this one here. Grab this plus down narrow broken wall. And now I'm going to do is I'm going to go, I need to assign it first. There we go. Now I'm going to do is I'm going to go to both of these project from view. And there we go. Now I need to go over to shading panel. So I'm going to zoom in, Zoom in control three to go around this side. Let's have a look now at how these are going to look. I need to make them bigger. How big though, is the question. I'm looking at the moment in this one here and does it line up with my other ones? I would say it's probably a little bit too small still, so I'm just going to go back in, make them bigger. Let's have a look now that's looking round about the right size. Now I've got them the right size. We're also looking at this up here as well, the chimney. As you can see, they're looking round about the right size. Now, all they need to make sure is that they're lined up. So you can see on this one, for instance, we can still see a few bricks underneath. I don't actually want that. So what I'm going to do is press Y. I'm going to hold shift and just pull them all so, so they're poking out there. Let's have a look at this one. This one's absolutely fine. All right. You can see now how this is looking on rendered view. There you go. Looking really professional work. All right, let's go back to material. Let's actually save about our work like so. And then what we'll do on the next lesson is we'll actually start work on building this up. So I'm thinking we'll probably start on the second floor here. We'll build out this part here. We'll probably make a new window for this part here. We need to make a banister and all kinds of things that we need to actually make. All right everyone, so hope you enjoyed that. I'll see on the next one. Thanks a lot. Bye bye. 58. Wall Building Strategies for Blender Taverns: Welcome back everyone to the Blender Crater court, stylized three D model. And this where we left off now. I did notice now we've actually messed up with this one some reason. I don't know when it happened or how it happened, but anyway, I'm going to go back to wooden supports and what I'm looking for is to find this one. So it looks like it's got three in first of all, it's one of these. So this has three, probably going to be this one. So look, yeah, that's the one. So all I'm going to do is I'm just going to push it into place and just replace that one that I messed up on. So fleet out of the way. There we go. All right. Now let's come in and bring in another wooden support. So I'm going to bring in a wooden support and I'm going to put this and you'll notice it wasn't the angle one I brought in. I'm also going to bring in one more. I'll put that over there. Actually, we have one already there, so I don't need that. So let's delete that out of the way. And then what I'm going to do is I'm going to come and put this now in the corner. So I'm going to just level it up with this one here. Then let's pull it up. And it's probably going to need to be a little bit longer, which it is. What I'm going to do is I'm going to press S and make it a little bit longer, not so sure yet where it's going to fit in, if it's going to fit in there or not. I'm going to just pull this into place a little bit more and then I'm going to do is I'm just going to pull this out, it looks as though it's actually supported on there. And that's looking. Then the next thing I'm going to do is I'm going to bring in another piece of wood. I'll use this one actually shifts, bring in this Y or X 90. Let's pull this up into place. So we're going to go, we could go all the way up to here. Actually, I don't think we will. What we'll do is we'll make this a little bit smaller. So I said, let's make it a little bit smaller and we'll put that just under here, I think. Well, I'll just bring out this a little bit, so I'm just going to come in with my gray box and move it out just a little bit like sun. I think I'll make it a little bit more interesting. Now, the tops of these plants we can see probably going to need to be a little bit thicker. So what I'm going to do is I'm going to come into my planks, I'm going to see if I've got any modifiers on which I've not. And then I'm just going to press Sen's head and just pull them out just a little bit. Just fit them under there. Also, we've not got a wall on here yet, so we need to put that on. And also we need to decide where this is going to come up to. In other words, we can see that this one here probably needs to pull it out a little bit. So I'm just going to come in and pull it out just to there like, so. All right. So I'm happy with all of that. Now let's deal, let's deal with this part first. So let's have another one going up. We can see this one of the moments probably similar to this. So I'm just going to press zed and 90. And then what we're going to do, I'm going to press shift D. Bring that over roughly to the middle, like so. And then what we'll do is we'll grab this again and spin it around. So 90. And then what we'll do is I'll press shift D, bring it to here. And then 90 again, but this time I'll press S and's Ed and pull it out. And then what I want to do with this is rotate it round and X rotate it round. Just to give this a little bit more support in there, I'm going to do is just pull it back slightly just so it fits in there, making sure nothing's sticking through. I don't want anything sticking through. Double tap the and there we go, so far. Now finally I want to put another piece of wood coming up here just to give it a little bit of variation. So wooden blocks. Let's get another three meter piece, which will be this one probably. Let's spin it round so R z 90. Let's press control three. And where I want to go is just above, just above this part here. Once I've got it there and I, yeah, I'm going to go to this point here. Pull it up and then and X now, and Y, pull it out just to there. And then let's slot that into place. Going through those double tap the as a look. Yeah, that's looking pretty nice. All right. Under here, I'm going to have one of these windows. I'm actually, I'm not going to grab that window. I'm going to come in. I think I'll go to windows and I'll put my window in there. If I press control three, I should be able to drag a window out. Yeah, and they're not coming in properly. Never mind. R Y -90 and then R x 180. Spin it around the right way. Let's put it into place. So something like there. And then what I'm going to do now is I'm thinking, yeah, I'm thinking I'll pull that back to their jaw. Slot it in, so it goes past and then shift, pull it out. So then what I'll do now, I will start putting the top bits along here. In other words, I want a piece of wood here, and I'm looking how far that's coming out. I want a piece of wood coming over here, from here, going over there. And then a piece of wood from here going over there. And I think these need to be a little bit more chunky, in other words, coming out a little bit more. What I'll do is I'll use wooden supports. Wooden blocks 2.5 meters. So let's use both of these. I'll bring in this one and this one and I'll spin them both round D 90. Then' do is control three and I'm going to pull them up. Then I'll grab this one first and drop this one into place there. And then what I'll do is I'll grab this one, drop this one into place there, and then I'll just hire them up a little bit. Now I said I want them a little bit more chunky. I'm going to make sure that I've got individual origins on press the S board. Just make them a little bit chunkier as you can see. Pull them back then. And I want it slotting just out of these, but still on top of there. Let's deal with this one first. This here, this roof needs definitely lifting up. So I'm going to grab both of these parts and lift both of these parts up onto there like so that's better supported. Now then what I'm going to do is at the moment, you can see, yeah, I'm going to have this one coming back a little bit. So what I'm going to do is I'm going to come in and grab this now and Y pull it back. I need to think where I'm actually going to have that too. I think I'll have it here. And then another piece of wood coming around here. So I'll do is I'll press 50. Bring this out 90. Let's grab that, Pull it onto there. And then this actually poking out a little bit. If I press and X, poke it out a little bit, then I can do is I can pull this over just in place. That's perfect, actually. Now I can pull this one over into place and X, and X, and Y, pull that out in like so then I can this coming out a little bit more now. I'm just trying to level everything up. As you can see, it's not quite level at the moment. I can see that this is going to want to drop back a little bit more than that one. It's also going to want to come over, double tap the. Let's have a look how close they are. These need to be a little bit closer. I'm just going to bring that over. Perfect. Bad looks absolutely perfect. Okay, now I need a wall. Let's go in shift, grab this wall. I'm going to save my work out again. While I remember I'm going to press -90 control three, and let's drop this wall into place. So let's do this wall first. So we're going to press S, shrink it down a little bit, and then and's and pull it out. So it's going into this one here. That's where we want it. Now let's come in first of all though, and grab this delete face. Let's come into this one then delete faces, and finally this one. And we're going to delete faces like so. Let's then bring this wall back and make sure it's falling into place where we want it. It's going to have to go back a little bit further. Where we want to really is just coming up to here in this part here. We want it though in front of the wood here, as you can see. It's probably needs to come back a little bit further. And now you can see that we do have a problem in that we can still see the gray box there. We don't actually want that. So what I want to do, can I pull this back a little bit more at the. And there we go. We have got gray box in here. Let's see where this gray box is. I don't actually need this gray box in there no more. So going to just delete it out of the way, and there we go, that's what we're left with. Okay. Do I need this gray box here? Actually, I don't think I need that one either. What about this one? Have a look. This one here. I don't want to delete too many gray boxes. So what I'm going to do is I'm just going to keep them at the moment. I'm going to press Shift D, bring it over, drop that one in place, and then shift D again, bring it over and drop that one in place. Now I just want to make sure that this wall is in there. You see the press control three? You can see it's not quite in there. I'm going to press and Y just to pull it out a little bit. Then what I'm going to do is I'm going to drop this one back. And I'm also going to come in and drop this one back as well. You can see it's a long way off on this one. I'm going to pull this one out there and then pull my window out because my window is the issue there. So, all right, that's looking good. Now of course we need to change all of these. So I'm just going to go into each of these. Press control all transforms right click, origin geometry. And then one's going to do is we're just going to unwrap them all at the same time. So one wrap. And then of course you can see there's a huge difference. And the reason is because when we unwrap them, press Tab. You can see that they're tiny on the UV map, so I don't even need to see them. All I need to do is just make them bigger like so. And then I know that they're going to be just right now. Let's have one final look around what that looks like. And I think then what we'll do is we'll come to this one control three. And then what I'm going to do is I'm just going to cut this away. So I'm going to come to here. Here. I'm just wondering if that's okay. Not sure if I'm happy with that one. Said look, Yeah, I think I am. So I'll come in and I extrude it back and then this obviously is going to have my brick on there. So I'm going to come to this, add in another material brick tab sign. Just same as we've done before. And then what we're going to do is and project from view. And we want to make it bigger, bigger, bigger, bigger, bigger. So it's the same size the ones down there. So we can see these ones here. Maybe this one is a little bit too big. Still look comparison to my wall. Yeah, maybe there are a little bit, so I may go a little bit smaller. So I think that's looking perfect now, lines up with this. Okay. All of that is looking perfect. Now let's finish this front top, then. The way we'll do that, we'll add a couple more stones in there. So I've come to Asset Manager, let's come to small bricks. Let's press control three in the Viewport control three. And then what we'll do is we'll add a stone, a small stone we'll put down there somewhere. And then we'll add one of these into something like they, we'll rotate that round of course Y 90. And we'll add it in, yours to, there's that in. Then let's add this one in as well that we'll top the A. And there we go. All right. That's pretty much that done. Now what o thing we'll do is we'll actually make a start on on this part here. So I think we'll actually build this out and get all that ready up to the actual roof, which is going to be up here. Because this roof is actually quite difficult to create. So I think that's what we'll do on the next lesson. Now, we've got a lot done, actually, in that lesson. And I think after we've built this little bit out, we'll actually make a start on our barrel. So our nice in barrel that's gonna hang from here. All right everyone, So hope you enjoyed that. See on the next one. Thanks lot. Bye bye. 59. Modeling Balconies for Stylized Taverns in Blender: Welcome back everyone to the Blender creator Core stylized Three D model. Now one thing I did forget to do is I forgot to put our guy on here and make our banister. Let's make our banister first because actually that banister is going to make it easy to do the other side as well. Let's put him on here and that's the sort of high, let's spin him around as well so he's looking out. It's 180. There we go. Let's put him back a little bit. And then what we'll do now is we'll create our banister on here. So basically whenever you're creating a banister, you want it to be where his hands would reach up and rest on it and he could lean on it and look over. That's the kind of height that you're looking for. Let's first of all create these supports. I'm going to press Shift because to selected shift A, let's bring in a cube. Let's make the cube much smaller. All we're going to do, really do here is just get right where do we want these parts? Let's pull it into here. Put it right in this corner. That's going to be the main support. Then what I'm going to do is I'm just going to lift this up Now. Pull it up so you can see if I put it there, I can put then a banister over here. I think I'm going to start with this. I'm going to press shift, bring it over. So then what I'm going to do is I'm going to grab this part shift, bring it over to the next one. And then what I'm going to do is I'm going to make this smaller now. So I'm going to press and X, bring it in, and then and Y and bring it in. So now I can actually shrink this down a little bit, so I'm going to pull this down a little bit. So now let's bring this to the next part. But before we do that, let's give it some edge loop control. Left click, right click. So let's then bring it over shift D, bring it over to the next one, shift D. So finally now we just need to make sure that these are high enough. Now I'm thinking and we'll n a top one here, but they probably need to be a little bit higher because we can see it's just like, it's probably going to be really belly board is where it should go. So what I'm going to do is I'm going to grab all of these. I can actually do them all at the same time. Press control J. And then what I'm going to do is just grab the tops of the all come in, grab all the tops like this. And then what we're going to do is Js going to lift them up to be a little bit higher. And I think that looks actually a bit better. All right, now let's think about this top bit. So I'm going to press shift S to Selected. What I'm going to do, I'm going to grab this shift D just to juicer that top and X to pull it out a little bit and then and Y to pull it in to these parts. I don't want it going into there, I just want it slightly out of there. Now, I'm going to do this, I'm going to pull this up, pull it up, and I want it jaws just below there. Just below here. It's still in there as you can see. Then I'm going to bring in some edge loop control. Make sure there's one that's in the center, this one in the center. And then what you're going to do is you're just going to round this off. If I bring this up, we can see grab these two then just round that off as easy as that. And that looks pretty nice. All right, so we've got that now let's split, let's bring these round the other side and bring this round the other side as well. Because actually it's really easy to do this part. So if I press L shift D and then 90, what I can actually do is I can actually bring this then round into the actual wall so you can see it slots in really, really nicely there. And then what I can do is I can bring it over to the other side. Should I mirror it? Probably not. I'm not going to actually mirror it because what I'm going to do is I'm going to pull it over and see how that's then going to fit in there. Now I can see that I do have one little problem, probably. This here. This probably needs to come across a little bit. Let's grab the whole thing and grab this as well. And then what we'll do is we'll just move it over very slightly. And I'm going to put another piece of wood, I think in there, just under this, a little block of wood in there. What I'm also going to do as well as I'm going to come to this part here, I think I want to just bend this actually in. So I'm going to go into my wall. I'm going to grab this part here. Just this part here, and then come out. And then what I'm going to do is put the portion of it, I'm just going to pull it out and it just a little bit. So it's a little bit be like, I'm just wondering if I've actually may have been a bit too much. Let's pull this back, grab this one, pull it back a little bit and double tap the actual may be. Yeah, I think I'm actually going to be okay with that. All right. Okay. So you can see that this bit probably needs coming down as well. If I grab this, you can see I've still got available to pull it down. I'll pull it down a little bit as well. And then what I'll do now is I'll come in with these parts shift, let's take proportional d, let's bring them out, and then our d, spin them around because obviously we want them the other way round. Let's put them into place. I'm going to put one here and I'm going to put one next to it over here to pull it over a little bit, just so it's under there. And then one going to do is grab this one shift, pull it over the other side, it's going under the shift. And then just bring in another one, put it in, there we go, all that's looking pretty cool. I'm pretty happy with that. Now let's come in and think about warping these a little bit. Let's press control, right click, Shade also smooth. Let's right click and set origin to geometry, adding a modifier. We're going to look for a bevel, let's turn it all the way down. Turn it up one, there we go. That's looking cool. Let's also give it some materials. So I'm going to grab this one. We're going to press control L link materials. And then we're going to press A to grab all of, just this one. A smart UV project. Click. Okay, let's have a look what that's looking like. That's looking pretty nice. Double tap the A. Yeah, there we go. That's what I wanted. I'm just wondering if I want to change the material on this top part. But actually, I don't think that's going to work out too well if I do that. So I think I'm actually going to leave it like this. I'm looking as well to make sure that the wood is the same as this wood on here, which it looks like it is. So yeah, I'm happy with how that's actually turned out. So now what we want to do is I'm going to create, I'm going to actually create another window, I think. So I'm just going to create a window. What's going to go in there? It's going to be a much simpler window than what we've previously been creating. So what I'm going to do is I'm just gonna press it day Bring in a plane, spin my plane round so R Y 90. I'm going to press control three. I'm going to press and Y just to bring it in. And then I'm going to bring it up to here and bring it down. And I think it might be the right size. So have a look. We put it in there maybe a a little bit longer. Yeah. That sort of size. All right. That's the size of one. From here, I can actually create this window, as I said, pretty easily. So all I'm going to do is control or transforms right click, say origin geometry. I'm going to actually save out my work as well. I'm also just checking the time to make sure that I've got time to create some of this. At least I'm going to press control two, left click, right click, control three and Z. If it doesn't move, make sure you've got medium point on and Z, pull it out like so. Remember to keep the chunkiness about the same as this part here. And then what we'll do is we'll do the other way. Control two, left click, right click, and x, y, sorry, pull them out. So, all right, that's going to be the first bit. So now what we'll do is we'll grab, and these, press Y. Grab the middle bit, press Y. Yeah, that should be good for our window to start with. Now what I can do, I can actually come out and grab, let's have a look, grab all of these. What I'm going to do is press and pull them out like so. And then we're going to come to the middle part. I'm going to pull that out a little bit. Then what I'm going to do now, I'm thinking I will press the eye button first. Now the one thing is I'm just wondering if it's wide enough, if this window is actually wide enough, or if I've gone a little bit too much on these. I'm thinking I'll just pull it out and make it a little bit, just a little bit wider. And I'm wondering on these parts here, I'm going to pull them back a little bit, so I'm going to pull this one back, and this one back, yeah, I'm going to pull them back together as well. So I'm going to grab this one, and this one, and Y, I'm going to pull them back together. Yeah, I think that actually looks bad. And then I'm going to grab this part and I'm going to press S and Y and pull that back into place like so now I'm going to do is I'm going to separate this part out. So I'm going to press Y, and then I'm going to grab these ones. Go in here, these ones go in here, press Y to separate them. Grab both of these. I'm going to press E, then to pull them out. Now, we do have one little bit of an issue here in this top window. So this top window, it should be separated. So I didn't think about that. In other words, I should have a frame going along here. Let's just split it up again. Before we do that, you can see here, we've got this before we went back to here, press control shift and said, we've got this so far on here. But what I want to do before doing that, before actually bringing these in, I'm going to go all the way back, actually, before bringing these in now, I'm going to then pull it out first. Sorry. I'm going to then bring in these parts and Y, that's perfect. Then I'm going to pull this out. And Y. Now from here, now I can actually create a halfway point control. Left click, right click. So now what I want to do is I want to create a frame. In each of these, I'm going to grab this one, Y. And then what I'm going to do, grab this one. Now if I press, I should be able to bring both of those in. So that is one perfect, that's what I want. The reason I want that is if I press now, I can bring these out, be left with this. But these are split off. You can see these. And these are all split off on if I pull this out now with now if I grab this top one, what I can do is I can pull this out a bit further than the bottom one. And now we've got a window that looks as though it can open and close. And the reason we won there is of course, because we want our guy to be able to climb out of this window if he wants to. So that's why we've done that. Now let's come back to these parts. And all I want to do with these is I want to press control, left click, right click. Same with this one. So control law, left click, right click, control left click, right click. Control left click, right click. And then all we're going to do is we're going to press control B and pull this out to make those windows and finally then pull them out like so. Now assured, be able to grab all of this, put them into place, so I'm going to put this one into place there and then grab this one. Put it into place here like so. There we go. Look how quick we made that window really, really easy using these techniques. All right, so I'm happy with that. Might need to pull this one back a little bit, I think. But apart from that, then on the next lesson, we can start beveling these and then it'll really come to life and then get the materials on. Alright everyone. So, I hope you enjoyed that. I'll see on the next one. Thanks a lot. Bye bye. 60. Small Wall Attachments in Blender Tavern Design: Welcome back everyone to the Blend, The critic core stylized three D model, and this is where we left off. All right, then what we want to do now is we want to come in and press control all transforms, right click, set origin to geometry, adding a modifier. And we're going to bring in a Generate and a Bevel. Let's turn that down. Then turn on one. And there we go. There's our window. And as I said, this part here, I think I'm going to move a little bit further back so you can see I've grabbed all of this and I'm just wondering, actually the bo parts aren't actually we wanted, so we can see here be leveled off on this, but not these parts. I'm actually going to come in and what I'll do is I'll select all of these. Then what I'm going to do is I'm going to press selection, separate those out, and grab just my windows, so shift age. And now what I'm going to do first of all, is I'm going to pull these back. So I'm going to pull all of this part just a little bit back like that. So now the window can open and shut. And now I want to do is I want to separate these parts out. The way I'm going to do is s click on each of these corners. In each of these corners. In each of these corners. Then I'm going to right click and mark scene. Then what I'm going to do now is come in L, L, L and L. I'm going to press Y, and now I'm going to do is I'm going to press A. And what we're going to do now is mesh. So basically what we've done there is we've separated this from this and all of these are separated now. So these four parts. And what we want to do now is mesh clean up and we want to fill holes. There you'll go Now you've got the actual part that we wanted. Now you will see on these parts of the window, the bevel is too much. So what we want to do is control a or transforms first of all. And then I'm going to turn this all the way down to zero and put this on naught point naught five. Let's try that first. And that's looking much, much nicer as you can see now. Okay, let's bring the rest of the window back now. Now we can start actually putting on some materials. What I'm going to do is now I'm going to apply my bevel, I'm going to come to this part now and apply the bevel on here. And then what I'm going to do now is I'm going to grab this and this press control J. I'm going to grab this window, press control L, link materials. Now I'm going to do is I'm going to actually grab all of this. Just this one pressing Smart UV Project. Click. Okay, there we go. Now we've got everything we need. We just need to change the wood round. Let's come in now and grab all of these. We're going to change them to the other material, which is the light wood. Let's change the to light wood. Click a sign. Let's also come in and change these to glass. While we're here, glass lit, click a sign. Now let's think about these parts always going down here. We always have a problem with these parts. Going down here, I'm going to do is a shift click going all the way around. In fact, we're just going to shift click first of all. Yeah, going all the way down to the shift click, going all the way down there. And then we're going to mark a seam. Then finally we're just going to mark one seam going into each of these. So right click mark scene. Now I'm going to do is we're going to come in, so it's L, it's going all the way through because we've only got these. Instead of doing that, I'll just shift leg control and then work my way down. Shift control, shift shift, and then you, and we'll hit rap. Let's see if on rap actually works and yes, it has. On rap is working. Yeah. I'm happy with how that looks now. Okay. So now we just need to deal with our windows. So let's come in and we'll grab all of these. Pretty much doing the same thing that we've already done. Let's go to shading panel, and I'm going to zoom in Tab, and then we'll end up with this. Then what I want to do is I'm going to press a right click. And no, I'm not going to right click. I'm actually going to hit these threes. Hit U V and pack islands, no rotation. Click on let it think about pack the islands and now make them smaller. Now think that will make it a little bit easier for me to wait with these because it means I can start putting them into place a little bit easier. All right, so let's grab this one, make sure that we've got this entirety on. If you've got this, you can actually select them all in one go. And then what we can do is we can just select them. This one, let's do this one place. You can see that this is a little bit bigger. So what I'm going to do is I'm just going to now come in, select them in this way now so I can actually see what I'm doing. We've got this one. That one's fine. This one. And just move it around to where I want it and this one is in the wrong place. Let's put it over here. There we go. Window done. Okay. Really? Now, before we do anything else, let's call this. I'm not sure. If we go to Asset Manager, what have we got on here? Got Windows. Large window, round window, window with shutters. Let's call it just a window. Small window. So small window. So let's press dot to find it where it is. Let's press control three. And then what I'm going to do now is I'm going to press control Lay all transforms, right click, so origin geometry, make sure that everything's been applied. And then I'm going to right click and mark as asset. And finally go to unassigned. And we can see our window here. Don't really want that. So our 90 control layer transforms. Right click its origin geometry. Let's press one now and give that try. So I'm going to right click Clear Asset, Small window markers, asset. There we go. That's exactly what I want. Okay, so let's drop that in to our windows like so. And then let's put that over there with the rest of our windows. I actually think that is the last window we need to create. We've only got one door really to create. We have some other small parts and things. But apart from that, now let's bring in that window. So I'm going to press control three. I'm going to come to my windows and I'm going to bring in my small window. I'm going to rotate it around then, so R, Y, -90 Let's see if that's the right way. Yeah, that's the right way. So let's put that into place. Shift, hold in shift, there we go. Bring it into place, Bring it down. Put it into place like so. There we go. Fantastic. That's looking pretty cool. All right. Now we've done that before we actually do anything else, I did forget to come into these parts. What I want to do is I want to actually make sure that these are a little bit uneven. So I'm going to come in mesh transform and randomize. And then I'm going to turn this all the way down to not 0.1 like so. And there we go. It just makes it a little bit more uneven. Trust me, when I say it really does catch the eye because it is uneven as you can see. All right. So that's looking really, really nice. Now. I'm happy with that, and as you can see, this is really, really come into a professional piece of work. Okay, So now I'm thinking, rather than actually moving on with the rest of this top part and thinking that we should get the roof in, get the little lamp in here that we need as well, get the supports in here. And then we can actually start on this little barrel over here just to keep it a little bit vary. We've done a lot of building work on this last few lessons, so let's actually do it that way. Okay, so what I'm going to do is I'm going to go to material first. I'm going to just hide this out the way. And then what I'm going to do now is I'm going to bring in the actual lamp. So I'm going to go to lights, which is this one here. And bring in my light. And then what I'm going to do is spin it around. So Z -90 let's put that in place and look at that. It's as though we've built something ready to put something in place. Let's plug it in here, let's pull it up here. And let's obviously pull it back because we have to be careful because we've got a roof that we need to gain as well. Thinking just a little gap there to show that it's supported by something. Okay, let's press voltage. This is where we want our roof to come. We want our roof to come roughly like this. We also want to have our roof to be a little bit bent as well. So we want to actually bend our roof a little bit, so we want it kind of sloping down. We also want to make sure that if our guys down here that he's not going to be banging his head on the roof. So we need to make sure that it's not coming low enough for him to bang his head on the roof. Now you can see we ain't got a lot of bend there. You can also see that this is nearly touching the roof. So I'm going to be really, really careful because not only do I have a roof that I need to put in here, but also I'm going to also I'm going to actually put that on the Eva thing. That's over, look what that's going to look like. Yeah, I think I'm going to put that underneath like, so I think that's going to look a little bit better. The other thing is, with this lamp, at least I think it's too big. So I'm going to press and I'm going to make this one a little bit smaller. I'm just thinking that looks more realistic on this bit. I think over here it should have been a bit bigger, but over here it should be a bit smaller. Okay, happy with that. Now let's think about our roof. So what I'm going to do is I'm going to grab this part here. Shift desks to selected. And let's now bring in this roof that we've created. This one where you can see, actually I pull these together near enough, the same. So you can see here, these are the same. Which means that, that might be easier to work with. However I think probably going to be easier to work with on the roan. So I'm going to bring in my roof first. What I'm going to do is press shift deep. And then we're going to press shift selections cursor. And then we're going to zoom in. We're going to spin it around so our S -90 And there we go. Now let's first of all make sure that the width is the right before we start anything. So let's come in count horizontal. Let's bring it down, put it into place. There we go. That's the width. Now let's make sure the length is ideal. So I'm going to put it to, let's say there I want this coming down. Probably this one here. So I'm going to turn down the vertical count, probably this one. And then what I'm going to do is I'm just going to change the angle. So I'm going to change the angle there. And then I'm going to change this angle here, because I want it to actually be just under there. Now, once I've actually got this in place, I really don't need to keep this bit anymore. So what I can do is I can actually just delete it out of the way, and now I've got an idea of where it's going to come. So we can see with this roof that it's going to actually be supported by some some logs, sorry, some supports that are going to go into these parts. If I press control three, you can see over this side it's fine, but this side is a little bit, you know, it's not enough. So I'm going to do is I'm just going to press and Y shrinking in a little bit because I need to make some room for those so I like so. And then S and Y shrinking in a little bit more hod than the ship born. And I think that then is going to be perfect for what we need. I'm actually happy with the slope. The one thing we'll do on the next lesson is though I just want to slope it the other way as well. So I want it basically to be sloping outwards this way. But I think on that one I'll actually show you another technique of actually how you can bend things. Because I feel like once we've actually got all of the woodworking, it will be easier. All right everyone. So I hope you enjoyed that. I hope you learned tons and tons. And I'll see you on the next one. Thanks a lot. Bye bye. 61. Modeling Small Roof Attachments in Blender: Welcome back to the blender critic course, dialyze three D model, and that's where we left it off. All right, so now what I want to do is I want to come in and I'm going to need some more planks. I'm thinking that I'll come over to these planks here. Press shift, and let's bring those over. And hopefully we can get them in the same size as what we've got with our roof. So I'm going to do is press our head -90 Spin it round, let's make it smaller, and let's put it into place. And hopefully we can get this looking jost under there, and then that would be great. So I'm looking at that length. It looks a little bit long. This looks a little bit long, but I think I can actually make it a little bit smaller. So let's focus, first of all on the actual angle. So what I'm going to do is I'm first of all, let's call to my, where is it? Rotation, bend angle. Let's set that to zero and see what happens. No, it has to be set to one. Sorry. Yeah, bend angle needs to be set to one for it to actually work. There you go. Now you can see it's working. Let's angle it then. So I'm going to angle it on my own, so Y, let's angle it round. Let's put it into place, let's pull it out and make sure it's long enough burst. So it needs to be probably a little bit, I'm thinking probably a little bit longer. So it actually comes out a little bit more than that. So to do that, I'm just going to change the plant length. So let's pull it out a little bit. And now we can actually change that bend in there. So if I come in and look at my, I think it's this bend. So look, yes it is perfect. And then we go, let's angle it back, so why? You can see now we're actually getting somewhere. Let's pull it down a little bit. And then the sat on there, let's pull it out. Just a tad like so. And I think I need to angle it a little bit more so and Y and let's also make it a little bit longer, so I'm going to come to plant length. I'm going to pull it out just so it's a little bit longer than these. And then finally what I'm going to do is I'm going to press and y and just pull it in and put it into place like so you can see really didn't take a lot of work to actually get that in, so that's great, I'm going to put it over there. And then what I'm going to do now on the next part is first of all, I'm going to see if can get it a little bit closer so you can see it's getting a little bit closer. I just need to bend it back a little bit. So bring it back just a little bit like so it doesn't need to be right up to there anyway. Yeah, and I think that's looking good. I think we can work with that. All right, so now we've done that. Let's actually apply the jumetry note because we don't need to do anything else with it. So can press control, lay on there, I can come then I'm just going to check my other jumetry notes and making sure it's not mess those up. I'm also then going to apply it to this roof here because I've finished with that as well. And then what I need to do is just come in now and just have a look at it on the rendered view looking at this wood. And I think that looks absolutely perfect. Okay, so let's come in then and actually unwrap these. So we're going to do in the same way as what we normally do, we're going to just grab the top of here. So I'm just going to shift select and just grab all of the top ones. Probably grab all of the bottom ones as we know. Yeah, I think we'll do it the same way as what we did before, so I'm just going to grab them all like so. And then we'll go to the Select button. Now let's go to Select, and we're going to select similar by normal. And there we go. And let's separate those out. Selection. Separate those out like we did before. Now if I press shift H, then you can see that we've got the tops and bottom of these. And what I can do is go over the top. I can press tab A and then I press Project from View. And then let's give them a material. The we've got roof based material, let's minus both of these off. You can see that we got to come up with that error. That's just because we're an edit molded for minus them off now like so. And then go to sorry. Roof. So now let's come to our shading panel and let's press Tab and let's spin them around R 90. I think that's the wrong way round. Actually re hundred 80 and let's pull them out now. So in fact on this one I'm actually going to pull them down there, 180, let's pull them down there and put them in place. So, and I think that's going to be now we can see where they come up to. We can see because these are the edges of these parts here. And there we go. Now let's put it onto onto here, let's have a look. Yeah, they're looking absolutely fine. All right, now we've got those, let's now do the inside of them. So what I'm going to do is I'm going to press Alt H, I'm going to bring everything back, and I'm going to grab the inside of these. So you can see there, this is the inside shift H again. And then what I'll do is actually, they don't actually look too bad. I think what I'll do is I'll actually split them up still based on the edge. Again, if I come, I should be able to select sharp edges and then I should be able to turn this down. Turn this down. I'll turn it up. Bring it back. It doesn't seem to want to select those sharp edges. Maybe cut them in. They select. All right, let's double tap the eight and let's see. Now select sharp edges. There we go. That's what I want, but I don't want it on there. There we go. I'm just going to bring it back. Okay. Now I can right click and I can mark a seam. And then I can press a and then I can press and unwrap them all like so. And now you'll see that they're actually unwrapped pretty nicely as you can see. The only thing is I would say they've got the wrong material. So let's minus this up. Let's bring in the moon material, which will be the roof. And there we go. Now you can see they're looking much, much nicer than they did. Yeah, they're looking perfect. And also you can see on these that, you know, you've got some black bits on there, but they're not like in between, so you've not got three different black bits on there. All right, let's press all Tate. Bring everything back. And now what I'd like to do is just join them all together. So and grab where's the sides, these on the sides, and press control J. Then join them more, and there we go. All right, so we've got that part down. Let's go back to, let's go to modeling now. Let's have a good look round now. So I just want to have one last look to see if it's looking okay. Yeah. And I can see the dirt on there. This is looking pretty cool. All right. So now what we need to do is we need to build out now this part which is going to be the kind of structure that's going to hold it altogether. So what I'm first of all going to do, I'm going to come to my planks because we haven't done those yet. I'm going to, this is called main wood one, I'm going to call it, actually I'm looking for one that actually is planks. There we are, there's the planks. So let's come in. What we'll do is minus these off. And then I'm going to search. So let's search for plank, then we go Planks. And then what I'll do is grab all these smart UV project. Click Okay. And then there's our planks on there. And finally with these, what we'll also do, because they are stuck out a little bit further, is I'll bring in a modifier. And we'll bring in just a bevel, and we'll just bevel them up. Now you can see that we do have some issues with the bevel. On these, I'm going to press control all transforms right clicks, origin to geometry. And I think that is actually caused by them, not all being joined together. If I bring this all the way down and try and bring it up, I can see I've got some problems with these. Let's just actually check that out. So I'm going to do is I'm just going to go in and just see if these are actually joined. So if I press yeah, it looks like they're all joined together. So what I'm going to do is I'm going to go to Mesh, Clean up, Delete loose, and then I've got zero deleted. And then I'm going to go to Mesh. Cleanup merged by distance 75 vertices merged. Okay, now let's see what happens when we come in. This might not work by the way. Let's add modifier generate Bevel. Yeah, we can see we've still got some problems. I'm not sure what the actual geometry know what caused the issue to be like that. Oh yes, we do know what it was. We do know it's actually the inside of them that was what was causing it. The problem with these is that on the inside of these, we'll see that actually five, hide these out the way, all of these inside and this is what's causing the actual issues. So to get rid of that, what I can do is I think I can come in Alt shift click. Yeah, even the Alt shift click, as you can see, comes up to two here. So that's actually causing us a problem. And I would like to bevel these off. So I think what I'll do is on the next lessons I will actually come in and we'll fix all those independently. Because I think, yeah, I think it's going to cause us some problems being that way, so. So yeah, let's actually fix those. Alright everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 62. Setting Up Wood Framework for Roof Attachments: Welcome back if you want to the blend that created Core stylized three D models and this is where we left off. All right, so I think now we won't actually fix these. I think it's going to actually take too much work to fix them. I think I'm just going to, instead I can just come in and just bevel them the old fashioned way. And the way I can do that is just come in and try and grab. Let's go to select and let's select sharp edges like so. And then I can just press control and I can bevel them off that way Instead also I'm thinking I know what the issue is. It's the normals on here as well. Let's just have a look and see if our normals are facing the correct way. And there we go, there's the issue. So what I'm going to do is I'm going to press tab a shift in the spin that round. And now actually let's actually see if we can level them off. We might actually be able to level them off without doing anything else. So let's go to face orientation. Let's come to add modifier, generate bevel and hallelujah. There we go. All right, let's turn them up one like so maybe not point N n five. And I always say that's if the modifier is not working, it's probably more or less going to be either resetting your transformations or it's going to be the normals. I should always listen to myself. All take, let's bring everything back that's now done. And now what we can do is we can start actual work on these parts here. So what I'm going to do is I'm going to grab this part. So this part here, this part here. I'm going to press Shift D. I'm then going to press to pull it out. And then what I'm going to do now is I'm going to press again. So I'm going to grab this, go into here. Control, click. I'm going to press again and pull it out. So I'm thinking that this just needs straighten up a little bit. So I'm going to come into this part here, I'm going to put it onto normal. And there we go. Now I can pull it out, holding shift born, straighten that up. And then what I'm going to do now is I'm going to go back to that part and I'm just going to pull it out a little bit more. So I'm going to pull this out. So there we go. All right, so now what I can do is I can split this off. So I can press L P selection, split that off. Control or transforms right. Clicks a origin geometry. I've already got my geometry right in the century, which is really great because that's going to actually help me out a bit. And the one thing is I need to, on some of these, pull them up. I'm going to actually though, before doing that, what I'm going to do is I'm going to change the material. So I'm going to press Tab Smart UV Project. Click Okay. And then we've got it in so it looks at least right. And now I can do is I can come in and just pick this up a little bit. As you can see on some of these parts like here, it needs to pull it up a little bit. So I'm going to see if I can actually pull it up. So I'm going to bring that in and pull it up a little bit better than where it is. Again, I'll grab this bit, shift, click, pull it up like so. All right, there we go. Yeah, that's looking exactly as I want it now. Okay, so now that we've done that, we can actually start bringing in the post code. I can just mirror it over the other side. I'm actually happy with it. So what we're going to do is we're going to go to Asset Manager. I'm going to come over to my wooden supports. These are the three that I can use. I'm going to use one on here, so let's put it on the floor. We can see it's way, way too big for what we need. Let's make it a little bit smaller. Let's put it into the floor. And I'm thinking that Brady Nice already, let's pull it over. And I'm going to put it just just I think under here, just going in there, I just want to make sure that nothing's poking through. Yeah, that's exactly what I want. Something like that. I think we'll start with just the bar going across here. I'll steal this. I'll press Shift D. I'll bring this out. And then what we'll do is I'll press and X just to shrink it in, spin it round so our x 180. Let's drop that into place where it's going to go round about there. We're going to have it just coming in. So we've got a little bit of a gap here. So making sure this is going in now, the moment you can see it needs to come in a little bit out and then squishing in on the Y, Y, just to make it up against there, and then making it fit against there. I can see this is a little bit out, so I will need to pull this one a little bit over. Double tap the Yes, and I'm happy with how that looks. Okay, so now we need some wooden struts going up. Let's come over to our, where are we wooden blocks? And let's bring in some 1 meter ones. Yes, they will be perfect. Let's come in with this one. Let's press Y 90. Let's bring this first one up. Then of course, we're going to have to make this a little bit thinner, so I'm going to press S, we're going to drop it into place, so I think we'll have three. I'm going to pull it into place like so I'm going to press S and X and pull it out a little bit. S and X, sorry, it would be S and X. If I put this on global S and X, there we go. Let's put this first one in place. I'm going to go round about there. Let's pull it up. And then let's press Shift and D, bring it over and then and pull it down, put it into place, and then 180, and then finally let's bring in one more little block here. Shift, bring it over and then, and make it much, much smaller. So, and then 180, double tap the A. And there we go. Now let's grab all of these. We might as well join them together. So control J. We might as well then press tab A to grab everything. Smart UV project. Click okay. And there we go. That's our piece of wood. Now, are they right though? Let's press control or transforms? Yeah, it's probably, I'm going to just redo that again. Smart V. Okay. Yeah, now they're looking a little bit better. All right, so we've got that. Now what we will do on the next lesson is we will start with this arch. So this arch going over here, coming down here. And then pretty much we finished this part of the build, which means then we can just mirror it on the other side from there. Then we can actually, I'm just looking now. Let's after that make a start on our barrel. Because I would like to do something a little bit different from what we're doing right now. All right everyone. So I'm going to save out my work and I'll see you on the next one. Thanks a lot. Bye bye. 63. Creating Wood Textures Using Curves in Blender: Welcome back everyone to the Blend. The critic course, stylized three D model, and this is where he left the. All right, so let's now just delete this out of the way. I'm not going to need that. Let's think about now. I need a piece that's going to go from the wall and bend around and come over to here. Now on my original, I think actually this, it wasn't as far out as what this one is, this one's a little bit further out. Just going to pull that back just a slight bit like, so just so it's in front of there. I think actually this one's looking a little bit better than my other one. But what it does mean is that this is a bit of a longer distance than what I had before. It's no problem. I can actually deal with that. I'm just going to make it maybe a little bit different. So what I'm going to do is instead of that, I'm going to actually draw this out. So I'm going to first of all, bring in a plane. So I'm going to say mesh. Let's bring in a plane, let's spin the plane round so R Y X 90. And let's pull it up to where we want it. So it wants to be in the center here like so. And I want to then if I press control one to go around the bag, I want to basically be able to, I'm just going to hide this one out the way, just so I've got this where I'm actually going to go up to, so I'm just looking, this is where I'm going to go up to. So if I press control one again, I want to be able to draw it out. So I want to be able to draw it up here and actually make it into where I want it, so I could bring it around here like so, and make it a little bit more. Or if I wanted to, let's actually see. So what I'm going to do is I'm going to grab my plane shift S cursor to selected shift A, bring in a curve. Let's bring in, doesn't matter which curve you bring in, so I'll bring in a bezier. And then I'm going to press tabs on in edit mode A to make sure I've grabbed all of these vertices. And I'm simply going to hit Delete. And what that's going to nail me is now, as you can see over the right hand side, I've still actually got a curve here. I've got a curve, but it hasn't got any segments inside it, Which means now I'm free. If I press, I can actually open this up and I can come down to one that says draw. Now with this draw one, what I can do as well is so if I come over to my right hand side, I think, let's have a look. It should be under. Yes, I'm going to click on Draw First. Now let's see, There we are. So when I come down to Tall and I click Draw On, I should be able to click it onto surface. And what that means is now I can draw a curve on the surface of my plane. Fantastic. Right now what I'm going to do is just press control z. And then what I'm going to do now is I'm going to come up from here. So I want it relatively straight. Don't worry, it doesn't have to be perfectly straight or anything. And then what I want to do is I want it to come round to here. Maybe if I don't make it the right way this time, I'll actually be able to do it again anyway. And you can see now that it's looking okay. Let's try that again. So let's bring it up and then what I'll do is I'll come round here and then here can go up to here, maybe something like that. Now. I think I'm happy with that. Now what I'm going to do is I'm just going to come in, I'm going to take proportional editing off a minute. And what I'm going to do now is just work on my actual curve, making sure that I'm happy with it. Any of that are a little bit out. As long as you're in this view, you can press and you can actually move it around. It's much easier to move in this view as you can see, basically I'm going to put it like so and get a nice flow to it. Now once we've done that, obviously we want to see what this is going to look like. So the first thing we want to do is we want to extrude it out. What I'm going to do is I'm going to come to my little curve button here. And instead of going on the deck, I'm actually going to go on the extrude. And I'm going to extrude it out holding the shift button very slightly like so. And you'll see that extrudes out probably a bit longer, a bit wider than you thought. And that's just because it's doing both sides at the same time. So let's bring it in a little bit. So now finally, let's bring in one modifier. So I'm going to bring in add modifier and it's going to be the solidify. Once I've brought that in, what I can actually do is press tab now, and let's shave flat. And now I can actually pull this out and now you can have a really good idea of what this curve is going to look like. Now, first of all, we can see that we do need it a little bit thicker than where it was because it was nowhere near thick enough. We can also see that once we've made this thickness, now we do have some problems in how the curve is going to look, but we're not going to worry about that. So we're going to press control one again. Because now we can actually still have control of our curve. So I can actually bring it down. I can straighten it out as well. So I'm going to straighten it out a little bit. So, and then what I'm going to do is I'm going to move this back. Now again with G, I can move the whole thing back as I want to. So as you can see, now it's looking more, much better. Let's move it around and let's actually see if we can get that curve in that we want. If I've not got enough room to actually bend it round, I'll grab them both. Right click, subdivide. Now, I can actually rotate this round if I wanted to, as you can see. Or I can grab it and bring it into place. I think I'm going to bring this into place first. I'm going to rotate it around a little bit, just before the breakpoint. I don't actually want the breakpoint, and I'm just going to grab them both and put them in place. Now, this, as I said, might not be what you actually want. But I think for me, I'm just looking at it now. And actually that's looking pretty nice I think though, and may go the other way. And that's the great thing about working with these curves. If I come in, delete all of these vertices. Grab this vertice, press. Just point it, so it's going in the right way. So like so. And then grab it again. I'm going to press and X pull it out. You can also put it in place like this as well. And you can see that that is actually a pretty nice job, what it's done there. The other thing you can do is if you press control one is you can actually come in still use your draw tool and then put in another one. If I want it to be like that, I can actually bring in another one. All I need to do, right click, shade flat, and there we go. I can actually bring in another curve on top of that curve if I want it to be a little bit different. Now I think personally that this is going to be enough. I just want probably some support, some support down here, maybe. I'm just wondering if I'm actually going to be happy with that last of all now. I pretty much finished with drawing them out so I can grab this part here. So my curve, I can also as well come in and just let's give it main. So if we go to Maine and we'll go to Main Wood like so. And we'll just leave it like that because then I've got a good idea what it's going to look like. So now I'm going to do is I'm just gonna press control one. I'm going to press shift space bar to bring in my move. And then what I'm going to do is move them around. All right, so I think on the next lesson what we'll do is we'll get this finished off, I'm going to work out well, I've gone away what I actually want from this because at the moment I'm not sure whether I'm happy of how that looks or I want it to look. So I'm going to work that out. And I'll see on the next one. Everyone. Thanks a lot. Bye bye. 64. Texturing Wood Frames for Roofs in Blender: Welcome back everyone to the blender critic core styliightes three D models. And this is how I've got mine, so I've still used the same ones. I've just bent it round a little bit and I think I'm actually happy with this. Now what I'm going to do with these two is while I've got them is I should really move them into place. So just make them into the same place. Now we can see that on this one, for some reason, these are actually a little bit thicker than this one that I had. And I think it's just the way that the kind of curve is spun around. But anyhow, we can actually fix that, no problem whatsoever. Now, once you've actually got your curve the way you want it, what you want to do now is just come to object, come down to convert. Now the thing is, before I do that though, I want to make sure that I've not got all of these actual edge loops in there. So I'm going to come down to my curve and what I'm gonna do is I'm going to turn those down. So I'm going to turn them down a little bit. Now what I need to be careful of is that you can see that this curve and this curve, they don't really have an even number. So let's put it back up to 12. And what I'll do is I'll split them up. So I'm going to come to this one L selection and split that one up and then I'll come to this one. And now I can turn them down independently like so. Because that one just add way, way too, too many edge loops. Let's put it onto object mode and let's have a look that looks much better. Let's come down to this one now. And we can see that we can only turn this one down, probably just a few without losing that kind of, you know, smoothness that we had. All right, I'm happy with both of these. I can grab them both at the same time. Object convert and mesh. And now I can do is I can actually get them to be the right side. So we can see with this one here. So this first one we need to bring it over and we need to make it a little bit wider so and y, let's pull it out a little bit. So, and then what we'll do now is we'll come down to the bottom. So I want to come right to the bottom. And I'm going to actually come in and grab this face here. And then what I'm going to do with that face is of course pull it into the floor. So just make sure it's going into the floor probably a bit too far there. And then what we can do is we can put it back onto object mode. And let's come to this one now. So this one here, let's move across, let's get it into place. So what I'm going to do is I'm going to press and y pull it in. And then just make sure I'm happy with it, is right click, shade auto smooth. Same for this one. Right click shade auto smooth. And now finally, let's join them both together. So control J, And then what we'll do is now we'll just isolate them. So shift H and then we'll actually mark some seams on these. We'll mark some seams. And the reason I'm marking seams on these because it's a flow like this, it's just going to make it a little bit easier for me if I mark some seams. So what I'm going to do is I'm going to where is it control? Mark Sem. I'm also going to mark Sem inside there as well. So I'm going to put this on, grab this one going inside control mark seam. Then what I'm going to do is I'm just going to turn this off. I should be able to come in with select on edge select. So select and we should be able to select sharp edges like so. Right click and I'm going to mark a Sem. We go as simple as that. Now what we can do is we can actually press and unwrap. Now let's have a look at what we've actually got. We will need to straighten some of these out. Of course, let's put it on material. We're looking at this side first, they're looking a bit. I'm going to press Control all transforms now I'm going to retry that smart UV project. Let's try that instead. This top is not looking right, as you can see. Let's try Unwrap. That's looking better. We just need to make them a little bit bigger. What I'm going to do now is go over to my shading panel, put it on material. Let's dive into them like so. And then what we're going to do is press Tab. And I'm just going to look at the issues that we've got. So pretty much, they're all probably a little bit too small as you can see here. These ones here are probably a bit small. So I'm going to grab them all. First of all, and press S and pull them out just so they're looking right now. They're looking much, much better as you can see. And now what I'm going to do is I'm going to come in to, let's come into this one first. I'll try a different way, so I'll grab this one. And then I'm going to come all the way down to here. Grab this one. I'm going to press you, I'm going to click Pack. Click. Okay. And then you and follow active quads. Click. Okay. Let's have a luck if I spin that round, so 90. Let's spin it round, let's make it a little bit smaller. There we go. Now that's looking much, much nicer. Much nicer, actually. Now I'm just wondering if it's a little bit stretched. So if I press and X, I'm going to go the other way now. So there we go. Perfect. All right, let's do the same on this one. So I'll grab this one. Control select this one. Pack click. Okay. Follow active quads, click Okay, nine, let's make it a little bit smaller. And then let's put it over here. And then let's press S and X. And bring it in. And there we go. Now let's first of all, come and turn. So we've got this one under here going the wrong way. As you can see L spin it around 90. Now that one's that one. Pretty much done. Now let's fix both of these. So this one's going the wrong way. As we can see, this one's always going the wrong way as well. 90, spin them round, that's that fixed. And now finally these parts. So what I'm going to do is we can't do them separately. We have to do them, sorry. We have to do them separately. So I'm going to grab this one first. Contos like this one, and lemp Pac. Click Okay, follow active quads. Click. Okay. Let's come to this one exactly the same, then we'll do them both together once we've actually unwrapped them. So what I'm going to do is grab both of them. I'm going to spin this one round first 90. Put them both together, make them smaller then and X, bring them both in there we go above. Done at the same time. All right, they're looking pretty nice. Let's press all tag, Bring back everything. Let it all load up. It's going to take a little bit of time. Now what we want to do is want to make sure that this is the same over the other side. What I'm going to do is I'm going to go into modeling for this. I'm going to grab this one actually, before we finish, we just need to bevel these off as well. I'm just looking what needs bevel in these. Do let's press Add Modifier, Generate and bevel. Let's turn it all the way down. Turn one and then that should be fine. Let's put it on object mode. Just have a quick look. Yeah, that's absolutely fine. And then we can, does we can grab all of these now. And then what can does I can come over and go to object convert mesh control J. And finally now let's put them in the center. So I'm going to use this as my center point shift S cursor selected. And then I'll grab these again. Right clicks at origin 23d, cursor and finally bring in a mirror on the zed. I didn't think it would be said, but it is. We can see that. It's yeah, that looks like it's perfectly in place. And there we go. I'm just looking at this roof and I'm thinking it's a little bit out. You can see here. We've also got a few problems with these ones going up. So let's actually fix those first. So first of all, I'm going to move this over. I'm want to press and Y squish it in a little bit, just so that come right to the end. I'm just going to go over the top to have a look. We can see that they're slightly through the, slightly through there on this here and here. That's looking fine. I think that's actually looking good. I'm going to right click and shade, auto, smooth on those just to make sure they're smoothed off. And now what I need to do is while I've got my mirror on, I might as well come in and grab the top of these press control. Plus, just so I get rid of that devil, pull it down and there we go. They're fixed. Okay, so now we've done that. Let's come in, let's press control later. Apply my mirror, and finally now let's come in and just press B to grab all of these control, plus just to make sure we've grabbed them all like so. And then what I'm going to do now is I'm just going to head over to my UV map. I'm going to grab them all and just move them over here slightly. Have them looking exactly, Not exactly, Sorry. Completely different from each other. All right. Yeah, I'm happy with how that looks. Now, the one thing I might not be happy with is just these bits might need pulling down a little bit. So what I'm going to do, I can see that they're a little bit too much into there. So I'm going to grab this one. This one. This one and this one. And I'm going to press shift space bar, bring in my move tool and then I'm just going to pull them down just a tad like so just to give us that nice gap that we need there, just to show people that they're actually put into place. Alright everyone, So that's that part. That was the pretty long part, actually, much longer than I thought it would be, but I'm really, really happy with how that's turned out now. So what we'll do then on the next lesson, is I think we'll make a start on our actual barrel. Something a little bit different. So we'll have our barrel coming out here, and we'll actually start with a barrel and you'll learn how to make a very, very nice simple barrel. Alright everyone. So I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 65. Barrel Attachment Modeling for Blender Taverns: Welcome back everyone to the Blend, the Create Core, stylized three D models, and this is where we left the. All right, so now let's do what I said we're going to do. We need a large piece of wood first, so let's go into our state manager first of all. And then what we're going to do is I think maybe 2.5 meters all do it. So let's bring out 2.5 meter piece. Let's also bring out a three meter piece as well, just in case I'm going to try the three meter first. So while they're 90, let's pull it into place because it needs to be stuck out pretty far what we actually want to do. So we want it to be into here like so and supported along there. And we also want to make sure that it's going to be out far enough. Now, I think that three meter piece is going to actually do what we want it to do. And I think that we probably need to bring this part up and sit this right on top of here. So what I'm going to do is I'm going to, I think, pull it in a little bit and then I'm going to stretch it out so and X pull it out a little bit like so. And then what I'm going to do is I'm just going to come round to this little piece here and I'm going to sit it on top. So I'm going to go into x ray. Grab the face. And then let's press control plus. And let's pull the mall up a little bit. Control minus then, and let's pull it up in that way. And I think that way we're going to get less stretching than the other way. All right, let's have a look at that. Looks like. Yeah. And I think that's going to be pretty nice what we need. I'm also going to pull this bit across. As you can see this bit here, it's not quite right, so let's pull it into not quite into the wall, something like that. And I think last of all, before I make a start, my barrel is I'm just going to drop this window down. Because if they're climbing out, they don't want to be climbing out and falling onto the ground like that. And then what I'm going to do is I think I'll grab this piece here, shifty, and we'll just put a top on there. So I'm going to press S and Y and bring it in. And then what I'm going to do is spin it round, so Y 90 and then just drop that back into place. Like maybe pull it out a little bit more. Yeah, and I think that just looks a little bit better now, especially on this corner. What I'm looking for when I'm looking at any angle of this, is that there's detail Everywhere you look, little things, every single place you look and you can see apart from where we're going to have a door here, every single part has something that's a little detail. Wherever you look, there's little intricacies of this and that's exactly what we're looking for. Okay, so now let's think about our barrel. Now we can have this barrel, so the main barrel to be a little bit bigger than the little small barrels around the outside because obviously this is showing that it's actually in. So I'm just going to bring my guy here. I'm going to press S Ursa selected just to give me a feel of the size of the barrel to start with. Then what I'm going to do is I'm going to pay a shift. I'm going to bring in, let's bring in where is it? Let's whatever we need to bring in, we need to divide it. So we're going to bring in a cylinder, but we need to make sure that it's dividable by, let's say three, so that every single one of these 123 can be one of these sides of the barrel. In other words, we've got all of these little planks of wood that make up the barrel. So if you're doing it by three, it needs to make a four. It needs to make sure that you can actually divide it by three or four. So let's put this at, if we do three times seven is 21. So we'll put this at 21. And then we should be able to divide this up by three. So let's first of all see if we can, so what I'm going to do is, and I'm just going to turn this off and then I'm going to go every third one should be able to, so we've got 123, so we've got two in between. So it might be four actually, we might need to divide it by four, which would make it 24. Let's just have a look if we can get away with it this way. So I'm going to isolate how actually it's going to make it much, much easier. I think I might need to go back and just do on the next one. No, well great, right, there we go. So you can see now if I right click and mark Seen, we can see it's exactly going all the way around. Pretty even. So I've got three slats making up each one of our plants. All right, that's perfect. Now I can press Altage and bring everything back. And now I can do is I can make this a little bit smaller and I'm going to pull it to the side now. And then what I'm going to do is I'm going to press and because I want this to be part shape basically, so something like that. And now I'm going to do is I'm just going to fit this into place and see how big it actually needs to be. So if I bring it up here, I'm going to press R x 90 and let's pull it into place and see how big Steven to go over the top and see how big this is going to be. So if I put it into there like so we can see with it hanging down. Yeah, it's a round about here, that is how big the barrel is going to be. And actually, if I pull this a little bit away, I think that's about the right size actually. That would be a very nice size. So now we've actually got that. What we can do is we can come in now and start shaping this barrel. So I'm going to bring in three edge loops, left click, right click, drop those in place. And then what I'm going to do is I'm going to grab the middle one. Let's put it onto root. Let's try root. And then like so, and you can see that's pretty much the perfect way a barrel needs to be. And I'm thinking that it's probably a little bit too big. Just probably a little bit. So I'm going to press S, and then we're going to press S and S and Y and pull it out a little bit. And then we go, I think that's pretty much the right size of what we're going to need. All right, so now we've got that. Let's press shift H just to isolate everything else out of the way. And then what we'll do is now we'll actually come and first of all we'll split these off. These here we'll split off, So what we're going to do is press Y. Just split them off like so. And then what we want to do now is we actually want to split all of these off independently from each other. So if I press L on each of these, miss miss one and we can't miss one there, so we'll just press Y H and then split this one off, Y H, and there we go. Now they're all split off Alt H, bring everything back. Now let's actually separate these away because it is going to make it a little bit easier if we do that. So I'm going to press selection just to separate those away. And now come back to my barrel. Now we're going to right click and shade, auto smooth. And this is what we should be left with. And you can see already because we've split them up, we've already got those barrel kind of lines now Now what I want to do is actually want to come in and give these some depth, obviously. So let's press control A, all transforms right. Claxrigin geometry. Let's go down Add modifier, Generate, and let's bring in a solidify. Let's pull the solidify out like so. There we go. That's looking pretty nice. Now the other thing is we, they're not close enough together to start with. We can see as well that if I hide these, this is what we've got at the moment. So you can see that these need pulling out just to be a little bit closer. Or we could go the other way and go the inside. But I think we'll do it this way. Now what we'll do is we'll actually try and pull these out, I think, and then randomize it. Let's just have a look where it's going to look like on the other way. So I'll go the other way instead. Actually, that might actually be easier to actually work with. Yeah, I think we'll go the other way. Let's get the thickness right so we're going to have to be that kind of thickness. And then what I'm going to do now is I'm going to come in press control and just apply that. Now finally we can see that we've got some crossover on the bottom. We don't really want that. What I'm going to do is I'm just going to now come in and I want to mark a seam on the edges of here. I'm going to come into this one just going all the way around and I'm going to mark on here like so I'm thinking that, yeah, probably we're going to have to mark a seam on here as well. So I'm going to have to come in, I'm going to make, and then we should be able to bring them all together. And we have to do this on the other side as well. Unfortunately, I'm going to do the inside then I'll grab all there. Now I'm going to do the outside as well. But pretty much all of this except these two in the middle. All right. Right click mark, same. Now let's do the same on the other one. If I come to this side, I'm going to do exactly the same. I'll go the outside. First shift clicking on the outside, then al shift click on the inside. The other thing is that I did forget about. I need another part going across here. I'll use these parts here. So you see these going through here. I'll use those in some way I did forget. But I'll show you even how you can do it, even if you do forget. Easy to mistake to make. Actually you got a thing way ahead when creating a barrel. So we're just going to select all of these, so let's right click cosine. All right, they're looking good. Now what I can do is I can come in and I should be able to s inside as you can see here, the inside of all of these. Now if I put it on individual origins, so if I put this on the normal, then what I can do is I can press and let's say Y and X. Let's try and X. We can actually bring these in, but we bring them in wrong because we've actually got portion editing on to S and X. There you go. You can see, you can bring them in. Now what we can do is we can actually grab the whole thing A and then I can come in mesh transform. And I can come in. And before I do that, let's actually do this part because it'll be a mess if not. So what I'll do is I'll come in, I'm going to press Shift click. And I'm hoping, yeah, it's grabbed it, going all the way around there. I don't want that. So what I'm going to do is I'm just going to go down and control click and shift click. So I'm just grabbing the outside because I did unfortunately mess up. So I'm going to do it going all the way around here as well. It's going to take a little bit of extra time. Now, we could have just duplicated the barrel, merged it by distance, and then probably got the same result. And just going around the outside, that might have been another easier way of doing it. Again, many ways to fix things. So now I'm going to do is I'm going to press Shift and then Selection. So I'm going to basically hide this out the way. Come back to this. Now you should end up with this. A let's come in mesh, clean up and let's merge by a distance, 21 verts. Now these are all together. Now what I can do is I'm thinking I'm probably I need to turn these some way and extrude them. I think that's going to be the easiest way. What do I mean by that? I think I'll turn them into a curve. So I'm going to go to mesh. In fact, we one, we'll go to object and let's go to convert to curve. So let's press voltage then and bring back the other parts, so all the barrel and everything else. So let's click on our curves. And then we'll come over to our curves. And what we want to do is we want to extrude them rather than give them depth. So let's extrude them out. So that's exactly what we're looking for actually. Now what it wants to do is want to solidify them. So we're going to pick solidify, add modifier, generate, solidify like so. And then we're going to give them some depth. Then what we're going to do is we're actually going to move this to n 0.5 And that then is going to place them back right in the center. Now we can see that we do have some problems with these. First of all, they're probably extruded too far. Let's put on an object mode. They're probably extruded too far out. In other words, they're way too thick. So we need to fix that. They need also coming in this part and this part, so they follow the curve of the actual barrel. Let's fix that first. So what I'm going to do is I'm going to come in and bring the extrude down. So I'm going to bring that down holding shift like so. And then what I'm going to do now is I'm going to apply this. I'm going to go to object convert to mesh, finally, then I'm going to come down with each of these. So on both of these sides, I'm going to try Les, will old do it. Yes it will, That's going to do it perfectly. So now you can see really nice flow. Finally, let's press control. All transforms, right click, set, origins, geometry, right click, shade, auto, smooth. Finally, let's actually bring in a bevel on the sofa. Come in, add modifier, bring in a bevel. Let's see what that looks like if you turn it down. Turn it up one. Yeah, I'm thinking that's looking pretty nice. Now, one thing I'm not sure about is are these sticking up? We can come in and still edit that. So we've got it on to Global, we need to make sure that run individual origins and we need to press and y and we should be able to then just pull them out and make them a little bit thicker. So yeah, and thinking that looks a bit better. And now finally, let's come back to our barrel. I'm going to press tab A to grab everything. We should have already done the work here. We've got a lot of edge loops in there already. So we should be able to come to mesh transform, randomize. And then turn this all the way down to 0.1 So let's hide the ends of this so we can actually see what we're doing another moment. This is what we've got as you can see. Now that's looking already pretty good. Nice. Now we can see that the inside we are seeing the inside a little bit, which we don't want to do. We don't want to see the inside. Let's now come in and fix the inside. In other words, if we come in and just grab all these again and just the close so that they make sure that they next to each other. I'm going to come in, grab all the. And then what I'm going to do is I'm going to press, I'm going to make sure I'm on normal first. And then I'm going to press and X and just close them all up together. Now that should look better. Double the A from there we go. Okay, so now I just want to pull these out. So if I come in, I'm going to put it onto global. I'm going to make sure that proportionately it's non. And I'm going to make sure that this is on random. And now I'm just going to pull them out individually. Just making sure that they're pulled out enough. So I'll just pull this one out, pull this one out like so the one thing I've got on is making sure they're all split as well. There we go. That's looking pretty nice. I'm happy with that. And then we'll do the same thing on the other side on the next lesson. All right. Ever want. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 66. Attaching Barrels to Tavern Entrances in Blender: Welcome back everyone to the blend, the crater core, stylized three D models, and this is where we left off. All right, so we've got this so far Now what we want to do is we want to just come to this side. So I'm going to grab my barrel, press shift, age, hide everything else out of the way. And then all I'm going to do is press L, and I'm going to literally pull these out just in another kind of random way. And so, there we go. All right, that's looking pretty cool, I think. I'm happy with that. And then what we'll do is we'll press al tag, Bring back everything once more. And now we should be able to put the ends on there. So I'm going to delete this end out the way. So delete faces. Come to this end. Pull it out without portion. Let's non, just in case of bent it or something like that. Let's then press one on the number pad. And then what we want to do now is we need some planks going this way. So I'm going to do is I'm going to come in, I'm going to grab this one. And let's say this one, I think they are. Let's have a look. Are they going the right way? Let's press J, and let's grab this one. And this one J. And let's grab this one, and this one J. And then let's grab this one and this one. Press J, and there we go. All right, that's looking cool. Now we need to go the other way. And the reason we want to go the other way is just so we can randomize these end bits as well. So what I'm going to do is I'm going to grab this one J, and then this one, and this one. And it doesn't matter out these ones if they're, you know, lining up or anything like that really doesn't matter on these ones because these are going to be the points where we're just randomizing it a little bit. The main ones are these ones going up. So if you can just remember that, then we'll be able to use these to randomize. So I'll do now is O shift, click shift, click shift, click shift, click, right click marks, split them up so L, L, and L, Y. And then I can grab them all with a. And now I can come in mesh. And let's click where is it transform Randomized? Let's turn this all the way down. Obviously it's way too high, so not 0.1 And then finally what we can do now is we can bring them out E, bring them out like so now, right flick shade or too smooth. And then what more? So we're going to do now is I'm going to come in and be level these off. Let's be level these off first because that'll make it entirely different. Control that origins geometry a modifier. Generate bevel, turn it down. Turn it up. There we go. There's the barrel. And now you can see it's looking a really, really nice barrel. And then we can come in with this part control or transforms generate bevel, turn it down, turn it off one, and then let's pull it back into place where it's going to go, make it obviously a little bit smaller. And let's pull it back even further. Double tap the A, and that's looking pretty cool. Now for the other side, let's just press shift, bring it over. Now generally when we put on the floor, this is going to be a lot more further down to here. But it being in the actual scene, being in the outside, the in, we can actually have it in a little bit. It just accentuates how it actually looks, which is what we want. The other thing is really want to rotate that round just so it's a different way from the other side. And there we go. All right, that's looking pretty nice. Now the next thing to do is to pull this out. So what I'm going to do is I think I'll grab this one. Control plus, let's pull it out. Control minus out control minus pull it out just so we're not stretching it out too much. And it looks a little bit, you know, in a really nice way. And then what we'll do is we'll just part shading panelon, you will see that it's probably not even stretched out enough. See, you can actually notice the wood stretching because the way that we did that, so we might as well leave that. Now what we're going to do is we're going to actually bring in some barrel wood. We actually have some wood which is especially for barrels. So let's, I think, join this altogether. Now we've got it, so let's join it altogether. We don't want to put any randomness on these parts, so I'm not going to do that. What I'm going to do is I'm going to go to object convert to mesh control control or transforms right **** origin geometry. And I'm actually, we'll put the materials on and then we'll actually save this out as one of the assets. So we'll save it as a small asset within our asset manager. Let's go to File and Save, because I haven't done that for a while. And now let's actually look at our materials. If I come up and I go to use the library, I'm going to go then to my materials. And I should have one that says barrel wood. This one here. Let's bring this in and drop this on here. And there we go. And then what we'll do, we also, I think we've got some dark metal, main metal and light metal now. We've already got those in place anyway, so we can do that. But what we will do is we'll come in and grab each of these and then what we'll do is we'll just make sure that we click plus down arrow and we're going to put in main metal. And then let's click a sign like so. All right with me so far. Now let's come into the main barrel. So what I'm going to do is I'm going to just hide these out the way. So all three of these, hide them out the way. And then press a Smart UV Project. Click. Okay. We can see that these are going the wrong way now on all counts. So what I'm going to do is I'm going to go over to my shading panel and I'll just turn them around because it's just a barrel. So we haven't got to worry particularly about, you know, bringing in loads of pieces of wood and turning it around. So in other words, I'm not going to change it actually within the material. I could come in and change the mapping and change the rotation by 90. I'm not going to do that on this occasion. What I'm going to do is I'm going to come into here R 90 and spin them all around like so then what I'm going to do is I'm going to make this a little bit bigger just to make those a little bit better. Then what I'm going to do is I'm going to have a quick look. Double tap. And there we go. You can see that barrel looks fantastic, really nice. Now the thing I'm thinking of is how much bend we got on this part. This part here, I'm just wondering. You can see, actually we've also some edges going along there, which also makes it even nicer. Now I'm just worried about this one. This is one part I'm actually worried about. You see it going all the way down there, but there is a part which is here. If I press and wrap and then R 90. Yeah, a thing that actually looks bare. I'm, I'm going to actually go round and do that. So instead I'm just going to grab the fronts of them because I do think it's making such a big difference. So I'm just going to grab all these like so and then I'm going to press you on the rap and then are 90. Yeah. That's just looking as you can see. So much fair done in that way. And I'm just looking at this part. I'm happy with that part. That's absolutely fine. And I'm happy with the part everything else looks really, really cool on this was just that edge is that I wasn't liking. Okay, so now we've done that. Let's bring in our chain. In fact, first of all, let's press Shift and then let's rotate it so our x 90. So let's press dot to zoom in. Let's come over now to to here. And what we'll do is we'll call it barrel. Then what I'll do is I'll come in fine again with the dot one. Right Pl markers Asset. Go to Asset Manager and then it's come to our current file. Let's make a new one and we'll call it Small assets because barrels will be something that you're going to use pretty much all of the time. And then what I'm going to do is they're going to go to unassigned. And I'm going to actually put that into my small assets. There we go. All right, that's done. Now I can put this over here. Now bring this over here. While I'm here, I can also duplicate this chain, because I'm going to be using this next shift, bring it over, and then let's make this chain a little bit smaller. Let's spin it around, so Y 90. Let's press one, And let's now get into the place where I want it to be. So we can see if I press three, that the chain is pretty one key at the moment. So what I'm going to do is I'm just going to come into the top, delete it. So delete vertices. I'm going to come to my one link. I'm going to press and Z and hopefully bring it up into the place that I want it, something like that. Now you can see it's nice and straight. And now we can actually bring that across, press the dot board and get it to where it wants to start. I think actually the starting point of this is very, very nice because we can actually have it where it goes near enough perfectly into there. And then what we'll do now is we'll bring it over ship, bring it over to this side. What I'm going to do now is I'm going to rotate the barrel a little bit because if you're doing anything like this, you want to put a little tiny bit of rotation on it. And that will add again to the overall scene. Now the one thing I'm thinking of, I think I like this. I'm going to actually rotate this a little bit, so I'm going to press R X and rotate it very slightly, and then R and Z and rotate it just very slightly like. So you can see now that it just adds that little bit of something to it now. Last of all, I'm happy with how these chains are in there. I think this one needs to be a bit more in the middle. So, but I'm happy with how they're in there. What I want to do though is I want to make sure that the top part of the chain, so this part here, is actually inside of the wood. So what I'm going to do is grab everything, pull it up, and then I'm just going to make sure that those parts are inside of the wood. Now the one thing I didn't do on my other one, which you should really do, is you should put a plate going along here. There should be a plate into this wood. Realistically, I'm not going to do that on this one here, but I'm just saying that you probably would want to do that. Okay. So now let's come over and what we'll do is we'll convert this now. So I'm going to grab this one and this one, and I'm going to press Object, and we're going to convert to mesh. And then what I'm going to do now is I'm going to come in with my X ray on and I'm going to come in and press L, L, L just come in, grab them all, all the way up to there. Same for this one, and then we're just going to delete them out of the way. So delete. And we're left with just these two. And delete, And there we go. Now we can join these together. So control J, and finally we can actually join them with all of this control J. And there we go, that's what we're left with. Now one thing we need to do is just minus this up. And we want to have, instead of this, we need to have this on chain. I think it's called light metal. Light metal, this one here. And that then because we swap that over, we'll only change over the actual chain. So now let's have one final look. The one thing that we want to also do is we forgot if I press ol tag and bring back those bars, I'm just going to see what they'll look like, if it's going to look any different. Turn this off with me unwrapping the U Smart UV Projectic. Okay. And I don't actually think, because it's Mel, it's going to make any real kind of difference. But let's have a look what we've got here. Let's also turn off these interlocking links. Yeah, and I don't think it's going to make any difference. I think it looks good, evil way. All right, so we've done that. Now what I think we should do is we pretty much we might as well. I think now we've got that we need to on the next lesson, first of all, just move this over slightly because we need to have to actually have something that's going to be supporting this. So we'll do that actually right now. Let's just turn these into locking links off. Let's just move it over a little bit like so. And we'll put support on the next lesson. And I think then the best thing that we should do is actually just start building this bit out. Let's get on with this bit, because then we can actually come to the final stage. The thing is we've already pretty much built all of this. In other words, we have some banisters. We have this outcropping of this wall here. We have the windows. We have pretty much everything. The only thing we're going to need is a plant pot, which we're going to be also using over that side. We've got some crates to build down here. You know, just little minor bits that we need to build at the moment. But pretty much everything else except the main door is actually built. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 67. Crafting Curved Stylized Roofs in Blender: Welcome back everyone, to the Blender creator course, Stylized Three D Models, and this is where we left the art. All right, so now let's actually come in and think about this top part. So first of all, we can see this part in comparison to the rest of it, is a little bit of how I'm happy with actually how far this bit is dropping down. And I think actually might even drop this bit down a little bit more. So I think we can actually work with dropping this down, so this bit will be a little bit lower. And I'm just wondering how drop that bit down. Yeah, let's come back, Drop that bit down, let's drop this down as well. Then what I'm thinking is for this bit, because it is dropped down a little bit, which is fine, this bit is a little bit higher. But realistically, we really want to bring this bit up. This is the most difficult roof to build, no doubt about it. Let's bring this up. So we want this, then if we grab both of these, come out to something like this. Yes, that is how I want it, but obviously, I want this curved round. Let's think about joining these two parts together. I'm going to press control J. Join them both together. And then what I'm going to do is I'm going to join these two now. And the way I'm going to do that is obviously pressing a mesh. Cleanup. And let's merge by distance. Let's increase this then. And there we go. Let's join that up. Now what I can do is I can actually come in. I was hoping I could press control. There must be another part, not actually in there. Let's I'm just wondering, let's see where the problem is. So we've got this going down here. Maybe the problem is in the inside. So I'll just have a quick look if there is anything on the inside. Yes, there is, I'm going to delete that other way. So delete bases. Let's press Holtage and see now. Yes, I can. There we go. That's what I'm looking for. All right, so let's bring in some edge loops. Left click, right click. And now what I want to do with these edge loops is I want to make a nice slope. In other words, I want this to be probably back to here and then this one to be back to here. I'm going to press three, sorry, one to go inside view and then I can really see what I'm doing. I'm going to zoom out a little bit. And what I'm also going to do is I'm going to go into wire frame. Then I'm also going to put it onto vertex. Then I'm going to do, now I'm going to select one and then just get a nice smooth so again, in fact, then pull it back. I'm just looking, probably coming back a bit further. You can see I'm working on how far I want this thing to come back then. So we can see we've got a nice gentle slope going up. And we can now use that to actually create this roof. If I put this back on material now, that is what it's going to look like. And I think that's if we look from here, that's looking pretty nice. Apart from the fact, I think I'm just wondering if I should bring it out a little bit more. Actually. I don't think so. You know what, I think that will be messing around with it a little bit too much. Okay. So I'm thinking, let's probably get this roof on first, and then once we've got this roof on, then we can actually build the rest of it. Because this roof, like I said, is the hardest part. Not only do we want it coming from here, we also want it to bend down and we want it to come out. So let's come in, grab our roof, let's press it D once this spits out of the way. Honestly the rest of the build is easy because there is nothing difficult at about the rest of it. So what I'm going to do is I'm going to decrease, I'm going to save that my work as well. Now I've got that. I'm going to decrease my horizontal where I want it to be, which is roughly about there. And then what I'm going to do is I'm going to put this kind of in place. We've already got a nice slope on there, but it's a little bit too steep as we can see. So what we want to do is we want to change the rotation. So we're going to change the rotation. Change it. Change it and then put it there. And then I'm going to do, I'm going to increase the vertical count. So let's increase that something like there. Let's bring it into place. And that actually maybe let's bring it down a little bit more and pull it out. Now the one thing we need to make sure of is that this side and this side are very close together. Because we're not going to have this big bar going across on this one. We're just going to have some tiles going over the front. So what I'm going to do is I'm just going to change the horizontal again and bring it to like something like that. And then finally I want to make sure they're a little bit closer together. And now I want to do, I want to probably give it one more, as you can see, one more vertex down and then bring it out and bring it in. So it's touching. And then finally I think I'll change the angle just so it's not so much of a slope. So I'm going to come in to where my angle roof is and just change that just so it's not so much of a slope. And there we go that I think I can work with even though it's not coming in exactly in line with the roof because this roof wasn't then I think that's fine. What I'm going to do is now I think I'll just put this a little bit further this way and then I'll come to this one. And then what I'm going to do is I'm going to come in, grab both of these. Press shift S, cursor to selected And now I'm going to see if I can just move the orientation. I might not be able to move it there. We'll just give it a try. So right click, origins three D cursor. Yeah. And that's going to be the issue that I'm going to face. I won't be able to mirror it over the other side yet, So I'm just going to put it back instead. And it's a shame I can't mirror it over there. It'll mirror this side instead. So I'll have to work with this and see if I can actually work with it. All right. So now I can see that I do need to pull it out just a tad more, which means I'll probably need to add one more tile on here. So what I'm going to do is I'm going to come in and add one more horizontal tile to 26, and then I'm going to bring it back into place. Now we can see we've got a lot of wastage here. We're going to have a lot of wastage in here. We can saw that when we've finished. But the main thing that we want to do is we want to come in and decide which tiles we want to keep. Now the way that I do this is I'm going to base it on which tiles I can get away with making smaller, bigger, and doing it that way. First of all, though, we've got this geometry node, it's in place, it looks good, we're happy with it. So we might as well apply it, control A. Let's apply that next of all. Then let's come in and fix, instead of cutting down here, that's just going to look weird. So instead of doing that, what we're going to do is we're just going to cut down these. So in other words, we're going to come in and we're going to grab all of the top. So I'm going to come in, grab all of yeah, he grabs it all, like, so I'm going to come in, grab that one. This one. This one. This one. This one. This one. As you can see, I'm just going right next to this edge because I'm going to actually make some of these titles a little bit bigger or smaller depending on my needs. So we can see here, it's got a Ok that's there. Delete bases and that's what we're left with. And now what we're going to do is we're going to, I'm thinking, where is it coming up to? I'll go underneath it, actually, because that'll be a little bit easier. Then I can go L, L, L, L, L. Maybe these two or three here can also get rid of. All right. Let's try that. You'll see exactly why I've done it this way in a minute. Delete. Now I want to do, I want to bring these out into place, but at the moment, very hard to see with how this is in place. So what I'm going to do is I'm going to come to this edge here and I'm going to grab it going all the way from this one all the way down to here. So I can basically follow it along. I think actually I will pull this out as well. I'm going to pull this out and this out just to have something to reference it to. Then what I'm going to do is I'm going to grab this, be, grab this top one. I'm going to press Shift and then I'm going to duplicate that. That's now duplicate, which means then come in to the top of this one, the bottom of this one, delete faces. And there we go. There is our edge right there. So we've got our little edge. Actually, I didn't even need to copy that. I could have just used this edge going along here. So that's fine. Now let's think about putting these parts into place. So what did it mean by what was trying to do with all this? So let's come to the first one and what we'll do is we'll grab it, so L and then and X. And we need a little bit of finesse here, so I'm just going to pull it down. I'm going to grab this one then. So pressing L and then and X like so. And pulling it out a little bit as you can see. And then sometimes what I'll do is I'll grab this one for instance. I'll pull it out to where I want to go, and then I'll come in to one like this and I'll pull it out and X pull it out a little bit, move it along, and then grab the next one. Pull it out, and then press an X and pull that place like this one here we can see is absolutely fine. Following that line on the next one will be this S and X, Pull it out, put it into place. And then this one here is fine. This one here needs to be much, much bigger. So I'm going to pull it out. I'm going to press and X, get it into place, and then move this one along. And then finally this one. You can see I need to move this one a little bit more, it's not quite in place. Holding the shift bore down, moving it along. And then this one here, I will actually make a little bit bigger and x. All right, so now we can see that we've nearly made it. So we're coming down to this one. We're going to make this one a little bit thinner, X, pulling it back a little bit. Now where is the line? We can't actually see the line anymore. I think it comes straight down to here now. And it's as we can see straight now. So that means that these just need to line up with these and then we should be fine. The way I'll do it is I won't make them all the same size or anything like that. What they'll do is I'll come in here an X and make them smaller here. And then move these along, and then move this one along. There we go. That one's fitting into place. Now we can see that we can probably delete these two out the way. Delete bases or vertices. And then let's come into this one. Let's make it a little bit bigger. Then we've got a beautiful slope, as you can see coming down. This one's not actually out, so I need to make this just a tad, a little bit bigger. So now we're going to follow this along, again, making this one a tad, a really small tad bigger. And this one probably fine. And then this one just the tad smaller, pull ins place. And then finally, the last one which will make this one smaller. In fact, we'll grab them both. And then S and X make them smaller. Let's grab this one first, pull it in place holding shipborne. Then this one pull ins place holding the shipborne. And finally this one, let's make it just a very, very tiny bit smaller on the X like so. And let's pull ins plate. Now what I want to do is I just want to make sure Alport, I think actually even if we moved our wall back to here, still gonna look really nice. We've got a beautiful curve on there now, and I think I'm actually happy with how that looks. All right. So that looks pretty good. I'm going to say about my work like so and I'll see her on the next on everyone. Thanks a lot. Bye bye. 68. Detailing Curved Roof Tiles and Wood Frames in Blender: Welcome back everyone to the Blender critic course, Stylized Three D models. And that's where we left off. All right, so the first thing then we want to do is I want to basically unwrap this and then mirror it on the other side, because then is going to mean that the UV's will all be unwrapped and everything like that for me. So what I'm going to do is I'm going to come in and I'm going to do what I've done before, hopefully grabbing all of these. We'll be able to select all of these as well. So let's come in, turn off x ray, and let's come in and just all of these going across just all the way down from the bomb. And I'm hoping that it selects them all. And then I should be able to go in like we did before and select the shops. And then what we'll do is we'll mirror it over the other side. And then finally we'll cut out the parts that we don't need because we will end up with a lot of parts which are hidden within other parts. And it's just a waste of topology actually. All right, now we've got that. Let's go to select similar by normal, and there we go, that's all those. Then what we can do, I can go over the top and what I can do is I can press and let's project from view like so. And then I can hide those out the way. And then finally what I can do is actually, I'll actually put those in first. I'm thinking. Yes, let's do that first. We'll go over the top, we'll go over to our UV editing Now, in fact, we'll also give it the actual material it's going to need. So if press the tabs minus that off, click the down. I'm looking for roof. So here's the roof. Bring that in and then what'll do is I'll go to my UV map now with all these selected, not the sides as you can see. So we'll go over to our shading panel, press the tab here is our roof. And then I'm going to make it much bigger. Of course, here's our roof. Let's press, let's move it up. Let's press and make it a bigger. So with the dirt at the top now maybe I've got a little bit too big there. So what I'm going to do is I'm going to shrink it down just a little bit. And then I'm going to move it up, Y, move up to the top so that top is really, really dirty. And then I'm just going to take a quick look in my rendered view and have a lot of that looks like. Yes. And I think that is pretty much perfect on there. Now I can, I can come in now and actually hide that out the way. And then what I can do, I can select all these edges. So I'm going to go into select select sharp edges. Bring that either down, there we go. And I've done it again now let's try to select sharp edges. There we go. Let's bring it down to 90 degrees is going to select them all. Pretty much. I don't mind selecting actually these ones going over the side. That's not the point. These ones here are the ones that I want. Select these corners here, there we go. Now we've selected. Then what I can do is I can write C mark. I can do is I can press A to grab everything, and then press Smart UV Project. Click Okay. Then let's have a look what they look like. And they're looking good. I think I just need to make them a little bit bigger. Yes. And there we go. They're looking absolutely fine now. Okay, So now we've got that. We don't need to worry about that anymore. What we can do is we can press old page and then I can probably mirror it over the other side. Now I've got this, so I'm going to come in, I'm going to make sure that I've got this center line selected, shift S, cursor selected. Come back then to my roof. Make sure I've applied my jot, which I have control or transforms right clicks the origin three D cursor add modifier. Bring in a mirror, put it over the other side. Turn off the G, and then we go. There is our roof now, we don't want to get rid of this yet. Not quite yet. And we don't want to kill, you know, these tiles that are actually in here. Not quite yet. So what I'm going to do is, first of all, put this, and you can see the joining near enough in the middle, which means I can make beautiful tiles that are going to come over here, but one step at a time. So what I'm going to do now is I'm going to actually come with this side now. So remember I actually had, I'm hoping to have a point which was actually in there to hide this. Do I have a little line? Nope, not got anymore, so let's bring it back. So what we'll do is instead is we'll use this line going down here. This line going down here. I need to base this, straighten it up. So what I'm going to do is I'm going to press control three to go inside view. And all I'm going to focus on is just this point here. So you can see this point here. Because what I want to do is I want to create my wood going underneath from this. So what I'm going to do is we're just going to set this on and then I'm going to grab this point and I'm going to pull it into place. And I'm hoping I'm just going to pull, yeah, you can see the pull in that point behind. Let's go back again and let's put it just on actually we have got that line. You can see it there. There's the line. It's going all the way down. So we have got that. If I slick this, you can see we've still got a line going down there, I think. I'm just wondering if we have let's. Yes. There it is. That's the line that I wanted. All right. Call. That's good. Let's press P selection. And here is, if I hide this out the way, now there's my line. This one here. Now, this is going to make it much, much easier to create this. Because what it means is now I can press three, sorry, control three. Go to the front press tab. And what it means is now I can actually move these across into where I want them. So you can see now I can have a piece of wood come in just underneath it. And I'm going to make sure that it's going to have a nice beautiful slope to it. Also adding in probably some other edge loops as well because it's not quite enough in here. It's not bending particularly in the way like you can see here. There's a problem. If I grab these two, I'm going to right click subdivide. Then what I should be able to do then is bring this a little bit closer to where I actually want it. Again, this is going up, This is going nice. You might need another one in here. Right click, subdivide, pull it out. Then right click subdivide, pull it out, Then pull this one out. You can see we not a very good slope now it's a better slope, let's pull it out a little bit. And now that slope looks very nice. I don't think I want, on this one it coming over it. I think I'm going to add some wood going up to there. But I think this at the moment now is looking the way that I want it. So now I've actually got this. What I can do is I can grab it, L, and then I can press and y pull it out. And now I can see exactly where it's going to come. So now I'm going to do is I'm going to pull it back into place and then pull out the ones that are not quite in there so you can see. I don't really want to see the wood from here. I want to make sure as you can see down here, this is definitely not. So we want it kind of behind this roof so you can see all the way up. It's fine. And then we get to here and it starts messing up. So I'm going to do is press control, and then I'm going to pull this one back a little bit. Pull this one. So I'm going to grab both of these. Actually, I'll be like make it a little bit easier. Pull these a little bit back and then pull this a little bit back. And then pull this one and then just straighten it all up to get a nice curve on that. So I'm going to pull it back to there. Pull it back to there. There we go. Nice nice curve. All right, that's looking pretty good. Now what I can do is I can press control all transforms, right? Click saag and geometry and modifier and I can bring in a solidify. And let's turn that up the other way and let's make it a little bit thicker because it is, after all, supporting a roof on here. And now let's come into these parts. Let's come into these parts and just pull them back because of the moment, they're a little bit too far out and they're never going to look right like that. Where it wants to be is roundabout there and there you can see that's looking really nice now. Okay, So I'm happy with all this. Let's turn off our x ray and now find the. What we want to do is you want to have a piece that's going to, you want a piece that's basically going to be straight. In other words, you want a piece of wood now that's going to come from there and go up straight and make this look properly. So the way that we're going to do that is we're just gonna grab both of these. We're gonna press E and Z and pull those up. And now we can see where we need that actual piece of straight wood to be and where we need it to come from. So what I'm going to do now, I'll probably end up maybe just putting a piece of wood in there. And I'm just thinking the way that I'm going to do that is I think I'll bring in a plane to start with. So I'm going to press shift, bring in a plane and I'll bring that down. And then I'll press S just to shrink it down. I'm not really concerned with the size of it or anything like that right now. What I want to do is just get it into some sort of place where I'm actually going to start my piece of wood from. So I'm going to start from, perhaps here. Now what I want to do is obviously I want it to be towards these tiles, and I want it to follow this up. Now what I'm going to do now, I've got it in place, I'm going to actually fit it into that piece of wood. Fit it back as well, and making sure it's not poking through the tiles. What I'm going to do is now extrude it and then put it over to the top. So I'm going to press Tab. I'm going to press, pull it up and then I'm going to put it into place and just drop it in just to make sure to the. So now you can see it's following it up. What we want to do is we want to get the top part, First of all, to follow this part across. And then after that we want to actually start bending it. So what I'm going to do is control, bring in a few edge loops. So let's actually start with this one. I'm just going to bend this very slightly and then move my way down. Then this one very slightly, move my way down. Then this one very slightly. And you can see there, we got to bend this one a little bit more to get it on to be properly. And then this one a little bit more like so. And then the final one I'm going to bend and hopefully get it right into place like so. Okay, so now we can see that that's looking pretty nice. One thing we can tell is though it's a little bit too thick. So we need to fix that. So I'm just going to come in before I finish this lesson and grab it going all the way around and then pull it up. So, and then finally I'm going to bring in this part, put it on normal. And I'm hoping, can I actually put that then into place? I'm going to pull it into place. So something like that I think is going to look absolutely fantastic. Okay, so now we've got that piece in, we're going to, on the next lesson, then bring in the next piece. And we'll actually put a wall going along here. So a bit of a wall in this bit to hide it. And then some more slats just to finish it off. And it's a lot to put together these things, but you can see once you've actually finished it, they look amazing. They look really, really nice. Also, we need to bend this as well, which we'll do maybe in two lessons. All right everyone. So hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 69. Modeling Stylized Wood Supports for Roofs: Welcome back everyone to the Blender creator course Stylized Three D model. And this is where we left it off. Okay, so now let's think about this wall that's going to go in there. And the way I'm going to do it is I'm going to grab this has got a modifier on already. So what I'll do is go to object convert and convert it to mesh. And then I'll grab both of these, press control J and join them together. And now I'm going to come in and I'm going to grab this going down to here. And then it's going to be a little bit odd to see, but basically if I put on this, I should be able to see inside there. So I'm going to grab this one going down the. So here I think I think I can join these up and then fix the mesh. So I'm going to do is press and there you go. You can see it's join up. Or be, if I press shift age, it's a little bit of a mess. Let's actually fix the mess first before we do anything. So I'm going to do is I'm going to join this. I'll actually press K, put in just a cut there. Press the end to button. Come in with face. I'm going to delete this face. Delete face. And you can see it deleted all the face. And that's not we want, I'm going to actually come in and instead of doing it that way, I will delete edges. Let's dissolve edges. Might work. Let's delete edges. There we go. Now what we're left with. So now let's come in shift. He just to hide everything out of the way and I just want to make sure that the mesh is okay. So now you can see we've got a little bit of a mess here and I should have a guess. Let's not do it that way. Let's go back and again, you're seeing my mistakes. And let's instead of doing that, just press shift page and wider. Instead I'll do an easier way. Actually I'll just come in, I'm making this hard for myself. And wider is I'll just press and X and move it. Sorry. Z. And move it this way, like so, yeah, this is going to be an easier way. Let's put it on global. Let's just make sure that's bending, it looks as though it's bend in place. That might actually do it. And then what I'll do now is I'll separate this off. So if I come to this, come to this, press selection, separate it off. Then what I can do is I can just now cut it away. So I'm just going to press tab. I'm going to press button just to bring in my knife tool, start at this corner, work my way round, just going down to there like so press the end to button and now I can come in with face select and actually delete these faces So much easier when I'm doing it like that. All right, delete faces and now find I can just come in and I can actually pull it down or pull it this way a little bit in there. And then we go Nights fitting beautifully in place. Now let's press Tab. Let's press Oltage. Bring everything back. And let's actually, I'm wondering whether I can delete this way now let's hide this out the way just for now. Probably can get rid of that now. I'm probably not going to need it. I think I've got everything I need in here. So yeah, I can delete it. So I'm going to do is oltage bring back that part. I'm going to then come in and delete that part. I'm also going to come in now, I'm not going to need this anymore. So what I'm going to do is grab both of these and just delete these parts as well. So delete bass and this is what we should be left with. And then what I'm going to do now is I need to build out this bottom bit a little bit and then this side bit a little bit as well. Because then we'll enable me to do then is put in this wood coming out here. I'm thinking, let's start with the bottom and this bar coming out here. So what I'm going to do is I'm going to take a couple of three meter ones. So Asset Manager, let's press dot to zoom into where we're working. Let's go to our wooden blocks, and let's bring in a couple of three meter pieces. So we'll grab this one first and we'll bring it in. Do zoom in. I need it to be right over the top, so I'm just going to press G just to put it somewhere. So it's going to be over here as you can see. Drop it down. And then what we want to doing is we want it to press art. Again, just poking out of there, at the bottom of this part. I'm wondering if I should actually bring it to there. Yeah, that's actually beat, that's looking much better. And then what I'm going to do is just pull it out. Okay, so we've got that one. Let's press shift S, cursor selected. And what I'm going to do now is I'll press shift S and Selections cursor. And then I'll move it over to this side. I'm wondering if I should actually mirror it over that side. We'll see in a minute. What I'm going to do now is I'll grab all of these. I'll press control J, just to join them all together. Just for now, right click, shade auto, smooth. Just to smooth them out. Let's make sure cursor is now right in the center. So Sip desk Ursa selected. Let's grab these now. And then what we'll do is we'll come over, add in a modifier and we'll add in a mirror. Right click set origin to three D cursor and then it's going to be on the Y. And there we go. That's that part that's looking good. Now finally, we might as well split off these. Now if I grab just this part in the middle, the wall selection. Split it off. Now let's think about our actual wall. I will come in and grab, yeah, I think I'll grab one of these walls. Actually, I'm going to press shifty. I'm going to bring it up. What I want it to start from is right back in there, so let's see where it's going to come. So I'm going to put it here. I'm going to bring it up and it fit beautifully into there. As you can see, that is perfect. That's good. Now what I can do is I can come and join these two up. So I can come in, join these two parts up. So right click, merge at center, like so. And then what I can do is now I can bring this out and then just bend it a little bit. And y, let's pull it out all the way to the edge. And now we can do is press control. Hopefully, you know, we can't press control because we merged it. I'm going to go back actually, before merging it. And what I'm going to do is I'm going to pull these two out and Y pull the mat into place like so. And then we're going to do is now press control are bring in a few edge loops like so. And now I'm just going to work my way along instead of joining them because it wouldn't allow us to add edge loops when we've joined it. Because it's actually a triangle. You can't add edge loops in a triangle S and Y. Let's bring it in like so. And then S and Y bring it in. And I'm just sitting them, as you can see behind the wood. So that's why I'm doing S and Y sitting them behind that wood. I'm not worrying about my UV's or anything like that yet. All I'm concerned with is just getting this into the right place. And you can see also, there's a lot of flickering on there. And that's because I'm not working and working in cycles which I shouldn't really be doing. All right, so that's looking good. Now I'm thinking, how far is this? So you can see here on these parts, they're a little bit, not quite far enough back. We can also see that it doesn't seem centralized. So what I'm going to do is I'm just going to move it to the side. Now you can see that it's a bit more centralized and y pull it out like so now maybe this and y. There we go. Now it's looking much nicer, pretty much how we want it. All right, so now what we want to do is we want to get some materials in and level these off. So that's why I've split up this wall. So I'm going to actually apply the mirror onto this. And then what I'm going to do now is I'm just going to check to make sure you can see those are coming out a little bit. I don't really want that, should have really moved them before I'm thinking, before I actually apply that mirror. Let's press controls head. Just go back a minute. Before I apply that mirror, let's just grab one of them so we'll grab this one. I think just making sure it's going all the way along. And then all I'm going to do is press and hopefully I can drop that back in place and both come into place there. Now I can see that I've got some problems here. So what I'm going to do is I'm going to come in, I'm going to press the born and there we go. All right. Fixed. Cool. Now, let's bring in one more piece of wood. Before we do anything, I'm just wondering. Yes, I have another, a big chunk of wood here and I just need to hide it actually in this part here. If I bring it up, if I press Shift S selections curse, keep offset. Now I can actually pull it from the middle and just make sure there. I spin it round, so sorry, X 90. And then I can press and Y and just squish it in a little bit. Yes, that's what I'm looking for. Perfect, that's looking pretty good. Okay, so now I've got that. Let's first of all come to this wall. Let's apply our mirror with control. Let's grab this wall then and press control L, and let's link materials like so. In fact, we might as well just, Yeah, yeah, actually we'll unwrap them separately. Let's come in now, press tab on Wrap, and let's see how they've unwrapped. They're fine. Let's come into this one control all transforms set origin geometry on rap. That's unwrap, fine. Now and now finally, let's come into this one, select our mirror, press control A. And what we want to do on these is we actually want to bevel them first. So I'm going to come in control all transforms, right click, set origin geometry. And then what I'm going to do now is bring in my bevel. So I'm going to press Add modifier, Generate Bevel. Turn it down up one B. Yeah, that looks fine. And then what we're going to do is now a smart UV project. Click okay. And finally, then grab this other log control L link materials. And there we go. Now we can see we do have some issues with our wood where it's going to need straighten up a little bit, so that's something that we need to fix, especially in something this big. We can see this one's going to be fine. It's just this one probably on the front that's going to have to actually be fixed. I'm looking on the back one. We can probably get away with that. We also probably need to make this a little bit bigger on the UV 'cause they're fairly chunky pieces. All right, everyone. So I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 70. Fixing UV Issues for Wood Frames in Blender: Welcome back everyone to the Blender. Create Core, stylized three D models, and this is where we left it off. All right, so let's now come in and first of all, before we do anything, let's fix the problems with these UVs. Let's go over to our shade in panel and let's actually press shift dates just to isolate those out and then we can see what we're doing. Let's put it also on material so I can really see what I'm doing. And then what I'll do is I'll com two. I think you can see they're not actually that bad. You can see that. Can I actually straight up the whole of once I'm going to right click and a line auto again, you can see that would be the problem that I have. Where you can see that he just aligns them all and it messes it up. And I don't want that. So what I'm going to do in studies, I'm going to come and hopefully grab this line. And this line, right click a line auto. This line, this line right click a line auto. And let's have a look. And I think that's actually looking a little bit better than where it was. Okay. And then what I'm going to do is I'm going to come in and just do the same with all of them now. Right click control, click line auto. I'm just wondering if there is a way to align vertically. Instead of that, grab all of them align vertically? Yeah, it just joins them all together. I don't actually want it to do that. There is an add on which I normally use to align all of these in one go. You just press control, it aligns them all up. But we said in this one that we don't want to use any add ons. We want to show you with just the base of blender what you can actually do. That's why we're actually doing it this way. If you do know where the add on is, then you can use that of course. But definitely things like this, some sometimes add ons are pretty good or there is a way to straighten all these things and what we already saw, we can unwrap them a different way to straighten them all and that is a better way. But sometimes doing it like this is quicker. And now you can see that it's looking much, much better, all right? The one thing I want to do is grab them all and just make them a little bit bigger. Now think pretty, do all that bit. All right. So now what I want to do is I want to actually build on these bits a little bit. Because you can see at the moment it's pretty thin. We're going to need some more wooden pieces in here, for instance, some more wooden pieces going in here. So let's think about, first of all, we've got this chunk here. We need a bottom part. So what I'm going to do is I'll come to this part, I'll press shift D, And then what I'm going to do is I'm going to rotate it so our dead 90. I'm going to just rotate it round. And what I'm going to do is I'm going to pull this over here. I'm going to shrink it in and Y's pull it in. And I want to get it just to the halfway point, near enough, so I'm going to put it there. And then I'm going to press shift D, put it at the other side. And then I can see that both of these need pulling in a little bit. So I'm going to grab them both. I'm going to press S and Y, and hopefully I can pull them in separate. So, there we go. Let's move this one out a little bit. That's exactly what I'm looking for. And now I'm going to do is I'm just going to spin this round, so zed hundred 80. And then I'm going to press shift zed 90. And then what I'm going to do is I'm just going to pull this out like so I want it pulled out like so. And then I'm going to press S and the just pull it out a little bit bigger than what the other one is. And then I'm going to use, probably get away with the same one shift D, and then Y 90. Let's see if I can actually pull this out and get that going up to the top. So I'm going to pull it to there. And let's pull it in. There we go. Just make sure it's not poking out of the top there. Okay, that's looking good. And now I need another piece. I'm just making sure we've not got anything that looks the same. And now I need another piece which is going to be going out and supporting it up to here. Let's grab this shift 90, let's pull it out. Let's press and Y. And let's press Y, then y. Let's pull it out and put it up into this part here. Let's move it over a little bit. We can see this is a little bit out, this part, or is it? Yes, it is. We see it's still a little bit out because I made it thinner. I think I'm going to make this one a little bit thinner as well. There we go. Now let's put this one into place. To the A, there we go. That's looking pretty cool. The one thing is, I think this part needs to be a little bit lower, this one over here. So what I'm going to do is I'm going to go in my building, press the Tab button. I think I will move all of this out. I'm going to, where is it? There it is, proportional editing. Let's put on the smooth, let's see if I can actually bring this down. If I bring this down, bring it out and then bring this part. I think that's actually going to chat. Move it to the side a little bit. Double up the yes, that's looking much back. You can see that. I didn't want it to quite follow this ridge going over here. So I've made it now look a little bit different and we can see it's got a little bit more, looking a lot more of strength. Now what we want to do is just fill in these parts. And I know this seems to be taking, you know, a long time for just this little bit, But I assure you the more wig you do one here, the better off it's going to be. Because it needs to look as though it's supported and it doesn't just want to look a little bit bare. So that's why I'm actually taking the wig to actually do that. So now what I want to do is I want to come in back to my asset manager and let's bring in a two meter. So I'm going to drop a two meter on there. I'm going to then rotate it round. So, and sorry, x, let's rotate it round. Let's get this back in place. So I'm going to put this into here somewhere like that. And I'm just going to take a look now and look. Yes. And I think that's going to do it. I just want them the parts on here. So I'm going to do, then I'm going to press shift D. I'm going to bring it over so R's hundred and 80 and then just put it into the other side. And then finally what I'm going to do is I'm going to cut off this. So I'm going to grab this one here. Press control three to make sure that you're actually in the right, you know, looking at it straight on. And then we'll go to mesh. We'll go to Bs and we'll just cut it along here. So I'm going to actually fill in the gaps. And then what I'm going to do is I'm going to come to this one tab, then we're going to get bisected, then I'm going to cut it down like so. And then again, it's already filled in for me now. All right, double tap the eight, and there we go. Now let's get some very small blocks, which are the 1 meter ones. And let's pull these up here. And we're going to shrink them down a little bit. And then what we're going to do is we're going to rotate them ours 90 so they're the right way. And then what we're going to do is put these into place. I'm just going to bring them into here, Pull them out, making sure that they're not going over those gaps or anything or X. Rotate them round and now just fit these into place. We'll pull them this way first and then I can pull it down and then into place like so. Now you can see here, we really don't want it going over these sides or anything like that. So what we need to do is make it a little bit thinner now because we've rotated it, of course. We need to make sure portion editing is off, we need to make sure that this is normal. And now when we actually shrink it in so it should be able to, if I press X or Y, you can see it's not quite right. So it's now actually shrinking it in properly. As you can see there, not doing a good job at all. So what I'm going to have to do instead of that is just rotate it back and then shrink it in. Now Y shrink it in like so. And now I'm going to rotate it, r, x, rotate it round and get this into place. We can also see that the front of it isn't going in properly as well. So I need to fix that as well. So I'm going to come in, I'm going to grab the front of it with face lex just this front. And then with proportional editing on, I should now be able to just shrink that in a little bit, pull it out where I need it to go, which is just about there. You can see it's still a little bit out. I'm just wondering if I can come round here and pull it out. I'm we haven't got a lot of room there as you can see. Okay. So, I'm going to just bring it down now to the next place, shift D and I will mirror these over. I'm not going to be doing this again, so we'll pull it into place like so. And you can see on this one of these much, much easier actually to bring it in like so. And then one last one shift D, bring it down and bring it over and then bring it back. There we go. Now you can see why I did that, because it just looks so much better. Now what we want to do is you want to grab all three of these. We're going to go to object here and convert mesh control jg on them. Altogether, We've already got the cursor in the center, so can press control right clicks at origin three decursor, add modifier, bring in a mirror, put them on the other side like so. And then control a, join them all up a take off x ray smart UV project. Click Okay. And now they all should be different and in place. So now the one thing is I just need to move this one a little bit back. So I'm just going to press G. I'm going to do the same then with this one, just pull it back, and there we go. That is looking really nice as you can see. So really, really happy with that. So now what we'll do then on the next lesson is finally we can actually start putting this roof on. And then we can make sure everything's right with this roof. And then we can start slanting this roof in and then this roof is finished. As I said, this is the most difficult roof by a long shot. And you can see just how much work it actually took toe to get that finished. But the end result, as you can see, looks really, really nice. So really, really happy with how that looks. It's looking really nice and realistic. Alright everyone. So I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 71. Utilizing Array Modifiers for Upper Tile Patterns: Welcome back everyone to the Blend that creates core stylized three D models. And this is where we left it off. So now what I'm going to do is I'm going to join all of this up. So first of all I'm going to come in and just grab all of these parts. Just make sure you've got all of them, including these. Let's press and just make sure I've got there and you can see I've not got the inside, so I want to grab those as well. Again, make sure I've got them. And there we go. Now let's come to object and then we're going to go to convert to mesh. And then what I'm going to do is I'm going to click on this point here, control J, join it altogether. Control all transforms, right click, so origin to geometry. And finally, right click, shade auto, smooth. Now what I've got basically is my roof here, except this bit. So I'll join it to this control. In fact, let's just apply that level control and now join it to this control J, G. I'm looking, is there anything I've missed? I don't think so at the moment. Now, I'm not going to remove these tiles yet until I've actually vent this part. Now, before I bend this part, I actually want to make some little parts that are going to go down here for the top of the roof. Because of course, the roof at the moment, it doesn't look right. So what I'm going to do is I've got my cursor right here. I'm going to press shift eight and I'm going to bring in a cylinder. I'm going to put my cylinder on something like 18 and then I'm going to do spin this round, so Y 90. Let's spin it around and let's make it a little bit smaller. Now when you're dealing with the top of the roof pots, you want to make probably about three tiles long. Something like that. Roughly, something like that. And then that'll be the right length. Now what we'll do is we'll come in, we'll delete the front and back, so delete faces. And then I'm going to go to the halfway point as they always do. So this one and this one. And then control click to this one delete basis. And then finally what I'm going to do is I'm just going to now grab it. Right click, shade, auto, smooth, add modifier. Let's bring in a solidify. I'm going to bring my solidify down like so I'm going to make sure even thickness is on. And then what I'm going to do is I'm just going to put this into place like so. And you can see that's looking pretty nice now, you can see it probably needs to be a little bit smaller. Is it a bit chunky? I think it is. So I'm just going to make it a little bit smaller. So just to make sure it's the right size. I think that's much, much better size now. And then pull it back into here where I actually want it. Now I'm going to do is I'm going to actually array this, so another modifier. And we're going to go to generate a ray. And then what we're going to do is we're going to turn this to zero, of course, And then move it down, not that way on the z axis. Let's move it this way. And we'll put this just here for now. And then all I'm going to do now is I'm going to rotate this now. If I rotate this while we're in object mode, so if I rotate this here, you'll see it moves the whole thing. We don't want that. So what we want to do instead is going to edit mode. Make sure you've got everything selected and then art and Y without portion lensing on. So Y rotate it and then finally pull this back into place to where you want it. Now I'm thinking that that might be a little bit too close. So in other words, we're losing a lot of this. If we have it that close, let's pull it out a little bit like so. And then let's make sure that the bits on the ear because we've still got a Slidify on, which is really handy and we've still got our Ray that's also handy. So now I can do is I can actually press control left click, right click, and then control two, left click, right click. Now I'm going to do is I'm going to just grab this top one. I'm, I'm going to put proportional editing on, and then I'm going to press and Y and just pull this bit out a little bit like so. And now you can see just how easy it is to fit that on there. And you can see how it's got that nice tunnel bend and it's looking pretty nice. Now what I'm going to do is I'm just going to rotate the whole thing once I get it to the end. So I'm going to basically come in, add a few more of these. So all the way to the end. Now you can see when it gets to the end, it really needs to be on this point here. And also I'm happy with the rotation of the whole thing. I don't think so. So what I'm going to do is I'm going to rotate it very slightly just to get it onto the top. And then I'm going to pull it out as well. Very slightly. So S and X pull it out. And there we go. And now you can see it's all been in place. We have a little bit of a part through here which we don't really want. So I'm going to come in and rotate it just very, very slowly like, so double tap the then there we go. Now one thing that the one problem we have got here is of course that there's no randomness in these or anything like that, and we do want a little bit of that. Let's now come in. First of all, what we'll do is we'll apply the solidify, apply the array. Let's come in object convert mesh. And then what I'm going to do now is I'm going to come in, so I'm going to come and grab this one. I'm hoping. Let's try and just pull this one back with this like so then let's pull this one forward. Let's pull this one back. And pull this one forward a little bit. So we're just moving them, They're a little bit uneven. And then what we're going to do is just grab the top. Just pull them, some of them down a little bit. You can see here, some of them up, some of them in the middle of a bit down. Just again, increasing the randomness of how they look. Let's pull this one down as well. Now what we'll do is finally we'll see if it might be too much, but we'll have a go. We'll come in to transform and click on Random. And then we'll turn that random all the way down to 0.1 Yeah, it's probably going to be good that Okay, so now I'll do is I'll come in, I'll grab my roof. I'll press on. In fact, I don't want to grab that roof. I'll grab this roof. Yes. This roof here control link materials. And the materials now are roof. And now I can do is I can come in a smart UV project. Click Okay. Bible, tap the A, and there we go. There are roof tiles. Okay, let's put this, it's on rendered view so we can see exactly what it's going to look like. I think the problem is here that we need to wrap these again, you can see we do have some issues on here. I'm thinking that I'll probably grab the edges on these, so I'm going to double tap the A. I'm going to come in and go to select. I'm going to select then sharp edges like so. And then I'm going to turn this onto edges like so. And I'm going to do it again, so I'm going to double tap the A. I always have it on face when I do that, for some reason I have no idea why I'm going to select the edges. Just till it gets them all going around here. Like so we can see that we've got some off the edges not selected. Probably because it's going to be on 45 degrees or something. If I put this on 45, you'll see now it's probably going to select all those and now I can right click mark Seen. So then what I can do is I can press Tab control all transforms, right click its origin two geometry tab and then and then wrap. Now you'll see they've unwrapped. Much, much nicer. Now all I need to do is just go to my UV editing. Let's see how these are unwrapped. So you can see they've unwrapped pretty nicely. Let's also make them a little bit smaller on the UV map without portion editing on, then I'm going to put them up here as well. There we go. Now they're looking better. They're looking much, much better. Okay. I'm happy with how those look. Let's put it onto yeah, there we go. Okay. So now we've done that. We can basically come in and we can join those to our roof. So if I grab these, join them to my roof control J, right click, shade or to smooth. And there we go. And then what I can do now is with the actual roof, we can actually bring in our lattice. So all I'm going to do is press shift ursa selected shift. Let's bring in where is it a lattice? Let's make it bigger. So make it bigger. I'm going to go over the top first. I'm going to make it big enough to be outside of here. So and y big enough for there. And then and X, pull it all the way out like so that basically should give me enough room to wit with now if press three, control three, sorry. Press. And I'm just going to shrink it down just so we've got a little bit more accuracy on there. Especially near the top because that's the place that I really want to bend it. And then what I want to do now is come on over, grab my roof, add modify it. And we're going to bring in a deform. And it's going to be a lattice. And the lattice of course is going to be here. And then I'm going to come to my lattice. I don't want to come to my lattice option here. And I'm going to increase, not that one, I'm going to increase this one like so. And then I'm going to increase this one, not this one, the bottom one. We get those going up like so I don't actually want to do a lot with this, but I do want to do something with this. So I have a pressure control one now. Now I should be able to go into my lattice and actually alter this. So if I grab all these, for instance, shift space bar move, then I should be able to pull it down like so. I'm going to then do the same thing moving along, so then finally see the middle bit. I will grab it, not with the thing, there we go. And then the middle bit. Not much, but just something like that. And then Wilder is I'll hide the lice out the way. Have a look at this in rendered view. Yeah, I think that's exactly how I want it because this is going to have a bit of a wooden part a lot going along it. Okay, let's actually come over to modify press control Alt. Bring back the lice and just delete it out the way we don't need that anymore. And finally that hardest roof is actually done. Now think one that we, we'll do on the next one is we'll start building this part out. We're not going to delete these actual tiles yet or anything like that. We want to get this other roof in first. So we're gonna finish building all this, going all the way around. We're going to finish this part as well and then find that we can move onto the back of the other part. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 72. Conceptualizing Structural Supports in Blender: Welcome back everyone to the blender. Creates core stylized three D models, and this is where we left off. All right, first of all, let's come in, grab this. So grab this without the x ray on and pull that up. So I'm just going to pull that up into there. It's, I'm doing that just to give me a bare visual on what I'm actually doing. So I'm going to grab this one and this one and pull them all into place. And now I can see much, much easier to visualize where I need to go with this. Okay? So now I want, first of all, is to bring in all of the blocks. So I'm going to go over to asset manager and I'm going to then work from here again. So I'm going to bring in the two meter one. Let's put that there. Let's bring in a 2.5 meter one. And we'll put that there. And I'm going to first of all, and then I'll bring in as well a three meter one. And I'll just drop that there. Okay, let's bring these two here, both over to this side. Let's move our guy just over here, out of the way. And then what we'll do is we'll start on this part here. So we've got a log coming across here. What I want to do then is bring another log along here. I probably don't want one in the corner, but I'll certainly want one coming over here and up here. So let's start then with this one. So 90, let's press control and three, and let's bring it up into place. It doesn't matter how far back into that actual roof it's going to sit, we just need to level it up so it's actually sat along there. Now you can see that it'd be easier if I turn this around, so I'm going to press our Y 180. And there you go. You can see it actually fits in better like that. So that's actually looking pretty nice now. Okay, so now we've got this part on here, we need a bit coming out here. We'll come back to our parts. We're going to come with this part first. And what I'm going to do, I'm going to have this part coming out to something like there. I'm going to have to lift that up a little bit, I think. Yeah, like that. I think that's going to be good. Then what I'll do is I'll bring this over to the other side. So shift to bring it over to this side. So I'm just wondering. I think I actually want it to be on top of there, so jaws coming out like so. And then I'm going to spin it around, so I'll zed 180. So now I want a couple of pieces in here. So what I'll do is I'll grab this bit Shift D, and then I'll press R Z 90. And then we'll bring this bit out onto here. Slot it into there like so. And then what I'll do is I'll bring it over now, so shift and we'll see it's probably going to be a bit too long or it's going to fit perfectly. I don't actually want it to fit evenly. That's the thing. I want it to be a little bit different. So what I'm going to do and Y, pull it down, put it into place. And then I'll rotate it, Y, 180 like so. And then I'll grab this one and then and Y, and pull it out and Y, pull it out into place. Double tap. And there we go. That's more like what I'm looking for for sure. Okay, so now I'm going to just pull these down a little bit though. There we go. All right, so now we've got this bit, This bit, so now we just need another couple of bits, I think. And I'm thinking we've got this bit mind do it actually, Y 90 might be a bit too big. But we'll see. Let's put this part back into place and let's press S and get it fitting in properly so I can lift it up a little bit. There we go. Then will do is now just make sure that's fitting in. And then press and shift and bring it over to the other side, making sure there's a bit of a gap in that wall. We can see here as well that this is nowhere near Paul back. What I'm going to do is I'm going to actually fix that bit as well. I'm going to pull it back portion in. Bring it out into the wall. Can we get away with that? Does it look too stretched? We can see we've still got this on. I'm just looking. I'm thinking, yeah, that's probably going to be okay. We'll probably get away with that. We're going to hide the little bit on that wall anyway, so no problem there. So I think we've got this bit coming out, we've got that big going across that big, going up. All of that is absolutely fine. All we need now is our walls. So let's bring in our walls. And what we could also do with our walls being as these are, in fact, I will delete this now. I will also delete this one. And I'll also delete this one. And I'll fix my walls in place now. So what I'm going to do is I'm going to grab this wall. I'm going to press Shift. I'm going to bring it up, so I'm going to pull it over this side. And I'm going to put this wall into here. Put it there. Bring it down into place. You can see we're way, way out at the moment. And bring it down, it sits in there beautifully. And then shift and then 90. Let's bring it into place into here now. And bring it down, put it in place. We should have pretty much a good idea now of what we're doing with this as we've done it. So now. Okay, that looks good. Now let's press Shift, bring it out. Let's press 90. Fit this into there. You can see with this one, I need to pull it back a little bit. It's all about jigsaw puzzle time. All right, let's pull it out this way. And then what we'll do is we'll grab this edge without portion in on and we'll pull it out to there he. Fantastic. And then what we'll do is we'll grab this edge. I'm going to press Shift you, drag it over. And then we'll put this one into place here. And then Tab, grab this edge, pull it into place. All right, that's looking all good now. We've just got the underneath up here and we need another support in there which I've forgot about shift. Yes, I've done it. R, Y, 90. And pull this one into place. And then just shrink it. So etanex, shrink it down, pull it into place. And then just make sure there's enough gap on there and the sides and the double tap the A and there we go. All right, one more part. Let's bring in one of these and let's spin it round said 90. And I'm thinking, let's put this then into there. And the other thing is we need to actually put support under here, just so I don't forget, I'm going to put this one in here. I'm going to press shift, bring it over, and then x 90. I'm making sure that this is fitting in place. You can see we've got a big gap under here and we don't want that. We might need one more piece of wall that's going to come up here. Let's put this in first shift like so. Then what I will do, that one's okay, R X 90 again. And then what I'll do is I think I'll grab the edge of this, won't. Yes. Well, I'll grab it, shift and then Y 90 and then I'm just going to pull it back into place and then pull it up. I just want to hide this bit here. You can see hide that there. That's pretty much done now, yes. Now, while we've got this part, let's press a rap. You can see there it says object non maniform scale. That just means we have to resell the transform. We'll do this one first and now there's no problem with that. Then we'll do is we'll grab all of these parts that we've just put in place so we can see all of these. I think this was everything, actually. Yes it is. And then we can press control all transforms, right. Click Origin Geometry, tab, and then unwrap. And there we go. Now let's make sure that we're happy with how that looks. You can see that they're looking a little bit smaller than the other ones, so we'll just press Tab, go to UV editing, pull them out, and now they should be absolutely fine, which they are. Okay, so what we'll do is on the next lessons we will finish just this part off. So we just need to finish this part off. And then finally we can put in these two windows. Then what we're going to do is we're going to move around to this final roof here, get that on, and finally we can move onto the back of this building. All right everyone. I hope you're enjoying it. I hope you're learning so much, and I can't wait to see you on the next one. Thanks a lot. Bye bye. 73. Modeling Smaller Roofs for Stylized Taverns: Welcome back everyone to the blender, create a course stylized three D model. And by the way, I forgot I was actually having V on and that's why it wasn't looking when I clicked on the here, like there was any real lighting or anything, it's just looking very flat. If I turn on cycles though, we can see just how nice this actually looks now. So I don't know how we clicked that umbrella I did. Let's go back to modeling now. And what we'll do is just finish this last bit of, so this last bit, plank of wood underneath, bang, bang, bang, two pieces and well, three or four pieces. But then we're done asset manager. Then let's bring in, put it onto material. Let's bring in a two meter, maybe a two meter. One more big enough. Two meter. There we go. Let's bring it up a 90. Let's press control three. Let's bring it into place. Jaws under here, make it a little bit thinner. So X and Y a little bit thinner. So let's bring it out. Then jaws two, just before the front of there, like so. And then what we'll do now is we just need some 1 meter pieces. So I'm just going to bring in 1.2 I'm going to drag them both up. And then what I'm going to do is I'm just going to put these into place. And I just want them bending round here, so I'm just going to get one in now. Put it in, so I'm going to bring it up. I just want it slotting into there. So I'm just going to press Sen's head and just manipulate it a little bit. I do not want, you can see here, it's going to be poking through there. Don't really want that. Let's bring it down a little bit. So there you go. Now you can see that's looking a little bit there. Going to do the same thing on this one essay, then move it out. And then finally I'm going to grab this shift like so. And pay roundabout there, I'm thinking probably going to need two more shift like so. And then all I'm going to do with these three is just grab them all. Smart UV project. Click. Okay, there we go. They're looking different and that's looking like it's supported pretty well. Okay, I'm happy with other looks. Now let's grab our windows. Now I have this window here. I could use my asset manager to bring them in. But if I use this one, I know actually I've got all of these parts. If I press Look, I can actually grab all of this. If I press Shift D though, it will only grab all of this. So what I've got to be careful of is making sure that I duplicate the whole thing. So what I want to do is I want to grab all of this. So all of these parts, the middle part, this part, and then also these two parts here. And now if I press, I should have absolutely everything. And what I'm going to do now is I'm just going to press Shift D, bring it over Z -90 and you can see it all move around like that. We don't want that, so what we want to do is medium point Z -90 control three. And let's get this into some sort of place. So I'm going to put it round about here into the wall. Then I'm going to hold the shift on to drop it back in and then pull it forward. And that looks pretty nice. I'm just going to pull it over there. Then then what I'm going to do with the next one is I'm going to press control three and try and level it up. So we can see that this end is about this close to here shift, bring it over. And then this end is about as close to that. Now you can see what's happening there, and that's why we actually wanted to be able to move these round. What I'm going to do is I'm going to come to this one here. I'm going to press sad. Now look, I can move it round and I'm actually going to, near enough have this one closed. I think, I think I'll leave that one because I'm actually leave it a little bit like that. And then what I'll do is I'll close this one, I think a little bit more. This one here. We'll close, we'll closed. So actually if I press this on, don't forget some of the windows as well. We're going to have closed. They're not all going to be open. The main thing about this is we want to have them. I think I'm going to actually close this one a little bit as well. Let's just close this one. Yeah, I think that's looking actually much, much better. Okay, that's cool. Now we've done that, we've near enough, got everything. Let's put a couple of bricks in here just to break up this corner. So I'm going to come to small bricks and I think we'll pick this one here. And then what I'm going to do is just rotate it around Y -90 and we'll put those just in the corner here to break up just that corner, because that's what we want to do. We want to break up as much. We don't want any kind of surfaces. We want it to look busy. Wherever we're looking, I think that is looking pretty nice. I'm just checking to make sure I've got everything on there. That I want on there. And I think the answer is yes. We could have put something else on here as you can see. I don't think it needs it though. I think it's bare with a bare wall there. So yeah, it'll be nice. And when we've got plant parts, we've got a little bit of ivy coming up here and a few other things in there, we'll really bring it out. All right. So that's that done. Now let's make a start on the final roof. Final roof is going to look like this again. We'll come over, we'll save out our work. So file save. I'm going to come over with this then. So shift and then first of all, I want this roof to be flat. I don't want it Ben or anything like that. I actually want it to be flat. So what I'm going to do is I'm going to come over to this. I'm going to come down to where it says roof angle. Put down one, you can't put it on zero member because it just flaunts it all out. You can see we've still got a little bit of a bend on there, so I'm going to put this one on one as well. And there we go, Now it's straight now, I should be able to bring this and put this into place. So what I'm going to do is I'm going to bring it, I'm going to spin it round, so R -90 Let's put it round again. We have to change the angle a lot. I'm going to change this angle. Bring it up here. If I press one, actually, I should have a better view of how much angle I've got to go. So you can see here, much easier to work like that. Let's pull it over, and that's about right. Let's pull it down then, and get it into place. And that looks about perfect. Now, let's change this, because I don't want them coming in. I'm just looking at the angle there and thinking it's a little bit too high. I'm going to actually just rotate it a little bit, so I'm just going to come down a little bit like so and then come out there. And I think actually that's probably going to be a better angle. Now let's get rid of the vertical counter. Let's move it up and now let's see if that's going to go into place just on the bottom off here, because we've already got one coming over here. That's fine. Now let's take down the horizontal count as well. Take that down. We can see we still need a few more because we have to come out to here. And then what I'll do is I'll just pull it back just to tad more, giving us that in the front. And that is looking near enough like I want it. I would say that probably need to be. I'm going to put just press Stines head and just lower it down just a slight bit. It's going to make no difference. You won't be able to see the difference in the tiles or anything. Yeah, that's the way I want it. I'm just looking at this. Can I bend a little bit more? You can see here, I think will I'm going to bring it in. So just to there. And then we've got that angle there. Now if I come in and I use this, so I can bring this down here now, you can see that's lining up very nicely. Yeah, I think I'm actually happy with that. Now I can do is I can actually come in though, while I've got this part here, I can press K, come from this angle and maybe drop down to the press the Enter button. And I can actually use this as probably as a piece of wood. That's what I'll do. So now what I'll do is I'll come in shift D, let's just bring that out. Delete the rest of it. So L delete. Before I do that, actually let's just shift cursor selected. We'll just put the cursor in the middle first. And the reason is I want it to have a center part. So delete verses because I'm going to change this, obviously to mesh. All right, so we're happy with that. What we can do now is one thing we're not happy with is just these sides. So we just need to make sure you can see that. These sides at the moment there, they're not very even. I'm just wondering, it's on the other side. Look, can you see on the other side? I'm wondering if I can mirror that over once I've brought that in, I think I'll try doing that. First of all, let's press control A, then we'll grab it. So object, let's reset the transforms. Control all transforms. We'll drop it into the sense, so right click. So origin to three D cursor. And then what we'll do is we'll just mirror it now. So object mirror on the x. I think you'll be no, this must be on the y. So object mirror y and now we can see if we pull that over that, these are now nice and uneven for us, and that's what we're looking for. Okay, that's cool. Now let's come in and on the next lesson, actually what we'll do is we'll grab all of these going over, and then what we'll do is we'll unwrap them. I just want to check one more thing. Let me just check. And face orientation? Yeah, we can see we've got a lot of face orientations to change around for sure. But we'll be able to change those around no problem. Okay, let's turn that off. And then on the next lesson, what we'll do is we'll get these, got this proper material on them, looking nice, we'll get it on the other side. Hopefully, we should be able to nearly finish this roof off because it's a very simple roof actually. All right everyone. So I hope you enjoyed that. I'll see on the next one. Thanks a lot. Bye bye. 74. Creating Wooden Beams for Smaller Roofs in Blender Tavern Design: Welcome back everyone to the blend. That creates core stylized three D models. And that's where we left off. All right, so now we're going to do is shift H, just do high slave that out and then we're going to do exactly what we did before. So we're just going to come in and select all of these control select, I can probably come in and select them going this way. I'm just wondering if that will make it easier. Maybe a bit quick. We've got to be very careful that we don't select anything else. So then what we'll do is we'll select, we'll select similar by normals. So then what we'll do is we'll press three or control three, it doesn't matter which, then project from view. We'll go into our shading panel. We'll press Tab. And let's have a look at these. We'll press A and the other thing is we want it on roof, of course. So I'm going to press tab, put it onto roof, roof material. And now we're a press tab. We actually have our roof, which is great. And then what I'm going to do is just make them a little bit bigger and then G and Y move them up. And there we go. There's our roof, okay? So you might not want as much dirt on there, but actually I could spin these round, so 180 and then put them there, and then G and Y. And put them this way instead. And now we've not got as much dirt on there. We might want them like that because the other ones are pretty dirty. This one might, you know, they might have changed the roof tiles or whatever. All right. So now we've done that, let's come in and hide those out of the way. And now let's come in and do what we did before, where we're going to select On Edge, Select first of all, and then select Sharp edges. And then right click and mark a seam. And then you and unwrap. Let's see what they look like and let's put it onto here. And yeah, that's, that's looking good. Okay, now we've got that. Let's go back to modeling. Let's actually come in then and press tab ol tag, double tap the A. And then what we'll do now is we'll mirror these over the other side first. So I'm going to grab, we've already got this actually on there. So I can basically come in with a modifier, generate a mirror over there. And then what I can do is I can actually create this piece of wood. Now. So I'm going to come to this piece of wood, control or transform directly, set origin to geometry. Now we can see it's a little bit wider at the bottom, as you can see, than the top. So all I'm going to do is I'm just going to come in and just pull it back very, very slightly to make it a little bit even. I'm also going to add in some edge loops like so. And then what I'm going to do is I'm going to press A and pull it not A on there, I'm going to press A. Actually, I might have actually come in and extruded that bit before, so I'm just going to select mesh, clean up, merge by a distance. Nats, just make sure I've cleared that extrude and then I'm going to pull this back, grab the whole thing, pull it back into place. So then what I'm going to do now is I think I'll just grab the bottom, this bott here in Facelectn. All I'm going to do is just move it a little bit to the side, so I really don't want it stuck out there. You can see it's tiny, tiny bit stuck out. There we go. All right. Now what we can do is we can actually also set this to the, so I can press right click, Set Origin 23d, cursor add modifier. We can bring in a mirror like so. We can also bring in a bevel. Let's see though if I can actually do that. Let's see if bring in a bevel because I'm not sure whether I set my transformations, but apparently that's okay. Then let's think about the big block of wood that's going to come here. I think I'll just make it mesh because it's a little bit thicker than the others. I'm going to bring it up, we're going to press S and A, then I'm going to bring it back to the start here. I'm thinking somewhere around there, maybe. Then what we'll do is press Tab, grab this, turn off this, turn off this, and then just pull it out wherever I want it, which will be round about here. Then finally what I'm going to do is I'm also going to grab this shift, right click, Srog into geometry or x 90. Then what we're going to do is we're going to put this in the front there. Now we're going to make it a little bit smaller because it is a little bit too thick for that front bit. I'm going to bring it down and I'm just going to slot it in front of those bits. So then we can see we've got a nice, nice space there now. A little bit forward. Not quite going over this. We don't want it quite going over this. So something like that. And then what I'm going to do is just grab the top and pull it down into place. Finally then I'm going to press Control left click, right click. I'm also going to do the same on this one. So control, bring in a few edge loops like so. And then what I'm going to do with these two, I'm going to join them, I'm going to apply this mirror, so control. And then I'm going to join these two with this one. And that should hopefully apply that bevel if I press control J. Now, there we go. There's the bevel on there. And finally, now I can actually apply the material. So if I grab just this one, press control L, I'm going to link materials. Now I can actually come in and this one I don't. I can shift select that one tab now. Smart UV Project. Click Okay. And there we go by. I'm going to have to make the much, much bigger rhythm. And you can see that very, they're a little bit blurry in compared to the rest of them. So what I'm going to do is go too quickly to shading. I'm going to press Tab. Pull these out a little bit, let's have a look what that's looking like. The problem with the big one is, as you can see, you've got a lot of doubling up and that sometimes happens, so you've just got to be careful, especially of this big one. You can see this wood here looks really, really nice. It's just that this one here is not quite right. So I'm just going to come into this one. This is the one here. I want to make it a little bit smaller, so I'm just going to come in and grab this and make it just a tiny bit smaller. And then I'm going to move it over as well, just so it's not obvious. With this eye, you can see this eye. That's what's the thing that's causing the issue. There we go. Okay, that's looking better now. I'm happy with that. Let's give it one final check with our rendered view. There we go. Okay. Now let's just bring in a wall. And the way I'll bring in the wall, I'll just steal this ****. Bring it over. Let's press one on the non pad. Let's make this smaller. And you can see it's going to take a little bit of work jaws to fit that in place. So we're going to put it about there. And then all I'm going to do is come in, grab just this part, pull it up, and then I'll grab the whole thing. Selection, just to split off from this control, all transforms right clicks, origin to geometry. And now find there, can pull this back into places like so. Now I can also a wrap and there we go, double tap the a. Finally, there is the front bit done. Now we can actually go all of this side and all of this side actually finished and the roof is on. That was the hardest part, because a lot of this part is actually pretty easy to actually create because we've already done the groundwork for all of that. I think what we'll do on the next lesson is we'll actually start and create the, what they called the flower pots. And maybe we'll also create the crates as well because it just alleviates a little bit of boredom in just creating, you know, the building all the time. I think what we'll do though before we actually do that is we'll just grab this lamp and I'm going to press shift, I'm going to drag it over there. And what I want to do with this lamp is I'm going to put it over here, so I'm going to spin it around. 90, 90. Then what I'm going to do is I'm going to pin it under here. I might just take away the wood because where I want it to go is just right like in this part here. So you can see this part here. I just wanted to go in there. And obviously, I don't think it's going to fit in with the wood. So I'm going to pull this out. I'm going to put that I wanted to go right in there. As you can see, right in that part is where I want it to hang. The wooden part might be good there if I pull it out. Can I pull it out to there? Something like that. And then I might just pull this back. Let's actually see if I can. I'm going to delete this one though. Deletes. Let's come to this one, pull it back. Let's actually grab all of this one now. Let's see what that's actually looking like, where it is, double tap the A. And I'm wondering. Yeah, I think actually I'm just wondering if I need to pull it back a little bit. I think it's a little bit too far forward at the moment, so I'm just going to come in and grab all of this with L, not that one. L, L, L, L. I'm just going to grab it and then I'm going to just pull it back into place like double. Yeah. I think that's in a perfect place now. Okay. I'm happy with that. Then what that'll do is it'll light up this little bit where the barrels are going to be. They're going to be down here. And we're also going to have, you know, a piece here where the actual barrels get rolled down as well. So that's why that light is actually there. So it's actually serving a purpose. Okay. So what we'll do, as I said on the next one, we'll start making the flower pot for this part and a thing will actually start. There's some crates around there that I actually created. So we'll make a couple of crates on here, just one's bigger and one's smaller than the other simple crates basically. So let's do that on the next lesson. All right everyone. So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 75. Crafting Flower Pot Meshes in Blender for Taverns: Welcome back everyone. To blend the creator course stylized three D model and this is where we left the art. All right, now I think, let's try the flower pot. So what I'm going to do is I'm just going to come in and I'll bring in a cube. No idea where that cube went over there somewhere. I'll come into modeling actually, so you can really see what I'm actually doing. But it is a simple, simple, this to make these things, I'm just going to get at the right size first, but it's going to fit on here. I'm going to squish in a little bit as well. Then I'm going to do is I'm going to pull it out to where I actually want it and how big they want it. Sensink, something like that is going to be about right. Maybe a little bit taller there. All right. Now I'm going to do is going to press shift. And I think what I'll do is I'll duplicate this and then pull it out. And I want this to be a crate as well as well as my plants. I also wanted to be a crate. Let's pull them out. Let's see how big this crate is going to be. So if we put them on the floor, I'm thinking that the crate, bring my guy over, is he going to be able to carry that crate? So over, look yeah, that crates round about the right size. Actually probably needs to be a little bit taller, sensed like. All right, I think we've got these to be pretty much the right size. Okay. Now let's actually put in the parts to make this thing control late. In fact, control control two left click, right click and Y. So, and then what we'll do is control R two left click, right click and X pull them out. So a little bit thinner. So All right, we've got all of those parts. Now what we want to do is I'm thinking probably, yeah, I want this part here. So these are the parts I want for the actual, these parts here. So we'll start with these parts here. We're going to do pretty much the same process on the other one. I'm just going to press shift D so and bring those up. Then what I'm going to do is I'm going to press control going all the way around. I think we'll have three in here. And then what we'll do now, we'll take all of these. All of these also we want to bomb on here. Actually I'm thinking that we'll actually take all this first, so I'm just going to control plate going all the way around. And what we're going to do is press shift D, pull that down, Delete, limited dissolve. And then we're going to press control our two left plate, right click. Okay, so we've got those parts. We've got the top parts and now all we need is these side parts. So we're going to grab all of these. Yeah, we'll do it that way. So then what I'll do is I'll press P selection. And then I'll grab this part and press Delete. Not delete because I still need these parts. I should have separated them off before press select. Separate them off, and now I should be able to grab this. Still have this one. I'm going to separate this one off as well. So L selection. All right, finally might be Al to actually get rid of this. Yes, that's what I need. So I'm going to put that there, press Delete, and there we go. Okay, so let's make our crates. So the first thing I'm going to do is grab these four and I'm going to pull them down with Z just underneath this part here. So maybe a little bit up on the crates, we can have them a little bit longer. So something like that. And then what I'm going to do is now come to these parts. I'm going to press control two, left click, control two, left click, control three, left click, and control three, left click. And then come down to this one as well. We might as well join this with the rest of them. These here and this control J, and now we can come to this one. Control five, left click, right click. All right, so now we've got those. Now we just need to distinguish where the actual edges are of the wood. And they're going to be on these edges. So we're going to right click and mark a scene. And then we're going to come to the bottom old shift click, right click, mark a scene. And that's pretty much it, I think. Okay, so now let's actually solidify these. So what I'm going to do is I'm going to split these off first because they'll make it a little bit easier. So split these off, come back to these control, lay all transforms right, click slrogen geometry, add in a modifier and we're going to generate a solidify. Let's bring that solidify in then. So something, something like that is looking probably a little bit too thick actually you can see it's going wider than these parts. We don't want that. Let's bring it back a little bit. And then what I'm going to do now is I'm just going to grab all these. I'm going to press S and just shrink them in. I'm not going to worry at the moment about making them the right length or anything like that. I'm going to do that in a minute. First of all, though, I want to get all these parts, you know, in place now, Did I actually separate them off now, did I actually so let's see if I grab all of this one. No, I didn't. So I haven't separated them off yet. So I'm going to do it, I'm going to grab all, every single middle one like so. And then I'm going to come and grab the middle of here. I'm going to press Y, and now they're separated off out of the way. And now I can do is I can actually come in, add another modifier, and this time of bevel, bring the bevel all the way down. Let's close up that one. Bring the bevel all the way down. Bring it up one, so maybe that's too much you can see nor point n n three. Let's try that. Yeah, and that's looking about right now. Finally, let's apply all of these. So I'm going to go to object, I'm going to convert to mesh. And then what I'm going to do now is I'm going to press a and I'm going to bring in what I did there was I actually applied the bevel before I actually brought in the randomization. Let's see if that works. It doesn't always work. No, no, 0.1 You see? This is what I mean. This is where you end up with broken things. So I'm going to have to go back. And before I do that, what I'll do is I'll just apply the solidify. So let's apply the solidify. Still got the bevel on and now we'll come in and actually use the randomized transform. Randomized, and you'll see that they're going to look a lot there because it's breaking the mesh on the other part. We don't quite want that. Now you can see they're looking much much be I still think that's a little bit too much. So I'm just going to go back, I'm going to go to Meshore do that. Let's just bring this up first. I'm just going to bring this part up like so to make it just a very nice plant pot. The other thing is I think it's still a little bit too tall, so I'm just going to grab the whole thing. Press S and's ed. Well, first of all, right, click origin geometry. Let's press control. Lay all transforms. I'm just wondering why it's going up there somewhere. It's going over there. Look right. Click Origins Geometry. There we go. Now I can press S and, and just fly it out a little bit. And then what I can do is I can come to this bottom one. Now I'm going to grab all of these. I'm going to press the S borne and I'm going to bring them up into place like so. And now you can see that's looking good, except the fact that obviously they need to be a little bit wider Y pull them back to the double tap, the A, they're looking fine. Now, all of this is looking good now. Now, before I randomize, let's actually fix these as well. So we're going to come into each of these, we're going to pull them out and Y pull them out into place. Let's do these ones now as well that we'll pull these out into place. And finally then we can randomize the whole thing and X into place. Let's, as I said, randomize all of this mesh transform randomize, Let's bring that down then. So it's still too much, so no 0.5 and there we go. That's going to be, I think about right now, you can see look, that's looking actually really nice. Now finally let's put our cursor to the center. So shift S curse to the center. Let's bring in then another plane. So shift the, bring in a plane, we're going to make this smaller. And then we're going to press and y and pull it out. And this then is just going to be my dirt. This is going to be my dirt on there. All right. That's looking pretty good. Now, I don't really need to move this dirt or anything like that. I don't need to, you know, do anything fancy. No point, it's so tiny. What we'll do then on the next lesson, is we'll actually get this crave done, and then we'll actually get some materials on them. And then finally we can put this into place. I'm not gonna put the plants in place, I'm gonna do all the plants at the same time, you know, when we come to put the plants in place, because there's a lot of things that we need to change. We've got to draw them out and stuff. And we're not actually going to be copying, you know, the same plants from one side to another. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 76. 3D Asset Creation Techniques in Blender: Welcome. You want to the Blender Crater Core, Stylized three D models, and this where we left the R. All right, so let's come now to this one. This one's going to be a little bit easier because we're not making them a little bit thinner on there. It's going to be pretty much square block control two, left click, right click, y, pull them out to the size you want them. And then one I'm going to do is I'm going to copy where it says on the Y, this number. So control. And then one' going to do. I'm going to come round and I'm going to press control two, left click, right click. Now the one problem might have is if I pull this out and I put them on, I forgot the X. Let's try is going to be still too thin. And the reason is because obviously this is not a Q and X. Let's bring them in a little bit to be a little bit more square. All right? Something like that. Now, it's exactly the same process. We grab all four of these. We're going to press Shift D, we're going to bring them up. We're going to press Pet Selection. So now on a crate. The other thing that you've got to contend with is that we now need to give this some edge loops and not on these points. So in other words, we might as well grab this part, delete and limit to dissolve. Then what we'll do is we'll bring in some more edge loops. So control, so left click, right click. And then we'll go round this way. So control R. So left click, right click. And I'm actually going to mark a seam. I should have marked a seam on these ones. And then I've got these going down here, these going across here. And then I need these top ones, old shift. And click, let's go round here. So and then around the bottom right click mark. Now what I can do is I can actually come in and grab the top and the bottom, but I might as well just grab the top because it's going to be the same as the bomb anyway. So I'm going to do is just press P selection. And then what I'm going to do is I'm going to come to the bott now. So I'm going to grab this bomb L and delete and faces. And then what I'm going to do now is separate all of the old shift click. So I'm thinking, before I do that, actually control 5123456, left click, right click. Same on here. Control 3456, left click, right click. All right. Now we can separate them out. I'm thinking, yeah, the easiest way to do it is, yeah, probably to add a semen first. Let's add a right click mark. All right, so now we want to separate all of these out from each other. So I'm just going to come down each other, 11 and then press Y H, and then I'm going to go into the next one around. And then Y H, finally L, L, L, then y and H. All right, That's everything separated out on those ones. What that means is now we can actually start with these ones. I'm going to actually come in. In fact, I'll reset all of the transformations on all of them first. Then that's done, then we'll come to this one. And then what we'll do is we're adding the modifier, generate a solidify, adding another modifier, generate, and a bevel. And there we go. You can see already they're looking pretty nice even though we have not sorted out the thickness and I've not actually sort them out, the randomization. So let's do the randomization first on these. So all I'm going to do is mesh transform random turn it all the way down to o point no five. So there we go. Let's looking pretty good. And then what we'll do is we'll do these corner parts. And then we can actually make this a little bit smaller. So we'll grab these corner parts, we'll put them where we want them joust above like that. And then what we'll do is we'll come into this and this top one, press seven square over the top. And then we're just going to make it smaller than those corner parts like so. And now finally we can grab these, press A and then and bring them down to wherever we want them, which is probably round about there. And then what we can also do as well is probably don't want to randomize these, we want to keep these relatively straight. So what I'm going to do is just add in a bevel. Turn the bevel all the way down. Turn it up one, maybe that's a little bit too much still, so. Not 0.3 Yeah, and I think that's going to be fine. And then finally now we've just got this part here. So pretty much exactly the same thing. The only problem with this is we want it to actually drop down, and then we've got how far these are going to come out. So we'll do this part first because we've separated it out. No, we've, we've not separated out. So poncho la, four, left click, right click. And then let's split these up. So right click mark seam. Let's come in now and grab each one of these Y. And now finally we can actually come in adding a modify, solidify like so. And add in a Bevel like so. Alright, that's looking nice now. Now we can actually make them a little bit smaller. So now we can come in and increase the thickness of these. We can see now because we're increasing the thickness. The bevel doesn't make any sense anymore. Let's bring it up to No 0.3 Now you can see we're going somewhere. Now it's looking actually like a pretty nice crate. One thing is probably these are a little bit too high. Let's just bring them down a little bit more like that. Yeah, I think that's looking be then I'm thinking just the top. Let's randomize this one as well. Mesh transform, randomize, not point, not three like so. And then finally shift D and bring them down at the bottom. Now all the way down to here. Double tap the A, There we go. There is the crate actually done. Now a lot of the inside of this crate you're not going to need. You might want to go in and delete the backs of them off. We're not going to do that again. It's going to just add time to the course which we don't need. But if you want to, you're free to do that. What I'm going to do now is join all of this together. I'm going to press box select, Grab them all object and then what I'm going to do is convert. I'm thinking should I do it that way or should I bring in material first and then actually apply everything? I think I'll do it the other way. I think what I'll do is first I'll bring in the material. So I'm going to select these bag ones, click down arrow, and then we're looking for, we could either make them from barrel wood or the light wood. I think we'll go with the light wood. And then what I can do is I can select all of these. Now select this bone, one, select this one, control L, and then link materials like so. Now what I can do finally is I can come in, grab everything I need to apply the actual solidifi these, it's not going to work. So we'll come to these parts and we'll apply the Solidify. Apply. The only one we want on is the devil to grab everything now. Tab and then A, and then Smart UV Project. Click. Okay, there we go. There is a beautiful wooden crate. All right. I'm happy with that. Now I've got it in place. I can see that I probably need to pull this down a little bit. I can also see that I probably need to just make this wood a little bit bigger. So I'll do that next. So I'm just going to grab it. I don't want to grab this part, so I'm just going to deselect it. I'm going to go into tab, you can see I've still got that selected for some reason. I'm going to go over the top. Grab it again. B tab, there we go. That's better. Now, we'll go over to our shading panel and we'll press Tab. And then what we'll do is we'll press A on this and, and just pull it out a little bit. And now you can see the looking tons bare. All right, let's press dot just to zoom in and just have a look what we've got there. I think I'm happy with that. Which means that now I can actually join all this together. Once I've gone to object convert mesh control J, join it all together and that's our base crate that we'll actually save out onto our asset manager as well. Now let's move on to the next one. So we can see on here that these parts, I don't think they have a bevel, so we're going to bring in a bevel. So let's turn that bevel down, turning up one yet to hide. Not 0.3 so we've got be that bevel, we've got a dirt in here which may need to pull up a little bit. Yeah, and I think that's all looking good. Now, what I'm going to do now is again, I'll grab all of this. I'll grab this last control L link materials and then we'll go to our materials panel. And I don't actually think we've got a dirt in here. I'm going to have to add the dirt and then I'll actually add the light woods. Let's go to Asset Manager. Let's scroll up and go to use the library. Let's now go down to materials, and the one we're looking for is dirt, which is this one here. What we're going to do is drop that on there, let it load up, and there's actual dirt. Let's press dot. So it can zoom in here. We can press plus, we can press light, this one here. All right, so now we've got that. Now what I can do is I can select the rest of this now. Then what I can do is I can click Control L Link Materials, and then that will happen. Then what I can do with this is just go in and put this on light wood, do the same. Then on this light wood, a sign. I think the rest of it is fine. Let's look at the bomb. Yes, it is. Okay. So now we can do is we can grab the whole thing, including the dirt. Press the tab. A smart UV project. Click. Okay, there we go. Now let's just go make our UV a little bit bigger in the shading panel tab, and we can see we've got a square there. I don't want that. So what I want to do is want to press control A all transforms right. Click Srogens geometry. And now try that again. Smart UV project. Click okay. And now you can see it's. Fix that. And then pull them out. There we go. That's looking pretty nice. And now we can do is find that we can join all the sup, I'm going to grab it all. Object convert, mesh, control J. Join it all together. And there we go. We've got a plant pot, so we've got a wooden plant pot, we've got a create. What we'll do on the next lesson is we'll get those in the Asset Manager and get those around here. And then finally, I think once we've got that in, we can make a start finally on this back part of the building. Alright, everyone. So I'm going to say about my work and I'll see you on the next one. Thanks a lot. Bye bye. 77. Adding 3D Attachments to Blender Tavern Models: Welcome back everyone to the Blend. The creates stylized three D model course. And let's now first of all bring in this crate. So let's bring in this crate. Let's go to modeling actually, so we can actually see what we're doing and let's come in. But in fact, before we do that, we need to actually press control or transforms right click, set, origins, geometry. There we go. Now they're both set. And then what we can do is we can press control three and go to the front view of this one. And I can call this one Create. We'll do this properly. Create. Then what we'll do is we'll right click Markers Asset. And then we'll come to this one and we'll call it a wooden planter. Press the dot board and go to it. And then you can right click Markers asset. Let's save out our work now. And then what we'll do is we'll actually come bring these over here. And then what we'll do is we'll bring them in. So I'm going to rotate them round zed 90. Rotate them round. I've got one for small assets already, so now I can go to my asset manager, go to user library, Current file, there we go. And unassigned. And here they are. Let's now grab them both and put them in small assets like so. And then we've got all of those that we need. Okay, first of all, let's bring out our crate now. There we go. We can see it comes out very, very nicely. Z, let's spin it around. What we'll do, we'll just have a couple of crates in here. Let's not just put it into the floor though, let's put it into there. And then what we'll do is our press shift, I'll bring up one more. I'll make it a little bit smaller, spin it, rounds 180 and then, and then let's put that one on top of the double tap the A, and there we go. There's the crates in place. We can see they're going through the wood. Don't really want that. Let's put them. So now we'll have a wooden planter. I'll bring in my wooden plan. The first one I'll put here 90. Let's put it over there again. We'll fill these up in a bit. We'll just leave it there for now. And then we'll put a second planter up here. You can see really, really quick and easy to put these out now. Okay, so let's put that on there. So well, imagine it's nailed to the fence. All right, So that's looking good. Now let's go round to the other side. And what we'll do when the other side is we'll just put some barrels out, ready to go round there. We might as well while we've got this open. So what I'll do is I'll bring in a barrel, and I'll turn it around, 90 R Y, 90. Let's pick it up. And also one of the things with the barrels is we just want to make sure that it's the right size. As you can see, this barrel, when I bring it up, it looks nice and all that, but it's huge and we want to make it a little bit smaller. As you can see, that's more or less a better size for a barrel. Then now I've got my right size. I'm going to put that perhaps over here near the wall. Then what I'll do is I'll bring in another one. So I'm going to press deep. I'll spin this one round de, spin it round a little bit, and then x 180. Spin it round, so it looks a little bit different from this one. Pull it out a little bit, still leaving the gap there. I'm going to move these a little bit over, and then finally I'll just put one more barrel on top of here, shift D, then x 90. Let's put this one back in place and R, Z, spin it around like so. Just make sure that it's not disappearing into the other barrels. And make sure it looks as though it's on the double tap, the A, and then just make sure none of it's going through the wall. There we go. That's looking pretty nice. Now let's have a look round our scene. Those barrels are looking pretty cool. As you can see our crates, our planter, and yeah, I think everything's looking really, really good. And now we're basically at the point where all we need really on this is a door, which we'll do in a bit, but I think now finally we'll move on round to this part. So the first thing I'm going to do is I'm going to come round and I'm going to steal this part here. So I'm just going to grab all of this. In fact, what I'll do is to grab all of this. I'll actually join it all up. There's no reason why I shouldn't join it all up. So I'll do is I'll just put this on material and what I'll do is I'll grab all of these little parts. It's a better anyway to have all these things joined up. You don't want to Little parts absolutely everywhere. We really don't want that. So we're just going to join all of this part except the window. We don't want to join the window on. We want to keep that separate. Anyway, if I press now, we can see what we've got left. So we've got the top here. And then I press again. We've got this window here, press again, We've got the underneath Then of this. Grab this here. Grab this one here again. And now I think, except this piece of wood, just look, I think this piece of wood there, look, yes, that is everything. Now, now I just want to make sure, I want to make sure that I've got no bevels or anything like that on here. So what I'm going to do is I'm just going to go to object convert mesh. And then I'll just click on my roof. And I'm just going to press control, join it altogether. And now should all come away like so. Okay, so let's come to this part. And then what I'm going to do is just press shift. I'm going to bring it back, then I'm going to spin it around 180. And then what I'm going to do is I'm going to put this in place. Now one of the problems we've got with the back is first of all, I'm not going to need these parts on there. Second of all, it needs to be a little bit smaller. I'm going do is I'm just going to press in Z. Shrink it down a little bit, and then I'm going to move it back now into place like so I'm going to pull it up a little bit and then what I'm going to do is delete this part out. So delete that part out. Move it into place, so if I press control one, I can now see whereabouts it's going to be. And I can also see that I really don't need these, these parts in here at all. I'm actually thinking I might be able to get away with making this. Getting rid of these. I'm not going to need those in there. I don't think what I'm going to do is actually, that's actually looking okay, like there. I'm thinking I'll pull it up there so they're stuck in the wall. Just making sure they're stuck in the wall. Then what I'm thinking, where is this going to actually come up to? Because I actually want to put above here some planks of wood. In other words, some planks of wood coming out here. Again, to make it look a little bit different. Also I want to actually take this window, just the window, press shift, bring it over. And then R, Z -90 control one. And what I'm going to do is just put that window on there. Now you can see it's just going to fit I think. Let's pull it out shift. There we go. That's fitting in nicely. Double tap the let's put on our rendered view. Let's have a quick look at what that looks like. Yeah, thinking that looks pretty nice like that, I've just got to figure out how mature going to do this bit. So to do that, what I'll do is normally when I'm doing anything like that, I'll start at the bottom and work my way up. I find that's much, much easier. All right everyone. So we'll do that on the next lesson. We'll start on this bottom here. Alright, thanks a lot. Bye bye. 78. Advanced Wall and Attachment Work in Blender: Welcome back everyone to the blender. Creates course, stylize, three D models. I'm just going to save up my work before I do anything else. Then I'll go back into Material View and now I'm going to go to wooden supports. And I want one more support that doesn't look the same as this one. It's going to be an angled one, so I'm going to pick this one. I think that one looks very different from that one, and then I'm going to fit that into place. So. All right, so now let's start working our way up to here. So I'm going to just fit this into there. And then what I'm going to do now, we need some wooden blocks. So let's start with maybe a meter one there. And we also want to make sure we've got blocks running down here. So I'm going to pick, first of all, 12 meter one 1 meter and then one perhaps three meter. Let's bring a three meter, one in. Let's bring another three meter, one in like so to go above there. And then we're going to need some smaller blocks as well for these little parts in here. And then we're pretty much got that. So we've 2.5 meter one I'm going to pick or a two meter one. Let's pick another two meter one. Yeah, that's different from that one. Perfect. Okay. One more meter one. Okay. Let's see if I can bring this one in. Is that the same? Yes, it is. So let's bring the other one in. There we go. Now it's different, right? Let's come in and put this one, first of all in here. And then what we'll do is we'll bring this one in. So I'm going to press Y 90 and I'm going to put that in the corner. So, and then going up to there. And then I'm obviously going to have to make that bigger. And let's make it bigger. We can see that this is quite a chunky one, so I'm going to pull that out a little bit and I'm probably going to make it even bigger than that. And now we can see we don't really want it pulling so far into there a little bit too much there. I'll pull it just to the bottom there. Now I'll just follow this across so I can use my 1 meter 190. Let's bring it up, Let's fit this one into place. Coming along here, something just on top of there. Then I'll pull this out a little bit S Y to pull it out, fit it into place. Then what we'll do now, one going across there, I'm going to grab this one. I'm going to pull it up into place, making sure everything is fitting in nicely. Need to move this one over a little bit, as you can see. There we go. That's that part. Now I'm going to grab this part. I'm going to press shift and drag it down. And then what' going to do is rotate it x 90. Rotate it. And then we're going to put that into just to the bottom here, the supporting wall. So bring it down, make sure that's in place. And there we go. And then I'm going to bring this one shift D, bring it down. And then R and Y 90. Spin it around, put that one in place in there, and there we go. And then finally we just want to now bring on these two parts. So trying to fix all this in together, so I can probably use this part here. I'll use that shift D, bring it up and then R x 90. Spin it round and then I'm just going to slot that in under here. So it goes on there like, so there we go. That's looking pretty good like that. And then finally I want one more piece which can be this one which will be brought up, then I'll slot that into, as you can see, it's not quite thin in, but that's fine because we actually want that because it makes things look more realistic. Ry 9,180 spin it round and Y. And then what we'll do with this part is we'll actually grab just the front of it, we'll put proportional editing and we're just going to then pull it across into place. Okay, that's looking cool. Now what we want to do is we want to put on the bottom up. Now, can I use what I've already got? I'm looking at this here. I think I'll use these here. I'm just going to press shift, I'm going to drag this over. I'm going to press said -90 And then I'm going to put those into place there. I'm not going to worry too much about stretching these out a little bit. I think we can get away with that actually. On the Y, I'm going to pull those out there. I'm going to press and Y, pull them out in place like so. Just making sure that they're dropping down below there as you can see. Then what I'll do is I'll grab one of these. We'll just grab this one here. Shift, drag it over without portion, ding on, drag it over. And then what I'll do is I'll just spin it around. I'd hundred 80 and then y eight, spin it around and then we'll push that together with there. And then finally what we'll do is we'll just pull these out a little bit and X pull them out. And then just fit them into place like so. And that's looking very nice. Now let's think about the walls so we can get our walls on. We'll use just both of these. So we'll just press shift, bring it out, spin it around, so 90. And before we fit that in, let's actually just delete this out the way. We're not going to need that anymore. So delete, Let's also delete this one out the way. And we can also see that we've got this one in here. We're not going to need that. We're not going to need this one and we're not going to need this one nor this one inside. We can see we still got our top floor on there, but everything else in there is pretty much gone now, which is great. So let's pull these back. So then what we'll do is we'll grab just each of the edges like so, and pull them over into there. So now we need one more piece on here. I think we'll use this one here shift, bring it over, put this one into place, and then spin it around so there 180 and that's going to look a little bit different from the other one, double to the A. And you can see it's not quite fitting in, I'm thinking. I'll pull it down a little bit and I'll pull it into a little bit like so it's just in there, you can see it needs squishing in a little bit. So I'm just going to grab it and Y squish it in and then pull it into a better place. And there we go, that's looking better. Okay, so now let's grab both of these. So, Sid pull them out 90, pull them back into place and then pull them along where I want them to go. And finally I'll grab this edge and this edge, pull them along, making sure they're not poking out there. And then all I need to do is just grab all three of these or four of these control or transforms. Right click, set, origin to geometry, tab and on wrap. Let's have a look at those. Okay, I'm happy with those now. We should be able to now move up a little bit, so we should be able to put something on here. The first thing though, we need to do is we're going to, we can see that we've got a little bit of a part out of here. Let's have a look. So we've got this coming up here, we've got this coming on here, we have to fit all of this in together. I'm thinking that we're probably going to have to build from this part first before building this part. But one thing we do need to do is make this a little bit bigger like so. So what we'll do, you can see as well this bit is a little bit out, so I need to push it back a little bit. What we'll do then on the next lesson is we'll actually start from the top now and join them in the middle. Hopefully we still have a fair bit of work to do here. There's a window that goes here. There's a couple of bricks that go on this part here. There's some wood that goes along here. And there's also a broken piece of brick on here. But you can see now we've got all the actual parts, how quick it is once you've got it. You can also see, let's say you want to build a new building and it's going to be a blacksmith's. You can see that you've got the basics to build, like pretty much any building in this style. And it's gonna look really, really professional. You just need to add a few bits to it. All right everyone. So I hope you enjoyed that. I hope you've learned loads and loads so far along the course. And I'll see on the next one. Thanks a lot. Bye bye. 79. Modeling Frameworks for Stylized Taverns in Blender: Welcome back everyone to the blender created course stylized three D models and this is where we left it off. Okay, so let's first of all grab this window and what I'm going to do is just press shift D. I'm going to bring this over Z -90 control one to go into the back. And then we're just going to put this window in place like so let's drag it in place, hold in the shift on now and just bring it forward. And there we go, that's the window in. And then what I'm going to do is I'm going to grab this wall control one again. And then I'm going to come in and just cut away this little bit. So I'm going to press, grab it here, cut it going round there. And then what I'm going to do is I'm going to drag this back. So I'm going to come in, grab it, pull it back. I don't want to go past that piece of wood there that you can see. Now, All I'm going to do is I'm actually going to come in, add a new material, and the one wheel on is broken wall. And then what I'm going to do is press control one. I'm going to assign that. And then of course I'm going to project from view and then go to shading panel. Let's zoom in. Press the tab, and there we are. Let's press the Born. And then what I want to do is line it up with these on the other side. And you can see they are probably a little bit too big. So S again. And there we go. Now they're lining up, and I can also probably line them up. So they're lining up with the bricks round that side as well like, so maybe they're a little bit too small now, so there we go. All right. That'll do. I think that's pretty nice anyway. Okay, so let's now come around to this part here. So what we'll do is we'll use, I think this will be a bit too big this one, but we'll have a look. So what I'm going to do is we're going to bring this in, we're going to spin it round, so our Y 90. And then I want to put this in the middle of here and then rotate it so there's going to be one there and one there. So I'm going to press S and's shrink it down a little bit, and then Y. And let's put it in here somewhere, Y, Let's put it in, let's see if that I'll actually go in there, bring it down. I want it right in the corner there without actually going into the wall. You can see here, I got a little bit of problem with this bit. I need to pull it out, which means that I need to also pull out probably these two a little bit, especially this one. Which means that probably yeah, I think I won't bob with that. It's just a tiny, tiny little bit. I think that will be fine. All right, so we've got that one there now. Let's press de, bring it over z 180, Spin it round, and let's see if these bits fit in. And yes, they do that bit done, so that was quite easy now. Then let's think about this part. I need one more of these supports, so let's go to Asset Manager. Let's see if we can find the one that isn't because these two are actually different from each other. So wooden supports. Let's also save out our work so we don't lose anything. And let's think this one looks like that. So it looks like this one. Let's put this one in, and you can see this one is nowhere near the height that it should be. So I'm just going to plot that into there. And I'm also thinking said, let's put that in to be just above there as well, to make it a little bit different. Yes, so something like that, I think. Okay, so we've got this bit now let's think about another piece of wood going along here. Probably use one of these. Should bring out or 90, let's pull it up and in place, and down. And then have it sticking out. Not quite that much is a little bit too much and y pull it in a little bit, so we're just sticking out something like that. And then now let's think about this. What is actually going to be holding this, this part in place? We need some kind of support for it. So what I'm going to do is I'm actually going to use these planks. So I'm going to press Shift, I'm going to spin them over though. So I'm going to press X Y 180. Then what I'm going to do is I'm going to have these coming out, thinking under here, if I can pull them out, so they're basically coming under here, then go like that, I think. Then I'm just going all the way to the end and then having them go to this end as well. Let's do that. What I'll do is I'll grab this one. And this one I'm going to press Shift D. Bring them out and then what I'll do is I'll spin them around 180 and there we go. There we go. They're looking very different to the others and there near enough fit, that's perfect. Then what I'll do is I'll just pull them back shift D, let's pull them back to here as well. Let's spin them over once more, Y hundred and 80, just so they're looking different then. What we're going to do then is we're going to put in, let's have a look, another piece of wood here. I'll grab this one and I'm going to put it in up here, shift D, we're going to put it in at the front here, so we're going to leave those sticking out like that. We're going to probably make it a little bit thinner because we're going to have some supports going down these sides as well. Yes, we'll make it thinner now S and X. Then what we'll do is we'll have another piece of wood in just at the halfway point there. We'll spin this round, then x 90. We're going to put it there just to hide that. And then shift the one more piece going into the bag, then into the wall, and then x 180. And there we go. I'm just hoping that that one is different from that one, which I think it is. Okay. So we've got pretty much this part done on there. So what I want now is I'm going to need another piece of wood coming out of here. Or we can use this one, but it needs to be a little bit thicker. So we can use this and we can press the essence head and just pull it out and make it a little bit thicker, so it just just goes into the top of there. And also because we are making it thicker, let's actually pull it out a little bit more. So I'm going to pull it out this way first. And then I'll just turn off this and grab it all there. I'm thinking, how far can I pull it out there? Can I pull it out there? Will it look right if I do pull it out there? Yeah. I don't think so. I think I think it needs to stay actually like that. I'm going to pull it back a little bit. I think that's one thing it's missing. Let's pull it back into here. Into the wall blot at the Yes. Okay. All right. I think now what we'll do is we'll put this over the other side as well. So I'm going to grab this shift then I'll spin this round, 180. Yes, there we go. Now, where can I put that? Is going to be around there. And then I need to make this a little bit thinner and X a little bit thinner. So then one'm going to have is probably one more of these we can see. Now this can fit in so we can see and X, pull it out. And then shift D, bring it up and then spin it round x 180. And we'll sit that on top of here. X that on there. Right down on those planks of wood there. I wonder actually, if we need them actually hanging over, I don't think so. Actually, we'll bring them back. We'll just have them just at the edge of there. Okay. This is the support for all of this. What we need now is some more supports going down here. If I grab this, I'm going to press Shift, then I'm going to do is rotate it round Y 180. And then I can actually put this into the wall X, into this part here that created. And making sure that it'll go into here probably. I think it's going to have to come from here, right in this bit here. That's probably a little bit too far. Actually, let's pull it back just a little bit there. And then what we'll do is we'll press and X and bring it in. And now we want to make sure that this fits in place. And this is the hardest part, like I said, trying to make everything fit. So we're just going to put this on normal, then we're going to pull this out and see where we've got it up to. And we're going to pull this to the side little bit. And you can see that it's a little bit bent, so we need to grab the middle global, pull it to the side a little bit. Let's have a look at that. And there we go. That is looking pretty good. Now we need a smaller bit for this part here. What I'll do is I could actually use this and put this in the wall here, I think it will. Actually, I'll press D. I'll bring this one down. Then what I'll do is I'll press Y, R X. Then I'll put this go into the front here. And then S just make it a little bit thinner. Put up the A, there we go, That's in the wall there. Now I'm looking for one more that's going to go in here. We've got the balcony to do. We've probably got some support that we need to put against this part here. But we're nearly actually finished with the actual main part of the building. That's the best thing. All right everyone. So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 80. Creating Additional Beam Details in Blender Taverns: Welcome back everyone to Blenda created course stylized three D models and this is where we left the art. All right, so basically now it's all a question of actually tidying everything up that we've got so far. So what I'm going to do is, first of all, I'll just come in and make this a little bit smaller. So I'm going to press S and X. Just bring it in a bit and I'm going to put some actual parts going up here. The other thing is I want to part in here as well. So I'm just going to pick one of the parts that I haven't actually got, which will be one of these maybe. Let's have a look, let's put that in and I'm going to slot that then into the corner here, just making sure that it's going up and, you know, actually into the actual ceiling there. So, I'm going to pull it up S and Z, let's pull it up into there. And that's absolutely fine. Next of all, then let's grab one of these windows. And one going to do is I'm just gonna press Shift D, pull it out. And then R, Z 90. And let's press control three. And then we're just going to put that in place where we want it, which will be Jared against this wall here. And you can see now it's jaws pulling everything together, the final parts together for the actual main build. All right, so now we need to also bring in another window. So I'm going to bring in this window here, Shift and D, bring it over R -90 control one. And then I'm going to slot this window into here like so let's put that in hold in shift born again, pulling it out and then just lifting it up. You can see I've got to pull it out a little bit more because that bottom window is set back a little bit more. So I'm just going to pull it out and then holding shift and there we go. And then I'm just going to think, pull it up a little bit. So all right, so that's that bit. Now we need to think about this bit in here. We need to put in some wood. So let's go to wooden blocks and we'll find a two meter. Let's bring that in. Let's spin this round so R Y 90. And let's put this into place then. I think I'll have it touch in just the top of that. I'll press Sen's Ed and squish it in. Hopefully, maybe in a little bit more. So Ess, let's sit it just on that's have a look at that. Yeah, and I think that's going to look absolutely fine. Then what I'll do is I'll need a couple more. 2.5 meters maybe. Let's put these on here are x 90. Let's just slot these in the corner up here. And then hopefully they'll nearly as you can see, nearly actually placing there. I'm going to put them a little bit further up and just pull them out a little bit. You'uble have the, just want to see what they look like. And that's looking really, really nice actually. Then I'm going to actually bring this over, so grab it again. Shift D, bring it over and then 90, spin it round and let's drop that in this place. On this one I might need to pull it back a little bit like so just so it's fitting in this bit here so it's not sticking out above there. And that's looking fine like so. And then I'm just finishing now thinking, okay, so we just I think want one more part. So some wooden parts going this way. And I think I'm wondering if we should just create some or if I should just use some of the wood I've actually got. I'll actually grab a two meter one. I'll just drop that in there. And then what I'll do is I think I will try and bend it going over here. And then I'll just try and mirror it over the other side. So what I'll do is I'll put it into, let's say this part here. And then what I'll do is I'll try and bend it over. Okay, let's come with the bottom of it. Let's put this onto then, let's try linear. Let's try linear. Let me see if I can bend it over like so. Yeah, you can see it's probably not going to be that great with linear, so I'll try a different one. Let's try inverse square. So we'll try that. That's definitely not it. And I'll try the sphere, and that's definitely not going to be it, so it's going to have to be an inverted one, and we don't really have one. So what I'll do is instead is I'll just put it onto smooth and then I'll move it over and get it to where I actually want it. And then what I'll do is I'll rotate it, so art and Y, let's rotate it around. You can see I'm losing a lot of the definition and things like that there. So I'm not actually going to do that. What I'm going to do is I'm just going to create one. So I'll grab this wall shift, S cursor selected shift. Let's bring in a cylinder. Let's spin the cylinder round. I'm going to leave it on 18 verts as you can see. So RX 90. And then what I'm going to do is I'm just going to look and get this into place. So I can see that, you know, it's gonna come from the middle of here and it needs to go all the way over there. So what I'm going to do is I'm just going to come in and I'll go in and I'll delete the front and the back. So delete these two. So delete faces. You know, actually I think I'm actually making this much, much harder than I need to. I'm not going to both with a cylinder, sorry. I'm gonna bring in a plane and let's try it that way. We're making this very, very hard for myself. I'm not going to do that. So all I'm going to do is I'm going to bring my plane out. I'm gonna sit my plane over there. So the next just pull it out into place. And now what I'm going to do is just to make this really easy for myself is press the tab button. Press K, and I'm just going to bring in the T. So I want it roughly coming from here. Going down here. And I want to smooth kind of arc, going all the way down into this point here. I'm just going to find the bottom of it. Which I think, is there a press Enter? Yeah, there we go. And then what I can do is now I can just copy this. So if I grab the top control, select the bottom shift D, bring it out and then I'll bring it out without proportional editing on. And then what I'll do is just grab the rest of it with L like, so delete and vertices. Now what I can do is I can grab the whole thing and then I can press and Y and just pull it into place where you want it. And then finally what I can do is press control, rotation and scale. Because that then will just keep the origin point there. And then what I'll do is I'll come over to my little modifier and we'll generate a solidify, Let's pull it back then the other way. And there we go. Now you can see that's just much, much easier way of doing it. It's just a pain where we have to actually put in some new, you know, materials bought. Ah, it's going to be easier doing that way anyway, so. Yeah, I think I'm much happier with that. All right, now we've got that solidifier. Let's press control A to apply that. And then control A again. All transforms right click, set origin to geometry. And then we're going to add in another modifier. It will be a devil. Turn the devil all the way down. Turn it up one. And so we've got that. And now what we need to do is I'm going to apply the material. So I'm going to press control on Link materials and then come back to it. Tab U and Smart UV Project. Click okay. And there we go. Now one problem we've got is obviously the curve. But we know by now how to actually fix that. So if a press tab, go over to my shading panel, the press tab again, and then zoom in. And then what I should be able to do now is grab this one. This one right click, straighten, Same for this one. Then right click, straighten, And then just same for this one, and the same for this one. So, all right, now let's have a look at that. And there we go. We can see that's looking much, much nicer. And then no longer going to do is press Shift, bring it over our Z 180, Spin it round, and let's then put that into place in there. Now we can see that this one's a little bit out, so I'm gonna have to pull it back a little bit more than the other one. That's no problem. Let's get it back into place. They don't need to be completely even anyway, so you can see it's better if they're better if they're actually not. And that's looking pretty nice. Now let's think about these parts here. So I think what I'll do is I'm definitely going to need one more up here. So what I'm going to do is I think I'll grab this one. I'm going to press Shift D, drag that down, and then we press R Z 180. Let's put this one back in place, okay? And then what we'll do is we'll put it in a roundabout there. I think a look set that's fitting in nicely. It looks like it is. So that's looking good, I think then what we'll do on the next lesson is we'll actually come in and finish these off by bringing in all of the walls. And then finally, I can actually bring in this support which will steal from over here along here. Bring in a flower pot. And then we'll cut away just one piece of the wall. So I, we'll cut away the wall just in here. So along here put in a couple of bricks and then we're pretty much done with the build of the actual building. All right everyone. So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 81. Attaching Flower Pots to Tavern Models in Blender: Welcome back everyone to the Blender Critic Core stylized three D models, and this is where we left off. All right, so now what I'm going to do is I'm going to grab this bottom wall. I'm going to press shift D, Duplicate it, bring it up and let's drop that back in there. I think also at this point before doing that, I'll just pull it out again, not along there. I want to make sure it's level, so let's pull it out again. What I can actually do now is I can delete all of these. So all of these gray boxes, we're really not going to need them anymore. So let's just delete them out the way we've got pretty much everything that we need from the they've served as well. So let's just make sure that all of the gray boxes are actually deleted. And also the best thing about this, if you wanted to, you could probably pretty easily go on the inside and actually fix the inside so you could actually walk around this as well if you wanted to. Now what I'm going to do is I'm going to pull this back into place. I'm going to pull this into place here. I'm going to grab then this edge like so and pull it back. And let's pull it back properly like so. And then one way to do is I'm going to pull it up as well. Can see we've got a bit missing there. Pull it up. So I'm thinking that probably going to need another piece of wood in there. So I'll just grab this one shift, pull it over, pull it up like so. And then spin it round. So x 108 feet. Spin it round, so it's a little bit different. Yeah, and I think that looks much better. Then I'll grab this wall and I'm going to press shift D again. We'll squish it in and X pull it in a little bit, pull it into the place. And then press's Ed just to get that in place. So then what I'll do is I'll use this wall shift D, pull it up 90, spin it around, let's put this into some sort of place, which you'll be back against there and then and Y, and just pull it out a tiny bit. All right, so we've just done these three. We might as well unwrap these. So I'm going to grab this one. This one and this one. I'm going to press Control A, all transforms right click, set origin to geometry. And then I'm going to press tab A to grab them all and, and unwrap. We should end up with something like that. Just make sure you're happy with the resolution on those. Now let's come to this one. So I'm going to press shift D 90. And the reason I did those first is I don't I just don't want to miss them. I'm just trying to get them done as I'm working on them. I'm going to press Sen's ad on this one just to bring it up a little bit. I'm also going to bring in one more piece of wood just to finish this up. I'll go, I'm thinking I've got a piece of wood I can use. I could maybe use that one shift. Let's bring that down. Let's spin it round then x 90. Let's drop that into place. So just making sure it's in place. Yeah, and that's looking pretty good. I'm happy with that. Now, which one do we do? So we've got this this wall that we put in. So this is the wall that we've put in? Yes, that's the one. It's way too long, so I might as well just pull it back a little bit. So I just grab this edge, pull it back into place. And then what I'll do is I'll unwrap this one while I've got it. So I'm just going to press control A and then A to grab it all and you unwrap. That's that one. Now let's finish this off. So we've got just these two parts here. So I'm going to grab this part shift then 90, spin it round, put it into place then. And just make it a little bit smaller, just so it's fit in a little bit bare. And then and x pull it into place like so I'm just wondering whether I need to pull that out, which I think I do in place. Then shift D one more. I think we're actually done with the walls. 90 and Y. Put it into place, making sure it's dropping down into the right place. So then what I'm going to do is grab both of the S that I've just done. Control transforms and then Tab and you on the rap and there we go, double tap the I think everyone we're finished near enough with the main build which is really, really cool. Now let's just finish the light here. I'm going to want to light and I'm thinking that it should maybe hang from underneath, maybe here somewhere a little bit across. I'm just going to grab this light here. I'm going to press Shift and just drag this out. And then all I'm going to do, I'm not actually sure whether they'll keep this, so I'm going to spin it round. So I'll said 90. Let's have a look where it looks like with that actually on there. Mine actually. We're going to pull it up into let's put it into going along here. I think I'm going to have it sat heave under here. Because I think then they'll be able to actually reach it and then what I'll do is I'll just pull it up actually. That's going to look really nice like that. It's just this bit that we don't actually want. All I'm going to do is just come in, grab back this one, make sure that we've just turn off X ray control. In fact, control just just wants to grab those two and then I should be able to pull it into place so it's fitting in there. And there we go. Now let's think about our banister. So all I'm going to do is I'm just going to grab both of these actually, including the plant part as well. Before I do that, actually, I'll just grab this piece of wood and just delete. It's kind of annoying me, so I'll just grab both of these now. Shift and bring those round, and then R -90 Let's bring that into play. So realistically, we're happy with the corner part on here, so you can see this corner part, this should look good. So you can see we're going to have to put another part in, but I'm just looking where it's actually going to come to. So I want it into the wood at the bottom, but I also want this to be over there. So I'm going to put it into that water. I'm just trying to work out like which is the best way to do this. If I put these over here, as you can see, I'm going to have a problem with it. Where is it actually going to go into? Do I need to make this thicker? If I put this here, which is where it should go, you can see we're a little bit out. I might be worrying a little bit too much about this. I think what I'm going to do is I'm going to grab this part, just this part here, and then I'm just going to see where I can actually put it to if it went there, make this bit a bit thicker. So I'm going to put it there and then grab this one and see where I can actually bring that to. If I bring that up to there, I can just near enough. Let's grab this part again. Let's pull it over a little bit more and pull it into place then those parts are in. I'm thinking that I'm just going to need one more part here. So I'm going to press L shift D and then let's just spin it around 180. Let's spin it around. Double tap the That actually might work like that. All right. I don't think I actually need to do anything else with that. I think I'm going to leave it like that. I think it's looking absolutely fine then. All I'm going to do now is I'm going to get rid of this one because I'm not going to need it. I'm not going to need these parts in here as well. So I'll just delete by. Just get rid of those parts. And then what I think I'll do is I will expand this part. So I'm going to come in old shifting click and then control plus. Control plus. And then I'm just going to pull it, can I pull it from there? You can see we've got a little bit of an issue. If I pull it from there, it's actually making it not so much flat, which is not well wanted. So what I'm going to do instead is I'm going to press control left click, right click. Control left click, right click. And instead what I'll do is I'll grab the whole thing now and pull it out if I can. Can I press S and X and pull that out a little bit? Yes. And I think that's going to be bare. Pull it out and then all I'll do is I'll re unwrap it. Let's just see if I'm wrap it with Smart UV Project. Click Okay. Let's have a look at that. Looks like. And actually I think that's done a good enough job. So now I need to do is I just need to grab a few of these. So we'll grab two of them. Shift D, pull them over. Let's make sure then that we can actually rotate them on the where is it on our individual origins. And then R said 180 and now finally I want to make sure that these are in place so we can see because we've moved them over here, we're a little bit out on place. So all I'm going to do is just move them over very, very slightly just to make sure they all fit in place like so. And again, they don't need to be super accurate or anything like that. And the last thing then I'm going to do is just make sure that this is set in that place that I want it. I think those two there, it's going to do it. Double tap, the A. There we go. Now I'm just going to take a quick look at what this looks like with my rendered view on. Let's turn it on. Yes, I think that's going to be perfect. Now, remember as well, not all of these windows are going to be lit far from it. We actually have a material that's going to make them unlit because you want to have every single light in an inn or even in your house. So we need to make sure that we sort that out. All right, so what we'll do on the next lesson is we'll bring in the last light which will be along here. We'll break this piece of wall here. And then I'll just look around and make sure I'm not missing nihing. We need a couple of bricks in here as well. I'm going to go up to my work. I'm going to save it out. I want to make sure that I'm on the material mode. I'll see you on the next one, everyone. I hope you're really enjoying the course so far. Alright everyone. Thanks a lot. Bye bye. 82. Modeling Basement Entrances for Blender Taverns: Welcome back everyone to the Blender Critic Core stylized three D model and this is where we left it off. Okay, so let's first of all break this piece of wall here. So I'm just going to press control one to go into front view. I'm then going to come in, press K the knife. And I'm just going to come in and just break it going down to here. So pretty much the same as what we've done every time before then. I'm just going to press, pull it back like so. And then what I'm going to do is I'll just attach this. So if I grab this one as well, press control L and link materials. And then what I can do is press control one. Come in, just grab this one and assign the broken wall. So I'm going to press U and project from view like so. And then I'm going to press S and then just try and match up to make sure that that broken wall is the same as this one. These bricks as you can see, look a little bit bigger. So I'm going to press S, make them a little bit smaller. And there we go. I'm thinking they look pretty nice like so now let's bring in a few stones. I'm just going to go to Asset Manager and then what I'm going to do is just go to my small bricks. And what I'll do is I'll bring in these two bricks here. Let's spin them around, then 90. Let's also spin them around the other way, so R Y 90. And then let's put these into place in this corner here. So double tap the A. Now let's just have a look round making sure I've not missed anything. We can see we've missed these parts here. Definitely going to want some struts in there as well. So we'll go to wooden blocks, we'll go to our 1 meter ones. I'm just going to drop that in there. Just wondering if they're going to be big enough. Yeah, I think they are. R Y 90, control three to go into the side view. Let's bring these down into I'm going to press and pull them out a little bit and then we can drop them into place in there making sure they're in there need to be a little bit thinner. Next, let's make them a little bit skinnier. So, and then I'm going to press Shift and bring it over. I'm going to just put it up to there I think. And then press Ds head 180. And then instead of doing anything you're trying to squish them down because I do want to keep this material there. I'm actually just going to come in, press A and bring in my bisect, cut it across. Double tap the A, and there we go. Dad's perfect. Happy with that. Now I'm just making sure that all the rest of the building is actually done. You may want to put some supports under here, for instance, thinking maybe we do. So I'm just going to grab this one. I'm just going to press, I need to pull it out a little bit. It's lost its chunkiness. Let's pull it out just a little bit. So let's pull it up then. And I'm just going to slot it under there, x, pull it into place. So I'll put 1.1 in there. I don't want it coming through there or anything like that. I'll put it there and then shift D and I'll put it the other side here. I can see that they both need probably rotating around a little bit more, sorry, X and then lift them a bit more like so. And just make sure they're not poking through maybe a little bit more actually. Yeah, there, that's perfect, I think. Then I'll grab this one. I'll press control all transforms and I'm just going to grab it. A smart UV project. Click. Okay, there we go. Now they're looking a little bit different from each other. Double tap the A. There we go. That's really finishing that part of. All right, so one final look. Looking around, have I actually missed anything? Yes, I've missed one light over here, so I'm just going to grab where is the other light Sure. Of growing other light. Yes. I'll grab this one shift and I'm going to put it on this corner, the -90 I want this to go on this corner in here I think. A little bit raised up a little bit, pulled back, double tap the A. Yes. That's the way I wanted to grow a light there there light here. Plenty of lights going on around here. I don't think I need any more broken, broken walls or anything like that. I think then I'm just going to go up to save. So file and save. Now one thing we have missed is just this part down here. So I think we should build that probably next, because then we've actually finished pretty much the whole of the actual build except the door. We've also got the door to do so. Yeah, let's get on with these parts now. So we'll build this bottom part first. So what I'm going to do is I'm going to come grab my guy. I'll press shift as first to selected. Then what I'll do is I'll press shift and we'll bring in a plane. And I'm going to bring my plane down here and just get it to be the size that I want it, so it needs to be coming right down to here. So pulling it out like so. And then and Y, let's pull it out a little bit more. And then and X, pull it out a little bit more and we just want to fit it into there. Now the one thing you need to make sure is that if you grabbed a barrel, would it actually fit in there? And would you be able to open these up? So one of these sides will open up against here, that's absolutely fine. And the other one would be able to open up against here. So yes, this size we would actually be able to get something in there. So that's great. Now let's pull it down to here. What I'm going to do with there is press Tab And then going to bring these parts in just to create this actual wooden part. But we'll do that on the next lesson because we have this and the door to actually do. Let's actually save that out and I'll see you on the next on everyone. Thanks a lot. Bye bye. 83. Stylizing and Texturing Basement Entrances in Blender: Welcome back everyone to the Blender Critic Core stylized three D models, and this is where we left the art. All right, so the first thing that I want to do then is I want to pull this down. But I actually want to, first of all, make the actual parts that I'm going to go in here. Control two, left click, right click, and then and X. Let's pull them out, making sure we're on medium point X. Then let's go the other way. Second control two, let's click right clay And then and y, let's pull them out that way. Now just make sure that your barrel is still going to fit into here. After all this is where it should go down and if not, we'll just actually pull it out a little bit more like so. All right, so now we've got that, let's make the actual top part. So the way I'm going to do it is I'll actually grab the whole thing. I'm going to just press shift D, I'm going to drag it up. And then what I'm going to do is just hide that out of the way. Now I'm going to do this, I'm just going to grab both of these. Going from here to here. And then from here to here, I'm going to press Y. And then I'm just going to come to the center press, Delete and Bases. Now I'm going to do it, I'm just going to bring the whole thing up a extrude up. And then what I'm going to do is I'm just going to grab both of these sides. So chip, click, chip, click. Make sure run individual origins and then and Y, and just pull them in just a little bit, so. Okay, so now run to the top part. So let's press Altage and bring that back. And what I'm going to do is I'm going to grab all of this. So I'm going to grab it all. Press Delete, Limited Dissolve. And then I'm just going to actually split this part here. So I'm going to press control R and get an edge loop going down here. So control R, let click, rag, click. And just to make that little bit of a split, I'm just going to press control B and split it off like so. And then press Delete and faces. Now let's bring in the wooden parts that are going to come down here. So control two, left click, right click, right click. And then we're going to mark a scene. And the same on this one, then two, left click, right click, right click, mark a scene. Now let's bring some major loops going in the other way. So control five, left click, right click. Control four, left click, right click, just to make them a little bit different. And now finally, let's come in and actually split these off. So just grab the center of each one of these Y and then I'm going to grab the other two. I'm wondering if I've not tried this before, if I go to randomize now, will it just randomize the one I've got selected? Let's have a look at that. So I'm going to go to transform randomize. And yes it does. So that's how it works. So that's great to know. Let's turn this down then to Nor 0.1 So then what we'll do now is we'll actually pull these out a little bit. I'm Js going to come in and I'm going to grab the Gopi. J going to pull it out like so. And then the Opia, I'll pull out rotate round our Z and then maybe pull this one out as well. Again, getting all that randomness in that we really like. And then let's pull this one out and this one out, and then this one out and rotate it, so are. So now you can see that they're all pretty random. Now, one thing we do need to do, we do need to pull them out this way. So I'm just going to grab all of these, so I'm going to come in L, L, L, L, L, L, last one and then and X and just pull them out slightly. So just so they're going over there finally. Then we can actually extrude these out like so, and they're looking pretty good. And now at this point, I'm just going to split them off just to make it a little bit easier. So I'm going to press Selection. And now I'm going to grab them both. Press control all transforms, right click and set origins, geometry. And now I'm just going to grab these and just put them just to the bottom of there. So the thing in place nicely. So now we could steal some of the hinges that we made off the door and put those in the side there. But I don't think I'm actually going to do that. What I'm actually going to do though is just grab this one going all the way around here, make sure you grab it in edge select. And then all I'm going to do is R and Z and just rotate the thing all the way around like so. And now find the one I'm going to do is I'm going to actually grab the bottom off here. So I'm going to come just to this bit shift H, and then I'm just going to grab, I think this one and this one. And then I'm just going to press and then Y and split that up. Okay, so let's deal with this part first. What I'm going to do is I'm going to press control Layl transform, set origin to geometry because we added that part. And then I'm going to come in and add in a bevel like so. And then what I'm going to do is turn down this bevel and turn it up maybe one. Finally I'll come into this part and I'm just going to make it a little bit bigger with why we got this part on because we want to actually make it look as though it's dark down there. So what I'm going to do is I'm going to come in and add in a wood. So we're going to go for mean. Main wood, like so. And then this bottom part, we're going to click plus. And we're going to look for one that we had, which is Material One. I think it's this one that we had. Yeah, we didn't name it. Let's call it a hole or hole like this, something like that. All right, let's come in and click a sign. And there we go. Now finally we can just come in and grab everything. Smart UV Project. Click okay. And there we go. That's that part. Now when I press Alt tag, we can see now there's a big black hole in there. That's exactly what I'm looking for. Okay, so now we've got these top parts. Let's actually put a piece of wood going on the top of each of these. So what I'm going to do is press Shift S, Custer selected shift A. Let's bring in a cube. Let's make it obviously, much, much smaller. Let's make it thinner then, So and Z. Let's pull it up and put it in place. I'm gonna then pull it out, so S, Y, let's pull it out. And I'm going to have these edges just hanging over there. Light. So first one's going to go? Yeah, pretty much like that. And then the second one I'll bring it in and I'll just rotate this round. So rotate it round so I'll grab this one then. So shift D, bring it over. I'm going to rotate it then the other way. So Rz just vary slightly, bring it down a bit and then shift, bring this one down like so. And then Rs, straighten this one up a little bit. Now let's join all of these together with control J. And then finally we'll join them to all of these wooden parts as well with control J. And then we can control all transforms, right click, origin to geometry. Now finally, we should be able to link the material on here. So I'm just going to grab this control L link material. Let's come to this part now. We might as well minus off this material, we're not going to need it. And finally then a smart UV jet. Click. Okay. And now I just want to right click, Shade, auto, smooth, And then bring in one last modifier which will be the bevel. Let's turn this all the way down. Let's turn it up one, Maybe that's too much, so let's come down. Not 0.3 And I'm just looking. I think that's going to look much better. One thing I'm concerned about is this resolution on here does look a little bit low in comparison to say, yeah, actually I think it's fine. Let's just take a step back and let's have a look what it's going to look like. Yeah, actually I think that looks absolutely fine. One thing we can see is that it's actually floating above here. And I don't really want that. So let's come back to material. Let's join this altogether now. So I'm going to go to object, convert to mesh control J, then join it altogether. Control or transforms and right clip set the origin of geometry and let's put it into the ground like so. Now one thing we don't want to lose. You can see in the center of there, we've actually lost the center of this. So in other words, that dark patch, we've actually lost it. Let's hide this. And what we'll do is we'll come in, grab just this part here. So in face, let's grab this part. And then just pull it up out of the way. Knife, I press all tage, bring back that floor. Now we can see we've still got that darkness in there and we can see that it's into the floor. Let's have one last check then on our rendered view and there we go. That's pretty much that bit done now, I'm just looking around while I've got this view. One, anything that I've missed and I think the one thing I've missed is I think I'll put a couple of stones in just in this corner here. So this part, Yeah, in here, somewhere like that. So let's come in and just put in a small brick. I think I'll just grab this brick, drop it in there. I'm going to actually spin it around, so R x 90. Let's spin it around and we'll just drop in that corner there. Move it into place. Press dot, just so I can actually orientate myself around and then just pull it out very slightly. Double tap the yeah, there we go. Okay, that's looking fine. Everything else now is done except this front door here. And we'll actually make start on that on the actual next lesson. And what we'll do is we'll use our window, so this window here, to actually build that out. Now we've built a lot of doors and windows in this course, so it should be no problem at all building that out. Everything else with this model I'm really, really happy with. And it'll now start to really, really come alive once we actually get our proper flooring in. Once we get, you know, the textures in for the floor and once we get those flowers and a bit of grass populating this. All right everyone, So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 84. Modeling the Front Entrance of a Tavern in Blender: Welcome back if you want to. The Blender creates course Stylized three D model and this is not quite where we left off because I was just checking through the asset manager, making sure that everything should be prepared and it is. Let's now come to modeling. Let that load up. Let's click on modeling. And let's now come to this wall here. So I'm going to grab this wall, press the dot one. And then what I want to do is actually I want to grab my guy as well. Just bring him around here. Let's just make sure he's on the floor. And then let's spinning round, so our dead -90 spinning round so he's facing that door. So I'm going to do one more thing as well because it's bugging me a little bit. I don't like where this actual, you know, this path is actually coming right up to there. So I'm just actually going to come in and alter that a little bit. And the way that I'm going to do it is I'm just going to hide this part and the Bom part. And then I'm going to press old shifting clay control plus. Control plus. And control plus. So we've grabbed all that there. And then I can actually pull it out a little bit, just so it's a little bit further away from that. And I think he'll look much, much nicer like this, giving us a little bit of room. Okay, so we have our door to build. We have a couple of slabs that are going to go under there, and we have this light to build on there. This light of course is optional. You don't need to build this light if you don't want to. And then what we have to do is we have to put our plants in, in all of these parts here. We need to put some grass around here. And finally then we need to put the IV going around here. And then we're pretty much done with the actual build. And it's onto putting lights in, changing the lights on the windows, and that's pretty much the timeline. After that, it's going to be onto compositing to get a really nice, beautiful image. So you can see you're pretty much through the main part of the course. And the next part of the course really is all about refining. So you can have the best model in the world. You can have a model like this. But if you don't know how to do proper compassing, you don't know how to do lighting, it's not going to look that great, to be honest. So that's why we're going to cover all of that as well, to make sure that any model you build from now on is going to look like a professional piece of work. And you can see it's fairly easy once you know what you're doing to get to that point. All right then. So with that said, now let's come in and build our window. So let's sorry, build our door, not our window. Let's come in then and grab our guy. We're going to press shift S because to selected. And what I'm going to do is I'm going to press shift and bring in a cylinder. I think maybe 18 is okay. Let's put it just on a little bit more. So let's put it on 20. Let's rotate this round now on the X, so our X 90. Let's make it a little bit smaller and let's then squish it in on the Y. So S and Y, and bring it just into place where we actually want this to start. So I'm thinking if we start from here, this is a fairly, fairly big door. We want a big door because it's the entrance for the in. So I'm thinking something like that actually looks about right. It's pretty wide. You know, in the entrance, people might be coming in and out at the same time. So it might need to be a little bit wider than this door that we actually have around here. All right, so once we've got our size, then let's pull it out. And what we'll do is we'll actually delete the front and back like we always do. So delete faces, and then what we're going to do is delete those bits that come down. So you can see it comes down here. And then go all the way around to here, press Delete and Faces. And then finally what we're going to do is we're going to grab this side, this side. Press one to go into front view, and then Z and pull it down like so to the floor near enough. All right, we can go lower as well. So what we're going to do now is just press maybe Lorri, just into the floor. We will actually not be using this apart from bringing out kind of a step onto there. So just bear that in mind. Okay, so now we've got this actual sizing. Let's just put it back into place and have a look how that's going to look. And I think that's going to be round about the right sort of size that we're looking for. Now what I'm going to do is I'm going to just pull it out. And I'm just going to pull it over here. And the reason I'm going to pull it over here is because I'm going to go in object mode. I want to copy if I'm going to object mode, this bevel along here. So you can see this nice bevel, I want to create this for my actual door. So that's what I'm going to do. So what I'm going to do is, first of all, I'm going to separate this bottom part off, so I'm going to grab this bottom part. Actually, before we do that, let's actually make another part. So we'll have this part going down here, press the F button and then press Selection. Separate that off, and then we'll come down to the bottom part and we'll do the same thing. So grab this part, selection, separate that off. Now I can come to my main part of my door that was going to create. And I can come in and we can add in a modifier. First of all though, let's press controller or transforms. And then we can add a modifier and we're going to generate a solidify, let's them bring this in like so to the thickness that we want, It, it's going to be a fairly, fairly thick door, so something like this. We don't want it too thin. And then what I want to do now is I want to actually get this beautiful bevel that we've got on there. So what I'm going to do is I'm just going to apply my solidify. And then I'm going to come in with Edge Select and then Old shift and click and then fresh control B, like so, and bring it back. And what I want to kind of do is make sure that it's kind of the same as this one. You can see here this is roughly the same while having an inside because this is a door and Nor window. So not having a frame, we're just having an actual door. All right? I'm very happy without that. Looks Now one thing on my door is, do I want to really, really chunky part on these parts? I think because it's a door on the original, it was quite thin. I don't think it should be, I think it should be a little bit thinner, thicker. So Al should click on probably both of these like so. And we can do these either in one go. In other words we can press Enter AlternS, and we can bring them out like so. Or we can do it the other way, where we split them up and then solidify them and do it that way. Now, why would we do it a different way? That's the question. It's easier to actually create, seems it's easier to put on materials if we actually split them up. So that's why sometimes I choose to actually split them up. So I'm going to press Shift D, and what I'm going to do is right click and drop them back in place. And then press P and select and split those off. Now press Tab, press P again. Select this one again. Now if you can't select them, just hide them out of the way. And then you'll be able to select these. Now what we're going to do is we're just going to come over and we're going to press control or transforms. And we're just going to give them some depth. So let's bring those outwards like so make sure even offset is on, press Altage and then bring your door back. And then look at actually if you're happy with how they are and I think I am. I think the one thing I might do on these, let's just see if I can come in and grab these. I'm wondering if I just turn off my solidify and then come in and grab each one of these in the middle. I'm just going to see if a press control and bring those out like so. And then put it back on. So put my Solidify back on, right click and shade auto, smooth then I think I'm happier with how that looks like this. I think that's just going to look a little bit nicer than what it was before. Okay, so I'm happy with how that looks. Let's then come to the other door. Let's right click and shade. Auto, smooth. Now we can see that's how it's going to look. Just make sure then that you're happy with how thick bees are. We can always hold the ship born and bring them back in if you want them a little bit thinner along there, which I think I do. And now finally, let's make the bottom part. So the bottom part, let's come in, let's grab it, let's pull it out like so, grab each of these edges then. And let's press S and X and pull those out. Just make sure that we're on medium point. So X and X pull those out like so. Now we just want to level these little points off. So all I'm going to do is I'm just going to grab this point. And this point you won't be able to press control B to bevel, you'll have to press control shift and B and then you should be able to devel. Now you can see that we're getting a really weird effect there, not beveling like we want it to. And it's simply down to the fact that we need to reset all the transformations. And now when we go in and try control shift B, we should get a much more decent bevel. All right, so now we've done that, let's just come in and grab it with L and then we can press and pull it in nearly into the floor. We're going to have some stones going under there as well. But apart from that, are we happy with that or do we actually want it out a little bit more? I think maybe on this one we'll go in and we'll just pull it out a little bit like so. And I think that's going to look good now. Remember, don't worry about the thickness of this right now because we're actually, as I said, going to put some little square stones under these. So just make sure that you're happy with the shape of it. Let's also come to this window. I'm just going to auto smooth. Yeah, there we go. That looks better. I just forgot to auto smooth that. I'm actually wondering, did I forget that on everyone? I think I did. I'm just going to quickly go round and make sure the rest of them are auto smooth. I'm just going to grab them all and just make sure that the right click shade, auto smooth. There we go. All right, That's basically something that you should do at the end anyway, So I just thought I'd do it because it was annoying me a little bit. Okay, so now we've got that, Let's actually focus then on our door. We've got our door here. All I need to do now is basically make sure that the door is coming from these part here. In other words, if I pull this forward a little bit, we can see that it's way, way too big in comparison to these parts here. I also need to check now and make sure that our guy still has plenty of room, which he does have plenty of room on there. So that's fine. Okay, let's pull this out then. Like, so let's grab this door and this and press shift H just to hide everything else out of the way. To give me an idea of what I should be, where I should be creating this door. Let's press one to go into front view. And then what we'll do is we'll press Z and go into wire frame. I'm going to press the tab button then, and I want my door to come from here. So what I'm going to do is I'm going to press K. I'm going to grab this vertex here. I'm going to come down, press the born, make sure it's straight, and drop that right there. Then I'm going to press K again. I'm going to come to this side and I'm going to press A and drop that right down there. So. And then we need one more now, this one might be a little bit too Foreign. So let's give it a try. So if I press A, we can see that's the kind of look we're going to get. Now if you don't want it so thin on this little part, just grab it in the middle of something and then press K and, you know, drop it down. Okay, so now let's finish with these two parts. So same thing again. It's okay, drop it down. A drop it down. So, and then what I'm going to do as well is I'm just going to drop one over here as well. So I'm going to grab this one all the way over to this one, press the enter Born, and there we go. And what that enables me to do is bring in some edge loops now for the actual door. Okay, so I'm happy with that. The one thing is we've got a lot of wasted space on here, which I don't really want. So again, I'm just going to press K A to make sure it goes straight down. Enter. And then just do the same thing on this side. So K A, drop it down like so. And enter. Now finally what I'm going to do is I'm just going to come in. Control select, all the way down to there. Shift select, Control select, Delete faces like so. And this is what we should end up with. Now I'm thinking that from here, if I put this on object mode, I think I can make a door from there. You might want to just have the top of the door so it can actually see through there. In other words, if I press said go back into white frame. And then if I, let's say here from here, I can actually cut this away and make this a little bit thinner. I'm thinking maybe it's worth actually actually doing that. So what I'm going to do is I'm going to come from here, I'm going to go around up to here, up to here. And just make sure got a little, tiny bit of a gap at the top of the door. And I actually think it's going to make this do look a little bit better. So like that, something like that. Now what I can do is I can actually come round and what I want to do is just delete this now. So I'm going to just come in and delete this top part like, so press delete faces like so. All right, so on the next lesson what we'll do is we'll split all of this off. I'm just going to file and save that. And then I'll see on the next one. Everyone, thanks a lot. Bye bye. 85. Adding Details and UV Unwrapping Front Entrances in Blender: Welcome back everyone to the Blend, the critic course, stylize three D models and this is where we left it off. All right, let's come in now and click along each of these. All we're doing now is right click and marking a seam. And then what we're going to do is split these off L, L, every other one, and then Y, and they're split. Then one thing that you might want to do is you might just want to come to these parts and actually we'll grab it all, we'll grab it all. And what we'll do is we'll right click triangulate faces. And then right click tries to quads. And then we should end up with a very, very nice mesh. Now now I'm hoping that won't mess around too much with what I'm going to do next, which will be to randomize this. So I'm just going to grab this control or transforms, and then what we're going to do is come in, transform, randomize, and turn this all the way down. Now because it's triangulated, is it going to break this too much? You can see here at the top, sometimes it ends up breaking in weird ways and you might not want that. Now we can fix that. So you can see now this is what it looks like. Right click, shade, auto, smooth first. And then just make sure that none of these are too, you know, bent or anything like that. Things that you don't really want. I think though, that's actually come out right now, if you do want to fix that, what you would do is you would come into this one, let's say, and then all you're going to do is you're just going to press and y and you can actually really, really straighten those up then. That's if you want to fix that. I think though, these have come out all right, so now I'm going to do it. I'm just going to grab it all, pull it out like so. And then what I'm going to do now is I'm going to bevel it, so add modifier. In fact, we have to reset transformations first also because we're beveling when we've got parts like this in, we have to be careful if we come in generate. Actually for me it's actually worked. Sometimes you need to actually turn off your clamp overlap, so just turn that off and then pull it right back down. And it should actually bevel just in case you have that problem, let's turn it all the way back then. And let's put it on point naught one way too big still. Let's try point naught 3.3 0.3 0.5 Let's try that. And I think that's actually going to do it, that's actually looking fine. Finally, we need, this is going to be going into a wall, so we'll have to look, see if there's actually darkness behind there. There probably is going to be some, So we'll just pull it back into the place where I want it, like so. And I think that's actually looking pretty fine. Let's press all tag and bring back everything. Double tap the A, and there we go. That's nearly our door done. Now what we want to do is a couple of things. First of all, let's grab the handle from over here. So I'm going to come in, grab this handle. So all of this, I'm going to then press shift D and drag that over. And I'm also going to come in to my window here and I'm going to grab one of the hinges. So I'm just going to grab one of these. I'm going to press shift D, then I'm going to bring that down. I'm going to press Selection just to separate that off. Then I'm going to come back to this handle because it's still attached to the door. I'm going to press selection and separate that off control or transforms right click, sergeants, geometry. I'm going to do the same thing. We hinge then. So you can see here that it's actually tied to these here and we don't really want that. So what I'm going to do is P and I'm going to clear and keep transformation. Because if it just clear parent you'll see it drops it in a different place. Now if you do that it might drop it all the way over here somewhere. You just don't know it's going to be where these are normally. So instead of doing that you just hit Op and clear parent and keep it basically where he is. All right, let's spin this round then. Do I actually need to spin it around? Actually, I don't think I do. All I'm going to do is then just pull it out a little bit and I'm going to put it into here, just into this hinge part here. Pull it out. And there we go. Then I'm just going to pull it up and then shift D and pull it down to here. And then finally, do I want one more or is two okay? I think actually two might be okay. I'm just going to bring in this handle. Then Z 90, press one, and then let's put this into place basically level with our guy, wherever he's going to open this door from, probably somewhere around there. Let's put it into place. Double tap the I think that's looking pretty fine. Okay, so now let's think about our window and the materials on here. If we look on the window, we've got light wood, main wood. I'm thinking for this door probably, we're just going to get away with main wood. I don't think we should put any light wood. We haven't got kind of any of these parts. You might want to put light wood in here. So what I'm going to do is just grab all of this. Now let's grab the whole thing. Flute in the hinges. Both of the hinges. And then what we're going to do is just grab this blue, this, I'll grab this inside. Hinge. There we go. Press G just to make sure you've grabbed it. All right. Click to drop it back in place. Object, convert mesh, control J, join it all together. In fact, I've made a mistake. We can't do that yet because I forgot. We need to actually bring in a bevel on those parts. Generate bevel and let's pull it all the way back. Put it up one and then we need a sharp in here as you can see. So let's fix that with Egg, Select Olf, click shift, click right click, mark a sharp in. There you go. That looks much, much nicer. Let's come to these parts now. Add modifier, generate bevel, and then it's Turn it all down. Turn it up one, you might want to shop in these parts here. Shift, click on these parts in here, right click marker, shop. And there we go Now thinking that's looking pretty nice. And then finally, this one over this one, I'll just grab this and grab this press control level and I'll link copy modifiers like. So now I think we've actually got it all prepared now. We can grab everything including both of these hinges. Press again just to make sure right click object convert to mesh control J, join it all together and there we are, one door without materials. Now let's think about then the materials. So let's put material on, let it load up, then what we'll do is save it out. So now I'm going to go to file and save out, and I'm just wondering what materials it's got on it. So we've got plain metal that's from there, and then we've got planks. Plank based material. And planks. I'm wondering, oh, that's come from then this door. That means there are other door Did have these on. So it's got planks and then we've got the wood main wood. I think what we'll do is planks. We'll leave that on actually. And then we'll add in another, which will be the main wood. So main wood. So then what we'll do is we'll come in and we'll grab, we'll do these parts first. We'll look, actually grabbing just these and we'll try Smart UV Project. Click Okay. And we'll put it on planks. Click a sign. And then we'll grab the rest of it with L. And we'll put this as the main wood, grab it. A smart UV project click. Okay. Main wood click sign. And there we go. Now we can see on this part, we're having a lot of problems. The wood is definitely not the way that I want it to be. So what I'm going to do is I'm going to come back, go to shade in. I'm going to press Dot to zoom to my door. And then I'm going to press Tab. And I'm going to bring it out, make them much, much thicker. And I'm just wondering, am I actually happy with those, these parts here? In other words, these parts look like they've got some edge problems. So I'm just going to come into these and actually have a look at what the issues might be. And we can see it's because they're all on half points. So all I'll do with these instead is I'll grab them all. I'll come to my three little dots and I'll go to UV. And then what I'll do is I'll pack islands. We don't want to rotate them. Click Okay, Let it think about pack the islands and now. Yeah, I'm still not happy with how they look, so this can sometimes happen as we know. I'm also not happy with how this part is over here. So what I'm going to do is just hide these out the way. And I'm going to actually come in and mark my own seam, right click, mark a seam. And then what I'm going to do is I'm going to mark a seam. Going around the back here, around the back here, right click, mark a seam. Now, I'm not going to worry about the back. The back is in the wool. I don't need to worry about it. What I'm going to do is I'm I think maybe I can make this seat a little bit easier for myself by marking a seam on there as well. So right click mark seen. Then let's come in with L, and L, and U and unwrap. And then we end up with something like this, which as you can see, already looks much, much nicer. And now I just need to think, do I want to straighten these or I'm going to come in and straighten it up from here? So I'm going to press L from this point next to the seam. Then light pack click. Okay, And then you follow active quads. Click. Okay. And there we go. Now let's drop this back in place and let's have a look at that. That's looking much, much nicer. I'm going to do the same thing here then. So where is it? Lm pack, okay. And then you follow active quads. Click, okay? And then spin it round, so our 90. Spin it around. There we go. That looks really nice. And now let's think about these parts here. I'm going to press Alt H, and what I'm going to do is I'm just going to grab each of these like, so shift H to wide, everything else out of the way. And then what I'm going to do is I'm thinking that I don't really need the inside of here shift do I. I'm going to come in. Old shift click on the center of each of these. Old shift click, old shift click control plus. And let's just press Delete and Faces. And then we'll come round to the back. And what I want to do is I want to mark scene going down the back of each of these. So I'm going to come in, olf click, old shift click, and old shift click going down the back there. And then what I'm going to do is we can see we do have another problem in that it's not going all the way through. So we've got to be very careful that we go all the way through. So old shift click and you can still see that we have a problem there. So rather than do that, I'm going to come to here and then what I'm going to do is I'm just going to go around the back to here. And then just control click like so. And that's then it's going to go all the way through. In other words, it's going to enable me then to hopefully open this a little bit better than what I've got at the moment. So I'm going to do the same thing on this one. I'm going to shift select and then come all the way to the back control select like so. And then we'll do the same thing on the inside of here as well. So shift select and then control select like so. And then right click and mark a scene. Now let's see if we can undo this. So if I grab this one and press wrap, we are going to get some, some bending because you've got all of these parts which haven't got a seam on, which means they're not going to unwrap perfectly. But if we spin this round, so r 90 and then R and just spin it around, you can see they look good enough. We haven't got to do anything else with them. I think that's good enough. So now what we'll do is we'll come to this one. So L U, unwrap, R, spin it round, let's put it back in place. And then let's come to this one, L U wrap and then R. And then let's put it in a different place and then we go. Now we can see that's actually looking pretty nice. The bottom already is also looking nice, except we have a problem in that these are going the wrong way from these. So I think on the next lesson I'm going to save it out. What we'll do is we'll finally just finish this part off here on the door. I'll probably pull up the bottoms as well at the moment. They're all straight along there, we don't really want that. You can see the top here. You can see a little bit of a gap in there, like what we talked about, that looks really nice. And we can, of course, if I put on rendered view, a little bit of a gap down there. Now one thing is we might want a bigger gap on the front. So I think we'll also do that. So next lesson, bigger gap on front. Pull up bottom bits, and then fix this with the actual, you know, the rubbish seams that have been created. Alright everyone. So hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 86. Creating Stone Tiles for Tavern Entrances in Blender: Welcome back everyone to the Blend. That creates core stylized three D models in this where we left off. Okay, so now let's fix these problems first. So the first problem we've got is let's press sltage, Bring back everything. And what I want to do is I want to select all of these and bring them in a little bit. So I'm going to come to this top one, come to the bottom one and press control for this one. Then just make sure you've got all of these grabbed control. Same for this one, and then, and then shift control. And then finally this. I'm thinking in here, I'm not going to actually bother with those in there. What I'm going to do now is just press and X, and you can see it's bringing them all in because we need to be on individual origins and X. And let's just bring them in very slightly. Let's now have another look on our rendered view. And now we can see that's looking much, much nicer than it was before. Okay, so now we've done that. Let's actually come to the bottom of these now. So what I'm going to do is I'm going to come in, first of all, hide this out of the way. And then what I'm going to do is I'm jaw going to come in. I'm actually going to isolate this door off this shift age. Now I can come in and see exactly what I'm doing. So I'm going to grab this one and this one, press control plus, and then what I'm going to do is just lift them up a little bit like, so there you go. You can see it just looks so much better. Now let's actually come in though and lift these up as well a little bit. So I'm going to grab both of these, Lift a more tiny bit. There we go, finally. Now let's get this part fixed here. Let's press Oltage. We'll make a seam Oli click, shift, click around both. For those parts, we will need a seam in the back as well. Right click and mark seam. Grab the whole thing. Press and unwrap. Let's have a look now what that looks like. Much nicer, as you can see. You might 1290, spin them around like so. And I'm not actually sure if I'm happy with how that looks. Maybe you want it that way. I'm going to put man back the other way. So I'm just going to press controls head and leave it like. All right, let's press al tage, bring everything back. What I'm going to do is reset now. Control or transforms right click, origins, geometry. Then what I'm going to do now is go back to modeling. I want to put it over here, so I'm just going to grab this barrel shift S curse to selector. Grab my door shift and selections cursor. Move it out a little bit. So then what I'm going to do now is just going to name it, I'm going to call it main door, and then I'm going to right click and mark as Asset. Now finally, let's go to Asset Manager. Let's go to the current file. So current file. Let's go to any that are unassigned. And we're looking for doors, so we're going to drop this into doors like so. And now we have both our doors to use. Okay, so let's now bring in our door. Let's put this on material to make it a little easier to move around. Let's grab this wall, press the door bar, grab my door like so. And let's pull it back into place and see what it looks like. And I think that is looking pretty nice. All right. So now the door is in. I'm happy with where that is stood. We can see that back of this, we can still see the back of the wall as we spoke about. So maybe I want to pull that out and I'm thinking this back of this wall needs actually altering. What I'm first of all going to do though, I'm just going to make sure that this wood we can see it's not quite an to floor, which is fine. But what I want to do is make sure that this wood is not there. So I'm going to I think, come in and Alt shift click on each of these wooden parts like so. And then delete bases. And then come into this one and pull it over into place. And then this one pull it into place like so. All right, that's that first part sorted. Now let's come to this wall. So control one. And then what I'll do is I'll press Tab, press the K to bring the knife tool in, grab the bottom. And what I'm going to do is I'm just going to cut around my door like so. All the way down. Then to the bottom here, press the Enter button. And now I'm going to do is coming into face, let grab this face. Then that cut out, come over plus, and then what we're looking for is the dark hole. So this one here, click a sign. Now we're just going to have look and see what that looks like. And there we go. That's looking to tons bare. Now even if we move this out a little bit, double tap, The A still looks like there's an actual door in there. And I think now that is the best thing that we could have done. Okay, so now we want to make some little tiles to actually go under each of these parts. So let's actually start with this front bit. So what I'm going to do is I'm just going to press shift. I'm going to bring in a plane. And my plane is going to be over here. So let's just move it to where I want it, so we'll move it to this guy. So shift desks, selected. Shifts selections. Curt, let's make it smaller. So I'm going to keep the plane just this size of the moment. And then what I'm going to do is I'm just going to make it a little bit smaller and I'm going to pull it into place. So we're going to want one that's going to be Yeah, I think this distance away from it's fine. And just make sure that it's going into the wall. So then all you're going to do is you're just going to press the tab. We're going to make sure we've got Face Select. We're going to press Shift. Then we're just going to take a little bit of time just to make another one, pull it back into place, then shift. So with this one I'm going to pull it back and then press S and X, Make it a little bit thinner, pull it into place, and then shift D and X, then and Y. Then finally we'll have one more which will go in here, which will be a little bit thin. I need to make this one a little bit more thin, and then I'm going to grab it again, shift D then and X make it thinner. So then and Y. So then you might ask, why are we doing that? It's just to add a little bit more to our building. I'm going to have one more here as well, and you'll see what I'm going to do with these in a minute. I'm going to pull this out like so, and then and Y, and then pull it into place. Okay, so now I'm going to do them just now, going to lift up this once I'm going to lift it up a little bit, I'm going to grab this one, lift it up a little bit. And grab this one and lift it down a little bit. You can see there the disappeared into the floor. Now this is the point where we don't actually want them disappearing into the floor. So we want to be able to alter them without them disappearing. Now what I'm going to do is press A, grab them all, press and pull them down. And then I'm going to press A and just pull them up now so that we can actually see them. And there we go. Just something like that. I think it's going to add a little bit more to what we're actually doing now. What I'm going to do now is I'm just going to press control A, all transforms right click, set, origins, geometry, add in a modify it. Then we're going to bring in, not a geometry, we're not going to bring one of those in, we're going to bring in a Generate with a bevel. Turn it all the way down. Turn it up one. Now the thing is not one, maybe not 0.5 Let's try that. Now the thing is, these are not very thick, so I need to pull them up a little bit, so now you can see they're looking much, much better. And finally, now let's bring in the stones. So all I'm going to do is grab these, grab these. I'm going to press control L link materials. And then what I'm going to do is I'm just going to come over to these. I'm going to come over to the right hand side, remove the wood. We don't want that on there. Press the Tabb Smart UV Project. Click. Okay. There we go. Now let's have a look what that actually looks like. There you go. Now you can see where we've actually put those in place. Now what we'll do on the next lesson is we're going to get some more of these just on these parts here. And you'll see just how much it adds actually when you're putting these on the corners, you just adds that little bit extra to the actual build. So all we'll do is we'll put these on here and here, and then I think, I think we're pretty much done with the build, so we'll do the windows next, we'll go and make some of the windows actually unlit, so that'll be an easy job. And then after that we'll put in the plants. All right everyone. So I hope you're really enjoy in and it's really starting to come together now. And I'll see you on the next one. Thanks a lot. Bye bye. 87. Incorporating Lit and Unlit Window Variants in Blender Models: Welcome back everyone to the Blender critic course, Stylized Three D models. And this is where we left off, so let's put it on Material View so we can actually do something. Let's press D on this one, and then let's press Z -90 And let's bring it into the place where we want it. So we can see we want another load in here. I want to move this one over a little bit. These I can move also over a little bit. So, and then we'll just start putting these in place or grab this one first with L. I'm going to pull it into place like so. And then pull this one into place. Lift it up a little bit just to have a bit or unevenness there. This one into place. Of course, with this one I want it to be a little bit thin. I don't want it going over there and Y, let's pull it into place. What I'll do is I'll press and X and bring it over there. And then shift D, bring it over, and then just pull this one out. Yours to Tad. Then with this one now we'll use these as well. L, then and X, then Y, then finally this one into place, then and Y, and then and X. Let's pull it out maybe into there. All right, they're looking good. Let's get rid of this one. Delete says grab the rest of them. And then what we'll do is smart UV project. Click Okay. Now it's always as well a good idea if you actually put some of these on corners. So what I'm going to do is I'm going to actually again, shift D, drag them out, and then what we'll do is we'll put a few just on the corners here. Basically, when I'm doing this part, I'll just actually delete most of them. Grab this one, for instance, press X, and then I'll just slot it into the corner. So I'm thinking, yeah, something like that. And then shift, bring it over and then just pull this one out and then maybe pull it up a little bit. So then what I'll do is I'll grab both of these. A smart UV project. Click Okay. Now let's come to the next one. We'll put some on both of these corners. I'll do these altogether, just to speed up the process a little bit. Something there. And then I'll press shift D, and then and Y, then shift D, and then we'll grab the back here. We don't seem to have a back there. And why is that? Did not grab it properly or Yeah, we've got a back missing up there. No problem. Instead of just replacing them all, it's no problem just to fix them. In a minute, we'll just grab this one. We'll press, we'll pull this into place. And then I'll press Y. All right. Now let's press, just to bring more back. And then more I'll do is I'll just make sure of why that's happened. I don't actually know why that's happened, but it's an easy enough fix. So all I'll do is I'll just grab the tops of all of these. I'll press P selection. Just separate them all out, Grab the botbs, then press Delete. And then what I'll do is I'll come grab all of these tab and then pull them down like so Altage to bring everything back. And just make sure they're into the floor. As you can see here, they're not into the floor these, so I'm just going to pull them down a little bit more like so. And I'm also going to pick this one up, so I'm going to pick this one up then grab them all. Smart UV project. Click Okay. And there we are. Simple as that, to actually fix that. Let's come into this one. L, shift D, bring it over and Y, pull it out and then shift and pull it over. S, Y there, and then shift, and then and Y, and then finally and X, pull it out and there's that one done. I'm just looking to make sure I want to drop this one down a little bit. Drop it down and also drop this one down as well. And then we can do, I can just grab all of these. Smart Project. Click okay. Okay, now we move in round to the corner, thinking that I want to split these up. So I'm going to press Selections. Split these up. I'm going to press Control all transforms, right click Srogens, geometry. And then I think I will pull maybe a few here and a few on this corner. So I'm just going to press shift D, bring them over to this corner, and then I'll spin it around. So while -90 spin it around, put them into place just on this corner. So then I think we'll just have a couple here. So I'll grab this one shift D, bring it into place. So let's pull this one out. And then and X, and then shift, and then and Y. Drop that one back into there and then we'll grab this one shift D, we'll just bring it over to here. I'm going to move this barrel maybe a little bit forward just to accommodate this, I'll maybe angle this as well. I'm just going to grab this, pull it back, and then shift D, pull the next one in, pull it back a little bit. And y, just make it a little bit thinner. Then I'll just grab both of these. You project, Click okay, and there we go. That looks, actually looks absolutely fine. And now I'm just looking at these, making sure they're all looking different and which they are. And now I'm just going to come around the corner and I think I'll leave those. So now I'm going to do is I'm just going to have a quick look on my rendered view and make sure I'm happy with all of these parts as you can see now, really adds a little bit of depth to the actual scene. Yeah, and I think I'm happy with that. All right, Material mode, let's file and save now. Let's come and change some of these. So some of these should have unlit now, I'm not sure, actually, if I brought unlit in. So what I'm going to do, I'm still an asset manager, which means I can come up and go to user library and go to materials. And we actually have one that says glass unlit. So I can actually come and I can drop that onto there like so. Let's see what happens. There we go, now it's unlit. Let's then come in and have a look on our rendered view. And there we go. You can see that's the kind of look that we're actually going for now. Working around our way round the other side, this is a point where you need to decide what should be lit and what shouldn't be lit. Generally, the way I'm doing it is I've already got lights down here that's going to light this bit up. I don't really need a light in here. So, you know, we don't want two lights. I know that it looks as though we want every window lit up, But that's actually not the case. We don't want every window lit up. So what I'm going to do is I'm going to put to glass unlit on this one. I'm going to put glass unlit on this one here as well like so. And then I'm going to come around to the other side. I'm going to put glass unlit on this one as well, just on here. And then on this one I'm going to have lit. And the top one here, I think I'm going to have lit. And then I've got this one round here, which of course I'm going to have lit because there's only actually one window here. So now you can see, again, if we put it on review, if you go on Rendeview. Turn this off a minute. You can see now again, it's adding a little bit of variation to the whole scene. Now the one problem I can see that I've actually done is that this wood, for whatever reason, has also, I think, become unlit as well. So I'll think I'm going to actually just go in and just make sure they are. Okay. So you can see here. For whatever reason now, it's actually, I think it's actually rotated actually. This one is rotated the wrong way. Wondering how that's actually happened. Let's put this on and there we go. Has it actually been rotated the wrong way? Seems to have rotated it. And looking at this, this one's fine. Anyway, this one's fine. Let's actually rotate this round. So z 180. And let's pull it out. And there we go. I think it was just me. I didn't have the windows in properly, so I'm just going to pull them out into place. Grab this one, Z hundred 80. Spin it around. And again, this is part of the final check that you should do anyway. Again, let's have a look at this one. You can see it's the wrong way round. So z hundred 80. Spin it around, let's pull it out into place like so. And then just looking at the rest of them, making sure they're all okay. They're all okay. These are okay. This is okay. This one's okay. And then going around to the front, this one's okay. Everything else seems okay. And that's looking pretty nice. All right, so on the next lesson, what we'll do is we have, yes, we have our plant pots here. So what we'll do is we'll actually start putting some plants in there and I'll show you actually how you can actually change the seed and change the plants and things like that. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 88. Adding Floral Details to Stylized Tavern Scenes in Blender: Welcome back everyone, to the blenocritical, stylized three D models. And now if you come over to your asset manager, make sure you're in user library. Come on down. You've got one that says plant geometry nodes. These are really, really nice to have. We cannot only then come in and put in things like this. So if we bring in this plant, you'll see the moment we bring it in, because it's a geometry node, it has to bring in the other parts that are with it. In other words, this geometry node is made up from two separate parts. One of them is the flower, one of them is the leaf. And basically, from this geometry note, if I grab this for instance, and I come in, press the tabborn, come over to the draw borne and actually draw this. You can see that I can actually draw out more of these actual plants. As you can see, that is the beauty of this geometry note now as well, I can also delete these, so I can delete these and bring in just another one. You'll see though, because I've actually altered this geometry node, it's actually altered this one in here. So the best thing to do is if I come in now and I'm going to press B and just grab all of those, press delete vertices like so. So what I'm going to do instead is I'm going to copy this shift D. Now hopefully when I come into this one, draw it out. Draw it out. Now hopefully when I bring out another one, it's just going to be that geometry node. So just bear that in mind when you're actually doing these. So first of all, you can see if I press one on the number pad that I've not only got the power now to actually bring in plants like so. So you can see we've got loads of plants. We can see we've got all of these different types of plants. We've got purple plants, red plants, white and yellow plants. Many, many different types of plants. But rather than come and try and stick these plants in individually into this plant pot, what I've also done is I've created your another geometry node where you can just bring them all out like so when you bring them all out, you can see it brings all of the plants out. Let's just delete this one out the way. Let's press one and just get these so they're all leveled up. So I'm going to grab all of these, I'm going to pull them down and level them all up. So now we can see these are all the plant choices that we've got. But better than that is this. I've actually made it so that you can actually bring in multiple plants at the same time. Now let's actually come to this plant and what going to do is, and we're just going to press shift, I'm going to pull this over then into here like so. And we can see straight away that we do have some problems in that this is way, way too big. So along there is I'm just going to press S and make it smaller and then we're going to put it into there like so. Now you might be asking, well what about if I've got a longer plant pot for instance? Well, when you come in and grab, let's say one of these. So you grab in these actual curves. So you can see it's based on a curve as well. If I pull this out so X, you can see that I can pull it out. But what happens is that they all get kind of pulled out together. Now to fix that, what you want to do is you want to bring it back a little bit if you want to. And then you can bunch them all up like so. Or you can actually come over to the geometry node. And let's zoom out and zoom in. Let's press.in this part, so I can zoom back to it. And what you want to do is you want to come to where it says resampled curve and just turn that either up or down. And then you can actually scrunch up more of these actual plants in there, like so. So really, really up to you how many plants you want in there. So what I'm going to do is I'm going to come in, I'm going to delete this one. So I'm going to select this one with my Select one. Let's delete vertices. And there we go. Now you can see just how nice that is now I also think there's an actual seed here where we can actually change them, so we can change that the way everything's looking. We're just going to make it even nicer. And we can also as well pull them into place like so and make them stick in there really nicely. So it's completely up to you how many plants chants you want in there. This is the control to turn it all down. Once you've actually turned it down, just make sure you bring them and put them back in place so you can see. Now, turn them down a little bit. I'm going to come in there and just move them back into place like so. And I think that actually looks pretty nice. So now I've got one geometry node. I'm going to press you D bring in another one because they have two plant pots. I'm going to come down to my seed and change them around a little bit. Now you will see that it's actually changing them all round. But they ask, will they be different from each other? That's the question I've got. I think that actually it's going to change them to be the same one. What I want to do, I think if I change the seed, yes, it's changing them all. So what I want to do instead, I want to actually copy the geometry to the other one. So what I will do is I will come and grab all of this. I'm going to press control C, and then I'm going to come to this one here. And what I'm going to do is just minus that off. And then I'm going to click New. And then what I'm going to do is delete this and then press control like so. And I'm hoping that if I put this to material output now. That it should, when I put in this change them round, then you can see that these are the same. If I now come down to the seed, I should be able to change those without actually the other one going in the way. All right. I'm going to change those round. You can see now the different from each other. And there we go. Now we've got two of these which we can move around and put in our plant pot. All I'm going to do now is bring those over to my first plant pot, which is this one down here. When I go into modeling, actually it's going to make it a little bit. I'm going to press dot to zoom into those. I'm going to grab hold of this one first. I'm going to drop this in my plant pot. So let's drop it down. Let's make sure that it's in place. Let's spin it around 180. Let's put it into double tap the A, and there's one. Now let's actually, we've got three of these probably because these two are the same side. I can actually take one of these. What I'll do is I'll just take this one Z 90. Then I'm going to press control three. And I'm going to put this into place, like drop it down. Let's just drop it into place. Spin it round hundred 80, I think it looks better this way round actually in place. The A, there we go. That one's looking nice. And then I'll just grab this one. I'm going to press shift again. You could duplicate the geometry node, but because it's around the other side, I'm not so concerned. What I'm going to do is -90 and then 180, pull it out and then just put that one in place. And I don't think anyone is really going to notice that they're the same plants actually. Because I've moved them over slightly so you can see. Yeah, I don't think you're going to notice that they're the same. If you really, really bothered, you can sad hundred 80. Let's spin them around like so I'm just looking now. I'm thinking they look really, really beautiful and I don't think I have to do anything else. I think that looks good. All right, so now that's done, I think what we should do next is we should look at actually bringing in now our actual V. So we've also got some V. Now the thing is at this stage, you've got to be really careful with your IV and how much of it you're using because it is quite heavy. In other words, you can't completely decorate the house in ivy because you will face a few problems then. So the first thing we'll do though is we'll come over to asset manager and what we'll do is we'll bring in our V. So if I come as well as that as well, if it is heavy on your machine, all of this you can actually, you've got all these saved out. You could save these in a different blend file. So you could save these in a different blend file and you could also come in and instead of this being a geometry node, you can just come up to object and convert it to mesh. And then what it's going to do, of course, is convert all of this to mesh as you can see. Now you can see that's also going to make it heavy. So that's why I'm saying you might want to split them up. So I'm just going to go back and just before I actually converted that. So I think generally geometry nodes, they're very, very easy actually on blender regardless, because they're not actually geometry, they're just kind of mass based. So they show something but it's not actually really there. You can render it, but you can't actually, you know, bend the mesh or anything like that. So I would leave them as geometry nodes. But what I might do is move these to a different blend file when I'm finished. So when I'm finished I might move these to a different blend file just so I can take my render and make it a little bit easier on me. All right. But that's enough for that. So what we'll do now is we'll come and bring in we have an ivy here which is where is it? Let me find my ivy pink plant plan. There's my ivy here, is my ivy here. So I'm just going to bring it in like that. And then what I'm going to do is I'm going to just drop it back over here, where it should go somewhere right there. And then what I'm going to do now, I'm going to come to this part, I'm going to press L on this actual Ivy Shift D. Ring it over, selection, and just separate it out. And now I've got this separated out. Press control or transforms right click origin to geometry. And that's not going to work, so we're not actually going to do that. What we're going to do is I'm going to bring this over. So I'm going to bring this over. So I'm not actually using this, this is the thing. I'm just actually bringing it over here just to put it in some sort of place like so. So I'm just going to put it down there. And then what we're going to do on the next lesson instead, is we're going to actually delete these, so all of these vertices and then I'm going to draw on some new vertices along this wall. Al right, so that is actually a really, really nice bit and you'll see just how nice it actually looks when we're doing that. Alright everyone, so I hope you enjoyed that. I'm going to save out my work and I'll see you on the next one. Thanks a lot. Bye bye. 89. 3D Modeling Lamp Posts for Blender Taverns: Welcome back everyone to the blender. Credit cost stylized three D model, and this is where we left off. All right Ivy. Now let's come in and what we'll do is we'll actually delete. So I've got in edit mode, I'm going to delete vertices. I'm going to come over to the right hand side, I'm hoping. Let's look, where is it? I've not got that on because I need drawing on. There we go. We want to make sure that you hit the drawing on. You want to make sure that we're on surface. And then what I want to do is I want to press three so I can go into side view. And now I'm going to draw on my ivory. So I want to come from here, let's say going round to here. And there we go. And then from here going round to here. So, and then from here maybe coming out here like so. And then what we'll do is we also, I'm going to press three again. We'll also then have it creeping up, going up here and then up the window, and then on the bottom of the window like so. And I think that's looking very nice. And then what we'll do is we'll have it coming from here, going up here. And then finally we'll also have it coming a little bit round the corner as well. So up here, up here, up here. There we go, that's that bit. Now we'll also come around to this side here and we will have it going a little bit trailing round here. So I'm going to do is I'm just going to press it up again. I'm going to have it coming up here and following it along here. And then finally maybe following it along here as well. So now I'm going to go round to the other side, so I'm going to come round to here. I think I'll have just a tiny bit more of ivy coming from down here and just under these parts here. So I'll have it coming from here. Going up here just a little bit more. That is pretty nice. Now let's put our rendered view on and have a lot of that looks like, there we go, really beautiful ivy. Yeah, I'm happy with how that looks. That's looking really cool. You can see now it's really starting to come together. All right. Now we've done our Ivy. What I think we should do now is we're just going to make this light in the corner. And then what we'll do is we'll actually sort these bricks out and paint on this floor here just to finish that part off. And then it'll really start all coming together. And from there then we've just got lighting camera work and compositing to do. All right. Let me say about my work. Let's put it on material mode. And then what we'll do now is we'll think about creating our actual light. So what I'm going to do is I'm going to actually shift right click. I'll put my cursor just on there like so. And then what I'm going to do is I'm going to bring in, so let's mesh bring in, we want to bring in a cylinder and I want to put this not on 32, that's way too high. So let's try 22. We'll start 22. I'm going to bring it down then into the size that I want it and Z, I'm thinking that's probably a little bit too big for a lamppost. So I'm going to bring it down a little bit more. I'm going to put it where I want it to start and then I'm going to put it up a little bit, so I want it on the floor right there. So now I can actually start shaping this. What I'm going to do is I'm going to come to the top of it. I'm going to press dot Born, so I can actually move around the orientation of it. And then what I'm going to do is I'm going to press the Born and bring it in. And then I'm going to press bring it up and it's all basically with extruded, bring it up and then let's bring it in a little bit like so. And then I and run to the main part of the lamppost there. So what I'm going to do now is press control. Bring in a few edge loops. Always make sure there's one in the middle. So in other words, an odd number. So this one's five, left click, right click. And then I just didn't do what I said there. So I'm just going to press Control Control. Let's bring in five, left click, right click. And now I can bring in that middle one and use proportion edits in with probably, Let's have a look root. Let's try root and then press bring it in and there we go. We can make it beautiful. Curve like that. Right click and shade, auto, smooth. And this is looking pretty nice. Now, before I do the rest of the lampost, I'm just going to bring in a sharp here and a sharp here, right click and mark a sharp. And there we go. Now run to the lamppost. Now I'm going to bring my guy over at this point in looking at the thickness of this lamppost just to make sure I've got it right. So what I'm going to do is I'm going to come in to my lamppost now, is that a little bit too big, so we'll be able to see that as well. But the first thing we want to do is we want to actually get a gauge on the height. So what I'm going to do is I'm going to press and pull it up. And I'm thinking that's about the right height there. I'm just looking at my actual other screen as well and I'm thinking to the top corner of the looks to be about right. So something to the top corner of the thing. Yeah, that's looking pretty nice. Okay, so now I'm going to do is just turn off proportion in just for a second. Press the eye bottom, press the board, and then this will be for the top of our lamp. So I'm going to press S, just pull it out a little bit. Now remember you're probably going to have to do this a few times. So if you're struggling following along, just go back and restart again or rewind the video. Take a few steps and just take your time with it. Now I'm going to do is I'm going to bring in a couple of edge loops. So I'm going to press control, I'm going to bring in one around here, and then I'm going to bring in one over the top. So control R in this bit here. Now the next thing I want to do is I'm thinking, yeah, I'm going to have them like that, but I also want to bring it in as well. So I'm going, I'm going to use this one actually. So what I'm going to do is instead of that I'm going to come in, I'm going to press control going around there. And then I'm going to press control B. I'm going to pull it out and then scroll my mouse wheel up. And that's then going to give me a few bevels to wit with, so I'm going to press it like that. I'm going to come then to this center one. And that's the one that I want to wait with. Put back on proportional editing, press the S P, drag it out a little bit, and then we're going to get a bit more of a shape to this lamp post as you can see. And I think, yeah, that's looking a little bit nicer. And now I'm going to do is I'm going to actually take up proportional editing control B. I'm going to pull it out, drag my mouse wheel back like so. And then enter alternS and pull it out just to make that on there. And then finally the top one, I'll come to this one here. Control to bring out my bevel, like so. And then enter alternates, bring it out maybe a little bit more. And then finally what I'll do is I'll come into the edges here, control B, and just bevel those off. Now you can see they're not beveling off very well. Again, control or transforms the origins geometry. Come back to them now and now they should bevel off very nicely. One of them we've got like this, one of them we've got like that, just adding in a bit of variation. Now let's come over to our materials. We've got one that says brass here and let's drop that on there. Hopefully it'll load up like so. And let's come in, grab the whole thing. Smart. You be projectlykay. There we go. That is our brass. Now finally, before we actually make the top of this, let's put it on material mode and look what that looks like. Double tap the A and then we go, that is our actual light, top of our light. And I'm thinking, yes, I'm thinking, I'm happy with how that looks. Okay, so now I want to create a top for my light. So what I'm going to do, back onto material mode, this then will be a different material. Now, I could take this and just stick it on top. I really don't want to do that. So what I'm going to do is I'm just going to create a new one on the top of here. So I'm going to come, I don't really want to use those still the top of here because I want to actually separate it out. So actually I will come grab the top of here and I'll create the top first. So I'm going to press Shifty, and I'm going to create this top. So what I'm going to do is I'm going to press and pull it down like so. And then I'm going to press and pull it out like so. And then I'm going to bring in some edge loop control. Bring in some edge loops. Again you want one right in the center. Left click, right click. Ok, Shift click. Let's turn porch leading on, and let's bring that right in like so. And start bending that in a little bit like a witch's hat and like we can see there. And I think actually I might even bend in a little bit more. So I'm just going to come into this one and bend it in a little bit more, then I'm going to come to this one, I'm going to pull it up. And you can see as I'm pulling it up, it's not coming right. So I need to change this now. Let's try sharp and pull it up like that. And there we go. And now we're really get in some nice shape to it that looks pretty good. Now we don't want it too sharp and we also want to top on here. So what I'll do now, I'll come and put the top on, so I'm going to turn this off, turn this on. And then what I'm going to do now is I'm going to press shift D, bring it down, bring it out, bring it up. And then and bring it in. And then just up to wherever you want it like. So. And now we'll just give this some depth. So we can see at the moment really, really sharp edge. Don't want that. So I'm going to press, bring it down like so. And now I want to do is I want to bring it in. So I'm going to press and bring it in. And then on going do is I'm going to pull it up like so just very slightly. Now from there I think actually we can actually bring in our light. Now our light, I'm still going to give it, I don't really want to give it too many sides. In other words, I don't want it rounded, but I don't want it square at the same time. So one, I'm going to press shift shift S, cursor selected tab shift, and then what I'm going to do is mesh cube. In fact, yeah, I can use a cube, we'll use a cube. We'll press S then to bring it down. And we'll just get the shape first before we do anything else. So all I'm going to do is I'm going to pull it down to something like that. And then I'm going to come to each of these corners. So if it come round, grab each of these edges like so. And then I'm going to press control B and bevel those in like so. And that's the shape that I'm going to have it. In other words, I'm going to get all of my kind of light parts from this. Next of all, all I want to do then is make sure that it's in place. So I'm going to grab it, pull it into place. So grab the bomb, pull it down, and then pull it in like so. And maybe up a little bit, and then we'll have a little bit of a bottom on here. Now, the top part, I'm happy with Alpha that is out, I think it still needs beveling out a little bit, so I'm going to grab the top, pull it out. And then what we're going to do now is controller bring in a few edge loops again. One in the middle, left click, right click. And then I'm going to come in old shift click. Let's put it on sharp again, and let's bring them in. Maybe sharp's not right for this one. Maybe let's have a look. We could have linear as well. Let's try linear. I'm just looking for something a little bit smoother. Let's try root. Yeah, roots. Going to do it a bit smoother than what we had. Okay, so that's a good set out for the actual light on top of it. All right everyone. So what we do then, on the next lesson, we'll get this light to be, you know, the shape and size that we want it. I still feel that it might be a little bit too thin, but a love look has a work along it. Maybe it wants to be a little bit bigger, all of the top, and we'll make it really fit into the scene. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 90. Applying Stylized Textures to Lamp Posts in Blender: Welcome back everyone to the blender created Core stylized three D model in this where we left off. All right, so what I'm going to do is I'm just going to grab both of these, but I want this to be split off, so I'm going to press L L selection. So then I'm going to grab both of these. Press control all transforms, right? Click, set, origins, geometry. And now I can make it a little bit bigger. Now you can see that both growing at the same time don't really want that. So we want it on medium point and now can make it a little bit bigger. And I think that's looking much better like so. All right, so now we've got that. What we want to do now is obviously we want to make the, all of this kind of banded so that we can get these little lights in and all that sort of stuff. So what I'm going to do is I'm thinking, where do I want to light? So let's do this side first. So if I have one there, one there, which means I'm going to have a light in here and a light in here. So I can press Alt Shift click, and then come to the top of it, Ol shift click. Now I want a band going up, each of these like, so the only pain about this light is, is putting in the materials. As you'll see, once we've got this, we've got some bigger bands and some smaller bands. So now I can do is I can press control B and pull those out, holding the shift button, and we can see that it levels the top of it, which I'm fine with. That's okay. And now what I want to do is I want to actually pull these bits out. Now what I don't want to do is I don't want these bits the bottom pulling out. Yeah, maybe I do, maybe I do. Let's try. So we're going to press thinking. Let's press, first of all, let's press right click and mark Scene. And then let's press Enter Alterns without proportion on. So I've already pressed extrude alternates and let's pull them out like so. And there we go. We can see we've got a very, very nice light already. And I'm just thinking that now that maybe on the corners or on these ones going down, maybe I should pull these out a little bit further. So what I'm going to do is I'm going to come back in, I'm going to grab these going all the way down to there. So just these ones going down, your going all the way around. And then what I'm going to do with these ones is I'm just going to press here again and then alternates and just bring those out a little bit further. And I think that a little bit extra to these now we can see that this part, it's not looking really great. What I'll do is I think on this Bom part probably I'll have that go into there. But I think I'm going to actually shift click or control plate going all the way around. I'm just wondering whether to extrude this. If I could press S as well and pull that out instead. You can see that it would look good if this was attached to this part here. You can see that this looks good in that part. What could I do with this to make this a little bit bare? I'm just going to see again, just pull it out. I'm wondering if I should then join these up with this 11 saying is if I come in now and grab this one and this one, I can then right click Merge, and at last bring this one and this one. Instead of going to right click, just press Shift R. And then it'll just actually join them up. And I'm thinking, actually that's looking bare. I think I'll be happier like that. So what I'll do is I'll just go round and then shift. That's actually right click, merge at last and then we can do it now. Shift, just repeat the process, Shift and then shift and just work my way around until I get to the back or back to where I was. Again, you can see using Shift basically repeats any process, even if you went from object to mode, it will repeat that process as well. If you were press Shift, it doesn't seem to work with everything. So just be aware of that. Most things, especially when it comes to the modeling part, it does seem to work. Now you can see it was pretty easy work to go all the way around there and get those in place. Now what I'm looking at it is just making sure I'm happy with that and I'm thinking, yes, I'm happy with all of that. Now let's bring in the material because then we can really see what this is going to look like. And the other thing is we can see that this Bom part obviously needs pulling up a little bit. So we'll do that first. So I'll just grab this, pull it into place, and then grab this control. Or transforms right plates at origin to geometry. And then what we'll do is we'll grab the whole thing and we'll link the materials from this light. So we'll grab this light control link materials. And it's wood, We don't want the wood so we're going to minus that off. And then what we're going to do is we're going to assign. This one here. So right click, Shade, Auto, smooth. And now what I can do is because I actually put those seams in, I should be able to come in and actually just grab all of these like so I should be able to assign my lights like so. And then you and unwrap. There we go. Now, Weather said, the most painful part of this is that we've got to go in now and put these lights into place. I'm just looking to make sure that I'm happy with this light. Yeah, think I'm happy with it. I think one might do. I've got them all, so if I press individual Origins on and then press the S button, I can actually bring them back like so. And I think that's actually going to make it look a little bit better. Yeah, I think I'll do that as well. All right, so now what we can do is we can go to UV editing like so. And then what I can do is we can zoom into this, put it onto material. Just so I can see, in fact we're in UV editing here. Let's go over to shading panel because we had all that already set up, and it means everything's set up here. I can press dot B. Now if I press tab dot zoom in, and now I can actually put these all into place. If I grab all of these, first of all, put them over here and then what I'll do is I'll just press the bone, so now I can drag one in. I'm just going to make sure the right size basically. I'm going to take my time with these. I'm going to press bring this one in and then and X and pull it out. So now I am wondering if I can right click And can I actually copy this one here? This is this one here. Right click UV faces. Can I actually copy? That's the thing that I'm looking at. The way I'm going to do this actually is I'm going to go to Edit, we're going to go to Preferences, and we're going to look for UV. We're going to type in in add ons UV. And you'll have one there that says UV magic, UV's. This is the one that comes with blender. So this will be there, and then we can close that down. Now what I'm going to do is I'm going to come to this one, I'm going to grab it and I'm going to press three dots, UV. And we're going to click Copy UV's. And then I'm going to copy all of that onto these. So I'm just going to grab all of these now three dots come down to it says UV and we're going to paste UV's like. So that is going to save us he level of work. So now what I can do is I can just come in, Select, Click off of anyone. On anyone, and then we can just move them over. And then we can just on any of the others and move them over. I'm just wondering if I can just move this one over again. Click and then L move it over and just keep working your way along. It will take a little bit of time because there is a lot of UVs on here, but I still feel like this is probably going to be the fastest way to do these. I'm not sure how many there are, but there are a lot. I know that the let's put this one over here and then L, and it will be randomized, of course, because the chance of them being right next to each other, the same ones, I think it's fairly low. We'll have a look anyway, once we've done it and we'll see how this is going to turn out. I'm just checking my time. I'm making sure that I'm okay for time, and I think I am. So I'm just going to click off of these. And then L. The reason I want to click off of them because if you click on one and then try and move it with L, you will have actually selected some others. Look, you'll feel like it's never ending UV's, but they will end, I'm sure of it. See how many mores left? And let's have a look at what we've got so far. We don't need to do them all, we just need to make sure that some of these, like these for instance, are just pulled out a little bit. So now I'm just going to grab them all. I'm going to press S and's, D or and Y. Let's just pull them in and then let's look round and look for any now that are out of place. So you can see here, this one here for instance, just put this one back in place. You can see it's a little bit out. Any now that you can see, for instance, this one here as well. Just put them back in place and we should have these now pretty much done and they all look very different from each other. Okay. So that is pretty much the light done now. All we need to do now is just level them off. So I'm just going to come into this one. And this one I'm going to press control J, control or transforms right click, surge into geometry. And then we're going to go over to our modifiers tab, generate a bevel. And there we go. You can see that's the finishing touch for that, Just makes it look that much better. We'll actually not apply that, we don't need to. Finally, now let's go back to mottling. Let's press to go back to our light press tab. Double tap the, let's put this on and have a look what we've got. I'm just going to shift right click as well. I'm going to move out the way. I'm going to turn off this. There we go. Dad's looking pretty nice. I'm happy with that. I think it all really, really comes together. Now, the only thing that's missing, of course, is the floor. And that'll be what we work on over the next few lessons. And once we've got the floor in, then we can actually start with our lights. All right everyone. So I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 91. Modeling Stylized Platforms for Blender Taverns: Welcome back everyone, to the Blender creator course Stylized Three D Models. And this is where we left off. And we do have a problem with this one. For some reason, I don't know it happened, but this light has gone out, so must have lost a bulb, something. But let's click it on, click a sign, and there we go, the bulb is back in. All right, So now let's come to these parts here. And we can see that they need to be a little bit more uneven than what they are. Also, we haven't got a lot to work with on these going down here. So what I'm going to do is I'm going to come in and I'm going to grab, I'm going to grab in material mode. Yes. That's why it's, they're missing. So if I press ol tag, I can bring back this like so. So let's press P selection. I'm going to hide that other way then. I'm just working on this part here now. And then what I want to do, I think, is join these two first. So I'm going to press shift, click, shift, click, right click. And then what I'm going to do is I think I'm going to bridge edge loops. So I'm going to actually delete this because I don't really need this one and this one because they were just there just for the floor. So I can actually delete dissolve edges and get rid of those. Now what I can do is I can bring in some edge loops. So let's bring in a load of edge loops like so. Let's also do the same on here, bring in a load of edge loops. Let's do the same on here then as well. A load of edge loops like so. And also the same on here. And a load of edge loops like so. Now what we can also do now we've done that, is we can come over to the side here, add modifier and let's bring in, let's save up our work. I will always save up my work before I did. In the next modifier in, we'll come in and we'll add in a subdivision surface. Let it load up, and there you go. You end up with something like that. We don't actually want it like that. All we want to do is subdivide it. So now we're going to go to Simple, and then what we're going to do is apply that. And now you'll see that we've brought a load more edge loops in between all of those ones that we add. And now we need to do is just dissolve the edges on the side again, because we really want to keep those. So right click and delete sorry. And dissolve edges. And there we go. Now why have we done all that work? Well, now we want to come in and we want to actually be able to add in themes along here. So different ones have different seams going along. We want some variations in the could come in again and bring in another subdivision. I think we'll actually have it like that. I think this will be too much. We'll have it like this. And then I'm not going to put one where it's a rock that's going on, both of these, I'm going to leave it like this, Js trying to vary them up as much as possible, going all the way around to finish this last bit of that one. Maybe a little bit too big on that one, okay? Maybe a little bit of difference on this one and we nearly made it round to the other side. So we want some real variations in maybe. All right, let's right click and let's thinking that they a looking nice. Now the one thing we're going to have, the one problem we're going to have is we've also got an edge going up here and we've also got an edge going on the bottom. Unless we delete those, it's going to make it incredibly hard to fill all these in. I'm actually going to come in and I'm going to dissolve edges on those as well. That's not going to change any of this. And then what we're going to do is now we need to separate all of these out. Now, I'm not sure if we can separate by island. So if we come to select and let's try check or de select, you can see it's not actually going to work, even though it's on face sex, it's not going to work. So what I'm going to do is I'm just going to simply come in and select every other one. Just making sure we're missing one and we're selecting one. Missing one and selecting one, just going all the way around. I'm hoping that I don't make a mistake and leave one of them there. You can see that these two are together. So I'm just going to hide those out of the way. And then L, and then Y and H. Now, I'm just going to make sure that I've not missed one, so I'm just going round and I don't think I've missed any of them. Now. The next thing I want to do is I want to bevel them off. So I want to press control or transforms, right, It's origin geometry. We're going to go to Generate, and we're going to go to Bevel. We're going to turn this down, turn one. Maybe two, let's have maybe two. And then what we're going to do now is I'm going to fill in those holes. So I'm going to do is press tab A. And then we're going to go to mesh clean up. And then what we're going to do is fill holes like so now we can see we've got all of these filled in and they actually look pretty nice. Next of all, then we want to randomize them. So I'm going to come in mesh, mesh. And we're going to come to transform. And we're going to go down to randomize. We're going to obviously turn that down by bare bit. So now we're starting to get somewhere and now the one thing that we've got is we need to lift some of them up. And we probably also want to make them look maybe not quite as maybe a little bit more stone like. So what I'm going to do is I'm going to come in and I'm going to grab the tops of these and I'm going to come down. I'm thinking maybe it'll be easier to pull them up, randomize them with the bottom. With just the tops, in other words, is what I mean. How am I going to do that? I'm going to press three to go inside view. I'm going to press wire frame and I'm going to double tap the, double tap the E. And then what we're going to do is I'm going to grab it with box select and grab all of the bottom ones. And that then should leave the top ones. If I press H now I should just have the top parts there. If I now put this back on object mode, I should be able to. So let's see if I come in, pull this one all the way up. Let's press Sal Tate, bring everything back. You can see now how the bottom is stayed there, but the top has moved up there. That is what I actually want. So I'm going to just put that down. And then what I'm going to do is I'm going to grab this one, put this onto proportional editing and put this onto random. And then what I should be able to do is if I put this on to connect it only off, I should now be able to bring this out and actually move them off like so again, I can grab both of these, pull them up like so grab both for these, pull them up like so. And you can see it's a really, really easy way to actually randomize the actual height of all of these stones. Let's do it over here as well. Let's pull them up like so. And there you go, really, really nice. Now let's right click, shade, auto, smooth. Now what we want to do is we want to make these look a little bit more like, you know, stone slams. So what I'm going to do is I'm going to turn up the Beb on this, something like No, 0.4 add in another modifier and this time we'll also add in a subdivision surface. And now you can see they're looking much, much better, albeit they need actually bringing a little bit closer together. So what I'm going to do is I'm going to press old, bring back everything. And now I should be able to bring them closer together, Individual origins. And then just press the S on without, proportionately to non, we don't need that on pun. Bring them closer together and let's have a look what they look like. And now you can see they're looking really, really nice. Now if we press Ltage, bring back our floor. This is the kind of look we're going to get. Finally, now we should be able to come in, grab them all. Smart UV project. So where is it? Let's have a look. Smart UV Project. Click okay, and now let's put it onto material. Finally, now let's grab these, grab the bottom of these, press control L, and then link materials. And then come over and then minus off this material. This material, not that one. On these, minus off this one and this one. And there we go, there is your stone slabs that look like rocks. Really, really nice way of doing it. And I'm hoping that you'll use that time and time again actually on these. All right, so what we're going to do then on the next lesson, is we're going to actually come in and actually start painting these. First of all though, we don't need this bomb part. We don't need it. Let's press Delete and Faces. And we need to also prepare this for the next part as well. So I'm going to make it a little bit bigger like so. And then what we want to do is on the next part is we want to create a lot of subdivisions on this part because you can only paint on something if it has a lot of subdivisions. In other words, you can't really paint with textures or projection painting on things like this because it has nothing. It's like vertex painting, so you're painting on each other vertices. So in other words, all of the vertices around here. So you can see if I put this on here, all of these vertices will be able to put a little bit of paint on, but if we haven't got any in the middle, it won't be able to stick to anything past. That's how you need to think of it on the next less. And what we're going to do is we're going to make sure that this is basically brought out and have a lot of subdivisions to actually wear with. I'm gonna show you actually how to do that. Alright, everyone. So I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 92. Vertex Painting Dirt Details for Stone Pavements in Blender: Welcome back everyone to the Blend, the creator course stylized Three D models. And this is some course, some course, I'm basically giving you everything I've learned in the ten years and putting it all into one course, and you should be able to make some fantastic models from that. One thing I've noticed is that this is absolutely not right. I don't know how I did that when I messed around with that, but I did. So let's have a look. This is going to be main wood like so I need this. We haven't got any main wood on there, so I'll minus it off. I'm not sure how I managed to do that, but what I'm going to do is click plus new. In fact, not new. I need to go down main wood, this one here. And then grab all of this and then assign the main wood onto there. And there we go. That's that fixed again. We'll have a look around the whole thing once we've finished. That's how we should do it now onto let's turn off this x ray first and let's come to our floor. Now if I press shift H and hide everything else out of the way, we can see at them on we've got this floor. We will have nothing to paint on this because obviously we discussed we've got no verts. How do we actually fix that? The easiest way to do it is to come in add modifier subdivision surface. You can see because it's already rounded, it hasn't got any subdivisions on. Even though it's non simple, it's not really going to bend it in. And now we can actually turn this up to something like six. And then what we can do is we can actually apply that with control A. And now if you press Tab, you'll end up with this mess. It's a mess. It wouldn't be any good to actually paint on this. Now what we want to do is we actually want to regenerate the actual mesh on here. So what I'm going to do is I'm going to grab it all, I'm going to press and pull it out like so. And what that's going to do is it's actually gave me something now to work with If I didn't do that. And I come over to, I think it will be under deformed now. And we're looking for remesh. What we want to do is we actually want to remesh this. So I'm looking for where the remash born is. Maybe it's the generate, there it is, remash under generate. If I click this on now, you'll see that that happens. If I bring this down though, we can see. Or up. Is it up? We're going to be down. Look, I think it's actually going to be down. Yeah, there we go. It's going to be down. We can see now that the more you bring this down, the more of this mesh is going to get regenerated. Now I'm seeing if we can actually see it, there we go, on the wire frame. Now you can see really, really nice topology on there. That is what we're looking for. Now if we apply that, obviously, we're going to have loads and loads of geometry on here. Because there's two sides of this, and we don't really want that. So let's press control on this. Let's then press Tab, and this is what we should end up with. Let's go into object mode. And we can see that it's a really, really dense mesh, and we really, really don't need all of that. So what we're going to do is we're going to press one, we're going to make sure we're on wire frame. And then what I'm going to do is I'm going to press V with box leg and we're going to cut away all of this bot part. So all of the part like that, my mail to press control plus and go up one more. And then what I can do is I can press delete faces and delete all that off. And I'm sure if you put this on object mode now, press the tabon, be left with a nice mesh like so. Now if I press Olah and bring back everything, I just want to make sure first before doing thing that this is all in place. In other words, it's going right up to these rocks like so now. Because we've also done that, there is something else that we can do which I'm going to show you in a minute. But first of all, let's actually see if we can actually bring in our texture again. I'm going to press shift H and then what I'm going to do now is going to come over, put it on Material View, and then we're going to go and actually we're going to Asset Manager, and the one we want to bring in is the floor. So if I come drop that on there and we'll lend up with something when it's loaded up like this. Nothing, nothing at the moment. And that's because we haven't unwrapped it. So what I'm going to do is I'm going to go over the top and I'm going to press Tab, A project from View. So tab again. And there we go. Now there is one thing that we can see here. This rock is really, really massive. And we need to saw that out first. So what I'm going do is press voltage, bring back everything, Let it load up. There we go. And let's get these rocks to be the right size first. So the first thing I'm going to do is I'm going to go over to my shading panel. This is the shader for the actual floor. And you'll notice it's a kind of weird set up. It's basically got two PBR textures in here. One of them is the floor and one of them is dirt. And you can see that if you go in here. This is the way that we've joined them up. And we've joined them up in this way. So that we can actually use the RGB channels to actually paint on this. You can see one of them is in the red and one of them is in the green, and we're going to use those to actually paint on top of this. Now, you can actually add one more PBR texture in here and then you'll have three to actually paint over. But it does become more difficult the more you're trying to add in, because obviously you're only working with RGB channels. This is the way that it's set up and now I'm going to show you is we can come over here I think. If I come over here, this is bricks look. And we can come and we can change the size of the bricks. So I can come over here and change the scale. So if I drag all of these down and let's put it on eight, you'll see now it actually becomes a much, much nicer pattern. I still feel like those are too big. So what I'm going to do is then we're just going to try ten, like so. And I feel like that's looking much better now. The only other thing is do I want to spin those round? So 90 spin them round? Do I want it that way or do I want it the other way that I had it? Probably probably looking it this way now At the moment it doesn't look like much. But if we put on render view, we can see what it's going to look like. It's going to look for something like that. Now you can see that it's looking still a little bit flat. In other words, you know, it's not stood out much or anything like that. And the reason for that is because we need to do two things. First of all, we need to also come to this one. So this texture here, you'll see that it's on five at the moment. Let's put this on something like 12. And then what that's going to be is that's going to be my actual dirt. Now if I come over to modeling again and what I'm going to do is I'm going to come over to where it says object mode. I'm going to click down and put it on the text paint and that is going to disappear our floor. And now what we can see is we've got this dirt. Now you can see that this dirt is probably probably a little bit too big still. I think that before we start, we should go over to our shading panel and we should make that dirt, if we can put it on material mode, a little bit smaller, so I'm going to zoom out. I'm going to come to my dirt, which is here, and let's try putting this on 15. Now I'm thinking that dirt is looking a bit nicer. Let's try 18. I'm thinking that's much, much nicer now the way that dirt's looking. And that's fine. Now we can go back to modeling. And what you can do now is because you're, well, we will be on vertex paint. What we can do now is we can put this onto subtract. We can paint on it. Now what I suggest you do is don't alter any of these the moment come in and just paint on the whole thing because we want the main colors to be the rocks. I'm suggesting that we come in and we just paint on the whole thing, like, so now what we're going to do is we're going to come in, we're going to make our brush a little bit smaller. We're going to turn down the strength really low down to maybe not 0.72 something like that. And then we could come on and click on Ad, which is this one here. And now we're going to start drawing in. Now maybe this is a little bit too low. Just make sure it's working first. There we go. So the soil is working, let's turn it down a little bit, and let's come in. Merely start bringing this in now. Now I tend to, when I'm doing this, is I'll tend to come to this part here first, underneath, you know, the windows and things like that, and start adding some dirt in around there. And then around these parts here, these are the first parts to do. And at tend to when I'm doing this, be going one way. So I'm going this way all the time. So don't worry. We can, we can also go the other way and minus it up as well. You can see it a little bit blocking on some of the parts. And this is because that's all dependent on how many subdivisions you actually have in here. Just bear that in mind, but you will see I'm going to actually show you in a minute that once I've actually finished this, I can actually put it on to our rendered view. Let's put it on rendered view, have a look. And now you can see just down, nice, That's actually looking. All right. That's looking really nice. Now the one thing is we might want to darken our soil a little bit, or bricks even. We'll actually look at that next. Now what I'm going to do is now I'm just going to come in and I'm probably going to turn the strength up a little bit and then start bringing more dirt in. And I'm going to work my way along. I'll start with this part and you'll notice that because I'm doing it like this, it's actually going to do it a little bit better. Because it's actually going to cover in most of these parts as well, especially around these parts here. These parts, I'm going to make it, my brush a little bit bigger by pressing the same as Photoshop. The little two brackets, that's the ones you're going to use. Then we'll bring it out, darken round here, especially around this light because we're looking for basically contact dirt is what? Looking for anywhere where the edges touching the floor. You're going to actually get more contact dirt like this. Like these parts here where you can see it's a really nice way of doing this. The whole thing pretty much in blender that you're going to need these textures. But you can see that once you've got the textures you can actually work with this. Really start developing your scenes in Blender as long as you can get older textures. And we're going to bring out another course by the way of showing you actually how to create textures. Once you've got that, you're pretty much free to go and create all of your own textures and your own scenes, pretty much entirely in blender. All right, we can see this is definitely going to take probably another lesson to get all of these done where you can see I'm also adding dirt on these path bits as well. Because when we come to put our little bits of foliage in, which we're going to do after, then we can actually use this dirt as well to put them in there as well. All right everyone. I'm going to actually carry them with this on the next lesson, and then I'll show you how to make it look really nice. As you can see, it's like little, but often is better than big splodgers of it. All right everyone, So I hope you enjoyed that. I'll see on the next one. Thanks a lot. Bye bye. 93. Fixing Mesh Geometry and Face Orientations in Blender: Welcome back everyone to the blend, the crater core. Stylized three D model in this where you left off. All right, so now I'm just going to carry on your filling out these bits. So especially around these steps you can see just down much it lifts them out once you've actually got this a bit more around them and paying special attention down to these edges. So let's work our way around the back. It's probably going to be easier, actually, if you have a pen and pad, a graphics tablet, in other words, that's probably going to make it a little bit better. I'm just doing it with my mouse to show that we can also do this with the mouse just in case you haven't got access to one of those. Going to finish now. And then I'm just going to go around making sure I finished it all and then finally now I'm just going to have a look at my render. Just make sure that I'm happy with it. There we go. I'm happy with that. Just look in making sure that I can still add some parts onto here. You can see when I'm adding it over, it's like adding them really hard edged on there. I'm going to preate back on material. Then what I'm going to do now is put this on, where is it subtract? And then I'm going to turn my strength down. I'm just going to come over now and just minus off some of those. I'm going to drop that strength down even more, 0.72 then you can see now I can actually really bring back some of these, especially here, especially like these points here. We don't want it coming through quite so much on certain parts like this, then it's going to look much better. A bit more broken up like so. Okay, so all right, now that's bits done. So what's next? Well, what I suggest you do now is you come over here and you come to something called smear. And what you can actually do is you can smear this thing a little bit. So that also helps with actually making it look a little bit more realistic. As you can see, we ain't got these chunky parts anymore, just smear it off. And then when you finally finish that, I also recommend that you come in and you blur some of these edges. So if you come in, you can actually really fade them down very nicely without losing too much. You can see now just fading some of these down a little bit like so, where they're a little bit too deep, especially on this frontier, especially around this bit here and on this bit as you can see, feed them in. Then finally, now what's left to do? The last thing you can do is because we subdivided everything, we can actually come over to sculp mode. And then what we can do is we can put it on something like layer, make sure your strength is turned down pretty low. And then you can come down to these rocks and you can actually start pulling out some of these rocks, like really, really lifting them up. And if you put it on object mode, you'll actually see what you're actually doing there. You're actually starting to lift up some of those rocks. You actually can spend your time just going over some of these rocks and giving it a lot of variation. You can also press control and actually pull some of those rocks in as well. So there is that what I recommend is just picking a few of these rocks and just giving it a little bit of variation on some of them. Control clicking, some of them to pull them in. You'll see what difference it makes once you actually render this, because it is going to make a big difference. Even as I said, your eye will pick up on these things. You can also mess around with some of the other brushes as well. But for me, the layer in one is a good one. Because you can actually pinpoint the bricks that you really want to layer up over the others. And that's why I'm pinpoint, that's why I'm actually doing it this way. So this is just the final touches to finish up you scene. After that we're just going to go through all the checks then to make sure we've got a really, really tidy scene with checks like the normals facing the right way, things like that. So I'm just going to lift that one up. I'm going to lift this one up a little bit. I'm going to pull this one back in a little bit. Lift this one up maybe. And then just work my way back around to the front. And you'll see that you don't really have to do a lot. It's not about a lot that you need to do, it's just about lifting some of them up. Let's lift this big one up here. Back round to here. Let's have a look we have missed now. Can see I've got all of those going all the way around. So let's put it back on here finally. Now let's just put it on to rendered view and have a look. And that is what you're actually going to get. Now as I said, the one thing you might want to do is you might want to make these a little bit more gray than what they are. In other words, there might not be dark enough. Let's actually go in and saw that out. Now I've come to shade. What I'm going to do is I'm going to come, so this here which is already here for you as you can see, and now you can see that's the actual soil. So we can make that darker. But what we want to do is we want to put a shift, a RGB curve. Rgb curve. Drop that in there. And then what we're going to be able to do is have some control on how dark or light we're making our actual ground. Let's put it onto rendered view. Let's have a look at that like there we go, Dad's looking pretty nice like that. We can see we've got a lot of variation in there now. Yeah, I think I'm really happy with how that looks. All right, so finally then let's come to modeling. Let's press Tab. And we've actually done with that, now let's put it back onto material mode. So there we go. And we're pretty much done with the entire build at this point. Now the last thing we only want to do is basically put in the little bits of grass and things like that just to finish the scene. Now the poor import is here, because you should always do this when you've actually finished a scene. Is that first of all, you should check a normal. Let's go in and check those stay, but again, and let's come to this little one here, face orientation, and let's have a look where all the issues are, so we can see any of them in red have issues. We need to basically change those round. The other thing is as well, once we've done this, we need to actually make sure that our collection is nice and neat. Because at the moment, this is a mess and we don't really want that. So what we're going to do is we'll come to these parts, grab them all. So a shift, and then what you're going to do is click on the inside or shift. And I'll actually spin them around anyway. Now what I tend to do is I'll grab those, hide them out of the way, and then come to my next part. So a shift, spin them around, making sure they're the same underneath, hide them out of the way. And what I'm doing here by doing this is I can grab more as well while I'm doing it. So I can grab all of these. For instance, shift, spin them all around, hide them out of the way. And it enables me then to see exactly what I'm doing. Breaking it down into little parts round and trying to do it all at the same time, or seeing where I'm going with it. Now you can see that things like the ivy, some of them will be the right way round, some of them are going to be the wrong way round. And the reason is you can't really change those rounds. As you can see, it's a one sided material, so there's nothing you can do about that. The thing is, if you're taking that into real or something, you need to make sure that you're getting a double sided material. Now let's come to the other parts though, because those we can do something about a shift, N, spin them around, H, add them out the way. Let's work through our doors and a couple of windows here. So tab a shift, spin them around. Now you will notice that sometimes it spins them around completely the wrong way, that sometimes happens. So what I'll do is I'll come into all of these shift, spin them around, click on inside, and there we go. So you notice I just selected those and I was able to fix them. Okay, so let's work our way round. So we'll grab all of this shift, spin them all around. You can see that this part, for whatever reason, doesn't want to spin around in that way. So I'll come in shift click on the inside. Now I can hide that out the way. And now you can see I'm really, really going quite fast to actually do this shift, spin it around H, hide out the way. Let's come to all of these parts including the bricks and the roof press shift, spin it all around H. Hide out the way and just keep working your way around spinning them all around and you'll thank me in the long run, actually, if you're dealing with other people or rare clients because they're not going to want to have all of these normals the wrong way round. I'm going to come in and grab all of this ship, spin it all, and then hide that out the way. Then I'll come to each of these points here, including the brick and all of this ship. Spin it all around. Grab this wall here. Spin it around. So now let's grab this wall, this window, this top of here A, grab everything, Spin it all around. And let's see, spin most of it around. I don't want to spin all the roof around or anything like that, so I've got to be kind of careful here. You can also see sometimes, for whatever reason, it doesn't quite spin everything around. So I'm just going to grab these. I'm going to press shift, so I'm going to press shift again. And then inside like so. And there we go. And then I'll come to these walls. So I'm going to grab this wall shift, spin it around, and then just slowly work my way along this part because there are some parts that will be a real pain for you, I'm sure of it. Okay, this is looking good. Now let's do this one. So shift in inside and then shift on the inside. There we go. And then we've got this one, so we'll grab a shift. So let's have a look. We've got these as well here, a shift. Spin them around. There we go. Let's grab both of these walls. Shift, spin them around. There we go. This one doesn't seem to want to do that, so I'm going to grab it all. And then the window, you can see here, it's just the actual window frame. If I spun that round, I have to come in now and just grab all of this bone one and then I can press shift and do that on the inside. So again, this is the V and now we're just working our way round. So I'm going to grab just this wall here, and then press shift, and then spin it around like so. And now I'm going to come to these walls like a shift, Spin them around. Now the bricks, and I'm just looking under here, that looks like there's one plank in there. For whatever reason he doesn't want to spin around. There we go. Now let's grab the bricks. A shift spin them around the window. A shift spin it around edge select and then just grab both of these edges. Pin those round. Okay, we're getting nearly now to the end. We're going to grab these shift in pin the round except this one, the shift on the inside like so now the roof on here, we can actually go in and select all of the back ones and spin them around. I don't really want to actually do that because it's going to take a bit of time. You can see there as soon as the press shift in it's spin those around. I don't want to do that because it's going to take a way way too long. And this is a course after all. So I just want to show you the basics. So a and anything that's going to affect my render within blender, spinning these around in blender will have some effect. But because we're not really rendering the backs of the roofs or anything, we shouldn't actually need to spin those around. So basically I'm going to press Alt tags, bring everything back shift, spin them all around. I'm nearly there now. Some at the front, A shift, then these two shift. And you can see that we've got these problems here. So I'm just going to come in L, L, L shift in the round like so we can see now on the next lesson we'll just finish these parts because we are running out of time. We can also see the underneath up here. We'll finish those parts and then I'll show you how to actually do your collections. Again, we're not going to do our whole collections. I'll just show you how you should be actually organizing it for your own actual, you know, models for when you send them through or when you're working in groups and things like that. Alright everyone, So I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 94. Adding Smaller Foliage Details in Blender Tavern Scenes: Welcome back everyone to the blender. Creates core, stylized three D models. And this is where we left off. Now let's come to the top of these and hopefully I can grab this. Yeah, there we go. That's the one I want. I want the inside of this wall here, shift. And I want to spin those around like, so I'm going to come to my wall here, shift, spin that around. And then this one here. Then we'll go in and spin it around actually the other way. And then grab this and then shift around that way. That's that one done. And then this plant part. Then finally these two bricks, spin those around a ship. This window spin the. And except which one is it, these windows on the inside, as you can see with this one, it's just these windows on the inside. And the reason I think, I'm not actually sure, look, these windows, let's put it onto object mode. I'm seeing for some reason this is not the right way round. So right now it's the right way round but it's upside down, so x 180. Spin it around. And now I can come in and select just these shift and spin them around. Put up the A, and I'm just going to put on material just so I can see what that looks like. In fact, I'll do that. Um, so we'll just have a look at the, um, I've got these walls on the inside of here at the moment. As you can see these walls all on the inside of here. And this one here, tab a shift. Spin them around. Let's have a look now, it looks like I grabbed the wrong thing there as well. So I'm going to grab this one shift, spin that one round and oltage bring everything back. Double tap the A. Now pretty much we are done with that. All right, so that's all that was fixed. Now let's turn this off the face orientation, and let's look at my window, because I need to pull this out further, like so double tap the A and there we go. Right? That's looking all perfect. Now, now about collection. So the first thing you want to do is you would want to put all of your roofs in a collection. So I'm going to scroll all the way up here and it's important that we select this scene collection, So you can see this scene collection. The easiest way to do this is let's make a new collection, which will appear under here. Now if you select right click on here, New Collection, you're going to put a new collection in there. We don't really want that because we won't be able to see what we're doing. And then what I'm going to do is I'm going to put roofs like so. And then I'll do another one, and I'll call it windows now at the moment because there's no arrow here on the right hand side, there is nothing in there basically. So what I want to do now is select all my roofs like so, so, and then what I'm going to do is I'm going to then move those out. If I open this now, you'll see that they're all selected. I'm going to press the little dot one, and then you can see that we've got all of these on here. And then all I'm going to do is drop, pull them all the way down and drop them in the roofs. Now, if I turn this off now, I can see that I've got all my roof selected, there is nothing else left. So it's a really, really easy way of doing it. We'll do one more just to show you. So what I'm going to do is I'm going to grab this one. This one I'm going to grab windows. I'll keep my door separate windows, so just grab all of my windows. Where's another window There? There, and there. And then what I'm going to do is they've got more windows here and we're going to drag them all the way down and drop them into windows. Double tap the. And now we should be able to come down and turn off our windows like so you can see just how much power now you've got actually over there. So it's up to you how you divide them up. But I highly recommend if you're dealing with anybody or a customer or anything like that, I highly recommend that you do this and actually fix all of your collections and make them all nice and neat so that the next person that's going to get it is going to, you know, look actually really nice, really professional, and really neat. I mean, we've gone through all this trouble to create this really, you know, professional model. Then you want to make sure that if you're handing this over to a client that it is also professional. All right, so now let's move our little guy over here. And then what we want to do now is bring in the final part which is just the piece of grass and things like that. So what I'm going to do is I'm going to go to my asset manager. I'm going to come down to where I've got foliage and these are all the little pieces of grass that you can actually bring in. So what I tend to do is I will first of all look for, you know, these little tufts of grass, and I'm going to bring these in. Like. So I'm going to press the S borne and make them smaller. And what I'm going to do is I'm just going to put these around the scene, stick them in the ground and make them even smaller so I'll have this one pretty small, like so. And then what I'm going to do is I'm going to press Shift D and drag this over here. And then stick this out of one of the cracks over here instead. So a little bit like that. Spin it around, so R, Z, spin it around, and then just work your way around putting these in place. So I'm going to also probably put it over here, for instance. I'll bring it up so it's just stuck out of the ground right next to this post like so. And then I'll rotate it, so x and rotate it around and maybe make it a little bit bigger, something like that. So it's just stuck out there. I don't actually want it stuck in the ground or anything, but you can see that's looking pretty nice. Now, let's grab this one shift deep and I'll just drag it over like, so we'll put this one over here. So these are the first ones I tend to put in. And these are just like the grass tough parts tufts I call them. And these are the first ones are put in. The next ones are put in, they're going to be the ones which are. So I'm going to press on Z, and I'll bring one more in, then I'll put it around here. Shift, let's bring it around here. The next ones I bring are going to be a little bit different. So I'm going to put this on here and they will be like the little grass parts. Now I'll bring in some of these parts here or my little grass tufts. So you could bring in here, you can put your little grass pots. This as you can see, they look really nice even just bringing them in like that. What I tend to do though is I tend to rotate them around. I don't really want them, we're going into the wood or anything. You don't need to have them like that. You can just put them like this. These graphs toughs. These are the ones I'm bringing in next. I'm just going to put, stick them up just against some of the walls. And you'll see that it's going to add in, especially down the back of here. It's going to look pretty nice if I stick some in here. For instance, let's press said 90 in a little bit bigger. So then I'm thinking, now let's bring in some actual weeds. Let's bring in a weed. Make a little bit smaller, stick it in the ground. Let's press dot to see how it's stuck in. Not really stuck in the ground, now it is. Let's bring it up. There we go. Let's work our way around the front. We're just add grabbing them at random and just putting them in and just seeing how nice they're actually going to look in. Again, with this one, make it a little bit smaller. Let's put it into place. Coming out of this can even rotate a little bit, R Y, rotate it stuck out of here. Tap the A, You can see it's stuck out in the wrong place. Let's make it a little in, so it looks like it's actually stuck out of this rock here. Now you can see it looks much, much better like that. Then the front top here, what do we want on the front here? Let's see how big this grass blade is. It's right. Even rotate it, double tap the A, then rotate the other way, R X. Let's bring it out now. Just look in our head and there we go. But I'm not actually happy with that one, so I'm going to change it. So what I'm going to do is I'm going to bring in, let's try this one. Let's bring that one into place. Yeah, that one looking much, much nicer. Now we'll have a couple of grass. So look how big this one is. What might be a little bit too big, but if it's going to go in place, I think that's actually pretty cool there, actually. All right, so one more piece of tufts of grass. Let's see if we can put that one in the like. So all right, that's pretty much done. So now we're on this lesson. Basically we've finished cleaning everything up, we've finished adding in all the final parts. And it's looking pretty nice. So what we're going to do now on the next lesson, is it's going to be basically bringing in a camera and sorting out all of the lights. Because these lights actually need, they need extra help as they're just based on the mission. When you render it out, it's not going to be as nice as what it could be. So we're going to actually bring in some nice lights on here, but the first thing we'll do is we'll bring in a camera and we'll be able to get a very nice render of the building. All right everybody, So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 95. Animating Turntable Cameras in Blender for Dynamic Views: Welcome back everyone to the Blend. The critic core stylized three D models, and this is where we left off. Now one thing I do actually want to do is I actually want to change just this stone texture just to look a little bit nicer. And I'm going to show you exactly what I mean and how I'm going to do it. So I'm going to come to my wood. So you see this main wood at the moment, let's click on it main wood. Let's go to the shading panel. And this wood basically has in this is why it looks so nice. You can see here, these beautiful edges here. And it's because it has in this part here, so you can see this part here. So what I'm going to do is I'm just going to leave that part of the way. I don't need that. We're going to actually come down and copy or cut. So control C. And then what I'm going to do is I'm going to come over now to my actual stone so you can see our stone here. And then what I'm going to do is I'm just going to move that over the side. I'm going to press control V and drop that in there. And instead of a mixed shader, because we're not actually mixing the shader here, we haven't got two shaders or anything like that. What we're going to do is we're going to delete this mixed shader and we're going to bring in a mix. So we're going to search, bring in a mix. And the one we're going to bring in is mixed color. But instead of it being on mix, we're going to actually add this onto screen. So I'm going to put this onto screen, and then what I'm going to do is I'm going to join the color in here. And then I'm going to join this where the RGB is, into the top here. And now it'll go something like that. And now we're just going to join this bag on here like so. And now you'll see that we've got this beautiful, shining bit on here which is increasing the realism of our scam. And that's exactly what we want. We can also see, because we've done this now on all the other stone parts, that it's also gave that little bit of realism on all these stone parts and really, really made them stand out that little bit more. You can see if I plug this into here, so plug it in, this is before. And then we can press controls head. And this is after. And it really, really brings the scene more to life. That's what we're looking for. All right, let's save our work. And then what we'll do now, we'll go back to modeling. I'm going to press tab, double tap the A. I'm just going to wait for the shade to load up, which it has. Now we want to do is we want to actually bring in a camera. Now, I'm going to teach you how to bring in a camera, but also how to attach that camera to an actual curve. And then what you can do from there is you can basically just move the timeline across and take a really nice image of, you know, of your house, or you can actually have a render of a 360 degree turning. Okay, So let's make a start. First of all, let's bring in a camera. So shift, come down, bring in a camera. At the moment the camera is over there, I don't really want that. What I want to do is I want to look at kind of this angle up grade here. So with my camera, I'm not going to go to my camera and ask my camera, you know, and then move my camera to me. I'm going to just tell my camera to move to me. And the way I'm going to do that is control Lt and zero. And now you'll see my camera actually moves to me. And now what we're going to do is go to view. I'm going to have to lock my camera to view. But before I do that, I always like to zoom in a couple of times because it just makes it easier to get a visual on where you want to be. So I'm going to zoom my camera in. And the main point here is I'm not setting up my camera here really to, you know, take an image or anything. I'm setting my camera up here just to see how close or how far I want it to be away. So I'm going to hold control and shift, press the middle mouse and then I can just push my mouse back or forwards and just line it up into some sort of place like so. And that's all I really want from this right now. And the reason that's all I want is because now if I turn this off and now turn around, you can see my camera is all the way out here. So I've got a good idea of how far I want my camera to be. Now the next thing I want to do is I want to move these out of the way. I want to move them just over here a little bit. And the reason I want to do that is because if it's a 360 degrees shot, I'm going to actually have these in my shot. And I don't really want that, so I need some way to actually hide these out of the way without coming in and hiding them all along here. So the easiest way to do that is now is to first of all set our camera up properly. So let's come in and bring in a circle. So what I'm going to do is I'm going to press shift S, cursor to World Origin. I'm going to bring in then a circle. So we're going to go to curve, bring in a circle. I'm gonna press seven to go over the top. And then what I'm going to do is I'm going to pull out my circle, pressing the S bot. So I'm going to press SSS, keep pulling out. And where I want to pull that out to is basically to the edge where the camera is. Now what I want to do now I've got that, is I want to bring this circle up. So bring the circle up to roughly where my camera is. It doesn't have to be exact. It's just a little bit higher than off the floor. I'm actually going to then fix the camera to this. So the way I'm going to do that is I'm going to grab my camera, grab my circle control. And the one I'm going to pick is follow path. So click on follow path and now you'll see you've got a little line going from your camera to the circle. Now what we can do is we can come to our circle. That little line is always going to be on one of these points of the circle. So what I want to do is want to pick on the point where it is. Press shift cursor, selected press tab. Come back to my camera shift selection to cursor. Now if I press Space Bar is going to go around the circle. Now you will see it only goes around half the circle and then it has to start again, I think. No, actually that's not true. It is going all the way around the circle, but it's very fast and we don't really want that because if we go to our camera press space bar, we can see it's zooming around so fast, we don't really want that. So why is that and why is the camera over here and not looking at my building? How do we solve those issues? So the first issue we'll solve is the speed. So we'll solve the speed by coming over, first of all, to our layout. And on our layout, we'll have our playback. Now at the moment, our playback speed is 250. So in other words, we have one to 250 frames. And what that means is that the camera is going to do a full 360 degree turn in 250 frames. Now we'll say that if you want to have a really, really nice rotation of your house, you want to be no less than 300 frames. No less. The closer to 400, the better. But obviously, the closer to 400, the longer it's going to take. So there's that to bear in mind as well. So what I'm going to do is I'm going to put this on 350, somewhere in the middle. I can come over here as well and click Zoom Out. And we can see now that if I press Space Bar, it's going to be much, much slower. Is it going to be much slower? I need to just go over, first of all, to my curve. Let's come over to my curve path animation. Now we can see, here we are, This is the reason why. So at the moment it's 100 frames, we don't want it on 100 frames, we want it on 350 frames. And we also want the evaluation time to be on 350 as well. And now, if I press Space Bar, there we go. Now we have a really, really nice actual timeline. When it gets to 350, it's going to actually start again. So you can see 350. No jarring, no nothing. And because we've got it on here, what that means is you're not actually going to have a lot of missing frames. In other words, when you actually export this out into premiere or something, you're going to have enough to actually speed up the footage with all of the PNG's that you're going to be exporting out, not have loads of missing frames. So that's something to really, really consider when you're doing this. Again, if you don't care about missing frames or anything like that, you don't care about frame made drops or nothing like that. You can actually just get away with putting it on, you know, 100 frames or something. But I'm just recommending this to get the most out of it. All right. The next problem we've got is, is that this isn't pointed at the building anymore. So how do we fix that? So what we're going to do is we've still got, hopefully, our cursor in the center. No, our cursors over here. So let's press Shift S Selection, cursor to World Origin. And then shift A. Let's bring in a empty plan axis. And let's press and really pull that plan axis out like so. All right, so what we just do, we brought in an empty. An empty is like a piece of mesh, but it's not even a mesh. It's just an empty, it's never going to appear in the render. So in other words, we can add things that track to it and the actual empty won't appear, but it will actually enable the camera to track to it. So if I come to my camera now and I go over to this one, which is the constraints panel, I can add a constraint and I can track two. So I'm going to click on track two. What do I want it to track two? So what's the target? It's going to be my empty like so. And now for press space bar, we can see that for zoom in. Now we're actually looking at the building. Few problems though. First of all, cameras not hanging up. And second of all, it's zoomed too far in or it looks like it's zoomed too far in. We can deal with both of those problems and you'll see how easy that is to do. Now. We've got this, just a basic set up for this. Alright everyone. So we'll discuss that in the next lesson. I hope you're really enjoying it and I'll see you in the next one. Thanks a lot. Bye bye. 96. Integrating Light Sources into Blender Tavern Scenes: Welcome back everyone to the Blender Critic Core stylized three D models. And this is where we left off. So now we've got our camera here. We can see at the moment though, it's actually looking at the wrong place to lift this up. What I need to do is I can grab my empty, I can press shift space bar, Bring in my move tool, and then I can actually move that up. And you'll notice it actually moves the camera up as well. We can also grab our circle, so grab this circle going all the way around outside. And then we can actually tilt the way that our cameras looking. And now if I press Space Bar, you'll see that our camera goes around our whole scene or building the way it should do. Now there are some problems with this. You can see it gets to 350 and then it will restart. So I recommend this is the best way to set up the camera rather than setting it up in different positions, moving the camera around. I think this is the best way because you get the best of both worlds. You're going to get an accurate images time and time again. Because it's going to be from the same angle, the same distance, the same lighting, all of that stuff. So it's going to be very, very standard across all of the images you take. The other thing is, if you want to do a turntable, you will be able to do that, I think. So. The next thing that we should look into is actually bringing in the floor. So what I'm going to do is I'm just gonna come out my camera view. I've got my cursor right in the center there. So what I'm going to do is I'm just gonna press shift day. I'm going to bring in the plane, I'm going to press the S burn and then just pull it out like so now you can see that we've got some kind of issues on here where it's just above there. So what I want to do is I warn, adjust, pull it back, holding shift borne all the way down to the ground like so. And I feel that this actually adds a lot to the scene, especially when it comes to lighting. Because you're going to get a lot of, if we put this on now, you can see at the moment when it lights up, it's going to look something like this. Now you can see we've already got a lot of bounce off of our actual, you know, off of this plane on back onto our actual house. But if we come in and we actually change the material. So if we come in and we change this material over the right hand side to come to material, what you're going to do is click new. You're going to leave it on principled. And the ones you're going to change is you're going to change the roughness. Let's change the color first of all, so we're putting something much darker. Then what we'll do is we'll put the metallic all the way up and finally then we can change this roughness and bring it all the way down to bring it really, really shining. You can see now what that does to our scene, You can see it's looking much, much nicer than it did before. Especially if we turn this off and we can see that's what it looks like, really, really nice. Okay, so I think then at this point now we should actually go in and put in some lights. So we're really going to need some lights in here to help these emissions out. At the moment, if I zoom into it, you can see we've got kind of for zooming a little bit closer, we've got kind of a little bit of light here. But it's not really doing a lot. In other words, there should be a lot more light. If this is a light, it should be, you know, bouncing off of here a lot more than what it is. And if we put this actually on V, so if we put it on V, like so late load up, you'll see that it's nowhere. It's not even where it should be because V is obviously real time rendering. So now you can see this is on V and there's actually no light in there. Now what we're going to do is even if we put bloom one, you can see we'll put bloom on and we just get this. It's not realistic, it's just giving bloom to the actual emission. But it's not actually really lighting anything around here or bouncing off up here the way that we want it to. So what we need to do is we need to actually bring some light in. So I'm going to put this back on cycles. And a bit later on in the course, maybe a couple of lessons from now, we're actually are going to go through the new EB next. At the moment you can see I didn't have it on, but part of blend four is even next and we'll be going through that. So don't worry, just hold on until we get there. All right, so let's think how we're actually going to do the actual lighting. And the way that I'm going to do it is I'm going to be using planes. So first of all, I'm just going to put this onto my material just so I can see what I'm actually doing. I'm going to make sure then I'm actually on cycles again. And then I'm going to save out my work so I don't lose anything. And then what I'm going to do now is I'm going to bring in plane. So I'm going to press shift and I'm going to bring in, not a plane, a light area. So let's bring in a light area. Let's pull this out. Let's rotate it around once we've got it up, so we've got it up there a little bit more. And then rotate it around, so r x 90. Let's rotate it around. Let's put this on. That's why I couldn't see anything. And now we can see it's pointing in the wrong direction. So our X 180. Spin it round like so. And then over the right hand side here, we'll have this little bulb. And what we want to do is now want to set the color. So let's say it to a nice yellow color and let's set this to something like 200, 200 lights. So now let's actually put that in place. So we're going to put it in place in position right into here. Now the good thing, if I can actually grab it about these area lights, is that we can actually shrink it down to how we want to. In other words, we can press S and X and we can actually bring it in. So now what I'm going to do is I've got the area light in there. I'm going to now put it onto cycles. And you should be able to see it has an effect on the window. So now in cycles, you can actually move this. So if I grab this, I should be able to move it in or bring it out and see exactly as it's going to look. Now I think if I pull it back to there, I think that's actually going to look pretty nice for me. So you can see now we've got a lot of light actually coming off here. Now the thing is I will put all of the lights in the same kind of collection because I think that makes it much easier right from the start. So what I'm going to do is I'm just going to make sure I've closed all these up so I've not got a actual collection. Come to this collection now. Right click and we're going to make a new collection. And then it's going to be lights. So, and then what I'm going to do is I'm going to drop this light into there. And now actually I can turn all of my lights off at the same time or turn them on or go in and mess around with them all. Now what I'm going to do now is I'm I'm going to do a quick render. And the reason I'm going to do a quick render now is because once I know that these lights are looking good, then I can actually go in and do more renders from that. And actually, you know, I don't really want to go in and make lights everywhere if they're not looking the way they should do. In other words, is the color looking good? Is the power strong enough? All that sort of thing is something that I need to actually take into account when I'm actually putting my lights in. All right, so what we're going to do now is we're just going to go onto object road and then just just to speed up, you know, the actual process of looking around the scene. And then what we're going to do is I'm going to press zero, Go to my camera view. And now I want to turn this down. So if I turn this down, I can bring it back either to zero or I can go all the way up to nearly 350. And you can see I can bring it back to the way that I want it. So something like that. Now let's actually go in and make sure that our cycles, everything is sorted out on there. In other words, if we come down, we will come to performance. In fact, we'll go to film first. So film is a really important one with film. We can actually come in and we can actually remove the background of our scene so we can still keep the lighting, but have it on transparent. And there you go, you'll see that's what you get. It's really, really handy, let's say if you want to put gradium behind your scene or anything like that, really, really handy because then you can actually export it out as a PNG, bring it into Photoshop or Canva and then put a actual background on there. I'm not going to put it on, on this one. What I'm going to do is I'm going to close that up. I'm going to come down then to performance. Now, performance is a bit of a tricky thing, and I recommend with performance that you test it out. And I recommend you do it in these two ways, especially when you're running with cycles. The first way is make sure if you can run it on GPU, make sure it's on GPU. The next thing I want you to do is I want you to test out large iles versus small iles, small size tiles. And the reason is because some GPU's run better in high tile sizes and some run better in small tile sizes. Now generally a CPU will have small tile sizes and a GPU will have large tile sizes. What do I mean by that? I'm going to show you, actually will mean, but for now we're going to leave it on 2048. What it means is it's going to render out though a large chunk of the scene all in one go. So where this camera review is, it's going to try and render all this out all in one go. And if you put it onto let's say 64, it's going to render out little boxes one at a time. So let's see how that works. The next thing I always put on is use facial splits. So if you come into here, you'll hover over it and it says longer build times, faster render, so this users more Ram, but it is a faster render. So I'm going to tick that on. The other thing I'm going to tick on if I come down to hear is persistent data. And the reason I want to tick that on is it Basley keeps a lot of the data around. You can see here render data around for faster Re renders and animation renders. So in other words, once it's rendered something, once it keeps a lot of that data of the lighting and things like that to re render it faster the second time. Now, I'm not sure if this is when you've moved the camera again. I think if you keep the camera in the same place, this is what this is mainly used for. Either way, I'm going to tick this on. The other thing is you can see here use compact BVH. You can see where it says, it says users less Ram, but render slower. So if you've got an issue with Ram and you want to actually make sure that you can actually render something, then just tick this on. I'm going to of course, leave mine off and on the next less. And what we're going to do is we're actually going to come up to here, deal with the performance. I'm going to go through that. And then what we're going to do is we're going to render this out and see what this actual light looks like. And then we can actually put more lights in there. I think actually at the moment we'll just focus on just getting the render right and then we'll talk about EV next. And finally then we'll be talking about the composite last of all as well, before I go, we will also be discussing if I bring this round, these parts here. So let's just bring it around. Bring it around these parts here. We don't actually want these in the scene. I don't actually want to hide them. So I'm going to show you on the next lesson how we actually achieve that. Alright everyone. So I hope you enjoyed that. I'll see on the next one. Thanks a lot. Bye bye. 97. Mastering Render and Lighting Techniques in Blender: Welcome back everyone to the blender created course stylized three D models. And this is where we left off. Now we're in the camera view at the moment. Now what I want to do is I just want to come round, zoom out a little bit, let's put it back on material so I can actually really get in and, you know, mess with things. Here's my camera. I'm actually going to press Dart. Find my camera. And what I'm going to do is I'm going to put my camera in my lights as well, so you can change that to light and camera if you like. Then what I'm going to do is now I'm actually going to go back into my camera view and we can see these parts here. Now how do we mess around with Ops? Now we've got the camera view set, we can actually come in, and from here we can actually change our focal length of the actual camera. So sometimes it's really worth zooming in with the camera in this way rather than moving the camera. Sometimes it just makes the actual image look much, much nicer. So I recommend, once you've got the camera set up, if you want to zoom into, you know, this window or something, use the focal length instead. The other thing you can do is you've also got a bias on here, this one here. Now you can see if I set this to zero, we won't be able to see anything. Now, why is that? Because based on what you've done, you've cut off the distance of the camera. So based on this camera at the moment, it's just seen in front of the lens. Now we want to increase that. So as we increase it, you'll see everything starts to appear, the building starts to appear all the way. All the way, all the way. What we want to do is we want to stop those appearing. So if I bring it back to there, I want to stop those appearing. But I want the whole building to be in scene. I want the floor to be in the scene as well. So if I press Space bar now and go around the scene, you can see they appeared back there, but they're not actually going to be appearing in my camera view because I've set the clipping of the actual camera way, way down. So you can see now we're coming up, completely disappeared. That is what we actually want. So now we're just going to stop our camera here. And then what we're going to do is now I'm going to show you a few other things. So let's go back now to the cycles engine Now, the other things you need to be aware of is that down here you can see you've got viewport under sampling. So the viewport at this stage, not really that important to us because at the moment we're not really caring about the viewport render, how that's going to look because that's not going to give us a final render. You know, we can turn off these and have a nice render like Son zooming, have a nice render of it, but it's never going to look as good as you know an actual rendered scene. So these are the things that we need to know about. So this way it says render not the viewport. Now basically at the moment, the maximum samples are going to be at 4,096 and the noise threshold is going to be at no 0.1 What that means is it's going to render out each of the samples, unless you've got a large sample up to a certain point, then it's going to stop. And then it's basically going to render it out using sophisticated ways of doing it, where it basically gets rid of the noise. So we do need this on in the first place. At the moment, we've got a sample set, 4,096 but this isn't always the thing that you should go on, because it might only get to 2000 samples before the noise threshold kicks in, and then, you know, renders the rest of it out automatically. So if you run a really, really clear image and you want the actual light to be really, really spot on, I recommend either reducing the noise threshold or ticking it off completely. And then what will happen is it'll always go to 4,096 So I'm going to show you this in action now. Now the first thing you should do before rendering something out is always make sure that, first of all, you save your workout. Second of all, you're always in wire frame. And the reason we want to be in wire frame is because the wireframe actually uses less memory, less CPU, less GPU of your whole computer, rather than being in material. You can imagine that this is using a lot more computer power to basically render all this scene out with the light, with the materials. It's using even more power to render it out in the cycles view like this. You can imagine how much this is using, but if we're going to wireframe, you'll notice that you, your actual scene really, really speeds up. And the reason is because it's not having to render out all of those materials, all of those edges and things like that. So I recommend before rendering your is actually going to white frame and then what you're going to do is you're going to come up to the left hand side here, Render. And you're going to click Render Image. And what's going to happen is now it's going to think about it and then start building the scene. Now at the moment, you can see the samples here at 17 out of 4,096 So if I zoom out, we can see this is going to get to a certain point. And then what's going to happen is this is going to really speed up towards 4,096 because it gets that noise threshold and then bang. It just actually renders everything else out because it basically guesses that's what it's going to do. So you can see now the further we get up, it's speeding up. You can see that we've got supposedly a time remaining, but as we get to a certain point because of that noise threshold, it's going to drop down drastically. Whereas if we had that noise threshold turned off, this would actually probably be more accurate. Okay, so what we're going to do is normally as well, when you're rendering something out, you render it a very low sample rate, and then you're going to render it a mid sample rate and then a high sample rate, and that's the way that you should be rendering out. So at the moment, what I'm going to do is I'm just going to take a quick look at what this looks like. You can also see that I do have an issue. This is why we do, where the light is actually poking out of the inside here, this area light. We don't really want that, so we need to fix that. And this is one of the main reasons why I'm actually testing this out. So let it finish now. You can see it's really, really speeding up. And you can see the time overall wasn't anything like 10 minutes or anything like that. It was more like 1 minute 20. So there we go. Now we've actually finished and this is what the scene looks like. Now there's two reasons why we've actually done that as well. The first is obviously to see what our lightings looks like. But the other reason is if we come over now to our compositing. So over here in Compositor we will see that if I click Use Nodes, we've actually got our image in there now, ready to be composited. And this is what we're going to be using mainly to actually change the lighting and make things look a ton better. All right, so now we've discussed that. Let's actually go back, so we're going to go back to modeling and then what we're going to do is we know we've got a problem with our window. I've just gone through, you know, those options and things like that. So now what I want to do is I want to come in and actually make sure that, first of all, my lighting is correct. Second of all, I'm going to turn down this actual, you know, this window, sorry, window. This sample rate. I'm going to put this down to 2000 actually, rather than waiting all that time. Again, I know it's only a minute 20. Boy, if we have to make a minute 20 every single render, we're not going to want to do that. All right. So what I'm going to do is I'm going to come in now do my lighting. One thing we can't do is we can't actually level these edges, which is a shame. But what we can do is we can press one and come in and make sure this is more level. You can see it's way, way out up here. I'm just going to pull it over here and make sure that it's more in to where I want it. Now you can see something like that. We're probably even going to be able to get away with pressing son's head and pulling it up a little bit to the top of the window and I think that's going to look much better. The only thing left to do if I press dot born is just to make sure that I brought it back, brought it back, brought it back maybe to something like there. I want to just see what that looks like. So let's put it on rendered view and let this load up. When you go, it's going to think about it. Let it load up, Let it think about it. Once it's done that, there we go. Now that might be too bright. So this is the other thing that we have to do. We have to do this in stages. We do one window, we render it out, and then we go to the compositor and start messing around with the compositor just to get this window right. Once we've got this window right and we've built out our compositor, then we can start putting other lights in, because then we've got actually a composite set, right? And then we can put the lights in and we know everything's going to be more or less right. Now, the one last thing I want to discuss before the next lesson. In the next lesson, we're going to be discussing the new EV next, which is new to Blender four. And I want to show you the difference in that and actual cycles for that. At the moment, you can see I'm using Blender four because Blender 4.1 which has EV next is still in alpha stage. Which means it's actually, it might turn break, it might close down. It's not actually stable right now because it's actually in alpha. Now we're going to be using it because this course, I want to be out there for a fairly long time and you're to be able to be using V next. So I want to show you what the differences are. All right everyone. So I hope you enjoyed this one. I hope you learned a ton were nearly actually at the end of the course. This is the final stages now where we're going to end up with an amazing render. Alright everyone. Thanks a lot. See on the next one, bye bye. 98. Comparing Rendering Techniques Eevee Next vs Cycles in Blender: Welcome back everyone to Blender Create, Core stylized three D models, and this is where we left the art. All right, so now we've actually, I've opened this up in Blender 4.1 Alpha as you can see. Now what I want to do is I just want to go quickly through the new render engine. So one of the problems you're going to have is that the sky texture isn't going to work for the new V render engine. I don't know why that is. Apparently it's not working yet. Maybe we'll be working in the new versions of Blender, but for now it's not. But the one thing that you do want to see is that the new V render engine is amazing, actually. Lighting, really, really amazing. So let's come, first of all to the old V. So we've got here V legacy. Now as I actually brought this in, we have two EVs in here. I didn't actually have to go up to, you know, some people like on Youtube where you have to go to preferences and you need to bring in developer extras. And then once you've got developer extras, you'll end up with experimental. And from here you need to set up the new EV. You've got only an EVD bug here, you haven't got anything else here. So when I've downloaded this, EVs actually come straight up. So let's put it on V legacy first. It's going to take probably a little bit of time just to load in all of those, you know, emissions and all of those shades. So just let that load up and once it's loaded up, you will see the difference between, you know, this EV engine, the old EV engine legacy, and the new EV engine. So let's see, is it actually going to come on? Yes, I need to put rendered view first. All right. Rendered view, compiling shaders. Let it load up. And then once this is done, we can actually go in and actually put the other EV on and then you'll see the difference. So we can see at the moment this is the old EV. We can see that we've got ambient occlusion, we've put bloom on, we've got screen space reflections on. But the actual light in here isn't that good. It's very flat. It doesn't really give a lot of detail on there. But if we come in and we put the new EV on, so let's click that on, you will see now we've got a big, huge difference in how this is actually lit. Again, our sky texture isn't working for this, but what we can actually do is come over to our sky lighting and we can actually put this on prethem, then we can see now we've actually got somewhere now we can also, I think, turn this up a little bit, turn up the light in a little bit. We've got also a miss pass here. I'm wondering whether I actually want to mess around with that. I think I'm just going to pull this light in a little bit down. I'm also going to go in and actually check this one as well. What I'm looking for. Yeah, there we go. That's bringing down the light, so we could have something like that. But the main point of all this is, look how nice the actual lighting is in the new EV. I'm going to actually go over to the new EV and you can also see that we haven't got nowhere near as many kind of options to choose from. We haven't got, for instance, ambient inclusion. We don't seem to have anything for screen space reflection. Although I think like this new EV is a bit of a game changer. The one good thing about it is if I come in and just put it onto frame and then go to render image, you will see that the cycles render took 1 minute 20, something like that. Let's just see how long this actually takes for the EV render engine and here it is. So you can see, although it looks very dull on that, you can see that's just because we haven't got our lights set up. Well, what you can see on there is just how nice that actual lighting is. And I've got a time of just under 4 seconds so you can see why it might be really advantageous to yourself to actually be using this render engine. Okay, so now we're going to actually close that down. And then what I'm going to do now is I'm going to re open up the old blend version because we will be using red, sorry blender cycles to render our image out. And the blender at this 0.4 0.1 isn't working 100% but in the future it will be. So if you want to render out with the new V, I'm sure in the future when you're taking this course, you will be able to do that or render out much quicker. But I recommend still even at this stage, even though you can get V looking really nice and things like that. I still recommend at this stage for professional renders to use cycles and have everything set up around cycles. Because the other thing is you will need to change things. For instance, there's a lot of shaders that won't work in both Evan cycles. The sky texture have you've seen doesn't work in both cycles. And sometimes some of the HDRs, they don't quite look right in EV they look much better in cycles. But I think for the best overall render right now, better off using cycles. So we'll open up the old blender. Now here we are back in the old blender and you can see that this is 4.0 beta. And generally, a beta is much further along than an alpha. So we can see that was 4.1 alpha, so this is the beta, which means this is pretty much stable. All right, so now we've done that. We need to discuss now a few other things. So let's first of all put this onto. Our cycles render engine. And then what I want to do is I just want to show you one more thing that you can actually do. So if you come down on the right hand side, you will have something that says color management. And if I scroll down, you can see that we've got the look. What we actually have here is two looks, one of them actually being Agx. You can see it where it says View transform. And this is the actual new look for blender four. And this gives you much better saturation. It sometimes gives you better lighting results depending on what you're actually going to be rendering. Now I'm going to turn this onto filmic because I find if I'm rendering something that's hyper stylized in the way that this is, I want a certain look, but just bear in mind if you're doing something with realism, AGX is the way to go. And as a wick more and more with AGX actually in future courses, I think we'll actually probably move over to AGX rather than filmic. Just at the time being I understand the filmic a little bit better. So basically to sum up, the AGX basically gives you a more dynamic range of not only lighting but also texture and color. So you can see, for instance, for a realistic scene, it's actually going to really, really help Elmar believability. All right, so now let's switch it over to filmic. So now you can see that it really, really brings out the yellow in our actual shade. So that's looking, I'm not sure whether that's looking better at the moment or not, but we will mess around with that. The other thing you can do once you put it on filmic is I'm just going to actually say about my work so we don't have a crash or anything like that. And then what I'm going to do is go to look. And what you can do is you can put this on medium high contrast and you'll see now it really, really brings out all of that color in your scene. In fact, if you actually go back and you put this on non, you'll see a huge difference in how it actually looks. So I'm going to put mine, you can also put it on the very high contrast, so you can see very high contrast really, really brings out, saturates that color. Now let's put it onto medium, high contrast like so. And I think we're going to be fine like that. Now the next thing then I want to do is I want to talk about the composer a little bit. If we come over to the right hand side over here where these kind of three pieces of paper are, what you'll see on here is all the passes that we can actually make now to make a really nice render. If we're going to take a render of this, it's going to look really nice on that. And I'll actually show you what actually happens. So we'll go and actually look at that right now. So what I'm going to do is I'm just going to come over, put this back onto wireframe, and then I'm going to do is I'm just going to give another quick render render image. What we're going to do then is we're going to actually go in and set up our composite. And once we've actually got this render out, so we've set this down now to 2000 samples, which means it's lower than the 4,096 which means that it's going to get to this much, much faster than what it did before. I think our last render took around 1 minute 30, 1 minute 40, something like that. So this then is a lower end render, which means that we're not going to end up with as much sharpness, it's not going to be true HD quality or anything like that, it's going to be a much lower end render. You can see how quickly now it's actually picking up. You can see the time it's coming down. And we can see over here what the time it's going to take. And I think it's going to take round about 45/52 And there we go. We've nearly finished and then once we've finished, there is our render. Now you can see, although it still looks really beautiful now we've added on those options, it's still not right to what we want. It has. So what I'm going to do is now I'm going to close that down. And then what I'm going to do is I'm going to come over to my comps in this button here, and this is what we end up with. So at the moment we've not got an image on here. So let's just click that on and off. And what I'm going to do is I'm going to come over to the left hand side. I'm going to pull this over like so. And then what I'm going to do is I'm going to close this part down. So if I press the end button, let's close that down. And then what I want to do is I want to come over to here and I want to put this on image editor. Put out an image editor. And then, or you're going to click this down arrow here and type in render. And you're going to end up with render result. Now this is the render result that we had. So if I move this over here and unplug it, this disappears and I plug it back in, disappears. What that means is that this here is my actual render from this here. We can, let's say come in and add in a U and saturation drop that in here. And now if I come in and change the U, you will see that it changes the U over here. This is like basically Photoshop within Blender. But it's more than that because it has so much power to change so many different things in our scene. So I'm going to go through that on the next lesson with this that we've actually got in here. And we're going to do another render. And we're going to talk about those passes now. So at the moment you can see that we've only got one pass, and it's based at the image. Now if we just get this set up on the right hand side, we can also have all of these different passes going down here. So really, really important, all of these passes going down here, we can actually have within our scene. All right everyone. So I hope you're enjoying it, I hope you're enjoying this final bit, and I'll see on the next one. Thanks a lot. Bye bye. 99. Enhancing Renders with Blender's Compositor: Welcome back everyone to the blend, of course stylized three D models in this where we're at left top. Okay, so what we're going to do now on the right hand side, we're going to. So bearing in mind whenever you click on one of these, you're going to have to re, render it out. And then it will update the composition. So what I'm going to do is I'm going to come down and the ones I want on is definitely going to be a mission, which is going to be the lights, definitely going to be the environment, which is going to be the background. And definitely going to be ambient occlusion, which is going to be all the little dark spots and things like that. Now we've ticked all those on, what you'll see is when you come and put this on wire frame, come to render render image, let this image render out again. It's up to 2000 this time we're not going to go any more than that. We're basically going to render this out just once more. And then what will happen is the composite will actually be updated and within there we're going to have all of the emissions. We're going to have the ambient inclusion that we also ticked on and the environment. And then we're going to go inside and actually mess around with those and see if we can make this image look much, much nicer than it does now. Now you can see at the moment, the image already looks really, really nice. But we can do much, much better than that. All right, so let's just wait then for this to actually finish updating and I'll be back when this is done. Okay, so here is the image actually done. And now what we can do is we can simply close this down. And then what we're going to do is end head on over to the compositor. Now what I'm going to do is I'm just going to come over here to the left hand side. I'm going to drag this down. I'm going to do the same thing on this side as well, because I don't need any timeline on or anything like that. And this then is the image we've got to work with. Now you will see because we had these ticked on. We've now got emission, we've got environment, and we've got O. Now you will see that this is a really, really clean image bought. However, if we plug in, let's say our ambient occlusion. So if we plug in our ambient inclusion, you can see we've got a fair amount of noise in here, so you can see this noise. So what we want to do is the first thing we want to do is with our ambient inclusion is we want to bring in a D noise. Now we want to do this in stages. So what I recommend doing is making sure first of all that you've got the node Wrangler enabled because that then is going to make it much easier to actually work with this. The other thing is what you can also do is you can actually set the background, so we can set the background when we've actually brought something out. So I'm going to bring in a D Noise first. So search shift D Noise Let's spell it right so Noise let's drop that in there like so. And now you'll notice once this has finished loading that, all of that is really nice and cleaned up for us. Now what we can also do is we can shift control left click, and then we'll have actually a viewer here that comes up. And then we'll be able to view this as we like. So you can actually use this side or this side to actually view when you're using this viewer. So shift control, left click. It won't actually, I don't think it will update this as we work on this. So it just depends on which one you want on and which one you find. Easiest I find though that, for instance, let's plug this in here. If I plug this in here, you will see that this gets updated but not this. Sometimes I like working with them both like this. Now the other thing is if you want to, let's say come to view and you want to zoom out of your backdrop, you can simply pull it this side. You can also as well pull it to the right hand side without altering absolutely anything. And now you can actually work with this. So now that we've got our noise in, we've cleaned up that what we want to do now is we want to bring in a color ramp. So if I press shift A, I'm going to search for a color ramp. And then this color ramp is actually going to control how much of the ambient occlusion we've got in the scene. So if I now come in and bring up this, for instance, this darkness, bring it up, you will see that this will update. So you'll see this updates and brings us more dark in. I'm also then going to come in Press Control and click and bring in another one. And then what I'm going to do, just wait for that to load. And now I have a lot more control over how dark these actual patches are or how light they are. So you can see the lit up the whole thing. So what I'm going to do is I'm just going to pull this up to roundabout there. Then what I'm going to do is I'm going to bring this back, maybe a tiny bit, a look, so then I'm just going to drag this over. So there we go. What we should get is something like, let's bring this up a little bit and see if we can darken the whole thing out. There we go. Now that might look much, much better than what we had before because now as you can see, we've got all of these dark patches in there. It looks like it's lit or much, much nicer than it was before. So now we can actually check and see what that actually looks like. But the first thing we need to do, to be able to check that is join our image, so this image here and our ambient occlusion together. So what I'm going to do now is I'm going to bring in another, I'm going to click that off, so get rid of my view. I'm going to move my composite over here, so I've got a bit more room. And then we're going to bring in a mix, mix, mix color like so. And then what I'm going to do is I'm going to plug in my image to the top of the mix like so. And then I'm going to plug in my ambient nclusion. So let it load up. So it's going to have to think about, it's going to have to load up everything. And then what we're going to do is we're going to put the mix on to multiply. Because at the moment all we've got on there is ambient ncclusion. We don't really want that. So let's put our mix on to multiply. So then what it'll do is it'll put this over there. So now you can see it's probably gone a little bit too heavy. We've got loads of, you know, nice shadows in there and things like that, but it's maybe a little bit too much. So what I'm going to do is I'm going to come in and put this, let's say to not 0.8 It might need to go up a little bit more, but let's have a look at No 0.8 does, And there we go. We've actually brightened up our scene, but yet we've still got a lot of those shadows that we had in before. So let's come in and put that maybe down to 0.7 a little bit more. Let's brighten up these little bits and we can see that's probably going to look a little bit better. Now, bearing in mind at the moment we only have really one actual light. The rest of it is emission. And we've not done anything with the emission yet. But you can see from this, let's just plug in our, just our image to here and we'll see what the difference it makes. You can see already fire press controls that let it load up and you'll see the difference. And you can see already that's looking a really much nicer scene with very, very little work, Let's say about now our work. And now what we'll do is what I tend to do is I'll work on one point and then I'll go to the next point and then the next point. So the next point I'm going to work on is going to be the environment. And now I'm going to do that is we've got now one that is environment. So this one here, I'm going to pull this out, drop that there. And then what I'm going to do is put in a hue and saturation hue mix. Where is it, hue and saturation image. And just drop that in there and nothing's going to happen at the moment, of course, because I've not plugged it into anything. Now what else I'm going to do as well as I'm just going to tidy these up a little bit. Here is where my AO control is. This is basically increasing or decreasing AO. I can come to this. Now come over to the node wrangle on the right hand side, and I have one that says frame selected from there. Then I can come over to where it says node and I can come over it click colors on. I can actually have that as whatever color I want it to be. So let's say a blue and then we can also call it control like so. And then I'm going to come to this one and I'll do pretty much the same thing. I'll add in a frame. And then I'll call this one balance. Let's call it a balance. Now we know really from right out here can actually see what these parts actually do. Now I tend to do is I'll move this one over here, move this over here, and then move my al controller down here. So now let's focus on our actual environment. So we need to now bring in the hue and saturation which we've done. And if I plug this into there, now plug this in, this should just be the environment, like leaving me then to focus on there. So what I want to do is if I put this on like something like No 0.417 I'll end up with a much, much bluer area than what I had before. If turn the saturation up as well, it'll increase that blue as you can see. Let's bring up the value to 1.483 like so. And let's leave the on one. Now we can see that I can change the U as you can see to whatever I want. And this is great, because what that means is now I can also decrease the saturation as well. So I can have basically whatever color I want on the background. You could have it a purple color as well if you wanted to. It's really up to you now. You can increase or decrease this by turning this value up or down. So you can bring it to really increase the actual gradient on there. Or we can have it all the way up at the top. I'm going to put it somewhere in the middle, 1.483 like so now we've got that. What we want to do is we want to actually work on now let's have a look wi I want to work on. So I've just got my other screen open and I'm looking at work and I've done the AO, we're looking at working on the actual emission. So let's work on the emission next. Been as we've got this. But we'll obviously do that on the next lesson because this will be a bit too long if we do that. So all I'm going to do is go to file and we're going to save it out. And then what I'm going to do before I finish is I'm just going to come to saturation. And I'm going to of course, go in frame the selected and then come to node. And what I'm going to do is I'm going to put this on a different color. So click Color On, let's put it onto a yellow, and let's call it a environment. So now I can actually change that as well if I want to at the end. And the reason I'm doing that as well is because it actually takes much, much longer to actually, you know, actually work everything out so to make it look gored and things like that depending on how many actual nodes you've got in the scene. All right everyone. So I hope you enjoy that. I hope you'll learn a lot and I'll see on the next one. Thanks a lot. Bye bye. 100. Tweak Color Tones for Enhanced Realism in Blender Renders: Welcome back everyone to the blend, the create course stylized three D model. Now let's come two, our emission. So what I'm going to do is I'm going to bring my emission which is this one here. And I'm going to pull this all the way down to here. And then one I'm going to search for and saturation, I'm going to drop that in there. And then what I'm going to do is I'm going to bring in a thre is just glare. Let's this in. And then finally what we're going to do is I'm going to plug this in, two micro positives. So let's plug that into there, and we will end up showing you what the actual glare is going to look like. Now, first of all, before actually messing with the glare, let's mess around with a little bit of these things here. This then will control the color of what's coming out of here. If I come to the U, for instance, I can put this on not 0.567 and you'll see it alters the u very, very slightly because that yellow was a little bit too deep actually. And then we'll come to the saturation. I'll put this on not 0.9 and just tone it back down a little bit. I'll put the value on 1.850 And then what I'll finally do is put the Ac on 0.825 So, all right, all those things have been very, very subtle. You can see there's a difference now. And now what we want to do is bring out fog glow, not streaks. We don't want streaks, we want actual fog glow. Let it load up. And then what we want to do is we can put this on high and what they'll do is it'll change as you can see, not only how high this is, but it really actually makes the lighting actually better. It's basically taking more samples. Then what we'll do is we'll put the mix on one, I'll put the threshold on zero. Then what we'll do is now we'll leave the size on A, and this is what we end up with. Now what we want to do is we want to join both the AO at the moment. We've got our image plugged into here, we've got our O, which is ambient occlusion plugged into here. And now I want to do is we want to plug in our glow to both of these. What I'm going to do is I'm going to press shift A. I'm going to bring in another mix, so mixed color, I'm going to drop that there. Then what I'm going to do is instead is I'm just going to plug it in the bottom, unplug it from the top. And then what I'm going to do is I'm going to put this on light and I'm going to set this to N 0.5 which is halfway between. And the Mormon interior is you're going to plug Mayo into the top of here like so. And let it think about it, let it load up and there we go. Now we actually have glowing windows, which by the way, we can also control. So we have a lot of control over these now. And the way that we can control it is if we come over here and now where the lightning is. If I turn this all the way up to one, you'll see that we get a much, much more glow effect like. So now I don't quite want my glow like that. I want it actually turned down. But what you'll also see is we can actually really ramp up the, change it to be a different color like so if you wanted to be, you can actually bring up the saturation, make it much more yellow if you want that as well. So let it load up like so. But I don't think I want any of that actually. So I'm going to put on not 0.9 We know now how to do the actual gloat moment. We've got this on one, I'm going to put this on not 0.5 And then what I'll do as well is I'll put something around this or go to my Node Wrangler again, frame selected node and we let's click on Color and let's call it Emission Control. I don't think I've spelled that right, but he. There we go. All right, so now we can see that from this one here. We can see if we zoom in, we've got a beautiful line round here where the light comes from. Now on the other one, of course we've not got anything because that emission is basically doing nothing. This is why we're bringing in light sources like this to make it really stand now. So what we're going to do is we're going to bring in light sources to all of these windows. And finally, we're also going to add in some lights to these actual lamps to make them kind of glow up and actually show the rest of the scene of. If we don't add these in, we're going to have problems with the rest of the scene. Now the final thing that we need to do of course, is now we need to add in our environment. So at the moment it's really dark and not too nice behind it. So what I want to do is want to bring in my environment as well now. So what I'm going to do is bring in another mix shift, a search. Let's bring in a mix, mix color. Let's drop that in there. We're going to keep this on mix. And what I'll do is I'll bring in my globe, this here. This is the emission control. I'm going to put this in the top. I'm going to turns mix to naught 0.2 so let's put it on naught 0.2 Then finally what I'm going to do is I'm going to come to my environment, which is this one here. And I'm going to drop this into the bottom there. Now what I'm going to do is finally plug this in and you'll see the background actually changes. Let it load up, let it think about it, and there we go. Now we've changed our actual background. So I'm actually happy with how that background looks. Now it's up to you. You can go in and change the background to a different color if you want to. You can see just a little tweet and we can change the little color. We can also change it to, I think this is red up this way. So look, I might be wrong. Yeah, red or purple or something like that. I think for me I'm going to leave it on the blue that I had. So not 0.417 And then what we're going to do now is now we can actually start turning up the saturation or things like that, for instance. So let's come in and what we'll do is we'll come over here, I'll plug this out. I'm going to press U and saturation. So let's have a look. Hue and saturation. Let's drop that in there. And then what I can do is if I come in now and drop this into my image, you'll see that nothing really happens. And that's because I've got this plugged in the wrong way. There we go. Now it'll actually load up. And from here now I'm actually able to really turn up the U, so make a really weird color if I want to. Not that I would want to do that. What I want to do though with the main thing about this is turning up that saturation. So you can see now for turn up the saturation, you can end up with something like that. Now, of course you don't want to alter the saturation like that. What you want to do is very small increments. So in other words, 1.05 and you'll see that it has a tiny, tiny effect on there turning up that saturation. That's what you want to do if you're using this. Or you can go the other way, which is not 0.9 for instance. And let's bring back that saturation like so. And you might actually like something like that. What I want to on is not 0.95 thing, just a little bit less than what we had. Because I feel it was a little bit too colorful. And I think that's looking pretty nice. Now, the next thing we want to do is the color balance. Let's come in and add in. So let's save out our work first. So file save. Let's bring in now shift a color balance, Color balance, This one here. And this is basically going to alter the overall feel of your whole scene. You'll notice in graveyards it's very kind of blue, cold tones. And you'll notice in an Inn, for instance, even if you watch in a movie it's very warm tones. Again, you will have seen probably where there's a movie and then they put over all of the colors over the top of it. So for instance, the matrix, it was a very greeny kind of tone to it, very grungy. That's what you can do with a color balance. So for instance, it's a very, very subtle thing though. So for instance, with this, I can actually put this on, You know, if I come all the way down here, you'll see a huge, huge difference. We don't want to do anything crazy like that. What we want to do is be very, very subtle with this. So you can see our main color. It's going to be a little bit warmer now, you can see that a little bit of a reddish tinge Now, if I come to this one again and I put it on a slightly blue tinge, you can see what we do. Now we're actually altering the way the whole thing looks. So what I tend to do is I tend to try and bring in a little bit of warmth to the main kind of view, and then a little bit of cold to the other part, because it is a medieval building trying to get that mix of them. So you might be happy with a bit of a green or something like that, but I tend to work with warm and cold tones. Let's bring in a little bit more of a warm tone. Let's see what we get. There we go. I'm thinking that's looking pretty nice. So I've got a little bit of a cold tone as you can see it. Bring that up a little bit and a little bit of warm tone. I think I've gone a little bit too much. Let's put it there, let's have a look at this. Yes. And there we go. So a little bit of cold, a little bit of a warm on the main scene. And I'm thinking that's looking pretty nice now. Then let's think about now bringing in our diamond shopping. And we want to bring this in because we can still see it's a little bit rough because we're using basically a low level rough samples. Actually, we'll do that on the next lesson. So yeah, we'll bring those in on the next lesson. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 101. Techniques for Sharpening Image Renders in Blender: Welcome back everyone to the blender creates call stylized three D models and this is where we left off. All right, so what I'm going to do is I'm just going to take off my backdrop now because it's getting a bit irritating being there, not really doing anything at the moment. And then what I'm going to do now is press shift A and bring in a sharpen. Sharpen isn't under sharp and it's actually under filter. So I have a bring in filter, drop that in there. You can see this as a soften filter. We don't really want that. We don't want to soften and blur everything out like that. What we want to do is we want to come in and we want to hit diamond shopping. I'm going to see what the difference actually is between box shopping and diamond shop. And if it's actually going to make, I think actually we might use the box shopping instead. Let's have a share, have a look at diamond shopping. Put that one on. You're looking at what the difference is, I'm thinking. So box shopping seems to sharpen the whole thing, and diamond shopping seems to be shopping, just the edges. So think I might go with this one. Let's actually have a look. Let's put this on something like no 0.2 Let's bring it right down. Let's have a look what that's going to look like. Yeah, and I think that is probably going to be a little bit better than what the other one I had it on. All right. So we'll leave that in and out. Again, We're not finished. We're not finished at all because we still need to put in these lights. So what I'm going to do is move over my Composite and bring in my haze. So what we'll do is we'll bring in brightness and contrast. So this is there basically if you want to add in a little bit of haze, if you bring in your brightness, not 0.3 so there you go, you can see it. Brins all seen up a little bit. Contrast if we put that to minus n 0.4 and there we go, you can see that just that touch of haze on there now, I'm just thinking whether I'm actually happy with this. That a great at the moment and I think at the moment I'm pretty happy with it. So I think the last thing to bring in, the last one I always bring in is a RGB curve. So let's bring in RGB curves. Drop that in there. And then what this is going to do is, is going to enable you to actually control the whole scene. So how bright you want or how dark you want the whole scene. So if I bring this joust up a tad, you will see that it ends up a little bit brighter than what we had it before. All right. The one thing that's bothering me is this box sharpen. I'm going to actually try bringing in the other filter. So if I just duplicate that, so shifty put this onto diamond sharpen, I'm going to keep it on that 0.2 And I'm just, then I'm going to plug it in like so. And I'm just going to check out what that's going to look like. If I'm actually happier with that, I think actually I'm happy with that. And you can see there, it's the windows that weren't looking right. If I press controls head and go back to this one, we can see that they're looking like they've got a little bit more of an edge on there now. It might be good once we've actually done a higher sample rate, but at the moment, it's not really doing a lot for me. So I'm actually going to bring it in and plug that one in instead. Let it load up, and there we go. All right, I'm going to save out my work. And then what I'm going to do now, I've got this, is I'm going to actually come back to modeling. What I'm going to do now is I'm going to go to material and I'm going to put in now these lights for this part. And then we'll actually work on the other light. So I'm going to do is I'm going to grab this light here. I should have grabbed it here. Let's come over, make sure we've grabbed it here. Let's press shift then. Then what I'm going to do is I'm going to drag it up. Not like that, I'm going to drag it up then. I'm hoping, no, I need to put that back shift now. I should be able to drag this one up. So I'm going to press one on the number pad. And what I'm going to do, actually, I'll put this an object road because I think I can actually see a lot better what I'm actually doing. I'm going to put it in the middle, so let's drag it over. And then what I'm going to do is press and X pull it out a little bit. Again, I don't want it poking above my window or anything like that. I'm going to press, you can see where it is at the moment. It's right there. So let's press En's head and pull it up a little bit. You definitely don't want it poking above those windows there. The other thing that you can do as well is you can also come over to the right hand side and you can actually change this from square to let's say a disc. And this might actually work better on this part because then I can actually make it a little bit bigger and pull it out into most of that part now. Now let's have a look at what that actually looks like. So I'm just going to put this on Render View, Let it load up, and there we go, I'm thinking that's probably going to look a little bit better than what we had it now. Of course, you bring in lights in, so you're going to end up with problems like this. It might break when you're actually looking at it in the cycles Renderview, so just put it back onto material or load up. Your, you can see here, cuter problems. Sometimes this happens, it might crash Blender. Let's see what happens. And unfortunately, yes, it did crash my whole system. So what I'm going to do is I'm going to actually just repeat this process, shift D. Let's press one. Let's pull it into place, up all the way to here. Let's change this one then, where are we? Let's change it to disc. Let's pull it out and X pull it out in, so let's press S and then and pull it up. And I think that's going to be fine. Now, I'm just going to position it so it's jaws just on the edge of Vi. So you can see in between these. Now let's grab the other lights so I can grab my other light like So let's press one. I'm going to press shift D and just pull it up into place like so. And then pull it back. So I'm going to grab this green, pull it back just so it's in the window. So all right, now I need to pull my material view so I can actually see which lights are actually need viewing. Let my compiling shades load up again, because they're obviously, my blender crashed and here we are, everything's loaded up. So now what I can do is I can take this now round to the other side. So I'm going to grab this one. I'm going to press Shift D. I'm going to spin it round, so S -90 And then what I'm going to do is press control three to go to the back. And I'm going to put this one into place like so. So I don't think we need to do a lot with our one except make it probably a tiny bit bigger. And then I should be able to pull this again back into place, something like that. All right, so we have one more window which is over here. So I'll do the same thing. So I'm going to press control three. I'm going to press shift D, just to bring it over there. And then I'm going to bring it out. So all the way out where I need it to go. So I just want it in the window where the frame is like so. And then obviously on this one we can see way, way too big at the moment. It's not fit in place. So I'm going to press and's ad squish it down and then S Y pull it out and just making sure it's falling into place. Now, think on this one, actually, I'm just going to hide that part of the way. Grab my light again and now should 02, pull this into place like so. And there we go. Now for the window round here, I definitely want to come in and grab this window. And then what I'm going to do shift D, bring it all the way around there. I'll said 180, control one. And let's put this into place using so I'm just going to drop it into place that I want it. And then what I'm going to do is I'm going to pull it back jaws into place. And then I'm going to do, now I need one here. I need one here. So basically we want these two lights. So I'm going to grab this one and this one, I'm going to press Shift D. I'm going to press R Z -90 Spin them around the right way. This one, this one here is in the right place. This one here is in the right place. Control and one to go to the back view. I'll grab this one first. This light here, I'm going to press, put it in the right place where I want it to go, which is going to be somewhere around there. Grab this light, then press G, and let's put that one into the right place. And let's now come round to the side view. And what we'll do is we'll grab this one first, drop it in place, then this one which is this one here. And then pull it back. And then keep going back till this one is in the right place as well, which looks to be somewhere there. And then finally now we're going to go round, we've got a light in there, we're going to go round to our last light. So I'm going to grab this one. I'm going to press it D, and I think it's -90 So Z -90 Yes it is. I'm going to press three to go in side view. Put it into place where I want it to go, which is somewhere around there. And then I can just come in and drop it back into where I actually want it. Now let's save out our work. So I'm going to go to File Save. And I'm hoping now that as I come in and put this on rendered view, I should be able to take a quick look render. Let's double tap the, let's also turn off these interlocking links and now we can see how the actual lights are actually lit up. And I think that's going to be much, much nicer. And now we can see we've got a lot of light around here now. Now, the only place that we haven't got light is going to be these lights here. These lights here. We actually want to light up. We're going to do that on the next lesson though. First of all, what I want to do before ending this lesson is I'm just going to put it onto wire frame. And then what we're going to do is just give it a quick render. Here it is, render it out and you can see What happens is when we're actually rendering it, as it gets, you can see all this light, first of all, coming off here, exactly what we wanted. We can see now we've got a light bouncing off here. A lot of light bouncing off these parts. And it's actually looking really nice now, we don't have enough light around these parts, obviously because we haven't lit these parts up next. That's our next job. But you will see once it gets to 2000, now we've actually got that compositor in. What'll happen is it'll get to 2000 and then it'll start denoising and then it'll actually do the compositing. So let's just wait and see what actually happens. And at this point now, once we've put those lights in, what we can actually think about next, it's actually turning the render up to a much higher level. So we'll actually be doing that as well. We'll just wait and see for this to finish rendering. So we can see initializing execution compositing has been brought in and this is what our scene looks like. And you can see really nice scene, plenty of light coming out of it. All we need now we can see we've got a lot of light bound on here. All we really need now then is these lights in here, making sure that the light into the floor and things like that. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 102. Enhancing Lighting Sources for Lanterns in Blender Scenes: Welcome back. Over on to the Blender Create Core, stylized three D model, and this is where we left the art. All right, so what I'm going to do now is I'm just going to go back to my material view. I'm actually going to save out my work like so. And then what I'm going to do is I'm going to try and sort out this lamp first. So we'll do this lamp first and see how much brightness we can get out of it. So I'm going to grab my lamp, turn on my two interlocking links, shift selected. And then what I'm going to do is I'm going to grab one of the other lights now, so this area light, shift A. And then what I want to do is bring in a light. So I'm going to bring in a point light. Now the point light is going to come here exactly where I wanted it. The reason I wanted to bring it, you know, click on the area light is to make sure that the light actually came into where my lights are. Because that enables me then a lot of control over them. Now, this is a point light. So what we want to do now is turn this on. So we've got a rendered view. Let it actually load up with everything. And then once we've actually got that loaded up, then we can see what the lights actually going to look like. So here we are. Let it load up a bit. It's going to be a bit slow because we've got all over the lights in prob. Probably what I should do here is turn off the other lights. I think it's going to save me a lot of hassle actually. So what I'm going to do is I'm just going to put this back on Material View, let it load up, and then I'm just going to turn off all these other lights and I'm going to see if that actually speeds up the process. Generally it does. So what I'm going to do is we're just going to turn all of these lights off, come back to Miranda view and let's see if it's any quicker once I've actually got this in which it should be even though the loading time will be a little bit slower. All right, the other thing is of course at this point is we can also put it on V as well, if you're struggling, put it on V, and then you'll be able to see quite easily what it's actually going to look like. So I'm going to put my light there, first of all. And then what I'm going to do is I'm going to then, yeah, I think I'll actually come over to TV. Let me put this back on material a minute and this is the best place to actually use V. So let's put it on V again. Save that my work before doing anything just to make sure. And then we're going to put this on V and then I'm going to put it on rendered view. Now I'm just going to test out these lights. So I'm just going to turn these back on. There we go, We've got an idea what they're going to look like. Let's then come to this point light here. Let's come over to our lights and let's put this on something like 200, like so. And let's see how far we can actually get because at the moment you can see the radius is not very bright. And now if we turn the radius up, we've got a lot more light there. You can see the lighting is really, really crap with the EB, not very good. Let's put this on a nice yellow color like so. And then now what I want to do is I just want to make sure that this is not going to be too bright. I'm thinking that this will be too bright. And where it is, I don't really want too much light up there. So what I'm going to do now, again, is I'm going to save out my work and then put this back onto cycles. And then I have a quick look at what that looks like now. Great, set up. There we go. There we can see what it actually looks like. Not too happy with this line up here. So what I want to do is I want to come over. What I want to do is I want to turn this radius down a bit. Do I also think, want to turn down the actual power of this? Let's put it on something like, let's try 100 and see what that's going to look like. And there we go. We can also see that this point, it's radiating light where I don't particularly want it. Let's turn down the radius a little bit more. I'm just wondering if that's actually going to be the way that I want it. I think what we'll do instead of using a point light is we'll put it on another area light this time. Then we'll change it to a disc. And I'll also then bring it out a little bit, so make it a little bit bigger like so. And now I have a little bit more control of what I'm doing with this. And the reason is because we've got on here, not only have we got power, now we've also got a spread. So what I can do is I can actually bring this back as you can see, and make this lighting nicer and much more direct to what we actually need. Now, I'm not sure if that's a little bit too bright. I think it is. So let's put it on 100, and let's see what that's going to look like. And I think actually that's going to look much, much nicer. Now to test this out, I'm just going to put this onto wire frame. And what I'm going to do is I'm actually going to go back to my layout over here. Go to my camera review. So go to my camera review. And what I want to do is I just want to move this slightly just so I have an indicator of what this is going to look like. And now I'm going to do it, I'm just going to re, render it out. In fact, just to get, you know, a good idea of what it's going to look like on this one, I'm actually going to just put this on 500 and then I'm going to have a good idea what it's going to look like without it taking too long. So now I can go to Render Render Image, and let's render that out. And there we go. We can see it's beautiful, it's soft, and it's exactly actually what I'm looking for. So let this finish rendering out. But I think actually this is pretty much what I'm looking for. So now, once I've got this light, now I can actually go around and put this into my other places where I want lit. So let this whole figure itself out. Let it render, let it actually then come in and do the compositing. And then we'll just take a quick look, make sure we're happy with it, and then we'll get this in the other places. So a lot of lights in this scene, but we do have a lot of control over these. We can turn them down and things. So now we can see that is lit really, really nicely. Really happy with that. Okay, so now let's come in, let's close that down. And then what we can do now is we can come to object mode. And then I can come out of camera view. And then what I can do now is I can come to that light, so I can turn it on, so I can see that it's roughly in the halfway point pointing down there. So what I'm going to do now is I'm just going to press shift D and bring that out. I'm going to press seven to go over the top. And then what I want to do is press, and I want to put it where it needs to go, somewhere like there. And then I'm going to put it halfway up again. Now I'm going to save out my work because I don't want it to crash. And then I'm just going to put my render view on and let's have a look at that shining on the floor. And I think that should be very, very nice. I'm hoping it will be. You can see here with this one. We might need to do a little bit more work on this because it is a different light. So it might need to be a little bit brighter. Not sure without actually looking at the rendered view. But we do know that these main lights that we've been working on, they look Ok. Absolutely fine. So what we can do now is just put it onto object mode and then we're going to get this in place in the other lights where we actually need them. Let's come in now and what we'll do is put seven again. We're going to press shift shift to duplicate it. I'm going to put it right in the center of this one. And then what I'm going to do is drag it down and put it round about there. And then I'm going to come over to this one, so I'm going to press shift D, Actually hide. So I'm going to grab this hide out of the way. Grab this one, hide out of the way. Grab my light source seven to go over the top. Still can't see it. Actually grab my roof. Where is my light? There it is, it's have a look. It's over here somewhere. I'm thinking, where is it? Where have you gone? Let's see if I can actually hide some of this stuff out so I can actually see, there it is. All right, there we go. Now I can press G and put it right where I want it. And then I can actually move it down, put it into place, and then let's bring it over here. So shift again seven to go over the top. Let's move it then into place again on this one, and then let's bring it up. Then finally, I think this is the last light over here. So what I'm going to do is I'm going to press shift D. I'm going to bring it up. Then what I'm going to do is bring it over. Of course we don't actually have to do that. What we can actually do as well as we can just come grab, let's say all of this. If I press L, just scrab all of that. Shift, selected, grab my light sauce. Then shift and selection to. Okay. So now what I want to do is I want to press ol tag. Bring back everything. Double tap the I'm just making sure all of those point lights are in there. Which they are. And then I'm just thinking, now I'm going to take one more render. So I'm going to take one more render of here, so I want to see how much this one's lighting up. But before I do that, what I want to do is, yeah, actually I will do that. So I'm going to press zero again. I'm going to move my timeline around a little bit. So I'm going to move it all the way to the bottom like so in fact we, we'll have it there. So then we've got a view of this light and a view of this light. And let's again put it on wire frame again, save out your work. And then again, let's render this out. So render image again on a low sample weight of around 500. And we can see the light here looks really nice and clean. The light here looks clean, but this might not be enough. So we might either need to bring out a spotlight on here instead, and just shine it down there. Or we might need to increase the light from this. I think increasing the light probably be the wrong thing to do. And the reason I think that is that it's not really going to be shining it so much down as all around here. And this, yeah, I think it probably needs a spotlight on here. But we'll see once this is loaded up. So there we go. That's what the light, this light here, can you really tell that it's lighting anything? I don't think so. This light you can, this light, you can, they all look great. It's just this one here, I think. So on the next lesson then, we'll fix this light source. And then what we'll do is we'll do a much higher render and get this rendered out. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 103. Professional Lighting in Cycles Render for Blender Projects: Welcome back everyone to the Blender Crater course, dialyze three D models, and this is where we left the art. So let's close that down now. And then what we'll do is we'll come to material mode. I'll come to that light, I'll change it over. I'll just let it think about loading everything up. We have got a lot of lights in here now, so it will take a fair amount of time to load everything up. So just bear that in mind. What I'm going to do is I'm going to come to this light now, I'm going to change this light. So let's go over it. I'm going to change it to a spot light. And the thing is with the spot light, you can actually make them smaller. So you can make them smaller. And you'll see if I go underneath. As I make it smaller, it pulls that out. We want that really pointing at the ground. So the best thing as well about a spotlight is you can actually change the blend. If we put this onto cycles, we'll see that now we're changing that. It's going to change the blend of how much light is in between them. I think at this point as well that I might be better to actually come in and just change my lighting to a different one if I click these two little bonds here. And then I'll go into just my shading panel, put this onto world, then I'm just going to come out, I'm going to make sure I'm on the right one first. This one here, I'm going to turn that off, then I'll do it in this part here, I think. Let's turn that back on, then we go. That's how it's lit up. And you can see at the moment it's doing absolutely nothing. What I'm going to do is I'm going to come in, I'm going to turn this up a little bit, like gets a little bit more light. Let's also turn the radius, the radius I want down, like so. And let's also turn the spotlight size this. And then let's turn the blend down. As you can see, I'll have to blend something like that. And then I'm going to look what that's actually looked like. And I think that's going to look much, much better. Now, again, we can come in once we've done this and change all of the lights down if we want to again. Now let's come over, let's put it onto Sky Lighting, let that load up. And now finally, let's actually go in once more on wire frame, render it out. And unfortunately, you're going to be doing this a lot, that's why it's important to actually put it on a lower amount. Let's render this out and see what it's going to look like. But I think the thing is, it's a relatively light scene anyway, so we just have to be careful we don't overcompensate for that by adding in crazy amount of the lighting, you know, to really try and shot off the lighting. So we've just got to take it really nice and slow and just make sure it's going to turn out really nicely. So we're going to get there. So have a look at this. This is the point I want to look at. I want to see a little bit of light around here. And hopefully I might have done that with the spot light. Let it load up, then let all the shadows come into place, and there we go. Is it light enough? Is it lighting up? I don't think so. I don't think it's lighting up. So I'm just going to go back, I'm going to come down to my light. I'm going to turn it up to 1,000 and again I'm going to come in now. Render image, let's just render that out and see if that's any brighter now, I'm hoping it will be. If not, then what we'll do is we'll reassess what we're actually doing with this. The other thing is I think these lights are a little bit too bright as well, But I can go in and turn all of those down. I think I might turn them down to 100 or something. This is the final stage and we really got to play around with lighting here just to make sure that it's going to look really nice. All right, so now let the composite do its work. There we go. We can see we gained a lot of light around here. The problem is it's on the floor. I might go in actually and change it back to an actual point light. Let's come in, let's put this on to rendered view. Let's change this to an area light. Instead, we've got it on 1,000 Let's change this to a disc, which it is, let's increase the size, then let's increase the size like so. And there we go. I think that's going to look much better, albeit way, way too bright. Now let's put it onto let's first of all make sure that this is in the halfway point. And then what we'll do is we'll make sure that this is turned down. Let's try 500. Yeah, and I think that's going to be much, much bare, maybe even that's a little bit too high. Jos looking at the size now, you've increased the size. You can see it's lighting more things up. Bring it back a little bit. Bring it back, bring it back like so. And I'm thinking, let's drop it even more, so 300. Let's try that. Yeah, and I think that might do it. I think that might do it. All right. One last thing then. Let's go in. Render this out one more time. Let it load up. Yes, and I think that's just about right now. Let it actually render out, let me do the composition. Then we can actually have a look at the other points of view and making sure everything is right. But again, I think after this I am going to go in and we will lower these lights down and then we'll get a nice view of all of this and see if it's looking really nice. All right, there we go. Let's load up. Yes, that is about right. Maybe adjust a touch more just to make it a little bit brighter. So let's come in, put it on 450. And now what we'll do is we'll come in to our lights. So I'm going to go back to modeling and I'm going to come to my area light. So you can see here we've got all of our area lights, Let's put them on 100. So hopefully, I should be able to come to all of these. It's a shame that we can't do them all together. I don't think we can actually do them all together, which we can't. So let's just go down them, put them on 100. And then I'm just going to take another quick render and see what that looks like. We're very close to doing our mid render and then our final render. Then I'll show you how the turntable works and then we're actually done. All right, so we put all on 100. Let's do another render, let those render out and see what this actually looks like once we've actually composited it. All right, and there we go, Everyone that looks to me to be just about perfect. I think this is now not too bright. I think it's about right. There might even need turning down a little bit more, might still be a little bit too bright for you at that, but a lot of that is what you can actually do in your composition. But I'm really happy now with how this has turned out. This looks beautiful around here, The rest of the scene looks really nice. You might just want to make this a little bit darker on the background. So what I'm going to do now is I'm going to show you how we actually can have the turntable working. So I'm going to come in and I'm going to close that down. Now what you want to do for your turntable is you can see that at the moment we have it. If you come over to here. So you'll have render and you'll have render animation. Now the first thing you want to do before actually clicking that is you want to make sure your frame is starting on one ending on 350. And you want to put where your output is going to be. So your output is going to be, you know, somewhere where you want to save a load of files because there's going to be 350 images. You don't ever want to put this on saving out as an RN Peg video and there's a lot of people that do that. The problem is if the blender is not stable, if there's a chance you computer might crash, which happens a lot, you've lost all of that progress. So I recommend that you save these out as PNG or J Pegs if you're not looking for a transparent background. And then bring them into something like Premier. And then you can actually, you know, stitch them all together. So we're not going to do that, but that's exactly how you do that. And then all it would do now as it's going through with by press zero, it's just going to be actually taking one image after another of all of these frames, going up to 350. All right, so what I'm going to do now, I'm going to go back to my layout. So here we go. Now we've actually got it loaded back up. We're in object mode. And now all I'm going to do is just going to come over to the right hand side and I'm going to put the samples on 2000 once actually 2000, not 200 once. I've actually done this, then now this is a mid range sample, so I'm going to come in render render image. Once I've actually done that, what I'm going to do is I'm actually going to then render it at a much higher sample level. And then you'll be able to see exactly what it looks like. You can see as well that we've got some beautiful shadows down here. Everything's in the scene at the moment. And it's all looking really nice. So all we need to do now is just wait for this to finish and then I'll see you on the next lesson, everyone. All right everyone. So I hope you enjoyed that. I hope you've enjoyed the course and I'll see you on the next one for the final render Bye bye. 104. Final Thoughts and Overview of Blender Tavern Project: Welcome back everyone to the blending created Core stylized three D models and this is where we left off, so this is my final render. I now feel like that light is just bright enough, maybe a little bit, you know, a little bit over. But I think these lights here lit perfectly. And the back of this building looks very nice, if not a little bit too dark. Maybe I want to make it a little bit darker. All depends on what kind of scene I'm going for. So on this point now, all that's left to do is I would basically come round, bring my time line round to the front, so something like here. And then what I'm going to do is my final render. So I'm going to click this final render, but what I'm going to do is I'm going to set this on something like 4,000 samples. I'm going to turn off my noise threshold, and then I'm just going to let it render out. So I'm going to click Render now, and I'll see you when this is done. And here is my finished result. And you can see everything looks really, really professional. The lighting looks really, really good. We've got some of the windows that are blocked out and, you know, with lighting, and some are which I think really, really adds to the appeal of this actual scene. The one thing that probably would change is that would probably just take a little bit more effort in probably rounding off these corners. Again, when we finish, we should always look and kind of critique her and work and look what we could have done better. But I think actually it's a really, really nice, professional looking building. And I think if you got to this level and you've actually, you know, created this, especially if you knew to blender, it's going to really, really stand out in your portfolio. So I just want to say thanks so much for staying to the end of the course. It's been some journey. But you can see that in just one day, which is what this course length adds up to, you can create a professional piece. And more than that, the tools you have now learned through this course can be used in all of your scenes going forward. This will be our 30th course here at Three D Tudor. And I think we really hit the nail on the head with this course. So please, if you enjoyed the course, leave us a review. Be sure to check out our other courses. If you did enjoy this one, we do everything from animation to pixel, from one real engine to substance painter. Basically everything you'll need to create professional models. Thanks everyone and happily modeling. Cheers.