Blender 4 Essentials: 3D Modeling Basics

1. 00-01 Introduction: If you want to learn render and to the modeling from the very basic, the new course is exactly what you need. We'll start from zero, so no prior experience is needed to take this course. The curriculum in this course is carefully designed to help you learn vendor and do remodeling quickly and easily. After completing this course, in Shala, you should feel very familiar with vendor as if you have known the software since forever. You'll have the skill to model to the objects such as these objects. In course, you will model this snowman character a simple side table, then a dining table, a window, a door with a knob, a classic style arch, a bowl, a vase. And finally, you will model this modern nightstand from a real world product reference. Salam Malako My name is Wide Mutakin, founder of Expose Studio for more than 20 years. I have created thousands of TD renderings like this for architectural, interior and master plan projects. I have worked with many clients all over the world. I have clients on almost every continent in the world. Besides doing projects, I also teach three D and computer graphics academically in several different schools since the year 2000. In short, I have real world professional expertise in tw D and experience in teaching. So join now and take your first step into the world of TD with Blender. Have fun learning Wala Malekum. 2. 00-02 Exercise files and conventions : Welcome to the course. Before moving on, there are several things I need to mention and to make clear first. This course is the first course in a Blonder for essential series that I published on Skillshare. In this first course, you will learn all the fundamentals, and then move on to remodeling in depth. On the second course, you will learn material creation, texturing, and new Vmpping and on a third course. You will learn lighting, camera, rendering, and post processing using cycles rendering engine. While you can take this course alone, I strongly recommend that you also take the next two courses in the correct sequence, so you have a comprehensive reduce skill set in using Blender. You can download all the exercise files for this course in the resources section of this lesson in case there is a problem, as a backup, you can also download the files from the following link. Please pay attention to the capitalization of the letters, as this link is case sensitive. You can download the files one by one, but it will be easier if you just click this download button to download them all in one zip file. The text you see here depends on where you are or your language preference. It says, download Samoa because I am in Indonesia. You will see the text download all if you are in US or UK or English speaking countries. As you can see, the false nined based on lesson with additional chapter code in front. Next, it's about the structure of the course. I have carefully crafted the curriculum so that everything is placed sequentially. Each lesson you take on one level will become the foundation of the lessons in the next levels. Therefore, it is important that you take the course in order step by step, not jumping around. If you take the course by jumping around, most likely you'll get confused at some point. The second thing I need to mention is that you need to practice. For each video, please try out the lesson yourself at least once. The course is not just about theories. Most of the lessons are practical skills. So again, you need to practice if you really want this online course to benefit you. In this course, I'll be using a PC computer with a Windows ten operating system. So every shortcut I mentioned in the video will be for PC and Windows OS. If you are using a Linux OS, most likely, you won't find any difference in terms of keyboard shortcuts. However, if you are a Mac user, you will find some differences. I believe most Mac users already understand that the command key in Mac is often used to replace the Control key in PC. And the option key in Mac is often used to replace the key in PC. But the thing is about vendor. I found that most of the control shortcuts in PC in Mac mostly become this control key and not this command key, although there are some shortcuts still use document key. Essentially, if you are using a Mac computer, you may need to check the menu or the preferences window or the official vendor's online documentation for the keyboard shortcuts. There are at least two things that you need to have if you want to work in vendor comfortably. First, you need a standard mouse with a scroll wheel. Usually, if a mouse has a scroll wheel, you can press on the scroll wheel to activate the middle mouse button. We will use the scroll wheel and also the middle mouse button lot for viewport navigation. Want to avoid using minimalistic mouse products that do not have any scroll wheel or middle button. The second thing that you need is a full size keyboard. What I mean by full size is that the keyboard should have numpad area. This is important because a lot of vendors navigation shortcuts are placed in the numpad area. Yes, there is an option in lender's preferences window to simulate the numpad keys, but that will be at the cost of overriding other important shortcuts related to TD modeling. So again, you really want to invest in a decent full size keyboard if you want to use bender for long term. Throughout the course, I may display images and videos. Some of these contents are not made by me. Please note that I am using them merely as references or for inspiration. I never claim that these images or videos are made by me. If I can find the owner's name, I will credit him or her by putting their names on top of the content. Otherwise, I will display image or video with the URA link of where I found them. As for stock images or videos, if I don't specifically state that they are made by me, most likely the copyrights belong to the respective owners, okay? 3. 00-03 Vertex, edge, and face: In computer graphics, T objects can be represented in many different ways. They can be measures, nerves, spline patches, Gaussian splats, point clouds, and so on. As technology evolves in the future, we may see even more methods to capture, store, and represent TD data. In its course, we will learn the basics, so we will only focus on the most common to the model type, which is the mesh. This is the type of object that you usually see in three D games and most digital content creation software. A mesh TD object has three types of elements. They are vertex, H, and phase. A vertex is essentially a point in three D space. If we have more than one vertex, we call them vertoss. So vertex is a singular form, while ertosis is the plural form. The second element is the edge. Edges are basically lines connecting the vertices. So for an edge to exist, it needs at least two vertices. Having vertosis in edges is not enough to form a visible surface. For this, we need the third element called phases. In other three software, phases are also referred to as polygons. So again, the terms phase and polygon are basically the same. Phase is a surface formed by connected loop edges. For a phase to exist, it needs at least three edges. You cannot have a pace if you only have two edges. When a phase has three edges, we can also call it a triangle. When a phase has four edges, we can also call it a quad, and if a pace has five or more edges, we can call it an angon you may be wondering what is so special about pass with four edges that we name them differently than phases with five or more edges. We will discuss this leader in future lessons, but in short, using quad pass in our model enables more modeling features compared to having triangles or angon. One state I need to mention is that edges image type to the object cannot bend or form a curve. This is quite different compared to other types of the objects such as nerves or spine patch. Essentially, in a match to the object, if you want to form a curve or round surface, you will need more edges to simulate the curvature and automatically more vertoss and faces. For example, a simple cube model only needs eight vertoss 12 edges and six faces to exist, while a sphere like this one means dozens of vertssiges and phases. It does not matter if the cube is large and the sphere is small. This sphere object always requires more memory or storage space than this cube object because it contains a lot more elements. 4. 01-01 User Interface introduction: In this lesson video, we are going to explore Blenders user interface. Blenders user interface is unique compared to other software you have seen. Unlike other software, the UI consists of multiple areas that can be tileed as you wish. But before we get into the details, let's talk about what the default has to offer. When we start Blender for the first time, we see this splash screen. You can close this splash screen by simply clicking outside the splash screen window. Now, if you're using vendor on a public computer, such as in a classroom or library, you may have different UILs than what I have here. If that is the case, you may need to go to the file menu up here. The faults, and then click on the factory settings button. Then click on the Road button. This will set everything to the fault. This is important so that we have the same starting point and avoid confusion along the way. For now, there are only two things I want to change regarding the UY. I need to do this so you guys can see the lessons clearly. In the edit menu, there is a button to open the preferences window. In a teams category, I change the preset from blender dark to blender light. Personally, I prefer the duck team because it is easier on the eyes in the long run. But for teaching, I find that light colors are easier for students to notice. The next thing I want to change is the size of the UI. If we go to the interface step, you can see a perimeter called resolution scale. One is the default value. I want to change it to 1.2 so that the buttons and text look bigger. Again, you do not have to follow these two settings if you don't want to. I'm doing this simply so you can see the lesson more clearly. At least by now, you know where to find the settings if you ever need them. Finally, you can click on the Sef preferences button at the bottom to save the changes. This is optional because by default, all setting changes will be saved automatically when we quit bender. But if bender or Windows as crashes, or your computer's power gets cut off, for example, you may lose setting changes if you do not click the sf preferences button manually right. Up here, we have the menu bar. In a file menu, you can perform file related operations such as safe and open. Then we have the edit menu where we can perform undo and redo. But most importantly, this is where we can access the preferences window as we just did earlier. Next, we have render menu where we can render image and render animation. Then we have the window menu where we can toggle blender to full screen or not. We can also find the new Window command, which is useful if you need to set up a multi monitor working environment. After the menus, you can see a lot of tabs up here. These tabs are called workspaces. Essentially, in ender, you can create your own or custom UI layout and save it as workspace for convenience. This way, you can have different layouts for different tasks. You can add Duplicate, delete and reorder these workspaces as you like. By default, Blender already provides a lot of workspaces to start with, such as layout, modeling, scoping, UV editing, and so on. We will discuss scene and view layer leader. For now, let's focus on a fault or leftmost workspace called layout. This large area in the center where you can see a cube and grid thing is called the T viewport editor, as the name suggests. This is where we can see our three objects from different angles. At the bottom, we have the timeline editor where we can play pose animation, set the visible starting and ending frame, et cetera. This timeline editor will be very important if you are doing animation. On the right side, you can find two editors. The top one is called the winery editor. This is where all objects in the active scene are listed. You can select objects hide them, show them, organize objects using collections, et cetera. Last but not least is the properties editor. This is where we set priameters whether they are global parameters that affect the world and scene or contextual priameters which affect only reselected or reactive object. When working inside vendor, sometimes we want to escape from the UI complexity and just focus only on one editor. You can maximize an editor to take up the entire vendor window using a shortcut control space bar. But you must remember, and this is super important to know that all keyboard shortcuts in vendor work in conjunction with your mouse cursor vocation. So for example, if you hover your mouse cursor over the TD viewport editor, pressing Control Space bar will make that TD viewport editor maximized. You can press Control Space bar again to toggle it back to the original size. But notice if I hover my mouse over the liner area, pressing Control Space bar here, we make the Oliner editor fill up the entire vendor window. As before, you can press Control Space bar again to minimize it. Again, I cannot stress this enough. All blenders shortcuts work based on the editor where your mouse cursor is located. Plus, you also need to realize that every editor in vendor has their own set of shortcuts that may overlap with other editors. Just to give you an example, if I try to rotate the cube in the TD viewport using the R shortcut, everything works exactly as expected because my mouse cursor is on the TD viewport editor. But if I accidentally place the mouse on the diner editor or on the property editor, pressing R does nothing. But notice, if I position it on top of the timeline editor, pressing R will bring up the set key frame type menu. So if you ever try pressing on a keyboard shortcut, but nothing happens, you may want to check where you place your mouse cursor. 5. 01-02 Editors and Areas: In this video, we are going to discuss the editors in the areas of Blenders user interface. If we look at the default layout workspace, we actually have four areas in UY, one, two, three, and four. In each of these areas, we can define what editor we want to use or activate. Let's discuss how to work with the editors first and then later the areas. At the time of this recording, there are a total of 23 editors in lender. This number may go up in the future release of blender. Each of these editors is designed to tackle a specific task. We already know the viewport is used for viewing objects. The timeline is for controlling animation. The outliner is for managing objects in the form of list. And the properties editor is used for accessing the object's parameters, we will cover other editors when the time comes in shoo. Each editor always has an element called the header. It is a horizontal strip with buttons and or menus on it. By default, most headers are located at the top this outliner editor, for example, this whole area is the outliner editor, and the bar at the top is its header. The same goes with the properties editor. This whole area is the editor, while the bar on top of it is its header. If you prefer the header location to be at the bottom of the editor, you can do so by Rod clicking on leftmost icon, choose header, and then choose flip to bottom. Personally, I prefer all headers to be on top, so I am changing this back to the top, all right. You may notice that the T review port editor looks a bit different. It seems that it does not have any header. Well, that is not true. It also has a header, but the header is transparent. You can also move this header to be the bottom if you want to. This depends on your personal preference. Now, the reason why we need to discuss the header is because this is the area where you can find the icon to switch the active editor, which is the icon on the leftmost position inside the header. As you can see, currently, there are a total of 23 editors in vendor. Just for example, let's say we want to change the active editor of this area from the three viewport into the Outliner editor. Just click on the liner option. And now this area displays the outliner editor just like this area. If we click the top left icon again and then we choose properties. Now this area displays the properties editor just like this area. You can do this with all of the areas in blenders y, such as making this area a three viewport, for example, and so on. I'm sure you get the idea. Let's switch back these editors, so we have them as when we started next, let's focus on controlling the areas. If you notice there are line gaps or black borders between the UI areas in render. We can use these borders to resize the areas. You will see the mouse cursor change to an arrow symbol. Whenever we can click and drag these borders, we can do this both on vertical borders and also on horizontal borders, all right. Now, if you hover your mouse, not on the vertical no horizontal borders, but instead on corners, the mouse cursor changed to a plus or sniper scope symbol, please be very careful as in this condition, you will perform splitting or joining areas when you click wag. The method that I'm about to show you is quite hard. A leader, I will show you easier method. So if you want to skip this method and jump straight to the easier one, that is okay. Let's say you want to split this area into two areas top and bottom. To do that, first, you need to make sure that the corner you are on belongs to this area, not this area. I know this is very subtle, but just make sure that the most cursor is on left side of the vertical border, not right side of it. Then you need to click drag downward into the area, so if you click drag it to the left or horizontally, you are splitting the area vertically or left and right instead, right? We can use this method also to join areas. Let's say we want to join these two areas by removing the right one. For this, you need to hover the mouse cursor on a corner but slightly to the left side, and then click drag and move it to the right side. Blender will preview the area that will be removed by making it a bit darker. Release the mouse, and we just joined the two areas above into one. The concept applies to joining areas vertically. Let's say we want to join these two areas by removing the top area. First, hover the mouse cursor on this corner, but slightly below the horizontal gap. Click drag it up and then release the mouse. And we are now back with only one large area at the center. I have been teaching Bender for quite some time now at the university and also in workshops. One common problem that my students have is when they try to split or join areas, they get the wrong results. Mostly, these problems happen due to mistakenly dragging the wrong corner point and also sometimes in the wrong direction. So they end up with so many needless areas in their UI layout. The bad news is that splitting and joining areas are not part of the commands in vendor that are undoable. In other words, if you make a mistake in this process, you cannot undo it. If for some reason, you end up with a messy workspace, it will be easier to just remove it and recreate it again. To do that, right click the workspace tab, and then choose the lead. Then to create a new one, you can click on this Plus button. Just the name of the workspace you want to create. In our case, it is the layout workspace. Finally, to move the workspace tab to the left, you can wild click on the tape again and then choose the to front. All right. If you despise the corner rag method, don't worry. You are not alone. And the good news is Brander provides an alternative method that is way easier to perform. Through this, you do not need to access the corners. All you have to do is right click on a border area. Let's say we want to split the three viewport editor horizontally, simply right click in this border area, and then choose horizontal split, move the mouse cursor to define the location where the split should happen. And then click to confirm. Another example. Let's say we want to split this top area vertically. You can just right click on this border. Then choose vertical split. Define the location, and then click to confirm. Besides splitting areas, you can also join areas using this method. For example, we want to join these two areas. You can right click on this border, choose join areas. Then choose which of the areas you want to remove. Click to confirm and here is the result. We now have larger area from joining the previous two areas. 6. 01-03 3D viewport navigation: In this video, we are going to learn how to navigate the TD viewport. For most people, the T viewport will be the editor where they do most of their work in vendor. This is why it is the first editor we need to cover before anything else. When we start vendor for the first time, we have a cube object in the center. There is nothing wrong with the cube, but we need something more to tell us the direction. When we are practicing navigation techniques, we will discuss object creation and transformation in more detail either. For now, just make sure the cube is selected by clicking on it. Activate the move tool. Then click drag the red arrow to move the cube a little to the side, about two or three grids. Now, let's create a monkey head model. We can use the menu located in the header, then slack mesh, and then select monkey, all right. To rotate the TD viewport around, you can press and hold the middle mouse button. If you are using a standard mouse with a scroll wheel, you need to press the scroll wheel down to activate the middle mouse button. Now, you must remember that we are not rotating the monkey head or the cube objects, or objects in our scene are unchanged. What we are doing now is rotating our view or how we see the TD world inside the TD viewport. Next, to zoom in and out of the viewport, we can use the most scroll wheel. So instead of pressing it down, we are now rotating the scroll wheel, scroll up to zoom in and scroll down to zoom out. Now, when zooming with the scroll wheel, we get this stepped motion. If you don't want this step effect and prefer a smooth zoom motion, you can use the alternative method, which is by holding the Control key and then pressing the middle mouse button. As you can see, the zooming motion is no smooth. The next navigation method is pinning the viewport. For this, you can hold the Shift key and then press the middle mouse button. As you can see, as we direct the mouse, the viewport will move right, left, up and down relative to our eyes or viewing angle. Sometimes we rotate or zoom in or out too much in a TD viewport and get lost in space. If this ever happens to you, you need to use one of these focusing shortcuts. The first shortcut is the home key. We use home to automatically frame all the objects in the scene. So again, whenever you lose track of space in a TD viewport, just press the home key to see all of the objects in SN. The second important shortcut is the dot or the period key that exists on a numpad. Remember, not the one in the middle area of the keyboard but the one on the numpad. This dot key will automatically frame the viewport to the selected object. So of course, for this shortcut to work, you must have at least one object selected if nothing is selected, such as when we click on an empty space, pressing the dot key will do nothing because Blender does not know where to focus. Okay, guys, those are the basic techniques for nation. I strongly recommend that you memorize and practice these techniques before moving on to the next lessons. There are three settings that I always turned on to make viewport navigation in lender way easier and feel more intuitive. These settings are optional, but at least I want you to try them for now and see if you like them. You can always turn them off later if you don't like them. To access these settings, you can open the edit menu and then open the preferences window. Next, open the navigation tab. You want to turn on this orbit around selection dab and Zoom to most position check boxes a quick explanation. The orbit around selection option will make the viewport use the selected object as the center of the viewport rotation. This way, we won't lose focus from the object we are currently working on. The depth option will make bender respect the depth of the surface where the mouse cursor is located. This option will affect all instigation processes, whether it is rotating, zooming or panning. And finally, the Zoom to mouse position option will make the zooming process respect the mouse cursor location. If you are done, you can close the preferences window by pressing the top left X button. The settings will be saved automatically we need a liquid bender. Although using mouse is the fastest way and my preferred method of navigating the TD viewport, sometimes we are forced to use other methods. Perhaps our mouse is broken, or maybe we accidentally left it somewhere else. There are two alternative methods that we are going to cover the buttons in the UY, and then the number keys on the keyboard. Since Benner version 2.8, we have several UI elements in a TD viewport that we can use for navigation. Let's start with the viewpod rotation. To rotate the viewport, we can hover our mouse cursor to this area that has small colorful circles, and then just click and drag around. When we do this, the mouse cursor becomes hidden and viewport will rotate around following our mouse movement. If we release it, the mouse cursor will be back at the exact location where we start dragging. All right. Next to zoom in and out of the viewport, we can hover our mouse on top of this magnifying glass icon and then drag it up and down, drag up to zoom closer and drag down to zoom further away. The last technique is panning. For this, we can click and drag the hand icon. The viewport will pan around according to our mouse movement. So these are the navigation techniques utilizing the UI. The last alternative method is by using the numbered keys on the keyboard. To rotate the viewport, you can use the keys number two, four, six and eight. Number two and number eight are for rotating the viewport vertically. Number four and number six are for rotating the viewport horizontally. For zooming in and out of the viewport, we can use the plus and the minus keys plus to zoom in and minus to zoom out. And finally, to pen the viewport, we can hold the Control key and then press the number four or number six keys. This will pen the viewport horizontally. If we hold the Control key and then press the number two or number eight keys, this will pen the viewport rotically so that is how you can perform viewport navigation using only the keyboard. 7. 01-04 Orientation Convention and Axis Viewpoints: In this lesson video, we are going to discuss the orientation convention and in later how to activate the axis viewpoints. Unlike two D, where we only have two axes, X and Y, three D objects or three D scenes have three axes, X, Y, and Z. In render, each of these axes can be positive or negative. This is the positive Xaxis, which is this way, and this is a negative X axis, which is this way. This is the positive X axis. This is the negative X axis. This is the positive Y axis. And finally, this is the negative Y axis. Now, you need to realize that different D software may have different orientation conventions. For example, what is considered to be the up direction into theSMx is different from the up direction in Unity game engine into the SMAx, the updirection is the Zaxis just like in Blender. But in Unity, the updirection is the Y axis, as you can imagine, it can be a bit daunting if you have to work back and forth between multiple to the software that have different orientation conventions. But there is at least one thing that is common or uniform across all the software in the world, and that is the colors of the axis. No matter what software you are using, the Z axis is always blue, the Y axis is always green, and the X axis is always red, right. For now, let's focus on the orientation convention inside bender. To help us visualize orientation, we can create a monkey head model just like in the previous resin. So in Dender the up direction is the positive Z axis, and the down direction is the negative Z axis. And then the front direction is the negative Y axis, while the direction is the positive Y axis. As you can see, the monkey head is facing the negative Y axis, not the positive Y axis. This explains why this middle grid line is colored green. That is because it shows the direction of DY axis. Now it's a bit tricky to discuss the right and left direction. If you base orientation onto the object, this should be the right direction or the negative X axis, and this should be the left direction or the positive X axis. However, Blender and many other software do not base the left and right directions on to the objects, but instead on the user's point of view. So this direction is the right direction or the positive X axis. While this direction is the left direction or the negative X axis. This is something you need to keep in mind. After you understand the orientation convention in vendor, whenever you create a new TD model in vendor, you should always try to make it pace the front view or the negative Y axis. Why? Because, leader, when we view the object from the front view, it is the front side of the object that we are looking at, not the other side. Another reason for this is also the default setting for mirroring in vendor is using the X axis. Yes, you are free to change the settings, but having our object facing the default from direction can prevent us from confusion and from extra steps in twaking the parameters or settings. All right. Next, let's discuss how to use or activate the axis viewpoints. Basically, access viewpoints are special viewing presets where we can see our scenes straight from certain axes we often refer to these views as front view, side view, top view, and so on. There are three methods that we can use in vendor to access the axis viewpoints. The first is using the UI or these colored axis. The second is using keyboard shortcuts and finally, using the mouse and keyboard combination. As discussed the UI method first, to access the front view, you can click on the green circle that says minus Y. As you can see here, we are now in the front orthographic view. You press the positive y circle, we are now in the back orthographic or the opposite of the front view. If you are wondering orthographic means that the view is straight or into the mode or does not use any prospective effect. If for some reason, you want to see the front view, but in prospective mode, you can press this icon. This will force the view to be displayed in prospective mode. Click again on this icon to go back to the orthographic mode. To go back to the standard or non axis viewpoints, simply rotate the viewport using the mouse or using the access circle again by default, vendor will turn on the prospective effect whenever it detects non access viewpoints. All right? To access the other access viewpoints, the method is basically the same. You can click on a positive Ecircle to activate the right orthographic viewpoint. Rotate the viewport to go back to the standard view. Click on the positive Z circle to activate the top viewpoint and rotate the viewpod to go back to the standard view, and so on. I am sure you get the idea. The next method is by using the keyboard shortcuts. For this, you need to use the numpad area. First, it's the number one key in the numpad. This will activate the front orthographic view. Then the number three will activate the right orthographic view. Last but not least, it's the number seven key, which will activate the top orthographic view. So those are the three keys in the numped that you can use to access the axis viewpoints. Now, you might be thinking, why in the world did Bender choose numbers one, three, and seven for switching the axis viewpoints? Well, to help you memorize the shortcuts, just imagine this drawing in your head. When we were in high school, we learned how to draw simple, technical drawings on paper. Let's say we want to draw a car. Usually, we need to start with the front view. Then we take our ruler and create these guidelines so we can draw the top area precisely. And we create horizontal lines like this to guide us to draw the car from the side view. Okay? So this is the front view. This is the top view, and this is the side view. Now, if you map this image to the numbed area, the number seven key position is at the left top corner, just like this top view drawing. The number one key is for the front view located at the left bottom corner, just like the car's front view, and last one is the number three key located at the right bottom part of the num ped, exactly like the position of the cars side view. So again, by imagining this image or layout in your head, you should remember the shortcuts much easier. Now, you may also wonder, can we only see three axis viewpoints using the keyboard shortcuts? What about the B view, bottom view, and left view? Can we access them also? The answer is yes, there are two methods to access them with the help of the control key or using the nine key. For example, if you want to see the bottom view because the bottom is the opposite of the top view, we can hold Control and then press the number seven key. Now we are on the bottom view. To see from the left view, you can hold Control and then press the number three key. And finally, to see the back view, you can hold Control and then press the number one key. All right. So this is the first method. The second method is by using the number nine key. This key is used to flip the view. So for example, if we want to see the bottom view, we can press seven force, which essentially turns the view to the top view. In this condition, if we press nine, the view port will flip. So now we are seeing from the bottom view. To see from the left view, we can press three first and then followed by nine, to see the back view, we can press one first and then followed by nine. Okay? The last keyboard shortcut I want to mention is number five. Pressing number five in the numpad is like pressing the prospective togo icon in the UI. Pressing it once will activate the prospective mode, and pressing it again, will activate your orthographic mode. So that is how you use the keyboard shortcuts to access the axis viewpoints. The last method that we are going to discuss is using the mouse and keyboard combination to access the access viewpoints. Basically, if we press the key while performing viewpoint rotation with the mouse, vendor will automatically snap the view to the nearest access viewpoints. And if we are already in an axis viewpoint, such as the front view, holding out and middle mouse dragging the view to the left, we activate the right view. If we do that again, we will be in the back view. And if we do it again, we are in the left view, and again, we are back to the front view. Now, if we hold out and then use the middle mouse to drag down, we will be in the top view. And if we rotate the view without holding any key on the keyboard, we are back in a standard perspective view. 8. 01-05 The 3D cursor: In this lesson video, we are going to discuss the treaty cursor feature in Blender. If you want to follow along, I already prepared this file that you can use right away. You are also free to use your own file if you want to. So what exactly is a treaty cursor? Well, if you look closely at the center of the treat world in bender, there is a small circle that looks like a sniperscope target. This is the Tretcursor. It is basically a pointer in treD space that can be used for a lot of things in dender. One of which is for refining the location of newly created objects. So again, this is something you need to keep in mind. Every time you create a new object, Blender will place that object at the location of the T D cursor. By default, the three D cursor is located at the center of the world. We can move or position it to any place we want using one of these four methods. The first is by holding the shave and then we clicking or right click g. Blender will detect the surface at the most cursor location and then place the TD cursor on the surface. The second method is to activate the cursor tool in a tool panel. If somehow you cannot see the tool panel, you can use the letter T shortcut in the keyboard to show it or to hide it. Again, you need to make sure your mouse cursor is inside the three D viewport. If your mouse cursor is on the other area or editor, the shortcut won't work. All right. So with this tool active, you can click or click Greg anywhere in the scene to reposition the three cursor. Now, I know we haven't discussed snapping, but just to give you an insight, you can use the first and second method along with the snapping feature with the snap mode turned on, you can easily snap the tree cursor to vertices, edges, fishes, et cetera. Let me turn this off again. We'll discuss snapping reader in a separate video. Okay? The next method is by using the snap commands. This is different from the snap feature I just showed you. To access the snap commands, you can either go to the object menu in a header and then use snap, you can see these commands that can help you snap the tree cursor to certain things. A faster way to access the snap commands is by using the shortcut Chief as you can see and access all the snap commands, but in the form of a Pi menu, you can right click to cancel the Pi menu. Just to give you an example, let's say you want to move the T D cursor exactly at the location of this sphere. First, we need to select the sphere object. For this, you can use the Select tool or any of these transformation tools. Then click on sphere object to select it. In this condition, we can brass shift as to open the snap by menu and then chooe cursor to select it. As you can see, the T Dcursor is now at the center of the sphere object. The fourth method of positioning the Tcursor is via the side panel. To expand and collapse this panel, you can press letter N on keyboard, so press N to show it, and press and again to hide it. If you open a View tab in the side panel, you will see a section called trite cursor. If you cannot see the parameters, make sure the section is expanded by clicking on the name of the section. This is the section where you can access the coordinate values of the TD cursor along with its rotation values. To change the three D cursor location, you can type in a number manually or you can click drag in any of these fields to change its value. Please note that you can do this on any numerical input fields in vendor. All right. Now, if you want to reset the location of the Tre de cursor back to the center of the world, you can click drag Lo to select all the coordinate input fields. If you type in zero, all of the fields will have zero value, which basically sets the location of the td cursor to the center of the world. You can do this also with the rotation values if you want. However, there is a quicker method to center the three D cursor, and that is by using the shortcut Shift C. With this shortcut, not only is the three D cursor centered, but blender also moves the viewport to the center of the world. Now, if you press Shift for the Snappy menu, you can also find a command for centering the cursor called the cursor to world origin, but it will be faster if you just press Shift C. 9. 01-06 Creating and deleting objects: In this lesson video, we are going to discuss how to create new objects in lender, how to tweak their parameters, and then later learn how to delete them. To create a new object, first, we need to specify where the object will be created by positioning the tree recursor. For example, if you want to create a new object at the center of the world, but the tree recursor is somewhere else, you can press Shift C to center it. But if you want to create the object on a certain location or surface, just hold Shift and then right click on that location. Next, to add a new object, you can use the shortcut **** A. This is a very important shortcut, so I suggest that you memorize it. Notice that you get the same list of commands as when you click the Ad menu in a viewport header area. If you notice, lender provides many types of objects. In its course, we will be using and dealing with the mesh type object most of the time. The mesh type is the basic to the object used in lender. It consists of vertss, edges, and pass. It is the same type of object commonly used in other to the software and game engines. We have created a monkey head before. So let's try creating another object, say, a cylinder. Now, please do not do anything else yet. Every time you create a new object in ender, you can access all its parameters via this small menu at the left bottom area of the TD viewport. In this panel, you can define the number of vertices around the cylinder. The more vertices the cylinder has, the smoother the side area is. But of course, at the cost of larger memory requirements, the rule is that you always want to use as few vertices as possible that you can get away with if the object is small or far away from the camera, there is no point in adding a lot of vertices to the model. But if the model is big and very close to the camera, you may want to have more vertices on the model, so it does not look jagged, right. You can play around with the other parameters to find out what they do. Sometimes you need to see the wireframe to support the changes. For example, we can tell the difference between the nothing option and the ngonoption. Nothing will basically remove the top and bottom cap faces from the cylinder object. But to see the difference between the Ngonoption versus the triangle of an option, you need to turn on the wireframe overlay. To do that, you need to click on small carrot button of the overlay icon, which is the third from the left. Then in the geometric group, there is a checkbox that says Wireframe. Click on it, and now you can see the wireframe or the structure that makes up the mesh objects. If you want to hide it, simply click on a checkbox again. For now, let's have it turned on. If we go back to the cylinder parameters, we can now tell the difference between the engon and triangle in options. Okay? Now, this is very, very important for you to remember. This panel only shows up once in a lifetime. That is, only the first time you create a cylinder. After that, you cannot access these primeters again as the cylinder becomes an editable object. If you click on an empty space, for example, the panel disappears. If this ever happens to you and you still want to edit the parameters, provided that you haven't done anything else other than distracting the cylinder, you can still access the priameters by pressing the shortcut of nine. With this 14 panel, you can tweak the cylinder's primeters just like before. But if you do something else after this, such as moving an object, deleting an object, copy pasting, and the like, you won't be able to access the parameters again, the panel on the left. Now, this place dress action that we just did, so we can revise it if needed. So that is basically how you create a new object in lender and how to tweak its primeters. I know we only discuss the cylinder object. However, the concept or workflow is the same for the other types of objects. So feel free to experiment with the other object that vendor provides. There are at least four methods that you can use in vendor to delete an object or objects. But the w flow is identical in which you need to select the object first, only then you can delete it. Let's say we want to delete this object, we need to select it first by clicking on it. Then press either the delete key or the X letter key. If you use the delete key, Blender will just delete the object without confirming your action. But if you use the X letter key, Blender will try to confirm your action first. Let me undo this. Another way to delete an object is via the contextual menu. Again, you also still need to select the object first by clicking on it. After that, you can right click to open the contextual menu and then choose led. Thes method is by using the outliner to select and delete objects. You can select an object by clicking on its name in the Outliner editor, and then after that, you can press X or press Delete or right click on the object and then choose led. Now, you may be wondering, what if we want to delete multiple objects at once? Well, you need to select them first and then do one of the four methods we just discussed. We will have a dedicated lesson video on how to select objects in ender. For now, you can hold Shift and keep clicking on objects if you want to select them all. After we have all the objects we want to remove, selected, we can press the delete key. If you want to use a click Breck method to select multiple objects, you need to make sure first that the select tool is in a select Box mode. If this is active, even if you are in Move tool, clicking and dragging will create a selection bonding box that can select multiple objects, and then you can press X or delete to delete them. The same concept applies to the outliner editor. You can click drag to create a selection bonding box that can select multiple objects at once, or you can use the Shift key and or the Control key to select them. Just like in FaxplorerHlding Shift will select items continuously or in range. While holding Control can help us select multiple objects randomly. After that, you can press X, press Delete or white Cl, and then delete. 10. 01-07 Object selection basics: In this lesson video, we are going to discuss how to do basic object selection in lender and then later learn about the selection tools. First, let's recap what we have learned so far in terms of object selection. We already know that we can click on an object to select it. We also have discussed that we can hold the shift key and just keep clicking to select multiple objects. All right. Now, let's discuss how to select and select all objects in the scene. To select all objects in the scene, you can press letter A on the keyboard. To disselect all objects, there are three methods that you can use. The first method is by clicking on an empty space in a viewport. We have discussed this technique briefly before. The second method is by pressing out a shortcut. Third method is quite interesting. In Lander, you can select all objects using the same shortcut as selecting all objects, that is using letter A, but you need to press it twice quickly. So if you press A once, all objects get selected. But if we press A twice quickly, none of the objects will be selected. Many users prefer this double A method instead of the out a method because you don't need to use another finger to hold the outkey. Last technique I want to mention is inverting the selection. For this, you can use the shortcut Control I. So let's say we have these objects selected by pressing Control I. Now, they are not selected anymore. Instead, the other objects that were previously not selected are now selected. All right, I suggest that you memorize all these shortcuts as you will often need them when working inside vendor. If you ever forget the shortcuts, just click on the select menu in a viewport header. You can see the commands and their shortcuts up here. Next, let's discuss the selection tools. It is very important to realize that in vender, object selection behavior works based on the active selection tool. If you click and hold the Select tool, you can see that vendor provides four different variants of it. If you prefer the shortcut, you can use the WK to access the selection tool and switch between its variants. The way the shortcut works is like this, Let's say you have the move to active. In this condition, if you press the WU once, the select tool will be activated. Then if the select tool is already active, pressing the WU again we cycle the selection tool variance. Let's discuss each of these variants one by one. The first variant we need to discuss is the select box. This is the default selection tool when we first open vender. Basically, when the select box is active, we can create a rectangular selection region by clicking and ragging in the viewport. Notice that every time we click and drag, a new selection is created, canceling the previous selection. If you want to add more objects to the selection, you can hold Shift while click dragging. With this, Blender will not create the selection, but rather select new objects while keeping the previous objects still selected. If you want the reverse behavior, that is, if you want to sub track objects from the previous selection, you can hold Control and then click drag to create the selection region. Objects that are touched by the selection region will be deselected. A more advanced method, but rarely used one is intersecting the selection. For this, you need to hold down both the shift and control keys together and then quick drag to create the selection region. This method, Blender will only keep the selected objects if they are previously selected. So again, to recap, you can hold shift to add more objects to the selection, hold control to subtract objects from the selection and hold Shift and control together to intersect the selection. If you ever forget the shortcuts, you can also use these small icons on top to activate the modes. This is the default mode, which will replace the selection. This is the add mode or so called the extent mode. This is the subtract mode. And this is the intersect mode. By using the icons, you can also access the inverse introsection mode. This is like the intersection mode but in reverse. All right. The next selection tool variant is the twig tool. This tool is actually not just a selection tool. It is a combination of the selection and move tools in one go. This tool is super useful if you want to make a lot of small changes to the objects positions quickly rather than switching between the select tool and then move tool back and forth, you can click and drag objects quickly to position them using this tool. Please note that these are almost all tools in blender works based on the active viewing angle. So if you want to tweak object positions only on the X and Y plane and not on the Z axis, then you should perform tweaking from the top view. This way, you can be sure that the objects we move around will not be changed in terms of their z coordinates. All right. The next section to variant is the Strack circle tool. This variant will change the mouse cursor to circle, and the way we strike objects is no like a plain brush tool in rolling software. You can change the brush size by changing this radius value. Now, you need to remember that the select circle tool only selects objects if the origins of those objects are touched by the circle cursor. If you wonder what the origins are, they are essentially the center of every object indicated by a noticeable yellow or orange point. We will discuss objects origins in more depth in later video. For now, just make sure you move the circle crousor deep enough so that the center of the object is touched by it. Otherwise, it will not get selected. Okay, like the select box tool, you can hold Shift to add more to the selection, and you can hold Control to subtract from the previous selection. You can also use these icons to activate the modes. Notice that the Slack circle tool does not support intersection or reverse intersection modes. The last section tool variant is the select lasso tool. This tool is very useful when we need to select certain objects in a very intricate space or environment. Essentially, with this tool, we can roll a custom section area by clicking and wagging in viewport, just like the Select circle tool. This tool also works based on the objects origin location so if you try to draw a selection region, but it does not include the origin location, the object you want to target will not get selected. You may already notice that this tool has all the modes that the select box tool has. So with this tool, you can make use of the shift key to add more selection. Use the Control key to suprat the selection and use both the shift and Control keys together to intersect the selection. Alright. As I mentioned earlier, Blender will use the active selection tool as the default selection behavior. That is, when you perform click dragging while you are using any of the transformation tools, we will discuss transformation in more depth leader. But just to give you an example, if you have the Select Lasso tool active and you are in the move tool, if you try to click drag on a viewport to select objects, instead of creating a rectangular selection region, you are creating a custom shaped selection region. Another example, if you activate the Select circle tool and we are now in the move tool again, click rating on a viewport will trigger the circle selection method, not the rectangular selection region. Now, there are ways to activate different types of selection techniques regardless of reactive selection tools, but that will be a discussion for another video. 11. 01-08 Basic viewport shading modes: In Elasson video, we are going to discuss different types of port sharing modes available in ender. Because leader, we will deal with viewport rendering. You want to make sure that you use all your computers potential. For that, you need to go to the preferences window. In a system tab in the top area, you can see the cycles render devices. If this is set to none, while you have OS GPU or graphic cards, you are wasting a lot of your computer potential. So how can we set this correctly then? Well, if you have an RTX graphics card, you should always activate the Optics option and then turn on the checkbox that belongs to your RTX graphics card. This is currently the fastest rendering technology available in vendor. At least by the time I recorded the video. If you have older and video graphics cards, such as the GTx family, you want to use the Cod option. If you use AMD graphics cards, such as radiant family, you should use the hip option. If you use intel graphics cards, then you should use the one API option. And if you are in the Apple ecosystem, you should use the metal option. Unfortunately, the metal option does not show in my computer as I'm using a PC with a Windows operating system, but you should see the metal option if you're using my computer. Okay? Notice that my CPO, which is an AMD processor, actually supports Optics, but I deliberately turn the option off. This way when vendering vendor only uses the GPO. This makes the CPO free to do other stuff that my computer requires, such as running the screen recording software in the background, which also demands a considerable amount of computer performance. If you have CPU and you don't have anything else running in the background, you may want to turn this checkbox on all right. The TD viewport editor in render supports four different shading modes. They are wireframe, solid material preview, and render preview. You can quickly switch between them using these small icons at the top right location of the TD viewport. This is the wireframe mode. As you can see, in this mode, we can see all the edges that make up TD objects in our scene. This is the solid mode. We have seen this mode before because this is the default shading mode, but the mode that we see when we first open vendor. Next is the material preview mode. If this is the first time you open the material preview mode, it may take several seconds to load up the data into the memory. We usually need this mode to preview materials, textures, and UV mapping. Finally, this is the render preview mode. This is the mode suitable for testing the lighting and just testing how everything looks before the final render. For this mode, what you see in the viewport depends heavily on the settings inside the render panel, which is located in the properties editor. Notice that by default, it uses the EV rendering engine. For maximum quality, you may want to switch this option to cycles. And then change the device to GPU compute. This is the reason why we set render device setting before. Now, whenever we use render preview mode, bender will use cycles instead of EV and also use the GPU to render the content of the viewport. It looks dark because we haven't created any light sources. We will discuss this mode in more detail later when discussing rendering. For now, if you want to preview the objects using benders preset lighting, you can click on this card button and then uncheck these two options, okay? Besides using the icons above, you can also access the sharing modes via the keyboard shortcut, Z, pressing Z will open the sharing mode by menu. This is the wireframe mode, press Z again. This is the solid mode and so on. Another keyboard shortcut that I use very often is Shift Z. Basically, this shortcut will toggle the wireframe mode on or off. It will automatically go back to less active shading mode. For example, if we activate the solid mode, pressing Shift Z will activate the wireframe mode, and then pressing Shift Z again, we activate the solid mode again. But if we use the material preview mode, pressing sheet Z, will activate wireframe mode just like before, but then pressing sheaf Z again will bring us back to the material preview mode, not the solid mode. So again, the Sf Z shortcut depends on the active shading mode we originally have before switching to the wireframe mode. For each of these modes, you can access their settings by clicking on a carrot button on the right side. Notice that each mode has its own unique settings. We will discuss these settings gradually in our upcoming projects. For now, I just want to explain several settings that I will be using throughout the course. I use these settings, so you can see the three D models in the viewport clearly, you don't have to follow all the settings exactly, but at least you know where to find the settings if you ever need them. First, make sure we are in a solid mode. Click on the carrot button in the lighting section with the type to studio, but click on the previous sphere and then choose the fourth one, which is the brightest. Next, I want to change the background color. To do that. I background section, you can click on a Viewpoor option. Rectangle below is actually a color box. You can click on it, and then choose a brighter color. Now, personally, I don't enjoy selecting colors using this circular palette. If you want to change the color palette to square type, you can follow this step first open the preferences window. Then upon the interface tab in the editor section, you can see the color picker type, change this from circle HSV to square avg. Close the window. Now, if we go back to the solid mode settings and click this color box again, we get this nice square color palette. I prefer to use around 0.3 value for the background when reaching render. Next, I usually turn on the shadow effect. And also the calvary effect. But for the cavry effect, I prefer to use the world type and then turn off the reach option. Finally, let's open the viewport overlays panel. We have discussed this Wireframe checkbox before. Basically, this will turn on or off wireframe display in the viewpod because I use this feature a lot, I prefer to assign this checkbox to a keyboard shortcut. For this, I want to use the F five key on the keyboard since it is not yet used in a TD viewpod now to set a custom keyboard shortcut to a UI element in ender is surprisingly very easy. Simply right click on the checkbox, hoot assign shortcut, then press the F five key on your keyboard, and it is done. Now, if you press a five, ender will toggle the Wireframe display on the viewpod on or off. 12. 01-09 Collection and renaming objects: In this video and the next one, we will cover several of Brando's features that can help us manage to objects or projects in general. For this video, we will cover the collection feature and the leader techniques for renaming and finding objects in the Outliner. So what exactly is a collection? To make things simple in Blender, collections are like folders in our computer file system. You can group or store objects inside a collection. You can place a collection inside another collection. You can hide or show them and so on. You can see the list of collections that exist in your file in your liner editor. As you can see, Blender already created one collection by default called collection. You can ignore the top collection called the SN collection, as this is basically the root level collection where all other collections exist in our scene. To rename a collection, simply double click on the collection's name and type in new name. Just for example, let's name this one cubes. To create a new collection, you can click on this button up here that says New collection, or you can also right click on an empty area inside the outliner and then choose New collection. Please be aware that if you select a collection, and then click on this New collection button, or if you right click on an existing collection, and then choose New collection, the new collection will be created inside that selected collection. If you didn't mean to do that, no problem. Simply click and direct the collection to another location that you want. You can click drag a collection on top of another collection if you want to move it inside that collection. Again, basically, it is like working with folders, NiFixper. Now, if you select this collection and then create a new object in a viewport, let's say, a UV sphere, notice that the new object is automatically placed inside the selected collection. So this is something that you need to keep in mind. Newly created objects are always placed inside the active or the selected collection. You can move objects around from one collection to another simply by clicking and dragging them. If you want to move objects to certain collection, but prefer to keep working on a viewport, you can use the shortcut. Let's say you want to move this spare object into the cubes collection. First, make sure the object is selected and then press the key. Bender will display the list of collections that you can target, Joos the cubes collection by clicking on it. If there are already sub collections inside the target collection, you will need to ooe the cubes name again to move the object to the main level. Okay, you can see that the square object is now inside the cubes collection. When using the shortcut, you can also create a new collection on the fly. Let's say we want to move both of these objects into a new collection. After we have them selected, press, and in choose new collection. Next, you need to provide a name for the new collection. Let's just name this example. Then click the Create button or simply press Enter twice to confirm. Now we have a new collection called example. A objects we've selected before are inside that collection. There are still many collection features that we haven't discussed, but we'll get to them gradually in Shallow. Next, we are going to discuss how to rename objects and how to find objects in the outliner. In dender, there are at least three ways that we can use to name objects. First, is using the shortcut F two. Let's say we want to hyam this cube object to box, select the object, and then press F two. Vendor will display a floating panel where we can see and edit the object's name. Let's type in box, for example, and now this object is called box. The second method is by using the outliner. If you select an object in a viewport, the outliner will display that object differently from the rest of the objects. The color will depend on your active theme. But if you are using the Vander alight theme, the selected object will be colored in white. To rename the object, simply the Bolick on it, and then type in a new name for it, for example, let's name this one wall. Okay, so it is that simple. Now, when your scene becomes too complex, such as you have a very long list of objects with lots of nested collections, if you select an object in a viewport, that object is not necessarily shown in your liner editor. So how can we find the selected object in your liner then? Remember that we can use the period or the dot shortcut in numpad to frame the viewport to a selected object. Well, you can do that also in your liner. So make sure your mouse cursor is in your liner editor, and then press the dot T in a numpad. Notice so blender focuses on the object and automatically opens up the collection in which the object is located. After that, if you want to rename the object, you can double click on it. There are numerous reasons why you should have a consistent naming convention for your objects, one of which so that later, you can find them easily. Let's say we want to select an object, but we cannot see it in a viewpoint. The object is also placed deep inside a multi level nested collection. If at least we know the name of the object or just part of its name, we can type in that name in a search field up here. For example, we want to search for objects with the name box. Vendor will filter or hype other objects and only show objects that have the word box in their names. All right. Let's click on this X button to clear the filter so all objects become visible again. Last method of renaming an object is via the properties editor. The properties editor has many tabs. Vendor organizes the tabs so that the upper tabs are generally for global parameters, while the lower tabs are for the local or currently structed object. If you click on this tab that says object, you can access or edit the name of kern object here. 13. 01-10 Hiding objects and Local View: Let's continue our discussion on techniques for managing objects in dender. As out of scene becomes more and more complex, we start to realize that we need ways to focus on certain objects without the distraction of other objects. For this purpose, there are two features in Dender that we can use. First, is hiding and showing objects. And second, is by using a feature called local view. In lender, we can show and hide objects at the object level and also at the collection level. If you look closely at the outliner, each object has an eye icon. This eye icon is useful to hide and show object in a viewport. Please differentiate the icon from the camera icon. The camera icon controls whether the object is visible or not when we render the scene. So if we turn off the icon, but the camera icon is on, we cannot see the object in a viewport. But later, when we render the scene, the object will show up. Visa, if you turn off the camera icon, but the icon is on, we can see the object in the viewport. But when later we render the scene, the object will be invisible as if it does not exist. For now, we will only focus on a viewport visibility. So we will leave all the camera icons turned on. Okay? If you don't want to access the liner and brffer to keep working on a viewport, you can use the shortcuts. There are three shortcuts that you can use. To hide an object or several objects, you can press H. For example, we want to hide these two objects. Make sure they are selected and then press H. Now, they are both hidden. To unhide all objects in the scene, you can use the shortcut of H. And finally, if you want to hide other objects, then detected objects, you can press Shift H. Let's say we want to focus on only these three objects. First, we need to select them and then press ShivH bender heights all other objects, except the ones that are selected. Let's press OH again to unhide everything. All right. Sometimes you want to hide or unhide objects weekly. For this, you can perform a click drag or multiple icons in the outliner. As you can see, with this method, we can quickly hide or unhide multiple objects in one go. Now, although hiding and showing objects at the object level can be helpful in a lot of cases. I found that showing and hiding objects at the collection level is more convenient, regardless of the visibility of each of its members. When we hide a collection, all objects within that collection will become hidden. And if we unhide a collection, all objects within that collection will go back to their own visibility settings. So if they are previously shown, they will be back to being shown. But if they are hidden, they will still be hidden. The last feature I want to discuss is the local view. Essentially, the local view feature will hide all other objects, so we can focus on working on selected objects. In other free software, this feature is often called or known as the isolation mode. At a glance, it does look like the height and selected feature, which we can access using the Shiftg shortcut. But the local view mode is way more convenient because when you go out from it, all objects and reelection visibilities stay the same. Even a viewport view or framing stays the same. While if you are using the height unselected command, when you go back using the unhide of command, all the objects visibility will get undone, which is in most cases, not something that you want. Personally, I always use the local view feature and almost never use the height unselected command. Okay? So how can we use local view more than first, you need to select an object or several objects that you want to focus on and then press the forward slash key in Numpad. You can tell that we are in local view mode from this small text that says local. You can work on your object, move the viewport around, and even create new objects if you need to when you are done, to go back to the standard view mode, you can press the forward slash key again. Notice that everything is back just like before, and you don't see the word local anymore in the viewport. If you ever forget the shortcut, you can access the local view mode by going to the view menu in a viewport header. Then choose Local View, and then choose Toggle Local View. 14. 02-01 Transform tools: Starting with this video, we will cover transformation techniques and other features related to transformation. So what are transformations? Simply put, they are primeters or attributes of an object that relate to position, rotation, and scaling of that object. In render, we can transform objects in at least three ways. First is by using the transform tools. And second, is by tapping in the values, and the third is using keyboard shortcuts. In this lesson, we will discuss the first method, which is using the transom tools to move, rotate, and scale objects. We will cover the other methods in future videos. First, let's discuss how to move objects. To move objects, you can activate the move tool, which is this button. We have covered the tool before, but very briefly. If we have the move to active and we have an object selected, we'll see a group of three arrows at the center of the object. This group of colorful arrows is what is called the Gizmo. The blue arrow indicates the Z axis direction. The green one is the Y axis, and the red one is the X axis. Let's say we want to move this object along the X axis. To do that, hover our mouse cursor over the red arrow. Then click androg like this. As you can see, the object is moving along the X axis. If you want to move it along the Z axis, you can click Andre the blue arrow. And the same thing with the green arrow. If we click andrag on it, the object will move along the white axis. So it is very important to pay attention to where you place your mouse cursor. If we place them on wrong axis arrows, then we will get the wrong movement. Now, besides arrows, if you look closely, you can actually see squares at the Gizmo. These squares are pain constraints, meaning that you can use these squares to limit the movement to two axes at the same time. If we move our mouse cursor over this blue square and then click drag we are moving the object freely, but only in the Y and X axis directions, the object won't be able to move in Z axis direction. The same concept applies to the other plane constraints. If we drag the green square, the object can move only in the X and Z directions as to axis is locked. And if we drag the red square, the object can only move in Y and Z directions because the X axis is locked last but not least, the move Gizmo also has white circular element. If you place your mouse cursor inside this white circle and then click drag round, the object will move freely based on the current viewing angle. So again, you need to frame your viewport correctly to get the movement that you want. That is, if you use the white circle, right? Next up is rotation. To rotate an object, you can use the Rotate tool, which is this button as a reminder. If you cannot see the tool spinel on the left, you can press T on your keyboard to toggle its visibility. As you notice, the Rotate tool displays a different Gizmo instead of arrows. Now we have colorful circles. The concept is basically the same as the previous move Gizmo to rotate the object using the Z direction as the rotational axis, we need to click direct the blue circle. To use the rotate Gizmo, we need to perform a circular motion around the object if you need a fall to 60 degree rotation. You can use the red circle to rotate the object using the X axis, and we can use the green circle to rotate the object using the Y axis. Okay. Now, if you move your mouse cursor inside the Gizmo area, but not touching any of the colorful circles, in this condition, if you click drag the mouse around, you are rotating the object freely without any constraint. And finally, if we carefully hover the mouse cursor on this big white circle, and then click drag, we are using our viewing angle as the rotational axis. Imagine there is a straight laser emitting from our forehead, and we use that laser as the rotational axis for the object, right? Next is scaling. To perform scaling on an object, we can use the scale tool here. At the glance, the Scale Gizmo looks like the Mv Gizmo, except the end points are boxes instead of arrows. We can click and drag on red box to scale the object on the x axis. We can click drag on green box to scale the object on Y axis, and we can use the blue one to scale the object on Z axis. If you want to scale the object using two axes at the same time, you can click Greg on small rectangles. If you click Greg the blue one, this will scale the object on the X and Y axis, but not on Z axis. The same concept applies to the other rectangles. I'm sure you get the idea. Now, if you hover the mouse inside this white circle area, but not touching any of the boxes or rectangles, clicking and dragging will scale the object uniformly in all directions. Meaning that it will maintain its size ratio, so it does not stretch or squash. Okay. Now, if you look closely at the scale tool button, you can see this small triangle at the bottom right. This indicates that the tool actually has other variants. To access the other variants, we can click and vote the mouse button. The other two variant is called the scale cage tool. If you have used to the super before, such as Fucha rita or Gimp, when performing a transformation on a layer or object, we get some kind of bounding box with control points surrounding the object. While this scale cage Gizmo works in a similar way. We can click and drag these control points to scale or size the object. There are three different points that you need to know when using the scale cage Bismo. If you use the corner points, the scaling will happen uniformly on all three axes. This way, the object will maintain its size ratio. If you use the control points that are located at the center of the lines, you are scaling the object using plane constraints. In other words, using two axes at the same time. And finally, if you use the middle points that are not touching any of the lines, the scale will happen only in one direction or on a single axis. All right. Just to recap, this is the move tool. We can use it to move objects. This is the rotation tool, which we can use to rotate objects. And finally, for scaling, we have two tool variants. This is the normal scaling tool, and this is the scale catch tool. Before I end video, I want to mention one important thing about the transformation process. One common problem that a lot of my students have is that when they activate any of these transformation tools, Blender does nothing. It doesn't show any Gizmo as they expected. This usually happens because they accidentally press the spacebar key on the keyboard in Blender. By default, the spacebar key is for playing and stopping the animation of the timeline. Notice that if we expand the timeline, currently Blender is playing back the animation in loops. If we stop the playback, now we can use the transformation tools again like we normally do. If you don't use the VSE or benders video editor often, or if you are not planning to create any musion in a while and just want to focus on remodeling, you may want to change the space bar key for other things because as we all know, the space bar key is big, and so there is a big chance we accidentally press it from time to time. To remap the space bar key, first, we need to open the preferences window then open the Kemp tab. Notice there is an option called spacebar action. Here, you want to avoid the pre action and instead use either tools or search. If you use the Tools option, every time you press the Spacebar key, the tools panel opens up in the form of a floating menu. And if you use the search option, every time you press space bar, ner will open the search panel, which can be very useful to find certain commands quickly. That is, if we know the name of the command for the rest of the course, I will set the spacebar key to the search functionality. 15. 02-02 Transform parameters: In this lesson video, we will continue discussing the transformation techniques. Previously, we have discussed how to use the transom tools. Now, we are going to cover the second method, which is using the transom parameters because later we will input numerical values for the transformation. We need to first discuss how to specify the units in Lander. Units are specified pro scene. So to access the unit settings, you need to go to the properties editor. And open the sin tab. Open the unit section, if it is currently closed by default, nr uses the metric system, as with almost all countries in the world. If you are in the US, you may want to change this to the imperial system. Okay. Next, you want to specify the length value. Please note that this value does not alter the scale of the objects in your scene. Simply put, it will only change the default unit when neither you type in a value in Blender. That is when you type in a number without any unit behind it. Personally, I prefer to use sedimeters because most of my projects are interior and or architecture. Only when I'm working on a site plan or a master plan project, did I switch blend setting to meters. Okay? The second method to control transformation is by directly tweaking the parameters to access the transformation parameters in render. You can either use the properties panel, which is located in the object tab, or you can also access them via the item tab in a TD viewport side panel. Just as a reminder, if you don't see this panel, you can press and on a keyboard to toggle the panel's visibility. Personally, I always use and prefer the side panel compared to the properties panel. Why? Well, it is because in the side panel, we can access or control the objects dimension. Due to this until the rest of the course, I will be using only the side panel and not the properties editor. All right. Let's discuss the parameters. In a location group, you can specify the X, Y, and Z coordinates of the selected object. You need to know that vendor uses the origin of the object as the reference for calculating its location. So the coordinate you see here actually belongs to the origin point of the object, which is this orange dot at the center. We will discuss more about editing the origin leader in this video. If you want to quickly reset any values in ender, simply hover the mouse on top of the fields and press Bakspace on a keyboard. Next is the rotation. Here, you can specify rotation values based on X axis, Y axis, and Zaxs as before, we can hover the mouse on one of the fields and then press Bakspace to reset their values. Next, we can specify the scale values. If you use dot software before, you may be accustomed to using percentage values for scaling. Ender, however, uses the Simo values. So if we press B speech to reset their values instead of 100%, we will get one for each of the fields, right? This dimension feature is very important. Essentially, with this, you can specify the exact size of an object. Please note that changing this value will alter the scale values above automatically. For example, if I select this cube object, you can see that currently the object size is 2 meters on each axis directions. Let's say we want to change the size to 1 meter in length, 50 centimeters in depth, and 75 centimeters in height. Just type in first field, one, then press tab, then type 50 tape again, and then 75 and then enter modes that I only added letter M for meter on the first field. I didn't type any unit letters on the second or third field. Again, this is because the default input unit we use is now centimeters. You can still add the CM letters after the length value, but it is not mass. Okay? Our cube object now has a custom dimension of 150 and 75 centimeters. Now, notice what happens to the scale values up here. Automatically, B change the scale values to accommodate the new dimension input. Ideally, when doing the modeling, you always want to avoid this condition. We will discuss this issue in more detail in another video. For now, to apply the scale, you can press Control A and then choose scale. Now, the scale values are back to the defaults of one, but still keeping the current dimension. Next, let's discuss the origin and ways to control its location. Essentially, the term origin in bender refers to the center point of an object. All objects must have an origin. If it's like an object, we can see an orange.in the center of the object, that is the origin point of the current object. Sorry, let me move cursor so we can see the origin point clearly. By default, if you use one of the transform tools, the Gizmo will be placed by blender at the origin location of the object. Sometimes we want to move the origin of an object to another location. Why? Well, because in general, ner uses the origin point as the center of the transformation. For example, in terms of the objects coordinate, we often need to tell whether the base of the object is really at the floor level or whether the top surface of an object is really at a certain height. In terms of rotation, we often want to rotate objects using certain points or corners. And in terms of scaling, we often want to scale objects, but keep a certain point or corner of the object stay in place. To move the objects origin, you can use the shortcut control period. This period or dot key is not the one located in numpad, but the one in the center area, just below the latter key. Okay? If you press the Control period shortcut, you will activate the origin transform mode. You can tell that you are in this mode by the visibility of these X, Y, and Z letters and lines. In this mode, if we try to move the object, the object won't move. Only the origin point is moving. If we press Control period again, we are now back to the standard mode. We don't see the X, Y, and Z letters again. And when we try to move the object, the object is moving like it normally would. If you ever forget the shortcut, you can access this feature by clicking on this button that says option and turn on the origins checkbox make sure you turn it off again after you are done. Another place where you can find this option is on right side panel. In the tool tab inside the options panel, you can also turn on or turn off the dit origin mode using this checkbox. All right. After we move the origin around, we often want it to be at the center of the object again. For this, we can use a special command called the origin to geometry. To access this command, we can open the object menu and then open the set origin sub menu and then choose origin to geometry. Notice that the origin is automatically placed at the center of the object again. Next, you can also use the Tcursor to help us move the origin location. For this, we need to hold Shift and then wide click on a certain location to move the Tre de cursor. And then open the object menu and then ooe set origin again, and now choose the origin to TDCursor command. As you can see, the origin jumps to the location of the TDCursor. Personally, I always use the origin edit mode together with the snapping mode. I know we haven't covered snapping yet, but just to give you an insight, let's say you want to snap the origin to this vertex location. First, turn on the snapping mode and make sure it is on the vertex snapping mode. Make sure the object is selected, and we are in a movable mode. Then you can press the Control period shortcut to activate the origin edit mode and just direct the white circle to the target vertex location. Notice how the origin point snaps to the closest vertex location. After you are done, don't forget to press Control period again to exit the origin edit mode, and also don't forget to turn off the snapping mode. 16. 02-03 Transform shortcuts: In this lesson video, we will continue discussing the transformation techniques. Previously, we have discussed the tools method and the parameters method. Now, we are going to cover the shortcuts method. The basic shortcuts for transformations are G R and Fs. As always, before we can perform any of these shortcuts, you need to make sure that you have ramje or multiple objects selected. The G shortcut is for moving the object. If you wonder why letter G is used, it is actually derived from the word grab. Next is R. The R shortcut is for rotating the object. And the third is a for scaling the object by default. Each of these shortcuts will use our viewing angle as the basis of their operations. Let's say we want to move this object, press G to activate the grab mode or the move mode. In this condition, we can move the object right, left, up and down based on the current viewing direction. After that, you have two options. If you like to changes, you can left click or press Enter on a keyboard to confirm. But if you change your mind and want to revert to the previous position, you can right click or press C on a keyboard to cancel it. All right. Let's try rotating the object, press R to activate the rotation mode. In this condition, we can rotate the mouse cursor around the center of the object. Again, by default, we are using our viewing direction as the rotational axis as before, we can click or press Enter to confirm or right click or escape to cancel. Now, to perform scale using the shortcut, you need to move the mouse cursor away from the center of the object a little bit, especially if you want to scale down the object. Why? Because we will control the scale by moving the mouse closer or further away from the object. If the mouse cursor is too close when you press S, there is not much room to move the cursor closer, so it is very hard to control the scale. But if you back the mouse a bit and then press S, you will have more room to scale down the object. As you may notice already by default, bender scales the object uniformly in all directions, so it does not stretch or squash the object, right? Next, to have more control over the transformation process, we can use the X, Y, and Z later keys. That is right after we press the G R or S keys. For example, we want to move the object on Z axis to do that, press G first to activate the move mode. And then while in this condition, press Z, the movement is now constrained to the Xaxis direction. If you change your mind and want to use the x axis instead, just press X. Now blender uses the x axis to constrain the movement. The same concept with the Y axis, you can press Y to constrain the movement along the y axis direction. After that, you can click to confirm or right click to cancel. Let's try using this method on rotation. Press R to enter the rotation mode, and then press Z. If you want to constrain to the Z axis, the object now rotates using the Z direction SD axis. Pressing X will constrain the rotation to the X axis, and pressing Y will constrain the rotation to the Y axis, as you might have guessed. These techniques also apply to the shortcut or the scaling process. I believe you already understand this, so I don't think I need to explain them again in detail, okay? After pressing the axis letters before clicking or enter to confirm, optionally, you can type in value for the active transformation. Just for example, we want to move this object 2 meters to the right. Remember our conversion on direction right and left are on the x axis direction. So press G force to activate the move tool. Then press X to activate the X axis constraint, and then type 200. Y 200? Because the value we input in this process depends on the unit setting that we specified earlier. I am using centimeters, so to move 2 meters, I have two type 200. I am sure you get the idea. Now, remember that there are two axis values, positive and negative. If you are moving the object in negative direction, you need to input a negative line value. For example, you want to move this object 50 centimeters downward. The down direction is negative Z, not positive Z. So press G for movement, and then press Z to constrain the direction. And now you need to type in the minus symbol and then 50 and then enter to confirm. Okay? Now, sometimes and this happens to me a lot, we try to move the object in a negative direction, but we forget to type in the minus symbol. If this ever happens to you, don't worry because vendor is forgiving and can accommodate the minus symbol, even if you type it in later after the value. Just for example, we want to move this object to the front one 50 centimeters, so we press G for the move mode. Then Y for the Y X is constrained. Now, instead of typing minus 150, I mistakenly type in 150. When Blender moves the object in the opposite direction, I know immediately the duse the wrong value. If you find yourself in this condition, simply press the minus symbol once to flip the direction. If you press minus again, the direction will be flipped again. You can actually see what is going on from the text shown up here. If you are done, you can press Enter to confirm. Just as with movement, you can enter a value on a fly in rotation and scale mode. Let's say we want to rotate this object 90 degrees contro clockwise on Z axis. Make sure the object is selected, then press R to activate the rotate mode. Then press Z and type 90. Note that positive values rotate the object control clockwise and negative values rotate the object clockwise. If you are happy with the changes, press enter to confirm. Now, let's try the technique on scaling mode. Let's say, we want to double the size of this object, but only on the x axis, first press to activate the scale mode, then press X for the X axis, and then type int. Remember, the scale values in lender are not in percentage, but in decimal. So to double the size, we simply type two, not 200, press Enter to confirm, and we are done. Until this point, you may be wondering, what if we still make mistakes after confirming or perhaps just change our minds? Can we still revise the transformation? The answer is yes. Remember that we can revise newly created objects as long as we haven't done anything else. Well, we can do that also on everything we do in vender, including the transformation process. Let's say we move this object 50 centimals to the right, we press G for movement, then X for the axis, then type 50, then enter. But after it was confirmed, we change our mind we want to move the object centimeters instead. To do that, simply open the panel on the bottom left side of the viewport and then change the value here 50-70. Or perhaps we don't want to move it to the right. Instead, we want to move it up. Well, we can move this value to the move Z field manually. We can hover the mouse cursor on top of X field without clicking anything. As long as the mouse cursor is on top of the field, you can press Control C to copy the value to the clipboard. Then you can press big space on a keyboard to reset all the field values to their defaults, which in this case, is zero. Next, hover the mouse cursor on top of the move Z field, and then press Control V. The value in the clipboard has been pasted into the Z field. You can do this technique not only on movement, but also on rotation and scale. And if you accidentally click on an empty space so that the panel at the bottom left disappears, you can still access the panel using the F nine shortcut, so that is basically how you can revise transformations in render. 17. 02-04 Clearing vs Applying: In this lesson video, we will cover the difference between clearing and applying transformations. In vendor, clearing and applying transformations are two different things that most beginners get confused about. Clearing is like resetting. It means that we are changing all the transform parameters back to the default values, while applying means that we tell vendor to use the current state of the object as its default transformation. To better understand the difference, let's first discuss the clearing methods, and then after that reapply methods. This monkey head model has the rotation values of zero, the rotation values of zero also and the scale values all one. This condition is the default condition. Any object in render will have all these values when we clear or reset them. If I press G and move it around and press R to rotate it around and also press S to scale it, but scale it non uniformly to x axis. All right. Now this object is not in a default state anymore. Rotation and rotation values are not at zero, and scale values are also not at one. To clear or reset object transformation, there are at least two ways that we can do in lender. First, is by resetting the transom primeters. We briefly discuss these techniques in the previous lesson. Essentially, if we hover the most cursor on top of input field in vendor, and then press big space that field and also the neighboring fields within the same group will get reset to their default values. Okay? Let me undo this. The second method to reset the transformation is via shortcut for this, simply add the l key and then the letter for the transformation. So to clear the location, we can hold out and then press G. To clear the rotation, we can hold out and then press R, and to clear the scale, we can hold out and then press as if you ever forget the shortcuts, you can access the clear commands from the object menu in a viewport header and then choose clear. You can see all the commands I mentioned along with the shortcuts here. That is basically how we can reset object transformation in blender. Let me undo this. So we have the object back in a non default state, right? If current condition we perform apply, then lender will update the objects default state with this state. To perform apply, we can press Control A. We can apply only the location if we want to or just the rotation. Scale, et cetera. Let's try clicking on the transforms option here. With this, the object now has all the transom parameters back to the defaults. But look at the object. Visually, it stays the same. Essentially, this is now the object's default state. And so later, whenever we perform clearing, Benner will always bring the object to this state to prove this, if I press R and then rotate the object around, and then after that, I press out R to reset the rotation. This is what happened. The monkey head no longer facing straight to the negative Y axis direction. This current orientation is now its default orientation, right? After we understand the difference between clearing and applying, the next logical question will be when do we need them based on my experience? The most frequent use cases are applying the scale and clearing the rotation. For clearing the rotation, the reason is obvious. We want to straighten the object back to its default orientation. This way, we can easily make further adjustments to the object. But what about applying the scale? Why do we need this command so often? In short, we need to apply the scale every time we make changes to the dimension value let me show you what would happen if we did not apply the scale. Please note that I will be showing you some three D modeling techniques that we haven't discussed yet, but you really shouldn't worry as three D modeling is not the main focus of this lesson. We'll cover through the modeling leader in another video. Let's say I created new cube object in the center of the world. And then change the X dimension from 2 meters to 6 meters. Notice how blender automatically change the X scale value to three. Now, if I do not apply the scale and just jump into three modeling right away, every measurement related to the X axis will be incorrect if I select this phase, for example, and then perform inset for 10 centimeters. This is the result we get if we measure the vertical distance, it does inset for 10 centimeters. But if we measure the horizontal distance, it measures at 30 centimeters and a 10 centimeters. Let me undo the inset and go back to the object mode. Now before doing any the remodeling, if I apply the scale first by pressing Control A and choosing scale, the object now has all the scale values at one, which is what we need, while at the same time, maintaining the dimensions as is. Now, if I go to the sub object mode and try in setting the pace again as far as 10 centimeters, we get exactly ten centimeter both vertically and horizontally. Basically, we now have the correct measurement. From this example, you can see how important it is to always apply the scale after changing objects dimensions because if not, we'll have a lot of problems due to wrong measurements. 18. 02-05 Active object and pivot point: In this lesson video, we are going to discuss the active object in lender and then learn how to use different types of transom pivot points. When you click on a single object in dender, that object becomes the selected and also the active object. We can see this due to the bright orange highlight color surrounding it. But if you select multiple objects, you can see that only the selected object has a bright orange color. The other objects, well, they are also highlighted, but with a bit darker orange color. All these objects are selected, but only this one is considered as the active object. So we can conclude that in dender you can have many objects selected, but there can only be one active object. You can also see this concept applies in the outliner. The active object usually has its icon darker, while the text or the name of it is brighter than the rest. If you open the properties editor, the parameters you see in the object tab or other local tabs, such as the material or modifier or belong to the active object. This is also true when you open the item side panel. All these parameters belong to the active object, not the other objects, even though they are selected. All right? Now, you may be wondering, so what is the point of differentiating the active object against ordinary selected objects? Well, you'll see later that many operations in render rely on this concept such as lining objects, parenting objects, joining objects, multiple objects transformation, coping attributes, such as material and modifiers and so on. In this video, we will see how we can use the active object for object transformation. But before moving on, I want to explain how we can define an active object in Lander. As I mentioned earlier, Blender will always appoint less selected object as the active object. If we want to revise the active object, simply hold Shift and then click on one of the selected objects, less object we click will become the active object. You need to be careful when doing this because if you mistakenly click on the already active object, that object will get unselected instead. If this happens, simply click again on that object to select it and make it an active object. Now, if you select objects in your liner, the shortcuts are a bit different because the liner works more like a file explorer holding Shift and then clicking on an object, we select multiple objects in range. So using the Shift key will not make less object you clicked become an active object. What you need to press is the Control key. If you hold the Control key and then click on an object, that object will get selected and at the same time appointed as the active object, right? Next, let's discuss the Tromso pivot point. Essentially, the transom pivot point is a point or multiple points in a treaty space used by Blender as the center point of the transformation processes. Before I explained that vendor uses the origin as the center of the transformation or the pivot point. Well, that is true. If you only have one object selected, if you have multiple objects selected, Blender provides five different ways to specify the pivot point. You can access them using this pull down list called transom pivot point. You can see that there are five pivot point options that you can choose. The default option is the median point. Simply put, Blender will inspect all the structed objects origins and then calculate the middle point out of them. Notice, if you use one of the transom tools, the location of the Gizmo is not on any of the origin points, but rather at the center of all of them. Again, this is what median point means. For example, if rotatamblender uses that median point as the center of the rotation. Okay? The topmost option called the boning box center is almost the same as the median point. It's just that instead of inspecting the origin points, it will create an imaginary box surrounding all the volume of the objects and use the center of that box as the pivot point, all right? The next option is the tri de cursor. Now, this is interesting. Essentially, this option will use the tre cursor as the pivot in. So if we hold Shift and white click here and try rotating the objects again or try scaling them, the center of transformation is now on the tre cursor location. Now from all of these five options, only the three recursoroptions can affect single object transformation. Just to prove this, we can move the three cursor here, for example, and then click this object, so only this one is selected. If we try to rotate the object around, now it rotates using the location of the t cursor as the pivot point. Again, I need to repeat this. If you have one object selected, all of these four options do not matter as Vander will just use iginPoin to perform transformations. Except if you choose the two cursor uption, this option will take effect whether you have multiple objects selected or just one object selected, all right. The next option is called the individual origins. With this type of pivot point, then will transform each of the objects independently using their own origin points. We can see this better if we perform rotation. Notice that instead of all objects rotate together using a single point of reference, each object just rotates around in place using its own origin points. Okay. The rest one is the active element option. With this option, Blender will use the origin location of only the active object as the pivot point for all selected objects. If this is the active object, then the transformation will be based on the objects origin. But if you choose this object as the active object, the rotation is now centered at that object's origin. 19. 02-06 Global vs Local: In this son video, we are going to discuss the difference between global and local transom orientation and also the difference between global and local coordinate systems. By default, when we move rotate or scale objects in Blender, we are using the global transom orientation. This is basically the one that is being shown in the axis sphere at the top right corner of the viewpod and also displayed as colorful lines in the grid. We can tell by the way that blender is using the global orientation through the drop down list up here that currently says global. If you click on it, you can see that Global is not the only option supported by blender. There are many other transom orientations that you can use, and you can even create your own if you want to. We will discuss the other orientations when time comes in Shala for now. We are going to see the difference between global and local. To give you a better understanding of why this is important, imagine that this monkey head model is occur. We are creating an animation of a car moving around in traffic. Of course, a car is not always straight facing the X or Y axis. It will be hard to animate the car moving forward if it is not straight, as we cannot find any axis in a gizmo that aligns perfectly with the direction we want to move it to. But if you activate the local transom orientation, as you can see, the transom gizmo aligns with the object perfectly, making it easy to move the object along its own orientation. Now, while still using local mode, if you select another object and then rotate it, Notice Sudo gizmo is different. I mean, the axes are pointing in different directions compared to the previous object. From this simple example, we can conclude that each object in Blender has its own coordinate system or orientation, which is called local. When we rotate an object, it's local orientation, we rotate along with it. All right. Just remember that after using local transom orientation, you may want to switch back to the global orientation so that the transom Gizmos become consistent again. Besides orientation, the concepts of global and local are also important for location or coordinate systems, especially in the T D modeling process. I know we haven't touched TD modeling yet in this lesson, but just to give you an insight into why understanding this concept is important. I have a cube object that I deliberately move, so its origin is not at the center of the world. By default, when we have an object selected, the item panel only shows one version of the location. But if I switch the editing mode from object mode to edit mode or simply by pressing the tab key on a keyboard to toggle between them, while in edit mode, notice that the item panel now shows two versions of the coordinate system, global and local. Simply put, the global mode measures the sub object coordinate based on the center of the word. While local mode measures it against the origin point of the current object. So if I select this vertex, for example, use global, the coordinate values we see up here are vertex coordinates based on the center of the world. If I change the mode to local, these values are also the coordinates of the same vertex, but they are measured against this point or the origin of the object. For now, you don't need to worry about the details as we will cover this later in more depth when discussing t demdeling. 20. 02-07 Duplicating objects: In this lesson video, we are going to cover techniques for duplicating objects in vender. There are at least three methods of duplicating objects in lender. First is using the shift the shortcut or so called duplicate object. Second is using the out the shortcut or the duplicate linked command. And the third is using the command Control C and Control V shortcuts to copy in page objects. I recommend that you memorize all these shortcuts as you will need them often when using bender. In case you forget the shortcuts, you can also access them via the object menu in a viewpod header area. This is the shift a duplicate Objects command. This is the all the A duplicate linked command, and these are the copy and paste commands. All right. Let's discuss each of these commands in more detail. If you select an object or multiple objects and then press Shift V, Blender will duplicate the objects in what way, go into the move mode. So while in this condition, you can use all the movement mode techniques to control the objects location, such as pressing the X key to constrain the movement to the X axis or pressing Y or Z. You can also input the value on the fly if you want to confirm the operation, you can simply left click with the mouse or press Enter on a keyboard, all right. Now, there is something important that I need to explain here. Every time you press CFD, the object will get duplicated immediately, and you cannot cancel that except by using the ommand when you cancel using the right click method or by pressing Escape, that will only cancel the movement process, not the duplication process. Just to prove this, if I select this object again, then hit Shift D. Now we are moving the object. If I right click to cancel the operation at a glance, it looks like bender did not duplicate the object. But notice if I press G and then move the mouse, there are actually two identical objects here. Again, this is something very important for you to remember. If you forget this, you may end up with a scene with lots of identical objects located in the same locations. If you want to cancel the duplication, after you right click to cancel the movement, you can either press the delete key to delete the duplicate object, or you can press Control Z to undo the duplication. All right. Sometimes we don't want to move objects after we duplicate them. We want to scale or rotate them instead. Let's say, we want to duplicate this monkey head model and make it face to right direction. For this, we can press Shift D. Now, while in the move mode, simply press for the rotation mode, press Z, then type 90, then press Enter. If for some reason, we want to revise the rotation, we can open the action panel, and just change the value here. For example, we change this to 180 degrees so that the monkey is facing the back direction. The same concept also applies if we want to scale the object. Basically, we can use all the transformation techniques we discussed before just after duplicating the object. Next is the duplicate link command or using the AD shortcut. Just like the shift the shortcut after pressing all B, the object will be duplicated, and then we can control its location as the move mode becomes active. We can switch to the rotation mode by pressing R or switch to the scale mode by pressing S and so on. Again, basically, every technique we discuss on Shift B method also works on the AD method. So what is the difference between Shift B and D then? The difference is not in the techniques, but in the resulting data. If you use Chief D, you are creating a new object independent from its original. We can see this clearly a free press step to go into the edit mode and move one of the elements around. The original object will not be affected by these changes as it has different object data. But notice if I try to edit this object, any changes I make to this object will also reflect on a duplicate object. Vice versa, if I make changes to this object, the other objects will be affected also. Simply put, if you use the Audi method, you are not creating a new object. The result is actually the same object, but this played multiple times by Blender. In general, computer graphics terms, this is called instancing, and it has a lot of benefits. We can lower computer memory requirements by using instances. We can also save time in the three remodeling process by leveraging instances. For example, if we have to create a lot of identical columns or railings, it would be a nightmare if we had to revise their shape. But if you use instances, we only need to revise one of the objects as the other objects will follow automatically. There are many techniques related to object instances that we can discuss, but that will be for other videos in Show, all right? The last method of object duplication is using the copying paste commands or Control C and Control V for the shortcuts. This method will create new independent objects exactly at the original object locations. So it is like using the Shift D method and then clicking or pressing Cape right away. At this point, you may be wondering. So what is the point of having the copying pace method if it is the same as the Shift D method? Well, because this method uses the clipboard, we can use it to transfer objects between scenes or externally between files. Just to prove this, let's say, we want to copy this object from the current scene to another scene. I know we haven't discussed scenes before, but just to demonstrate the copy and paste method, you can press Control C to copy the object, and then to create a new scene, you can click on this button that says New scene. A quick explanation for a scene is like a file inside a file. You can switch between scenes by clicking on the scarret button and choose the name of the scene you want to activate. This is our starting scene. And this is the new one that we've just created. Inside this scene, we can press Control V to paste the object, and here is the result. As you can see, it is placed exactly at the same location as the original. Now, let's try pasting the object on a different lender file. For this, we can open the Windows Ts Bar, white click on the vendor app icon, and then click on the vendor app name. This will create a new vendor window with a different file. So currently, we have two vendor apps running, each opening a different file. Inside the new file, you can press Control V to paste the object from the clipboard, and here is the result. From this example, we can conclude that although you can use the copy and paste method inside the same scene or file, the real benefit of this method is when you duplicate objects externally across different scenes or different files. 21. 02-08 Cartoon tree project: In this video, we will create a simple pale or cartoon tree model of cylinders and spheres. But before creating anything, I want to change the viewport settings so you guys can see the objects in the viewport clearly. We already discussed this before. So just as a reminder, while in solid mode, we can choose the brightest studio Cisse and then change the background to a custom color with a value of 0.3. I like to have the KVD effect turned on, but prefer dual mode and without any rich effect. I also like to have a shadow effect on the viewport. Lastly, I press A five to turn on the wireframe overlay. Remember that F five is our custom shortcut for toggling the wireframe display. Okay? We don't need all of these objects, so press A to select off them and just delete them. For the trunk, we want to use a cylinder. For this, you can press Shift A and then find the cylinder eruption in mesh category. But I want to show you a different way, which is using the search function in vendor. After pressing Shift A, instead of looking for the cylinder command manually, you can immediately type SL on a keyboard. Notice that the black highlight is already on the mesh cylinder option, so you can just press Enter to confirm. I use this search method all the time when creating new objects because it is faster. Currently, the shape of the cylinder object is not quite like a tree trunk, so let's revise the parameters for the sit Brutosis because we are creating a low poly tree, we don't need a large number. I think ten does is enough. For the trunk radius, let's make it 15 centimeters. Remember that the overall diameter of the trunk will be twice the radius. In our case, that will be 30 centimeters. For the trunk height, let's make it 3 meters. So this is the result so far. Next, we want to move the origin to the bottom so that later we can transform the object more easily. First, we can press one to see the object from the front view, activate the move tool, and then press Control period to activate the edit origin mode. Remember, in this mode, when we move the object, only the origin moves. Ideally, we use snapping in this process, but we just eyeball it for now, press Control period again to exit the edit origin mode. To weakly center the object to the vote, we can press out G. All right. The main trunk is done. To create the leaves, we should position the precursor first by holding Chief and then click on the top area of the trunk. Now, if you press sheaf A, you can see that vendor provides two types of spheres. The UV sphere structure is more regular as it has vertical and horizontal edges. For our low poly leaves, I don't think the UV sphere is suitable. I prefer to use the second type of sphere called the Co sphere, as this looks more chaotic or natural. You can increase or decrease the subdivisions value if you want to. But I think two is already good enough, okay? Press one to go to the fun view, press S for scaling, and then press Z to constrain it to the Z axis. Feel free to keep tweaking it until you like what you see. Next, to create the small branches, we can just duplicate them from the main trunk object. So press sheaf D and place it here. Then as to scale, sheaf D again, and we can scale this one even smaller, right? We can select this one, press R to rotate, then G to move it to the side of the main trunk. We can do the same with the small one, G to move it, and then R to rotate it. For the smaller leaves, let's copy them also from the main leaves. Sat D to duplicate and move it, then has to scale it, then R to rotate it. Sf D again, R to rotate it has to scale it, and press G, if we need to move it around All right, to add more branches and leaves, we can select these four objects, press Shift D to duplicate, then press Z to constrain them to do the axis. Move them to about this position, and then press R, then Z, rotate them all to about this position. I think we should make them smaller just a bit as a final touch. We can adjust their heights. So here is the result. You can keep adjusting these objects until you really like how they look because there are no new techniques, you don't need to explain, I consider these three done. If you want to combine all these objects into single object first, you need to select all of them, but make sure you set the trunk object as the active object. This is so that other objects will join the trunk object and not the other way around. This will save us time, as we don't need to reposition the origin again afterward. So hold down the Shift key and then click on tran object to make it the active object, and then you can press Control J to join them. Now, we are left with only one object in the scene. It is a good habit to name your object properly. You can do this either from the liner or from the properties editor in your object tab. Let's just name this three and lhdlla we are done. 22. 02-09 Add object tools and basic shading: In this last video, we are going to discuss the object tools in lender, and then after that, objects basic shadings. The reason why I cover them in a single video is because we are going to need these two features in our upcoming snowman project. In the tools panel on the left, you can see a button with a cube and a close symbol. This is the ED cube tool. If you click and hold the mouse button, you can see that vendor provides a total of five variants of this tool. Besides adding a cube, you can add a cone, a cylinder, a UV sphere, and an COsphere. Most of these tools work in the same way, so we are not going to cover all of them one by one. What makes these tools unique compared to using the ad menu or using the Shift A method is that we can interactively place the new object on any surface. We can even use it together with the snapping feature. Let's say we want to create a small cube booid or box on top of the default cube. Just activate the Ad cube tool. Notice that when we hover the mouse on the surface, Blender will show a preview of how the new object will be oriented to create a box. First, you need to click and drag to define the base. After that, release the mouse. We are still not done yet. In this condition, we can move the mouse up or down to control whether the box is going out of the surface or going into the surface. We want it to go up so that later we can see the result click ones to confirm, and we have a new box or cube let's try creating another one. But now on the side, click drag to define the base, release, move the mouse left and right to specify the height, and then left click to confirm. If you want to make the base of the cube a perfect square or the height to form a perfect cube, you can do this using the Shifkey. But remember, you want to press and hold the Shifkey leader after you click and hold the mouse, not before. Let's say you want to create a perfect cube in this area. To do so click and drag first. While still holding the mouse, press the hold the Shift key. As you can see, the base shape always forms a perfec square. Release the mouse. In the next phase, you need to define the height. If you hold Shift again, the height would be the same value as the weight or the length of the base. So if you click on to confirm, you just create a perf cube. Another modifier key that you may want to try is the l key. Again, just like the shift key, you do not want to press it before the mouse, but after clicking and ragging with the mouse, Notice that if we hold the alkey, the point we originally clicked will be used as the center of the base. If we release the alkey the point where we first click will be the corner of the base. We can also use out when defining the height. If you hold out, the object height will change both ways, going out and going into the surface at the same time. If you release the alkey, you can define the height with the base, stick to the surface. If you want to, you can combine both the shift key and the alkey together. For example, let's create a cylinder now. We want to position the center of the cylinder at this location, and we want the base to be a perfect circle. So click drag at this point. Without releasing the mouse, hold the alkey now the center of the circle is locked in place, but the base shape is not yet a perfect circle. Without releasing the mouse or the alkey, we can hold the shave key to form a perfect circle, release the mouse to confirm the base, move the mouse to define the height, and then click again once to confirm the cylinder. Let's try the technique again, but with a UV sphere. Click drag on the surface, hold Shift to form a perfect circle, release the mouse, move the mouse while holding Shift. This will form a perfect sphere. Left click to confirm. All right. We can actually combine the object to stachic with the Control key, which will toggle the snapping mode, but we will discuss the leader when discussing snapping. The next thing I want to discuss is basic object shading in vender. To clearly see the difference, we need a slightly more complicated object than these objects. So let's create a monkey head model. If you select a mesh object in lender and right click, you can see that there are three types of object shading smooth, auto smooth and flat. By default, newly created object will have flat shading. This means that vendor will display the phases as they are without any effect to make them look smooth. Now, if you right click again and then se smooth, this is what we get. The surface now looks smooth. Please note that the number of phases is the same. We can see this clearly if we press a five to turn on the wireframe overlay this is the flat shading, and this is the smooth shading. So basically, smooth shading is just an effect of tweaking how shadow spreads across the surface, taking the object's appearance to look like it has more faces than it really is. The rest one is the other smooth option. Essentially, with this option, the object is neither smooth nor flat, but in between, some of the edges look smooth, while the other looks sharp. Lender can do this because if you open the modifier tab in the properties editor, it automatically applies a modifier called smooth Bangle. I features flat or smooth, the modifier automatically disappears. I know we haven't discussed modifiers yet. Simply put, modifiers are like plugins or features that can be attached to an object. Again, if you use the other smooth shading, a modifier called the smooth Bangle will be applied to the object. By default, it is given an angle value of 30 degrees. This value defines the maximum angle on the edges formed by its faces that will make the edges look smooth. Simply put, the bigger the angle value, the more edges become smooth. Just for example, if we lower the to five degrees, almost all of the edges look sharp. If we increase this to 45 degrees, most of the edges are smooth, except in some areas such as around the eyes and the ears. And if we increase this to 90 degrees, now, all of the edges are smooth, you may be wondering, is there a way we can manually pick which edges are smooth and which edges are sharp? The answer is, yes, we can do that, but that will be for future video, as we have to go through several lessons before that. Please note that not all shading types work nicely with all primitive objects. For example, if you select this cube object and then try to apply the smooth shading on it, the result looks weird. So for simple cubes or boxes, you may want to leave them to flex shading. On the other hand, sphere objects do not look right in flat shading mode. If we change it to smooth, it will look a lot better. As for cylinders, because it has a flat top and bottom while the side area is curved, you may want to apply your smooth shading to cylinder objects. 23. 02-10 Snowman project: In this video, we are going to create this snowman model from simple objects which are spheres, cone, and cylinders. But first, let's create a plane object for the floor, Shift A N type plane, then pra center. Let's change the dimension for meters. For the base of snowmen, we can create a UV sphere object. I think 2 meters is too big. Let's make this one 50 centimeters. Press one for the front view and scale the sphere along the Z axis and position the object above the floor, but still slightly overlaps Shiv D to duplicate as to scale, and let's do that one more time for the head part. Before we continue, let's change the shading type of all of these sphere objects to smooth, all right. Position this one to a bot here, rotate it to the right, subit, and for this last part, we rotate it to the left, so we have some variations. The bays objects are done. Feel free to adjust them again until you really like how they look. Next, for the nose, we want to use a cone object, so activate the EDC tool. Remember to click Androg first and then hold out and shift together, move the mouse up or down, and try to make the cone go out of the surface. From this point forward, we will need the local orientation more than global orientation. So we can change the transom orientation to local. With this, we can scale, for example, exactly along the cone's height or Z direction. And if we activate the move at all, we can also easily direct the Zaxs arrow to position the cone object. If we zoom in to see the surface up close, we can see that it doesn't look smooth. For cone objects, we should use smooth shading. All right. Next, we want to create the eyes. Let's use the alco spheres for the eyes. Click drag in this location and hold out and shave keys together, release the mouse, then hold shave again and left click to confirm, change the shading to smooth and use the move to to tweak the position. For the right eye, we can press Shift D to duplicate, just like before, you can use the move tool or the rotate tool to control the placement of the eye until you are satisfied with how it looks. Next is the head. For the head, we can use a cylinder. So activate the ad cylinder tool, click and drag from the center of the head, then hold out and shift together, make it roughly the size. I still think this is to take. Besides using the scale tool, we can also directly tap in the value in Z dimension field. Let's make it 3 centimeters. Use the move to to tweak the position. And let's change the shading to smooth. Rotate this a bit. For the top part of the head, we can quick at the existing cylinder by pressing Shift D. Move this up a bit so you can see it. And then scale it down using the ziprane constraint and then scale upward along the Z axis. We may have to do this several times until we get the height that we need, and just take the position or the rotation until you like how the head looks. Next, we want to add the arms. Basically, the stomin arms are just three twigs, so we can use the cylinder tool, click drag, and then hold out and shave, release and drag the mouse up. As always, for cylinders, we should use the smooth shading. Et's scale this a bit and then move it closer to the body. For the smaller branches, we can press Shift B to duplicate and then press S to scale it down. Repeat the process for the third branch. Move them and rotate them so they all look like a piece of tree branch or twig. Make sure they are connected when viewed from the side view. Okay, right arm is done. To create left arm, we can just duplicate the three cylinders from the right side. But before we do that, be careful when moving multiple objects using the local transom tool because if we try to move them along Xaxis, for example, each object will move independently along its own Xaxis direction. So in this case, we should change the transform orientation back to global. Now we can move these objects together, press Shift D to duplicate them, press X to move them along the X axis. From here, we can move and rotate them manually, or we can mirror them all using the mirror operation. For this, you can open the object menu, then choose mirror, and then choose X Global. Now we have the mirror version of druid arm. Let's reposition of small branches, so they look random or at least different from druid arm. Don't forget to check from the side view to make sure they are all connected. And for the final touch, I think I want to tweak the head just a bit. Let's move these down and move them to the back a little and we are done. You don't have to worry about this drug area, as this is just a shadow immediate from the nose. You can turn off the shadow effect if you want to. But I personally like to display the shadow in a viewport. 24. 02-11 Installing Extra Mesh Object add on: In this video, we are going to cover how to install add ons in vendor, specifically the extra mesh objects add on. Hopefully, after this lesson, you'll be able to search and install any official vendor add on that you want or need. Now, if you are very new to Blender, you might be wondering what exactly is an add on. Essentially, an add on is a piece of programming code that can be installed along with the main vendor application to add more functionalities to the binder installation. In other software, it is commonly known as plugins. We need to discuss this because since bender 4.2, the way add ons are handled is different from the previous versions. Before bender 4.2, all official Blender addons are included inside the installer file. The nice thing about this method is that as users, we don't need to search and download the addons files manually. We just need to activate them in preferences window. But the bad thing about it is that it makes the blender installer file digger needlessly, as not all users use all the included add ons. As time goes by, more and more developers submit their addons for free and become part of the official bender addons. To avoid this bloatednes problem, since version 4.2, the Blender foundation decided to use a different approach. The official addons are no longer included in the installer file. Instead, they provide an online repository for addons. When we need to install a certain addon, Blender can just pull the file from that online repository. You can check the repository at extensions bender.org. Notice that bender does not use the word add on, but instead extensions because it also hosts teams. So the term extensions is a broader scope that consists of addons and also teams who knows perhaps in the future, there will be a new type of extension for Blender other than these two types. If you only want to browse the add ons, you can click on the addons button upp here. So here are the add ons that you can install and use for free. If you find an add on that looks interesting, you can click on it to see the details. You can also use the search feature up here if you already know what you are looking for, such as you know part of the add on name, or at least a keyword related to the add on. Right now, I know I want to search for the extra mesh objects add on, so I can type extra and then Enter, and here is the add on that I need. If you want to install the add on directly from the website, just click on this Get addon button and then click and drop this on top of your blender application window. If somehow this method does not work, this could be due to your security software or your company proxy settings. Don't worry. We can use the next method, which is quite easy also. To install addons right from the blender application window, you need to open the preferences window. Next, this is important in a system tab in the network section. You need to activate the Low online access option. If you turned off, then vendor won't be able to access the online extension repository. Next, open the Get extension tab and then type here, extra. Blender will display all add ons that have the word extra in it. This is the add on that we are looking for extra mesh objects. I already installed it before, so the install button does not exist anymore. But if you haven't installed it, you can find the installed button here. You struck the button below. Just click on it to install it. Bender will do its job downloading the file and installing the add on. After that, open the addon tab. This is where you can find all Blender addons installed in your computer. Unlike other software, the Blender addon system is very advanced. After installing an add on, you can easily turn it on or off from this tab. Some addons even have settings or parameters that you can twick in this tab. So again, the Get extension tab is for installing new addons, while the addon tab is where you turn them on or off and also tweak their settings. If you really use a certain addon, you may want to turn it off for a while. This is so that the blender application can start much faster. You can easily turn it on again later when you need it. For now, just make sure the extra mesh objects addon is clearly active. Okay? Now, if you go back to the TD viewport and then press Shift A or click on the at Menu button, you can find more options in the mesh category. One of the most frequent objects Duse lot is this single vertex object, but we'll get to it in a later video. For now, feel free to experiment with all these new mesh objects. For example, you can try creating around cube object. You can use the last action panel to control the radio change the size, change the number of divisions, and so on. Another example is you can create a gear object. You can control how many teeth the gear has, the radius value, value, et cetera. Okay, guys, that is how you can install your official bender add ons and how to use the extra mesh objects add on. 25. 02-12 Snap commands: Starting from this video at the next few videos, we will discuss snapping features. Mainly, we can use either the Snap commands or Snap mode to perform snapping in ender. For this video, we will focus on using the snap commands. We will learn how to snap objects based on their origins and then learn how to snap objects to the cursor location. To practice the techniques, let's create a ti boot model from the extra mesh objects add on. You can press Shift A. Then in mesh category, find the extras sub menu and then use Tipot plus. If you use the SMx before, you should be familiar with this Tipot model. Let's change the shading to smooth and place it here. I think it looks too big. Let's scale this by pressing F, then type 0.5 to make it half the size of before. Now, let's also create a monkey head model and place it here. Let's also make it smooth, right? The first technique we are going to discuss is moving or snapping an object to another object. For this to work, the target object must be the active object, and the object or objects that we want to move should be sected. Please note that this technique is based on the origin point of each of the objects. Say, we want to move both of these objects to the cube object. First, we need to set all of them, but make sure the target object, in this case, the cube object is the rest one selected, so it becomes the active object. After that, press Shift S then choose selection to active, as you can see. All of these objects are now placed in the center of the cube object based on their origins. Let me undo this. If you forget the shortcut, you can always open the object menu. Then snap and then ooe selection to active. All right. The alternative method to this technique is to use the side panel. Again, this can only work if the object or objects you want to move are selected and you have the target object as the active object. While in this condition, you can right click on any of the location fields here. And then copy all to selected. What this command means is that it will copy all the X, Y, and Z coordinate values from the active object and transfer them to all the selected objects. The result is exactly the same as the previous shortcut or menu methods. As a bonus, you can do this also with the rotation and scale values. Unfortunately, though, you cannot perform this technique on the dimension fields, at least that is the case in the blender version I am currently using, the next technique is snapping objects to the TD cursor location. Let's say we want to place the tipot object on top of this cube object. Essentially, instead of using the origin point of the target object, we want to place an object on a specific surface. For this, we can make use of the TD cursor, so hold chief and then click on the top surface of the cube object. Next, make sure the object we want to move is selected, and then press shift as, and then choose selection to cursor. Please note that this technique still makes use of the origin, but the origin of the object we move, not the origin of the target object. Currently, the Teapot object has its origin at the bottom. That is why it sits nicely on top of the cube and does not overlap with its surface. Let me undo this first. But notice, if we try to snap the monkey head object using the same technique, it penetrates the cube surface. Again, this happens because the original location of the monkey head model is at its center. And now, as it lines with the predecursor, the rest of its volume overlaps, right? So what if we want to move the monkey head model on top of the cube object without any overlaps. For this, you need to prepare the model so that the origin location is not inside the head volume, press Control period to enter the origin edit mode and then move the origin to any location you want where the snap will happen. I'll just move this origin so it is at the bottom of the chain. Remember to press control period again to exit the edit origin mode. Now, if we press Shift again, and then choose selection to cursor, monkey head model move to the top of the cube or the location of the TD cursor without overlapping with the cube surface. If you ever forget the shortcut, as before, you can also open the object menu, then snap and then choose srcsion to cursor. Okay, guys, so those are the first two techniques for snapping objects which basically use the snap commands. Please do not delete this file as we will continue using it in our next Russian video. 26. 02-13 Snap mode basics: We will continue discussing snapping features in ender. Now, we will focus on the second group of snapping techniques, which is basically using the snap mode feature. We will start with discussing the basics and then later discuss how to perform origin to vertex snapping, origin to edge snapping, and finally discuss how to use the snap mode while in access constraints. You can find a snap mode icon and its panel at the top center area of TD viewport. By default, the snap mode is turned off. There are three methods that you can use to turn it on. The first is by clicking on this icon. This is on, and this is off. The second is by pressing Shift tab on a keyboard. This is on, and this is off. And the third is by activating it on the fly while performing transformation using the Control key. This third method is my favorite, and so you will see me using this method a lot throughout the course. Knowing how to turn the snap mode on or off is just half of the story. The real power of the snap mode is understanding how to control its behavior. For this, you can open a snapping panel by pressing this small carrot button. Here, you can make objects snap to increment values, grid points, vertices, edges, pass, and so on. You can even make objects snap to multiple elements at once by holding the Shift key and just clicking on the elements or options that you want to snap to. Because there are a lot of primeters to cover, we are not going to cover all of them at once, but gradually using practical examples. For now, make sure you activate the active option for the snap base and activate the vertex option for the snap target. Basically, with this setting, Blender will snap the origin of reactive object to a vertex location, whichever is closest to the mouse cursor location. Let's say we select this Tipod object, then activate the snap mode, press G, and then try moving the mouse cursor to any vertex in a cube object. As you can see, the Tipot object snaps to the vertex. We need to click one to confirm the move operation. Can do this on any vertex of any object in the scene, so it does not have to be the cube object or any single object. Now, if you turn this off or by pressing the shortcut Shift tab, if we move the Teapot again by pressing G, it does not snap like before. Now, while moving the teapot like this and we have the snap mode turned off, if you envolve the Control key, blender will temporarily activate the snap mode. As you can see, it snaps perfectly as if the snap icon is active. Again, this happens because I'm holding the Control key. If I release the Control key, the snap mode will be turned off again. All right. Up to this point, we now understand how to snap the origin to any vertex in CN. Basically, we need to use the active option for the snap waves and use the vertex option or the snap target. Okay. Now, let's try a different snapping target. For example, the He with the He option, if we press G to move the teapot and then hold control, the Tepod will snap to the nearest edge location. So that is basically how you can snap objects using origin to edge approach. For now, let's change the snap target to vertex. Besides using free movement, you can also use the Snap mode when performing axis constrained movement. To see this in action, we can activate the move tool. Let's say we want to move the monkey head object, so its origin aligns with this vertex at the cube object, but we only want to do this on the x axis and not the other axis. For this, we can turn on the Snap mode and then click the Xaxis arrow and then move the mouse cursor to the target vertex. Again, it is the mouse cursor position that matters. Let me undo this. We can also use the control method. So even if we turn the snap icon off, we can perform movement on the x axis, then hold control and move the mouse cursor to the target vertex. The monkey head model will snap to the vertex, but only in the X axis direction. The same concept also applies to the other axis, Y, or Z, and also the prinet constraints. If you don't like using the move to Gizmo and prefer the shortcut method instead, you can also do that while performing Snap. Just to prove this first, press the G shortcut for movement, and then press X to constrain the movement to the X axis. And then while in this condition, if we hold the Control key and move the mouse cursor to the target vertex, the snapping will occur. You can do the same with the other axis if you want to. 27. 02-14 Snap mode intermediate: We will continue discussing the snapping features in Blender. In this lesson video, we are going to cover the bounding box to vertex snapping, vertex to vertex snapping. And then finally origin to phase snapping with automatic orientation. If you open a snap panel, the first option for the Snap base is the closest. Please note that the setting works differently if you are in the object mode, for instance, when you are in the edit mode. We will discuss the edit mode in more detail in future lessons. But just for a quick insight, if you have the closest option and a vertex option active in the edit mode, Blender will detect the vertex that is closest to the target vertex and move and snap the selection based on a vertex. Essentially, the word closest is correct, only if we are in edit mode. When we are in the object mode, the closest option does not actually detect the closest vertex in the object, but it uses the closest corner point of the object's bonding box. It won't be very useful if you are trying to snap rounded objects, but if you only need to snap boxes, such as most of the architectural objects, this method can help a lot so let's see how this bonding box snapping works. First, let's digest the term. A bounding box is basically a cuboid representation of a three object in space. Imagine you need to send an item through a postal surface. You put that item inside a cardboard box. Well, that cardboard is like a bonding box for the item you want to send. In vendor, by default, object bonding boxes are hidden. You do not need to display the bonding box to use the snapping feature. But if you do want to display it, you can do that per object setting. For example, if you want to show the bonding box of this depot object, we need to select it first. Then in the properties editor, open the object tab. In a view display section, you can turn on this bond checkbox. So this is the bonding box of the tipod object, right? Now, if we use the closest option, vendor will detect which of these eight corner points of the bounding box is the closest to the target element and then use the corner point for the snapping reference. Let's say we want to snap this corner point to this vertex because we are using the closest setting, we need to move the Tipod so that this corner is the closest one to this vertex. Now you can press G, and then hold Control to activate the snap mode and then move the cursor to the vertex location. Again, as a reminder, it is the mouse cursor that matters. Blender one snap if you just do this, you need to move the mouse cursor to the target vertex to trigger the snapping. Since Bandar four point oh, there is a new feature called set Snap Base that can help us perform presa snapping or vertex to vertex snapping, even if we are still in the object mode. Remember that the set snap Base feature C works based on snap mode settings. So you need to have the vertex option turned on in the snapping panel. Otherwise, it will snap to other elements that we don't need. Let's say, we want to snap this Tipot object using this vertex as the reference point, and we want to snap that vertex to the vertex in this cube object. First, make sure the Tipot object is selected, press G to enter the move mode. Now, while in the move mode, press B wants to enter the set snap Base mode. In this mode, the object will temporarily go back to its original location. And we can pick any vertex in the model as the reference point. Click on this vertex to set it as reference. Next, you need to click on a vertex that you want to target. Notice how blender provides us with a preview whenever we hover the mouse over a valid vertex. Just click once to confirm the movement and snapping and it is done. Let's see another example. But now we will use the move Gizmo instead of the G shortcut. The technique is slightly different, so please carefully pay attention. Let's say we want to move this monkey head model by snapping this vertex at the back of its head to this vertex on the cube. Make sure the move tool is active. Next, you can perform this using the access arrows. That is, if you want to constrain the movement. But if you want to move the object freely, you can click break the white circle, and this is important. While holding the mouse down, press and hold the Blatter key on a keyboard. Without releasing the key, move the mouse cursor to select the reference vertex. After you select it, release the mouse button. You can also release the B key at this point and then hover the mouse over any vertex you want to target. Click one to confirm. All right. So again, to recap, to use the set snack base feature while moving an object, you need to press the B letter key. You can use this B shortcut either while using the G shortcut or while using the move to Gizmo. I know that using the move to Gizmo is a bit tricky as you have to press and hold the mouse button and keyboard at once. But I'm sure in Shallow with a bit of practice, you will be able to use this feature in no time. The last technique we want to discuss is placing an object on the surface while having that object reorient itself to the surface's normal direction. This technique can be very useful when we need to place a picture frame or painting on a wall, for example, in order for this to work. First, you need to make sure that the origin of the object you want to move is at the bottom, and then the Z axis coordinate is pointing upward. Later, the Z direction of the object will align to the normal direction or the perpendicular direction of the surface. Let's say we want to move this tipod object on the side surface of this cube. The tipod already has all the necessities. Is origin is at the bottom, and Z axis is pointing upward. We can see this if we use local orientation or if we activate the edit origin mode. The Z axis is this way, so the surface will be on its XY plane. All right. Next, in the Snap panel, you need to use active as the SNAP Base option. Then use phase for the target option. And this is important. You need to activate the OI rotation to target option. Now, you can try pressing G. Then hold the Control key to activate the snap mode. As you can see, whenever the most cursor is on top of the surface, the object will snap to that surface and automatically orient itself so that its Xaxis is always perpendicular to the surface. As always, you can click once to confirm or you can right click to cancel the operation. 28. 02-15 Side table project: In this video, we are going to model this side table product from Finoty Living. You can check the website through this URL, just in case the product page does not exist anymore. I also provide a screenshot copy of the page and some reference images. As you can see from the website, this side table looks very simple, at least from the TV modeling perspective. Although we haven't touched editing mode, we can create this using on cube objects. The dimension of the product is 65 in length. 45 in width and 60 in height. I cannot find any information about the thickness of the plywood panels, but if you look closely at this photograph, I'm guessing that the vertical panels are half the size of the horizontal ones. Let's just assume that the bottom part is 5 centimeters thick, the same with the upper part, while the standing ones are 2.5 centimeters thick. All right. Let's open vender. For the scene length setting, I prefer to use centimeters, especially for furniture modeling. And then for the snap mode settings, we can use the vertex option for the target and closes for the base. We can use the default cube, but we do not need the light and the camera for now. Let's start with the base part. Press N, and change the dimension to 65 press tab, 45, and then for the height, let's make it 5 centimeters. Press period to Zoom extend the object. Next, we want the origin to be at the bottom. We can press Control period, and let's use the move to Gizmo for this, direct the blue arrow, and then while holding the Control key, snap it to one of the vertices at the bottom. Don't forget to press the control period again to turn off the edit origin mode. To apply the scale, press Control A and then choose scale. Set the Z coordinate to zero, so it is on the floor. Okay. For the top part, we can press Shift D and then press Z and move it around here because the wood panel thickness is 5 centimeters. You region is currently at the bottom, and because the total height is 60 centimeters, we should input 55 centimeters for the Z coordinate. But if you ever find the number is not round and hard to calculate, you can just let bender do the calculation for you. So you can type the height, then minus then the thickness and then enter. The result is the same. Next, for the two standing panels, I do know the exact width value, but let's assume that both are around 25 centimeters. We can create the panel by duplicating the base, press Shift D, and then X, move it to the left side for now. We know for sure that the height is 50 centimeters. That is 60 minus five and five. So let's input that one first. The X dimension, we can input 2.5 centimeters. And lastly, for the Y dimension, let's just make this 25 centimeters. We can adjust it again leader if it doesn't look right. We can apply the scale just to play safe. Now we can use the bonding box snapping technique. Remember that this snapping technique is based on the closest bounding box corner points. So move this up first to make the bottom points the closest to the upper vertices of the base part. Then move it down again while holding control to snap it to the target vertex. We can do this also with the X axis. Move this first. So the part is closest to the target vertex and then move it again to the vertex while holding control. Finally, we can snap using the Y axis to this vertex Okay. For the other standing panel, we can press Shift D to duplicate, then X, then press R for rotation, then Z, and then type 90, then press Enter. Move it using the Y axis and snap it to this vertex. Let's move this along the X axis to about this position. I think we should make this panel a bit wider. Let's try 40 or perhaps 30 centimeters. Yes, I think this looks better. To combine all these objects into a single object, we can select all of them, but make sure the base panel is selected left, so it becomes the active object and then press Control J to join them all. Now we have the side table model as a single object. For the final touch, we are going to add a bevel modifier. I know we haven't discussed modifiers yet, but this should be an easy step to follow. Go to the modifier tab, press the Plus button. Then type B, the bevel modifier should be listed on top, so you can just press Enter. Currently, the bevel mount is too big. Let's change it to 2 millimeters. This will add subtle blnd effects on corner edges, making the model look more realistic. And Ham duller, this side table model is done. 29. 02-16 Dining table project: In this video, we are going to model a dining table made by Vinoti Living, the same company that created the side table in a previous lesson. If you look closely at this product photo, you can see that the ends of the tabletop are actually rounded. But since we haven't touched any sub object modeling techniques yet, we are going to cheat a little bit. That is, we will just leave the ends of the tabletop flat. Okay. Next, for the size, there are several options available. Let's just sick the second one, which is to 70 centimeters in width. 120 in depth and 75 in height. For the base cylinder, I'm guessing that it is 70 centimeters in diameter, the same rectangular foot, about 70 to 80 centimeters. As for the thickness, I assume it is 3 centimeters. All right. Let's open lender. We can delete the light in the camera objects. Currently, I am using centimeters for the sn line value. As for the snap mode, I use closes and vertex as the starting point. We may change the snap mode along the way if needed. As usual, we can start by defining the dimension of the object. In this case, we are going to create the tabletop for press N, then type on the X dimension field to 70. Press tab, type in 120, then press tab again. For the thickness, let's just input 5 centimeters. As always, it is a good habit to apply the scale transformation every time we input dimensions to an object. Next, we want to move the origin point so that it is on top or align with the top vertices, press control period to activate the edit origin mode, move this up and hold control, and then move the most cursor to one of the top vertices. Don't forget to press control period again. Now, because the origin is already at the top, we can use the height value of the product to define the coordinate of the tabletop object, type in 75 and then enter. Okay. Next, we want to create the cylindrical foot. Currently, my two decursor is already at the center, so I don't need to change anything. But if yours is not at the center, you can press Control C first to centre it. To add a cylinder object, we can press Shift A, then type C Y, then enter. Here is the cylinder. I still looks too big. Let's change the diameter to 70 centimeters. Sorry, this is actually radius. So you need to input the half value of the target size, which is 35 and photo depth or the height of the foot because the total height is 75 and we have the tabletop already occupying 5 centimeters. The cylindrical foot should be at 70 centimeters height. Move this up while holding control and find vertex at the bottom to snap to. And let's move this to the right to about this location. All right. For the other foot, as you may have guess, we need a cube object as the starting point. Let's change the X dimension to three, tab, 80, tab, then 70 for the height, the same as the cylinder. So now we have rectangular food. We just need to snap this to the top and then move it to the left to about this location. Sorry, I think it looks too white. We can revise the weight to just 70 centimeters the same as the cylinder. To combine all of these objects, just select them, but make sure the tabletop is the last one selected. Its just because we have applied the scale to the tabletop object while we haven't applied the others press Control J to join. Now we have a single object. The ideal origin location for objects, especially furniture, is at the bottom center where it touches the floor. This will make placing the model in the C later much easier. We can press Control period and then move it down and press Control and snap it to one of the bottom vertices. You can also press out G if you want to in this case, then control period again. Now, sometimes the object is not exactly on the floor. It's minor, but not precise nonetheless. If this ever happens to you, just zero out the value manually. Okay? This is the result so far. We have all the dimensions according to the product specification. Last two steps we are going to do are adding a bevel modifier so that the corners are not too sharp looking and then changing the shading mode so that the cylinder surface does not look jagged. We already discussed how to add bevel modifier before. Make sure the object is selected. Then in the modifier tab, click on the Plus button, type in BE or Bv. Then choose the bevel modifier. Change the amount value to just 2 millimeters. We can see how it affects corners. Finally, we can wil click and then choose A smooth. Vendor will automatically add the smooth biangle modifier to the object. And here is the final product. 30. 03-01 Interaction modes: In this lesson video, we are going to discuss the interaction modes. When working inside the TD viewport, by default, we use an interaction mode called the object mode. In the object mode. We can select objects, perform transformation on objects, and do other object based manipulations besides the object mode. There are other interaction modes that you can use. You can see them by clicking on this dropdown list. At the top left area of the TD viewport, we have the edit mode, scalp mode, vertex, pain mode, and so on. For now, we will be only focusing on the edit mode. But for insight, let me briefly explain what these modes are for. The edit mode is where we do TD modeling. In this mode, we can access the sub objects or the elements that make up the TD object, which are vertices, edges, and faces. The scalp mode is used for TD modeling also, but it uses a very different approach. Sculpt mode mimics how a sculptor works with clay. Next is the vertex span mode. In this mode, we can paint colors to our TD model. It is called vertex sin because the color information that we paint will be saved to the vertices of the TD model. The weight pain mode is used for controlling the influence of bones to the skin object. In three computer graphics, we need at least two types of objects when doing organic character animation. First, are the bone objects. These are objects that we animate, but usually not visible when rendered. The second is the skin object. This is the object driven by the bones and will be visible in rendering results. Basically, the weight pine mode is where we control the relation between the two. Okay? The last one is the texture pane mode. It is mode. We can paint onto the objects using brushes, just like how we do it in Krita or photoshop. The big difference between the texture pane mode and vertex pain mode is that texture pane mode does not save the current information on vertices. Instead, it will save two image files such as PNG or JPEG, et cetera. So those are the interaction modes in a nutshell, right? Now let's focus on the edit mode. Before we activate the edit mode, you always want to make sure that the object you want to edit is selected, and then to activate the edit mode, you can do one of these three methods. First, is by using the interaction modes, dropdown list. Second, by using the tab keyboard shortcut, and third, by using the modeling workspace. Let's see each of these methods one by one. If you have an object selected and then you choose edit mode from the interaction mode, dropdown list, you are now in edit mode. You can tell that you are inside the edit mode through several indicators. First, here, it says edit mode. And then you can also see these icons for switching between vertex selection mode, edge selection mode, and phase selection mode. You will also notice that there are a lot more tools available in left tool panel. These are some of the mesh remodeling tools available in vendor. All right. To go back to the object mode, you can simply click on Drop Down list again and then choose Object mode. Okay, so that is the first method. The second method which I use the most often is by pressing the tap key on the keyboard. This shortcut works as a togal. So if you press once you activate the edit mode, but if you're already in edit mode, pressing tab again will bring you back to the object mode. All right. The last method that I rarely use is the workspace. For this, simply click the workspace tab that says modeling. Automatically, we will be in edit mode with the selected object. To go back to the object mode, just click the array of Workspace again. Now, before moving on, you need to understand that there are many types of objects in vendor. If you go to the edit mode while you have mesh objects selected, you will get mesh editing tools available for you. But if you activate the edit mode while having a curve object or a text objects selected, for example, that would be a different story. In the edit mode, different types of objects will have different types of editing tools, and so the techniques for editing the object are also different. Some object types don't even have any edit mode feature. For example, if you select a camera object, you can see that it only has object mode available in the interaction modes pulled on list. While in edit mode, you are working exclusively inside a certain object. You can only strike vertices, edges or pieces that belong to that object. You cannot strike sub objects or elements belonging to other objects. If you want to access vertices or edges of another object, you need to go back to the object mode first. Select that object and then activate the edit mode. Now, we are working inside the object and not the other objects, you may be wondering, does this mean that we cannot work on multiple objects when inside the edit mode? The answer is yes and no. Although you can select multiple objects and then activate the edit mode. Each of the objects is like an independent private island. This is a very important concept to understand as this can lead to a lot of frustrations later if you use the wrong mindset. To clearly show the issue, let me duplicate this cube object, so we have a total of three cubes, but I select these two cubes and then press Control J to join them. So now we actually have two objects, this one and this one. We can select multiple objects and then activate the edit mode. In this condition, we can select vertices or edges or faces from both objects. We can perform through the modeling commands on these two objects also, such as true, inset, wel, et cetera. But if we try to perform through the modeling commands that connect elements across these two objects, we cannot do that. For example, if I select these vertices and then press F, blender creates a face connecting all of the selected vertices. But notice if we select two vertices from this object and two verticies from this object, pressing F will do nothing. Blender cannot form of face reaching these vertices because they actually belong to different independent objects. Again, all the modeling features work except the ones that try to connect elements between the two objects. In this case, if you do want to create a phase from these four vertices, you have to join the two objects first, and to join objects, you need to be in the object mode. You cannot join objects in the edit mode. Select the two objects and then press Control J. Now that it is a single object, we can go to the edit mode and try to do the same thing. That is selecting this for vertices, and then press F to create a phase. Blender can perform that command without any issue. 31. 03-02 Basic mesh selection: In this lesson video, we will discuss how to select mesh elements or mesh sub objects in blender. That is, when working inside the edit mode, if we have a mesh objects selected, and then we press tab to go to the edit mode, we can see up here we have three buttons or icons. These icons determine what type of mesh elements you want to work on. This is the vertex selection mode. In this mode, we can only select vertal cis. We cannot select edges or faces. While in the mode also, we can access different types of modeling commands related to ertals. You can access these commands either by clicking using the tools panel on the left side or through the vertex menu up here. Next is the edge selection mode. In this mode. We can only select edges. We cannot select vertices or phases. Notice that if you right click, the pop up menu now shows different sets of commands. These are the commands applicable to edges. Last one is the selection mode. In this mode, you can only select phases. As before, if you right click, the pop up menu now shows different sets of commands related to phases or right now, moving back and forth the mouse to the stop area to access these icons is not that convenient. That is why I prefer to use the shortcuts. To activate the vertex mode, you can press one on a keyboard. To activate the He mode, you can press two on a keyboard. And as you may have guessed, to activate the phase mode, you can press three. Please note that the keyboard keys we are talking about are the number of keys located on the left side of the keyboard just above the Q W, and letter keys, not the ones in the numbered area because those are used for Viewboardnavigation. Now, you may be wondering, what if we want to select vertices and edges and phases at the same time? Can we do that? The answer is yes, to do that, you can hold on Shift key and then click on the icons you want to activate. If the three of them are active, we can select vertices, edges, and pass at the same time. If you prefer the shortcut method, you can hold the shift key and press the one, two, and the three keys to activate the icons. If you have all the icons active, and you right click with the mouse. Now the pop up menu shows all of the commands, making its size quite large. It may seem convenient at first to have all of these icons active, as you can freely select all types of elements. But I prefer not to do this because it makes loop selection hard. We will discuss what loop selection is later in different video. For now and for the rest of the course, I will mostly use just one mode by switching them using the shortcuts one, two, and three. Before we move on, I want to show you how to display the statistic overlay in a three d viewport. This can be very useful if you want to know the total number of pass or just vertices that are selected, et cetera. For this, you can click on a small carrot button beside the overlays icon and then activate this checkbox that says statistics. Now we can see the number of objects, vertices, edges, and so on. The number after the fourth slash shows the total while the number before the fourth slash shows the selected ones. So if we do not select any vertices, for example, this number is zero. If we select a single vertex, this number is now one. If you shift and select more vertices, we can see the number goes up according to the number of vertices that are selected. The same concept also applies to ages and phases. I am sure you get the idea. If you want to turn these statistics off, just open the previous overlays panel and turn off the statistics checkbox. To select mesh elements, basically, the techniques are similar to how we select objects in the object mode. So we can click once to select a single vertex. We can both shift and keep clicking on vertices to select more than one. If we want to do box region selection, make sure we have this select tool active and just click drag like this. With the same concept, you can perform a circle selection and selection if you want to select all of the vertices, you can simply press the a shortcut. Then to deselect all vertices, you can press out A, or you can also press A twice. If you prefer to use the mouse, you can simply click or click ragging on an MP space in a viewport. You can do all of these techniques on edges, as well as on phases. Again, everything that we have learned on object selection is applicable also in the edit mode for selecting the mesh elements. Feel free to try and experiment with these techniques, all right. Let's say we have the shading mode set to solid and we are inside the edit mode, and currently we have the vertex selection mode active. If we try to select all the vertices by dragging like this, it seems that all of the vertices are selected. But notice if you rotate this sphere object, it turns out that some of the vertices at the website are not selected, even if we are in two the views such as the front view or the top view where we expect the selection to go all the way to the best of the object, it does not do that. So how can we select vertices, let's say, only the top part of this object. The important concept you need to understand when working in vendor is that you can only select objects or sub objects that are visible to you. You cannot select them if they are not visible, such as when they are obstructed or exist behind other objects. So to be able to select them, we first need to see them to do that, we can either switch the shading mode to wireframe or by turning on the X ray mode. As a reminder, you can toggle between the wireframe and solid shading mode using the shortcut Shift Z. Notice that by default, when we are in wireframe mode, the X ray icon is automatically activated. That is why we can see through through the objects in this mode. We have discussed this shading mode before. What we haven't discussed is the X ray mode. Mostly, we use this feature when we are in solid mode, but still want to see through the surfaces, as you can see, with the X ray mode, all phases in a viewport become semitransparent. If you prefer the shortcut, you can press out Z to toggle this feature on or off. Now, if we are in wireframe mode or have the X ray mode turned on, because we can see all the vertices, edges, or faces, we can now select them without any problem. When you are done with the selection, you can return to the standard solid mode if you want to 32. 03-03 Solving the 1 2 3 shortcuts nightmare: In this lesson video, I'm going to address one of the biggest pain points working in Blender, which is when you have to use the edit mode a lot back and forth, we already knew that when we are inside the edit mode, we can use the one, two entry number keys to switch between vertex H and phase selection modes. The problem is that these shortcuts only work in the edit mode and not in the object mode, or to be more precise, the one, two entry shortcuts do something totally different in the object mode. You will notice this problem if you have a lot of collections in your scene while in the object mode, pressing number one will hide all of the collections, except the first one in the winer list. Pressing number two will isolate the second collection, and pressing number three will isolate the third collection. You can even do this with numbers four, five, and so on to isolate the next collections. Note that these number shortcuts have existed since before version 2.8 when Blender could only have 20 layers at maximum. These shortcuts are no longer relevant as now Blender uses the collection system that supports virtually unlimited numbers. When our scene becomes complicated, most likely we will use collections to hide or show certain objects in the scene. If in this condition, we need to model objects back and forth, it is very common that we mistakenly press number one, two or three in the object mode instead of in edit mode. Of course, this will mess up all the collection visibility that we have organized carefully before. Yes, we can press Control Z to undo it. But if this happens a lot, we might as well solve this issue once and for all. Essentially, it does not matter where we are in edit mode or object mode. We want every time we press one, the vertex mode is active. Every time we press two, the age mode is active, and every time we press three, the phase mode is active. The first step to achieve this is to resb the shortcuts that lead to the collection isolation. For this, we can open the edit menu, then open the preferences window. In the key Map category, choose the key binding option and then type one in a search field. In the object mode section, you can see an option that says height collection, the one that has the keyboard shortcut number one. Just click on the X button right next to it to remove the shortcut entry with the same method. We can fix the number two entry shortcuts, so type two up here. Then click on this X button. Next, type three. Then click on this x button. By default, bender will save the settings. W leader we exit vendor. But if you want to force vendor to save the settings now, you can click on this icon and then choose save references. Until this point, if you are in the object mode, pressing one, two, or three keys won't isolate any of the collections. But we are not done yet. Again, we want the shortcuts to behave consistently, so they will always activate Vertex, g, and phase editing modes, even when we are in the object mode. First, notice that when you right click on any command in ender, the pop up menu shows a special option for changing the shortcut. We are going to use this feature on the Edit mode list. Remember that the edit mode list won't show up if the active object does not have an edit mode. So first, make sure you have a mesh object selected. Next, open the interaction mode dropdown list. Right click on the Edit Mode list. Now, you need to carefully pay attention as you do not want to press the wrong button in this process. Click the assigned shortcut option and then press the number one key on your keyboard. All right. Now pressing one in your object mode. We'll activate the edit mode, but we still need to specify which selection mode we want to activate. For this, we need to open the preferences window again. In the key binding search field type one, you may need to click on an empty area on the window so you can scroll the list and then find an entry that says abject non model. Open this key Map entry by clicking on the side carrot icon. And then this is important. Change this input to abject mode set with submode Make sure this field is set to edit mode and then turn on the vertex icon. We can close the window now and test whether the shortcut works properly or not. Let's activate the object mode. If we press one. Notice that we are now in edit mode with the vertex selection mode active. Let's try changing the selection mode to edge or phase to test the selection mode, press tab to go back to the object mode. And then press one again. As you can see, the shortcut works as we expected. Let's apply the setting to the number two shortcut. While click on the Edit mode option. Choose assigned shortcut, press number two key on your keyboard. Then open the preferences window, find the number two key binding. Change this to object mode set with submode. Make sure this field is set to edit mode, and then turn on the H icon. Next is the number three shortcut. While click on Edit mode option again. Choose a sign shortcut. But now we press the number three key on the keyboard. Then open the preferences window, find the number three key binding. Change this to object mode set with sub mode. Make sure this field is set to edit mode and then turn on the phase icon, and we are done. Let's test the two entry shortcuts. Make sure we are in the object mode. If we press two, as we expected, we are now in edit mode with the selection mode active press step to go back to the object mode. And now let's try pressing three. As you can see, the number three shortcut also works as expected AHdlla 33. 03-04 Loop selection: In this lesson video, we are going to discuss loop selection. But before we get into the techniques, I want to briefly discuss mesh topology. What topology means is how vertices, edges, and phases are structured to form the surface of a tree model. Two objects may look identical when rendered, but they both can have very different topologies. Please note that the best topology or the most ideal mesh topology is the one that consists of quad phases. Quad faces are pass consisting of exactly four edges. So in this example, the cube on the right side is better than the one on the left because the faces are all quad. Notice that each of them has exactly one, two, three, four edges. There are many benefits of having quad phases in our TD model. One of those benefits is the ability to create loop selections. So again, if you try to select an object but fail, most likely, it is because the model you have is not purely based on or formed by quad phases. I'll be using a fispere object to demonstrate the loop selection. To perform loop selection, you need to be either in age mode or interface mode. Yes, you can do this also in vertex mode, but it is not convenient, as you have to select two vertices first, and then you have to rely on the menu. That is why in this video, we will be covering loop selection only on the age and phase selection modes. Let's first focus on the age selection mode. If you are in edge mode, you can hold the outkey and then click on edge. Notice that not only the edge that we click gets selected, but also all of the adjacent edges. You can do this on the vertical edges, too, but notice how the edge selection does not go all the way around the object. It stops on the top and the bottom part of the object. Why is that? Well, it is because the top faces of the Uff sphere are not quad. We have a bunch of triangles up here, which makes it impossible for the loop command to proceed. Again, this shows why having advicus topology is important. Another way to perform a loop selection is by holding down the l key and Control key at the same time. In this condition, if you click on edge, instead of selecting adjacent edges, blender selects all of the edges parallel to the edge we click. This type of selection is actually not called a loop selection, but it is called a ring selection. Okay? So again, O click will create a loop selection. While Control Oclick will create a ring selection. If you ever forget the shortcuts, you can select an edge and then open the select menu. In the select loops submenu, you can find the He loops command and the edge rings command. Although you can use the menu, I strongly suggest that you memorize the shortcuts as you will need them quite often when doing remodeling in render. Next, let's discuss how to create loop selection while in phase mode. Unlike the age mode where we have loop and ring selection. In the phase selection mode, there is only one type of loop selection. The shortcut is the same. That is, you need to hold the out key and then click on an age. Yes, you heard me right. Although we are in phase mode, if you want to perform loop selection, what you need to click is the edge parallel with the direction of the pass you want to select. So if you want to select all these phases, then you need to hold the l key and then click on any of these vertical edges. If you click on horizontal one instead, the phase loop selection will go this way or vertically. You can also combine the out and control shortcuts with the Shift key to add or subtract loop selections. For example, if you are in the edge mode, we can hold Shift and Altogether and keep clicking on edges, you want to loop select. We can use this technique also while in phase mode, hold the shift and Al keys, and just keep clicking on the edges where you want to add more loop selections. To subtract the loop selections, simply do this technique on already selected phases. So again, we can use this technique both for adding and subtracting loop selections. And this method works both on pass and edges. Okay, guys, so that is basically how you can perform loop selections in lender. 34. 03-05 Basic mesh editing: In this lesson video, we are going to cover several basic techniques of mesh editing in blender. We will discuss basic transformation, editing objects inside the edit mode, and finally, the symmetrized command. Before, we learned a lot of techniques to transform objects while in the object mode. The good news is we can make use all of those techniques also while inside the edit mode. You just need to make sure that the elements you want to transform are selected. For example, we select this verticies. Then to move these vertices, we can either use the tool or the shortcut methods. If you activate the move tool, we can use any of the xs to constrain the movement or any of the plane constraints. If you prefer the shortcut method, you can press G to activate the move mode. Then press X. For example, to activate the X axis constraint. Finally, you can click to confirm or right click if you want to cancel. For rotation, we can use the rotate tool and rotate this vertices using Zaxis or other axis, or we can press R to activate the rotate mode and then press Y to activate the Y axis, we can then click to confirm or right click to cancel. The same goes for scaling. We can use the scale tool to scale the vertices. Scaling will make the elements move closer or further away from each other. You can use the shortcut a to activate the scale mode and then use any of the X, Y, and Z later keys to constrain the scaling direction. If you remember our lesson on object scaling, the scale tool has a unique to variant called the scale kit tool. We can also use this tool while in edit mode. We can grab any of these corner nodes for uniform scaling. Or the middle ones to perform non uniform scaling. Okay? We can apply all of the transformation tools and shortcuts to edges and phases as well. You just need to make sure the elements you want to transform are selected. All right. The next thing I want to cover is creating new objects inside the edit mode. If you are in the object mode, pressing Shift A and then choosing mesh object, let's say, UV sphere will result in a new independent object. You can see that it is listed and has its own name in the outliner. Up to this point, you should know this already. What we haven't discussed is that we can also use the Ed object command inside the edit mode. The difference is that the new object will just a mesh part belonging to the active object, not an independent object. Just to prove this, we can select this cube object and then press tab to go to the edit mode. Let's first move the cursor to another location so the leader we can clearly see the result. In this condition, if we press Shift A, the add new object menu appears. Before we continue, I want you to look at this pop up menu. It looks a bit different because there are no options to create other than the mesh type. If you choose this cylinder, for example, the new cylinder will become part of the current object. There is no new object entry listed in the outliner. If we go back out to the object mode and try to move this object, the cube and the cylinder move together because they are actually one object. So there is the difference between adding a new object in your object mode and in edit mode. In blender, we can make objects symmetrical using several different methods. The most popular method is using a modifier called mirror. We will discuss this reader when the time comes. However, sometimes while three modeling, we just want to make the object symmetrical quickly without the hassle of going out to the object mode and using the mirror modifier. For this, we can use a special command called symmetrize. To try out the feature, let's create a monkey head model. Go to the edit mode, and let's try pulling one vertex on the right side, so it looks like a horn sticking out. Okay? Now, you need to remember that the symmetrized command works on selected elements. So if you don't have any elements selected, it won't do anything. Because we want to make the whole monkey head model symmetrical, we need to select all of vertices by pressing A on a keyboard. After that, open the mesh menu and then choose symmetrize. If the result is not as you expected, you can open the less action panel and change the direction option. In our case, we should use the plus X to minus X option, but you can try changing these to different options just to see how it works. Essentially, the symmetrized command will use the object's origin point as the center of the reflection. From the origin point, every element that exists in the X direction is considered to be plus X, while the opposite is minus X. The same concept also applies to Y and Z directions. Please note that the symmetrized command only cares about the local orientation, not the global orientation. So if we go back to the object mode and then rotate this monkey head 90 degrees using Z axis, for example, in either we use the symmetrized command. This direction is still considered to be plus X, not plus Y, and this direction is minus X, not minus Y, all right? So that is how you can mirror mesh objects using the symmetrized command. 35. 03-06 Tweak tool, Symmetry, and selection shortcuts: In this lesson video, we are going to discuss the tweak tool, mash symmetry mode, and selection shortcuts. When modeling, especially organic like objects, we often need to quickly just a lot of vertices one by one. In blender, this process is called tweaking. Just for example, let's say we want to make the ear part of this monkey head model pointier. Scenario, you do not want to select a vertex and then move it and then select again and then move again. This method is too slow. Even if we are using the shortcut, this is still too slow, as we need to perform select and move as two separate actions. For tweaking, Blender provides a special tool called the tweak tool. The tool exists in Blender as a variant for the selection tool. While the tool is active, we can click and dig vertoses directly to select and move them in one go. As you can see, this can save us a lot of time when we need to tweak vertoses or other elements quickly. As a reminder, we cannot select or tweak elements in ender if we cannot see them. So while in this process, you may need to use the wireframe mode or the X ray mode to access the vertoss at the back. Okay? Another thing that you need to be aware of is that this tool acts as a selection tool mode. It means that even if we are in a move to rotato or Scale tool, if we perform click rack, we are still tweaking the elements. I know that this is a bit weird as we are moving elements around, even though the active tool is the rotaol or the scale tool, but that is just how it works. If you have the tweak tool active, make sure you don't accidentally click and rack inside the Gizmo. As that will trigger the currnt tool instead, right? At this point, you may be wondering, what if we want to tweak the right ear and left ear at the same time? Well, to make an object symmetrical, we can use the mirror modifier or the symmetrized command as we discussed before. But in this video, I want to show you yet another method of mirroring called the symmetry mode. This feature can be very useful, especially if used together with the twig tool. We can experience a live mirroring effect as we work on the model. To use this feature, we can click any of these icons, let's say X, Y, and Z. X means it will mirror on X axis. Y will mirror on Y axis, and Z will mirror on Z axis. Each of these icons is independent of one another. So you can activate all of them at once if you want to. Please note that these icons only exist in the edit mode. You won't find them if you are in the object mode. And just like the symmetrized command, this feature also works based on local orientation, not on the global orientation. If you are working on a rotated model and are not sure where the X, Y, or Z xs of that model are, turning on the local orientation mode can help you to detect them, right? Let's say we want to mirror along the X axis, so we turn on the X icon. Now notice that if I tweak this vertex, the apple seat vertex on the left side moves also. We can do this on vertices, edges, or faces as long as these elements have their twins across the mirror plane or the origin plane. If you try to tweak this vertex, for example, the symmetry effect won't work. This is because we moved this vertex before without the symmetry effect turned on. So currently, there is no vertex at its opposite location. From this example, we can conclude that for the symmetry mode feature to work, the model has to be already symmetrical. This feature is useless if the elements do not have any twins in their opposite locations. If you ever need to use the symmetry mode, but the model is not symmetrical, just use the symmetrized command first to make the model symmetrical. We have discussed the symmetrized command in the previous resin video, so be sure to watch it again if you need a reminder. When tweaking a model, sometimes we need to tweak multiple vertices at once because the tweak toe is considered one of the selection tool variants. If we have it active, the slack box, the slack circle, and the select resow are automatically turned off. You can still select multiple vertices using the Shift click method, but this method won't help if you have to select a large number of vertices. You surely don't want to select hundreds of vertices by clicking them one by one. In this scenario, you may want to use the selection shortcuts. Basically, with these shortcuts, you can activate different selection modes that mimic the select box, select Circle, and select AO tools, even though the tools are not currently in use. Please note that these shortcuts are not exclusive to the Twig tool. You can use them in any of the selection tools or any of the transformation tools, and you can also use these shortcuts in the object mode to select objects, as well as in edit mode to select elements. All right. The first shortcut is the B letter key. This will activate the box selection mode. We can tell that this mode is active by the long vertical and horizontal lines. Just click drag in the viewport to create a box selection region, just like when we are using the select box tool. When you release the mouse, all elements inside the box region will be selected. Now we can take all these vertices at once. Again, if you need to select elements at the back side, you need to turn on the wireframe or the ray shading modes. If you want to remove the selection instead, after pressing B, you need to hold down the Shift key while dragging the mouse. Notice that the elements inside the box will be di selected. The second selection shortcut is the C letter key. This will activate the circle selection mode. We can tell that this mode is active by the circle symbol on the mouse cursor. This circle indicates the brush size blender will use to select the elements. If you want to change the size of the brush or the circle, you can rotate the scroll wheel on your mouse up or down. And then you can click drag on a viewport like we are drawing using a brush tool inside printing software. Every element touched by the circle cursor will be selected. If you want to dissect instead, you can hold down the Shift key and then click drag on the elements you want to di select. If you are done, simply right click to exit the mode. All right. The third selection shortcut is holding the Control key and click dragging, using the right mouse button. Again, you need to use the right mouse button for this, not the left button. Notice that this works similarly with the Select lasso tool. If you want to this instead, you can add the Shift key into the map. So hold the Control and Shift keys together, and then click re using the right mouse button to this verticies. Okay, guys, so that is how you can use the Twig tool, symmetry mode, and finally three different selection shortcuts. 36. 03-07 Face Extrude: In this lesson video, we will discuss one of the most frequently used three D modeling commands called Extrude. In Blender, there are actually many variations of the Extrude command. You can apply Extrude on faces, edges, and Vertoss. You can also choose whether to use the tool or use the keyboard shortcut. For now, we are going to focus only on extruding phases. We will cover extrude on edges and vertoss in another video. To perform extrude, you need to have at least one phase selected. And then if you prefer the shortcut, you can press E on the keyboard to start the extrude process. While in the extruding process, you can move the mouse cursor back and forth to specify how far the phase goes out or goes into the surface. After that, you can left click or press Enter to confirm. Like any other commands in ender, we can still revise the extrude action using the bottom left panel. You can input a precise value, say 50 centimeters. If you use a negative value, the extrusion will go into the surface instead of going out. Okay? There is one very important thing that you need to know about extrude. Notice that how this panel says extrude region and move and not just extrude region. Why is that? Well, this is because the extrude command actually triggers two commands at once, extrude and move. Knowing this is crucial because when you cancel the process, you will only cancel the movement and not the extrude itself. This is why you get double phases every time you cancel the process. To show you what I mean, let's say I select this phase and then press E to trigger extrude. But while in extruding process, I decided to cancel by pressing escape or while clicking with the mouse. At a glance, nothing bad happens. But noes, if I try to move this phase, there are actually two phases in the same location where we cancel the extrusion. This is something that you need to be aware of as double phases can lead to many problems later down the road. If you ever need to cancel an extrude command, there are at least two methods that you can do to remove D offices. First is by using the Ando command. So if you press E to extrude, but then white click or press Escape to cancel, you need to press Control Z once to cancel the Fifth creation. The second method is to use the merge by distance command. This is useful if you have multiple places where you cancel the extrude commands, but you forgot to cancel them using the Andrew command. To do this, simply press A to select all the elements, or you can also just select the vertices manually on the problematic areas. If you select the manually, make sure you do this in the wireframe mode. Otherwise, most of the vertices will not get selected. After that, press to open the merge menu and then choose by distance with this all vertices that are at the same locations or close together will be merged, all right. Although using the shortcut is my preferred method. You can also use the tool to perform extrude. First, you need to have at least one phase selected and then activate the tool called extrude region. To extrude, you can click and drag on the Blues Gizmo. Be careful not to drag on white circle Gizmo as this will move the phase freely. Most of the time, when extruding a phase, you do not want to do this. You only want to extrude a phase based on its normal direction. Please note that canceling the extra tool using Right click or Escape will also produce above phases. Just to prove this, if I drag this plus Gizmo, and then in the process, I press the right mouse button. If I try to move this phase, notice that there are actually two phases here. So just like before, you can either press Control Z to undo or perform the merge by distance command. Until now, we know that by default, blender uses the normal direction when extruding a phase. But what if we have multiple phases selected? For example, if we have two phases selected like this, if you press E to extrude, notice how the extrusion goes diagonally. It does not go this way or this way. So in conclusion, then reuses the average normal directions of the selected phases. If for some reason, you want to extrude these pass to certain axis, you can follow the shortcut with the axis shortcuts, which are X, Y, and Z letter keys. Let's say you want to extrude the phases in the x axis direction after pressing E, press the X letter key. If we press Y, the direction will be locked on Y axis. And if you press, the direction will be locked on Z axis. Again, it is rare that we use axis directions while extruding phases, but the feature is there if you ever need it. If in this condition, you want to use the normal direction, you can press the letter again. One scenario that is more likely to happen when you are extruding multiple phases is making the phases extrude together, but each move in their own normal direction. Let's say we select these phases using the loop method that is by holding out and then clicking on one of the vertical edges, then we want to extrude all of these phases outward. If you just use nary shortcut, all of them move together in a single direction, which is not what we want. Let me undo it first. To extrude all of them outward, what we want to use is a special extrude command called extrude faces long normals. You can access this command through the face menu. Or using the tool. You can see there is an alternate extrudTol called extrude longnormals. But if you are like me, I always prefer the shortcut method if it exists. To access the command via the shortcut, you need to press out E. This will open the extrud menu. In this menu, you can see the standard extrude command plus all the variants available in vendor. For now, what we want to use is this lonnormals command. Then we can move the mouse to control how far we want to extrude. As you can see, although all of the faces are moving together, each of them moves along their on normal directions. Just click to confirm the process by default, the extrude long normals does not produce a flat or even offset. Presently, I always turn on the offset even option to get a nice even offset along all of the faces. When extruding a phase or phases, a lot of time, you need to input a certain length value. Yes, you can use less action panel to do that. But for faster workflow, you can also input the value on the fly while in the extrude process. Please remember that the value you input will depend on the length parameter that you set in syn tab. Because currently I am using ascendimeter, I need to input in ascendimeter scale. Let's say I want to extrude this phase to the side as far as 1.5 meters. Just type E, then type 150 and then press Enter. Another example, if I want to extrude this phase down as far as 80 centimeters, press E, 80, then enter. If you want to create a whole or recess, you can enter a minus value. Let's say I want to recess this phase for 30 centimeters, press E, then type in minus then 30. Now, if for some reason you change your mind and want to extrude outward instead, you can press minus again. So pressing the minus K in this condition is like toggling the direction. If you are happy with the result, you can press Enter to confirm. 37. 03-08 Inset and Bevel: In this lesson video, we are going to discuss two more free modeling features, namely Inset and wel. Essentially, inset will offset the selected phase or phases inward, creating a frame like topology. To use inset, you need to have at least a phase selected. Then you can use the shortcut I. While in inset process, you can move your mouse cursor closer or further away from the center of the selection to control the thickness of the inset. After that, you can left click or press Enter to confirm. Or if you choose to cancel, you can press escape or right click. As with any other command in blender, you can still revise the parameters via the less action panel located at the bottom left of the TD viewport. Let's say we want to inset as far as 20 centimeters. We can just type here 20. Please note that the 20 centimeters thickness is not measured diagonally, but vertically and horizontally. If you prefer using tools or gizmos, there is also the inset tool. To use the tool first, you need to have at least one phase selected and then click drag inside the white circle Gizmo to define the thickness. All right. Now, if we have multiple phases selected, pressing I, we'll insert all of them as if they are a single phase. Inset will also work on phases that do not form a rectangle. For example, if we have an letter shape selection like this and then press I to insert them, as you can see, it is working just fine. The inner area topology may look a little off, but the author frame is usually what we need. Sometimes you want to inset multiple phases at the same time, but individually to do this, you can either use less action panel or use the shortcut. For example, we can select all these phases, then press I to inset. Just move the mouse to define the thickness and the left click to confirm. Then in less action panel, you can turn on this option that says individual. As you can see, each of the phases is insetting independently from one another. Let me undo this first. If you prefer the shortcut, you can press the letter I twice. This will also create individual inset while in this condition. If you change your mind, you can press I again to turn off the individual option. Okay, guys, so that is how you can use the inset command. Next is the Bevel command. Basically, the bevel command will blend out sharp corners by adding more vertices or edges. In blender, you can perform bevel on edges or on vertices. In this last video, we will be focusing on how to bevel on edges. We will discuss vertex bevel in another video in Shala. To perform an edge bevel, first, you need to select an edge or superal edges, and then press Control B on the keyboard and then move the most cursor closer or further away from the center of the selection. Now, in this creton, if you rotate the scroll wheel, you can define how many edges are created to smooth out the beveled area. The more edges you have, the rounder the result will be. As always, you can then click to confirm or right click to cancel. Now, if you open the last action panel, you can see that bevel has a lot of parameters. The most important primeter is to weigh primeter Please note that this primeter does not measure the distance between the resulting edges, but from the original edge to one of the resulting edges. Next is the segments primeter. Basically, this is the priameter that will get changed when we rotate the scroll bel during the bevel process. Feel free to try out all the other parameters to see what they do. One less important thing that I need to mention about the bevel command is this custom option in a profile type primeter. With this, you can define your one bevel shape by editing the curve in a graph area below. If you create a complex profile shape, you may need to increase the number of segments up here so that bender can accommodate the profile shape. You can also make use of the presets provided by Brender. There are the default preset support loops. My favorite cornice molding crown molding and steps. Perhaps, now you are thinking of creating custom bevel profile and saving it as a preset despite all these default presets. Well, unfortunately, we cannot do that. I hope we can do that in the future. But in andar version 4.2, which I currently use, we cannot do that inside the edit mode. The work around to this limitation is to use the bevel modifier instead, but that will be for another video or perhaps another course. If you prefer using tools or Gizmos, Blender also provides bevel as a tool to use it simply select an edge or several edges and activate this tool called bevel, and then click andrag the Gizmo to define the width of the bevel. After that, you can still revise the parameter using the last action panel just like when you are using the shortcut, 38. 03-09 Loop Cut: In this lesson video, we are going to discuss another t modeling command called the loop cut. In render, the official name for loop cut is actually loop cut and slide. This is because every time we trigger the loop cut command, then we first perform loop cut and then after that perform an H slide. For simplicity and easier spelling, I will just refer the command as loop cut. Like most of the three D modeling commands in Lander, you can use loop cut in multiple ways. If you prefer a shortcut, you can press Control R. If you prefer using a tool or Gizmo, you can find the tool here. One that says loop cut. And if you ever forget the shortcut, you can find a command in each menu. You can see that the shortcut is Control R, right? To use loop cut, you don't need to select anything first. Just press Control R to trigger the loop cut process. While in this condition, if you hover the mouse on an edge, Blender will display a preview of how the loop cut will be created. In this condition, also, we can rotate the scroll wheel to define the amount of loop cuts. If we click once the process is not done yet. We are now in age sliding phase. While in this phase, we can move our mouse to position loop cats after you are happy with the loop cuts position, you can left click or press Enter to confirm. Or if you prefer not to slide the edges and just use the default location, which is basically at the center, you can wide click or press Escape. Remember what we just canceled is the ge sliding process, not loop cut process. Loop cut already happened before the age sliding phase. If what you want to cancel is opcAT process, then you need to press Control Z one to undo it. Just like any other commands in vendor, after you perform loop cut, you can revise it using less action panel. You can define how many segments are generated using the number of cuts value, and you find the placement using this factor of value. Feel free to explore the rest of the parameters to see what they do. Okay? One important thing you need to remember is the tub cut only works on quad faces. It will not work on triangles or engon. Again, this is another reason why you always want to have quad pass topology on your model. Just to prove this, if we create a cone object and then activate the vertex smooth, notice how this cone object is formed by a lot of triangles and an gone face at the bottom. Ngon is the term we used to call a phase that has more than four edges. Because this object does not have any quad faces, it is impossible to use the loop cut command. If we try to force it, that is by pressing Control R and then hovering on any of these edges by scrolling the mouse, you can see in the preview the Brander can only create vertices along the high lated edge. If we click to confirm, indeed, we have all these vertices, but no edge loops were created. All right? Let's just delete this cone object for now. Up to this point, you may be wondering what if we want to create loop cut at a certain distance from the ground or from an existing edge or vertex. Can we do that in vendor? The answer is, we can, but not directly using loop cut tool. This is because the edge sliding process used a relative factor value to define the position of loop cuts, not an exact measurement. So we have to move the edge loops manually using the move command or by inputting their coordinates. Just for example, we want to create loop cut 50 centimeters from the ground or from the bottom part of the model. Produce that currently, the bottom part of the model is precisely at the ground level or zero coordinate value in global Z axis. In this scenario, you can press Control R, click, and then click and then open the item tab in right panel. Notice that, in the edit mode, the item panel shows two different coordinates global and local. Essentially, global is measured against the center of the world, while local is measured against the object's origin point. Currently, both display the same value because the objects origin is located at the center of the world. If I go to the object mode and then move this object away from the center, this will move the origin point. So if I go back to the edit mode, you can see a difference in global coordinate values compared to the local coordinate values depending on what you want to achieve. If you want to place this loop selection 50 centimeters from the origin point, then you need to input 50 in local ZXs coordinate. So it is how you position a loop cut or an edge loop vertically using coordinate values. The next challenge is we want to create another loop cut at 50 centimeters distance also, but from this edge. So we want to create a vertical loop cut for this. First, you need to make sure that this option called auto merge is turned off. If this is active, every time we move a vertex too close to another vertex, they will be merged automatically. This feature is very useful in certain scenarios, but not when you are creating loop cuts, price control R and over on one of the horizontal edges, then click once. Now slide this H loop all the way to the left edge and then click to confirm. While we still have the H loop selected, move this to the right a bit. You can type the value on the fly or just revise the value to 50 centimeters. So this is basically how you can create Lot vertically at a certain distance from an existing edge. 39. 03-10 Bridge: In this video, we will discuss the bridge command. Basically, the bridge command will create connecting pass from two selected faces or groups of pass for the bridge command to work. Make sure the elements you select belong to the same object. If you select two objects like this and then press tab to enter the edit mode, although we can access the elements of both objects, we cannot perform a bridge. In a scenario, you need to join these objects first. For this, you need to go back to the object mode and then select both objects. Remember to select the main object less as vendor will join all selected objects to become part of the active object. Let's say we want this object to be part of this object. In that case, select this one first, hold shift, and then this one. After that, press Control J to perform join now that we have a single object, we can bridge phases within this object without any problem. Let's select this phase and in this phase. For example, by default, Blender does not assign any shortcut to the bridge command. You can access the bridge command by clicking to open the pop up menu and then choosing bridge phases. As always, you can access the parameters via less action panel. You can control the number of cuts. You can also play around with the profile factor if you prefer a more organic looking bridge result, et cetera. Let me undo this for now. When performing bridge, you need to be aware the number of edges you selected. Ideally, you always want to have the same number of edges on both sides. If you select two phases on each side, but only one phase on each side, this means that you have a total of six edges on the left and only four edges on the right. If you apply the bridge command, you'll not get allwkard phases, vendor will do its best to connect them, even if it has to use triangles. So again, try to have the same number of edges on both sides to make a perfect bridge that consists only of quad faces, right? Besides on phases, you can also perform bridge on edges and holes, provided that we select the edges around the holes. For example, we can lead these two faces on the left side, and then lead to pass also at the right side. To connect to holes like this, first, make sure we are in the edge mode. And then the most important part is to select the edges around these two holes. To do that, we can use the same method as when we are selecting H loops, that is by holding the out key, so hold out, and then click on one of the edges at the hole border. As you can see, blender selected all the edges around the hole automatically. And then to select the edges on the other side, you need to add the Shatkey so that the previous selection does not disappear. So hold Shift O and then click on any of the edges at the other hole. After we have selected both edges, we can wide click and then choose breach edge loops. And here is the result. With the breach command, we can also punch a hole that goes through a mesh. This technique can be very useful when we need to model a window or a door on wall. To be able to do this, the faces or edges need to be facing away from each other. Just for example, we want to create a hole that goes through the object from this phase to this phase. Strike the two faces, and then wide click and choose Bridge faces. As you can see, a hole is created connecting the two faces. From all these examples, I am sure you get the idea of how useful the bridge command is. 40. 03-11 Normal direction: In this lesson video, we will discuss normal direction in more depth. Before we briefly discuss normal direction, but we haven't touched on the main concept and how to fix mesh problems related to the normal direction. Until this point, I am sure, you already know or realize that the three D models inside blender are not solid. This is true, not just for blender, but for almost all three software in the world. In fact, only a handful of TD software works with solid three D models. There is why if we select the top phase of a cube, for example, In press X or delete arrange pass. We can see the inner sides of the cube as if it is a cardboard box or a paper craft. Most today software uses this approach because using real solid models is very expensive in terms of computer performance. Now, if you open the viewpodOy panel and then turn on the face orientation checkbox, you can see that each phase has two different colors blue and red. The red sides are the ones facing inside and are supposed to be hidden from outside. While the blue sides are the ones facing outside and are supposed to be visible. Officially, the term for the blue sides is front faces, and the term for the red sides is back faces, and the direction perpendicular to the blue sides or front faces are called the normal direction. So this phase, normal direction is this way. This phase, normal direction is this way. And this phase, normal direction is this way. I'm sure you get the idea. Basically, when we through the modeling, you always want to make sure that you don't see any of the back faces or the right sides. Why, there are at least three reasons for this. First, if you are planning to export your TD model to game engines, you should know that almost all game engines use backface sculling by default. Backface sculling is a rendering method to optimize performance by not rendering the back faces. This makes all B faces invisible as if there were no fishes at all. We can see this effect in lender by going to the solid mode viewport panel and then turning on this biface culling option. As you can see, all the B faces are now invisible. Again, this is how your model will look like inside game engines. That is, if you expose the back faces to the viewer, they will become invisible. The second reason why you want to avoid displaying backfaces is because they will display normal maps incorrectly or inverted. I know we haven't discussed material or texturing yet, but just bear with me for now, as this is the topic where T modeling overlaps with texturing. Essentially, a normal map is a special texture that uses RGB colors to bend the normal direction of a surface, giving an illusion of complex depth or bumpiness on that surface. As an example, on the left side, I have a cube object with no big fissures exposed, while at the right side, I have a cube object with all the normal directions flipped. In other words, what we are seeing now are all big fissures. Now, if I try to put a normal map of oblique texture or the material of both objects, the left cube looks normal. The brick blocks are going out of the surface, while the mortar is going inward. But no sold or white cube inverts the condition. The mortar is going out instead and the bricks are going in. So again, if you have faces visible in your model, you will get weird rendering results, especially if you're using normal maps. The third reason why you want to avoid back faces is because there are modifiers in Lender that rely on the normal direction. If the normal directions in your model are flipped randomly or incorrectly, then these modifiers will only output unexpected wrong results. Just to give you an example, on the left, I have a strip of pass with all of them facing or having uniform normal directions, while on the right side, although it seems it is identical to the left model, when we turn on the phase orientation overlay the phases are actually not uniform in terms of the normal direction. If I try to add a solidified modifiers to this model, everything looks fine and works exactly as expected. But notice as I add a solidified modifier to this model, it does not perform or deliver the same result as we expected. Again, you may have problems with modifiers if the model has non uniform normal directions. Blender provides a lot of features for working with or editing normal directions. It would be too long to cover all of them in a single video. For now, I just want to cover three basic techniques that I think are important to help us spot and fix normal direction problems weekly. The first is assigning shortcut to the phase orientation overlay feature. We already know how important this feature is, so why not assign shortcut to it so we can check our model more quickly. Personally, I use the F six key on my keyboard to toggle this option. We've discussed how to assign custom shortcuts before. Just to refresh our memory, you can simply right click on the option and then choose change shortcut and then press F six on your keyboard. You may also use a different key. Just make sure that the key is not used by default in vendor for another important command. Now, when I need to check for back feces, I simply need to press F six on a keyboard to turn it back off, simply press F six again. You will see me do this often in future videos, so just be aware of that. All right. The second technique that we can use is the shift and shortcut or the recalculate outside command. If you forget the shortcut, you can open the mesh menu. The normals and then recalculate outside. Basically, this command checks all of the selected phases and makes them all face outside. Let's say we have a model with some of the pass flip. Make sure you are in a phase mode, then you can manually select the phases. But for this case, it is faster to just press A to select all of them, and then press Shift N. As you can see, all of the phases are now facing outside. The third technique is useful when we need to flip a phase or certain phases manually such as when you have a flat model like this one, that does not have an inside or outside area. First, you need to select the pace or faces. Then press out to open the enormous pop up panel, and then just flip. As you can see, only the selected face or pass get inverted. 41. 03-12 Modeling a Window: In this video, we will use all the things that we have learned so far to model a simple two sash window on wall. Before we begin, I just need to inform you that I am using a cemeter for the length measurement, and for snapping, I use closes for the snap Bs option and vertex for the snap target option, right? Let's start with modeling the wall, using a default cube, press control period to activate the origin editing mode, drag this down and hold control to snap it to one of the bottom vertices. Then forget to press control period again to turn off the origin editing mode. Now that we have the origin at the bottom of the object, we can press out G to reset the position to the center of the world. Next, for the wall dimension, let's make the width or the X dimension 5 meters. And then the thickness or the Y dimension to 15 centimeters. And for the height, let's just make it 3 meters. So now we have the base wall. As always, after changing an object's dimensions in vendor, you always want to apply the scale back to one to avoid any future measurement errors. So press Control A, and then choose scale. Next, for the window, we want the bottom frame to be 50 centimeters high from the ground. The top frame at 210 centimeters and 50 centimeters from left wall border. For this, first, make sure we are in edit mode, then press Control R and hover on one of the vertical edges to add a horizontal loop cut, click, and click again to confirm. Because currently, the origin of the object is at the center of the world. The local and global coordinates are identical, so you can type in coordinate value either on local as well as on global fields. Type in 50 in Zaxs field. Next, press control R again to create another loop cut, set the height of this H loop to 210 centimeters. To create left frame, we can press Control again and hover to one of the horizontal edges. Now, before you try to move the edge to the left, you want to make sure that this auto merge option is turned off. Otherwise, when you slide the vertices to the left border, they will get merged automatically. So turn this off for now, slide these vertices to the left, hold control, and snap them to the left vertices. Then we move them back again to the right. But now we revise the value to 50 centimeters. All right. Next, control again. Now we can safely slide it all the way to the left because we know that the auto merge option is turned off, and then move this to the right, revise the value to, let's say, 13 5 centimeters. We now have the basic measurements for the window frame. To cut a hole in wall, we can select the face on the front and also the face at the back. And then click chose Bridge faces. While we still have all the faces selected, we can duplicate them using the shift the shortcut, but then we cancel the movement using white click. Remember that what we just canceled is only the movement. The faces are already duplicated. For an easier to the modeling process, you always want to separate the components of your model into a different object. Later, you can join them again if you want to to separate the selected elements, we can press P on a keyboard and then choose selection. All right. Now, if we press tab to go to the object mode, we can select the two objects independently from one another. There is the frame object, and there is dual object. We can name them leader accordingly. For now, let's just focus on finishing the model. Make sure you select the frame object. We want to center the origin, so it is at the center of the frame object. For this, we can open the object menu, set and then choose origin to geometry. One benefit of having the origin at the center is that we can easily change the frame dimension. Just for example, we want to change the thickness of the frame window to 10 centimeters. Again, we need to apply the scale every time we edit the dimension values. We want to add thickness to the frame object. For this, we can use a modifier called solidify. But for now, let's focus on methods that don't require any modifier. In this case, we can use the extrude alongrmos command. So go into the phase editing mode, press A to strike, and then press E. Choose extrude pass along normals. Move the mouse and click to confirm. Make sure the offset even option is turned on so that all sides have uniform thickness, and for the amount of thickness, let's make it for centimeters. Next, we want to spit the window into two parts. So we need to create a column or lion at the center. Please pay attention as there are several techniques that I need to elaborate on in this process. First, to create the base, we can just duplicate the phase from the left side frame, press Shift D, then X, and then move the new phase to the center. All right. The first thing I want to discuss is extruding a flat face like this. If you extrude a phase towards its normal direction, Blender will create the new faces facing outside or generate all front faces. But notice if you extrude the face against its normal direction, Blender generates all of the new faces facing inward. So this is how lender works by default. Ideally, you always want to extrude to the front faces direction to avoid back faces, but I want to show you that you can also ignore this backfacing issue when modeling. Why? Because leader, we can fix them easily all at once. To show you the process, I deliberately extrude the llan backward and make the value minus four, right? The second technique that I want to discuss is entering the Malian against the fame. You can do this in two ways. But first, we need to select only the mallan part. If an object has multiple independent parts, you can select a part just by hovering on it and then press L on the keyboard. So this first method does not require you to click on anything. The second method is by clicking to select one of the elements on that part. And then using the shortcut Control L, all elements linked to the selected element will also be selected. Again, as long as the part is independent from the other parts, it will get selected. So those are the two methods that you can use to select certain independent parts of model. To center the Malian, the first method is to change the snap base option to median. With this, lender will use the center of the selected object or elements for the snapping base, and then change the snap target option to H center. Now we can center the llan part by moving it along the X axis, hold control, and then snap it to the center of H at the frame. So this is one way to center the Mllon. For the second method, you do not need to change the snap settings. We can just leave the closest and vertex options as before. To do this, first move and snap the Mllan part all the way to the left and then move it and snap it to the right Open less action panel and the movement value type in divide and then type two and then enter. Now, we have the million at the center. Personally, I prefer the second method because we can divide this space with any number, such as three, four, et cetera, depending on how many millions we want to have all right. Next, we want to create the window leaf part, also known as the sash. Before we have discussed how to extrude phases. In lender, you can also extrude only the edges because edges do not have any normal direction. When extruding them, you need to specify the axis direction using the X, Y, or Z keys. So first, make sure you are in the He mode. Select this H at the corner of the million and then press E to extrude it. Press X to constrain it to the X axis direction. Then press Control and snap it to the vertex on left side. Okay? Now activate the phase mode and select the new phase, press P and choose selection to separate it into a new independent object. Notice that, if we go to the object mode, we currently have the wall object, the window frame object, and a new object for the sash. We can see three objects also in the outliner. Next, make sure the new object is selected, then switch to edit mode, press I to insert the pace. Let's make it 6 centimeters take. We will need the center phase leader for the glass, so let's separate this phase also. Go to object mode. Let's move this to the back for now. Go back to the sash object. Go to phase mode, press A to select, extrude the pass to the back for 3 centimeters. Though such model is done, we can now focus on a glass object. Make sure you are in a phase mode and an extra two phase for one semimile. Go back to object mode and move this glass model so it sits nicely in the center of the sage model. All right. For the right area of the window, we can simply duplicate existing sash and glass models. Make sure both objects are selected. Press Shift D to duplicate. We are now in a movement phase. So press X to constrain the movement to the X axis and hold control and snap it to a vertex on the right side. The three D model is done. All we need to do now is fix the normal directions. Remember that we deliberately made the Malians normal flip but just imagine that we have a lot more flipped normals in our model unintentionally to fix all of them at once. Make sure you are in the object mode. Press A to strike all objects. Then press tab or three to go inside the edit mode, interface selection mode. Press A again so that all of the feces are selected and then press Shift N to trigger the recalculate outside command. With this, all big fisses on all of the selected objects are automatically fixed. So again, in Lander, you can just focus on modeling without thinking about the back fissures. And after you are done, you can fix them all at once easily. Finally, you may want to change the names of the objects so the scene is more organized. To rename an object, simply double click on the object's name in the liner. For example, you can name this one wall, and the name this one frame and so on. I am sure you get the idea. 42. 03-13 Modeling a door with a knob: In this video, we will model a simple door with a circular knob. As before, I'll be using a centimeter as the unit and closes and vertex options for the snapping. I'm sure you already know how to model a wall like this, so I just created the wall off record to save time. For the door frame, I want to make it 2 meters high and 80 centimeters wide. So go to edit mode, press Control R to add loop cut, set the height of this loop cut 200 centimeters. Now press control R again to add a vertical loop cut. Instead of adding more loop cats, we can split this loop cut into two using the H Bevel command. So press Control B for bevel. And the revise the width value to 40, the width value is measured from the original edge to the right and left edges. So the total width is actually 80 centimeters. Next, select the front face and also the back face, and then perform the bridge phases command. The faces are correct except for the bottom one. We can fix this easily by just pressing X and then choosing phase. Now we have the required hole in the wall for the door frame, right? Next, to model the frame, the technique is identical to how we modeled the window frame before. First, select all the side phases, Shift D to duplicate, but then we right click to cancel the movement, press B, and choose selection to separate the phases into a new independent object, press step to go out to the object mode, and then select the new frame object, press three to go to the phase edit mode. Before we continue, I need to make sure that this automrge option is turned off. Just so that the vertices do not merge automatically. Next, make sure that all of the phases are selected, press out E, and choose extrude phases along normals. Turn on outset even, so the resulting thickness is uniform across all faces. And let's make it for centimeter stick. To create the door leaf, besides using he extrusion, we can also use the Mfacee command. For this, we need to select one H at the left side and one H at the right side. And then press F on the keyboard. Next, make sure the phase is selected. Press B to separate it into a new object. So just to recap, we now have three objects, D A, the frame and the door leaf. Select the door leaf again, go to the phase mode, select the pace and then press E to extrude it, type minus three, then enter. You can also type the value here if you want to right. The door leaf is basically done. Before we model the knob, I want to add more detail to the frame object, which is the door stopper. Essentially, when we swing the door, this component will prevent the door from swinging past the central position. Go to object mode, and select the frame object again. Press stab, and then press Control R to create a loop cut here. Click. And while sliding the edges, you can hold Control to snap them to the door leaf. Create another loop cut in this position. Okay? Now, select this phase to select multiple connecting elements in a sequence. After selecting the first one, you can hold Control and click on unless element. Press out E, and juice phases on normals. As always, to make the thickness uniform, you should turn on the offset even option, and let's make this 1 centimeter take. Before we continue, if you find differentiating the models in your sin becomes hard, you may want to use the viewport random color feature. To use it, simply open the solid viewport shading tunnel. Currently, the color is set to material. If you choose random instead, Blender will pick different colors for each object in your scene randomly. Note that this is just a viewport effect and will not affect the material or the rendering result. To model the knob, we can start by pressing one to see the model from the front, hold Shift, and then white click on location where we want to create the knob, press Shift A, then type UV, and then choose UV sphere. Now to make the sphere object orient itself to our viewing angle, which is currently the front view, we can change the aligned option to view. As you can see, the UV sphere is no aligned or facing the front direction. I think the segments and rings parameters are good. What we need to change is only the size. We want the knob to be 5 centimeters in height and width. For that, we need to input half of it since this is radius value, so type 2.5 and enter. Now we have the base of the door knob at 5 centimeters dimension, while all the scale values are at the default. Okay. Next, go to vertex mode, select the one in the front center, and then press Control plus two or three times to grow or expand selection. After that, we want to flatten all of these vertices. For this, we can simply scale them to zero value, so press as to scale. Then Y for the direction and then type in zero and then enter. Next, we can move this back and then scale it. Press Control minus to shrink the selection, and let's move this back a bit. Now, to merge all of the phases in the selection into single angon phase, we can use the F shortcut, so the F shortcut can either be used to create a new phase, or it can also be used to join multiple phases into a single phase. We can now insert the phase, use a bit, next, hold out, and click on one of these edges to select a phase loop, and then we can press E to extrude these phases back et's move this more. Now, select the center phase and move it forward slightly past the other phases. Okay. To make the edges less sharp, we can use the edge vel command. First, make sure we are in the edge mode, hold shave out, and click on this edge. Then it's edge, press Control B, move and scroll one to get two segments on vel area. Click to confirm before we model the backside, let's revise the knob object position. Press one for the front view. For the height of the knob, let's make it 90 centimeters. Then from the border of the door, let's move this to roughly four to 5 centimeters. Okay? Because currently the door is blocking our view, we can press the forward slash key to activate the local view mode. This way, all objects, except the selected ones are temporarily hidden. Next, we want to scale the knob along the way axis direction. Now, we already understand that scaling an object in the object mode will result in non default scale values. Therefore, we need to apply the scale afterward. But if we scale the object inside the edit mode that will not affect the objects scale values, press A to select, then a and Y, roughly about this size. If we go back to the object mode, lose all these scale values are all at the default or one. So we do not need to apply the scale. All right. Next, go to vertex mode, select the one at the back, press Control plus twice to expand the selection, and then press F to merge the pass into a single angon phase. Go to phase mode and then extrude it back like so. For the base part, we can press Shift D to duplicate the phase and then press Y, so the movement is on Y axis. We want to align these faces against the door. So press forward slash again to go out of Local view mode. Shift Z for Wi frame mode. Select the two faces and just move it forward so they are not inside the door anymore. Now, to make this floating face aligned with the door surface, we can move it and then hold Control and snap it to one of the door vertices at the bottom. Next, press one for the front view and scale the face up until slightly bigger than front knob. Next, we can extrude the face just a little. Then inset it to about this size. Move it to the front, extrude it again. And then inset, and now extrude again, but backward. Go back to object mode. While click and let's apply Atosmoth for the shading type. All right. I think we have done a nice job runup model. To create the knob on the other side of the door, we can simply use the mirror modifier. To clearly see the process. Let's first select the knob or objects. Press the fourth slash key to activate the local view mode, and then press seven for Ruto view. Now, you need to know that the mirror modifier uses the objects local orientation, not the global orientation. If I switch this to local, notice that this direction is actually the axis direction, not the axis direction. Let me change this back to Global, and let's open the modifier tab, add modifier, then type mirror, click on the mirror modifier, and then turn off all axis except this the axis. The mirror direction is already correct. The problem is that the mirror modifier uses the origin location of the object. So in our case, we want the origin of the nub object to be aligned to the center of the door object. To do that, first, use the edge center option for the snap target. Then press Control period to activate the origin editing mode. Next, move this in voy axis direction, hold control, and snap it to the center of the DR edge. Then forget to press Control period again to turn off the origin editing mode. After that, you can apply the modifier if you want to. For example, if you need to export the model to other software, you can click on this scarred button and choose apply. But if you will only be using the model inside vendor, you can just leave the modifier as is. Press the forward slash key again to go out of local view mode. Next, let's check the normal direction. Turns out that the door and the base of the knob object are flipped. As before, we can easily fix all normal directions in one go. In the object mode, press A to select all objects, then press three to go to the phase edit mode, press A again to select all of the faces, and then press Shift N to make all normals facing outside. Now all of the faces appear blue. As the final touch, we want to add bevel modifiers to the frame and door objects. There are many ways to apply modifiers to multiple objects at once, one of which is using the out shortcut. So make sure both objects are selected. And then when pressing the At modifier button, you need to hold the key, find the bevel modifier. Hold out and click on Bevel modifier option. As you can see, the vel modifiers are added to both objects. The same concept also applies if you want to edit the value. If you want to make both have the same amount of bevel value, you can hold out first and then click on the primeters. Let's input 2 millimeters, then enter. Notice both objects now have 2 millimeters bevel. And as always, you may want to change all these object names to better represent the model. 43. 03-14 Classic arch: In this lesson video, we are going to model a classic round arch. We can start with the default cube. Let's change the X dimension to 4 meters. Press tab. For the wall thickness, we can make it 20 centimeters. For the height, we can do this in edit mode as we haven't fixed the origin. But first, let's apply the scale values, so they are all at one. Press three to go to the phase mode, select the top phase and set it to be at 400 centimeters. Shift Z, and make the face at the bottom to be at zero. Next, we can press Control R to add a loop cut. Make these edges at 300 centimeters. Control R again to create a vertical loop cut, right click to cancel the sliding and keep the loop cut at the center. Press Control B two bevo edges and just type 100 and an enter. So the total width generated is 200 centimeters. Go to phase mode, select the phase at the front and the pace at the back, and then perform a big fishies command. Select the bottom one and just delete it. I believe until this point, you should have no problem modeling the wall, as you have done this before in the previous exercises. What is different is that now we want to create the top part of the whole round. For this, we can go to the edge mode, select this edge at the top left, and also this edge at the top right, press Control B to votom to prevent the edges from overlapping, we can turn on the clamp overlap option. Then to make the bevel area around, we simply need to provide more edges or segments value. I think ten is enough in our case. Now, the problem with clamp overlap is that it will leave you with a model that has multiple vertices or edges located at the same position. Not only on a curve area, but also on elements supporting the previous Bvl process. Fixing this overlapping problem is actually very easy. You can simply use the merge by distance command. Tu that, press A to strike all elements in the model, and then press M on the keyboard. The merge pop up window will open what we want to use now is the bottom option called by distance. You can revise the distance threshold if you need to reduce that vendor, just displayed message down here saying that ten vertices were merged, which is exactly what we want. We can test the result by tweaking this edge on top. As you can see, it is now a single edge. Next, for the classic profile, we do not want to model it directly on the wall. Although we can do that, it will look nicer if it is separated and thicker than the wall. The method is similar to how we create the frames for the door and window. So select this phase, hold Control, and then click on this phase. Now press Chief D to duplicate, and then while click to cancel the movement. Press B, and choose selection to separate it from the main world object. Go to object mode and make sure that the new object is selected. Let's first make it 30 centimeter stake. Don't forget to apply the scale. Next, activate the phase mode, press A to select, and then press Alt E and choose extrude pass along normals. Make the thickness 20 centimeters and also make it uniform. To create the classic style profile, we can make use of the He Bevaommand again. For this, you can hold out and click on this edge, then hold Shift and and click on this edge. Basically, we just selected two edge loops, one at the front and one at the back. Next, press Control B for the edge Bv command. Now, the reason why the bevel area is round is because it uses this super ellipse option as the default. What we need now is the custom option. With this, we can create our own profile or simply choose from the available presets in our keys. We want to use the cornice molding preset. This is a very common profile in classic style model. And so you may use this profile a lot in the future. That is, if you are doing a lot of classic type projects, notice that this profile has many curves and corners. If the amount of segments is too low, you won't be able to see all the details. So you want to have at least 20 to 24 segments for this profile to look correct. Finally, we can go back to object mode, white click and set the shading mode to auto Smooth. Alhamula is done. There you have large gate with a classic arch style. 44. 03-15 Point to point modeling basics: In this video, we will learn the basics of 0.2 point modeling. As before, I am using ascending meter. And closes and vertex for the snapping mode. So what exactly is 0.2 point modeling? 0.2 point modeling is not Bender's official term. It is just my own term for modeling techniques that rely heavily on vertex manipulation. Of course, we also need to create edges and freezes to build a three D model, but those come automatically or later after the vertex editing process. In this approach, we will be using a lot of vertex extrusion, vertex bevel and also using the automrge functionality. To start, we need a vertex. We can use a vertex from an existing object, or we can also create a new one. In the earlier lesson, we already installed an add on called the ExtramsObjects. It is one of Vendors official add ons, so you can download it right away from within Bender's preferences window. With the add on active, you can create a single vertex by pressing Shift A, then mesh. Single vertex and then add single vertex. Because I use this object very often. I already set the letter Wiki as the shortcut for it. You do not have to follow this setting if you don't want to. For now, let's press seven. So we are looking at the scene straight from the top. Let's say we want to create a new single vertex at this location. Shift and right click to position the the cursor. And then press V, if you have the shortcut, or if you prefer the standard way, you can press Shift A, then type vertex or just verb, and then hit Enter. Make sure you are in vertex mode. This is important because you cannot see a single vertex if you are in He mode or in phase mode. All right. As a reminder, you can move selected Vertoss using the move GIS mode or by pressing G on a keyboard. You can also use the tweak to if you need to position what a vertical is one by one quickly. I am sure you already know this by now. To add a new vertex from an existing vertex, you can use the vertex extrude command. The shortcut is E. So yes, extruding pass, edges and vertices are the same. I mean, they all use the same E shortcut. After pressing E, you can then position the new vertex to any location that you want. Please take your time practicing this technique until you are comfortable with it. So again, press E to extrude a vertex and then move it then click to Confirm. As you can see, extruding verticies automatically creates new edges. Now, if you want to create straight lines, you can combine the extruding technique with the axis key shortcuts. You can also define length by tapping the value on the fly. For example, we want to create a line along the X axis as far as 10 centimeters. For this, you can press E, then X, and then type ten, then enter. If you make a mistake or need to revise the value, you can always access glass action panel. If you change this to 30, for example, the He length will become 30 centimeters. Now, if you add a minus symbol, the vertex extrusion will go to the left instead of right, so the positive value will be in the same direction as the red X arrow. Well, negative value will be in the opposite direction. Let's say we want to extrude again, but in Y X direction for 40 centimeters. You can press E, then Y, then type 40. If in this condition, you change your mind and want to extrude in the opposite direction, you can just type minus. So while putting value on the fly, you do not need to type minus before the number. You can press the minus K after the number to toggle the direction. If you like the result, just press Enter to confirm. Next, let's learn how to connect or merge vertices. For this, there are at least two methods that we can use. The first is using the F shortcut to use it first. You need to strike two separate vertices and then press F. As you can see, Blender just created a new age connecting the two vertices. Now, you do not want to select more than two vertices if you only want to create an H. Why? Because if you select three or more vertices, pressing F will actually create a new phase. Well, unless this is what you want. Essentially, in vendor, you can use the F shortcut for different scenarios. The output depends on the type of elements and the number of them. You can create a phase if you select multiple edges or vertices, you can merge multiple phases into a single phase if you select multiple phases, and you can also create an edge connecting to vertices. Let me undo this for now. The second method of connecting vertices is by turning on this auto merge option. Note that this icon only appears in edit mode. You will not see this automrge option in the object mode. If you click on the Options button, you can see these two checkboxes. Basically, turning on this icon will turn on the first checkbox, and the second checkbox will follow along, depending on whether you have turned it on or off before. By default, the second one is turned off. For now, just make sure these two checkboxes are active. Quick explanation first. Ato Merge checkbox will automatically merge vertoses that are closer than its value, which is 0.1 centimeters by default. While the second checkbox will create new vertoses automatically if we create edges crossing each other or intersecting. Let's see some examples of these two features. With the auto merge turned on, if you press E to extrude and then move the new vertex to another vertex using the Control key to activate the snap mode, the resulting vertex will get merged automatically with the target vertex. So this is currently a single vertex. You can do this not only on the last vertex, but on any verticies in your model. So again, you can use the F shortcut to connect to verte cis. And use the extrude command along with the auto merged feature to automatically merge vertoss. With these two methods, you can quickly build a network of vertoss and edges as the basis for the art remodel. Last thing that I want to discuss regarding the auto merged option is the second checkbox we activated before called the split edges and phases. If you have this turned on, and then try to extrude a vertex across another edge or several edges. Notice sow bender splits the edges automatically by creating vertices in the location of the intersection. This feature can be a huge time safer where we need to model complex shapes. But this feature can also be a double edged sword. If you only need to tweak your model only to create multiple elements that are close to each other, having this automrg feature turned on can win your model. Personally, I only turn this icon on when doing point to point modeling. Once I am done, I turn it off again just to play safe, right? After we have a bunch of vertices and edges like this, we can use the F shortcut again to build the phases. You can select some of the vertices and edges and then press F. This is one way to do it. But you can also do this all at once by selecting all the vertices. For this to work flawlessly, you need to remove any existing pass first. You can do that by pressing X and then choosing only pass, as the name suggests, this command only removes pass but maintains edges and vertices. After that, you can press F. Notice how blender creates phases automatically in the areas enclosed by edges. Sometimes blender also creates a single large phase from the other vertices. Most of the time, you won't be needing this type of phase to remove it, simply select it and delete it after the large phase is gone. We can easily select each of the phases formed in the enclosed edges. To end our lesson video, let's try creating a simple star using all the things that we have learned. Let's duplicate this vertex using the shift the shortcut. Then press Control I to invert the selection. Press do it, and choose vertices. Next, make sure this vertex is selected. Press E and place the new vertex here, press E again, and so on. Until we form a simple five legged star. For the last part, you can hold control and snap the first vertex. After that, press A to select, then press F to create pass from the selected vertices. The nice thing about this process is that you can extrude each of these pass individually by going to the phase mode and then pressing the shortcut or you can also extrude all of them at once. By doing this, you'll still have all the edges on the surface. Or if you prefer an gone phase after pressing F, you can press F again to merge the phases into a single phase. Only then you can press E to extrude. We now have a star shape to the model with an gone phase. I know that this is a very simple model, but as you can see for yourself, the technique behind it is very powerful and can be used to create more complex models. This course may be too short to cover all Advanced techniques related to point to point modeling. So I may need to release a separate class or course for this topic in the future. 45. 03-16 Spin: In this video, we will discuss the spin command. Essentially, we use the spin command to create rotational or cylindrical objects such as bowel or vase. The reason why we discuss the spin command after the 0.2 point modeling is that the spin command needs a mesh profile to work, which can easily be created using the 0.2 point modeling technique. Blender provides two ways to access the spin command. First, is using the tool In tools panel. And second is via the extrude Popa panel using the shortcut of E. For practice, we are going to model a bowel roughly 25 centimeters in diameter. First, make sure we are in the front view, then create a single vertex, press E to trot then X, and let's type seven Press E again and move it to about this position. Press E again. You can place the vertex here. But I want to show you later how to insert a new vertex between existing ones. So I place it directly at the top lip of the buw, press E, and another one here, and so on. For the last vertex, you can press X and then move the mouse to the left and then hold control to snap it to the first vertex. With this, less vertex will be perfectly aligned with the first vertex. If you are creating a profile for the Spink man, you do not want to connect last one with the first one. This is intentionally open to avoid unnecessary cleanup afterwards. All right. Now, let's assume that we want to make this line curved, but we forgot to add a vertex to this edge. In a scenario, there are at least two ways that we can go about it. If you want to insert a vertex or multiple vertices to an edge. You can select the edge first like O or you can also be in vertex mode and select the two vertices that form the edge, and then t click and choose subdivide, we can revise or define the number of vertices using the number of cuts parameter. For now, we only need one vertex. After that, we can move the new vertex to this location. So this is one way to do it. Alternatively, we can manually create the vertexes using the truth command for this work. You want to make sure that the automorge option is turned on, then you can select this vertex, press E, then click here, press E again, and then snap it to this vertex to delete the old age, besides activating the age mode, you can also just select the two vertoss press X or delete, and then choose edges. Notice that the vertosis are not affected, only the edge gets deleted. Let's move the new vertex to about this location. Next, to make these two vertoss round, we can perform the vertex vl command. Now, unlike extrude, the bevel shortcuts for vertex and H are different. To bevel vertex or vertoss what you need to press is not Control B, but Shift Control B. So you need to add the sheaf key into the mix to perform vertex bevel. Again, this is something that you need to keep in mind. While beveling, as usual, you can rotate the scroll wheel to add more segments. I think four to six segments are enough for our bowel. Finally, for the tips of the bowel. Let's also bevel this vertoss a tiny bit using just a single segment. All right. We have the bowel profile ready. Before we perform spin, there are two important things that I need to explain. The first is that spin uses the pred cursor rotation for the center of its rotation. Currently, the three D cursor is exactly where we need it to be, so there is no need to change it. But let's just say that we mistakenly move the three D cursor away from the center. If this happens, you need to position it back to the center of the profile or the axis of where the profile will be rotated. The easiest way to do this is by selecting one of the vertices at the center, then press Shift a, and then choose cursor to select it. The second important thing that I need to explain is that the spin command only works on selected elements and ignores elements that are not selected. In our case, we can just press A to select overt Cs. Okay? Now, activate the spin tool. To use the spin tool, simply drag one of these symbols to spin the profile while doing this, you can also hold down the Control key to activate rotational stamping. After you release the mouse, be careful not to rotate these symbols again, as that will trigger another spin session, which can break the previous spin. Instead, if you want to revise the values, you need to use the last action panel. Is angle value determines how far the spin goes in circle. 90 degrees means a quarter circle. 180 degrees means a half circle, and 360 means a full circle. I am sure you get the idea. Most of the time, you want to have a full circle. The Steps value determines how many segments are created along the given angle value. Let's make it 36 for now. All right. Now, although you have the auto merge option in the spin dialog turned on and the auto merge in the TD viewport is turned on also. Usually, you still need to merge the vertosis manually, especially the vertosis at the center of the rotation. I hope this gets fixed in a future release of vendor. For this, we can simply press A to select and then press M and choose by distance. Notice down here that it says seven day Vertosis just merge. Just to play safe, we can press Shift N to fix the normal direction, and then go to Object mode, right click and change the shading mode to Auto smooth. This is the final result, a nice and smooth bowel three model. Next, let's try modeling of ase. We will be using spin again, but now via the shortcut. In the front view, we can hold Shift and right click on its location or any location that you like. Create a new single vertex object, go to Vertex mode, press E, and then X, and then move it here, press E again, move it here, and so on. Feel free to create a different as profile if you want to. After that, we can select this vertex, press Shift, Control B, to Bvlate at about four to five segments to make it look smoother. Then we select this vertex, press Shift Control B, to Bvlate also. Notice that now, I do not bother creating the inner side of the vase. This is because I'm going to show you how to add thickness leader using a modifier. Alright, now that we have the profile, we can start the spin process. Make sure the t de cursor is at its center and then press A to strike. Now, before triggering spin, you need to know that if you use the shortcut instead of the tool, Blender will use our viewing angle as the rotational axis. So it is best that you switch the view to the top view first before doing this. But I want to show you what will happen if we don't do that and how to fix it. So I'm currently in a perspective view, not the top view, press out E to open the extrude pop up menu. I know it's a bit weird to have the spin command in the extrude window, but it is just how blender is in a version I'm currently using. In the extrude window, spin. As you can see, the result looks weird because by default, the spin command uses our viewing angle as the rotational axis. If we want to use the Z axis, make sure that Z value here is set to one. While drafts are set to zero. For the other primeters, we can just use the values we used before, right? As always, we need to press A to select all vertoses, press M, and choose by distance. This will merge all nearby vertoses. Next, press shift and to fix any potential normal issues, then go to object mode and change the shading type to auto smooth. The outer surface of the vase is done, but as you may know, it does not have any thickness. To add thickness to one sided model like this, we can use a modifier called solidify. Usually, I always use the complex mode, as this gives the best result. That is, it makes the thickness uniform across all faces, and then we can define how thick it is using the thickness value, and it is the final result. Using the same techniques, you can try creating other rotational objects such as columns, classical furniture, tropes, classic style railings, et cetera. 46. 03-17 Mirror modifier: This video, we are going to discuss the mirror modifier. If you remember previously, we discussed the symmetriized command and then the symmetric mode. Although these two methods can help us model symmetrical objects, they are destructive methods. If you want to make an object symmetrical but still maintain its original mesh data, then you should use the mirror modifier instead. For practice, let's extrude on the right side of this cube, make this phase smaller, then add an inset and an extrude again. We just need this model so we have an unsymmetrical object to work with. Okay, to use the mirror modifier, it is quite easy. You select the object you want to mirror and then add the modifier through the modifier tab. If you type M, you will have the mirror modifier listed on top, press Enter, and by the way, you can see the cube looks symmetrical because it is modifier, it is non destructive. You can always turn it on or turn it off using these small icons. This one controls whether the mirror effect is shown in a viewport or not. While this icon controls whether the mirror effect will be shown later when we render the scene. Both of these icons do not affect the original mesh object. Now, there is one important thing that you need to know about the mirror is that it does not cut the model in half by default. If you want to cut the model in half, then you need to activate this basic option. Just to prove my point, if we duplicate the model using Chief D and then apply the mirror modifier, Go to face mode, press out A to this. Hover the mouse to this area, and then press L on the keyboard. Notice, if we try moving these elements, we actually have double geometries in our model. Again, by default, the mirror modifier only duplicates the geometry and then flips it. Both geometries will exist afterward. In certain cases, this default behavior is what we need. For example, when creating chair legs or car tires, et cetera. Basically, when the geometries are not touching each other, but if you want the mirror modifier to cut the model in half, then you need to activate the bisect option. Logically, if you cut the model in half, then you need to specify which half you want to remove and which half you want to keep. This is what the flip option does. If this is off by default, the part that is aligned with the X axis direction will be used, and the opposite part will get deleted, vice versa. If you activate the flip option, it is now the left part that gets maintained while the right part gets removed. Besides the X direction, you can mirror along the y direction and also the Z direction. Please also note that these X, Y, and Z directions are local coordinates, or the orientation belongs to the object, not the global orientation. That is why if we rotate the object in any direction, the mirror modifier will not be affected and still work as expected by default. The mirror modifier uses the object's origin plane as the center of the reflection. That is why if you have a mirror modifier on a model and then try moving the origin point using the ddit origin mode, the center of the mirroring will change. Besides using the objects on origin point, you can also pick another object's origin point as the reference. For example, just imagine that this cube object is the leg of a chair and this sphere object is the cushion part located at the center of the chair model. To mirror this object using sphere object as the reference, we can activate the mirror object option by clicking on a picker icon and then choose the sphere object. Now, the modifier uses the origin point of the sphere object as the center of the reflection. If we move the reference object, the mirror modifier will be updated automatically. We can try turning on Dy Option and also the Z option to see the result. Basically, with this access turned on, we get eight versions in total of the original mesh. Okay, guys, so that is basically how to use the mirror modifier. 47. 03-18 Edge Sharp and Edge Bevel Weight: In this video, we will discuss the basics of H properties in Linda.n after that, we will focus on the He sharp and he bevel weight properties. Of all the mesh elements, the edges are perhaps the ones with the most properties. What I mean about properties are parameters or values that can be attached to an element. If you are in the ge mode and select an He if you right click, notice that you can mark the current edge to be a freestyle edge as a sharp edge, and as a same. You can also define the edge wav weight and increase value just for a quick overview so that you have a clear insight into what these properties are for. The ge sharp property is an on off value if you take or mark an age as a sharp edge. By default, lender will give it a light sine color. Later, when we change the sharing mode to auto smooth or when we use the smooth biangle modifier, this edge will always look sharp next is the H SIM property. This property is used when we perform UV and wrapping. I know we haven't discussed UV mapping or UV unwrapping yet. Basically, when Lender performs UV and wrapping, it will separate phases into different UV islands based on HSMs information. Notice that by default, dendro uses red color to indicate H SMs. Next, is the freestyle property. The term freestyle in dender is basically a line effect renderer. You may want to learn more about freestyle if you want to render your scene in manga style, or if you want to render wireframe or technical drawing. Essentially, any rendering style where you need to see strong line strokes on the model. As you may notice, Bandra uses a light green color by default to indicate freestyle edges. Please note that I keep saying by default because all of these overlay colors depend on your active theme. So you may see different colors if you're using a nonstandard theme, right. Next is the g crease property. Unlike before, this property is not just an on off switch, but rather a value 0-1. This is why if we click on the edge Cris option or use the shortcut Shift E, we can move the mouse closer or further away to define the value. The closer the mouse, the darker the color will be. If you mix of the position, you will get a bright purple color. If you prefer to define the value by tapping in the number, you can open the item panel on the right. You can see the crease value of distracted edges here. So what is the function of this crease value then? Well, it will be used to determine how sharp the edge will be when you use the subdivision modifier. I know we haven't touched subdivision yet, but basically, the subdivision modifier can smooth out three D models by dividing or adding more edges and faces into the model. Last one is the bevel weight property. This is also a value property ranging 0-1. And so just like the crease value, you can define value using the mouse dragging method via the pop up menu or by typing in the value via the item panel. By default, if an H has a bevel weight value larger than zero, it will be colored in blue. The function of this value is to determine how far the bevel modifier will affect the edge. Until you spin, you may be wondering, having a bunch of colored edges in a viewport like this can be annoying. Can we hide these colors? The answer is, of course. But first, you need to know that these color overlays only show up when you are working in the edit mode. Once you go back to object mode, they will not be visible anymore. If you still do not want to see them while in edit mode, you can open the mesh edit mode overlays panel up here and just turn off the overlays that you don't want to see. For the freestyle ovul you can control it down here. Okay? Because up to this point, we have only discussed shading modes and the wel modifier. After this, we will only focus on how to use the H sharp and the H vel weight properties. We will discuss the other properties in more advanced classes that cover UVN wrapping, subdivision and freestyle rendering and sha for the age sharp example, let's reopen our previous spin exercise file. If you remember, we use oto smooth sharing mode for the vase model. That is why blender applies a modifier called smooth by angle to the subject. Essentially, this angle value determines the threshold of whether edges are considered sharp or not. 30 degrees means that if two connecting faces of an edge from an angle larger than 30 degrees, then the edge will look sharp. Notice, if you set the value to zero, now all edges are considered to be sharp. If you set this to 20 degrees, for example, now this edge loop becomes sharp besides the bottom edge lobe. If you set this to high like 100 degrees, then all edges will be considered smooth, okay? Now, what if we like to use 30 degrees as this solves most of the sharp problems in our TD model, but at the same time, we want certain edges to look sharp. Well, this is where the He sharp property comes in handy. Let's say we want this g loop to look sharp and also the ge loops in this area and in this area. For that, we can go to He mode, hold Shift and all together, and just click on the He loops we want to select. White click, and then mark sharp. Notice, when we go back to the object mode, all the edges we mark sharp before now look sharp, even though they are below the threshold value. If you want to make these edges smooth again, simply go back to edit mode, strike the edges. And then juice clear sharp. Now, only the bottom H lobe is sharp. One last thing that I want to mention, there is a checkbox in modifier that you can use if for some reason, you want to ignore all of the H sharp properties in the model, right? So this is how you can use the H sharp property in Blender. Finally, let's see how we can use the bevel weight property. We will be using the fault cube for this. Activate the g mode and then select these two edges at the right side and set both to have the maximum value of one. And then let's select the four edges at the top and then set the bevo weight value to only 0.5. So again, these two edges are one, while the four edges at the top are 0.5, right? Now, if we go back to the object mode and then apply a bevel modifier to this cube object, reduce that by default, the bevel modifier applies the bevel effect uniformly across all ages that form corners or angles larger than 30 degrees. So by default, it does not care or does not use the vel weight property in the model. But if we change this limit method from angle to weight, now it is making use of the vel weight property we defined before. As you can see, the upper area is less round than right side edges because we are using a modifier that is non destructive, we can always go back to edit mode and change things around. Just for example, I think I want to make this edge value to one. But for these three edges, let's set them to 0.1. As you can see, you can easily model interesting shapes using the panic 48. 03-19 Modern curved nightstand Part 1: For the less extual size, we will model this modern curve nightstand. If you want to check the product page yourself, you can open the link I provided on the screen. In case this product page does not exist anymore, I also provide the product images as the loadable resources. As you can see from this image, the height of the product is 54.5 centimeters. The width is 43 centimeters, and the depth is 35 centimeters. As for the drawer, the height is 11.5 centimeters, right? We can start with the default cube. Make D with 43, and adapt 35, Control A, and apply the scale. Go to phase mode and select the top phase. Set the Z coordinate to 54.5 centimeters. And for the bottom phase, we can make this 30 centimeters. Next, go to He mode, hold out and control and click on this edge. Control B to bevel them. Let's make it 5 centimeters wide and five segments. I think this is enough. Next, select the front face, and then also the B face. Press I to insert them as far as 2 centimeters. While click and choose Beach phases. All right. Now, let's focus on the back side first. In H mode, select this He loop, and then press F. Select the new phase, and then press P to separate it into a new independent object. Go to object mode and select the new object. Go to phase mode and extrude it to the front for 2 centimeters. Okay, let's go back to the main model. Before we do anything, let's change the shading mode to auto smooth and check whether we have flipped normals. Now let's this H loop and then v about half of the front face area. To control the vel direction, we can use the shape parameter. The maximum number is one. So if you try to input more than one, it will go back to one and the minimum number is zero. So if you try inputting negative values, it will go back to zero. In our case, I think, 0.15 is the best value. As you can see, it is still round but going inward, right? To create the drawer, we can select this edge, hold Control, and click on this one, and then this one. So we have these edges selected, press F to create a new phase. Select the new phase, and then press P to separate it, go to object mode, and then select the new object. Now, if you check the reference, there is a visible small gap around the drawer. Let's create that gap using inset, select the pace, then press I revise the thickness value to 2 millimeters. Then press Control I to invert the selection, and then lead to phases. Next, select the bottom edge, activate the move tool if it is not active yet, and make sure the automot feature is turned off, move the edge up and snap it to a vertex on top, and then move this back down as far as -11.5. And to add thickness, we can extra the pace for 2 centimeters. Let's check for any flip normals. A is good. The next step is optional. Just in case we want to render a shot from the bottom. We don't want this area to look empty. To fix this, we can select this edge. Sorry, I mean this one, press Shift D, and then Z to duplicate the edge and move it up a bit, then press E to true then Y. Then snap it to one of the vertices at the back. Next, select this phase, extrude it up a little. Just to play safe, we can press A on shift, and to fix any normal issues. Now we have the main body and the drawer. Okay. Next, let's create the drawer handle, hold Shift, and right click at the center of the drawer. To make sure that the three Dcursor is exactly at the center, we can open the view panel and then change the three dcursor Xaxis coordinate to zero, press one to activate the front view, press Shift A, and then type C Y and then Enter. Change the line option to view, make the radius and the depth to 1 centimeter. So now we have a cylinder as the base for the handle. Let's change the shading to smooth. Next, select the front face and move it to about this location. Then select the face at the back. If you find getting hard, you can press zero on the numpad to zoom extend the selection. Okay. Let's move this to the front also. To about this location, extra the backface and snap it to a vertex at the drawer. Let's make this smaller by pressing. We want to second edge loop to look sharp. For this, we can select the edge loop right click and choose Mark Sharp. As you can see, the handle now looks more refined due to the sharp edge loop, Ar. Because the overall video was getting too long, I split the video into two parts. We will continue the project in the next video. 49. 03-20 Modern curved nightstand Part 2: We will continue modeling the nice ten product. We have done the body part, the drawer, and also the handle. In this video, we will finish up the model by creating the legs and then adding extra details to it. For the legs, we can model one leg first straight using a plane object, the next to it up and then make the bottom part smaller. After that, we can use the mirror modifier to duplicate it. First, let's press Shift C so that the t cursor is at the center of the world, then press Shift A and create a new plane object. Let's make the size 2.5 centimeters. For the dep, we can set it to 8 centimeters. Don't forget to apply the scale. Then go to vertex mode, press Shift Control B for the vertex level. Let's make the segments around five to six. Select the pace, and then extrude it and snap it to one of the vertices at the body. Press three to activate the right view, Shift Z for wireframe mode. Select these vertoss at the bottom, and then move it to the front, almost touching the front vertices. Next, select all of these vertices and then move them all at once to the front. We don't have any information on leg measurement, so we just have to estimate this with our eyes. I think this is just about right. Now, go to object mode, and from the top view, we can rotate like object 45 degrees. After that, move leg to both this position. Before we continue, let's change the shading mode to auto smooth. Now, to create the other legs, we can use the mirror modifier. Remember that the mirror modifier uses the object's origin point as the center of the reflection. What we need now is reference the mirror to the center of the model because currently the body model still has the origin at the center. We can use this object as the reference. So while we have objects selected, add a mirror modifier. Then for the mirror object, select the top body model. Now we have left leg. Four legs at the back, simply enable the Y axis option. Currently, the modifier depends on an external object to play safe. We can apply the mirror modifier. Next, let's add the square part between leg and body. From the look of it, I believe this part is 5 centimeters high, just like the leg. We can also start with the plain object. Let's make this 30 centimeters for now. Next, we can see and scale the plane object from the top view. Press S and Y. Try to make the corners of the print match the center of the legs. Don't forget to apply the scale. After that, we can move and snap the pin to the body. Go to the phase mode and extrude it down four -5 centimeters. Next, we can select the bottom face and the top face, and then let them for now. If you look closely at the reference photo, there are small gaps between the square part and legs. We want to simulate these gaps. Later, we will be using the mirror modifier. This way, we can just focus on modeling one of the corners. Select this edge corner. I mean, this one, press control B to bate. For now, we only need one segment. After that, we can refine the position of H or Vertoss depending on how big the gap that we want to create. Then we can select the corner pace and let it press A, and then E and use the extra phases enormous command. Let's make the thickness 1.5 centimeters and don't forget to turn on offset even solar thickness is uniform and to presaf, we can select all pass and then press shift and I think we already have a nice looking gap. To duplicate the gap to other corners, we can use the mirror modifier. Use the BSc option to cut the model in half. And for the back part, we need to turn on Y axis option, turn on bisect also. For the Y axis to work properly, we need to turn on the flip option. To play C, let's apply the mirror modifier. All right. As the final touch, we want to add extra details to our nightstand model. First, let's add a small bevel to the end of the legs. Go to b frame mode and then activate the edit mode. I already have the bottom Vertoss selected. If not, just make sure they are selected. Go to wedge mode and then press Control B to bevel them. You can use one or two segments for this. All right. For this square part, you can add bevel to it also if you want to skip it for now, as the process is basically the same with the bottom leg. What I want to focus on now is the details on the body part. Notice that there are small gaps or grooves at the end of the own corners. I think we can see them better in do version. You can see these groups which are basically where parts of the product are connected. To create something like this, we can split the mesh and then use the vel modifier because we will be using the mirror modifier vertically. Let's position the origin point so that it is at the center of the object. For this, simply use the origin of geometric man. Now that the origin point is at the center, we can focus on modeling the details on just one corner. Go to He mode, hold Shift and l and select this He loop and then this H lob to split the mesh using the selected edges, we can press M and then choose pass by edges. Now we can activate the phase mode. To select loose part in mesh model, we can select one of the elements and then press Control L, or you can also use the alternative method that is by hovering the mouse over the area and then pressing L on the keyboard. After we have the part selected, press P and then choose selection to separate them into new object. All right. Next, go to Object mode, select the new object, and then press the fourth slash K in num pet to isolate the selection. This mode is also known as the local view mode. As you can see, there are holes in the model. To patch the holes, we can activate the edge mode, hold shave and all, and then left click on one of the edges at the whole border, and also at this hole. After that, press F to patch the hole with a new phase. Okay. Now, to add the bevel, you can do it manually like what we have done on the legs. But you can also use the bevel modifier. Let's use the modifier for now and then make this 1 millimeter. I think this is enough because later we will join this object back to the main body object. We can apply the modifier now, press forward slash again to go out of the local view. Let's do the same with the main object, go to local view, and in each mode, we can select the borders of two holes and then press F to patch them. And just like before, we can add a vl modifier and make it 1 millimeter. Let's apply the modifier just to play safe. Go back out of the local view, and this is the result we get. Notice also how these edges look nicer due to the bevel modifier. Next, to join this corner part back to the main body part, you select both objects, but make sure that the main part is selected less and then press Control J to join them. Finally, to create the same details on the other corners, we can add a mirror modifier. Turn on bisec for the x axis. We do not need the Y axis, but we do need to turn on the Z axis, and then also turn on the bisect option. Sorry, not the flip option, but just the bisec option. Ahmdla, our next ten model is done. As always, you can rename them or join them to tidy them up. I am sure you already know how to do that by now. 50. 04-01 Next step: Congratulations. You have reached the end of this course. You have learned a lot about three D modeling techniques in this course, but three D modeling is only the beginning of your journey in learning three D. If you want to learn more, I recommend that you take the next course in Blender four essential series, which is this course, Blender essentials material and UV mapping. In this course, you will learn three topics material, texturing and UV mapping. I know that all these topics might look complicated, but trust me, this course will make it easier for you. I have carefully designed the curriculum so that students can learn those skills gradually without friction. If you follow this course in order initial law, by the end of it, you will have all the skills you need to confidently work with materials, textures, and UV maps in lender. So join now and take your three D skills with Blender to the next level.